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User-Guide-iPad-For-ios-5-1-Software

iPhone User Guide For iPhone OS 3.1 SoftwareContents 9 Chapter 1: Getting Started 9 Viewing the User Guide on iPhone 9 What You Need 10 Activating iPhone 10 Installing the SIM Card 10 Registering iPhone 11 Setting Up iPhone Using VoiceOver 11 Syncing 16 Mail, Contacts, and Calendar Accounts 18 Installing Configuration Profiles 19 Disconnecting iPhone from Your Computer 20 Chapter 2: Basics 20 iPhone at a Glance 23 Home Screen 26 Buttons 28 Touchscreen 31 Onscreen Keyboard 37 Searching 38 Voice Control 39 Stereo Headset 40 Connecting to the Internet 43 Battery 45 Security Features 46 Cleaning iPhone 46 Restarting and Resetting iPhone 47 Chapter 3: Phone 47 Phone Calls 51 Visual Voicemail 54 Contacts 54 Favorites 54 Ringtones and the Ring/Silent Switch 255 Bluetooth Devices 56 International Calls 59 Chapter 4: Mail 59 Setting Up Email Accounts 59 Sending Email 60 Checking and Reading Email 64 Searching Email 64 Organizing Email 66 Chapter 5: Safari 66 Viewing Webpages 69 Searching the Web 69 Bookmarks 70 Web Clips 71 Chapter 6: iPod 71 Getting Music, Video, and More 73 Music and Other Audio 81 Videos 84 Setting a Sleep Timer 85 Changing the Browse Buttons 86 Chapter 7: Messages 86 Sending and Receiving Messages 88 Sharing Photos and Videos 88 Sending Voice Memos 89 Editing Conversations 89 Using Contact Information and Links 90 Managing Previews and Alerts 91 Chapter 8: Calendar 91 About Calendar 91 Syncing Calendars 92 Viewing Your Calendar 93 Searching Calendars 93 Subscribing to and Sharing Calendars 94 Adding Calendar Events to iPhone 95 Responding to Meeting Invitations 96 Alerts 97 Chapter 9: Photos 97 About Photos 97 Syncing Photos and Videos with Your Computer Contents 398 Viewing Photos and Videos 99 Slideshows 100 Sharing Photos and Videos 102 Assigning a Photo to a Contact 102 Wallpaper 103 Chapter 10: Camera 103 About Camera 104 Taking Photos and Recording Videos 105 Viewing and Sharing Photos and Videos 105 Trimming Videos 106 Uploading Photos and Videos to Your Computer 107 Chapter 11: YouTube 107 Finding and Viewing Videos 108 Controlling Video Playback 109 Managing Videos 109 Getting More Information 110 Using YouTube Account Features 111 Changing the Browse Buttons 111 Sending Videos to YouTube 112 Chapter 12: Stocks 112 Viewing Stock Quotes 113 Getting More Information 114 Chapter 13: Maps 114 Finding and Viewing Locations 119 Bookmarking Locations 119 Getting Directions 121 Showing Traffic Conditions 121 Finding and Contacting Businesses 123 Chapter 14: Weather 123 Viewing Weather Summaries 124 Getting More Weather Information 125 Chapter 15: Voice Memos 125 Recording Voice Memos 126 Listening to Voice Memos 127 Managing Voice Memos 128 Trimming Voice Memos 128 Sharing Voice Memos 129 Syncing Voice Memos 4 Contents130 Chapter 16: Notes 130 Writing and Reading Notes 131 Searching Notes 131 Emailing Notes 131 Syncing Notes 132 Chapter 17: Clock 132 World Clocks 133 Alarms 133 Stopwatch 134 Timer 135 Chapter 18: Calculator 135 Using the Calculator 135 Standard Memory Functions 136 Scientific Calculator Keys 138 Chapter 19: Settings 138 Airplane Mode 139 Wi-Fi 140 VPN 140 Notifications 141 Carrier 141 Sounds and the Ring/Silent Switch 142 Brightness 142 Wallpaper 142 General 150 Mail, Contacts, Calendars 153 Phone 156 Safari 157 Messages 158 iPod 159 Photos 159 Store 159 Nike + iPod 160 Chapter 20: iTunes Store 160 About the iTunes Store 161 Finding Music, Videos, and More 162 Purchasing Ringtones 162 Purchasing Music or Audiobooks 163 Purchasing or Renting Videos 164 Streaming or Downloading Podcasts Contents 5165 Checking Download Status 165 Syncing Purchased Content 165 Changing the Browse Buttons 166 Viewing Account Information 166 Verifying Purchases 167 Chapter 21: App Store 167 About the App Store 167 Browsing and Searching 169 Info Screen 170 Downloading Applications 171 Deleting Applications 171 Writing Reviews 172 Updating Applications 172 Syncing Purchased Applications 173 Chapter 22: Compass 173 Getting Compass Readings 174 Compass and Maps 176 Chapter 23: Contacts 176 About Contacts 176 Adding Contacts 177 Searching Contacts 178 Managing Contacts on iPhone 180 Chapter 24: Nike + iPod 180 Activating Nike + iPod 181 Additional Nike + iPod Settings 182 Chapter 25: Accessibility 182 Accessibility Features 183 VoiceOver 189 Zoom 190 White on Black 190 Mono Audio 190 Speak Auto-text 191 Triple-click Home 191 Closed Captioning and Other Helpful Features 193 Appendix A: Troubleshooting 193 Apple iPhone Support Site 193 General 195 iTunes and Syncing 6 Contents196 Phone and Voicemail 197 Safari, Text, Mail, and Contacts 200 Sound, Music, and Video 201 iTunes Stores 201 Removing the SIM Card 202 Backing Up iPhone 204 Updating and Restoring iPhone Software 205 Appendix B: Other Resources 205 Safety, Software, and Service Information 206 Viewing the User Guide on iPhone 206 Disposal and Recycling Information 207 Apple and the Environment 208 Index Contents 7Getting Started 1 · WARNING: To avoid injury, read all operating instructions in this guide and safety information in the iPhone Important Product Information Guide at www.apple.com/support/manuals/iphone before using iPhone. Viewing the User Guide on iPhone The iPhone User Guide, optimized for viewing on iPhone, is available at help.apple.com/iphone. View the guide on iPhone: In Safari, tap , then tap the iPhone User Guide bookmark. Add an icon for the guide to the Home screen: When viewing the guide, tap , then tap “Add to Home Screen.” The iPhone User Guide is available in many languages. View the guide in a different language: Tap “Change Language” at the bottom of the screen on the main contents page, then choose the language you want. What You Need To use iPhone, you need: • A wireless service plan with a carrier that provides iPhone service in your area • A Mac or a PC with a USB 2.0 port and one of the following operating systems: • Mac OS X version 10.4.11 or later; version 10.5.7 or later is required for syncing Notes and for using iPhone as a modem • Windows XP Home or Professional with Service Pack 3 or later • Windows Vista Home Premium, Business, Enterprise, or Ultimate edition • Display resolution on your computer set to 1024 x 768 or higher • iTunes 8.2 or later, available at www.itunes.com/download (iTunes 9 or later required for certain features) • QuickTime 7.6.2 or later (for playing videos recorded by iPhone 3GS on your computer) 9• An iTunes Store account (for purchases from the iTunes Store or App Store) • An Internet connection for your computer (broadband recommended) Activating iPhone Before you can use any of iPhone’s features, you must activate iPhone by signing up for a service plan with an iPhone service carrier in your area and registering iPhone with the network. Your iPhone may have been activated at the time of purchase. If it isn’t activated, contact your iPhone retailer or cellular service provider. For more information about iPhone, go to www.apple.com/iphone. Installing the SIM Card If your SIM card was not preinstalled, you must install the SIM card before you can use iPhone. SIM card SIM tray SIM eject tool Install the SIM card: 1 Insert the end of the SIM eject tool into the hole on the SIM tray. Press firmly and push it straight in until the tray pops out. If you don’t have a SIM eject tool, you can use the end of a paper clip. 2 Pull out the SIM tray and place the SIM card in the tray. The angled corner of the SIM ensures that the card fits only the correct way in the tray. 3 With the tray aligned as shown, carefully replace the SIM tray containing the SIM card in iPhone. Registering iPhone Registering iPhone with iTunes enables iTunes to identify your iPhone when it’s connected to your computer and help you manage its contents. You can then sync information with your computer and media from iTunes, and create backups of iPhone’s contents and settings. You can create an iTunes Store account, or specify an existing account, to enable purchases with iPhone. iTunes also records iPhone’s serial number in the event you need it for service or in case of loss. 10 Chapter 1 Getting StartedRegister iPhone: 1 Download and install the latest version of iTunes from www.itunes.com/download. 2 Connect iPhone to a USB 2.0 port on your Mac or PC using the cable that came with iPhone. 3 Follow the onscreen instructions in iTunes to register iPhone and sync iPhone with your contacts, calendars, and bookmarks on your computer, and with music, video, and other content from your iTunes library. In the Set Up Your iPhone screen, select “Automatically sync contacts, calendars and bookmarks” to configure those items to sync automatically when you connect iPhone to your computer. You can also customize your sync settings in iTunes. See the following section. Setting Up iPhone Using VoiceOver If you’re visually impaired, VoiceOver (available only on iPhone 3GS) can help you set up iPhone without a sighted assistant. VoiceOver describes aloud what appears on the screen, so you can use iPhone without seeing it. When you connect iPhone to your computer, iTunes detects whether you’re using a compatible screen reader on your computer, such as VoiceOver on a Mac or GW Micro Window-Eyes on a PC, and automatically enables VoiceOver on iPhone. A sighted user can also enable VoiceOver on iPhone for you, using Accessibility settings. See “Using VoiceOver” on page 187. Note: VoiceOver isn’t available in all languages. Syncing With iPhone, you can have easy access to important information on your computer, including your contacts, calendars, and even your browser bookmarks, as well as to music, video, and other content in your iTunes library. About Syncing Syncing copies information and content between iPhone and your computer, keeping it current and up-to-date, whether you make changes on iPhone or on your computer. Chapter 1 Getting Started 11iTunes lets you specify the information and content on your computer that you want to sync with iPhone. By default, iTunes syncs automatically with iPhone whenever you connect iPhone to your computer. You can also set up iPhone to sync your MobileMe and Microsoft Exchange accounts, over the air. See “Mail, Contacts, and Calendar Accounts” on page 16. Syncing with iTunes You can set iTunes to sync any or all of the following: • Contacts—names, phone numbers, addresses, email addresses, and more • Calendars—appointments and events • Email account settings • Webpage bookmarks • Notes (requires Mac OS X version 10.5.7 or later on a Mac, or Microsoft Outlook 2003 or 2007 on a PC) • Ringtones • Music and audiobooks • Photos and videos (in your computer’s photo application or folder) • iTunes U collections • Podcasts • Movies, TV shows, and music videos • Applications downloaded from the iTunes Store You can adjust sync settings whenever iPhone is connected to your computer. Ringtones, music, audiobooks, podcasts, iTunes U collections, videos, and applications can be synced from your iTunes library. If you don’t already have content in iTunes, the iTunes Store (available in some countries) makes it easy to preview and download content to iTunes. You can also add music to your iTunes library from your CDs. To learn about iTunes and the iTunes Store, open iTunes and choose Help > iTunes Help. Contacts, calendars, notes, and webpage bookmarks are synced with applications on your computer, as described in the following section. Contacts and calendars are synced both ways between your computer and iPhone. New entries or changes you make on iPhone are synced to your computer, and vice versa. Notes and webpage bookmarks are also synced both ways. Photos and videos (Mac only) can be synced from an application or from a folder. Email account settings are synced only from your computer’s email application to iPhone. This allows you to customize your email accounts on iPhone without affecting email account settings on your computer. 12 Chapter 1 Getting StartedNote: You can also set up email accounts directly on iPhone. See “Mail, Contacts, and Calendar Accounts.” Purchases you make on iPhone in the iTunes Store or the App Store are synced back to your iTunes library. You can also purchase or download content and applications directly from the iTunes Store on your computer, and then sync them to iPhone. You can set iPhone to sync with only a portion of what’s on your computer. For example, you might want to sync only a group of contacts from your address book, or only unwatched video podcasts. Important: You should be logged in to your own computer user account before connecting iPhone. Set up iTunes syncing: 1 Connect iPhone to your computer, and open iTunes (if it doesn’t open automatically). 2 In iTunes, select iPhone in the sidebar. 3 Configure the sync settings in each of the settings panes. See the following section for descriptions of the panes. 4 Click Apply in the lower-right corner of the screen. By default, “Automatically sync when this iPhone is connected” is selected. iPhone Settings Panes in iTunes The following sections provide an overview of each of the iPhone settings panes. For more information, open iTunes and choose Help > iTunes Help. Summary Pane Select “Automatically sync when this iPhone is connected” to have iTunes sync iPhone automatically whenever you connect it to your computer. Deselect this option if you want to sync only by clicking the Sync button in iTunes. For more information about preventing automatic syncing, see “Preventing Automatic Syncing” on page 15. Chapter 1 Getting Started 13Select “Sync only checked songs and videos” if you want iTunes to skip unchecked items in your iTunes library when syncing. Select “Manually manage music and videos” to turn off automatic syncing in the Music and Video settings panes. See “Manually Managing Content” on page 72. Select “Encrypt iPhone backup” if you want to encrypt the information stored on your computer when iTunes makes a backup. Encrypted backups are indicated by a padlock icon, and a password is required to restore the information to iPhone. See “Backing Up iPhone” on page 202. Click Configure Universal Access to turn on Accessibility features (available only on iPhone 3GS). See Chapter 25,“Accessibility,” on page 182. Info Pane The Info pane lets you configure the sync settings for your contacts, calendars, email accounts, and web browser. • Contacts Sync contacts with applications such as Mac OS X Address Book, Yahoo! Address Book, and Google Contacts on a Mac, or with Yahoo! Address Book, Google Contacts, Windows Address Book (Outlook Express), Windows Vista Contacts, or Microsoft Outlook 2003 or 2007 on a PC. (On a Mac, you can sync contacts with multiple applications. On a PC, you can sync contacts with only one application at a time.) If you sync with Yahoo! Address Book, you only need to click Configure to enter your new login information when you change your Yahoo! ID or password after you’ve set up syncing. • Calendars Sync calendars from applications such as iCal on a Mac, or from Microsoft Outlook 2003 or 2007 on a PC. (On a Mac, you can sync calendars with multiple applications. On a PC, you can sync calendars with only one application at a time.) • Mail Accounts Sync email account settings from Mail on a Mac, and from Microsoft Outlook 2003 or 2007 or Outlook Express on a PC. Account settings are transferred only from your computer to iPhone. Changes you make to an email account on iPhone don’t affect the account on your computer. Note: The password for your Yahoo! email account isn’t saved on your computer, so it can’t be synced and must be entered on iPhone. In Settings, choose “Mail, Contacts, Calendars,” tap your Yahoo! account, and enter the password. • Web Browser You can sync bookmarks on iPhone with Safari on a Mac, or with Safari or Microsoft Internet Explorer on a PC. 14 Chapter 1 Getting Started• Notes Sync notes in the Notes application on iPhone with notes in Mail on a Mac or with Microsoft Outlook 2003 or 2007 on a PC. (On a Mac, you must have Mac OS version 10.5.7 or later installed to sync notes.) • Advanced These options let you replace the information on iPhone with the information on your computer during the next sync. Applications Pane Use the Applications pane to specify which App Store applications to sync on iPhone, or to arrange your Home screen (requires iTunes 9 or later). Any applications downloaded directly to iPhone are automatically backed up to your iTunes library when you sync. If you manually delete an application on iPhone, you can reinstall it from this pane as long as it was previously synced. Ringtones Pane Use the Ringtones pane to select the ringtones you want to sync to iPhone. Music, Movies, TV Shows, Podcasts, and iTunes U Panes Use these panes to specify the media you want to sync. You can sync all music, movies, TV shows, podcasts, and iTunes U collections, or select the content you want on iPhone. If you want to watch rented movies on iPhone, transfer them to iPhone using the Movies pane in iTunes. If there’s not enough room on iPhone for all the media you’ve specified, iTunes can create a special playlist and set it to sync with iPhone. Note: The iTunes U pane appears only in iTunes 9 or later. In earlier versions of iTunes, iTunes U content appeared in the Podcasts pane. Photos Pane You can sync photos and videos (Mac only, iTunes 9 required) with iPhoto 4.0.3 or later, or Aperture on a Mac; or with Adobe Photoshop Elements 3.0 or later on a PC. You can also sync photos and videos in any folder on your computer that contains images. Preventing Automatic Syncing You can prevent iPhone from syncing automatically when you connect iPhone to a computer other than the one you usually sync with. Turn off automatic syncing for iPhone: Connect iPhone to your computer. In iTunes, select iPhone in the sidebar, then click the Summary tab. Deselect “Automatically sync when this iPhone is connected.” You can still sync by clicking the Sync button. Chapter 1 Getting Started 15Prevent automatic syncing for all iPhones and iPods: In iTunes choose iTunes > Preferences (on a Mac) or Edit > Preferences (on a PC), click Devices, and select “Disable automatic syncing for all iPhones and iPods.” If this checkbox is selected, iPhone won’t sync automatically, even if “Automatically sync when this iPhone is connected” is selected in the Summary pane. Prevent automatic syncing one time, without changing settings: Open iTunes, connect iPhone to your computer, then press and hold Command-Option (on a Mac) or Shift-Control (on a PC) until you see iPhone appear in the sidebar. Sync manually: In iTunes, select iPhone in the sidebar, then click Sync in the bottomright corner of the window. Or, if you’ve changed any sync settings, click Apply. Mail, Contacts, and Calendar Accounts iPhone works with MobileMe, Microsoft Exchange, and many of the most popular email systems. Setting Up Accounts MobileMe and Microsoft Exchange provide not only email, but contact and calendar information that can be synced to iPhone automatically, over the air. MobileMe can also sync your bookmarks on iPhone with Safari on a Mac, or with Safari or Microsoft Internet Explorer on a PC. You set up MobileMe, Exchange, and other email accounts directly on iPhone. iPhone uses the Exchange ActiveSync protocol to sync email, calendars, and contacts with the following versions of Microsoft Exchange: • Exchange Server 2003 Service Pack 2 • Exchange Server 2007 Service Pack 1 For many popular email accounts, iPhone automatically enters most of the settings for you. If you don’t already have an email account, you can get a free account online at www.yahoo.com, www.google.com, or www.aol.com. You can also try MobileMe, free for 60 days. Go to www.me.com. Set up an account on iPhone: 1 From the iPhone Home screen, tap Settings. 2 Tap “Mail, Contacts, Calendars,” then tap Add Account. 3 Tap an account type: • Microsoft Exchange • MobileMe • Google email 16 Chapter 1 Getting Started• Yahoo! Mail • AOL • Other 4 Enter your account information and tap Save. Your service provider or system administrator can provide the account settings you need. Exchange accounts: Enter your complete email address, domain (optional), user name, password, and a description. The description can be whatever you like. iPhone supports Microsoft’s Autodiscovery service, which uses your user name and password to determine the address of the Exchange server. If the server’s address can’t be determined, you’re asked to enter it. (Enter the complete address in the Server field.) Once you connect to the Exchange server, you may be prompted to change your passcode to match the policies set on the server. 5 If you’re setting up a MobileMe or Microsoft Exchange account, tap the items you want to use on iPhone—mail, contacts, calendars, and bookmarks (MobileMe only). MobileMe includes the Find My iPhone feature that helps you locate iPhone if it’s been lost or stolen, and remotely lock, set a passcode, or erase the information on iPhone if necessary. See “Security Features” on page 45. If you enable Find My iPhone for your MobileMe account, make sure that Push is turned on for Fetch New Data. In Settings, choose “Mail, Contacts, Calendars” > Fetch New Data, and if Push is off, tap to turn it on. For Exchange accounts, you can set how many days of email you want to sync to iPhone. If you already have contact or calendar information on iPhone when you enable the account, iPhone asks what you want to do with existing information on iPhone. You can choose to merge the existing data into your MobileMe or Exchange account. If you don’t merge the data, you can choose to keep it in a separate account on iPhone (the account is labeled “On My iPhone”), or delete it. Existing bookmarks can only be merged or deleted. Similarly, when you disable contacts or calendars in an MobileMe or Exchange account, or if you delete an account, iPhone asks if you want to keep information or delete it. You can add contacts using an LDAP account if your company or organization supports it. See “Adding Contacts” on page 176. You can subscribe to CalDAV or iCal (.ics) calendars. See “Subscribing to and Sharing Calendars” on page 93. Chapter 1 Getting Started 17Push Accounts MobileMe, Microsoft Exchange, and Yahoo! Mail are known as “push” accounts. When new information is available, such as the arrival of an email message, the information is automatically delivered (pushed) to iPhone. (In contrast, “fetch” services require your email software to periodically check with your service provider to see if new messages have arrived, and then request them to be delivered.) MobileMe and Exchange also use push to sync your contacts, calendars, and bookmarks (MobileMe only) if you have those items selected in the account settings. Synced information is transferred automatically over your wireless connection; you don’t need to connect iPhone to your computer to sync. If you don’t have a cellular connection, iPhone can receive pushed data over a Wi-Fi connection when iPhone is awake (the screen is on, or iPhone is connected to your computer or a power adapter). Installing Configuration Profiles If you’re in an enterprise environment, you may be able to set up accounts and other items on iPhone by installing a configuration profile. Configuration profiles provide a way for system administrators to quickly set up your iPhone to work with the information systems at your company, school, or organization. For example, a configuration profile might set up your iPhone to access the Microsoft Exchange servers at work, enabling iPhone to access your Exchange email, calendars, and contacts. Configuration profiles can configure multiple settings on iPhone all at once. For example, a configuration profile can set up your Microsoft Exchange account, VPN account, and certificates for secure access to your company’s network and information. A configuration profile may turn on the Passcode Lock, requiring you to create and enter a passcode for using iPhone. Your system administrator may distribute configuration profiles by email or by putting them on a secure webpage. A system administrator may also install a configuration profile directly on iPhone for you. Install a configuration profile: 1 Using iPhone, open the email message or download the configuration profile from the website provided by your system administrator. 2 When the configuration profile opens, tap Install. 3 Enter passwords and other information as requested. Important: You may be asked to verify that the configuration profile is trusted. If in doubt, consult your system administrator before installing a configuration profile. 18 Chapter 1 Getting StartedSettings provided by a configuration profile cannot be altered. If you want to change these settings, you must first remove the configuration profile or install an updated configuration profile. Remove a profile: In Settings, choose General > Profile, then select the configuration profile and tap Remove. Removing a configuration profile deletes the settings and all other information installed by the configuration profile from iPhone. Disconnecting iPhone from Your Computer Unless iPhone is syncing with your computer, you can disconnect it from your computer at any time. When iPhone is syncing with your computer, iPhone shows “Sync in progress.” If you disconnect iPhone before it finishes syncing, some data may not get transferred. When iPhone finishes syncing, iTunes shows “iPhone sync is complete.” Cancel a sync: Drag the slider on iPhone. If you get a call during a sync, the sync is canceled automatically and you can unplug iPhone to answer the call. Connect iPhone after the call to finish syncing. Chapter 1 Getting Started 19Basics 2 iPhone at a Glance Headset jack Receiver Ring/Silent switch Camera (on back) SIM card tray Volume buttons Touchscreen Speaker Dock connector Home button Sleep/Wake button Microphone Application icons Status bar Your Home screen may look different, depending on the model of iPhone you have and whether you have rearranged its icons. iPhone Included Accessories Dock Connector to USB Cable Stereo headset USB power adapter SIM eject tool 20Item What you can do with it Apple Earphones with Remote and Mic (iPhone 3GS) iPhone Stereo Headset (iPhone 3G) Listen to music, videos, and phone calls. Use the built-in microphone to talk. Press the center button to answer or end a call. When listening to iPod, press the button once to play or pause a song, or press twice quickly to skip to the next track. Use the + and – buttons to adjust the volume (iPhone 3GS only). Press and hold the center button to use Voice Control (iPhone 3GS only). Dock Connector to USB Cable Use the cable to connect iPhone to your computer to sync and charge. The cable can be used with the optional dock or plugged directly into iPhone. USB power adapter Connect the power adapter to iPhone using the included cable, then plug it into a standard power outlet to charge iPhone. SIM eject tool Eject the SIM card. Status Icons The icons in the status bar at the top of the screen give information about iPhone: Status icon What it means Cell signal Shows whether you’re in range of the cellular network and can make and receive calls. The more bars, the stronger the signal. If there’s no signal, the bars are replaced with “No service.” Airplane mode Shows that airplane mode is on—you cannot use the phone, access the Internet, or use Bluetooth® devices. Non-wireless features are available. See “Airplane Mode” on page 138. 3G Shows that your carrier’s 3G network is available, and iPhone can connect to the Internet over 3G. Available on iPhone 3G or later. See “How iPhone Connects to the Internet” on page 40. Chapter 2 Basics 21Status icon What it means EDGE Shows that your carrier’s EDGE network is available, and iPhone can connect to the Internet over EDGE. See “How iPhone Connects to the Internet” on page 40. GPRS Shows that your carrier’s GPRS network is available, and iPhone can connect to the Internet over GPRS. See “How iPhone Connects to the Internet” on page 40. Wi-Fi Shows that iPhone is connected to the Internet over a Wi-Fi network. The more bars, the stronger the connection. See “Joining a Wi-Fi Network” on page 41. Network activity Shows over-the-air syncing or other network activity. Some third-party applications may also use this icon to indicate an active process. Call Forwarding Shows that Call Forwarding is set up on iPhone. See “Call Forwarding” on page 154. VPN Shows that you’re connected to a network using VPN. See “Network” on page 143. Lock Shows that iPhone is locked. See “Sleep/Wake Button” on page 26. TTY Shows that iPhone is set to work with a TTY machine. See “Using iPhone with a Teletype (TTY) Machine” on page 154. Play Shows that a song, audiobook, or podcast is playing. See “Playing Songs” on page 73. Alarm Shows that an alarm is set. See “Alarms” on page 133. Bluetooth Blue or white icon: Bluetooth is on and a device, such as a headset or car kit, is connected. Gray icon: Bluetooth is on, but no device is connected. No icon: Bluetooth is turned off. See “Bluetooth Devices” on page 55. Battery Shows battery level or charging status. See “Battery” on page 43. 22 Chapter 2 BasicsHome Screen Press the Home button at any time to go to the Home screen, which contains your iPhone applications. Tap any application icon to get started. iPhone Applications The following applications are included with iPhone: Phone Make calls, with quick access to recent callers, favorites, and all your contacts. Dial manually using the numeric keypad. Or just use voice dialing. Visual voicemail presents a list of your voicemail messages. Just tap to listen to any message you want, in any order you want. Mail iPhone works with MobileMe, Microsoft Exchange, and many of the most popular email systems—including Yahoo! Mail, Google email, and AOL—as well as most industrystandard POP3 and IMAP email systems. View PDFs and other attachments within Mail. Save attached photos and graphics to your Camera Roll album. Safari Browse websites over a cellular data network or over Wi-Fi. Rotate iPhone sideways for widescreen viewing. Double-tap to zoom in or out—Safari automatically fits the webpage column to the iPhone screen for easy reading. Open multiple pages. Sync bookmarks with Safari or Microsoft Internet Explorer on your computer. Add Safari web clips to the Home screen for fast access to favorite websites. Save images from websites to your Photo Library. iPod Listen to your songs, audiobooks, and podcasts. Create on-the-go playlists, or use Genius to create playlists for you. Listen to Genius Mixes of songs from your library. Watch movies and video podcasts in widescreen. Messages Send and receive SMS text messages. Conversations are saved in an iChat-like presentation, so you can see a history of messages you’ve sent and received. Send photos, video clips (iPhone 3GS only), contact information, and voice memos to MMS devices (iPhone 3G or later). Calendar View and search your MobileMe, iCal, Microsoft Entourage, Microsoft Outlook, or Microsoft Exchange calendars. Enter events on iPhone and they get synced back to the calendar on your computer. Subscribe to calendars. Set alerts to remind you of events, appointments, and deadlines. Photos View photos and videos (iPhone 3GS only) you’ve taken with iPhone, received in Mail or MMS (iPhone 3GS only) messages, or synced from your computer’s photo application. (Video syncing on Macs only.) View them in portrait or landscape orientation. Zoom in on photos for a closer look. Watch a slideshow. Email photos and videos, send them in MMS messages (iPhone 3G or later), or publish them to MobileMe galleries. Assign images to contacts, and use them as wallpaper. Chapter 2 Basics 23Camera Take photos, and record videos (iPhone 3GS only). View them on iPhone, email them, send them in an MMS message (iPhone 3G or later), or upload them to your computer. Trim and save video clips. Upload videos directly to YouTube. Take a friend’s picture and set iPhone to display it when that person calls you. YouTube Play videos from YouTube’s online collection. Search for any video, or browse featured, most viewed, most recently updated, and top-rated videos. Set up and log in to your YouTube account—then rate videos, sync your favorites, show subscriptions, and more. Upload your own videos taken with iPhone. Stocks Watch your favorite stocks, updated automatically from the Internet. View company news and current trading information, such as opening or average price, trading volume, or market capitalization. Rotate iPhone to see detailed charts in landscape orientation. Drag your finger along the charts to track price points, or use two fingers to see a range between points. Maps See a street map, satellite view, or hybrid view of locations around the world. Zoom in for a closer look, or check out the Google Street View. Find and track your current (approximate) location. See which way you’re facing (iPhone 3GS only, using its builtin compass). Get detailed driving, public transit, or walking directions and see current highway traffic conditions. Find businesses in the area and call with a single tap. Weather Get current weather conditions and a six-day forecast. Add your favorite cities for a quick weather report anytime. Voice Memos Record voice memos on iPhone. Play them back on iPhone or sync them with iTunes to listen to voice memos on your computer. Attach voice memos to email or MMS messages (iPhone 3G or later). Notes Jot notes on the go—reminders, grocery lists, brilliant ideas. Send them in email. Sync notes to Mail or Microsoft Outlook or Outlook Express. Clock View the time in cities around the world—create clocks for your favorites. Set one or more alarms. Use the stopwatch, or set a countdown timer. 24 Chapter 2 BasicsCalculator Add, subtract, multiply, and divide. Rotate iPhone sideways to use expanded scientific functions. Settings Set up accounts and adjust all iPhone settings in one convenient place. Set your own volume limit for listening comfort. Set your ringtone, wallpaper, screen brightness, and settings for network, phone, mail, web, music, video, photos, and more. Set autolock and a passcode for security. Restrict access to explicit iTunes content and certain applications. Reset iPhone. iTunes Search the iTunes Store for music, ringtones, audiobooks, TV shows, music videos, and movies. Browse, preview, purchase, and download new releases, top items, and more. Rent movies to view on iPhone. Stream and download podcasts. Read reviews or write your own reviews for your favorite store items. App Store Search the App Store for iPhone applications you can purchase or download using your Wi-Fi or cellular data network connection. Read reviews or write your own reviews for your favorite apps. Download and install the application on your Home screen. Compass Use the built-in digital compass (iPhone 3GS only) to determine your heading. Get your current coordinates. Choose between true north and magnetic north. Contacts Get contact information synced from MobileMe, Mac OS X Address Book, Yahoo! Address Book, Google Contacts, Windows Address Book (Outlook Express), Microsoft Outlook, or Microsoft Exchange. Search, add, change, or delete contacts, which get synced back to your computer. Nike + iPod Nike + iPod (which appears when you activate it in Settings) turns iPhone into a workout companion. Track your pace, time, and distance from one workout to the next and choose a song to power through your routine. (iPhone 3GS only. Requires select Nike shoes and a Nike + iPod Sensor, sold separately.) Note: Application functionality and availability may vary depending on the country or region where you purchase and use iPhone. Contact your carrier for more information. Customizing the Home Screen You can customize the layout of icons on the Home screen—including the Dock icons along the bottom of the screen. If you want, arrange them over multiple Home screens. Rearrange icons: 1 Touch and hold any Home screen icon until the icons begin to wiggle. 2 Arrange the icons by dragging them. 3 Press the Home button to save your arrangement. You can also add links to your favorite webpages on the Home screen. See “Web Clips” on page 70. Chapter 2 Basics 25You can also rearrange the Home screen icons and the order of the screens (in iTunes 9 or later) when iPhone is connected to your computer. Select iPhone in the iTunes sidebar, then click the Applications tab. Create additional Home screens: While arranging icons, drag an icon to the right edge of the screen until a new screen appears. You can flick to return to the original screen and drag more icons to the new screen. You can create up to 11 screens. The number of dots above the Dock shows the number of screens you have, and indicates which screen you’re viewing. Switch to another Home screen: Flick left or right, or tap to the left or right of the row of dots. Go to the first Home screen: Press the Home button. Reset your Home screen to the default layout: Choose Settings > General > Reset and tap Reset Home Screen Layout. Buttons A few simple buttons make it easy to turn iPhone on and off, adjust the volume, and switch between ring and silent modes. Sleep/Wake Button When you’re not using iPhone but you still want to receive calls and text messages, you can lock it. When iPhone is locked, nothing happens if you touch the screen. You can still listen to music and adjust the volume, and use the center button on your iPhone headset (or the equivalent button on your Bluetooth headset) to play or pause a song, or answer or end a call. 26 Chapter 2 BasicsBy default, if you don’t touch the screen for a minute, iPhone locks automatically. Sleep/Wake button Lock iPhone Press the Sleep/Wake button. Unlock iPhone Press the Home button or the Sleep/Wake button, then drag the slider. Turn iPhone completely off Press and hold the Sleep/Wake button for a few seconds until the red slider appears, then drag the slider. When iPhone is off, incoming calls go straight to voicemail. Turn iPhone on Press and hold the Sleep/Wake button until the Apple logo appears. For information about changing how long before iPhone locks, see “Auto-Lock” on page 145. For information about setting iPhone to require a passcode to unlock it, see “Passcode Lock” on page 145. Volume Buttons When you’re on the phone or listening to songs, movies, or other media, the buttons on the side of iPhone adjust the audio volume. Otherwise, the buttons control the volume for the ringer, alerts, and other sound effects. WARNING: For important information about avoiding hearing loss, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. To adjust the volume, use the buttons on the side of iPhone. Volume up Volume down To set a volume limit for music and videos on iPhone, see “Music” on page 158. Chapter 2 Basics 27Ring/Silent Switch Flip the Ring/Silent switch to change between ring and silent modes. Ring Silent When set to ring mode, iPhone plays all sounds. When set to silent mode, iPhone doesn’t ring or play alerts and other sound effects. Important: Clock alarms, audio-dependent applications such as iPod, and many games still play sounds through the built-in speaker when iPhone is set to silent mode. By default, when you get a call, iPhone vibrates whether it’s set to ring mode, or in silent mode. If iPhone is set to ring mode, you can silence a call by pressing the Sleep/ Wake button or one of the volume buttons once. Press a second time to send the call to voicemail. For information about changing sound and vibrate settings, see “Sounds and the Ring/ Silent Switch” on page 141. Touchscreen The controls on the iPhone touchscreen change dynamically depending on the task you’re performing. Opening Applications Open an application: Tap an icon. 28 Chapter 2 BasicsClose an application and return to the Home screen: Press the Home button below the display. Scrolling Drag up or down to scroll. On some screens such as webpages, you can also scroll side to side. Dragging your finger to scroll won’t choose or activate anything on the screen. Flick to scroll quickly. You can wait for the scrolling to come to a stop, or touch anywhere on the screen to stop it immediately. Touching the screen to stop scrolling won’t choose or activate anything. To quickly scroll to the top of a list, webpage, or email, just tap the status bar. Chapter 2 Basics 29Lists Some lists have an index along the right side, which helps you navigate quickly. Find items in an indexed list: Tap a letter to jump to items starting with that letter. Drag your finger along the index to scroll quickly through the list. Index Choose an item: Tap an item in the list. Depending on the list, tapping an item can do different things—for example, it may open a new list, play a song, open an email, or show someone’s contact information so you can call that person. Return to a previous list: Tap the back button in the upper-left corner. Zooming In or Out When viewing photos, webpages, email, or maps, you can zoom in and out. Pinch your fingers together or apart. For photos and webpages, you can double-tap (tap twice quickly) to zoom in, then double-tap again to zoom out. For maps, double-tap to zoom in and tap once with two fingers to zoom out. 30 Chapter 2 BasicsViewing in Landscape Many iPhone applications let you view the screen in either portrait or landscape orientation. Rotate iPhone and the display rotates too, adjusting automatically to fit the new screen orientation. You may prefer landscape for viewing webpages in Safari, or when entering text, for example. Webpages automatically scale to the wider screen in landscape, making the text and images larger. Similarly, the onscreen keyboard is larger in landscape, which may help increase your typing speed and accuracy. The following applications support both portrait and landscape orientation: • Mail • Safari • Messages • Notes • Contacts • Stocks • iPod • Photos • Camera • Calculator Movies viewed in iPod and YouTube appear only in landscape orientation. Street views in Maps also appear in landscape. Onscreen Keyboard Use the onscreen keyboard to enter text, such as contact information, text messages, and web addresses. Chapter 2 Basics 31Typing Depending on the application you’re using, the intelligent keyboard may automatically suggest corrections as you type to help prevent mistyped words. Enter text: 1 Tap a text field, such as in a note or new contact, to bring up the keyboard. 2 Tap keys on the keyboard. Start by typing with just your index finger. As you get more proficient, you can type more quickly using two thumbs. As you type, each letter appears above your thumb or finger. If you touch the wrong key, you can slide your finger to the correct key. The letter isn’t entered until you release your finger from the key. Type uppercase Tap the Shift key before tapping a letter. Or touch and hold the Shift key, then slide to a letter. Quickly type a period and space Double-tap the space bar. (You can turn this feature on or off in Settings > General > Keyboard.) Turn caps lock on Double-tap the Shift key. The Shift key turns blue, and all letters you type are uppercase. Tap the Shift key again to turn caps lock off. (You can turn this feature on or off in Settings > General > Keyboard.) Show numbers, punctuation, or symbols Tap the Number key. Tap the Symbol key to see additional punctuation and symbols. Type letters or symbols that aren’t on the keyboard Touch and hold the related letter or symbol, then slide to choose a variation. 32 Chapter 2 BasicsDictionary For many languages, iPhone has dictionaries to help you type. The appropriate dictionary is activated automatically when you select a supported keyboard. For a list of supported languages, see www.apple.com/iphone/specs.html. iPhone uses the active dictionary to suggest corrections or complete the word you’re typing. You don’t need to interrupt your typing to accept the suggested word. Suggested word Accept or reject dictionary suggestions: m To reject the suggested word, finish typing the word as you want it, then tap the “x” to dismiss the suggestion before typing anything else. Each time you reject a suggestion for the same word, iPhone becomes more likely to accept your word. m To use the suggested word, type a space, punctuation mark, or return character. Turn Auto-Correction on or off: Choose General > Keyboard and turn Auto-Correction on or off. Auto-Correction is on by default. Note: If you’re entering Chinese or Japanese, tap one of the suggested alternatives. Editing An onscreen magnifying glass helps you position the insertion point for typing and editing text. You can select text to cut, copy, and paste. Chapter 2 Basics 33Position the insertion point: Touch and hold to bring up the magnifying glass, then drag to position the insertion point. Select text: Tap the insertion point to display the selection buttons. Tap Select to select the adjacent word or tap Select All to select all text. When you’re typing, you can also double-tap to select a word. In read-only documents, such as webpages, or email or text messages you’ve received, touch and hold to select a word. Drag the grab points to select more or less text. Cut or copy text: Select text, then tap Cut or Copy. Paste text: Tap the insertion point and tap Paste. The last text that you cut or copied is inserted. Or select text and tap Paste to replace the text. Undo the last edit: Shake iPhone and tap Undo. 34 Chapter 2 BasicsInternational Keyboards iPhone provides keyboards that allow you to enter text in many different languages, including languages that read from right to left. For a complete list of supported keyboards, go to www.apple.com/iphone/specs.html. Turn international keyboards on or off: 1 In Settings, choose General > International > Keyboards. 2 Turn on the keyboards you want. Languages with more than one keyboard, such as Japanese and Chinese, indicate the number of keyboards available. Tap to choose a keyboard for that language. Switch keyboards if more than one keyboard is turned on Tap to switch keyboards. When you tap the symbol, the name of the newly activated keyboard appears briefly. Type letters, numbers, or symbols that aren’t on the keyboard Touch and hold the related letter, number, or symbol, then slide to choose a variation. On the Hebrew and Thai keyboards, for example, you can choose native numbers by touching and holding the related Arabic number. Enter Japanese Kana Use the Kana keypad to select syllables. For more syllable options, tap the arrow key and select another syllable or word from the window. Enter Japanese QWERTY Use the QWERTY keyboard to input code for Japanese syllables. As you type, suggested syllables appear. Tap the syllable to choose it. Enter Emoji picture characters Use the Emoji keyboard. Available only on iPhones purchased and used in Japan. Enter Korean Use the 2-Set Korean keyboard to type Hangul letters. To type double consonants or compound vowels, touch and hold the letter, then slide to choose the double letter. Enter Simplified or Traditional Chinese Pinyin Use the QWERTY keyboard to enter Pinyin for Chinese characters. As you type, suggested Chinese characters appear. Tap a character to choose it, or continue entering Pinyin to see more character options. Chapter 2 Basics 35Enter Traditional Chinese Zhuyin Use the keyboard to enter Zhuyin letters. As you type, suggested Chinese characters appear. Tap a character to choose it, or continue entering Zhuyin to see more character options. After you type an initial letter, the keyboard changes to show more letters. Enter handwritten Simplified or Traditional Chinese Use the touchpad to enter Chinese characters with your finger. As you write character strokes, iPhone recognizes them and shows matching characters in a list, with the closest match at the top. When you choose a character, its related characters appear in the list as additional choices. You can get some complex characters by entering two or more component characters. For example, enter ? (fish), then ? (bristle), to get ? (partial name of Hong Kong International Airport), which appears in the character list with an arrow next to it. Tap the character to replace the characters you entered. When Simplified or Traditional Chinese handwriting formats are turned on, you can enter Chinese characters with your finger, as shown: Touchpad 36 Chapter 2 BasicsSearching You can search many applications on iPhone, including Mail, Calendar, iPod, Notes, and Contacts. You can search an individual application, or search all the applications at once using Spotlight. Go to Spotlight: From the main page of the Home screen, flick left to right. If you’re on the main Home screen page, you can press the Home button to go to Spotlight. From the Spotlight page, press the Home button to return to the main Home screen page. You can also set iPhone to go to Spotlight when you double-click the Home button. See “Home” on page 147. Search iPhone: On the Spotlight page, enter text in the Search field. Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. Icons to the left of the search results let you know which application the results are from. Tap an item in the results list to open it. Application What’s searched Contacts First, last, and company names Mail To, From, and Subject fields of all accounts (the text of messages isn’t searched) Calendar Event titles, invitees, and locations (notes aren’t searched) iPod Music (names of songs, artists, and albums) and the titles of podcasts, video, and audiobooks Notes Text of notes Spotlight also searches the names of the native and installed applications on iPhone, so if you have a lot of applications you may want to use Spotlight as a way to locate and open applications. Open applications from Spotlight: Enter the application name, then tap to open the application directly from the search results. Use the Search Results settings to choose which applications are searched and the order in which they’re searched. See “Home” on page 147. Chapter 2 Basics 37Voice Control Voice Control (available only on iPhone 3GS) lets you make phone calls and control iPod music playback using voice commands. Note: Voice Control isn’t available in all languages. Use Voice Control: Press and hold the Home button until the Voice Control screen appears and you hear a beep. You can also press and hold the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Use the following commands to make calls or play songs. Call someone in contacts Say “call” or “dial,” then say the name of the person. If the person has more than one phone number, you can add “home” or “mobile,” for example. Dial a number Say “call” or “dial,” then say the number. Control music playback Say “play” or “play music.” To pause, say “pause” or “pause music.” You can also say “next song” or “previous song.” Play an album, artist, or playlist Say “play,” then say “album,” “artist,” or “playlist” and the name. Shuffle the current playlist Say “shuffle.” Find out more about the currently playing song Say “what’s playing,” “what song is this,” “who sings this song,” or “who is this song by.” Use Genius to play similar songs Say “Genius,” “play more like this,” or “play more songs like this.” Cancel Voice Control Say “cancel” or “stop.” For best results: • Speak into the iPhone microphone as if you were making a phone call. You can also use the microphone in your iPhone or Bluetooth headset. • Speak clearly and naturally. 38 Chapter 2 Basics• Say only iPhone commands and names, and numbers. Pause slightly between commands. • Use full names. By default, Voice Control expects you to speak voice commands in the language that’s set for iPhone (the General > International > Language setting). The Voice Control settings let you change the language for speaking voice commands. Some languages are available in different dialects or accents. Change language or country: In Settings, choose General > International > Voice Control and tap the language or country. Voice Control for the iPod application is always on, but for security you can prevent voice dialing when iPhone is locked. Prevent voice dialing when iPhone is locked: In Settings, choose General > Passcode Lock and turn Voice Dial off. Unlock iPhone to use voice dialing. See“Voice Dialing” on page 48 and“Using Voice Control with iPod” on page 77. Stereo Headset The headset included with iPhone features a microphone and an integrated button that allows you to answer and end calls easily, and control audio and video playback. The headset included with iPhone 3GS (shown here) also has volume buttons. Center button Plug in the headset to listen to music or make a phone call. Callers hear you through the built-in microphone. Press the center button to control music playback and answer or end calls, even when iPhone is locked. (You can also use the equivalent button on your Bluetooth headset to control these functions.) Pause a song or video Press the center button once. Press again to resume playback. Skip to the next song Press the center button twice quickly. Return to previous song Press the center button three times quickly. Fast-forward Press the center button twice quickly and hold. Chapter 2 Basics 39Rewind Press the center button three-times quickly and hold. Adjust the volume (iPhone 3GS only) Press the + or – button. Answer an incoming call Press the center button once. End the current call Press the center button once. Decline an incoming call Press and hold the center button for about two seconds, then let go. Two low beeps confirm you declined the call. Switch to an incoming or on-hold call and put the current call on hold Press the center button once. Press again to switch back to the first call. Switch to an incoming or on-hold call and end the current call Press and hold the center button for about two seconds, then let go. Two low beeps confirm you ended the first call. Use Voice Control (iPhone 3GS only) Press and hold the center button. See “Voice Control” on page 38. If you get a call while the headset is plugged in, you can hear the ringtone through both the iPhone speaker and the headset. Connecting to the Internet iPhone connects to the Internet automatically whenever you use Mail, Safari, YouTube, Stocks, Maps, Weather, the App Store, or the iTunes Store. How iPhone Connects to the Internet iPhone connects to the Internet using either a Wi-Fi network or a cellular data network. iPhone does the following, in order, until connected: • Connects over the last Wi-Fi network you used that’s available. • If no previously used Wi-Fi networks are available, iPhone shows a list of Wi-Fi networks in range. Tap a network and, if necessary, enter the password to join. Networks that require a password show next to them. You can prevent iPhone from automatically showing available networks. See “Wi-Fi” on page 139. • If no Wi-Fi networks are available or you choose not to join any, iPhone connects to the Internet over a cellular data network ( , , or ). If no Wi-Fi networks are available and a cellular data network isn’t available, iPhone cannot connect to the Internet. Note: If you don’t have a 3G connection, you cannot use the Internet over a cellular data network when you’re on a call. You must have a Wi-Fi connection to use Internet applications while also talking on the phone. 40 Chapter 2 BasicsMany Wi-Fi networks can be used free of charge including, in some regions, Wi-Fi hotspots provided by your iPhone carrier. Some Wi-Fi networks require a fee. To join a Wi-Fi network at a hotspot where charges apply, you can usually open Safari to see a webpage that allows you to sign up for service. Joining a Wi-Fi Network The Wi-Fi settings let you turn on Wi-Fi and join Wi-Fi networks. Turn on Wi-Fi: Choose Settings > Wi-Fi and turn Wi-Fi on. Join a Wi-Fi network: Choose Settings > Wi-Fi, wait a moment as iPhone detects networks in range, then select a network (fees may apply to join some Wi-Fi networks). If necessary, enter a password and tap Join (networks that require a password appear with a lock icon). Once you’ve joined a Wi-Fi network manually, iPhone automatically connects to it whenever the network is in range. If more than one previously used network is in range, iPhone joins the one last used. When iPhone is connected to a Wi-Fi network, the Wi-Fi icon in the status bar at the top of the screen shows the connection strength. The more bars you see, the stronger the connection. For information about configuring Wi-Fi settings, see “Wi-Fi” on page 139. Cellular Data Network Access 3G, EDGE, and GPRS allow Internet connectivity over the cellular network available through your iPhone carrier’s wireless service. Check the carrier’s network coverage in your area for availability. You can tell iPhone is connected to the Internet via the cellular data network if you see the 3G ( ), EDGE ( ), or GPRS ( ) icon in the status bar at the top of the screen. Note: If you don’t have a 3G connection, you may not be able to receive calls while iPhone is actively transferring data over a cellular network—downloading a webpage, for example. Incoming calls then go directly to voicemail. Turn 3G on: In Settings, choose General > Network and tap Enable 3G. If you’re outside your carrier’s network, you may be able to access the Internet through another carrier. To enable email, web browsing, and other data services whenever possible, turn Data Roaming on. Turn Data Roaming on: In Settings, choose General > Network and turn Data Roaming on. Important: Roaming charges may apply. To avoid data roaming charges, make sure Data Roaming is turned off. Chapter 2 Basics 41Internet Access on an Airplane Airplane mode turns off the iPhone radio transmitters to avoid interfering with aircraft operation. In some regions, where allowed by the aircraft operator and applicable laws and regulations, you can turn on Wi-Fi while airplane mode is on, to: • Send and receive email • Browse the Internet • Sync your contacts and calendars over the air • Stream YouTube videos • Get stock quotes • Get map locations • Get weather reports • Purchase music and applications For more information, see “Airplane Mode” on page 138. VPN Access VPN (virtual private network) provides secure access over the Internet to private networks, such as the network at your company or school. Use Network settings to configure and turn on VPN. See “Network” on page 143. VPN can also be automatically set up by a configuration profile. See “Installing Configuration Profiles” on page 18. When VPN is set up by a configuration profile, iPhone may turn on VPN automatically whenever it’s needed. Contact your system administrator for more information. Using iPhone as a Modem You can use iPhone 3G or later as a modem to connect, or tether, your computer to the Internet. You can connect iPhone to your computer using the Dock Connector to USB Cable, or via Bluetooth. Note: Additional fees may apply. Contact your carrier for more information. Tethering works over the cellular data network. You can’t share a Wi-Fi connection to the Internet. If you have a 3G connection, you can make and receive phone calls while tethering. Note: To use iPhone as a modem with a Mac computer, it must be running Mac OS X version 10.5.7 or later. Set up a tethering connection: 1 In Settings, choose General > Network > Internet Tethering. 2 Slide the Internet Tethering switch to On. 3 Connect iPhone to your computer: 42 Chapter 2 Basics• USB: Connect your computer to iPhone, using the Dock Connector to USB Cable. In your computer’s Network services settings, choose iPhone. On a Mac, a pop-up window appears the first time you connect, saying “A new network interface has been detected.” Click Network Preferences, configure the network settings for iPhone, then click Apply. On a PC, use the Network Control Panel to configure the iPhone connection. • Bluetooth: On iPhone, choose Settings > General > Bluetooth and turn on Bluetooth. Then refer to the documentation that came with your computer system software to pair and connect iPhone with your computer. When you’re connected, a blue band appears at the top of the screen. Tethering remains on when you connect with USB, even when you aren’t actively using the Internet connection. Monitor your cellular data network usage: In Settings, choose General > Usage. Battery iPhone has an internal rechargeable battery. Charging the Battery WARNING: For important safety information about charging iPhone, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. The battery icon in the upper-right corner shows the battery level or charging status. You can also display the percentage of the battery charge (iPhone 3GS only). Charging Charged Charge the battery: Connect iPhone to a power outlet using the included Dock Connector to USB Cable and USB power adapter. Chapter 2 Basics 43Charge the battery and sync iPhone: Connect iPhone to your computer using the included Dock Connector to USB Cable. Or connect iPhone to your computer using the included cable and the Dock, available separately. Unless your keyboard has a high-powered USB 2.0 port, you must connect iPhone to a USB 2.0 port on your computer. Important: The iPhone battery may drain instead of charge if iPhone is connected to a computer that’s turned off or is in sleep or standby mode. If you charge the battery while syncing or using iPhone, it may take longer to charge. Important: If iPhone is very low on power, it may display one of the following images, indicating that iPhone needs to charge for up to ten minutes before you can use it. If iPhone is extremely low on power, the display may be blank for up to two minutes before one of the low-battery images appears. or Maximizing Battery Life iPhone uses lithium-ion batteries. To learn more about how to maximize the lifespan and battery life of your iPhone, go to www.apple.com/batteries. Replacing the Battery Rechargeable batteries have a limited number of charge cycles and may eventually need to be replaced. The iPhone battery isn’t user replaceable; it can only be replaced by an authorized service provider. For more information, go to www.apple.com/support/iphone/service/battery. 44 Chapter 2 BasicsSecurity Features Security features help protect the information on iPhone from being accessed by others. You can set up a passcode that you must enter each time you turn on or wake up iPhone. Set a passcode: Choose General > Passcode Lock and enter a 4-digit passcode, then enter the passcode again to verify it. iPhone then requires you to enter the passcode to unlock it or to display the passcode lock settings. For addition information about using a passcode lock, see “Passcode Lock” on page 145. Prevent voice dialing when iPhone is locked: In Settings, choose General > Passcode Lock and turn Voice Dial off. Unlock iPhone to use voice dialing. The Find My iPhone feature helps you locate iPhone if it’s been lost or misplaced, and display a message on your iPhone to help someone return it to you. It includes Remote Wipe, which lets you erase all your information on iPhone in case you don’t recover it. The Remote Passcode Lock feature lets you remotely lock your iPhone and create a new or replacement 4-digit passcode. Find My iPhone requires a MobileMe account. MobileMe is an online service, available by subscription. Go to www.apple.com/mobileme for more information. To enable this feature, turn on Find My iPhone in your MobileMe account settings. See “Setting Up Accounts” on page 16. Find your iPhone: Log in to your MobileMe account at www.me.com and go to the Find My iPhone pane. Follow the onscreen instructions to locate your device on a map and display a message on its screen along with an optional sound to help you find it. Remotely wipe information on your iPhone: Log in to your MobileMe account at www.me.com, then go to the Find My iPhone pane. Click “Remote Wipe…,” and follow the onscreen instructions. A remote wipe is equivalent to the “Erase all content and settings” feature in Settings. It resets all settings to their defaults and erases all your information and media. See “Resetting iPhone” on page 149. Remotely lock your iPhone: Log in to your MobileMe account at www.me.com, then go to the Find My iPhone pane. Click Remote Passcode Lock, and follow the onscreen instructions. Chapter 2 Basics 45Cleaning iPhone To clean iPhone, unplug all cables and turn off iPhone (press and hold the Sleep/ Wake button, then slide the onscreen slider). Then use a soft, slightly damp, lint-free cloth. Avoid getting moisture in openings. Don’t use window cleaners, household cleaners, aerosol sprays, solvents, alcohol, ammonia, or abrasives to clean iPhone. If your iPhone has an oleophobic coating on the screen (iPhone 3GS only), simply wipe your iPhone’s screen with a soft, lint-free cloth to remove oil left by your hands and face. For additional information about handling iPhone, see the iPhone Important Product Information Guide at www.apple.com/support/manuals/iphone. Restarting and Resetting iPhone If something isn’t working right, try restarting, force quitting an application, or resetting iPhone. Restart iPhone: Press and hold the Sleep/Wake button until the red slider appears. Slide your finger across the slider to turn off iPhone. To turn iPhone back on, press and hold the Sleep/Wake until the Apple logo appears. If you can’t turn off iPhone or if the problem continues, you may need to reset. A reset should be done only if turning iPhone off and on doesn’t resolve the problem. Force quit an application: Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, and then press and hold the Home button until the application quits. Reset iPhone: Press and hold the Sleep/Wake button and the Home button at the same time for at least ten seconds, until the Apple logo appears. For more troubleshooting suggestions, see Appendix A,“Troubleshooting,” on page 193. 46 Chapter 2 BasicsPhone 3 Phone Calls Making a call on iPhone is as simple as tapping a name and number in your contacts, tapping one of your favorites, or tapping a recent call to return it. Making Calls Buttons at the bottom of the Phone screen give you quick access to your favorites, recent calls, your contacts, and a numeric keypad for dialing manually. WARNING: For important information about driving safely, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Number of missed calls Number of unheard voicemail messages Use Contacts to call someone Tap Contacts, choose a contact, then tap a phone number. Call a favorite Tap Favorites, then choose a contact. Return a recent call Tap Recents, then tap a name or number in the list. Dial a number Tap Keypad, enter the number, then tap Call. If you copy a phone number to the clipboard, you can paste it to the keypad and dial it. 47Paste a number to the keypad: Tap the screen above the keyboard, then tap Paste. If the phone number you copied included letters, iPhone automatically converts them to the appropriate digits. Jump to favorites from anywhere: Double-click the Home button. You can change this preference in Settings. See “Home” on page 147. Bring up the last number you dialed: Tap Keypad, then tap Call. Tap Call again to dial the number. Voice Dialing You can use Voice Control (iPhone 3GS only) to call someone in your contacts or dial a specific number. Note: Voice Control isn’t available in all languages. Use Voice Control to make phone calls: Press and hold the Home button until the Voice Control screen appears and you hear a beep. Then use the commands described below to make calls. You can also press and hold the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) to use Voice Control. Call someone in contacts Say “call” or “dial” then say the name of the person. If the person has more than one number, specify which one you want to call. Examples:  Call John Appleseed  Call John Appleseed at home  Call John Appleseed, mobile Dial a number Say “call” or “dial,” then say the number. For best results, speak the full name of the person you’re calling. If you give only the first name, and you have more than one contact with that same name, iPhone asks which of those contacts you want to call. If there’s more than one number for the person you’re calling, specify which number to use. If you don’t specify which number, iPhone asks you which one to use. When voice dialing a number, speak each digit separately—for example, say “four one five, five five five, one two one two.” Note: For the “800” area code in the U.S., you can say “eight hundred.” Prevent voice dialing when iPhone is locked: In Settings, choose General > Passcode Lock and turn Voice Dial off. Unlock iPhone to use voice dialing. 48 Chapter 3 PhoneReceiving Calls When you receive a call, tap Answer. If iPhone is locked, drag the slider. You can also press the center button on your iPhone headset or the equivalent button on your Bluetooth headset to answer a call. Center button Silence a call: Press the Sleep/Wake button or either volume button. You can still answer the call after silencing it, until it goes to voicemail. Decline a call: Do one of the following to send a call directly to voicemail. • Press the Sleep/Wake button twice quickly. Sleep/Wake button • Press and hold the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) for about two seconds. Two low beeps confirm that the call was declined. • Tap Decline (if iPhone is awake when a call comes in). Block calls and maintain Wi-Fi access to the Internet: In Settings, turn on Airplane Mode, then tap Wi-Fi to turn it on. While On a Call When you’re on a call, the screen shows call options. Chapter 3 Phone 49Mute your line Tap Mute. You can still hear the caller, but the caller can’t hear you. Use the keypad to enter information Tap Keypad. Use the speakerphone or a Bluetooth device Tap Speaker. The Button is labeled Audio Source when a Bluetooth device is available, which lets you select the Bluetooth device, iPhone, or Speaker Phone. See contact information Tap Contacts. Put a call on hold Tap Hold. Neither party can hear the other. Make another call Tap Add Call. Use other applications during a call: Press the Home button, then tap an application icon. End a call: Tap End Call. Or press the center button on your iPhone headset (or the equivalent button on your Bluetooth headset). Second Calls During a call, you can make or receive another call. If you receive a second call, iPhone beeps and shows the caller’s information and a list of options. Note: Making and receiving a second call may be an optional service in some countries. Contact your carrier for more information. Respond to a second call: • To ignore the call and send it to voicemail, tap Ignore. • To hold the first call and answer the new one, tap Hold Call + Answer. • To end the first call and answer the new one, tap End Call + Answer. Make a second call: Tap Add Call. The first call is put on hold. Switch between calls: Tap Swap. The active call is put on hold. Create a conference call: Tap Merge Calls. See “Conference Calls” below. Conference Calls You can talk to more than one person at a time, and merge up to five calls, depending on your carrier. Note: Conference calling may be an optional service in some countries. Contact your carrier for more information. Create a conference call: 1 Make a call. 2 Tap Add Call and make another call. The first call is put on hold. 3 Tap Merge Calls. The calls are merged on one line and everyone can hear each other. 50 Chapter 3 Phone4 Repeat steps two and three to add up to five calls. Drop one call Tap Conference and tap next to a call. Then tap End Call. Talk privately with a call Tap Conference, then tap Private next to a call. Tap Merge Calls to resume the conference. Add an incoming call Tap Hold Call + Answer, then tap Merge Calls. If your service includes conference calling, iPhone always has a second line available in addition to the conference call. Emergency Calls If iPhone is locked with a passcode, you may still be able to make an emergency call. Make an emergency call when iPhone is locked: On the Enter Passcode screen, tap Emergency Call, then dial the number using the keypad. Important: Only emergency numbers valid in the region where you’re making the call will work. In some countries, you can’t make emergency calls unless your SIM card is installed and activated, and the SIM PIN has been correctly entered or turned off. In the U.S., location information (if available) is provided to emergency service providers when you dial 911. Important: You should not rely on wireless devices for essential communications, such as medical emergencies. Use of any cellular phone to call emergency services may not work in all locations. Emergency numbers and services vary by region, and sometimes an emergency call cannot be placed due to network availability or environmental interference. Some cellular networks may not accept an emergency call from iPhone if it doesn’t have a SIM, if you locked your SIM, or if you haven’t activated your iPhone. Visual Voicemail On iPhone, visual voicemail lets you see a list of your messages and choose which ones to listen to or delete, without having to listen to instructions or prior messages. Note: Visual voicemail may not be available in all regions, or may be an optional service. Contact your carrier for more information. If visual voicemail isn’t available, tap Voicemail and follow the voice prompts to retrieve your messages. Number of missed calls and unheard voicemail messages appears on the Home screen Phone icon. Chapter 3 Phone 51Setting Up Voicemail The first time you tap Voicemail, iPhone prompts you to create a voicemail password and record your voicemail greeting. Change your greeting: 1 Tap Voicemail, tap Greeting, then tap Custom. 2 Tap Record when you’re ready to start. 3 When you finish, tap Stop. To review, tap Play. To rerecord, repeat steps 2 and 3. 4 Tap Save. Use your carrier’s default greeting Tap Voicemail, tap Greeting, then tap Default. Set an alert sound for new voicemail In Settings, choose Sounds and turn New Voicemail on. The alert sounds once for each new voicemail. If the Ring/Silent switch is off, iPhone won’t sound alerts. Change the voicemail password In Settings, choose Phone > Change Voicemail Password. Checking Voicemail When you tap Phone, iPhone shows the number of missed calls and unheard voicemail messages. Number of missed calls Number of unheard voicemail messages 52 Chapter 3 PhoneTap Voicemail to see a list of your messages. Skip to any point in a message: Drag the playhead. Unheard messages Play/Pause Contact info Scrubber bar Speakerphone (Audio, when a Bluetooth device is connected. Tap to choose audio output.) Return the call Listen to a message: Tap the message. (If you’ve already heard the message, tap the message again to replay it.) Use and to pause and resume playback. Once you listen to a message, it’s saved until your carrier automatically erases it. Check voicemail from another phone: Dial your own number or your carrier’s remote access number. Deleting Messages Select a message, then tap Delete. Deleted visual voicemail messages are saved on iPhone until your carrier permanently erases them. Listen to a deleted message Tap Deleted Messages (at the end of the list), then tap the message. Undelete a message Tap Deleted Messages (at the end of the list), then tap the message and tap Undelete. Getting Contact Information Visual voicemail saves the date and time of the call, the length of the message, and any available contact information. See a caller’s contact information: Tap next to a message. You can use the information to email or text the caller, or update contact info. Chapter 3 Phone 53Contacts From a contact’s Info screen, a quick tap lets you make a phone call, create a new email message, find the location of their address, and more. See “Searching Contacts” on page 177. Favorites Favorites gives you quick access to your most-used phone numbers. Add a contact’s number to your favorites list: Tap Contacts and choose a contact. Then tap “Add to Favorites” and choose the number you want to add. Add a recent caller’s number to your favorites list: Tap Recents and tap next to a caller, then tap “Add to Favorites.” Go to favorites: Double-click the Home button. See “Home” on page 147. Call a contact from your favorites Tap Favorites and choose a contact. Delete a contact from your favorites Tap Favorites and tap Edit. Then tap next to a contact or number and tap Remove. Reorder your favorites list Tap Favorites and tap Edit. Then drag next to a contact to a new place in the list. Ringtones and the Ring/Silent Switch iPhone comes with ringtones you can use for incoming calls, Clock alarms, and the Clock timer. You can also create and purchase ringtones from songs in iTunes. Ring/Silent Switch and Vibrate Modes A switch on the side of iPhone makes it easy to turn the ringer on or off. Turn the ringer on or off: Flip the switch on the side of iPhone. Ring Silent Important: Clock alarms still sound even if you set the Ring/Silent switch to silent. Set iPhone to vibrate: In Settings, choose Sounds. Separate controls let you set vibrate for both ring mode and silent mode. 54 Chapter 3 PhoneFor more information, see Chapter 19,“Settings,” on page 138. Setting Ringtones You can set the default ringtone for calls and Clock alarms and timers. You can also assign individual ringtones to contacts so you know who’s calling. Set the default ringtone: In Settings, choose Sounds > Ringtone, then choose a ringtone. Assign a ringtone to a contact: From Phone, tap Contacts and choose a contact. Then tap Ringtone and choose a ringtone. Purchasing Ringtones You can purchase ringtones from the iTunes Store on your iPhone. See “Purchasing Ringtones” on page 162. Bluetooth Devices You can use iPhone with hands-free Bluetooth headsets and Bluetooth car kits. iPhone also supports Bluetooth stereo headphone devices when using iPod. Pairing a Device with iPhone You must first pair a Bluetooth device with iPhone before you can use it. Pair with iPhone: 1 Follow the instructions that came with the device to make it discoverable or to set it to search for other Bluetooth devices. 2 In Settings, choose General > Bluetooth and turn Bluetooth on. 3 Choose the device on iPhone and enter its passkey or PIN number. See the instructions about the passkey or PIN that came with the device. After you pair a Bluetooth device to work with iPhone, you must make a connection to have iPhone use the device for your calls. Connect with iPhone: See the documentation that came with the headset or car kit. When iPhone is connected to a Bluetooth device, outgoing calls are routed through the device. Incoming calls are routed through the device if you answer using the device, and through iPhone if you answer using iPhone. WARNING: For important information about avoiding hearing loss and about driving safely, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Chapter 3 Phone 55Bluetooth Status The Bluetooth icon appears in the iPhone status bar at the top of the screen: • (blue) or (white): Bluetooth is on and a device is connected to iPhone. (The color depends on the current color of the status bar.) • (gray): Bluetooth is on but no device is connected. If you’ve paired a device with iPhone, it may be out of range or turned off. • No Bluetooth icon: Bluetooth is turned off. Routing Calls Back Through iPhone When iPhone is connected to a Bluetooth device, you listen to calls through iPhone by doing one of the following: • Answer a call by tapping the iPhone screen. • During a call, tap Audio on iPhone. Choose iPhone to hear calls through iPhone or Speaker Phone to use the speakerphone. • Turn off Bluetooth. In Settings, choose General > Bluetooth and drag the switch to Off. • Turn off the Bluetooth device, or move out of range. You must be within about 30 feet of a Bluetooth device for it to be connected to iPhone. Unpairing a Device from iPhone If you’ve paired iPhone with a device and want to use another device instead, you must unpair the first device. Unpair a device: 1 In Settings, choose General > Bluetooth and turn Bluetooth on. 2 Choose the device and tap Unpair. International Calls iPhone 3G and iPhone 3GS are multi-band phones, supporting UMTS/HSDPA (850, 1900, 2100 MHz) and GSM (850, 900, 1800, 1900 MHz), ensuring broad international coverage. Making International Calls from Your Home Area For information about making international calls from your home area, including rates and other charges that may apply, contact your carrier or go to your carrier’s website. Using iPhone Abroad You can use iPhone to make calls in many countries around the world. Enable international roaming: Contact your carrier for information about availability and fees. 56 Chapter 3 PhoneSet iPhone to add the correct prefix when dialing from another country: In Settings, tap Phone, then turn International Assist on. This lets you make calls to your home country using the numbers in your contacts and favorites, without having to add a prefix or your country code. International Assist works for U.S. telephone numbers only. When you make a call using International Assist, “International Assist” appears on the iPhone screen, alternating with the “calling ...” message, until your call is connected. Note: International Assist is not available in all areas. Set the carrier to use: In Settings, tap Carrier, then select the carrier you prefer. This option is available only when you’re traveling outside your carrier’s network. You can make calls only on carriers that have roaming agreements with your iPhone service provider. For more information, see “Carrier” on page 141. Important: Voice and data roaming charges may apply. To avoid data roaming charges, turn Data Roaming off. Turn Data Roaming on or off: In Settings, choose General > Network and turn Data Roaming on or off. Data Roaming is turned off by default. Turning Data Roaming off helps to avoid data roaming charges when traveling outside your carrier’s network by disabling data transmission over the cellular network. You can still access the Internet if you have a Wi-Fi connection. If Wi-Fi network access isn’t available, however, you cannot: • Send or receive email • Browse the Internet • Sync your contacts, calendars, or bookmarks with MobileMe or Exchange • Stream YouTube videos • Get stock quotes • Get map locations • Get weather reports • Purchase music or applications Other third-party applications that use data roaming may also be disabled. If Data Roaming is turned off, you can still make and receive phone calls, and send and receive text messages. Voice roaming charges may apply. Visual voicemail is delivered if there’s no charge; if your carrier charges for delivery of visual voicemail when roaming, turning Data Roaming off prevents the delivery of visual voicemail. To enable email, web browsing, and other data services, turn Data Roaming on. Chapter 3 Phone 57Important: If Data Roaming is turned on, you may incur charges when roaming outside your carrier’s network for the use of any of the features listed above, as well as for delivery of visual voicemail. Check with your carrier for information about roaming charges. Get voicemail when visual voicemail isn’t available: Dial your own number, or touch and hold “1” on the keypad. You can use Airplane Mode to turn off cellular services and then turn Wi-Fi on to get access to the Internet, while preventing voice roaming charges. Use Airplane Mode to turn off cellular services: In Settings, tap Airplane Mode to turn it on, then tap Wi-Fi and turn Wi-Fi on. See “Airplane Mode” on page 138. Incoming phone calls are sent to voicemail. To make and receive calls again and get your voicemail messages, turn Airplane Mode off. 58 Chapter 3 PhoneMail 4 Mail works with MobileMe, Microsoft Exchange, and many of the most popular email systems—including Yahoo! Mail, Google email, and AOL—as well as other industrystandard POP3 and IMAP email systems. You can send and receive embedded photos and graphics, and view PDFs and other attachments. Setting Up Email Accounts You can set up email accounts on iPhone in either of the following ways: • Set up an account directly on iPhone. See “Setting Up Accounts” on page 16. • In iTunes, use the iPhone preference panes to sync email accounts settings from your computer. See “Syncing” on page 11. Sending Email You can send an email message to anyone who has an email address. Compose and send a message: 1 Tap . 2 Type a name or email address in the To field, or tap to add a name from your contacts. As you type an email address, matching email addresses from your contacts list appear below. Tap an address to add it. To add more names, tap Return or . Note: If you’re composing a message from your Microsoft Exchange account and have access to your enterprise Global Address List (GAL), matching addresses from the contacts on iPhone appear first, followed by matching GAL addresses. 3 Tap Cc/Bcc/From if you want to copy or blind copy the message to others, or change the account you send the message from. If you have more than one email account, you can tap the From field to change the account you’re sending from. 594 Enter a subject, then your message. You can tap Return to move from one field to another. 5 Tap Send. Send a photo or video (iPhone 3GS only) in an email message In Photos, choose a photo or video, tap , then tap Email Photo or Email Video. You can also copy and paste photos and videos. The photo or video is sent using your default email account (see “Mail” on page 152). Send a video in an email message (iPhone and iPhone 3G) In Photos, choose a video, then touch and hold the video until the Copy command appears. Tap Copy. Go to Mail and create a new message. Tap to place an insertion point where you want the video, then tap the insertion point to display the edit commands and tap Paste. The video is sent using your default email account (see “Mail” on page 152). Save a draft of a message to complete later Tap Cancel, then tap Save. The message is saved in the Drafts mailbox. Reply to a message Tap . Tap Reply to reply only to the sender or tap Reply All to reply to the sender and all recipients. Type your return message, then tap Send. Files or images attached to the initial message aren’t sent back. Forward a message Open a message and tap , then tap Forward. Add one or more email addresses, type your message, then tap Send. When you forward a message, you can include the files or images attached to the original message. Share contact information In Contacts, choose a contact, tap Share Contact at the bottom of the Info screen, then tap Email. Checking and Reading Email The Mail icon shows the total number of unread messages in all your inboxes. You may have other unread messages in other mailboxes. Number of unread emails in your inboxes Check for new messages: Choose a mailbox or tap at any time. 60 Chapter 4 MailOn each account screen, you can see the number of unread messages in each mailbox. Number of unread messages Tap to see all your email accounts Tap a mailbox to see its messages. Unread messages have a blue dot next to them. Unread messages When you open a mailbox, Mail loads the number of most recent messages specified in your Mail settings, if the messages haven’t already been loaded automatically. (See “Mail” on page 152.) Load additional messages: Scroll to the bottom of the list of messages and tap Load More Messages. Read a message: Tap a mailbox, then tap a message. Within a message, tap or to see the next or previous message. Zoom in on part of a message Double-tap an area of the message to zoom in. Double-tap again to zoom out. Resize any column of text to fit the screen Double-tap the text. Resize a message manually Pinch to zoom in or out. Chapter 4 Mail 61Follow a link Tap the link. Text links are typically underlined and blue. Many images are also links. A link can take you to a webpage, open a map, dial a phone number, or open a new preaddressed email message. Web, phone, and map links open Safari, Phone, or Maps on iPhone. To return to your email, press the Home button and tap Mail. See a link’s destination address Touch and hold the link. The address is displayed, and you can choose to open the link in Safari or copy the link address to the clipboard. iPhone displays picture attachments in many commonly used formats (JPEG, GIF, and TIFF) inline with the text in email messages. iPhone can play many audio attachments (such as MP3, AAC, WAV, and AIFF). You can download and view files (such as PDF, webpage, text, Pages, Keynote, Numbers, and Microsoft Word, Excel, and PowerPoint documents) attached to messages you receive. Open an attached file: Tap the attachment. It downloads to iPhone and then opens. Tap attachment to download You can view attachments in portrait or landscape orientation. If the format of an attached file isn’t supported by iPhone, you can see the name of the file but you can’t open it. iPhone supports the following document types: .doc Microsoft Word .docx Microsoft Word (XML) .htm webpage .html webpage .key Keynote .numbers Numbers .pages Pages 62 Chapter 4 Mail.pdf Preview, Adobe Acrobat .ppt Microsoft PowerPoint .pptx Microsoft PowerPoint (XML) .rtf Rich Text Format .txt text .vcf contact information .xls Microsoft Excel .xlsx Microsoft Excel (XML) Save an attached photo to your Camera Roll album: Tap the photo, then tap Save Image. If the photo hasn’t been downloaded yet, tap the download notice first. Save an attached video to your Camera Roll album: Touch and hold the attachment, then tap Save Video. If the video hasn’t been downloaded yet, tap the download notice first. See all the recipients of a message Tap Details. Tap a name or email address to see the recipient’s contact information. Then tap a phone number, email address, or text message to contact the person. Tap Hide to hide the recipients. Add an email recipient to your contacts list Tap the message and, if necessary, tap Details to see the recipients. Then tap a name or email address and tap Create New Contact or “Add to Existing Contact.” Mark a message as unread Open the message and tap “Mark as Unread.” A blue dot appears next to the message in the mailbox list until you open it again. Open a meeting invitation: Tap the invitation. You can get contact information for the organizer and other attendees, set an alert, add notes to the event, and add comments that are included in your response emailed to the organizer. You can accept, tentatively accept, or decline the invitation. See “Responding to Meeting Invitations” on page 95. Turn Push on or off: In Settings, choose “Mail, Contacts, Calendars” > Fetch New Data, then turn Push on or off. See “Fetch New Data” on page 151. Chapter 4 Mail 63Searching Email You can search the To, From, and Subject fields of email messages. Mail searches the downloaded messages in the currently open mailbox. For MobileMe, Exchange, and some IMAP mail accounts, you can also search messages on the server. Search email messages: Open a mailbox, scroll to the top, and enter text in the Search field. Tap From, To, Subject, or All (From, To, and Subject) to choose which fields you want to search. (Tap the status bar to scroll quickly to the top of the list and reveal the search field.) Search results for the messages already downloaded to iPhone appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. Search messages on the server: Tap “Continue Search on Server” at the end of the search results. Note: Search results of messages on servers may vary depending on the type of account. Some servers may search only whole words. Organizing Email You can delete messages one at a time, or select a group to delete all at once. You can also move messages from one mailbox or folder to another. Delete a message: Open the message and tap . You can also delete a message directly from the mailbox message list by swiping left or right over the message title, then tapping Delete. To show the Delete button, swipe left or right over the message. 64 Chapter 4 MailDelete multiple messages: When viewing a list of messages, tap Edit, select the messages you want to delete, then tap Delete. Move a message to another mailbox or folder: When viewing a message, tap , then choose a mailbox or folder. Move multiple messages: When viewing a list of messages, tap Edit, select the messages you want to move, then tap Move and select a mailbox or folder. Chapter 4 Mail 65Safari 5 Viewing Webpages Safari lets you surf the web and view webpages on iPhone in the same way as if you were on your computer. You can create bookmarks on iPhone and sync bookmarks with your computer. Add web clips for quick access to your favorite sites directly from the Home screen. You can view webpages in either portrait or landscape orientation. Rotate iPhone and the webpage rotates too, automatically adjusting to fit the page. Opening Webpages Open a webpage: Tap the address field (on the left side of the title bar), then type the web address and tap Go. If the address field isn’t visible, tap the status bar at the top of the screen to quickly scroll to the address field at the top of the webpage. As you type, web addresses that start with those letters appear. These are bookmarked pages or recent pages you’ve opened. Tap an address to go to that page. Keep typing if you want to enter a web address that’s not in the list. Erase the text in the address field: Tap the address field, then tap . 66Zooming and Scrolling Zoom in or out: Double-tap a column on a webpage to expand the column. Doubletap again to zoom out. You can also pinch to zoom in or out manually. Scroll around a webpage Drag up, down, or sideways. When scrolling, you can touch and drag anywhere on the page without activating any links. Scroll within a frame on a webpage Use two fingers to scroll within a frame on a webpage. Use one finger to scroll the entire webpage. Scroll quickly to the top of a webpage Tap the status bar at the top of the iPhone screen. Navigating Webpages Links on webpages typically take you to another place on the web. Follow a link on a webpage: Tap the link. Links on iPhone can also initiate a phone call, display a location in Maps, or create a preaddressed Mail message. To return to Safari after a link opens another application, press the Home button and tap Safari. See a link’s destination address Touch and hold the link. The address pops up next to your finger. You can touch and hold an image to see if it has a link. Stop a webpage from loading Tap . Reload a webpage Tap . Return to the previous or next page Tap or at the bottom of the screen. Return to a recently viewed page Tap and tap History. To clear the history list, tap Clear. Send a webpage address via email Tap and tap “Mail Link to this Page.” Save an image or photo to your Camera Roll album Touch and hold the image, then tap Save Image. Chapter 5 Safari 67Opening Multiple Pages You can have up to eight pages open at a time. Some links automatically open a new page instead of replacing the current one. The number inside the pages icon at the bottom of the screen shows how many pages are open. If there’s no number inside, just one page is open. For example: = one page is open = three pages are open Open a new page: Tap and tap New Page. Go to another page: Tap and flick left or right. Tap the page you want to view. Close a page: Tap and tap . You can’t close a page if it’s the only one open. Entering Text and Filling Out Forms Some webpages have text fields and forms to fill out. You can set Safari to remember names and passwords of websites you visit and fill out text fields automatically with information from Contacts. See “Safari” on page 156. Bring up the keyboard Tap inside a text field. Move to another text field Tap another text field, or tap the Next or Previous button. Submit a form Once you finish filling out a form, tap Go or Search. Most pages also have a link you can tap to submit the form. Close the keyboard without submitting the form Tap Done. 68 Chapter 5 SafariEnable AutoFill to help you fill out web forms: In Settings, choose Safari > AutoFill, then do one of the following: • To use information from contacts, turn Use Contact Info on, then choose My Info and select the contact you want to use. Safari uses information from Contacts to fill in contact fields on web forms. • To use information from names and passwords, turn Names & Passwords on. When this feature is on, Safari remembers names and passwords of websites you visit and automatically fills in the information when you revisit the website. • To remove all AutoFill information, tap Clear All. Searching the Web By default, Safari searches using Google. You can search using Yahoo!, instead. Search the web: 1 Tap the search field (on the right side of the title bar). 2 Type a word or phrase that describes what you’re looking for, then tap Google. 3 Tap a link in the list of search results to open a webpage. Set Safari to search using Yahoo!: From the Home screen choose Settings > Safari > Search Engine, then choose Yahoo!. Bookmarks You can bookmark webpages you want to return to later. Bookmark a webpage: Open the page and tap . Then tap Add Bookmark. When you save a bookmark you can edit its title. By default, bookmarks are saved at the top level of Bookmarks. Tap Bookmarks to choose another folder. If you use Safari on a Mac, or Safari or Microsoft Internet Explorer on a PC, you can sync bookmarks with the web browser on your computer. Sync bookmarks with your computer: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 Click the Info tab, select “Sync … bookmarks” under Web Browser, then click Apply. See “Syncing” on page 11. Sync bookmarks with MobileMe: In Settings on iPhone, select Bookmarks in your MobileMe account. See “Setting Up Accounts” on page 16. Open a bookmarked webpage: Tap , then choose a bookmark or tap a folder to see the bookmarks inside. Chapter 5 Safari 69Edit a bookmark or bookmark folder: Tap , choose the folder that has the bookmark or folder you want to edit, then tap Edit. Then do one of the following: • To make a new folder, tap New Folder. • To delete a bookmark or folder, tap , then tap Delete. • To reposition a bookmark or folder, drag . • To edit the name or address, or to put it in a different folder, tap the bookmark or folder. When you’re finished, tap Done. Web Clips Add web clips to the Home screen for fast access to your favorite webpages. Web clips appear as icons on the Home screen, and you can arrange your web clips along with the other icons. See “iPhone Applications” on page 23. Add a web clip: Open the webpage and tap . Then tap “Add to Home Screen.” When you open a web clip, Safari automatically zooms and scrolls to the area of the webpage that was displayed when you saved the web clip. The displayed area is also used to create the icon for the web clip on your Home screen, unless the webpage comes with its own custom icon. When you add a web clip, you can edit its name. If the name is too long (more than about 10 characters), it may appear abbreviated on the Home screen. Web clips aren’t bookmarks, and aren’t synced by MobileMe or iTunes. Delete a web clip: 1 Touch and hold any icon on the Home screen until the icons start to wiggle. 2 Tap in the corner of the web clip you want to delete. 3 Tap Delete, then press the Home button to save your arrangement. 70 Chapter 5 SafariiPod 6 iPhone syncs with iTunes on your computer to get songs, videos, and other content you’ve collected in your iTunes library. For information about adding music and other media to your iTunes library, open iTunes and choose Help > iTunes Help. Getting Music, Video, and More To get music, video, and other content onto iPhone, you can set up iTunes on your computer to automatically sync content in your library, or you can manually manage the media you put on iPhone. Syncing Content from iTunes You can transfer music, video, and more onto iPhone by syncing content from iTunes. You can sync all of your media, or you can select specific songs, videos, podcasts, and iTunes U collections. Set iTunes to sync iPod content: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 On the Music, Movies, TV Shows, Podcasts, and iTunes U tabs, select the content you want to sync to iPhone. For example, you could set iTunes to sync selected music playlists and the three most recent episodes of your favorite video podcast. 4 Click Apply. To set iTunes to sync iPod content and other info automatically, click the Summary tab and select “Automatically sync when this iPhone is connected.” Important: If you delete an item from iTunes, it will also be deleted from iPhone the next time you sync. 71Only songs and videos encoded in formats that iPhone supports are transferred to iPhone. For information about which formats iPhone supports, see “Song, Video, or Other Items Won’t Play” on page 200. If there are more songs in your iTunes library than can fit on your iPhone, iTunes offers to create a special playlist to sync with iPhone. iTunes fills the playlist with random selections from your library. You can add or delete songs from the playlist and sync again. If you listen to part of a podcast or audiobook, your place in the story is included if you sync the content with iTunes. If you started listening to the story on iPhone, you can pick up where you left off using iTunes on your computer—or vice versa. For more information about using iTunes to get music and other media onto your computer, see “What You Need” on page 9. Manually Managing Content The manually managing feature lets you choose just the music, video, and podcasts you want to have on iPhone. Set up iPhone for manually managing content: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 Click the Summary tab and select “Manually manage music and videos.” 4 Click Apply. Add items to iPhone: Drag a song, video, podcast, or playlist in your iTunes library to iPhone (in the sidebar). Shift-click or Command-click (Mac) or Control-click (Windows) to select multiple items to add at the same time. iTunes syncs the content immediately. If you deselect “Manually manage music and videos,” the content you added manually is removed from iPhone the next time iTunes syncs content. Remove items from iPhone: With iPhone connected to your computer, select the iPhone icon in the iTunes sidebar. Click the disclosure triangle to the left of the icon to show the contents. Select a content area, such as Music or Movies, then select the items you want to delete and press the Delete key on the keyboard. Removing an item from iPhone doesn’t delete it from your iTunes library. Purchasing and Downloading Content from the iTunes Store You can use the iTunes Store on iPhone to purchase and download songs, albums, TV shows, movies, music videos, ringtones, and audiobooks directly to iPhone. You can also stream and download audio and video podcasts, as well as iTunes U content. See “About the iTunes Store” on page 160. 72 Chapter 6 iPodTransferring Purchased Content to Another Computer You can transfer content on iPhone that was purchased using iTunes on one computer to an iTunes library on another authorized computer. The computer must be authorized to play content from your iTunes Store account. To authorize the computer, open iTunes on the computer and choose Store > Authorize Computer. Transfer purchased content: Connect iPhone to the other computer. iTunes asks if you want to transfer purchased content. Converting Videos for iPhone You can add videos other than those purchased from the iTunes Store to iPhone, such as videos you create in iMovie on a Mac, or videos you download from the Internet and then add to iTunes. If you try to add a video from iTunes to iPhone and a message says the video can’t play on iPhone, you can convert the video. Convert a video to work with iPhone: Select the video in your iTunes library and choose Advanced > “Create iPod or iPhone Version.” Then add the converted video to iPhone. Music and Other Audio The high-resolution Multi-Touch display makes listening to songs on iPhone as much a visual experience as a musical one. You can scroll through your playlists, or use Cover Flow to browse through your album art. WARNING: For important information about avoiding hearing loss, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Playing Songs Browse your collection: Tap Playlists, Artists, or Songs. Tap More to browse Albums, Audiobooks, Compilations, Composers, Genres, iTunes U, or Podcasts. Browse Genius Mixes: Tap Genius. If Genius doesn’t appear, you need to turn on Genius in iTunes 9 or later, and then sync iPhone with iTunes. See “Using Genius on iPhone” on page 79. Play a song: Tap the song. Shake to shuffle: Shake iPhone to turn shuffle on and immediately change songs. Shake anytime to change to another song. You can turn the “Shake to Shuffle” feature on or off in Settings > iPod (it’s on by default). See “Music” on page 158. Chapter 6 iPod 73Controlling Song Playback When you play a song, the Now Playing screen appears. Next/Fast-forward Play/Pause Track List Back Previous/ Volume Rewind Pause a song Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Resume playback Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Raise or lower the volume Drag the volume slider or use the buttons on the side of iPhone. You can also use the volume buttons on the iPhone headset (iPhone 3GS only). Restart a song or a chapter in an audiobook or podcast Tap . Skip to the next song or chapter in an audiobook or podcast Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) twice quickly. Go to the previous song or chapter in an audiobook or podcast Tap twice, or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) three times quickly. Rewind or fast-forward Touch and hold or . The longer you hold the control, the faster the song rewinds or fastforwards. On the iPhone headset, press the center button (or the equivalent button on your Bluetooth headset) twice quickly and hold to fast forward, or three times quickly and hold to rewind. 74 Chapter 6 iPodReturn to the iPod browse lists Tap , or swipe to the right over the album cover. Return to the Now Playing screen Tap Now Playing. Display a song’s lyrics Tap the album cover when playing a song. (Lyrics appear if you’ve added them to the song using the song’s Info window in iTunes.) You can display playback controls at any time when you’re listening to music and using another application—or even when iPhone is locked—by double-clicking the Home button. See “Home” on page 147. If you’re using an application, the playback controls appear on top of the application. After using the controls, you can close them or tap Music to go to the Now Playing screen. If iPhone is locked, the controls appear onscreen, then disappear automatically after you finish using them. Additional Song Controls From the Now Playing screen, tap the album cover. The repeat, Genius, and shuffle controls appear along with the scrubber bar. You can see elapsed time, remaining time, and the song number. The song’s lyrics also appear, if you’ve added them to the song in iTunes. The scrubber bar lets you skip to any point along the timeline. You can adjust the scrub rate from high-speed to fine by sliding your finger down as you drag the playhead along the scrubber bar. Repeat Genius Shuffle Scrubber bar Playhead Chapter 6 iPod 75Set iPhone to repeat songs Tap . Tap again to set iPhone to repeat only the current song. = iPhone is set to repeat all songs in the current album or list. = iPhone is set to repeat the current song over and over. = iPhone isn’t set to repeat songs. Skip to any point in a song Drag the playhead along the scrubber bar. Slide your finger down to adjust the scrub rate. The scrub rate becomes slower the farther down you slide your finger. Make a Genius playlist Tap , and the Genius playlist appears. See “Using Genius on iPhone” on page 79. Set iPhone to shuffle songs Tap . Tap again to set iPhone to play songs in order. = iPhone is set to shuffle songs. = iPhone is set to play songs in order. Shuffle the tracks in any playlist, album, or other list of songs Tap Shuffle at the top of the list. For example, to shuffle all the songs on iPhone, choose Songs > Shuffle. Whether or not iPhone is set to shuffle, if you tap Shuffle at the top of a list of songs, iPhone plays the songs from that list in random order. Podcast and Audiobook Controls From the Now Playing screen, tap the cover. The email, 30-second repeat, and playback speed controls appear along with the scrubber bar. You can see elapsed time, remaining time, and the episode or chapter number. The scrubber bar lets you skip to any point along the timeline. You can adjust the scrub rate from high-speed to fine by sliding your finger down as you drag the playhead along the scrubber bar. Scrubber bar Playhead Playback speed Email 30-second repeat 76 Chapter 6 iPodSend an email link to this podcast Tap . Skip to any point Drag the playhead along the scrubber bar. Slide your finger down to adjust the scrub rate. The scrub rate becomes slower the farther down you slide your finger. Play back the last 30 seconds Tap . Set the playback speed Tap . Tap again to change the speed. = Play at double speed. = Play at half speed. = Play at normal speed. Using Voice Control with iPod You can use Voice Control (available only on iPhone 3GS) to control music playback on iPhone. Note: Voice Control isn’t available in all languages. Use Voice Control: Press and hold the Home button until the Voice Control screen appears and you hear a beep. Then use the commands described below to play songs. You can also press and hold the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) to bring up Voice Control. Control music playback Say “play” or “play music.” To pause, say “pause” or “pause music.” You can also say “next song” or “previous song.” Play an album, artist, or playlist Say “play,” then say “album,” “artist,” or “playlist” and the name. Shuffle the current playlist Say “shuffle.” Find out more about the currently playing song Say “what’s playing,” “what song is this,” “who sings this song,” or “who is this song by.” Use Genius to play similar songs Say “Genius,” “play more like this,” or “play more songs like this.” Cancel Voice Control Say “cancel” or “stop.” Chapter 6 iPod 77Browsing Album Covers in Cover Flow When you’re browsing music, you can rotate iPhone sideways to see your iTunes content in Cover Flow and browse your music by album artwork. Browse album covers Drag or flick left or right. See the tracks on an album Tap a cover or . Play any track Tap the track. Drag up or down to scroll through the tracks. Return to the cover Tap the title bar. Or tap again. Play or pause the current song Tap or . You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). 78 Chapter 6 iPodViewing All Tracks on an Album See all the tracks on the album that contains the current song: From the Now Playing screen tap . Tap a track to play it. Tap the album cover thumbnail to return to the Now Playing screen. Rating bar Back to Now Playing screen Album tracks In track list view, you can assign ratings to songs. You can use ratings to create smart playlists in iTunes that dynamically update to include, for example, your highest rated songs. Rate a song: Drag your thumb across the rating bar to give the song zero to five stars. Searching Music You can search the titles, artists, albums, and composers of songs, podcasts, and other content you’ve synced to iPhone. Search music: Enter text in the search field at the top of a song list, playlist, artist list, or other view of your iPod content. (Tap the status bar to scroll quickly to the top of a list and reveal the search field.) Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. You can also use Spotlight to search for music. See “Searching” on page 37. Using Genius on iPhone Genius finds songs in your iTunes library that go great together. A Genius playlist is a collection of songs that are picked for you to go with a song you choose from your library. A Genius Mix is a selection of songs of the same kind of music. Genius Mixes are recreated each time you listen to them, so they’re always new and fresh. You can create Genius playlists in iTunes and sync them to iPhone. You can also create and save Genius playlists directly on iPhone. Chapter 6 iPod 79Genius Mixes are created in iTunes. iTunes creates different mixes depending on the variety of music you have in your iTunes library. For example, you may have Genius Mixes that highlight R&B songs, or Alternative Rock songs. To use Genius on iPhone, first turn on Genius in iTunes, then sync iPhone with iTunes. Genius Mixes are synced automatically, unless you manually manage your music and choose which mixes you want to sync in iTunes. Genius is a free service, but requires an iTunes Store account. Genius Mixes require iTunes 9 or later. When you sync a Genius Mix, iTunes may select and sync songs from your library that you haven’t otherwise chosen to sync. Browse Genius Mixes: Tap Genius. The number of dots at the bottom of the screen shows the number of mixes you’ve synced from iTunes, and indicates which mix you’re viewing. Flick left or right to access your other mixes. Play a Genius Mix: Tap the mix or tap . Make a Genius playlist on iPhone: 1 Tap Playlists and tap Genius. 2 Tap a song in the list. Genius creates a playlist with additional songs that go great with that song. You can also make a Genius playlist of songs that go great with the song you’re playing. From the Now Playing screen, tap the album cover to display additional controls, then tap . Save a Genius playlist: In the playlist, tap Save. The playlist is saved in Playlists with the title of the song you picked. You can make and save as many Genius playlists as you want. If you save a Genius playlist created on iPhone, it syncs back to iTunes the next time you connect. 80 Chapter 6 iPodRefresh a Genius playlist: In the playlist, tap Refresh. Refreshing a playlist creates a playlist of different songs that go great with the song you picked. You can refresh any Genius playlist, whether it was created in iTunes and synced to iPhone, or created directly on iPhone. Create a Genius playlist from a new song: In the playlist, tap New, then pick a new song. Delete a saved Genius playlist: In a playlist that you saved directly on iPhone, tap Edit, then tap Delete Playlist. Once a Genius playlist is synced back to iTunes, you won’t be able to delete it directly from iPhone. You can use iTunes to edit the playlist name, stop syncing, or delete the playlist. Making On-The-Go Playlists Make an on-the-go playlist: 1 Tap Playlists and tap On-The-Go. 2 Browse for songs using the buttons at the bottom of the screen. Tap any song or video to add it to the playlist. Tap Add All Songs at the top of any list of songs to add all the songs in the list. 3 When you finish, tap Done. When you make an on-the-go playlist and then sync iPhone to your computer, the playlist is saved on iPhone and in your iTunes library, then deleted from iPhone. The first is saved as “On-The-Go 1,” the second as “On-The-Go 2,” and so on. To put a playlist back on iPhone, select iPhone in the iTunes sidebar, click the Music tab, and set the playlist to sync. Edit an on-the-go playlist: Tap Playlists, tap On-The-Go, tap Edit, then do one of the following: • To move a song higher or lower in the list, drag next to the song. • To delete a song from the playlist, tap next to a song, then tap Delete. Deleting a song from the on-the-go playlist doesn’t delete it from iPhone. • To clear the entire playlist, tap Clear Playlist. • To add more songs, tap . Videos With iPhone, you can view video content such as movies, music videos, and video podcasts. If a video contains chapters, you can skip to the next or previous chapter, or bring up a list and start playing at any chapter that you choose. If a video provides alternate language features, you can choose an audio language or display subtitles. Chapter 6 iPod 81Playing Videos Play a video: Tap Videos and tap the video. Display playback controls: Tap the screen to show the controls. Tap again to hide them. Controlling Video Playback Videos play in widescreen to take full advantage of the display. The scrubber bar lets you skip to any point along the timeline. You can adjust the scrub rate by sliding your finger down as you drag the playhead along the scrubber bar. Scrubber bar Playhead Play/Pause Next/Fastforward Scale Restart/Rewind Volume Lovers in Japan by Coldplay is available in the iTunes Store Pause a video Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Resume playback Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Raise or lower the volume Drag the volume slider. You can also use the volume buttons on the iPhone headset (iPhone 3GS only). Start a video over Drag the playhead on the scrubber bar all the way to the left, or tap if the video doesn’t contain chapters. Skip to the next chapter (if available) Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) twice quickly. Go to the previous chapter (if available) Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) three times quickly. Start playing at a specific chapter (if available) Tap , then choose a chapter from the list. 82 Chapter 6 iPodRewind or fast-forward Touch and hold or . Skip to any point in a video Drag the playhead along the scrubber bar. Slide your finger down to adjust the scrub rate. The scrub rate becomes slower the farther down you slide your finger. Stop watching a video before it finishes playing Tap Done. Or press the Home button. Scale a video to fill the screen or fit to the screen Tap to make the video fill the screen. Tap to make it fit the screen. You can also double-tap the video to toggle between fitting and filling the screen. When you scale a video to fill the screen, the sides or top may be cropped from view. When you scale it to fit the screen, you may see black bars on the sides or above and below the video. Select an alternate audio language (if available) Tap , then choose a language from the Audio list. Show or hide subtitles (if available) Tap , then choose a language, or Off, from the Subtitles list. Searching Video You can search the titles of movies, TV shows, and video podcasts you’ve synced to iPhone. Search video: Enter text in the search field at the top of the list of videos. Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. Watching Rented Movies You can rent movies in standard (480p) definition from the iTunes Store and watch them on iPhone. You can download rented movies directly to iPhone, or transfer them from iTunes on your computer to iPhone. You can also transfer rented movies back to iTunes from iPhone. (Rented movies aren’t available in all regions.) The movie must be fully downloaded before you can start watching. You can pause a download and resume it later. Rented movies expire after a certain number of days, and once you start a movie you have a limited amount of time to finish watching it. The time remaining appears near a movie’s title. Movies are automatically deleted when they expire. Check the iTunes Store for the expiration time before renting a movie. Chapter 6 iPod 83Transfer rented movies to iPhone: Connect iPhone to your computer. Then select iPhone in the iTunes sidebar, click Movies, and select the rented movies you want to transfer. Your computer must be connected to the Internet. View a rented movie: On iPhone, choose iPod > Videos and select a movie. Watching Videos on a TV You can connect iPhone to your TV and watch your videos on the large screen. Use the Apple Component AV Cable, Apple Composite AV Cable, or other authorized iPhone compatible cable. You can also use these cables with the Apple Universal Dock to connect iPhone to your TV. (The Apple Universal Dock includes a remote that lets you control playback from a distance.) Apple cables and docks are available for purchase separately in many countries. Go to www.apple.com/ipodstore (not available in all countries). Deleting Videos from iPhone You can delete videos from iPhone to save space. Delete a video: In the videos list, swipe left or right over the video, then tap Delete. When you delete a video (other than rented movies) from iPhone, it isn’t deleted from your iTunes library and you can sync the video back to iPhone later. If you don’t want to sync the video back to iPhone, set iTunes to not sync the video. See “What You Need” on page 9. Important: If you delete a rented movie from iPhone, it’s deleted permanently and cannot be transferred back to your computer. Setting a Sleep Timer You can set iPhone to stop playing music or videos after a period of time. Set a sleep timer: From the Home screen choose Clock > Timer, then flick to set the number of hours and minutes. Tap When Timer Ends and choose Sleep iPod, tap Set, then tap Start to start the timer. When the timer ends, iPhone stops playing music or video, closes any other open application, and then locks itself. 84 Chapter 6 iPodChanging the Browse Buttons You can replace the browse buttons at the bottom of the screen with buttons you use more frequently. For example, if you often listen to podcasts, you can replace the Songs button with Podcasts. Change the browse buttons: Tap More and tap Edit, then drag a button to the bottom of the screen, over the button you want to replace. You can drag the buttons at the bottom of the screen left or right to rearrange them. Tap Done when you finish. Tap More at any time to access the buttons you replaced. Chapter 6 iPod 85Messages 7 Sending and Receiving Messages WARNING: For important information about driving safely, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Messages lets you exchange text messages with anyone using an SMS-capable phone. Messages also supports MMS, so you can send photos, video clips (iPhone 3GS only), contact information, and voice memos to other MMS-capable devices. You can enter multiple addresses and send a message to several people at the same time. Note: MMS is available only on iPhone 3G or later. SMS or MMS support may not be available in all regions. Additional fees may apply for use of Messages. Contact your carrier for complete information. You can use Messages whenever you’re in range of the cellular network. If you can make a call, you can send a message. Depending on your phone plan, you may be charged for the messages you send or receive. Send a message: Tap , then enter a phone number or name, or tap and choose a contact from your contacts list. Tap the text field above the keyboard, type a message, and tap Send. The Messages icon on the Home screen shows the total number of unread messages you have. Number of unread messages 86Your conversations are saved in the Messages list. Conversations that contain unread messages have a blue dot next to them. Tap a conversation in the list to see that conversation or add to it. Text messages you sent Text messages from the other person iPhone displays the 50 most recent messages in the conversation. To see earlier messages, scroll to the top and tap Load Earlier Messages. Send a message to more than one person: Tap , then add recipients. If you enter a phone number manually (instead of selecting it from Contacts), tap Return before entering another entry. Replies from any of the recipients are sent only to you, not to the other people you texted. Reply or send a message to a person (or group) you’ve texted before: Tap an entry in the Messages list, then type a new message in the conversation and tap Send. Send a message to a favorite or to a recent call: 1 From the Home screen tap Phone, then tap Favorites or Recents. 2 Tap next to a name or number, then tap Text Message. 3 If multiple phone numbers appear, tap the one you want to text. When MMS is available, Messages allows you to include a subject in your text messages. You can turn this feature on or off in Messages settings. It is turned on by default. Include or remove the subject field: In Settings, tap Messages, then tap Show Subject Field to turn it on or off. Note: The subject field and the Show Subject Field setting don’t appear if MMS isn’t supported by your carrier. Chapter 7 Messages 87Turn MMS messaging on or off: In Settings, tap Messages, then tap MMS Messaging to turn it on or off. You may want to turn MMS Messaging off, for example, to prevent sending or receiving attachments when fees apply. Note: The MMS Messaging setting doesn’t appear if MMS isn’t supported by your carrier. Sharing Photos and Videos You can take a photo or make a video (iPhone 3GS only) from within Messages and include it in your conversation with another MMS-capable device. You can save photos or videos you receive in Messages to your Camera Roll album. If MMS isn’t supported by your carrier, the button doesn’t appear and you can’t send photos or videos. Send a photo or video: Tap and tap “Take Photo or Video” (iPhone 3GS only; on earlier models, tap “Take Photo”) or “Choose Existing” and select an item from a photo album and tap Choose. The limit to the size of attachments is determined by your carrier. If necessary, iPhone may compress the photo or video. To learn about taking photos and videos, see Chapter 10,“Camera,” on page 103. Save a photo or video attachment to your Camera Roll album: Tap the photo or video in the conversation, tap , then tap Save Image or Save Video. Copy a photo or video: Touch and hold the attachment, then tap Copy. You can paste the photo or video to an Mail message or another MMS message. Sending Voice Memos You can send voice memos in a message to another MMS-capable device. Send a voice memo: In Voice Memos, tap , tap the voice memo you want to send, then tap Share and tap MMS. Address the message and tap Send. 88 Chapter 7 MessagesEditing Conversations If you want to keep a conversation but not the entire thread, you can delete the parts you don’t want. You can also delete entire conversations from the Messages list. Edit a conversation: Tap Edit. Tap the circles along the left side to select the parts of the conversation you want to delete, then tap Delete. When you’re finished, tap Done. Clear all text and files, without deleting the conversation: Tap Edit, then tap Clear All. Tap Clear Conversation to confirm. Forward a conversation: Select a conversation, then tap Edit. Tap the circles on the left side of the screen to select the parts of the conversation you want to include, then tap Forward, enter one or more recipients, and tap Send. Delete a conversation: Tap Edit, then tap next to the conversation and tap Delete. You can also swipe left or right over the conversation and tap Delete. To show the Delete button, swipe left or right over the message. Using Contact Information and Links Call or email someone you’ve texted: Tap a message in the Text Messages list and scroll to the top of the conversation. (Tap the status bar to scroll quickly to the top of the screen.) • To call the person, tap Call. • To email the person, tap Contact Info, then tap an email address. Follow a link in a message: Tap the link. A link may open a webpage in Safari, initiate a phone call in Phone, open a preaddressed message in Mail, or display a location in Maps. To return to your text messages, press the Home button and tap Messages. Add someone you’ve texted to your contacts list: Tap a phone number in the Messages list, then tap “Add to Contacts.” Send contact information: In Contacts, tap the person whose information you want to share. Tap Share Contact at the bottom of the screen, then tap MMS. Address the message and tap Send. Save contact information received: Tap the contact bubble in the conversation and tap Create New Contact or “Add to Existing Contact.” Chapter 7 Messages 89Managing Previews and Alerts By default, iPhone displays a preview of new messages when iPhone is locked or you are using another application. You can turn this preview on or off in Settings. You can also enable alerts for text messages. Turn previews on or off: In Settings, choose Messages and tap Show Preview. Repeat previews: In Settings, choose Messages and tap Repeat Alert. If you don’t respond to the first preview of a new message, the preview will be displayed twice more. Set whether an alert sounds when you get a text message or preview: In Settings, choose Sounds, then tap New Text Message. Tap the alert sound you want, or None if you don’t want an audible alert. Important: If the Ring/Silent switch is off, text alerts won’t sound. 90 Chapter 7 MessagesCalendar 8 About Calendar Calendar lets you view individual calendars for your different accounts or a combined calendar for all accounts. You can view your events in a continuous list, by day, or by month, and search events by title, invitee, or location. You can sync iPhone with the calendars on your computer. You can also make, edit, or cancel appointments on iPhone, and have them synced back to your computer. You can subscribe to Google, Yahoo!, or Mac OS X iCal calendars using a CalDAV or iCalendar (.ics) account. If you have a Microsoft Exchange account, you can receive and respond to meeting invitations. Syncing Calendars You can sync Calendar in either of the following ways: • In iTunes, use the iPhone preference panes to sync with iCal or Microsoft Entourage on a Mac, or Microsoft Outlook 2003 or 2007 on a PC when you connect iPhone to your computer. See “Syncing” on page 11. • In Settings on iPhone, select Calendar in your MobileMe or Microsoft Exchange accounts to sync your calendar information over the air. See “Setting Up Accounts” on page 16. 91Viewing Your Calendar You can view individual calendars for your different accounts or a combined calendar for all accounts. View a different calendar: Tap Calendars, then select a calendar. Tap All Calendars to view combined events from all calendars. You can view your calendar events in a list, by day, or by month. The events for all of your synced calendars appear in the same calendar on iPhone. Switch views: Tap List, Day, or Month. • List view: All your appointments and events appear in a scrollable list. • Day view: Scroll up or down to see the events in a day. Tap or to see the previous or next day’s events. • Month view: Tap a day to see its events. Tap or to see the previous or next month. Add an event Days with dots have scheduled events Go to today Switch views Respond to calendar invitation Events for selected day See the details of an event: Tap the event. Set iPhone to adjust event times for a selected time zone: 1 In Settings, choose “Mail, Contacts, Calendars.” 2 Under Calendars, tap Time Zone Support, then turn Time Zone Support on. 3 Tap Time Zone and search for a major city in the time zone you want. When Time Zone Support is on, Calendar displays event dates and times in the time zone of the city you selected. When Time Zone Support is off, Calendar displays events in the time zone of your current location as determined by the network time. 92 Chapter 8 CalendarSearching Calendars You can search the titles, invitees, and locations of the events in your calendars. Calendar searches the calendar you’re currently viewing, or all calendars if you’re viewing them all. Search events: In list view, enter text in the search field. Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more results. Subscribing to and Sharing Calendars You can subscribe to calendars that use the CalDAV or iCalendar (.ics) formats. Many calendar-based services, including Yahoo!, Google, and the Mac OS X iCal application, support either format. Subscribed calendars are read only. You can read events from subscribed calendars on iPhone, but can’t edit them or create new events. You also can’t accept invitations from CalDAV accounts. Subscribe to a CalDAV or .ics calendar: 1 In Settings, choose “Mail, Contacts, Calendars,” then tap Add Account. 2 Choose Other, then choose either Add CalDAV Account or Add Subscribed Calendar. 3 Enter your account information, then tap Next to verify the account. 4 Tap Save. Apple provides links to a number of free iCal calendars—for national holidays or sports events, for example—that you may want to subscribe to. The calendars are automatically added to iCal on your desktop when you download them. You can then sync them to iPhone as described in “Subscribing to and Sharing Calendars” on page 93. Go to /www.apple.com/downloads/macosx/calendars. Chapter 8 Calendar 93You can also subscribe to an iCal (or other .ics) calendar published on the web by tapping a link to the calendar you receive in an email or text message on iPhone. Adding Calendar Events to iPhone You can also enter and edit calendar events directly on iPhone. Add an event: Tap and enter event information, then tap Done. You can enter any of the following: • Title • Location • Starting and ending times (or turn on All-day if it’s an all-day event) • Repeat times—none, or every day, week, two weeks, month, or year • Alert time—from five minutes to two days before the event When you set an alert, the option to set a second alert appears. When an alert goes off, iPhone displays a message. You can also set iPhone to play a sound (see “Alerts” on page 96). Important: Some carriers don’t support network time in all locations. If you’re traveling, iPhone may not alert you at the correct local time. To manually set the correct time, see “Date and Time” on page 147. • Notes To select which calendar to add the event to, tap Calendar. Read-only calendars don’t appear in the list. Edit an event Tap the event, then tap Edit. Delete an event Tap the event, tap Edit, then scroll down and tap Delete Event. 94 Chapter 8 CalendarResponding to Meeting Invitations If you have a Microsoft Exchange account set up on iPhone with Calendars enabled, you can receive and respond to meeting invitations from people in your organization. When you receive an invitation, the meeting appears in your calendar with a dotted line around it. The icon in the lower-right corner of the screen indicates the total number of new invitations you have, as does the Calendar icon on the Home screen. Number of meeting invitations Respond to an invitation in Calendar: 1 Tap a meeting invitation in the calendar, or tap to display the Event screen and tap an invitation. • Tap “Invitation from” to get contact information for the meeting organizer. Tap the email address to send a message to the organizer. If the organizer is in your contacts, you can also tap to call or send a text message. Chapter 8 Calendar 95• Tap Attendees to see the other people invited to the meeting. Tap a name to see an attendee’s contact information. Tap the email address to send a message to the attendee. If the attendee is in your contacts, you can also tap to call or send a text message. • Tap Alert to set iPhone to sound an alert before the meeting. • Tap Add Comments to add comments in the email response to the meeting organizer. You comments will also appear in your Info screen for the meeting. Notes are made by the meeting organizer. 2 Tap Accept, Maybe, or Decline. When you accept, tentatively accept, or decline the invitation, a response email that includes any comments you added is sent to the organizer. If you accept or tentatively accept the meeting, you can change your response later. Tap Add Comments if you want to change your comments. Exchange meeting invitations are also sent in an email message, which lets you open the meeting’s Info screen from Mail. Open a meeting invitation in an email message: Tap the invitation. Alerts Set calendar alerts: In Settings, choose Sounds, then turn Calendar Alerts on. If Calendar Alerts is off when an event is about to occur, iPhone displays a message but makes no sound. Important: If the Ring/Silent switch is off, calendar alerts won’t sound. Sound alerts for invitations: In Settings, choose “Mail, Contacts, Calendar.” Under Calendars, tap New Invitation Alert to turn it on. 96 Chapter 8 CalendarPhotos 9 About Photos iPhone lets you carry photos and videos with you, so you can share them with your family, friends, and associates. You can sync photos and videos (Mac only) from your computer, view photos and videos (iPhone 3GS only) taken with the built-in camera, use photos as wallpaper, and assign photos to identify contacts when they call. You can also send photos and videos in email messages, send photos and videos (iPhone 3GS only) in MMS messages, and upload photos and videos to MobileMe galleries. Note: MMS is available only on iPhone 3G or later and if supported by your carrier. Syncing Photos and Videos with Your Computer iTunes can sync your photos and videos (Mac only) with the following applications: • Mac: iPhoto 4.0.3 or later, or Aperture • PC: Adobe Photoshop Elements 3.0 or later See “Syncing with iTunes” on page 12. iPhone supports H.264 and MPEG-4 video formats, with AAC audio. If you are having trouble syncing a video to iPhone, you might be able to use iTunes to create an iPhone version of the video. Create an iPhone version of a video: 1 Copy the video to your iTunes library. 2 In iTunes, select Movies in the Library list and select the video you want to sync. 3 Choose Advanced > “Create iPod or iPhone Version.” For additional information, go to support.apple.com/kb/HT1211. 97Viewing Photos and Videos Photos and videos (Mac only) synced from your computer’s photo application can be viewed in Photos. You can also view the photos and videos (iPhone 3GS only) you’ve taken with iPhone’s built-in camera or saved from an email or MMS message (iPhone 3GS only). View photos and videos: 1 In Photos, tap a photo album. 2 Tap a thumbnail to see the photo or video in full screen. Show or hide the controls: Tap the full-screen photo or video to show the controls. Tap again to hide the controls. Play a video: Tap in the center of the screen. To replay a video, tap at the bottom of the screen. If you don’t see , tap the screen to show the controls. View a photo or video in landscape orientation: Rotate iPhone sideways. The photo or video reorients automatically and, if it’s in landscape format, expands to fit the screen. 98 Chapter 9 PhotosZoom in on part of a photo: Double-tap where you want to zoom in. Double-tap again to zoom out. You can also pinch to zoom in or out. View video in full screen, or fit video to screen: Double tap the screen to scale the video to fill the screen. Double-tap again to fit the video to the screen. Pan around a photo: Drag the photo. See the next or previous photo or video: Flick left or right. Or tap the screen to show the controls, then tap or . Slideshows You can view photo albums as slideshows, complete with background music. View a photo album as a slideshow: Tap an album, then tap . Videos play automatically when they appear during the slideshow. Stop a slideshow: Tap the screen. Set slideshow settings: In Settings, choose Photos and set the following options: • To set the length of time each slide is shown, tap Play Each Slide For and choose a time. • To set transition effects when moving from photo to photo, tap Transition and choose a transition type. • To set whether slideshows repeat, turn Repeat on or off. • To set whether photos and videos are shown in random order, turn Shuffle on or off. Chapter 9 Photos 99Play music during a slideshow: In iPod, play a song, then choose Photos from the Home screen and start a slideshow. Sharing Photos and Videos You can send photos and videos in email and MMS messages, add photos and videos to MobileMe galleries, and publish videos to YouTube. You can also copy and paste photos and videos, save photos and videos from email messages to Photos, and save images from webpages to Photos. Note: MMS is available only on iPhone 3G or later and if supported by your carrier. MMS video attachments are supported only on iPhone 3GS. Sending a Photo or Video in an Email or MMS Message Send a photo or video: Choose a photo or video and tap , then tap Email Photo/ Video or MMS. If you don’t see , tap the screen to show the controls. The limit to the size of attachments is determined by your carrier. If necessary, iPhone may compress the photo or video. To learn about taking photos and videos, see Chapter 10,“Camera,” on page 103. Copying and Pasting Photos and Videos You can copy a photo or video from Photos and paste it to an email or MMS message. Some third-party applications may also support copying and pasting photos and videos. Copy a photo or video: Hold your finger on the screen until the Copy button appears, then tap Copy. Paste a photo or video: Tap to place an insertion point where you want to place the photo or video, then tap the insertion point and tap Paste. Adding a Photo or Video to a MobileMe Gallery If you have a MobileMe account, you can add photos and videos (iPhone 3GS only) directly from iPhone to a gallery you’ve created. You can also add photos and videos to someone else’s MobileMe gallery if that person has enabled email contributions. Before you can add photos or videos to a gallery in your MobileMe account, you must: • Set up your MobileMe account on iPhone • Publish a MobileMe gallery, and allow adding photos via email or iPhone For more information about creating a gallery and adding photos and videos to it, see MobileMe Help. 100 Chapter 9 PhotosAdd a photo or video to your gallery: Choose a photo or video and tap , then tap “Send to MobileMe.” Enter a title and description, if you like, then select the album to add the photo or video to and tap Publish. If you don’t see , tap the screen to show the controls. iPhone tells you when the photo or video has been published, and gives you options to view it on MobileMe or email a link to a friend. Adding a photo or video to someone else’s gallery: Choose a photo or video and tap , then tap “Email Photo/Video.” Enter the album’s email address, then click Send. Publishing Videos to YouTube If you have a YouTube account, you can publish videos directly from iPhone to YouTube (iPhone 3GS only). You can’t publish videos longer than than ten minutes. Publish a video to You Tube: 1 While viewing a video, tap , then tap “Send to YouTube.” 2 Sign in to your YouTube account. 3 Enter publishing information such as Title, Description, and Tags. 4 Tap Category to choose a category. 5 Tap Publish. Saving Photos and Videos from Email Messages, MMS Messages, and Webpages Save a photo in an email message to your Camera Roll album: Tap the photo, then tap Save Image. If the photo hasn’t been downloaded yet, tap the download notice first. Save a video in an email message to your Camera Roll album: Touch and hold the attachment, then tap Save Video. If the video hasn’t been downloaded yet, tap the download notice first. Save a photo on a webpage to your Camera Roll album: Touch and hold the photo, then tap Save Image. Save a photo or video in an MMS message to your Camera Roll album: Tap the image in the conversation, tap , and tap Save Image or Save Video. If you don’t see , tap the screen to show the controls. You can download the photos and videos in your Camera Roll album to your computer’s photo application by connecting iPhone to your computer. Chapter 9 Photos 101Assigning a Photo to a Contact You can assign a photo to a contact. When that person calls, iPhone displays the photo. Assign a photo to a contact: 1 Choose Camera from the Home screen and take someone’s picture. Or choose any photo already on iPhone and tap . 2 Tap “Assign to Contact” and choose a contact. 3 Position and size the photo until it looks the way you want. Drag the photo to pan, and pinch to zoom in or out. 4 Tap Set Photo. You can also assign a photo to a contact in Contacts by tapping Edit and then tapping the picture icon. Wallpaper You see a wallpaper background picture as you unlock iPhone or when you’re on a call with someone you don’t have a high-resolution photo for. Set a photo as wallpaper: 1 Choose any photo and tap , then tap Use As Wallpaper. 2 Drag the photo to pan, or pinch the photo to zoom in or out, until it looks the way you want. 3 Tap Set Wallpaper. You can also choose from several wallpaper pictures included with iPhone by choosing Settings > Wallpaper > Wallpaper from the Home screen. 102 Chapter 9 PhotosCamera 10 About Camera With the built-in camera, it’s easy to take photos and record videos with iPhone. The lens is on the back of iPhone, so you can use the screen to see the photo or video you’re taking. “Tap to focus” (iPhone 3GS only) lets you focus on a specific area of your shot and automatically adjust the exposure. You can quickly review—and keep or delete—photos and videos you’ve taken. Note: Video features are available only on iPhone 3GS. Camera photos are tagged with location data, including your current geographical coordinates provided by the built-in compass (iPhone 3GS only), if Location Services is turned on. You can use location data with some applications and photo-sharing websites to track and post where you took your pictures. If Location Services is turned off, you’ll be prompted to turn it on. If you don’t want to include location data with your photos and videos, you can still use Camera without having Location Services turned on. See “Location Services” on page 144. 103Taking Photos and Recording Videos Taking photos and recording videos with iPhone is as easy as point and tap. Photo/Video switch Focus area Thumbnail of last shot Click to take photo Take a photo: Aim iPhone and tap . Make sure the Camera/Video switch is set to . When you take a photo or start a video recording, iPhone makes a shutter sound. The sound isn’t played if you’ve set the Ring/Silent switch to silent. See “Sounds and the Ring/Silent Switch” on page 141. Note: In some regions, the sound effects for Camera are played even if the Ring/Silent switch is set to silent. Record a video: Slide the Camera/Video switch to . Tap to start recording. The record button blinks while Camera is recording. Tap again to stop recording. You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) to start and stop recording. If you take a picture or record a video with iPhone rotated sideways, the picture is saved in landscape orientation. A rectangle on the screen shows the area where Camera is focusing the shot. Change the focus area and set exposure: Tap where you want to focus. Camera automatically adjusts the exposure for the selected area of the image. Review a photo or video you’ve just taken: Tap the thumbnail of your last shot, in the lower-left corner of the screen. Delete a photo or video: Tap . If you don’t see , tap the screen to display the controls. 104 Chapter 10 CameraTake a screenshot of the iPhone display: Quickly press and release the Sleep/ Wake and Home buttons at the same time. A flash of the screen lets you know the screenshot was taken. The screenshot is added to the Camera Roll album. Viewing and Sharing Photos and Videos The photos and videos you take with Camera are saved in the Camera Roll album on iPhone. You can view the Camera Roll album from either Camera or Photos. View photos and videos in the Camera Roll album: In Camera, tap the thumbnail image in the lower-left corner of the screen. In Photos, tap the Camera Roll album. Tap the left or right button, or flick left or right to flip through the photos and videos. When viewing a photo or video in the Camera Roll album, tap the screen to display the controls. For more information about viewing and sharing photos and videos, see: • “Viewing Photos and Videos” on page 98 • “Sharing Photos and Videos” on page 100 Trimming Videos You can trim the frames from the beginning and end of videos that you record. You can trim the original video or save the trim as a new clip. Chapter 10 Camera 105Trim a video: 1 While viewing a video, tap the screen to display the controls. 2 Drag either end of the frame viewer at the top of the video, then tap Trim. 3 Tap Trim Original or tap Save as New Clip. Important: Trimming the original video permanently deletes the frames you edit from the video. New clips are saved in the Camera Roll album along with the original video. Uploading Photos and Videos to Your Computer You can upload the photos and videos you take with Camera to photo applications on your computer, such as iPhoto on a Mac. Upload images to your computer: Connect iPhone to your computer. • Mac: Select the photos you want and click the Import or Download button in iPhoto or other supported photo application on your computer. • PC: Follow the instructions that came with your camera or photo application. If you delete the photos and videos from iPhone when you upload them to your computer, they’re removed from the Camera Roll album. You can use the iTunes Photos setup pane to sync photos and videos (Mac only, iTunes 9 or later required) back to the Photos application on iPhone. See “iPhone Settings Panes in iTunes” on page 13. 106 Chapter 10 CameraYouTube 11 Finding and Viewing Videos YouTube features short videos submitted by people from around the world. To use some features on iPhone, you need to sign in to a YouTube account when prompted. For information about requirements and how to get a YouTube account, go to www.youtube.com. Note: YouTube isn’t available in all languages and locations. Browse videos: Tap Featured, Most Viewed, or Favorites. Or tap More to browse by Most Recent, Top Rated, History, Subscriptions, or Playlists. • Featured: Videos reviewed and featured by YouTube staff. • Most Viewed: Videos most seen by YouTube viewers. Tap All for all-time most viewed videos, or Today or This Week for most-viewed videos of the day or week. • Favorites: Videos you’ve added to Favorites. When you sign in to a YouTube account, account favorites appear and any existing favorites can be synced to your account. • Most Recent: Videos most recently submitted to YouTube. • Top Rated: Videos most highly rated by YouTube viewers. To rate videos, go to www.youtube.com. • History: Videos you’ve viewed most recently. • Subscriptions: Videos from YouTube accounts to which you’ve subscribed. You must be signed in to a YouTube account to use this feature. • Playlists: Videos you’ve added to playlists. You must be signed in to a YouTube account to use this feature. Search for a video: 1 Tap Search, then tap the YouTube search field. 2 Type a word or phrase that describes what you’re looking for, then tap Search. 107YouTube shows results based on video titles, descriptions, tags, and user names. Listed videos show title, rating, number of views, length, and the account name that posted the video. Play a video: Tap the video. The video begins to download to iPhone and a progress bar appears. When enough of the video has downloaded, it begins to play. You can also tap to start the video. Controlling Video Playback When a video starts playing, the controls disappear so they don’t obscure the video. Show or hide the video controls: Tap the screen. Next/ Fast-forward Play/Pause Email Scale Download progress Volume Playhead Scrubber bar Bookmark Previous/rewind Play or pause a video Tap or . You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Adjust the volume Drag the volume slider, or use the volume buttons on the side of iPhone. You can also use the volume buttons on the iPhone headset (iPhone 3GS only). Start a video over Tap . Skip to the next or previous video in a list Tap twice to skip to the previous video. Tap to skip to the next video. Rewind or fast-forward Touch and hold or . Skip to any point in a video Drag the playhead along the scrubber bar. Stop watching a video before it finishes playing Tap Done, or press the Home button. Toggle between scaling a video to fill the screen or fit to the screen Double-tap the video. You can also tap to make the video fill the screen, or tap to make it fit the screen. Add a video to Favorites using video controls Start playing a video and tap . Email a link to the video using video controls Start playing a video and tap . 108 Chapter 11 YouTubeManaging Videos Tap next to a video to see related videos and more controls for managing videos. Add the video to Favorites Tap “Add to Favorites.” Add the video to a playlist Tap “Add to Playlist,” then select an existing playlist or tap to create a new playlist. Email a link to the video Tap Share Video. Browse and view related videos Tap a video in the list of related videos to view, or tap next to a video for more information. Getting More Information Tap next to the video to show the video’s comments, description, date added, and other information. Chapter 11 YouTube 109Rate the video or add a comment On the More Info screen, tap “Rate, Comment, or Flag,” then choose “Rate or Comment.” You must be signed in to a YouTube account to use this feature. See more videos from this account On the More Info screen, tap More Videos. Subscribe to this YouTube account On the More Info screen, tap More Videos, then tap “Subscribe to ” at the bottom of the video list. You must be signed in to a YouTube account to use this feature. Using YouTube Account Features If you have a YouTube account, you can access account features such as subscriptions, comments and ratings, and playlists. To create a YouTube account, go to www.youtube.com. Show favorites you’ve added to your account: In Favorites, tap Sign In, then enter your username and password to see your account favorites. Any existing favorites you’ve added to iPhone can be merged with your account favorites when you sign in. Delete a favorite: In Favorites, tap Edit, tap next to a video, then tap Delete. Show subscriptions you’ve added to your account: In Subscriptions, tap Sign In, then enter your username and password to see your account subscriptions. Tap an account in the list to see all videos for that account. Unsubscribe from a YouTube account: In Subscriptions, tap an account in the list, then tap Unsubscribe. View playlists: In Playlists, tap a playlist to see the list of videos you’ve added. Tap any video in the playlist to begin playing videos from that point in the playlist. Edit a playlist: In Playlists, tap Edit, then do one of the following: • To delete the entire playlist, tap next to a playlist, then tap Delete. • To create a new playlist, tap , then enter a name for the playlist. Add a video to a playlist: Tap next to a video, then tap “Add to Playlist” and choose a playlist. Delete a video from a playlist: 1 In Playlists, tap a playlist, then tap Edit. 2 Tap next to a playlist, then tap Delete. 110 Chapter 11 YouTubeChanging the Browse Buttons You can replace the Featured, Most Viewed, Bookmarks, and Search buttons at the bottom of the screen with ones you use more frequently. For example, if you watch top rated videos often but don’t watch many featured videos, you could replace the Featured button with Top Rated. Change the browse buttons: Tap More and tap Edit, then drag a button to the bottom of the screen, over the button you want to replace. You can drag the buttons at the bottom of the screen left or right to rearrange them. When you finish, tap Done. When you’re browsing for videos, tap More to access the browse buttons that aren’t visible. Sending Videos to YouTube If you have a YouTube account, you can send videos directly from iPhone 3GS to YouTube. See “Publishing Videos to YouTube” on page 101. Chapter 11 YouTube 111Stocks 12 Viewing Stock Quotes Stocks lets you see the latest available quotes for your selected stocks, funds, and indexes. Quotes are updated every time you open Stocks when connected to the Internet. Quotes may be delayed by up to 20 minutes or more depending upon the reporting service. Add a stock, fund, or index to the stock reader: 1 Tap , then tap . 2 Enter a symbol, company name, fund name, or index, then tap Search. 3 Select an item from the search results and tap Done. View charts in landscape orientation: Rotate iPhone sideways. Flick left or right to view the other charts in your stock reader. Show the progress of a stock, fund, or index over time: Tap the stock, fund, or index in your list, then tap 1d, 1w, 1m, 3m, 6m, 1y, or 2y. The chart adjusts to show progress over one day, one week, one month, three months, six months, one year, or two years. When you’re viewing a chart in landscape orientation, you can touch the chart to display the value for a specific point in time. 112Use two fingers to see the change in value over a specific period of time. Delete a stock: Tap and tap next to a stock, then tap Delete. Change the order of the list: Tap . Then drag next to a stock or index to a new place in the list. Switch the display to percentage change, price change, or market capitalization: Tap any of the values along the right side of the screen. Tap again to switch to another view. Or tap and tap %, Price, or Mkt Cap, then tap Done. Getting More Information See the summary, chart, or news page about a stock, fund, or index: Select the stock, fund, or index in your list, then flick the pages underneath the stock reader to view the summary, chart, or recent news page. On the news page, you can scroll up and down to read headlines, or tap a headline to view the article in Safari. See more information at Yahoo.com: Select the stock, fund, or index in your list, then tap . Chapter 12 Stocks 113Maps 13 Finding and Viewing Locations WARNING: For important information about driving and navigating safely, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Maps provides street maps, satellite photos, a hybrid view, and street views of locations in many of the world’s countries. You can get detailed driving, public transit, or walking directions and traffic information. Find and track your current (approximate) location, and use your current location to get driving directions to or from another place. The built-in digital compass lets you see which way you’re facing. (iPhone 3GS only). Important: Maps, digital compass (iPhone 3GS only), directions, and location-based applications provided by Apple depend on data collected and services provided by third parties. These data services are subject to change and may not be available in all geographic areas, resulting in maps, compass headings, directions, or locationbased information that may be unavailable, inaccurate, or incomplete. Compare the information provided on iPhone to your surroundings and defer to posted signs to resolve any discrepancies. In order to provide your location, data is collected in a form that doesn’t personally identify you. If you don’t want such data collected, don’t use the feature. Not using this feature won’t impact the non–location-based functionality of your iPhone. Find a location and see a map: 1 Tap the search field to bring up the keyboard. 2 Type an address, intersection, area, landmark, bookmark, contact, or zip code. 3 Tap Search. 114A pin marks the location. Tap the pin to see the name or description of the location. Tap to get information about the location, get directions, add the location to your bookmarks or contacts list, or email a link to Google Maps. Locations can include places of interest added by Google My Maps users (“Usercreated content”), and sponsored links that appear as special icons (for example, ). Zoom in to a part of a map Pinch the map with two fingers. Or double-tap the part you want to zoom in on. Double-tap again to zoom in even closer. Zoom out Pinch the map. Or tap the map with two fingers. Tap with two fingers again to zoom out further. Pan or scroll to another part of the map Drag up, down, left, or right. Find your current location and turn tracking mode on: Tap . Chapter 13 Maps 115Your current (approximate) location is indicated by a blue marker. If your location can’t be determined precisely, a blue circle also appears around the marker. The size of the circle depends on how precisely your location can be determined—the smaller the circle, the greater the precision. As you move around, iPhone updates your location, adjusting the map so that the location indicator remains in the center of the screen. If you tap again or drag the map, iPhone continues to update your location but stops centering it, so the location information may move off the screen. iPhone uses Location Services to determine your location. Location Services uses available information from cellular network data, local Wi-Fi networks (if you have Wi-Fi turned on), and GPS ( iPhone 3G or later; GPS not available in all locations). This feature isn’t available in all areas. If Location Services is turned off, you’ll be prompted to turn it on. You can’t find and track your current location if Location Services is turned off. See “Location Services” on page 144. To conserve battery life, turn Location Services off when you’re not using it. In Settings, choose General > Location Services. Get information about your current location: Tap the blue marker, then tap . iPhone displays the address of your current location, if available. You can use this information to: • Get directions • Add the location to contacts • Send the address via email or MMS (iPhone 3G or later) • Bookmark the location 116 Chapter 13 MapsShow which way you’re facing (iPhone 3GS only): Tap again. (The icon changes to .) Maps uses the built-in compass to determine which way you’re facing. The angle shows the accuracy of the compass reading—the smaller the angle, the greater the accuracy. Maps uses true north to determine your heading, even if you have magnetic north set in Compass. If the compass needs calibrating, iPhone asks you to wave the phone in a figure eight. If there’s interference, you may be asked to move from the source of interference. See Chapter 22,“Compass,” on page 173. Use the dropped pin: Tap , then tap Drop Pin. A pin drops down on the map, which you can then drag to any location you choose. Replace the pin: Tap , then tap Replace Pin. iPhone drops the pin in the area you’re currently viewing. Chapter 13 Maps 117See a satellite or hybrid view: Tap , then tap Satellite or Hybrid to see just a satellite view or a combined street map and satellite view. To return to map view, tap Map. See the Google Street View of a location: Tap . Flick left or right to pan through the 360° panoramic view. (The inset shows your current view.) Tap an arrow to move down the street. Tap to return to map view To return to map view, tap the map inset in the lower-right corner. Street View isn’t available in all areas. 118 Chapter 13 MapsSee the location of someone’s address in your contacts list Tap in the search field, then tap Contacts and choose a contact. To locate an address in this way, the contact must include at least one address. If the contact has more than one address, choose the one you want to locate. You can also find the location of an address by tapping the address directly in Contacts. Add a location to your contacts list Find a location, tap the pin that points to it, tap next to the name or description, tap “Add to Contacts,” then tap “Create New Contact” or “Add to Existing Contact.” Email a link to a Google Maps location Find a location, tap the pin that points to it, tap next to the name or description, then tap Share Location and tap Email. Send a link via MMS to a Google Maps location Find a location, tap the pin that points to it, tap next to the name or description, then tap Share Location and tap MMS (iPhone 3G or later). Bookmarking Locations You can bookmark locations that you want to find again later. Bookmark a location: Find a location, tap the pin that points to it, tap next to the name or description, then tap “Add to Bookmarks” at the bottom of the Info screen. See a bookmarked location or recently viewed location: Tap in the search field, then tap Bookmarks or Recents. Getting Directions You can get step-by-step directions for driving, taking public transit, or walking to a destination. Get directions: 1 Tap Directions. 2 Enter starting and ending locations in the Start and End fields. By default, iPhone starts with your current approximate location (if available). Tap in either field to choose a location in Bookmarks (including your current approximate location and the dropped pin, if available), Recents, or Contacts. For example, if a friend’s address is in your contacts list, you can tap Contacts and tap your friend’s name instead of having to type the address. To reverse the directions, tap . Chapter 13 Maps 1193 Tap Route (if you entered locations manually), then select driving ( ), public transit ( ), or walking ( ) directions. The travel options available depend on the route. 4 Do one of the following: • To view directions one step at a time, tap Start, then tap to see the next leg of the trip. Tap to go back. • To view all the directions in a list, tap , then tap List. Tap any item in the list to see a map showing that leg of the trip. Tap Route Overview to return to the overview screen. If you’re driving or walking, the approximate distance and travel time appear at the top of the screen. If traffic data is available, the driving time is adjusted accordingly. If you’re taking public transit, the overview screen shows each leg of the trip and the mode of transportation, including where you need to walk. The top of the screen shows the time of the bus or train at the first stop, the estimated arrival time, and the total fare. Tap to set your departure or arrival time, and to choose a schedule for the trip. Tap the icon at a stop to see the departure time for that bus or train, and to get a link to the transit provider’s website or contact info. When you tap Start and step through the route, detailed information about each leg of the trip appears at the top of the screen. You can also get directions by finding a location on the map, tapping the pin that points to it, tapping , then tapping Directions To Here or Directions From Here. Switch start and end points, for reverse directions: Tap . If you don’t see , tap List, then tap Edit. See recently viewed directions: Tap in the search field, then tap Recents. 120 Chapter 13 MapsShowing Traffic Conditions When available, you can show highway traffic conditions on the map. Show or hide traffic conditions: Tap , then tap Show Traffic or Hide Traffic. Highways are color-coded according to the flow of traffic: Green = more than 50 miles per hour Yellow = 25–50 miles per hour Gray = no data currently available Red = less than 25 miles per hour If you don’t see color-coded highways, you may need to zoom out to a level where you can see major roads, or traffic conditions may not be available for that area. Finding and Contacting Businesses Find businesses in an area: 1 Find a location—for example, a city and state or country, or a street address—or scroll to a location on a map. 2 Type the kind of business in the text field and tap Search. Pins appear for matching locations. For example, if you locate your city and then type “movies” and tap Search, pins mark movie theatres in your city. Tap the pin that marks a business to see its name or description. Find businesses without finding the location first: Type things like: • restaurants san francisco ca • apple inc new york Contact a business or get directions: Tap the pin that marks a business, then tap next to the name. From there, you can do the following: • Tap a phone number to call, an email address to send email to, or a web address to visit. • For directions, tap Directions To Here or Directions From Here. Chapter 13 Maps 121• To add the business to your contacts list, scroll down and tap “Create New Contact” or “Add to Existing Contact.” • Share the location of the business by email or text message See a list of the businesses found in the search: From the Map screen, tap List. Tap a business to see its location. Or tap next to a business to see its information. Get directions Visit website Tap to show contact info Call 122 Chapter 13 MapsWeather 14 Viewing Weather Summaries Tap Weather from the Home screen to get the current temperature and six-day forecast for one or more cities around the world. Six-day forecast Current temperature Current conditions Add and delete cities Number of cities stored Today’s high and low If the weather board is light blue, it’s daytime in that city—between 6:00 a.m. and 6:00 p.m. If the board is dark purple, it’s nighttime—between 6:00 p.m. and 6:00 a.m. Add a city: 1 Tap , then tap . 2 Enter a city name or zip code, then tap Search. 3 Choose a city in the search list. Switch to another city: Flick left or right, or tap to the left or right of the row of dots. The number of dots below the weather board shows how many cities are stored. Reorder cities: Tap , then drag next to a city to a new place in the list. 123Delete a city: Tap and tap next to a city, then tap Delete. Display temperature in Fahrenheit or Celsius: Tap , then tap °F or °C. Getting More Weather Information You can see a more detailed weather report, news and websites related to the city, and more. See information about a city at Yahoo.com: Tap . 124 Chapter 14 WeatherVoice Memos 15 Recording Voice Memos Voice Memos lets you use iPhone as a portable recording device using the built-in microphone, iPhone or Bluetooth headset mic, or supported external microphone. Note: External microphones must be designed to work with the iPhone headset jack or Dock Connector, such as Apple-branded earbuds or authorized third-party accessories marked with the Apple “Works with iPhone” logo. You can adjust the recording level by moving the microphone closer to or further away from what you’re recording. For better recording quality, the loudest level on the level meter should be between –3dB and 0 dB. Record button Audio level meter Go to voice memos 125Record a voice memo: 1 Tap to start recording. You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). 2 Tap to pause or to stop recording. You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Recordings using the built-in microphone are mono, but you can record stereo using an external stereo microphone. When you start a voice recording, iPhone makes a shutter sound. The sound isn’t played if you’ve set the Ring/Silent switch to silent. See “Sounds and the Ring/Silent Switch” on page 141. Note: In some regions, the sound effects for Voice Memos are played even if the Ring/ Silent switch is set to silent. To use other applications while recording your voice memo, you can lock iPhone or press the Home button. Play back a voice memo you just recorded: Tap . Listening to Voice Memos Scrubber bar Playhead Play a voice memo you’ve previously recorded: 1 Tap . Memos are listed in chronological order, with the most recent memo first. 2 Tap a memo, then tap . Tap to pause, then tap again to resume playback. Skip to any point in a memo: Drag the playhead along the scrubber bar. 126 Chapter 15 Voice MemosListen through the built-in speaker: Tap Speaker. Managing Voice Memos Delete a voice memo: Tap a memo in the list, then tap Delete. See more information: Tap next to the memo. The Info screen displays information about the length, recording time and date, and provides additional editing and sharing functions. Add a label to a memo: On the Info screen tap , then select a label in the list on the Label screen. To create a custom label, choose Custom at the bottom of the list, then type a name for the label. Chapter 15 Voice Memos 127Trimming Voice Memos You can trim the beginning or ending of a voice memo to eliminate unwanted pauses or noise. Trim a voice memo: 1 On the Voice Memos screen, tap next to the memo you want to trim. 2 Tap Trim Memo. 3 Using the time markers as a guide, drag the edges of the audio region to adjust the beginning and end of the voice memo. To preview your edit, tap . 4 Tap Trim Voice Memo. Important: Edits you make to voice memos can’t be undone. Sharing Voice Memos You can share your voice memos as attachments in email or MMS messages (iPhone 3G or later). Share a voice memo: 1 On the Voice Memos screen or Info screen, tap Share. 2 Choose Email Voice Memo to open a new message in Mail with the memo attached, or choose MMS to open a new message in Messages. A message appears if the file you’re trying to send is too large. 128 Chapter 15 Voice MemosSyncing Voice Memos iTunes automatically syncs voice memos to your iTunes library when you connect iPhone to your computer. This lets you listen to voice memos on your computer and provides a backup if you delete them from iPhone. Voice memos are synced to the Voice Memos playlist. iTunes creates the playlist if it doesn’t exist. When you sync voice memos to iTunes, they remain in the Voice Memos application until you delete them. If you delete a voice memo on iPhone, it isn’t deleted from the Voice Memos playlist in iTunes. However, if you delete a voice memo from iTunes, it is deleted from iPhone the next time you sync with iTunes. You can sync the iTunes Voice Memos playlist to the iPod application on iPhone using the Music pane in iTunes. Sync the Voice Memos playlist to iPhone: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 Select the Music tab. 4 Select the “Include voice memos” checkbox and click Apply. Chapter 15 Voice Memos 129Notes 16 Writing and Reading Notes Notes are listed in the order of the last modified date, with the most recently modified note at the top. You can see the first few words of each note in the list. Rotate iPhone to view notes in landscape orientation and type using a larger keyboard. Add a note: Tap , then type your note and tap Done. Read a note: Tap the note. Tap or to see the next or previous note. Edit a note: Tap anywhere on the note to bring up the keyboard. Delete a note: Tap the note, then tap . 130Searching Notes You can search the text of notes. Search for notes: 1 Drag the note list down or tap the status bar to expose the search window. 2 Enter text in the search field. Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. Emailing Notes Email a note: Tap the note, then tap . To email a note, iPhone must be set up for email. See “Setting Up Email Accounts” on page 59. Syncing Notes You can set up iTunes to automatically sync your notes with email applications such as Mac OS X Mail (requires Mac OS X version 10.5.7 or later) or Microsoft Outlook 2003 or 2007 on a PC. See “Syncing with iTunes” on page 12. Chapter 16 Notes 131Clock 17 World Clocks You can add clocks to show the time in other major cities and time zones around the world. View clocks: Tap World Clock. If the clock face is white, it’s daytime in that city. If the clock face is black, it’s nighttime. If you have more than four clocks, flick to scroll through them. Add a clock: 1 Tap World Clock. 2 Tap , then type the name of a city. Cities matching what you’ve typed appear below. 3 Tap a city to add a clock for that city. If you don’t see the city you’re looking for, try a major city in the same time zone. Delete a clock: Tap World Clock and tap Edit. Then tap next to a clock and tap Delete. Rearrange clocks: Tap World Clock and tap Edit. Then drag next to a clock to a new place in the list. 132Alarms You can set multiple alarms. Set each alarm to repeat on days you specify, or to sound only once. Set an alarm: 1 Tap Alarm and tap . 2 Adjust any of the following settings: • To set the alarm to repeat on certain days, tap Repeat and choose the days. • To choose the ringtone that sounds when the alarm goes off, tap Sound. • To set whether the alarm gives you the option to hit snooze, turn Snooze on or off. If Snooze is on and you tap Snooze when the alarm sounds, the alarm stops and then sounds again in ten minutes. • To give the alarm a description, tap Label. iPhone displays the label when the alarm sounds. If at least one alarm is set and turned on, appears in the iPhone status bar at the top of the screen. Important: Some carriers don’t support network time in all locations. If you’re traveling, iPhone alerts may not sound at the correct local time. See “Date and Time” on page 147. Turn an alarm on or off: Tap Alarm and turn any alarm on or off. If an alarm is turned off, it won’t sound again unless you turn it back on. If an alarm is set to sound only once, it turns off automatically after it sounds. You can turn it on again to reenable it. Change settings for an alarm: Tap Alarm and tap Edit, then tap next to the alarm you want to change. Delete an alarm: Tap Alarm and tap Edit, then tap next to the alarm and tap Delete. Stopwatch Use the stopwatch to time an event: 1 Tap Stopwatch. 2 Tap Start to start the stopwatch. • To record lap times, tap Lap after each lap. • To pause the stopwatch, tap Stop. Tap Start to resume. • To reset the stopwatch, tap Reset when the stopwatch is pause. If you start the stopwatch and go to another iPhone application, the stopwatch continues running in the background. Chapter 17 Clock 133Timer Set the timer: Tap Timer, then flick to set the number of hours and minutes. Tap Start to start the timer. Choose the sound: Tap When Timer Ends. Set a sleep timer: Set the timer, then tap When Timer Ends and choose Sleep iPod. When you set a sleep timer, iPhone stops playing music or video when the timer ends. If you start the timer and then switch to another iPhone application, the timer continues running. 134 Chapter 17 ClockCalculator 18 Using the Calculator Tap numbers and functions in Calculator just as you would with a standard calculator. When you tap the add, subtract, multiply, or divide button, a white ring appears around the button to let you know the operation to be carried out. Rotate iPhone to get an expanded scientific calculator. Standard Memory Functions • C: Tap to clear the displayed number. • MC: Tap to clear the memory. • M+: Tap to add the displayed number to the number in memory. If no number is in memory, tap to store the displayed number in memory. • M-: Tap to subtract the displayed number from the number in memory. • MR: Tap to replace the displayed number with the number in memory. If the button has a white ring around it, there is a number stored in memory. The stored number remains in memory when you switch between the standard and scientific calculators. 135Scientific Calculator Keys Rotate iPhone to landscape orientation to display the scientific calculator. 2nd Changes the trigonometric buttons (sin, cos, tan, sinh, cosh, and tanh) to their inverse functions (sin -1 , cos -1 , tan -1 , sinh -1 , cosh -1 , and tanh -1 ). It also changes ln to log2, and e x to 2 x . Tap 2nd again to return the buttons to their original functions. ( Opens a parenthetical expression. Expressions can be nested. ) Closes a parenthetical expression. % Calculates percentages, adds markups, and subtracts discounts. To calculate a percentage, use it with the multiplication (x) key. For example, to calculate 8% of 500, enter 500 x 8 % = which returns 40. To add a markup or subtract a discount, use it with the plus (+) or minus (–) key. For example, to compute the total cost of a $500 item with an 8% sales tax, enter 500 + 8 % = which returns 540. 1/x Returns the reciprocal of a value in decimal format. x 2 Squares a value. x 3 Cubes a value. y x Tap between values to raise the first value to the power of the second value. For example, to compute 3 4 , enter 3 y x 4 = which returns 81. x! Calculates the factorial of a value. v Calculates the square root of a value. x vy Use between values to calculate the x root of y. For example to compute 4 v81, enter 81 x vy 4 = which returns 3. 136 Chapter 18 Calculatorlog Returns the log base 10 of a value. sin Calculates the sine of a value. sin -1 Calculates the arc sine of a value. (Available when the 2nd button is tapped.) cos Calculates the cosine of a value. cos -1 Calculates the arc cosine of a value. (Available when the 2nd button is tapped.) tan Calculates the tangent of a value. tan -1 Calculates the arc tangent of a value. (Available when the 2nd button is tapped.) ln Calculates the natural log of a value. log2 Calculates the log base 2. (Available when the 2nd button is tapped.) sinh Calculates the hyperbolic sine of a value. sinh -1 Calculates the inverse hyperbolic sine of a value. (Available when the 2nd button is tapped.) cosh Calculates the hyperbolic cosine of a value. cosh -1 Calculates the inverse hyperbolic cosine of a value. (Available when the 2nd button is tapped.) tanh Calculates the hyperbolic tangent of a value. tanh -1 Calculates the inverse hyperbolic tangent of a value. (Available when the 2nd button is tapped.) e x Tap after entering a value to raise the constant “e” (2.718281828459045...) to the power of that value. 2 x Calculates 2 to the power of the displayed value. For example, 10 2 x = 1024. (Available when the 2nd button is tapped.) Rad Changes the mode to express trigonometric functions in radians. Deg Changes the mode to express trigonometric functions in degrees. p Enters the value of p (3.141592653589793...). EE An operator that multiplies the currently displayed value by 10 to the power of the next value you enter. Rand Returns a random number between 0 and 1. Chapter 18 Calculator 137Settings 19 Settings allows you to customize iPhone applications, set the date and time, configure your network connection, and enter other preferences for iPhone. Airplane Mode Airplane mode disables the wireless features of iPhone to avoid interfering with aircraft operation and other electrical equipment. Turn on airplane mode: Tap Settings and turn airplane mode on. When airplane mode is on, appears in the status bar at the top of the screen. No phone, radio, Wi-Fi, or Bluetooth signals are emitted from iPhone and GPS reception is turned off, disabling many of iPhone’s features. You won’t be able to: • Make or receive phone calls • Get visual voicemail • Send or receive email • Browse the Internet • Sync your contacts, calendars, or bookmarks (MobileMe only) with MobileMe or Microsoft Exchange • Send or receive text messages • Stream YouTube videos • Get stock quotes • Get map locations • Get weather reports • Use the iTunes Store or the App Store If allowed by the aircraft operator and applicable laws and regulations, you can continue to use iPhone to: • Listen to music and watch video 138• Listen to visual voicemail previously received • Check your calendar • Take or view pictures • Hear alarms • Use the stopwatch or timer • Use the calculator • Take notes • Record voice memos • Use Compass • Read text messages and email messages stored on iPhone Where allowed by the aircraft operator and applicable laws and regulations, you can turn Wi-Fi back on, enabling you to: • Send and receive email • Browse the Internet • Sync your contacts, calendars, and bookmarks (MobileMe only) with MobileMe and Microsoft Exchange • Stream YouTube videos • Get stock quotes • Get map locations • Get weather reports • Use the iTunes Store or the App Store Wi-Fi Wi-Fi settings determine whether iPhone uses local Wi-Fi networks to connect to the Internet. If no Wi-Fi networks are available, or you’ve turned Wi-Fi off, then iPhone connects to the Internet via your cellular data network, when available. You can use Mail, Safari, YouTube, Stocks, Maps, Weather, the iTunes Store, and the App Store over a cellular data network connection. Turn Wi-Fi on or off: Choose Wi-Fi and turn Wi-Fi on or off. Join a Wi-Fi network: Choose Wi-Fi, wait a moment as iPhone detects networks in range, then select a network. If necessary, enter a password and tap Join. (Networks that require a password appear with a lock icon.) Once you’ve joined a Wi-Fi network manually, iPhone automatically joins it whenever the network is in range. If more than one previously used network is in range, iPhone joins the one last used. Chapter 19 Settings 139When iPhone is joined to a Wi-Fi network, the Wi-Fi icon in the status bar at the top of the screen shows signal strength. The more bars you see, the stronger the signal. Set iPhone to ask if you want to join a new network: Choose Wi-Fi and turn “Ask to Join Networks” on or off. When you’re trying to access the Internet, by using Safari or Mail for example, and you aren’t in range of a Wi-Fi network you‘ve previously used, this option tells iPhone to look for another network. iPhone displays a list of all available Wi-Fi networks that you can choose from. (Networks that require a password appear with a lock icon.) If “Ask to Join Networks” is turned off, you must manually join a network to connect to the Internet when a previously used network or a cellular data network isn’t available. Forget a network, so iPhone doesn’t join it automatically: Choose Wi-Fi and tap next to a network you’ve joined before. Then tap “Forget this Network.” Join a closed Wi-Fi network: To join a Wi-Fi network that isn’t shown in the list of scanned networks, choose Wi-Fi > Other, then enter the network name. If the network requires a password, tap Security, tap the type of security the network uses, and enter the password. You must already know the network name, password, and security type to connect to a closed network. Some Wi-Fi networks may require you to enter or adjust additional settings, such as a client ID or static IP address. Ask the network administrator which settings to use. Adjust settings to connect to a Wi-Fi network: Choose Wi-Fi, then tap next to a network. VPN This setting appears when you have VPN configured on iPhone, allowing you to turn VPN on or off. See “Network” on page 143. Notifications This setting appears when you’ve installed an application from the App Store that uses the Apple Push Notification service. Push notifications are used by applications to alert you of new information, even when the application isn’t running. Notifications differ depending upon the application, but may include text or sound alerts, and a numbered badge on the application’s icon on the Home screen. You can turn notifications off if you don’t want to be notified or want to conserve battery life. Turn all notifications on or off: Tap Notifications and turn notifications on or off. 140 Chapter 19 SettingsTurn sounds, alerts, or badges on or off for an application: Tap Notifications, then choose an application from the list and choose the types of notification you want to turn on or off. Carrier This setting appears when you’re outside of your carrier’s network and other local carrier data networks are available to use for your phone calls, visual voicemail, and cellular network Internet connections. You can make calls only on carriers that have roaming agreements with your carrier. Additional fees may apply. Roaming charges may be billed to you by the carrier of the selected network, through your carrier. For information about out-of-network coverage and how to enable roaming, contact your carrier or go to your carrier’s website. Select a carrier: Choose Carrier and select the network you want to use. Once you select a network, iPhone uses only that network. If the network is unavailable, “No service” appears on the iPhone screen and you can’t make or receive calls or visual voicemail, or connect to the Internet via cellular data network. Set Network Settings to Automatic to have iPhone select a network for you. Sounds and the Ring/Silent Switch Switch between ring and silent mode: Flip the Ring/Silent switch on the side of iPhone. When set to silent, iPhone doesn’t play any ring, alert, or effects sounds. It does, however, play alarms set using Clock. Note: In some regions, the sound effects for Camera and Voice Memos are played even if the Ring/Silent switch is set to silent. Set whether iPhone vibrates when you get a call: Choose Sounds. To set whether iPhone vibrates in silent mode, turn Vibrate under Silent on or off. To set whether iPhone vibrates in ring mode, turn Vibrate under Ring on or off. Adjust the ringer and alerts volume: Choose Sounds and drag the slider. Or, if no song or video is playing and you aren’t on a call, use the volume buttons on the side of iPhone. Set the ringtone: Choose Sounds > Ringtone. Set alert and effects sounds: Choose Sounds and turn items on or off under Ring . When the Ring/Silent switch is set to ring, iPhone plays sounds for alerts and effects that are turned on. You can set iPhone to play a sound whenever you: • Get a call Chapter 19 Settings 141• Get a text message • Get a voicemail message • Get an email message • Send an email message • Have an appointment that you’ve set up to alert you • Lock iPhone • Type using the keyboard Brightness Screen brightness affects battery life. Dim the screen to extend the time before you need to recharge iPhone, or use Auto-Brightness. Adjust the screen brightness: Choose Brightness and drag the slider. Set whether iPhone adjusts screen brightness automatically: Choose Brightness and turn Auto-Brightness on or off. If Auto-Brightness is on, iPhone adjusts the screen brightness for current light conditions using the built-in ambient light sensor. Wallpaper You see a wallpaper background picture when you unlock iPhone. You can select one of the images that came with iPhone, or use a photo you’ve synced to iPhone from your computer. Set wallpaper: Choose Wallpaper and choose a picture. General The General settings include date and time, security, network, and other settings that affect more than one application. This is also where you can find information about your iPhone, and reset iPhone to its original state. About Choose General > About to get information about iPhone, including: • Name of your phone network • Number of songs, videos, and photos • Total storage capacity • Space available • Software version • Serial and model numbers • Wi-Fi and Bluetooth addresses 142 Chapter 19 Settings• IMEI (International Mobile Equipment Identity) and ICCID (Integrated Circuit Card Identifier, or Smart Card) numbers • Modem firmware version of the cellular transmitter • Legal information • Regulatory information Usage Show battery percentage: Tap Usage and turn Battery Percentage on to display the percentage of battery charge next to the battery icon in the upper-right corner of iPhone (iPhone 3GS only). See your usage statistics: Choose Usage. There, you can see: • Usage—Amount of time iPhone has been awake and in use since the last full charge. iPhone is awake whenever you’re using it—including making or receiving phone calls, using email, sending or receiving text messages, listening to music, browsing the web, or using any other iPhone features. iPhone is also awake while performing background tasks such as automatically checking for and retrieving email messages. • Standby—Amount of time iPhone has been powered on since its last full charge, including the time iPhone has been asleep. • Current period call time and lifetime call time. • Amount of data sent and received over the cellular data network. Reset your usage statistics: Tap Usage and tap Reset Statistics to clear the data and cumulative time statistics. The statistics for the amount of time iPhone has been unlocked and in standby mode aren’t reset. Network Use the Network settings to configure a VPN (virtual private network) connection, access Wi-Fi settings, or turn Data Roaming on or off. Enable or disable 3G: Tap to turn 3G on or off. Using 3G loads Internet data faster in some cases, but may decrease battery performance. If you’re making a lot of phone calls, you may want to turn 3G off to extend battery performance. Turn Data Roaming on or off: Choose General > Network, then turn Data Roaming on or off. Data Roaming turns on Internet and visual voicemail access over a cellular data network when you’re in an area not covered by your carrier’s network. For example, when you’re traveling, you can turn off Data Roaming to avoid potential roaming charges. By default, Data Roaming is turned off. Chapter 19 Settings 143Turn Internet Tethering on or off: Choose General > Network > Internet Tethering, then turn Internet Tethering on or off. Internet Tethering lets you share iPhone’s Internet connection with a computer connected via USB or Bluetooth (not available in all regions). Follow the onscreen instructions to complete the setup. Additional fees may apply. See “Using iPhone as a Modem” on page 42. Add a new VPN configuration: Choose General > Network > VPN > Add VPN Configuration. VPNs used within organizations allow you to communicate private information securely over a non-private network. You may need to configure VPN, for example, to access your work email on iPhone. iPhone can connect to VPNs that use the L2TP, PPTP, or Cisco IPSec protocols. VPN works over both Wi-Fi and cellular data network connections. Ask your network administrator which settings to use. In most cases, if you’ve set up VPN on your computer, you can use the same VPN settings for iPhone. Once you’ve entered VPN settings, a VPN switch appears in the Settings menu that you can use to turn VPN on or off. VPN may also be automatically set up by a configuration profile. See “Installing Configuration Profiles” on page 18. Change a VPN configuration: Choose General > Network > VPN and tap the configuration you want to update. Turn VPN on or off: Tap Settings and turn VPN on or off. Delete a VPN configuration: Choose General > Network > VPN, tap the blue arrow to the right of the configuration name, and tap Delete VPN at the bottom of the configuration screen. Bluetooth iPhone can connect wirelessly to Bluetooth devices such as headsets, headphones, and car kits for music listening and hands-free talking. See “Bluetooth Devices” on page 55. Turn Bluetooth on or off: Choose General > Bluetooth and turn Bluetooth on or off. Location Services Location Services allows applications such as Maps Camera, and Compass to gather and use data indicating your location. Location Services doesn’t correlate the data it collects with your personally identifiable information. Your approximate location is determined using available information from cellular network data, local Wi-Fi networks (if you have Wi-Fi turned on), and GPS (iPhone 3G or later; GPS may not be available in all locations). 144 Chapter 19 SettingsYou can turn Location Services off if you don’t want to use this feature. If you turn Location Services off, you’ll be prompted to turn it on again the next time an application tries to use this feature. Turn Location Services on or off: Choose General > Location Services and turn location services on or off. To conserve battery life, turn Location Services off when you’re not using it. Auto-Lock Locking iPhone turns off the display to save your battery and to prevent unintended operation of iPhone. You can still receive calls and text messages, and you can adjust the volume and use the mic button on the iPhone stereo headset when listening to music or on a call. Set the amount of time before iPhone locks: Choose General > Auto-Lock and choose a time. Passcode Lock By default, iPhone doesn’t require you to enter a passcode to unlock it. Set a passcode: Choose General > Passcode Lock and enter a 4-digit passcode, then enter the passcode again to verify it. iPhone then requires you to enter the passcode to unlock it or to display the passcode lock settings. Turn passcode lock off: Choose General > Passcode Lock, enter your passcode, and tap Turn Passcode Off, then enter your passcode again. Change the passcode: Choose General > Passcode Lock, enter your passcode, and tap Change Passcode. Enter your passcode again, then enter and reenter your new passcode. If you forget your passcode, you must restore the iPhone software. See “Updating and Restoring iPhone Software” on page 204. Set how long before your passcode is required: Choose General > Passcode Lock and enter your passcode. Tap Require Passcode, then select how long iPhone can be idle before you need to enter a passcode to unlock it. Turn Voice Dial on or off: Choose General > Passcode Lock and turn Voice Dial on or off. Erase data after ten failed passcode attempts: Choose General > Passcode Lock, enter your passcode, and tap Erase Data to turn it on. After ten failed passcode attempts, your settings are reset to their defaults and all your information and media is erased: • On iPhone 3GS: by removing the encryption key to the data (which is encrypted using 256-bit AES encryption) • On iPhone and iPhone 3G: by overwriting the data Chapter 19 Settings 145Important: You can’t use iPhone while data is being overwritten. This can take up to two hours or more, depending on the model and storage capacity of your iPhone. (On iPhone 3GS, the removal of the encryption key is immediate.) Restrictions You can set restrictions for the use of some applications and for iPod content on iPhone. For example, parents can restrict explicit music from being seen on playlists, or turn off YouTube access entirely. Turn on restrictions: 1 Choose General > Restrictions, then tap Enable Restrictions. 2 Enter a four-digit passcode. 3 Reenter the passcode. Turn off restrictions: Choose General > Restrictions, then enter the passcode. Tap Disable Restrictions, then reenter the passcode. If you forget your passcode, you must restore your iPhone software from iTunes. See “Updating and Restoring iPhone Software” on page 204. Set application restrictions: Set the restrictions you want by tapping individual controls on or off. By default, all controls are on (not restricted). Tap an item to turn it off and restrict its use. Safari is disabled and its icon is removed from the Home screen. You cannot use Safari to browse the web or access web clips. Other third-party applications may allow web browsing even if Safari is disabled. YouTube is disabled and its icon is removed from the Home screen. The iTunes Store is disabled and its icon is removed from the Home screen. You cannot preview, purchase, or download content. The App Store is disabled and its icon is removed from the Home screen. You cannot install applications on iPhone. Camera is disabled and its icon is removed from the Home screen. You cannot take pictures. Location data isn’t provided to applications. Restrict purchases within applications: Turn In-App Purchases off. When enabled, this feature allows you to purchase additional content or features within applications downloaded from the App Store. Set content restrictions: Tap Ratings For, then select a country from the list. You can then set restrictions using that country’s ratings system for the following categories of content: 146 Chapter 19 Settings• Music & Podcasts • Movies • TV Shows • Apps In the United States for example, to allow only movies rated PG or below, tap Movies, then select PG from the list. Note: Not all countries have rating systems. Home Choose General > Home to set preferences for double-clicking the Home button and searching categories on the Spotlight page. You can set iPhone so that double-clicking the Home button goes to the Home screen, Search, Phone Favorites, Camera, or iPod. Set whether double-clicking the Home button shows iPod controls: Turn on iPod Controls to display iPod controls when you’re playing music and double-click the Home button. This feature works even when the display is turned off or iPhone is locked. Set what categories appear in search results: Tap Search Results. All search categories in the list are selected by default. Tap an item to deselect it. Set the order of search result categories: Tap Search Results, then drag next to a search category to a new place in the list. Date and Time These settings apply to the time shown in the status bar at the top of the screen, and in world clocks and calendars. Set whether iPhone shows 24-hour time or 12-hour time: Choose General > Date & Time and turn 24-Hour Time on or off. (Not available in all countries.) Set whether iPhone updates the date and time automatically: Choose General > Date & Time and turn Set Automatically on or off. If iPhone is set to update the time automatically, it gets the correct time over the cellular network, and updates it for the time zone you’re in. Some carriers don’t support network time in all locations. If you’re traveling, iPhone may not be able to automatically set the local time. Set the date and time manually: Choose General > Date & Time and turn Set Automatically off. Tap Time Zone and enter the name of a major city in your time zone. Tap the “Date & Time” return button, then tap “Set Date & Time” and enter the date and time. Chapter 19 Settings 147Keyboard Turn Auto-Correction on or off: Choose General > Keyboard and turn Auto-Correction on or off. By default, if the default keyboard for the language you select has a dictionary, iPhone automatically suggests corrections or completed words as you type. Turn Auto-Capitalization on or off: Choose General > Keyboard and turn AutoCapitalization on or off. By default, iPhone automatically capitalizes words after you type sentence-ending punctuation or a return character. Set whether caps lock is enabled: Choose General > Keyboard and turn Enable Caps Lock on or off. If caps lock is enabled and you double-tap the Shift key on the keyboard, all letters you type are uppercase. The Shift key turns blue when caps lock is on. Turn the “.” shortcut on or off: Choose General > Keyboard and turn “.” Shortcut on or off. The “.” shortcut lets you double-tap the space bar to enter a period followed by a space when you’re typing. It’s on by default. Turn international keyboards on or off: Choose General > Keyboards > International Keyboards and turn on the keyboards you want. If more than one keyboard is turned on, tap to switch keyboards when you’re typing. When you tap the symbol, the name of the newly active keyboard appears briefly. See “International Keyboards” on page 35. International Use International settings to set the language for iPhone, turn keyboards for different languages on or off, and set the date, time, and telephone number formats for your region. Set the language for iPhone: Choose General > International > Language, choose the language you want to use, then tap Done. Set the Voice Control language for iPhone: Choose General > International > Voice Control, then choose the language you want to use (available only on iPhone 3GS). Turn international keyboards on or off: Choose General > International > Keyboards, and turn on the keyboards you want. If more than one keyboard is turned on, tap to switch keyboards when you’re typing. When you tap the symbol, the name of the newly active keyboard appears briefly. See “International Keyboards” on page 35. Set date, time, and telephone number formats: Choose General > International > Region Format, and choose your region. 148 Chapter 19 SettingsThe Region Format also determines the language used for the days and months that appear in native iPhone applications. Accessibility To turn on accessibility features (available only on iPhone 3GS), choose Accessibility and choose the features you want. See Chapter 25,“Accessibility,” on page 182. Resetting iPhone Reset all settings: Choose General > Reset and tap Reset All Settings. All your preferences and settings are reset. Information, such as your contacts and calendars, and media, such as your songs and videos, aren’t deleted. Erase all content and settings: Connect iPhone to your computer or a power adapter. Choose General > Reset and tap “Erase All Content and Settings.” This resets all settings to their defaults and erases all your information and media: • On iPhone 3GS: by removing the encryption key to the data (which is encrypted using 256-bit AES encryption) • On iPhone and iPhone 3G: by overwriting the data Important: You can’t use iPhone while data is being overwritten. This can take up to two hours or more, depending on the model and storage capacity of your iPhone. (On iPhone 3GS, the removal of the encryption key is immediate.) Reset network settings: Choose General > Reset and tap Reset Network Settings. When you reset network settings, your list of previously used networks and VPN settings not installed by a configuration profile are removed. Wi-Fi is turned off and then back on, disconnecting you from any network you’re on. The Wi-Fi and “Ask to Join Networks” settings are left turned on. To remove VPN settings installed by a configuration profile, choose Settings > General > Profile, then select the profile and tap Remove. Reset the keyboard dictionary: Choose General > Reset and tap Reset Keyboard Dictionary. You add words to the keyboard dictionary by rejecting words iPhone suggests as you type. Tap a word to reject the correction and add the word to the keyboard dictionary. Resetting the keyboard dictionary erases all words you’ve added. Reset the Home screen layout: Choose General > Reset and tap Reset Home Screen Layout. Reset the location warnings: Choose General > Reset and tap Reset Location Warnings. Chapter 19 Settings 149Location warnings are the requests made by applications (such as Camera, Compass, and Maps) to use Location Services with those applications. iPhone stops presenting the warning for an application the second time you tap OK. Tap Reset Location Warnings to resume the warnings. Mail, Contacts, Calendars Use Mail, Contacts, Calendars settings to set up and customize accounts for iPhone: • Microsoft Exchange • MobileMe • Google email • Yahoo! Mail • AOL • Other POP and IMAP mail systems • LDAP accounts for Contacts • CalDAV or iCalendar (.ics) accounts for Calendars Accounts The Accounts section lets you set up accounts on iPhone. The specific settings that appear depend on the type of account you’re setting up. Your service provider or system administrator should be able to provide the information you need to enter. For more information, see: • “Setting Up Accounts” on page 16 • “Adding Contacts” on page 176 • “Subscribing to and Sharing Calendars” on page 93 Change an account’s settings: Choose “Mail, Contacts, Calendars,” choose an account, then make the changes you want. Changes you make to an account’s settings on iPhone are not synced to your computer, so you can configure your accounts to work with iPhone without affecting the account settings on your computer. Stop using an account: Choose “Mail, Contacts, Calendars,” choose an account, then turn Account off. If an account is off, iPhone doesn’t display the account and doesn’t send or check email from or sync other information with that account, until you turn it back on. Adjust advanced settings: Choose “Mail, Contacts, Calendars,” choose an account, then do one of the following: 150 Chapter 19 Settings• To set whether drafts, sent messages, and deleted messages are stored on iPhone or remotely on your email server (IMAP accounts only), tap Advanced and choose Drafts Mailbox, Sent Mailbox, or Deleted Mailbox. If you store messages on iPhone, you can see them even when iPhone isn’t connected to the Internet. • To set how long before messages are removed permanently from Mail on iPhone, tap Advanced and tap Remove, then choose a time: Never, or after one day, one week, or one month. • To adjust email server settings, tap Host Name, User Name, or Password under Incoming Mail Server or Outgoing Mail Server. Ask your network administrator or Internet service provider for the correct settings. • To adjust SSL and password settings, tap Advanced. Ask your network administrator or Internet service provider for the correct settings. Delete an account from iPhone: Choose “Mail, Contacts, Calendars,” choose an account, then scroll down and tap Delete Account. Deleting an account means you can no longer access the account with your iPhone. All email and the contacts, calendar, and bookmark information synced with the account are removed from iPhone. However, deleting an account doesn’t remove the account or its associated information from your computer. Fetch New Data This setting lets you turn Push on or off for MobileMe, Microsoft Exchange, Yahoo! Mail, and any other push accounts you’ve configured on iPhone. Push accounts automatically deliver new information to iPhone when new information appears on the server (some delays may occur). You might want to turn Push off to suspend delivery of email and other information, or to conserve battery life. When Push is off, and with accounts that don’t support push, data can still be fetched—that is, iPhone can check with the server and see if new information is available. Use the Fetch New Data setting to determine how often data is requested. For optimal battery life, don’t fetch too frequently. Turn Push on: Choose “Mail, Contacts, Calendars” > Fetch New Data, then tap to turn Push on. Set the interval to fetch data: Choose “Mail, Contacts, Calendars” > Fetch New Data, then choose how often you want to fetch data for all accounts. To conserve battery life, fetch less frequently. Setting Push to OFF or setting Fetch to Manually in the Fetch New Data screen overrides individual account settings. Chapter 19 Settings 151Mail The Mail settings, except where noted, apply to all accounts you’ve set up on iPhone. To turn alerts sounds for new or sent mail on or off, use the Sounds settings. Set the number of messages shown on iPhone: Choose “Mail, Contacts, Calendars” > Show, then choose a setting. Choose to see the most recent 25, 50, 75, 100, or 200 messages. To download additional messages when you’re in Mail, scroll to the bottom of your inbox and tap Load More Messages. Note: For Microsoft Exchange accounts, choose “Mail, Contacts, Calendars” and choose the Exchange account. Tap “Mail days to sync” and choose the number of days of mail you want to sync with the server. Set how many lines of each message are previewed in the message list: Choose “Mail, Contacts, Calendars” > Preview, then choose a setting. You can choose to see up to five lines of each message. That way, you can scan a list of messages in a mailbox and get an idea of what each message is about. Set a minimum font size for messages: Choose “Mail, Contacts, Calendars” > Minimum Font Size, then choose Small, Medium, Large, Extra Large, or Giant. Set whether iPhone shows To and Cc labels in message lists: Choose “Mail, Contacts, Calendars,” then turn Show To/Cc Label on or off. If Show To/Cc Label is on, To or Cc next to each message in a list indicates whether the message was sent directly to you or you received a copy. Set whether iPhone confirms that you want to delete a message: Choose “Mail, Contacts, Calendars” and turn Ask Before Deleting on or off. If Ask Before Deleting is on, to delete a message you must tap , then confirm by tapping Delete. Set whether iPhone automatically loads remote images: Choose “Mail, Contacts, Calendars” and turn Load Remote Images on or off. If Load Remote Images is off, you can load images manually when reading a message. Set whether iPhone sends you a copy of every message you send: Choose “Mail, Contacts, Calendars,” then turn Always Bcc Myself on or off. Set the default email account: Choose “Mail, Contacts, Calendars” > Default Account, then choose an account. This setting determines which of your accounts a message is sent from when you create a message from another iPhone application, such as sending a photo from Photos or tapping the email address of a business in Maps. To send the message from a different account, tap the From field in the message and choose another account. Add a signature to your messages: Choose “Mail, Contacts, Calendars” > Signature, then type a signature. 152 Chapter 19 SettingsYou can set iPhone to add a signature—your favorite quote, or your name, title, and phone number, for example—to the bottom of every message you send. Contacts Set how contacts are sorted: Choose “Mail Contacts, Calendars,” then under Contacts tap Sort Order and do one of the following: • To sort by first name first, tap First, Last. • To sort by last name first, tap Last, First. Set how contacts are displayed: Choose “Mail Contacts, Calendars,” then under Contacts tap Display Order and do one of the following: • To show first name first, tap First, Last. • To show last name first, tap Last, First. Import contacts from a SIM: Choose “Mail, Contacts, Calendars,” then tap Import SIM Contacts. The contact information on the SIM is imported to iPhone. If you have Contacts enabled for both MobileMe and Microsoft Exchange, you’re prompted to choose which account you want to add the SIM contacts to. Calendar Set alerts to sound when your receive meeting invitation: Choose “Mail, Contacts, Calendars,” and under Calendar tap “New Invitation Alerts” to turn it on. Set how far back in the past to show your calendar events on iPhone: Choose “Mail, Contacts, Calendars” > Sync, then choose a period of time. Turn on Calendar time zone support: Choose “Mail, Contacts, Calendars” > Time Zone Support, then turn Time Zone Support on. Select a time zone for calendars by tapping Time Zone and entering the name of a major city. When Time Zone Support is on, Calendar displays event dates and times in the time zone of the city you selected. When Time Zone Support is off, Calendar displays events in the time zone of your current location as determined by the network time. Important: Some carriers don’t support network time in all locations. If you’re traveling, iPhone may not display events or sound alerts at the correct local time. To manually set the correct time, see “Date and Time” on page 147. Phone Use Phone settings to forward incoming calls, turn call waiting on or off, change your password, and other things. Additional fees may apply. Contact your carrier for pricing and availability. Chapter 19 Settings 153Calling from Abroad Set iPhone to add the correct prefix when dialing from another country: In Settings, tap Phone, then turn International Assist on. This lets you make calls to your home country using the numbers in your contacts and favorites, without having to add a prefix or your country code. International Assist works for U.S. telephone numbers only. For more information, see “Using iPhone Abroad” on page 56. Call Forwarding You can set iPhone to forward incoming calls to another number. For example, you may be on vacation and want all calls to go somewhere else. If you’re going to an area with no cellular coverage, you may want to forward calls to a place where you can be reached. Set iPhone to forward your calls: 1 Choose Phone > Call Forwarding and turn Call Forwarding on. 2 Tap Forwarding To and enter the phone number you want calls forwarded to. When Call Forwarding is on, an icon appears in the status bar the top of the screen. You must be in range of the cellular network when you set iPhone to forward calls, or calls won’t be forwarded. Call Waiting Activate or deactivate call waiting: Choose Phone > Call Waiting, then turn Call Waiting on or off. If you turn call waiting off and someone calls you when you’re already on the phone, the call goes to voicemail. Show My Caller ID Show or hide your caller ID: Choose Phone > Show My Caller ID, then turn Show My Caller ID on or off. If Show My Caller ID is off, people you call can’t see your name or phone number on their phone. Using iPhone with a Teletype (TTY) Machine In some regions, Teletype (TTY) machines are used by deaf or hearing-impaired people to communicate by typing and reading text. You can use iPhone with a TTY machine if you have the iPhone TTY Adapter cable, available for purchase separately in many countries. Go to www.apple.com/store (not available in all countries). Connect iPhone to a TTY machine: Choose Phone, then turn TTY on. Then connect iPhone to your TTY machine using the iPhone TTY Adapter. For information about using a TTY machine, see the documentation that came with the machine. 154 Chapter 19 SettingsFor more information about other accessibility features of iPhone, go to Chapter 25,“Accessibility,” on page 182. Changing Your Voicemail Password A voicemail password helps prevent others from access your voicemail. You need to enter the password only when you’re calling in to get your messages from another phone. You won’t need to enter the password when using voicemail on iPhone. Change your voicemail password: Choose Phone > Change Voicemail Password. Locking Your SIM Card You can lock your SIM card, so it can’t be used without a Personal Identification Number (PIN). You must enter the PIN each time you turn iPhone off and turn it back on again. Some carriers require a SIM PIN in order to use iPhone. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. Some cellular networks may not accept an emergency call from iPhone if the SIM is locked. Turn the SIM PIN on or off: 1 Choose Phone > SIM PIN, then turn SIM PIN on or off. 2 Enter your PIN to confirm. Use the PIN assigned by your carrier, or your carrier’s default PIN. Change the PIN for your SIM card: 1 Choose Phone > SIM PIN. 2 Turn SIM PIN on, then tap Change PIN. 3 Enter your current PIN, then enter your new PIN. 4 Enter your new PIN again to confirm, then tap Done. Accessing Your Carrier’s Services Depending on your carrier, you may be able to access some of your carrier’s services directly from iPhone. For example, you may be able to check your bill balance, call directory assistance, and view how many minutes you have left. Access your carrier’s services: Choose Phone. Then scroll down and tap the button for your carrier’s services. When you request information such as your bill balance, your carrier may provide the information in a text message. Contact your carrier to find out if there are any charges for these services. Chapter 19 Settings 155Safari Safari settings let you select your Internet search engine, set security options, and for developers, turn on debugging. General You can use Google or Yahoo! to perform Internet searches. Select a search engine: Choose Safari > Search Engine and select the search engine you want to use. You can set Safari to automatically fill out web forms using contact information, names and passwords you previously entered, or both. Enable AutoFill: Choose Safari > AutoFill, then do one of the following: • To use information from contacts, turn Use Contact Info on, then choose My Info and select the contact you want to use. Safari uses information from Contacts to fill in contact fields on web forms. • To use information from names and passwords, turn Names & Passwords on. When this feature is on, Safari remembers names and passwords of websites you visit and automatically fills in the information when you revisit the website. • To remove all AutoFill information, tap Clear All. Security By default, Safari is set to show features of the web, such as some movies, animation, and web applications. You may wish to change security settings to help protect iPhone from possible security risks on the Internet. Change security settings: Choose Safari, then do one of the following: • To set whether you’re warned when visiting potentially fraudulent websites, turn Fraud Warning on or off. Fraud warning protects you from potentially fraudulent Internet sites. When you visit a suspicious site, Safari warns you about its suspect nature and doesn’t load the page. • To enable or disable JavaScript, turn JavaScript on or off. JavaScript lets web programmers control elements of the page—for example, a page that uses JavaScript might display the current date and time or cause a linked page to appear in a new pop-up page. • To enable or disable plug-ins, turn Plug-ins on or off. Plug-ins allow Safari to play some types of audio and video files and to display Microsoft Word files and Microsoft Excel documents. • To block or allow pop-ups, turn Block Pop-ups on or off. Blocking pop-ups stops only pop-ups that appear when you close a page or open a page by typing its address. It doesn’t block pop-ups that open when you tap a link. 156 Chapter 19 Settings• To set whether Safari accepts cookies, tap Accept Cookies and choose Never, “From visited,” or Always. A cookie is a piece of information that a website puts on iPhone so the website can remember you when you visit again. That way, webpages can be customized for you based on information you may have provided. Some pages won’t work correctly unless iPhone is set to accept cookies. • To clear the history of webpages you’ve visited, tap Clear History. • To clear all cookies from Safari, tap Clear Cookies. • To clear the browser cache, tap Clear Cache. The browser cache stores the content of pages so the pages open faster the next time you visit them. If a page you open doesn’t show new content, clearing the cache may help. Developer The debug console can help you resolve webpage errors. If it’s turned on, the console appears automatically when a webpage error occurs. Turn the debug console on or off: Choose Safari > Developer, and turn Debug Console on or off. Messages Use Messages settings to adjust settings for SMS and MMS messages. Note: MMS is available only on iPhone 3G or later. The MMS Messaging and Show Subject Field settings doesn’t appear if MMS isn’t supported by your carrier. Choose whether or not to see a preview of messages on the Home screen: Choose Messages and turn Show Preview on or off. Choose whether or not to repeat message alerts: Choose Messages and turn Repeat Alert on or off. If you ignore a message alert, you’ll be alerted two more times. Turn MMS messaging on or off: Choose Messages and turn MMS Messaging on or off. If MMS messaging is turned off, you won’t be able to receive MMS file attachments such as images or audio. Show a subject line for messages you send or receive: Choose Messages and turn Show Subject Field on. Chapter 19 Settings 157iPod Use iPod Settings to adjust settings for music and video playback on your iPod. Music The Music settings apply to songs, podcasts, and audiobooks. Turn Shake to Shuffle on or off: Choose iPod, then turn Shake to Shuffle on or off. When Shake to Shuffle is on, you can shake iPhone to turn shuffle on and immediately change the currently playing song. Set iTunes to play songs at the same sound level: In iTunes, choose iTunes > Preferences if you’re using a Mac, or Edit > Preferences if you’re using a PC, then click Playback and select Sound Check. Set iPhone to use the iTunes volume settings (Sound Check): Choose iPod and turn Sound Check on. Use the equalizer to customize the sound on iPhone: Choose iPod > EQ and choose a setting. Set a volume limit for music and videos: Choose iPod > Volume Limit and drag the slider to adjust the maximum volume. Tap Lock Volume Limit to assign a code to prevent the setting from being changed. Setting a volume limit only limits the volume of music (including podcasts and audiobooks) and videos (including rented movies), and only when headphones, earphones, or speakers are connected to the headset jack on iPhone. WARNING: For important information about avoiding hearing loss, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Video Video settings apply to video content, including rented movies. You can set where to resume playing videos that you previously started, turn closed captioning on or off, and set up iPhone to play videos on your TV. Set where to resume playing: Choose iPod > Start Playing, then select whether you want videos that you previously started watching to resume playing from the beginning or where you left off. Turn closed captioning on or off: Choose iPod and turn Closed Captioning on or off. 158 Chapter 19 SettingsTV Out Use these settings to set up how iPhone plays videos on your TV. For more information about using iPhone to play videos on your TV, see “Watching Videos on a TV” on page 84. Turn widescreen on or off: Choose iPod and turn Widescreen on or off. Set TV signal to NTSC or PAL: Choose iPod > TV Signal and select NTSC or PAL. NTSC and PAL are TV broadcast standards. NTSC displays 480i and PAL displays 576i. Your TV might use either of these, depending on where you bought it. If you’re not sure which to use, check the documentation that came with your TV. Photos Use Photos settings to specify how slideshows display your photos. Set the length of time each slide is shown: Choose Photos > Play Each Slide For and select the length of time. Set a transition effect: Choose Photos > Transition and select a transition effect. Set whether to repeat slideshows: Choose Photos and turn Repeat on or off. Set photos to appear randomly or in order: Choose Photos and turn Shuffle on or off. Store Use Store settings to change or create an iTunes Store account. By default, the iTunes account you’re signed in to when you sync iPhone with your computer appears in Store settings. You can change accounts on iPhone to purchase music or applications from another account. If you don’t have an iTunes account, you can create one in Store settings. Sign in to an account: Choose Store and tap Sign in, then enter your user name and password. View your iTunes Store account information: Choose Store and tap View Account, then type your password and follow the onscreen instructions. Sign in to a different account: Choose Store and tap Sign out, then tap Sign in and enter your username and password. Create a new account: Choose Store and tap Create New Account, then follow the onscreen instructions. Nike + iPod Use Nike + iPod settings to activate and adjust settings for the Nike + iPod application (iPhone 3GS only). See Chapter 24,“Nike + iPod,” on page 180. Chapter 19 Settings 159iTunes Store 20 About the iTunes Store You can search for, browse, preview, purchase, and download music, ringtones, audiobooks, TV shows, movies, and music videos from the iTunes Store directly to iPhone. You can listen to audio or watch video podcasts from the iTunes Store, either by streaming them from the Internet or by downloading them directly to iPhone. Note: The iTunes Store is not available in all regions, and iTunes Store content may vary across regions. To access the iTunes Store, iPhone must be connected to the Internet. See “Connecting to the Internet” on page 40. To purchase songs or write reviews, you need an iTunes Store account. By default, iPhone gets your iTunes Store account settings from iTunes. If you don’t have an iTunes Store account, or if you want to make purchases from another iTunes Store account, go to Settings > Store. See “Store” on page 159. You don’t need an iTunes Store account to play or download podcasts. 160Finding Music, Videos, and More Browse content: Tap Music, Videos, Ringtones, or Podcasts. Or tap More to browse by Audiobooks, iTunes U, or Downloads. Choose a sorting method at the top of the screen to browse by lists such as Featured, Top Tens, or Genres. Search for content: Tap Search, tap the search field and enter one or more words, then tap Search. Search results are grouped by category, such as Movies, Albums, or Podcasts. Tap an item in a list to see more details on its Info screen. You can read reviews, write your own review, or email a link about the item to a friend. Depending on the item, you can also buy, download, or rent it. Note: If you join a Starbucks Wi-Fi network in a select Starbucks location (available in the U.S. only), the Starbucks icon appears at the bottom of the screen. You can preview and purchase the currently playing and other songs from featured Starbucks Collections. Chapter 20 iTunes Store 161Purchasing Ringtones You can preview and purchase ringtones from the iTunes Store and download them to iPhone. Note: Ringtones may not be available in all countries. Browse for ringtones: Tap Ringtones or use Search to find a specific song in the iTunes Store. Preview a ringtone: Tap the item to preview. Double-tap the item for more information. Purchase and download ringtones: 1 Tap the price, then tap Buy Now. 2 Sign in to your account as requested, then tap OK. When you purchase a ringtone, you can set it as your default ringtone, or assign it to a contact. If you don’t have an iTunes Store account, tap Create New Account to set one up. Your purchase is charged to your iTunes Store account. For additional purchases made within the next fifteen minutes, you don’t have to enter your password again. You can change your default ringtone or assign individual ringtones to contacts in Settings > Sounds. See “Sounds and the Ring/Silent Switch” on page 141. Ringtones you purchase on iPhone are synced to your iTunes library when you connect iPhone to your computer. You can sync purchased ringtones to more than one iPhone, if they’re all synced to the same account you used to purchase the ringtones. You can’t edit ringtones you purchase from the iTunes Store. You can create custom ringtones in Garage Band. For information, see Garage Band Help. Purchasing Music or Audiobooks When you find a song, album, or audiobook you like in the iTunes Store, you can purchase and download it to iPhone. You can preview an item before you purchase it to make sure it’s what you want. Preview a song or audiobook: Tap the item. Purchase and download a song, album, or audiobook: 1 Tap the price, then tap Buy Now. 2 Sign in to your account as requested, then tap OK. If you don’t have an iTunes Store account, tap Create New Account to set one up. 162 Chapter 20 iTunes StoreYour purchase is charged to your iTunes Store account. For additional purchases made within the next fifteen minutes, you don’t have to enter your password again. An alert appears if you’ve previously purchased one or more songs from an album. Tap Buy if you want to purchase the entire album including the songs you’ve already purchased, or tap Cancel if you want to purchase any remaining songs individually. Some albums include bonus content, which is downloaded to your iTunes library on your computer. Not all bonus content is downloaded directly to iPhone. Once you purchase an item it begins downloading and appears in the Downloads screen. See “Checking Download Status” on page 165. Purchased songs are added to a Purchased playlist on iPhone. If you delete the Purchased playlist, iTunes creates a new one when you buy an item from the iTunes Store. You can redeem iTunes Store gift cards, gift certificates, or other promotional codes to make purchases. When you’re signed in to your account, your remaining store credit appears with your account information at the bottom of most iTunes Store screens. Enter a redemption code: Tap Music, then tap Redeem at the bottom of the screen and follow the onscreen instructions. Purchasing or Renting Videos When you find a movie, TV show, or music video you like in the iTunes Store, you can purchase and download it to iPhone. You can purchase movies and TV shows in standard (480p) or high definition (720p) format. When you purchase a high-definition video on iPhone, a standard definition version compatible with iPod and iPhone immediately downloads for viewing. The high definition version appears in iTunes on your computer in the Downloads queue. You must be signed in to your iTunes Store account on your computer to view and download items from the Downloads queue. Rented movies are available in standard definition only (not available in all regions). See “Watching Rented Movies” on page 83. Preview a video: Tap Preview. Purchase or rent a video: 1 Tap Buy or Rent. 2 Sign in to your account as requested, then tap OK. If you don’t have an iTunes Store account, tap Create New Account to set one up. Your purchase is charged to your iTunes Store account. For additional purchases made within the next fifteen minutes, you don’t have to enter your password again. Chapter 20 iTunes Store 163Once you purchase an item it begins downloading and appears in the Downloads screen. Rented movies won’t begin playing until the download completes. See “Checking Download Status” on page 165. Purchased videos are added to a Purchased playlist on iPhone. If you delete the Purchased playlist, iTunes creates a new one the next time you buy an item from the iTunes Store. You can redeem iTunes Store gift cards, gift certificates, or other promotional codes to make purchases. When you’re signed in to your account, your remaining store credit appears with your account information at the bottom of most iTunes Store screens. Enter a redemption code: Tap Music, then tap Redeem at the bottom of the screen and follow the onscreen instructions. Streaming or Downloading Podcasts You can listen to audio podcasts or watch video podcasts streamed over the Internet from the iTunes Store. You can also download audio and video podcasts to iPhone. Podcasts you download to iPhone are synced to your iTunes library when you connect iPhone to your computer. Tap Podcasts to browse podcasts in the iTunes Store. To see a list of episodes, tap a podcast. Video podcasts are indicated by the icon. Stream a podcast: Tap the podcast title. Download a podcast: Tap the Free button, then tap Download. Downloaded podcasts appear in the Podcasts list in iPod. Listen to or watch a podcast you’ve downloaded: In iPod, tap Podcasts at the bottom of the screen (you may need to tap More first), then tap the podcast. Video podcasts also appear in your list of videos. Get more episodes of the podcast you’ve downloaded: In the Podcasts list in iPod, tap the podcast, then tap Get More Episodes. Delete a podcast: In the Podcasts list in iPod, swipe left or right over the podcast, then tap Delete. 164 Chapter 20 iTunes StoreChecking Download Status You can check the Downloads screen to see the status of in-progress and scheduled downloads, including purchases you’ve pre-ordered. See the status of items being downloaded: Tap Downloads. To pause a download, tap . If a download is interrupted, iPhone starts the download again the next time it has an Internet connection. Or, if you open iTunes on your computer, iTunes completes the download to your iTunes library (if your computer is connected to the Internet and signed in to the same iTunes account). See the status of pre-ordered items: Tap Downloads. Pre-ordered items appear in a list until the date the item is released. Tap the item for release date information. Once the item is available for download, a download icon appears next to the download. Download a pre-ordered item: Tap the item, then tap . Pre-ordered items don’t download automatically when they’re released. Return to the Downloads screen to begin the download. Syncing Purchased Content iTunes automatically syncs everything you’ve downloaded or purchased on iPhone to your iTunes library when you connect iPhone to your computer. This lets you access the downloads on your computer and provides a backup if you delete purchased content from iPhone. Purchased content is synced to the “Purchased on ” playlist. iTunes creates the playlist if it doesn’t exist. iTunes also copies your purchases to the Purchased playlist that iTunes uses for purchases you make on your computer, if that playlist exists and is set to sync with iPhone. Downloaded podcasts are synced to the Podcast list in your iTunes library. Changing the Browse Buttons You can replace the Music, Podcasts, Videos, and Search buttons at the bottom of the screen with ones you use more frequently. For example, if you download audiobooks often but don’t watch many videos, you could replace the Videos button with Audiobooks. Chapter 20 iTunes Store 165Change the browse buttons: Tap More and tap Edit, then drag a button to the bottom of the screen, over the button you want to replace. You can drag the buttons at the bottom of the screen left or right to rearrange them. When you finish, tap Done. When you’re browsing, tap More to access the browse buttons that aren’t visible. Viewing Account Information To view your iTunes Store account information on iPhone, tap your account (at the bottom of most iTunes Store screens). Or go to Settings > Store and tap View Account. You must be signed in to view your account information. See “Store” on page 159. Verifying Purchases You can use iTunes on your computer to verify that all the music, videos, applications, and other items you bought from the iTunes Store or App Store are in your iTunes library. You might want to do this if a download was interrupted. Verify your purchases: 1 Make sure your computer is connected to the Internet. 2 In iTunes, choose Store > Check for Available Downloads. 3 Enter your iTunes Store account ID and password, then click Check. Purchases not yet on your computer are downloaded. The Purchased playlist displays your purchases. However, because you can add or remove items in this list, it might not be accurate. To see all of your purchases, sign in to your account, choose Store > View My Account, and click Purchase History. 166 Chapter 20 iTunes StoreApp Store 21 About the App Store You can search for, browse, review, purchase, and download applications from the App Store directly to iPhone. Applications you download and install from the App Store on iPhone are backed up to your iTunes library the next time you sync iPhone with your computer. You can also install applications you’ve purchased or downloaded through iTunes on your computer when you sync with iPhone. Note: The App Store is not available in all regions. To use the App Store, iPhone must be connected to the Internet. See “Connecting to the Internet” on page 40. You also need an iTunes Store account (not available in some countries) to download applications. By default, iPhone gets your iTunes Store account settings from iTunes. If you don’t have an iTunes Store account, or if you want to make purchases from another iTunes Store account, go to Settings > Store. See “Store” on page 159. Browsing and Searching Browse the featured selections to see new, notable, or recommended applications, or browse Top 25 to see the most popular applications. If you’re looking for a specific application, use Search. 167Browse applications: Tap Featured, Categories, or Top 25. Choose a category, or choose a sorting method at the top of the screen to browse by lists such as New, What’s Hot, Genius, Top Paid, or Top Free. Browse using Genius: Tap Genius to see a list of recommended apps based on what’s already in your app collection. To turn Genius on, follow the onscreen instructions. Genius is a free service, but it requires an iTunes Store account. Search for applications: Tap Search, tap the search field and enter one or more words, then tap Search. 168 Chapter 21 App StoreInfo Screen Tap any application in a list to see more information, such as the application’s price, screenshots, ratings, and other information. If you’ve already installed the application, “Installed” appears instead of the price on the Info screen. Email a link to the application’s Info page in iTunes: Tap “Tell a Friend” near the bottom of the Info screen. View screenshots: Swipe left or right over a screenshot to view additional screenshot pages. Double-tap to zoom in. Get ratings and read reviews: Tap Ratings near the bottom of the Info screen. Report a problem: Tap “Report a Problem” near the bottom of the Info screen. Select a problem from the list or type optional comments, then tap Report. Chapter 21 App Store 169Downloading Applications When you find an application you want in the App Store, you can purchase and download it to iPhone. If the application is free, you can download it without charge after providing your iTunes account information. Once you download an application, it’s immediately installed on iPhone. Purchase and download an application: 1 Tap the price (or tap Free), then tap Buy Now. 2 Sign in to your account as requested, then tap OK. If you don’t have an iTunes Store account, tap Create New Account to set one up. Downloads for purchase are charged to your iTunes Store account. For additional downloads made within the next fifteen minutes, you don’t have to enter your password again. Some applications allow you to make purchases within the application. You can restrict in-app purchases in Settings. See “Restrictions” on page 146. Some applications use push notifications to alert you of new information, even when the application isn’t running. Notifications differ depending upon the application, but may include text or sound alerts, and a numbered badge on the application’s icon on the Home screen. See “Notifications” on page 140. You can redeem iTunes Store gift cards, gift certificates, or other promotional codes to make purchases. When you’re signed in to your account, your remaining store credit appears with your account information at the bottom of most App Store screens. Enter a redemption code: Tap Redeem near the bottom of the Featured screen, then follow the onscreen instructions. See the status of downloading applications: After you begin downloading an application, its icon appears on the Home screen and shows a progress indicator. If a download is interrupted, iPhone starts the download again the next time it has an Internet connection. Or, if you open iTunes on your computer, iTunes completes the download to your iTunes library (if your computer is connected to the Internet and signed in to the same iTunes account). 170 Chapter 21 App StoreDeleting Applications You can delete applications you’ve installed from the App Store. If you delete an application, data associated with the application will no longer be available to iPhone, unless you reinstall the application and restore its data from a backup. You can reinstall an application and restore its data as long as you backed up iPhone with iTunes on your computer. (If you try to delete an application that hasn’t been backed up to your computer, an alert appears.) To retrieve the application data, you must restore iPhone from a backup containing the data. See “Restoring from a Backup” on page 203. Delete an App Store application: 1 Touch and hold any application icon on the Home screen until the icons start to wiggle. 2 Tap in the corner of the application you want to delete. 3 Tap Delete, then press the Home button to save your arrangement. When you delete an application, its data is no longer accessible via the iPhone user interface, but it isn’t erased from your iPhone. For information about erasing all content and settings, see “Erase All Content and Settings” in iPhone settings. See “Resetting iPhone” on page 149. Writing Reviews You can write and submit your own application reviews directly on iPhone. Write a review: 1 Tap Ratings near the bottom of the Info screen. 2 On the Reviews screen, tap “Write a Review.” 3 Select the number of stars (1–5) for your rating of the application, and enter your nickname, a title for the review, and optional review comments. If you’ve written reviews before, the nickname field is already filled in. Otherwise, you’re asked to create a reviewer nickname. 4 Tap Send. You must be signed in to your iTunes Store account and have purchased or downloaded the item in order to submit reviews. Chapter 21 App Store 171Updating Applications Whenever you access the App Store, it checks for updates to applications you’ve installed. The App Store also automatically checks for updates every week. The App Store icon shows the total number of application updates available. If an update is available and you access the App Store, the Updates screen appears immediately. Application updates are downloaded and automatically installed when you choose to update them. Application upgrades are new releases that can be purchased or downloaded through the App Store on iPhone or the iTunes Store on your computer. Update an application: 1 At the bottom of the screen, tap Updates. 2 Tap an application to see more information about the update. 3 Tap Update. Update all applications: At the bottom of the screen, tap Updates, then tap Update All. If you try to update an application purchased from a different iTunes Store account, you’re prompted for that account’s ID and password in order to download the update. Syncing Purchased Applications iTunes automatically syncs applications you’ve downloaded or purchased on iPhone to your iTunes library when you connect iPhone to your computer. This lets you access the downloads on your computer and provides a backup if you delete applications from iPhone. Downloaded applications are backed up the next time you sync with iTunes. Afterwards, only application data is backed up when you sync with iTunes. Applications are synced to the Applications list in your iTunes library. iTunes creates the list if it doesn’t exist. 172 Chapter 21 App StoreCompass 22 Getting Compass Readings The built-in compass (iPhone 3GS only) shows which direction you’re facing, along with the geographical coordinates of your current location. You can choose magnetic north, or have Compass adjust the declination to show true north. Important: The accuracy of digital compass headings may be negatively affected by magnetic or other environmental interference, including interference caused by the close proximity of the magnets contained in the iPhone earbuds. The digital compass should only be used for basic navigation assistance and should not be solely relied on to determine precise locations, proximity, distance, or direction. The compass needs to be calibrated the first time you use it, and may need to be calibrated occasionally after that. iPhone alerts you whenever calibration is needed. Calibrate iPhone: Wave iPhone in a figure eight. You may be asked to move away from a source of interference. 173See which way you’re facing: Hold iPhone level to the ground. The compass needle rotates to point north. Your current direction appears at the top of the screen. The coordinates of your current location are displayed at the bottom of the screen. Switch between true north and magnetic north: Tap and tap the setting you want. Compass and Maps The icon at the bottom of the Compass screen lets you find your current location in Maps. Maps also takes advantage of the built-in compass to show which way you’re facing. See your current location in Maps: Tap . Maps opens and indicates your current location with a blue marker. 174 Chapter 22 CompassShow which way you’re facing: In Maps, tap again. (The icon changes to .) The angle shows the accuracy of the compass reading—the smaller the angle, the greater the accuracy. See “Finding and Viewing Locations” on page 114. Chapter 22 Compass 175Contacts 23 About Contacts Contact makes it easy to call, email, and text your friends and associates with iPhone. You can add contacts directly on iPhone, or sync contacts from applications on your computer, or with your MobileMe, Microsoft Exchange, Google, or Yahoo! accounts. You can open Contacts directly from the Home screen, or from within the Phone application. Adding Contacts You can add contacts to iPhone in the following ways: • In iTunes, sync contacts from Google or Yahoo!, or sync with applications on your computer (see “Syncing” on page 11) • Set up MobileMe or Microsoft Exchange accounts on iPhone, with Contacts enabled (see “Setting Up Accounts” on page 16) • Install a profile that sets up an Exchange account, with Contacts enabled (see “Installing Configuration Profiles” on page 18) • Set up an LDAP account on iPhone • Enter contacts directly on iPhone • Import contacts from a SIM The number of contacts you can add is limited only by the amount of memory on iPhone. 176Set up an LDAP account: 1 In Settings, tap “Mail Contacts, Calendars,” then tap Add Account. 2 Tap Other, then tap Add LDAP Account. 3 Enter your LDAP account information and tap Next to verify the account. 4 Tap Save. When you set up an LDAP account, you can view and search for contacts on your company or organization’s LDAP server. The server appears as a new group in Contacts. Since LDAP contacts aren’t downloaded to iPhone, you must have an Internet connection to view them. Check with your system administrator for specific account settings and other requirements (such as VPN). Import contacts from another phone’s SIM: In Settings, tap “Mail, Contacts, Calendars,” then tap Import SIM Contacts. The contact information on the SIM is imported to iPhone. If you have Contacts enabled for both MobileMe and Microsoft Exchange, you’re prompted to choose which account you want to add the SIM contacts to. Important: iPhone doesn’t store contacts on its SIM. Searching Contacts You can search first, last, and company names in your contacts on iPhone. If you have a Microsoft Exchange account set up on iPhone, you may also be able to search your enterprise Global Address List (GAL) for contacts in your organization. If you have an LDAP account set up on iPhone, you can search contacts on your organization’s LDAP server. When you enter search information, contacts with matching information appear immediately as you start to type. Search contacts: In Contacts, tap the search field at the top of any list of contacts and enter a first, last, or company name. (To scroll quickly to the top of the list, tap the status bar.) Search a GAL: Tap Groups, tap Directories at the bottom of the list, then enter a first, last, or company name. You can’t edit GAL contacts or save them to iPhone. Search an LDAP server: Tap Groups, tap the LDAP server name, then enter a first, last, or company name. You can’t edit LDAP contacts or save them to iPhone. Chapter 23 Contacts 177Managing Contacts on iPhone Add a contact on iPhone: Tap Contacts and tap . Delete a contact In Contacts, choose a contact, than tap Edit. Scroll down and tap Delete Contact. Add a contact from the keypad Tap Keypad, enter a number, then tap . Tap Create New Contact and enter the caller’s information, or tap “Add to Existing Contact” and choose a contact. Edit contact information In Contacts, choose a contact, then tap Edit. To add an item, tap . To delete an item, tap . Enter a pause in a number Tap , then tap Pause. One or more pauses may be required by a phone system before dialing an extension, for example. Pauses appear as commas when the number is saved. Add a recent caller’s phone number to your contacts Tap Recents and tap next to the number. Then tap Create New Contact, or tap “Add to Existing Contact” and choose a contact. Assign a photo to a contact: 1 Tap Contacts and choose a contact. 2 Tap Edit and tap Add Photo, or tap the existing photo. 3 Tap Take Photo to use the camera. Or tap Choose Existing Photo and choose a photo. 4 Drag and scale the photo as desired. 5 Tap Set Photo. 178 Chapter 23 ContactsUse a contact’s info screen: Tap Contacts and choose a contact. Then tap an item. Visit the website Call Send an email Send a text message Add a phone number to your favorites list See a map and get directions Note: The Contacts screen shown here includes the buttons across the bottom that are available when you view Contacts from within the Phone application. These buttons don’t appear if you open Contacts directly from the Home screen. A star next to a phone number means the number is in your favorites list. See your own phone number: Tap Contacts and scroll to the top of the list. (Not available in all regions.) Chapter 23 Contacts 179Nike + iPod 24 Activating Nike + iPod When activated in Settings, the Nike + iPod application appears on the Home screen (iPhone 3GS only). With a Nike + iPod Sensor (sold separately), the Nike + iPod application provides audible feedback on your speed, distance, time elapsed, and calories burned during a running or walking workout. When iPhone is connected to iTunes on your computer, you can send your workout information to Nikeplus.com, where you can track your progress, set goals, and participate in challenges. See the Nike + iPod documentation for information about activating and using Nike + iPod. Turn Nike + iPod on or off: In Settings, choose Nike + iPod and turn Nike + iPod on or off. When Nike + iPod is turned on, its icon appears on the Home screen. 180Additional Nike + iPod Settings In Settings, choose Nike + iPod to activate and adjust settings for the Nike + iPod application. Choose a PowerSong: Choose PowerSong and select a song from your music library. Turn spoken feedback on or off: Choose Spoken Feedback and select a male or female voice to accompany your workout, or Off to turn off spoken feedback. Set a distance preference: Choose Distance, then select Miles or Kilometers to measure your workout distance. Set your weight: Choose Weight, then flick to enter your weight. Set the screen orientation: Choose Lock Screen, then select a screen orientation preference. Set up the Nike + iPod Sensor: Choose Sensor, then follow the onscreen instructions to set up your sensor (sold separately). You can use a Nike+ compatible remote (sold separately) to control Nike + iPod wirelessly. Before using a remote for the first time, you must set it up on iPhone. Set up the Nike + iPod remote: Choose Remote, then follow the onscreen instructions to set up your remote (third-party product sold separately). Chapter 24 Nike + iPod 181Accessibility 25 Accessibility Features In addition to the many features that make iPhone easy to use for everyone, accessibility features (available only on iPhone 3GS) are designed to make it easier for users with visual, auditory, or other physical disabilities to use iPhone. These accessibility features include: • VoiceOver • Zoom • White on Black • Mono Audio • Speak Auto-text With the exception of VoiceOver, these accessibility features work with all iPhone applications, including third-party applications you download from the App Store. VoiceOver works with all applications that come preinstalled on iPhone. In addition, third-party developers can use the iPhone Accessibility API to make their applications accessible for VoiceOver users. For more information about the accessibility features of iPhone, go to www.apple.com/accessibility. Each accessibility feature can be turned on or off in the Accessibility settings on iPhone. You can also turn accessibility features on or off in iTunes when iPhone is connected to your computer. Turn accessibility features on or off in iTunes: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 In the Summary pane, click Configure Universal Access in the Options section. 1824 Select the accessibility features that you want to use and click OK. VoiceOver VoiceOver describes aloud what appears onscreen, so that you can use iPhone without seeing it. VoiceOver speaks in the language specified in International settings, which may be influenced by the Region Locale setting. Note: VoiceOver isn’t available in all languages. VoiceOver tells you about each element on the screen as it’s selected. When an element is selected, it’s enclosed by a black rectangle (for the benefit of those who can see the screen) and VoiceOver speaks the name or describes the item. The enclosing rectangle is referred to as the VoiceOver cursor. If text is selected, VoiceOver reads the text. If a control (such as a button or switch) is selected and Speak Hints is turned on, VoiceOver may tell you the action of the item or provide instructions for you—for example, “double-tap to open.” When you go to a new screen, VoiceOver plays a sound and automatically selects and speaks the first element of the screen (typically, the item in the upper-left corner). VoiceOver also lets you know when the display changes to landscape or portrait, and when the screen is locked or unlocked. Setting Up VoiceOver Important: VoiceOver changes the gestures used to control iPhone. Once VoiceOver is turned on, you have to use VoiceOver gestures to operate iPhone—even to turn VoiceOver off again to resume standard operation. Turn VoiceOver on or off: In Settings, choose General > Accessibility > VoiceOver and tap the VoiceOver On/Off switch. You can also set Triple-click Home to turn VoiceOver on or off. See “Triple-click Home” on page 191. Note: You cannot use VoiceOver and Zoom at the same time. Chapter 25 Accessibility 183Turn spoken hints on or off: In Settings, choose General > Accessibility > VoiceOver, and tap the Speak Hints On/Off switch. Spoken hints are turned on by default. Set the VoiceOver speaking rate: In Settings, choose General > Accessibility > VoiceOver, and adjust the Speaking Rate slider. You can choose what kind of feedback you get when you type. You can set VoiceOver to speak characters, words, both, or nothing. If you choose to hear both characters and words, VoiceOver speaks each character as you type it, then speaks the whole word when you finish it by entering a space or punctuation. Choose typing feedback: In Settings, choose General > Accessibility > VoiceOver > Typing Feedback, then choose Characters, Words, Characters and Words, or Nothing. Change the language spoken by VoiceOver: In Settings, choose General > International > Language, then select a language and tap OK. Some languages may be influenced by the Region Local setting. In Settings, choose General > International > Region Format and select the format. Note: VoiceOver isn’t available in all languages. Practice gestures: In Settings, choose General > Accessibility > VoiceOver > Practice Gestures, then tap Practice VoiceOver Gestures. Practice the gestures described in “VoiceOver Gestures,” below. When you’re finished practicing, tap Done. VoiceOver Gestures When VoiceOver is turned on, the standard touchscreen gestures have different effects. These and some additional gestures allow you to move around the screen and to control the individual elements when they’re selected. VoiceOver gestures include using two and three fingers to tap or flick. For best results when using two- and threefinger gestures, relax and let your fingers touch the screen with some space between your fingers. You can use standard gestures when VoiceOver is turned on, by double-tapping and holding your finger on the screen. A series of tones indicates that normal gestures are in force. They remain in effect until you lift your finger. Then VoiceOver gestures resume. You can use many different techniques to enter VoiceOver gestures. For example, you can enter a two-finger tap using two fingers from one hand, or one finger from each hand. You can also use your thumbs. Try different techniques to discover which works best for you. If your gestures don’t work, try quicker movements, especially for double-tap and flicking gestures. To flick, try quickly brushing the screen with your finger or fingers. You can practice VoiceOver gestures in Settings: choose General > Accessibility > VoiceOver > Practice Gestures and tap the Practice VoiceOver Gestures button. Here’s a summary of key VoiceOver gestures: 184 Chapter 25 AccessibilityNavigate and Read • Tap: Speak item. • Flick right or left: Select the next or previous item. • Flick up or down: Depends on the Rotor Control setting. See “Rotor Control” on page 185. • Two-finger tap: Stop speaking the current item. • Two-finger flick up: Read all from top of screen. • Two-finger flick down: Read all from current position. • Three-finger flick up or down: Scroll one page at a time. • Three-finger flick right or left: Go to the next or previous page (such as the Home screen, Stocks, or Safari). • Three-finger tap: Speak the scroll status (which page or rows are visible). Select and Activate • Double-tap: Activate selected item. • Touch an item with one finger, tap the screen with another finger (“split-tapping”): Activate item. • Double-tap and hold (1 second) + standard gesture: Use a standard gesture. The double-tap and hold gesture tells iPhone to interpret the subsequent gesture as standard. For example, you can double-tap and hold, then without lifting your finger, drag your finger to slide a switch. • Two-finger double tap: Answer or end a call. Play or pause in iPod, YouTube, Voice Memos, or Photos. Take a picture (Camera). Start or pause recording in Camera or Voice Memos. Start or stop the stopwatch. • Three-finger double tap: Mute or unmute VoiceOver. • Three-finger triple tap: Turn the display on or off. Do single-finger flicking gestures quickly, to distinguish them from dragging gestures. Rotor Control The rotor control is an invisible dial that you can use to change the results of up and down flick gestures when VoiceOver is turned on. Operate the rotor: Rotate two fingers on the iPhone screen to “turn” the dial to choose between options. Chapter 25 Accessibility 185The effect of the rotor depends on what you’re doing. For example, if you’re reading text in an email you received, you can use the rotor to switch between hearing text spoken word-by-word or character-by-character when you flick up or down. If you’re browsing a webpage, use the rotor to choose whether you hear text word-by-word or character-by-character, hear just the headers, hear just the links (all of them, visited links, or links not yet visited), hear form elements, or hear descriptions of images. In other words, you can use the rotor setting to hear all the text, or to jump from one element to another of a certain type, such as headers or links. Rotor options depend on the context of what you’re doing. Reading text • Select and hear text character-by-character • Select and hear text word-by-word Browsing a webpage • Select and hear text character-by-character • Select and hear text word-by-word • Select and hear headers • Select and hear links • Select and hear form controls • Select and hear visited links • Select and hear links not visited • Select and hear images • Select and hear static text • Zoom in or out Entering text • Move insertion point and hear text character-by-character • Move insertion point and text word-by-word • Text editing functions • Auto-text Using a control (such as the spinner for setting the time in Clock) • Select and hear value character-by-character • Select and hear value word-by-word • Adjust the value of the control object 186 Chapter 25 AccessibilityUsing VoiceOver Select items on the screen: Drag your finger over the screen. VoiceOver identifies each element as you touch it. You can also move systematically from one element to the next by flicking left or right with a single finger. Elements are selected from leftto-right, top-to-bottom. Flick right to go to the next element, or flick left to go to the previous element. “Tap” a selected item when VoiceOver is turned on: Double-tap anywhere on the screen. Speak the text of an element, character by character or word by word: With the element selected, flick up or down with one finger. Flick down to read the next character, or flick up to read the previous character. Twist the rotor control to read word by word. Adjust a slider: With a single finger, flick up to increase the setting or down to decrease the setting. VoiceOver announces the setting as you adjust it. Scroll a list or area of the screen: Flick up or down with three fingers. Flick down to page down through the list, or flick up to page up through the list. When paging through a list, VoiceOver speaks the range of items displayed (for example, “showing rows 5 through 10”). You can also scroll continuously through a list, instead of paging through it. Doubletap and hold. When you hear a series of tones, you can move your finger up or down to scroll the list. Continuous scrolling stops when you lift your finger. Use a list index: Some lists have an alphabetical index along the right side. The index cannot be selected by flicking between elements; you must touch the index directly to select it. With the index selected, flick up or down to move along the index. You can also double-tap, then slide your finger up or down. Unlock iPhone: Select the Unlock switch, then double-tap the screen. Rearrange the Home screen: On the Home screen select the icon you want to move. Double-tap and hold, then drag the icon. VoiceOver speaks the row and column position as your drag the icon. Release the icon when it’s in the location you want. You can drag additional icons. Drag an item to the left or right edge of the screen to move it to another page of the Home screen. When you’re finished rearranging the icons, press the Home button. Chapter 25 Accessibility 187Mute VoiceOver Double-tap with three fingers. Double-tap again with three fingers to turn speaking back on. To turn off only VoiceOver sounds, set the Ring/Silent switch to Silent. Stop speaking an item Tap once with two fingers. Tap again with two fingers to resume speaking. Speaking automatically resumes when you select another item. Turn off the display while you use VoiceOver Triple-tap with three fingers. Triple-tap again with three fingers to turn on the display again. Speak entire screen from the top Flick up with two fingers. Speak from current item to bottom of screen Flick down with two fingers. Status information about iPhone can be heard by touching the top of the screen. This can include the time, battery life, Wi-Fi signal strength, and more. Entering and Editing Text When you select a text field with VoiceOver, you can use the onscreen keyboard to enter text. You can use the editing features of iPhone to cut, copy, or paste in the text field. Note: Safari doesn’t support copying webpage content. The editing features work only in editable text fields. Enter text: 1 Use VoiceOver to select an editable text field, then double tap to display the insertion point and bring up the onscreen keyboard. If the field already contains text, the insertion point is placed at the beginning or at the end of the text. Double-tap again to place the insertion point at the opposite end. VoiceOver tells you the position of the insertion point. The insertion point and onscreen keyboard may appear automatically when you select a text field. VoiceOver announces when you’re in editing mode. 2 To type, select a key on the keyboard by flicking left or right, then double-tap to enter the character. Or drag you finger around the keyboard to select a key, and, while holding the key with one finger, tap the screen with another finger to enter the character. VoiceOver speaks the key when it’s selected, and again when it’s entered. To enter an accented character, double-tap and hold until you hear a sound that indicates the alternate characters have appeared, then drag left or right to select and hear the choices. Release your finger to enter the current selection. 188 Chapter 25 AccessibilityMove the insertion point: Flick up or down to move the insertion point forward or backward in the text. VoiceOver makes a sound when the insertion point moves, and speaks the character that the insertion point moved across. Use the rotor to choose whether you want to move the insertion point by character or by word. Select text: Use the rotor to choose edit. Flick up or down to choose between the Select and Select All functions, then double tap. If you chose Select, the word closest to the insertion point is selected when you double-tap. If you chose Select All, the entire text is selected. Pinch to increase or decrease the selection. Cut, Copy, or Paste: Make sure the rotor is set to edit. With text selected, flick up or down to choose Cut, Copy, or Paste, then double-tap. Undo: Shake iPhone, flick left or right to choose the action to undo, then double-tap. Using Maps With VoiceOver, you can zoom in or out, select pins, and get information about locations. Zoom in or out: Use the rotor to choose zoom mode, then flick up or down to zoom in or out. Select a pin: Touch a pin, or flick left or right to move from one item to another. Get information about a location: With a pin selected, double-tap to display the information flag. Flick left or right to select the flag, then double-tap to display the information page. Editing Videos and Voice Memos You can use VoiceOver gestures to trim Camera videos and Voice Memo recordings. Trim a voice memo: On the Voice Memos screen, select the button to the right of the memo you want to trim, then double-tap. Then select Trim Memo and double-tap. Select the beginning or end of the trim tool. Flick up to drag to the right, or flick down to drag to the left. VoiceOver announces the amount of time the current position will trim from the recording. To execute the trim, select Trim Voice Memo and double-tap. Trim a video: While viewing a video, double-tap the screen to display the video controls. Select the beginning or end of the trim tool. Then flick up to drag to the right, or flick down to drag to the left. VoiceOver announces the amount of time the current position will trim from the recording. To execute the trim, select Trim and double-tap. Zoom Many iPhone applications let you zoom in and out specific elements. For example, you can double-tap or use the pinch gesture to expand webpage columns in Safari. Zoom is a special accessibility feature that lets you magnify the entire screen of any application you’re using to help you see what’s on the display. Chapter 25 Accessibility 189Turn Zoom on or off: In Settings, choose General > Accessibility > Zoom and tap the Zoom On/Off switch. Note: You cannot use VoiceOver and Zoom at the same time. Zoom in or out: Double-tap the screen with three fingers. By default, the screen is magnified by 200 percent. If you manually change the magnification (by using the tapand-drag gesture, described below), iPhone automatically returns to that magnification when you zoom in by double-tapping with three fingers. Increase magnification: With three fingers, tap and drag toward the top of the screen (to increase magnification) or toward the bottom of the screen (to decrease magnification). The tap-and-drag gesture is similar to a double-tap, except you don’t lift your fingers on the second tap—instead, drag your fingers on the screen. Once you start dragging, you can drag with a single finger. Move around the screen: When zoomed in, drag or flick the screen with three fingers. Once you start dragging, you can drag with a single finger so that you can see more of the screen. Hold a single finger near the edge of the display to pan to that side of the screen image. Move your finger closer to the edge to pan more quickly. When you open a new screen, Zoom always goes to the top-middle of the screen. White on Black Use White on Black to invert the colors on the iPhone display, which may make it easier to read the screen. The screen looks like a photographic negative when White on Black is turned on. Invert the screen’s colors: In Settings, choose General > Accessibility and tap the “White on Black” switch. Mono Audio Mono Audio combines the sound of the left and right channels into a mono signal played on both sides. This enables users with hearing impairment in one ear to hear the entire sound signal with the other ear. Turn Mono Audio on or off: In Settings, choose General > Accessibility and tap the Mono Audio switch. Speak Auto-text Speak Auto-text speaks the text corrections and suggestions iPhone makes when you’re typing. Turn Speak Auto-text on or off: In Settings, choose General > Accessibility and tap the Speak Auto-text switch. Speak Auto-text also works with VoiceOver or Zoom. 190 Chapter 25 AccessibilityTriple-click Home Triple-click Home provides an easy way to turn some of the Accessibility features on or off when you press the Home button quickly three times. You can set Triple-click Home to turn VoiceOver on or off, turn White on Black on or off, or present the options to: • Turn VoiceOver on or off • Turn Zoom on or off • Turn White on Black on or off Triple-click Home is turned off by default. Set the Triple-click Home function: In Settings, choose General > Accessibility > Triple-click Home and choose the function you want. Closed Captioning and Other Helpful Features Many features available on all models of iPhone help make iPhone accessible to all users, including those with visual or auditory impairments. Closed Captioning You can turn on closed captioning for videos in iPod settings. See “Video” on page 158. Voice Control Voice Control (available only on iPhone 3GS) lets you make phone calls and control iPod music playback by using voice commands. See “Voice Dialing” on page 48, and “Using Voice Control with iPod” on page 77. Large Phone Keypad Make phone calls simply by tapping entries in your contacts and favorites lists. When you need to dial a number, iPhone’s large numeric keypad makes it easy. See “Phone Calls” on page 47. Widescreen Keyboards Several applications let you rotate iPhone when you’re typing so that you can use a larger keyboard: • Mail • Safari • Messages • Notes • Contacts Chapter 25 Accessibility 191Visual Voicemail The play and pause controls in visual voicemail let you control the playback of messages. Drag the playhead on the scrubber bar to repeat a portion of the message that’s hard to understand. See “Checking Voicemail” on page 52. Assignable Ringtones You can assign distinctive ringtones to individuals in your contacts list for audible caller ID. You can purchase ringtones from the iTunes Store on iPhone. See “Purchasing Ringtones” on page 162. Instant Messaging (IM) Chat The App Store features many Internet Messaging (IM) applications such as AIM, BeejiveIM, ICQ, and Yahoo! Messenger that are optimized for iPhone. Minimum Font Size for Mail Messages To increase readability, set a minimum font size for Mail message text to Large, Extra Large, or Giant. See “Mail” on page 152. TTY Support (Available in Some Areas) Use iPhone in TTY mode with the iPhone TTY Adapter (available separately) to use a Teletype (TTY) machine. See “Using iPhone with a Teletype (TTY) Machine” on page 154. Universal Access in Mac OS X Take advantage of the Universal Access features in Mac OS X when you use iTunes to sync information and content from your iTunes library to iPhone. In the Finder, choose Help > Mac Help, then search for “universal access.” For more information about iPhone and Mac OS X accessibility features, go to www.apple.com/accessibility. 192 Chapter 25 AccessibilityTroubleshooting A Appendix Apple iPhone Support Site Comprehensive support information is available online at www.apple.com/support/iphone. General Low-Battery Image Appears iPhone is low on power and needs to charge for up to ten minutes before you can use it. For information about charging iPhone, see “Charging the Battery” on page 43. or iPhone Doesn’t Respond • iPhone may be low on power. Connect iPhone to your computer or to its power adapter to charge. See “Charging the Battery” on page 43. • Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, and then press and hold the Home button until the application you were using quits. • If that doesn’t work, turn iPhone off, then turn it on again. Press and hold the Sleep/ Wake button on top of iPhone for a few seconds until a red slider appears, and then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. • If that doesn’t work, reset iPhone. Press and hold both the Sleep/Wake button and the Home button for at least ten seconds, until the Apple logo appears. 193iPhone Still Doesn’t Respond After Reset • Reset iPhone settings. From the Home screen choose Settings > General > Reset > Reset All Settings. All your preferences are reset, but your data and media aren’t deleted. • If that doesn’t work, erase all content on iPhone. See “Resetting iPhone” on page 149. • If that doesn’t work, restore the iPhone software. See “Updating and Restoring iPhone Software” on page 204. “This accessory is not made to work with iPhone” Appears Make sure the dock connector is free of debris. If you connect iPhone to an accessory not specifically made for it, iPhone may ask if you want to turn on airplane mode. This is to eliminate radio interference from cellular signals coming from iPhone. You may be able to use iPhone with the accessory whether or not you turn on airplane mode. However, the accessory may not charge iPhone. If you turn on airplane mode, you won’t be able to make calls, send or receive text messages, access the Internet, or use Bluetooth devices with iPhone until you disconnect iPhone from the accessory or turn off airplane mode. “This accessory is not supported by iPhone” Appears The accessory you attached may not work with iPhone. Make sure the dock connector is free of debris. Connect-to-iTunes Screen Appears iPhone needs to be activated. Connect iPhone to your computer and open iTunes if it doesn’t open automatically. iPhone Is Too Warm If the interior temperature of iPhone 3G or later exceeds normal operating temperatures, you may experience the following as it attempts to regulate its temperature: • iPhone stops charging • the display dims • the cellular signal is weak • a temperature warning screen appears Important: You cannot use iPhone while the temperature warning screen is displayed except to make an emergency call. If none of the above measures succeeds in lowering the internal temperature, iPhone automatically goes into a deep sleep mode until it cools. You cannot make an emergency call when iPhone is in this mode. Move iPhone to a cooler location and wait a few minutes before trying to use iPhone again. 194 Appendix A TroubleshootingiTunes and Syncing iPhone Doesn’t Appear in iTunes • The iPhone battery might need to be recharged. For information about charging iPhone, see “Charging the Battery” on page 43. • Disconnect other USB devices from your computer and connect iPhone to a different USB 2.0 port on your computer (not on your keyboard). • Turn iPhone off and back on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. Tap Unlock and enter your SIM’s PIN if the SIM is locked. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. • Restart your computer and reconnect iPhone to your computer. • Download and install (or reinstall) the latest version of iTunes from www.apple.com/itunes. Syncing Doesn’t Work • The iPhone battery might need to be recharged. For information about charging iPhone, see “Charging the Battery” on page 43. • Disconnect other USB devices from your computer and connect iPhone to a different USB 2.0 port on your computer (not on your keyboard). • Turn iPhone off and back on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. Tap Unlock and enter your SIM’s PIN if the SIM is locked. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. • Restart your computer and reconnect iPhone to your computer. • Download and install (or reinstall) the latest version of iTunes from www.apple.com/itunes. Contacts, Calendars, or Bookmarks Don’t Sync • Download and install (or reinstall) the latest version of iTunes from www.apple.com/itunes. Appendix A Troubleshooting 195Yahoo! or Google Contacts Doesn’t Sync iTunes may not be able to connect with Yahoo! or Google. Make sure your computer is connected to the Internet, and that you’ve entered the correct ID and password in iTunes. Connect iPhone to your computer, click the Info tab in iTunes, click Configure in the Contacts section, then enter your current ID and password. Yahoo! Address Book Still Has Contacts Deleted From iPhone Yahoo! Address Book doesn’t allow contacts containing a Messenger ID to be deleted through syncing. To delete a contact containing a Messenger ID, log in to your Yahoo! account online and delete the contact using Yahoo! Address Book. Phone and Voicemail Can’t Make or Receive Calls • Check the cell signal icon in the status bar at the top of the screen. If there are no bars, or if it says “No service,” try moving to a different location. If you’re indoors, try going outdoors or moving closer to a window. • Check to make sure you’re in an area with network coverage. Go to your carrier’s website to see network coverage areas. • Make sure airplane mode isn’t on. From the Home screen choose Settings, then turn airplane mode off. If that doesn’t work, turn airplane mode on, wait 15 seconds, then turn airplane mode off again. • Turn iPhone off and back on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. Tap Unlock and enter your SIM’s PIN if the SIM is locked. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. • There may be a problem with your wireless service. Call your carrier or go to your carrier’s website. • Restore the iPhone software. See “Updating and Restoring iPhone Software” on page 204. Visual Voicemail Isn’t Available Visual Voicemail is delivered over the cellular data network. Because Data Roaming is turned off by default, you may not have access to the Internet when traveling abroad unless you turn Data Roaming on. In Settings choose General > Network, then tap Data Roaming. Important: Data roaming charges may apply when Data Roaming is on. 196 Appendix A TroubleshootingVisual Voicemail may be an optional service in some countries. Contact your carrier for more information. You Can’t Remember Your Voicemail Password If iPhone prompts you for your password when you tap Voicemail and you don’t remember your password, tap for instructions on resetting it. Voicemail Service Is Called When You Tap Voicemail If the voice instructions prompt you, enter your voicemail password. Otherwise, wait until you hear any voice instruction, then end the call. After a time, Voicemail should become available again. This may occur if you removed the SIM card from iPhone and replace it with another SIM card. Safari, Text, Mail, and Contacts Websites, Text, or Email Aren’t Available • Check the cell signal icon in the status bar at the top of the screen. If there are no bars, or if it says “No service,” try moving to a different location. If you’re indoors, try going outdoors or moving closer to a window. • Check to make sure you’re in an area with network coverage. Go to your carrier’s website to see network coverage areas. • If the cellular network isn’t available, connect to a Wi-Fi network if possible. • Make sure airplane mode isn’t on. From the Home screen choose Settings, then turn airplane mode off. If that doesn’t work, turn airplane mode on, wait 15 seconds, then turn airplane mode off again. • Make sure to include an area code for every phone number in your contacts list that you use to send or receive text messages. • Turn iPhone off and back on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. Tap Unlock and enter your SIM’s PIN if the SIM is locked. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. • There may be a problem with your wireless service. Call your carrier or go to your carrier’s website. Appendix A Troubleshooting 197• If you’re traveling abroad, you may not have Internet access because Data Roaming is turned off (the default). Turn Data Roaming on or connect to a Wi-Fi network. To turn Data Roaming on, in Settings choose General > Network and tap Data Roaming. Data roaming charges may apply. Important: Data roaming charges may apply. To avoid data roaming charges, turn Data Roaming off. • Restore the iPhone software. See “Updating and Restoring iPhone Software” on page 204. Can’t Send Email If iPhone is unable to send email, try the following: • In Settings, choose “Mail, Contacts, Calendars” and select the account you’re trying to use. Tap Account Info, then tap SMTP under Outgoing Mail Server. Under Other SMTP Server, tap the SMTP server for your carrier, then tap to turn the server on. The Under Other SMTP settings also allow you to set up additional SMTP servers. Contact your carrier or Internet service provider for configuration information. • Set up your email account directly on iPhone instead of syncing it from iTunes. In Settings, choose “Mail, Contacts, Calendars,” tap Add Account and enter your account information. If iPhone is unable to locate your service provider’s settings when you enter your email address, go to www.apple.com/support and search for HT1277 to get additional help in setting up your account. • Turn iPhone off, then turn it on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, and then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. • Turn off Wi-Fi so iPhone is connecting to the Internet via the cellular data network. In Settings, choose Wi-Fi and turn off Wi-Fi. For additional troubleshooting information, go to www.apple.com/support and search for TS1426. If you still can’t send email, you can call an Apple Expert (not available in all countries). Go to www.apple.com/support/expert for information. If Apple Expert is not available in your country, get a free GMail, Yahoo!, or AOL account and try forwarding your mail to that account. Can’t Receive Email If iPhone is unable to receive email, try the following: • If you’re using one or more computers to check the same email account, that may be creating a lock-out issue. For more information, go to www.apple.com/support and search for TS2621. 198 Appendix A Troubleshooting• Set up your email account directly on iPhone instead of syncing it from iTunes. In Settings, choose “Mail, Contacts, Calendars,” tap Add Account and enter your account information. If iPhone is unable to locate your service provider’s settings when you enter your email address, go to www.apple.com/support and search for HT1277 to get additional help in setting up your account. • Turn iPhone off, then turn it on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, and then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. • Turn off Wi-Fi so iPhone is connecting to the Internet via the cellular data network. In Settings, choose Wi-Fi and turn off Wi-Fi. For additional troubleshooting information, go to www.apple.com/support and search for TS1426. If you still can’t receive email, you can call an Apple Expert (not available in all countries). Go to www.apple.com/support/expert for information. If Apple Expert is not available in your country, get a free GMail, Yahoo!, or AOL account and try forwarding your mail to that account. Email Attachment Won’t Open The file type may not be supported. iPhone supports the following email attachment file formats: .doc Microsoft Word .docx Microsoft Word (XML) .htm webpage .html webpage .key Keynote .numbers Numbers .pages Pages .pdf Preview, Adobe Acrobat .ppt Microsoft PowerPoint .pptx Microsoft PowerPoint (XML) .rtf Rich Text Format .txt text .vcf contact information .xls Microsoft Excel .xlsx Microsoft Excel (XML) Appendix A Troubleshooting 199GAL Contacts Don’t Appear Check your Microsoft Exchange settings to make sure you’re on the right server. In Settings, tap “Mail, Contacts, Calendars” and choose an account to display its settings. If you’re trying to search for GAL contacts in Contacts, tap Groups and tap Directories at the bottom of the list. Sound, Music, and Video No Sound • Unplug and reconnect the headset. Make sure the connector is pushed in all the way. • Make sure the volume isn’t turned down all the way. • Music on iPhone might be paused. Try pressing the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) to resume playback. Or from the Home screen, tap iPod, tap Now Playing, then tap . • Check to see if a volume limit is set. From the Home screen choose Settings > iPod > Volume Limit. For more information, see “Music” on page 158. • Make sure you’re using the latest version of iTunes (go to www.apple.com/itunes). • If you’re using the optional dock’s line out port, make sure your external speakers or stereo are turned on and working properly. Pressing Mic Button Doesn’t Resume Music Playback iPhone goes to sleep after music has been paused for five minutes. Press the Home or Sleep/Wake button to wake up iPhone. Song, Video, or Other Items Won’t Play The song may have been encoded in a format that iPhone doesn’t support. The following audio file formats are supported by iPhone. These include formats for audiobooks and podcasting: • AAC (M4A, M4B, M4P, up to 320 Kbps) • Apple Lossless (a high-quality compressed format) • MP3 (up to 320 Kbps) • MP3 Variable Bit Rate (VBR) • WAV • AA (audible.com spoken word, formats 2, 3, and 4) • AAX (audible.com spoken word, AudibleEnhanced format) • AIFF 200 Appendix A TroubleshootingThe following video file formats are supported by iPhone: • H.264 (Baseline Profile Level 3.0) • MPEG-4 (Simple Profile) A song encoded using Apple Lossless format has full CD-quality sound, but takes up only about half as much space as a song encoded using AIFF or WAV format. The same song encoded in AAC or MP3 format takes up even less space. When you import music from a CD using iTunes, it’s converted to AAC format by default. Using iTunes for Windows, you can convert nonprotected WMA files to AAC or MP3 format. This can be useful if you have a library of music encoded in WMA format. iPhone doesn’t support WMA, MPEG Layer 1, MPEG Layer 2 audio files, or audible.com format 1. If you have a song or video in your iTunes library that isn’t supported by iPhone, you may be able to convert it to a format iPhone supports. See iTunes Help for more information. iTunes Stores iTunes Store Isn’t Available To use the iTunes Store, iPhone must be connected to the Internet. See “Connecting to the Internet” on page 40. The iTunes Store isn’t available in all countries. Can’t Purchase Content To purchase content from the iTunes Store or App Store, you must have an iTunes Store account. Open iTunes on your computer and choose Store > Create Account. You can also set up an account on iPhone. See “Viewing Account Information” on page 166. Note: The iTunes Store is available only in some countries. Removing the SIM Card If you need to send your iPhone in for service, or if you want to loan your iPhone to someone and you still want to be able to make calls, you may be able to use the SIM card inside iPhone with another phone. Appendix A Troubleshooting 201Remove the SIM card: Insert the end of the SIM eject tool (or a small paper clip) into the hole on the SIM tray. Press firmly and push it straight in until the tray pops out. SIM eject SIM tray tool SIM card Backing Up iPhone iTunes creates backups of settings, downloaded applications and data, and other information on iPhone. You can use a backup to restore these items to your iPhone after a software restore or to transfer the information to another iPhone. Backing up iPhone or restoring from a backup is not the same as syncing content and other items (such as music, podcasts, ringtones, photos, videos, and applications that you download via iTunes) with your iTunes library. Backups include settings, downloaded applications and data, and other information that resides on iPhone. You can restore these items from a backup using iTunes, but you may also have to sync your iTunes library content again. Applications downloaded from the App Store are backed up the next time you sync with iTunes. Afterwards, only application data is backed up when you sync with iTunes. Creating Backups Backups can be created in the following ways: • Once iPhone has been configured to sync with a particular computer, iTunes automatically makes a backup of iPhone on that computer when you sync. iTunes won’t automatically back up an iPhone that isn’t configured to sync with that computer. If you’ve configured iPhone to automatically sync with iTunes on a specific computer, iTunes will back up iPhone every time you connect it to that computer. Automatic syncing is turned on by default. iTunes only makes one backup each time you connect, even if you sync multiple times before disconnecting. • If you choose to update the software on iPhone, iTunes will back up iPhone automatically, even if it isn’t configured to sync with iTunes on that computer. • If you choose to restore the software on iPhone, iTunes asks if you want to back up iPhone before restoring. If you use a Bluetooth headset or car kit with iPhone and you restore settings, you must pair the Bluetooth device with iPhone again to use it. 202 Appendix A TroubleshootingFor more information about backups, including the settings and information stored in a backup, go to www.apple.com/support and search for HT1766. Restoring from a Backup You can restore the settings, application data, and other information from a backup, or use this feature to transfer these items to another iPhone. Restore iPhone from a backup: 1 Connect iPhone to the computer you normally sync with. 2 In iTunes, Control-click iPhone in the sidebar and choose “Restore from Backup” from the menu that appears. 3 Choose the backup that you want to restore from the pop-up menu, then click Restore. If your backup is encrypted, you’ll need to enter your password. After restoring from a backup, previous data is no longer accessible via the iPhone user interface, but it isn’t erased from your iPhone. For information about erasing all content and settings, see “Resetting iPhone” on page 149. Important: Restoring iPhone from a backup restores all data in the backup, including data for other applications. If you choose an old backup, restoring from it could replace the data for applications with data that is not current. Removing a Backup You can remove a backup of iPhone from the list of backups in iTunes. You may want to do this, for example, if a backup was created on someone else’s computer. Remove a backup: 1 In iTunes, open iTunes Preferences. • Windows: Choose Edit > Preferences. • Mac: Choose iTunes > Preferences. 2 Click Devices (iPhone does not need to be connected). 3 Select the backup you want to remove, then click Delete Backup. 4 Confirm you wish to remove the selected backup by clicking Delete Backup. 5 Click OK to close the iTunes Preferences Window. Appendix A Troubleshooting 203Updating and Restoring iPhone Software You can use iTunes to update or reinstall iPhone software, restore default settings, and delete all data on iPhone. • If you update, the iPhone software is updated. Your downloaded applications, settings, and data aren’t affected. Note: In some cases, an update may also include restoring iPhone. • If you restore, the latest version of iPhone software is reinstalled, settings are restored to their defaults, and data stored on iPhone is deleted, including downloaded applications, songs, videos, contacts, photos, calendar information, and any other data. If you’ve backed up iPhone with iTunes on your computer, you can restore data from the backup at the end of the restore process. Deleted data is no longer accessible via the iPhone user interface, but isn’t erased from your iPhone. For information about erasing all content and settings, see “Resetting iPhone” on page 149. Update or restore iPhone: 1 Make sure you have an Internet connection and have installed the latest version of iTunes from www.apple.com/itunes. 2 Connect iPhone to your computer. 3 Select iPhone in the iTunes sidebar and click the Summary tab. 4 Click “Check for Update.” iTunes tells you if there’s a newer version of the iPhone software available. 5 Click Update to install the latest version of the software. Or click Restore to restore. Follow the onscreen instructions to complete the restore process. For more information about updating and restoring iPhone software, go to www.apple.com/support and search for HT1414. 204 Appendix A TroubleshootingOther Resources B Appendix Safety, Software, and Service Information The following table describes where to get more iPhone-related safety, software, and service information. To learn about Do this Using iPhone safely See the Important Product Information Guide at www.apple.com/support/manuals/iphone for the latest safety and regulatory information. iPhone service and support, tips, forums, and Apple software downloads Go to www.apple.com/support/iphone. Service and support from your carrier Contact your carrier or go to your carrier’s website. The latest information about iPhone Go to www.apple.com/iphone. Using iTunes Open iTunes and choose Help > iTunes Help. For an online iTunes tutorial (available in some areas only), go to www.apple.com/support/itunes. MobileMe Go to www.me.com. Using iPhoto on Mac OS X Open iPhoto and choose Help > iPhoto Help. Using Address Book on Mac OS X Open Address Book and choose Help > Address Book Help. Using iCal on Mac OS X Open iCal and choose Help > iCal Help. 205To learn about Do this Microsoft Outlook, Windows Address Book, Adobe Photoshop Album, and Adobe Photoshop Elements See the documentation that came with those applications. Finding your iPhone serial number or International Mobile Equipment Identity (IMEI) number You can find your iPhone serial and IMEI numbers on the iPhone packaging. Or, on iPhone, choose Settings > General > About from the Home screen. In iTunes on your computer, hold down the Control key and choose Help > About iTunes (Windows) or iTunes > About iTunes (Mac), then release the Control key. (Press the Space bar to pause the scrolling.) Obtaining warranty service First follow the advice in this guide and online resources. Then go to www.apple.com/support or see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Battery replacement service Go to www.apple.com/support/iphone/service/ battery. Using iPhone in an enterprise environment Go to www.apple.com/iphone/enterprise. Viewing the User Guide on iPhone The iPhone User Guide, optimized for viewing on iPhone, is available at help.apple.com/iphone. View the guide on iPhone: In Safari, tap , then tap the iPhone User Guide bookmark. Add an icon for the guide to the Home screen: When viewing the guide, tap , then tap “Add to Home Screen.” The iPhone User Guide is available in many languages. View guide in a different language: Tap “Change Language” at the bottom of the screen on the main contents page, then choose the language you want. Disposal and Recycling Information Apple Used Mobile Phone Recycling Program (available in some areas): For free recycling of your old mobile phone, a prepaid shipping label, and instructions, see: www.apple.com/environment/recycling 206 Appendix B Other ResourcesiPhone Disposal and Recycling: You must dispose of iPhone properly according to local laws and regulations. Because iPhone contains electronic components and a battery, iPhone must be disposed of separately from household waste. When iPhone reaches its end of life, contact local authorities to learn about disposal and recycling options, or simply drop it off at your local Apple retail store or return it to Apple. The battery will be removed and recycled in an environmentally friendly manner. For more information, see: www.apple.com/environment/recycling European Union—Electronics and Battery Disposal Information: This symbol means that according to local laws and regulations your product and its battery should be recycled separately from household waste. When this product reaches its end of life, take it to a collection point designated by local authorities for the recycling of electronic equipment. The improper disposal of waste electronic equipment from the consumer may be subject to fines. The separate collection and recycling of your product and its battery at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. For collection and recycling schemes for iPhone, go to: www.apple.com/environment/recycling/nationalservices/europe.html Battery Replacement for iPhone: The rechargeable battery in iPhone should be replaced only by an authorized service provider. For battery replacement services go to: www.apple.com/support/iphone/service/battery Deutschland: Dieses Gerät enthält Batterien. Bitte nicht in den Hausmüll werfen. Entsorgen Sie dieses Gerätes am Ende seines Lebenszyklus entsprechend der maßgeblichen gesetzlichen Regelungen. Nederlands: Gebruikte batterijen kunnen worden ingeleverd bij de chemokar of in een speciale batterijcontainer voor klein chemisch afval (kca) worden gedeponeerd. Türkiye: EEE yönetmelig?ine (Elektrikli ve Elektronik Es¸yalarda Bazi Zararli Maddelerin Kullaniminin Sinirlandirilmasina Dair Yönetmelik) uygundur. Apple and the Environment At Apple, we recognize our responsibility to minimize the environmental impacts of our operations and products. For more information go to: www.apple.com/environment Appendix B Other Resources 207Index 3G 21, 41 12-hour time 147 24-hour time 147 A accessibility features 182 Mono Audio 190 setting up iPhone using VoiceOver 11 settings 149 Speak Auto-text 190 Triple-click Home 191 VoiceOver 183 White on Black 190 Zoom 189 accounts 16, 150 “push” 18, 151 activating iPhone 10 adjusting brightness 142 Adobe Photoshop 97 Adobe Photoshop Elements 15 airplane mode settings 138 status icon 21 turning on 138 alarms deleting 133 setting 133 status icon 22 turning on or off 133 album covers 78 album tracks 79 alert voicemail 52 alerts adjusting volume 27, 141 calendar 96 turning on or off 141 alternate audio language 83 answering calls 39 anti-phishing. See Safari fraud warning App Store about 167 browsing 167 deleting applications 171 Genius 168 store account 159, 167 syncing 12 syncing purchased content 172 updating applications 172 verifying purchases 166 applications 23 deleting 171 attachments email 62 audio alternate language 83 mono 190 audio file formats, supported 201 audiobooks syncing 12 Auto-Brightness 142 AutoFill 69, 156 auto-lock, setting time for 145 AV cables 84 B backing up iPhone 14 backups creating 202 removing 203 restoring from 203 battery charging 43 low on power 44, 193 maximizing life 44 replacing 44, 206 status icon 22 Bluetooth finding address 143 headset 26, 38, 39, 48, 49, 50, 74, 77, 78, 82, 104, 108, 126, 200, 202 routing calls back through iPhone 56 status icon 22 turning on or off 144 unpairing device 56 Index 208bookmarking map locations 119 webpages 69 YouTube videos 108, 109 bookmarks, syncing 12, 14, 69 brightness adjusting 142 setting to adjust automatically 142 browser cache, clearing 157 browsing album covers 78 App Store 167 iTunes Music Store 161 YouTube videos 107 businesses, finding 121 buttons, changing 85 C cable, Dock Connector to USB 11, 21 cache, clearing browser 157 Calculator 135 scientific 136 Calendar about 91 searching 93 views 92 See also events calendars, syncing 12, 14, 91 call forwarding 154 call options 49 call waiting, turning on or off 154 caller ID, hiding or showing 154 calls no service 196 See also phone Camera deleting pictures 104 exposure 104 focus 104 seeing photos and videos you’ve taken 104, 105 taking pictures 104 upload pictures to your computer 106 caps lock, enabling 148 carrier services 155 Cc 152 cell signal, status icon 21 cellular network 41 charging battery 43 cleaning iPhone 46 Clock 132 clocks, adding 132 closed captioning, turning on or off 158 Compass current coordinates 174 heading 174 True and Magnetic North 174 component AV cable 84 composite AV cable 84 computer requirements 9 conference calls 50 configuration profiles 18 connecting to Internet 40 contacts adding and editing 178 adding from Maps 119 adding from text messages 89 assigning photo to 102 favorite 54 GAL (Global Address List) 59, 177, 200 LDAP (Lightweight Directory Access Protocol) 177 seeing location of 119 send info by email 60 setting how displayed 153 setting how sorted 153 syncing 12, 13, 14, 176 using to call someone 47 Yahoo! Address Book 14 controls, using 28 converting videos 73 converting unprotected WMA files 201 cookies 157 copying images 100 photos and videos in MMS messages 88 text 33 Cover Flow 78 current approximate location 119, 174 cutting and pasting text 33 D data, erasing 17, 45, 145, 149 date and time, setting 147 date format 148 debug console 157 declining calls 49 deleting alarms 133 all content and settings 45, 149 applications from the App Store 171 clocks 132 contacts 178 contacts from Favorites 54 email account 151 email messages 64 notes 130 pictures 104 playlists 81 removing 203 songs from a playlist 81 videos 84 Index 209YouTube playlists 110 YouTube videos from a playlist 110 developer settings 157 Dialing a phone number 47 directions, getting 119 disconnecting iPhone from computer 19 display freezes 194 Dock Connector 125 Dock Connector to USB cable 11, 21 downloading applications 170 podcasts 164 E EDGE 40 editing text 33 text conversations 89 videos 106 effects sounds, turning on or off 141 email accounts syncing 12 emergency calls 51 ending calls 39 enterprise, using iPhone 206 equalizer 158 erasing data 17, 45, 145, 149 events, calendar 94 Exchange. See Microsoft Exchange exposure 104 F favorites calling a contact from 47, 54 managing 54 sending text messages 87 Fetch New Data 151 file formats, supported 62, 199, 200, 201 Find My iPhone 17, 45 focus 104 force quit an application 46 formats date, time, and telephone number 148 forwarding messages 60 G GAL (Global Address List) 59, 177, 200 Genius Mixes 73, 80 Genius playlists 76, 79 Genius, App Store 168 gestures, VoiceOver 184 getting help 205 getting started 9 Google search engine 156 Google Contacts 14, 196 searching the web 69 GPRS 40 GPS 116 grab points 34 H hands-free phone calls 50, 144 headset about 21, 39 center button 21, 26, 38, 39, 48, 49, 50, 74, 77, 78, 82, 104, 108, 126, 200 using with Voice Memos 125 headset button. See mic button help, getting 205 hold, putting calls on 50 Home screen 23, 29 adding web clips 70 customizing 25 hybrid view 118 I iCal 14, 205 ICCID number 143 icons applications 23 status 21 See also buttons images copying 100 pasting 100 IMAP accounts 59 searching email 64 IMEI number 143 installing applications from the App Store 170 configuration profiles 18 international keyboards 35, 148 Internet, connecting to 40 iPhoto 15, 205 iPod changing browse buttons 85 converting videos for iPhone 73 deleting videos 84 Genius Mixes 80 Genius playlists 79 headset controls 39 on-the-go playlists 81, 110 playing songs using Voice Control 77 repeating or shuffling songs 76 searching 79, 83 settings 158 Shake to Shuffle 73, 158 sleep timer 84 210 IndexiTunes Store about 160 account 10, 159, 160, 163, 167 browsing 161 checking download status 165 purchasing ringtones 162 purchasing songs and albums 162 streaming or downloading podcasts 164 syncing purchased content 165 verifying purchases 166 iTunes U syncing 12, 15, 71 iTunes getting help 205 iPhone doesn’t appear in 195 settings panes 13 K keyboards Emoji 35 international 35, 148 typing on 32 keypad, numbers 50 L LDAP (Lightweight Directory Access Protocol) 177 links in email 62 on webpages 67 location. See Maps Location Services 144 location warnings 150 locking iPhone 22, 26, 27 lyrics, displaying 75 M Mac system requirements 9 magnetic north 173 Mail account setup 59, 150 attachments 62, 199 Cc 152 checking for new messages 60, 64 deleting email account 151 deleting messages 64 forwarding messages 60 links 62 load additional messages 61 marking messages as unread 63 organizing email 65 password settings 151 problems opening an attachment 199 reading messages 61 replying to messages 60 resizing text column 61 saving drafts 60 searching 64 seeing recipients 63 sending email to someone you’ve texted 89 sending messages 59 sending photos and videos 60 sending webpage addresses 67 sending YouTube video links 108, 109 settings 150, 151 share contact information 60 signatures 152 storing email on iPhone or server 151 syncing email account settings 12 Yahoo! email account 18 zooming in a message 61 Maps adding location to a contact 119 bookmarking location 119 current approximate location 116, 119 dropped pin 117 finding businesses 121 finding location 114 getting directions 119 GPS 116 hybrid view 118 satellite view 118 seeing location of a contact 119 share location 119 traffic conditions 121 zooming 115 Messages contacting someone you’ve texted 89 editing conversations 89 following links in messages 89 previews 90 replying to messages 87 saving a photo or video clip 88 saving conversations 87 sending a photo or video clip 88 sending messages 86 setting alert sounds 90 settings 157 show earlier messages 87 mic button 39 microphone about 39 built-in 125 muting 50 microphone, external 125 Microsoft Excel 156 Microsoft Exchange 16, 23, 25, 59, 176 push accounts 18 searching email 64 setting up account 16 syncing 16, 57, 91 Microsoft Internet Explorer 14, 69 Index 211Microsoft Outlook 14, 15 Microsoft Word 156 missed calls number of 52 returning 47 MMS 23, 24, 86, 88, 89, 97, 98, 100, 101, 116, 119, 128, 157 See also Messages MobileMe 16, 23, 25, 176 getting help 205 push accounts 18 searching email 64 security features 17, 45 sending photos to a gallery 100 setting up account 16 syncing 57, 69, 91 model number 142 modem firmware version 143 Mono Audio 190 movies rented 15, 83 syncing 12 music lyrics 75 managing manually 14 previewing 162 purchasing 162 searching 79 syncing 12, 15, 71 See also iPod music videos syncing 12 muting a call 50 N navigating. See panning, scrolling Network activity status icon 22 networks 139 Nike + iPod settings 159, 181 north, true and magnetic 173 Notes 130 searching 131 syncing 12 NTSC 159 O on-the-go playlists 81 orientation, changing 66 Outlook Express. See Windows Address Book Outlook. See Microsoft Outlook overview, iPhone applications 23 P pairing with Bluetooth headset 55 PAL 159 panning maps 115 webpages 67 parental controls. See Restrictions passcode 145 password changing 155 voicemail 197 pasting images 100 photos and videos in MMS messages 88 text 33 pausing songs and videos 39 PC system requirements 9 phone network name 142 Phone adding and editing contacts 178 answering calls 39, 40, 49 call waiting 154 calling internationally 56 calling someone you’ve texted 89 carrier services 155 changing voicemail password 155 conference calls 50 declining calls 40, 49 emergency calls 51 ending calls 39, 40, 50 forwarding calls 154 hands-free 50 hiding or showing caller ID 154 locking SIM card 155 making calls 47 missed calls 52 muting calls 50 putting calls on hold 50 ring mode 54 routing calls back through iPhone 56 second calls 50 setting up voicemail 52 settings 153 silencing calls 49 silent mode 54 switching between calls 40, 50 turning on vibrate 54 unpairing Bluetooth device 56 using favorites 54 using speakerphone 50 using TTY machine 154 voice dialing 48 voicemail 51, 52 voicemail alerts 52 photo albums 99 212 Indexphotos saving MMS attachments 88 sending in MMS messages 88 Photos assigning photos to contacts 102 emailing photos 100 playing music during slideshow 100 sending in email messages 60 settings 99, 159 syncing 12, 15, 97 using photos as wallpaper 102 viewing slideshows 99 zooming photos 99 See also Camera pictures taking 104 See also Camera, Photos PIN number 155 playlists, making 81 plug-ins 156 podcasts downloading 164 streaming 164 syncing 12, 15, 71 pop-ups 156 power adapter 21 power, low 44 previewing music 162 ringtones 162 videos 163 previewings text messages 90 problems. See troubleshooting purchased content syncing 165, 172 purchasing applications 167 iTunes content 72 music 160, 162 ringtones 162 videos 163 push accounts 18, 151 R reading email 61 Recents, using to call someone 47 rechargeable batteries 44 removing backups 203 SIM card 201 rented movies 83 renting movies 15 videos 163 repeating 76 replacing battery 44, 206 replying to messages 60 requirements for using iPhone 9 reset iPhone 46 resizing webpage columns 67 restarting 46 restoring iPhone software 204 restoring settings and information 203 restrictions, setting 146 ring mode 28, 54, 141 ringer adjusting volume 27, 141 turning on or off 141 Ring/Silent switch 28, 54 ringtones previewing 162 purchasing 162 setting 55, 141 syncing 12 rotor control 185 routing calls back through iPhone 56 S Safari AutoFill 69, 156 bookmarking webpages 69 clearing cache 157 cookies 157 Debug Console 157 developer settings 157 fraud warning 156 Home screen web clips 70 navigating 67 opening webpages 66, 68 plug-ins 156 pop-ups 156 reloading webpages 67 resizing columns to fit screen 67 saving images to your Photo Library 67 searching the web 69 security 156 sending webpage addresses in email 67 settings 156 stopping webpages from loading 67 syncing bookmarks 12, 14 typing in text fields 68 zooming webpages 67 satellite view 118 screen 142 setting to adjust automatically 142 using 28 screen reader 11 scrolling about 29 maps 115 webpages 67 Index 213search engine 156 searching App Store 167 calendars 93 global 37 iTunes Music Store 161 Mail messages 64 music 79 notes 131 videos 83 searching the web 69 searching YouTube videos 107 security erase data after ten failed passcode attempts 145 features 45 Find My iPhone 17, 45 setting passcode for iPhone 145 web 156 selecting text 34 sending email 59 photos and video clips 88 photos from Photos 100 text messages 86 voice memos 88 serial number, finding 142, 206 service and support information 205 settings accessibility 149 accounts 150 airplane mode 138 alarms 133 alerts 90, 96 auto-capitalization 148 auto-correction 33, 148 auto-lock 145 Bluetooth 144 brightness 142 Calendar 92, 96 date and time 92, 147 developer 157 email server 151 Fetch New Data 151 international 148 iPod 158 language 148 location services 144 Mail, Contacts, Calendars 150 Mail 150 messages 157 Nike + iPod 159, 181 notifications 140 passcode lock 145 Phone 153 Photos 99, 159 resetting 149 restrictions 146 Safari 69, 156 screen brightness 142 security 156 Shake to Shuffle 158 slideshow 99 sound 90, 96 Store 159 temperature 124 TV out 159 usage statistics 143 vibrate 54 video 158 VoiceOver 182 VPN 144 wallpaper 102, 142 Wi-Fi 139 Shake to Shuffle 73, 158 sharing photos and videos in email messages 60 photos and videos in MMS messages 88 shuffling songs 76 signatures, email 152 silencing calls 49 silent mode 28, 54, 141 SIM card, locking 155 sleep. See locking iPhone sleep timer 84 slideshows 99, 100 settings 159 SMS 86 See also Messages software getting help 205 updating and restoring 204 version 142 sound adjusting ringer and alerts volume 141 adjusting volume 27 no sound 200 setting limit 158 Sound Check 158 sound effects 27 sounds adjusting volume 40 calendar alert 96 setting ringtone 141 turning on or off 141 Speak Auto-text 190 speakerphone 50 SSL 151 star next to a phone number 179 Starbucks, browsing and purchasing music 161 status icons 21 stock information, Yahoo! 113 Stocks, adding and deleting quotes 112 214 Indexstopwatch, using 133 storage capacity 142 Store, settings 159 streaming podcasts 164 subtitles 83 surfing the web 66 switching between calls 50 syncing calendars 91 getting calls during 19 Google Contacts 14, 196 iTunes library contents 12 Microsoft Exchange 16, 57, 91 MobileMe 16, 57, 91 photos 97 preventing 15 purchased songs 165 “Sync in progress” message 19 webpage bookmarks 69 Yahoo! Address Book 196 syncing voice memos 129 system requirements 9 T taking pictures 104 telephone. See Phone telephone number format 148 text cutting or copying 33 pasting 33 typing 32 text messaging. See Messages Text typing in webpages 68 time format 148 time zone support 92, 93, 147, 153 time, setting 147 timer setting 134 sleep 134 touchscreen, using 28 traffic conditions, checking 121 transfer settings and information 202 transferring purchased content 73, 165 transferring purchased content 172 transferring settings and information 203 transition effects, setting 159 trimming videos 106 Triple-click Home setting 191 troubleshooting backing up 202 can’t browse websites 197 can’t make a call 196 can’t open an attachment 199 can’t purchase music or applications 201 can’t text 197 display freezes 193 email not available 197 GAL contacts don’t appear 200 iPhone calls voicemail service 197 iPhone doesn’t appear in iTunes 195 iPhone doesn’t respond 193 iPhone doesn’t turn on 193 no sound 200 problems playing songs or other content 200 removing the SIM card 201 restarting 46 software update and restore 204 true north 173 TTY machine, using 154 turning iPhone on or off 26 TV shows syncing 15 TV shows, syncing 12 TV signal settings 159 typing keyboard 32 in webpage text fields 68 U undoing edits 34 unlocking iPhone 27 unpairing Bluetooth device 56 unread messages, marking 63 unsupported audio file formats 201 updating iPhone software 204 usage statistics battery percentage 143 resetting 143 seeing 143 USB cable 11, 21 port 11 power adapter 21 V vibrate, setting 54, 141 video settings 158 videos alternate audio language 83 converting for iPhone 73 deleting 84 editing 106 previewing 163 purchasing 163 saving MMS attachments 88 searching 83 sending in MMS messages 88 subtitles 83 syncing 12, 15, 71 trimming 106 Index 215watching on a TV 84 See also iPod, Music, YouTube virtual private network. See VPN Voice Control making phone calls 38, 48 playing songs 38, 77 using with headset 40 Voice Memos attaching to MMS messages 128 emailing 128 recording 125 syncing 129 trimming 128 voicemail about 51 alerts 52 changing password 155 checking and managing 52 forgotten password 197 greeting 52 setting up 52 VoiceOver about 183 entering and editing text 188 gestures 184 rotor control 185 setting up iPhone using 11 volume adjusting 27, 40 adjusting for ringer and alerts 141 setting limit 158 VPN accessing networks using 42 configuring 144 set up by configuration profile 18 turning on or off 144 W waking iPhone 27 wallpaper choosing 142 settings 102 using photo as 102 warranty service 206 watching videos on a TV 84 weather information, Yahoo! 124 Weather adding cities 123 deleting cities 124 temperature settings 124 viewing 123 web. See Safari web clips, adding to Home screen 70 webpages bookmarking 69 syncing 12, 14 White on Black 190 Wi-Fi addresses 143 forgetting a network 140 joining networks 41, 139 settings 139 status icon 22 turning on or off 139 Windows Address Book 14 Windows XP 9 WMA files, converting 201 “Works with iPhone” logo 125 World Clock 132 Y Yahoo! Address Book 14, 196 search engine 156 search using 69 searching using 69 stock information 113 weather information 124 YouTube bookmarking videos 108, 109 browsing videos 107 emailing links 108, 109 playing videos 108 searching for videos 107 Z Zoom (Accessibility feature) 189 zooming email messages 61 maps 115 photos 99 webpages 67 216 IndexK Apple Inc. © 2009 Apple Inc. All rights reserved. Apple, the Apple logo, Cover Flow, iCal, iPhoto, iPod, iTunes, Keynote, Mac, Macintosh, Mac OS, Numbers, Pages, Safari, and Spotlight are trademarks of Apple Inc., registered in the U.S. and other countries. Finder, iPhone, Multi-Touch, and Shuffle are trademarks of Apple Inc. iTunes Store is a service mark of Apple Inc., registered in the U.S. and other countries. App Store and MobileMe are service marks of Apple Inc. The Nike + iPod Sport Kit is covered by one or more of U.S. patent numbers 6,018,705, 6,052,654, 6,493,652, 6,298,314, 6,611,789, 6,876,947, and 6,882,955, either alone or when used in combination with a Nike + iPod enabled iPod media player or iPhone 3GS. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Apple Inc. is under license. Adobe and Photoshop are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. Other company and product names mentioned herein may be trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products. All understandings, agreements, or warranties, if any, take place directly between the vendors and the prospective users. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. 019-1650/2009-09 ð Macintosh User’s Guide the Includes setup, troubleshooting, and important health-related information for the Macintosh LC 630 DOS Compatible K Apple Computer, Inc. © 1995 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software license agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 (408) 996-1010 Apple, the Apple logo, AppleShare, AppleTalk, ImageWriter, LaserWriter, Macintosh, MacTCP, ProDOS, QuickTime, and StyleWriter are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Apple Desktop Bus, AppleScript, Balloon Help, Disk First Aid, Finder, Macintosh PC Exchange, PlainTalk, PowerTalk, and QuickDraw GX are trademarks of Apple Computer, Inc. Adobe, Adobe Illustrator, Adobe Photoshop, and PostScript are trademarks of Adobe Systems Incorporated, which may be registered in certain jurisdictions. Epson is a registered trademark of Seiko Epson Corporation. ExposurePro is a registered trademark of Baseline Publishing, Inc. Helvetica and Times are registered trademarks of Linotype-Hell AG and/or its subsidiaries. Hewlett-Packard, LaserJet, and PCL are registered trademarks of Hewlett-Packard Company. MacLink Plus is a trademark of Data Viz., Inc. Microsoft and MS-DOS are registered trademarks of Microsoft Corporation.Windows is a trademark of Microsoft Corporation and SoftWindows is a trademark used under license. NetWare is a registered trademark of Novell, Inc. QMS is a registered trademark of QMS, Inc. QuarkXPress is a registered trademark of Quark, Inc. Sound Blaster is a trademark of Creative Technology, Ltd. SuperPaint is a trademark of Aldus Corporation, a subsidiary of Adobe Systems Incorporated which may be registered in certain jurisdictions. Tektronix is a registered trademark of Tektronix, Inc. Simultaneously published in the United States and Canada. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.iii Communications regulation information vii Preface Your DOS-compatible Macintosh computer ix 1 Getting Started 1 Plugging in the computer 1 Installing an expansion card 3 Connecting a monitor 3 Connecting the mouse and keyboard 6 Connecting other equipment 7 Turning the computer on 8 Problems turning your computer on? 10 What’s next? 11 Learning the basics 12 Reviewing the basics 13 Turning the computer off 14 Where to find answers 15 Contents2 Getting Help 17 Getting answers to your questions 18 Identifying objects on the screen 26 Learning useful shortcuts 27 3 Connecting Additional Equipment 29 Where to connect additional equipment 30 Connecting an Apple PlainTalk Microphone 31 Connecting external stereo speakers 32 Connecting a game controller 33 Expanding memory 34 Installing internal drives 34 4 Installing and Using Application Programs in the Macintosh Environment 35 Installing Macintosh application programs 36 Working with several programs at a time 37 Backing up your files 38 5 Operating in the PC Environment 39 Switching between the Macintosh and PC environments 40 Setting up the PC environment 42 Working in the PC environment 44 Running network software 53 Using multimedia, MIDI, and game application programs 54 Using Macintosh peripherals in the PC environment 55 Using PC peripherals 59 iv Contents6 Configuring the PC Environment 61 Choosing settings 62 Configuring the PC serial ports 63 Setting the monitor 64 Setting the time and date 64 Setting shared memory 65 Choosing shared folders or volumes 67 Turning on PC sounds 69 Configuring drives C and D 70 Managing PC files from the Mac OS 71 Changing the size of the drive container 72 Understanding the status line 76 7 Troubleshooting in the Macintosh Environment 77 When you have questions 77 When you run into trouble 77 Solutions to common problems 80 Initializing a hard disk 93 Repairing a damaged disk 97 Installing or reinstalling Mac OS system software 102 8 Troubleshooting in the PC Environment 113 When you have questions 113 Reinstalling the DOS-Compatibility Software 119 Contents vAppendix A Health, Safety, and Maintenance Tips 129 Health-related information about computer use 129 Safety instructions 134 Handling your computer equipment 135 Cleaning your equipment 139 Locking and unlocking the mouse 141 Appendix B Installing an Expansion Card or Memory for the PC Environment 143 Opening the computer 145 Installing a communication card 148 Installing a SIMM for the PC environment 149 Closing the computer 154 Appendix C Special Keys on Your Keyboard 157 Appendix D Installing Macintosh Easy Open 159 Choosing an application to open a document 159 Using the Macintosh Easy Open control panel 161 Appendix E Installing Network Management Software 163 Installing NetWare client software 163 Installing Novell’s LAN Workplace for DOS TCP/IP software 167 Installing NetManage’s Chameleon TCP/IP software 169 Installing Windows for Workgroups 173 Installing Spry’s Air Series TCP/IP software 173 Installing Mosaic 177 Index 179 vi ContentsCommunications regulation information FCC statement This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. See instructions if interference to radio or television reception is suspected. Radio and television interference The equipment described in this manual generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures: m Turn the television or radio antenna until the interference stops. m Move the computer to one side or the other of the television or radio. m Move the computer farther away from the television or radio. m Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple-authorized service provider or Apple. See the service and support information that came with your Apple product. Or, consult an experienced radio/television technician for additional suggestions. You may find the following booklet helpful: Interference Handbook (stock number 004-000-00493-1). This booklet, prepared by the Federal Communications Commission, is available from the U.S. Government Printing Office, Washington, DC 20402. IMPORTANT Changes or modifications to this product not authorized by Apple Computer, Inc., could void the FCC Certification and negate your authority to operate the product. This product was tested for FCC compliance under conditions that included the use of Apple peripheral devices and Apple shielded cables and connectors between system components. It is important that you use Apple peripheral devices and shielded cables and connectors between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. You can obtain Apple peripheral devices and the proper shielded cables and connectors through an Apple-authorized dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. Communications regulation information viiDOC statement DOC Class B Compliance This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus as set out in the interference-causing equipment standard entitled “Digital Apparatus,” ICES-003 of the Department of Communications. Observation des normes—Classe B Cet appareil numérique respecte les limites de bruits radioélectriques applicables aux appareils numériques de Classe B prescrites dans la norme sur le matériel brouilleur : “Appareils Numériques”, NMB-003 édictée par le ministre des Communications. VCCI statement CD-ROM drive WARNING Making adjustments or performing procedures other than those specified in your equipment’s manual may result in hazardous exposure. WARNING Do not attempt to disassemble the cabinet containing the laser. The laser beam used in this product is harmful to the eyes. The use of optical instruments, such as magnifying lenses, with this product increases the potential hazard to your eyes. For your safety, have this equipment serviced only by an Apple-authorized service provider. If you have an internal Apple CD-ROM drive in your computer, your computer is a Class 1 laser product. The Class 1 label, located on the computer, indicates that the drive meets minimum safety requirements. A service warning label is on the CD-ROM drive inside the computer. viii Communications regulation informationYour Macintosh includes hardware and software that let you use DOS and Windows application programs directly on your Macintosh computer. It contains a high-performance microprocessor that’s fully compatible with the latest DOS and Windows software. You can m simultaneously run Macintosh operating system (Mac OS) and PC application programs m switch between the Mac OS and PC environment at any time without quitting the applications you’re using m view the current environment on a single monitor m use the same hard disk for both Mac OS and PC software m share files and folders (directories) between the Mac OS and the PC environment m cut, copy, and paste data between Mac OS and DOS or Windows documents m use your Macintosh keyboard and mouse with PC software m use your Macintosh modem, monitor, and printer with PC software, or connect PC-compatible equipment m use a joystick or other game controller with PC application programs ix Your DOS-Compatible Macintosh Computerm share the random-access memory (RAM) in your Macintosh with the PC environment, or use a memory module (SIMM) for the exclusive use of the PC environment m use the built-in Macintosh serial ports with PC software m access PC CD-ROM discs using an Apple CD-ROM drive m play Sound Blaster-compatible sounds m communicate with network servers and other computers running PC software To begin, follow the instructions in Chapters 1 and 2 to set up your computer and get started using it. Read Chapters 3 and 4 when you are ready to connect additional equipment to your computer and install Mac OS application programs. Read Chapters 5 and 6 to start using DOS and Windows application programs on your Macintosh computer. Turn to Chapters 7 and 8 if you have questions or problems using your Macintosh. x Your DOS-Compatible Macintosh ComputerMonitor cable (sometimes built into the monitor) Monitor power cord (sometimes built into the monitor) Computer power cord Keyboard Monitor Macintosh DOS-compatible computer Mouse Keyboard cable (sometimes built into the keyboard as shown here)The illustration on the facing page shows all the equipment you need to set up your computer and begin using it. Place your equipment on a sturdy, flat surface near a grounded wall outlet. Before following the setup instructions in this chapter, you may want to read “Arranging Your Office” in Appendix A (in the section on health-related information) for tips on adjusting your work furniture so that you’re comfortable when using the computer. Plugging in the computer Before you plug your Macintosh into a wall socket, carefully read all the setup instructions in this chapter. Then, before you connect anything to your Macintosh, follow the instructions in this section to plug it in. The plug grounds the computer and protects it from electrical damage while you are setting up. 1 1 Getting Started Follow the instructions in this chapter to set up your computer and learn the basics.When you are ready to begin, follow these steps: 1 Plug the socket end of the computer’s power cord into the recessed power cord socket (marked with the symbol ²) on the back of the computer. 2 Plug the other end of the power cord into a three-hole grounded outlet or power strip. Choose a power outlet to which you have easy access. IMPORTANT Be sure that at least one end of the power cord is within easy reach so that you can unplug the computer when you need to. If the computer starts up: If you hear a tone, the computer has started up and you need to turn it off before proceeding. Press the power button (also called the standby power button) located on the back of the computer to turn the computer off. Power cord plug Power cord socket Standby power button WARNING This equipment is intended to be electrically grounded.Your Macintosh is equipped with a three-wire grounding plug—a plug that has a third (grounding) pin. This plug will fit only a grounded AC outlet. This is a safety feature. If you are unable to insert the plug into the outlet, contact a licensed electrician to replace the outlet with a properly grounded outlet. Do not defeat the purpose of the grounding plug! 2 Chapter 1Installing an expansion card If you purchased any expansion cards for your Macintosh or extra memory for use in the PC environment, install the cards or memory now. (For instructions, see Appendix B, “Installing an Expansion Card or Memory for the PC Environment,” as well as the documentation that came with the cards or memory module.) If you don’t have an expansion card or memory to install, go on to the next section, “Connecting a Monitor.” Connecting a monitor You can connect many types of monitors to your Macintosh. To connect a monitor from a manufacturer other than Apple, refer to the instructions that came with the monitor. Connecting the monitor power cord Monitors have two cords to connect—a power cord and a monitor cable. To connect the monitor power cord, follow these steps: 1 Place the monitor where you will be using it. You can place a monitor with a 15-inch or smaller screen on top of your computer. Don’t place larger monitors on the computer. Keep these considerations in mind: m Allow a few inches for air circulation around the sides of the computer and monitor. m Make sure that the top of the screen is slightly below eye level when you’re sitting at the keyboard. m Position the monitor to minimize glare and reflections on the screen from overhead lights and windows. m Consult “Arranging Your Office” in the section “Health-Related Information About Computer Use” in Appendix A for suggestions on locating your computer equipment. Getting Started 32 Connect the monitor power cord to the monitor. On some monitors, the cord is already attached. 3 Plug in the monitor power cord. Be sure to plug the power cord into a three-hole grounded outlet or power strip. Monitor power cord Monitor power socket 4 Chapter 1Connecting the monitor cable After you plug in the monitor power cord, you connect the monitor cable to the computer’s monitor port. To connect the monitor cable, follow these steps: 1 Attach the monitor cable to the monitor. On some monitors, the cable is already attached (as shown below). 2 Attach the monitor cable to the monitor port on the back panel of the computer. The monitor port is on the upper-right corner of the back panel. It is marked with the ª icon (symbol). Be sure you plug the cable into the correct port. Monitor cable ª Monitor port Getting Started 5Connecting the mouse and keyboard You have a choice of several keyboards for your Macintosh. The way you connect the mouse and keyboard depends on whether the keyboard has a separate cable or a built-in cable. Connecting a keyboard with a separate cable 1 Plug the mouse cable into the port on either side of the keyboard. Most right-handed people prefer to use the mouse with their right hand; most left-handed people prefer to use their left hand. Plug the mouse into the port on the side you prefer. The plug and the port are marked with the × icon (symbol). Align the symbols before you insert the plug. (The positions of the port and icon on your keyboard may be different from those pictured here.) By the way: A port marked with the × icon is called an Apple Desktop Bus (ADB) port. 2 Plug the keyboard cable (both ends are the same) into the other port on the keyboard. If you plugged the mouse cable in on the right, for example, plug the keyboard cable in on the left. 3 Plug the keyboard cable into the port marked with the × icon on the back of the computer. Some monitors have a port to which you can connect the keyboard or mouse. See the information that came with your monitor. ADB icon 6 Chapter 1Connecting a keyboard with a built-in cable 1 Plug the mouse cable into the recessed port on the back of the keyboard. The plug and the port are marked with the × icon (symbol). The positions of the port and icon on your keyboard may be different from those pictured. By the way: A port marked with the × icon is called an Apple Desktop Bus (ADB) port. 2 Plug the keyboard cable into the port marked with the × icon on the back of the computer. Some monitors have a port to which you can connect the keyboard or mouse. See the information that came with your monitor. Connecting other equipment If you are new to the Macintosh, it’s a good idea to get some experience using your computer before you connect other equipment, such as a printer or scanner. To learn basic Macintosh skills, continue with the instructions in this chapter. When you’re ready to connect other equipment to your Macintosh, see the instructions in Chapter 3. This cable plugs into the Apple Desktop Bus (ADB) port on the back of the computer. The ADB port on the computer is marked with the × icon. Plug the mouse into the recessed port on the keyboard. The flat part of the plug should be pointing down, as shown here. Getting Started 7Turning the computer on Follow these steps to turn the computer on: 1 Turn on the monitor. See the information that came with your monitor for the location of the power button. 2 Turn on your computer by pressing the Power key. The Power key is at the top of the keyboard. You can recognize this key by the triangle outline on it (P). You hear a tone from the computer as it starts up. 8 Chapter 13 Check to see what’s on your screen. m If you see the Macintosh desktop, as in the illustration below, your system software has already been installed, and your computer is ready to use. Skip now to the section “What’s Next?” later in this chapter. m If you see a blinking question mark, you need to install system software on your computer’s hard disk. (System software is the set of programs your computer uses to start itself up.) See “Installing or Reinstalling Mac OS System Software” in Chapter 7 for information on how to install system software. m If you see anything else on your screen, or nothing at all, see the next section, “Problems Turning Your Computer On?” Getting Started 9 Macintosh desktop Hard disk iconProblems turning your computer on? If you don’t see anything on the screen, check these items to see if you can identify the problem: m Is the computer plugged into a power source? If it is plugged into a power strip, is the power strip turned on? m Is the computer turned on? The power-on light on the front panel should be on. If it isn’t on, press the standby power button on the computer’s back panel (marked with the symbol ¨). m Are the keyboard and mouse cables connected correctly? (Don’t disconnect the keyboard or mouse cable while the computer is on. You could damage your equipment.) m Is the monitor power cord plugged in? m Is the monitor turned on? (Check the power-on light on the front of the monitor.) m Is the monitor cable attached firmly to both the monitor and computer? m Is the brightness control on the monitor adjusted correctly? (On Apple monitors, the brightness control is marked with the symbol Û.) 10 Chapter 1What’s next? Congratulations! You’ve finished setting up your computer. Now continue with one of the following steps: m If you are new to the Macintosh, turn to the next section, “Learning the Basics.” m If you are an experienced Macintosh user, turn to Chapter 2, “Getting Help,” to learn about Macintosh Guide, your main source of information when you’re working with the Mac OS (the Macintosh environment). m If you want to connect other equipment, such as a printer, to your computer, see Chapter 3, “Connecting Additional Equipment.” m If you want to start using DOS or Windows application programs on your Macintosh, turn to Chapter 5, “Operating in the PC Environment.” Before you begin working with your computer, be sure to read the important health and safety information in Appendix A. IMPORTANT If you need to turn off your computer at any point, please see “Turning the Computer Off” later in this chapter. It is very important to use the correct procedure for shutting down your Macintosh before turning it off. Getting Started 11Learning the basics If you are new to the Macintosh, you should begin by looking at the easy-touse program called the Macintosh Tutorial. The tutorial teaches you the basic skills you’ll need to use your computer in the Macintosh environment. To start the tutorial, follow these steps: 1 Slide the mouse along your mouse pad or desk. Hold the mouse as shown, with the cable pointing away from you. Don’t press the mouse button (under your index finger). Notice that the arrow (8) on the screen moves in the same direction that you move the mouse. If the arrow doesn’t move, make sure that the cables connecting the mouse and keyboard are secure and that your mouse is positioned as shown in the illustration. 2 Move the tip of the arrow (8) to the question mark (h) in the upper-right portion of the screen. If you run out of room on your mouse pad or desk while moving the mouse, pick up the mouse and place it where there’s more room. (The arrow on the screen moves only when the mouse is in contact with the mouse pad or desk.) 3 With the tip of the arrow on the question mark, press and hold down the mouse button. A list of choices (called a menu) appears. This is the Guide (h) menu, which is the place to go when you have a question about how to use your computer in the Macintosh environment (Mac OS). (The Guide [h] menu is not available when you’re in the PC environment.) Mouse button 12 Chapter 14 While holding down the mouse button, move the arrow until the words “Macintosh Tutorial” are highlighted, then release the mouse button. A window appears welcoming you to the tutorial. You can set this book aside for now and follow the instructions on the screen. When you have completed the tutorial, return to this book. Reviewing the basics The following illustration summarizes many of the basic skills and terms you learned from the tutorial. Getting Started 13 To throw away an item you no longer want, drag it to the Trash and choose Empty Trash from the Special menu. This icon represents your computer’s internal hard disk. To change the size or shape of a window, drag the size box. To bring hidden portions of a window’s contents into view, click the scroll arrows. The strip across the top of the screen is called the menu bar. The symbols and words in it represent menus of commands. Icons are small pictures that represent disks, folders, programs, and documents. To open an icon, click the icon twice quickly. Windows are boxes that display text, graphics, or icons. To bring a partially covered window to the front, click anywhere in the window. To close a window, click the close box. You can have several application programs open at once. To see which program is active or to switch from one program to another, use this menu (called the Application menu). To find an answer to a question about the Macintosh environment, look in the Guide (h) menu. To move a window, drag it by the title bar.Turning the computer off To turn the computer off, you choose Shut Down from the Special menu. Detailed instructions follow. 1 Move the tip of the arrow to the word “Special” at the top center of the screen. If the word “Special” does not appear at the top of the screen, you’re working in the wrong program. Pull down the Application menu (to the right of the Guide [h] menu) and choose Finder. Then try step 1 again. 2 With the tip of the arrow on the word “Special,” press and hold down the mouse button. 3 While holding down the mouse button, move the arrow down the list of choices until the words “Shut Down” are highlighted, then release the mouse button. You can also shut down your computer from the keyboard. 1 Press the Power key (marked with a triangle) on the keyboard. You will see a message asking whether you want to shut down or continue working. 2 Click Shut Down. To turn the computer on, simply press the Power key again. WARNING Do not turn the computer off by pressing the standby power button on the back panel. If you do so, you may lose any work you haven’t previously saved to a disk. You also risk losing any open documents. 14 Chapter 1Where to find answers When you have questions about using your Macintosh, there are several places you can look for answers. In this book Use this book to help you set up your computer and learn about it, or to find solutions to problems. In the Guide menu The Guide menu (marked with the h icon) is your main source of information about the Macintosh environment. To learn how to get different kinds of help from the Guide menu, see Chapter 2 in this book. In other manuals For answers to questions about other equipment or about application programs you have purchased, see the manuals that came with the equipment or programs. Manuals for DOS and Windows are included with your computer. From Apple’s customer support hotline If you can’t find an answer in any of the materials provided, call the customer support hotline. (The phone number for the hotline is in the service and support information that came with your computer.) User’s Guide Macintosh Getting Started 15The Guide menu is your main source of information when you’re working with your computer in the Macintosh environment. The menu is identified by a question mark (h) in the upper-right corner of the screen. (If you need instructions on using DOS or Windows, see the appropriate manual.) 17 2 Getting Help Use the instructions in this chapter to learn about the help available to you in the Guide menu.Getting answers to your questions When you have a question while working in the Macintosh environment, you can get the answer by choosing Macintosh Guide from the Guide menu. 1 Pull down the Application menu (in the upper-right corner of the screen) and choose Finder to make it the active application program. A checkmark in the menu indicates that the Finder is the active program. 2 Pull down the Guide menu (marked with the h icon) and choose Macintosh Guide. The Macintosh Guide window appears. Whenever you use Macintosh Guide, its window remains in front of other windows. If the window gets in your way, you can move it by dragging its title bar (the gray bar across the top of the window). 18 Chapter 23 Notice the three buttons at the top of the window: Topics, Index, and Look For. Macintosh Guide gives you three ways of finding information: m Topics lets you choose from a list of general subjects; it is like the table of contents in a book. m Index lets you choose from an alphabetical list of more specific subjects; it is like the index in a book. m Look For lets you search for information related to a specific word or phrase that you type. In the following sections you will practice using each method. If you have problems while using Macintosh Guide, see “Tips for Using Macintosh Guide” later in this chapter. Getting answers with the Topics button 1 In the Macintosh Guide window, click the Topics button. A list of general topics appears on the left side of the Macintosh Guide window. (Depending on the hardware and software you have, the list of topics may look different.) Getting Help 192 Click “Setting Options” in the list of topics. When you click any topic area, a list of related questions appears on the right side of the Macintosh Guide window. 3 Click the question “How do I set the time and date?” and then click OK. Or double-click the question. A small window appears with instructions for you to follow. 4 Read and follow the instructions in this window. Macintosh Guide provides step-by-step instructions to answer the question you selected. When you have completed each step, click the right arrow in the lower-right corner to see the next step. 5 When you have completed all the steps, click the Topics button in the lower-left corner to return to the main Macintosh Guide window. Now continue with the next section. 20 Chapter 2 Click here to see the next step (if there is one). To get instructions, click a question… …and then click OK. If you want to return to the main Macintosh Guide window, click here.Getting answers with the Index button 1 In the Macintosh Guide window, click the Index button. An alphabetical list of subjects appears on the left side of the window. 2 Scroll through the alphabetical list until the phrase “background pattern” is visible. You can scroll through the list either by dragging the slider to the letter B or by using the scroll bar at the right of the list. 3 Click the phrase “background pattern” in the alphabetical list. When you click any index entry, a list of related questions appears on the right side of the Macintosh Guide window. Getting Help 21 Scroll bar Slider To get instructions, click a question… …and then click OK.4 Click the question “How do I change the background pattern?” and then click OK. Or double-click the question. A small window appears with instructions for you to follow. 5 Read and follow the instructions in the window. Macintosh Guide provides step-by-step instructions to answer the question you selected. When you have completed each step, click the right arrow in the lower-right corner to see the next step. 6 When you have completed all the steps, click the Topics button in the lower-left corner to return to the main Macintosh Guide window. Now continue with the next section. 22 Chapter 2 Click here to see the next step (if there is one). If you want to return to the main Macintosh Guide window, click here.Getting answers with the Look For button 1 In the Macintosh Guide window, click the Look For button. A small box appears on the left side of the window, where you can type text. 2 Click the arrow button to activate the text box. 3 Type “sound” in the text box and then click Search. When you click Search, a list of questions related to the word or phrase you typed appears on the right side of the Macintosh Guide window. Getting Help 23 To activate the text box, click here. Type a word or phrase in the text box… …and then click here. To get instructions, click a question… …and then click OK.4 Click the question “How do I change the beep sound?” and then click OK. Or doubleclick the question. A small window appears with instructions for you to follow. 5 Read and follow the instructions in the window. Macintosh Guide provides step-by-step instructions to answer the question you selected. When you have completed each step, click the right arrow in the lower-right corner to display the next step. 6 When you have completed all the steps, click the close box in the upper-left corner to close Macintosh Guide. 24 Chapter 2 If you want to close Macintosh Guide, click here. Click here to see the next step (if there is one).Tips for using Macintosh Guide Here are a few tips for using Macintosh Guide effectively: m Macintosh Guide is available only in the Macintosh environment, and only when you are in the Finder—the desktop area where you can see the icons of disks, folders, and files. (Other programs may also have help available in the Guide menu, however.) If you don’t see Macintosh Guide in the Guide menu, pull down the Application menu (to the right of the Guide menu) and choose Finder. m Follow the steps when you’re instructed to; don’t skip ahead or read ahead. That way the computer can check to make sure you’ve done a step correctly. m Unlike most windows, the Macintosh Guide window stays in front of other windows on the screen so that your instructions are never covered. If you need to move the Guide window out of the way, drag it by the title bar at the top of the window. You can also move the window out of the way by clicking the zoom box. Click the box once to shrink the window; click it a second time to expand the window to its original size. m If you need more information about an instruction or a term, click the button labeled “Huh?” to get further explanation. (The “Huh?” button is dimmed when no additional information is available.) m If you want to return to the main Macintosh Guide window, click the Topics button in the lower-left corner of the Guide window. m When you’re finished using Macintosh Guide, click the close box in the upper-left corner of the window. Getting Help 25 Zoom box Close box Title bar Topics button “Huh?” button Right arrowIdentifying objects on the screen Sometimes you’ll see an unfamiliar item on the screen and ask yourself, “What’s that?” You can get an answer by using a Macintosh feature known as Balloon Help. Balloon Help explains the function of icons, menus, commands, and other items in the Macintosh environment using balloons like those you see in comic strips. Follow these steps to use Balloon Help: 1 Pull down the Guide menu (marked with the h icon) and choose Show Balloons. 2 Point to any object on the screen that you want to identify. A balloon appears next to the object. In the following illustration, for example, pointing to the Trash displays a balloon that explains how to use the Trash to throw items away. Although balloons appear next to items when you point to them, the way you work does not change; you can still select icons, choose commands, and so on. 3 When you’re finished using Balloon Help, choose Hide Balloons from the Guide menu. 26 Chapter 2Learning useful shortcuts You can perform many tasks in the Finder more quickly if you use keyboard or mouse shortcuts. For example, instead of clicking an icon and choosing Open from the File menu, you can simply double-click the icon to open it. Follow these steps to learn keyboard and mouse shortcuts: 1 Pull down the Guide menu (marked with the h icon) and choose Shortcuts. The main Macintosh Shortcuts window appears. Getting Help 272 Click one of the category buttons. Another window appears, describing shortcuts for that category. 3 Read about the shortcuts available for the category you selected. Click the right arrow in the lower-right corner of the window to display the next window (if there is one). 4 When you finish reading about the shortcuts for your category, click the Topics button in the lower-left corner to return to the main Macintosh Shortcuts window. Or click the close box in the upper-left corner to close the window. 28 Chapter 2 If you want to close the window, click here. Click here to see the next window (if there is one). Click here to return to the main Macintosh Shortcuts window for more categories.The illustration below shows a basic Macintosh system. You can expand your computer system by connecting additional hardware (such as a printer, modem, or external audio speakers). Mouse Monitor Computer Keyboard Hard disk drive (internal) Floppy disk drive CD-ROM drive (optional) Volume buttons Use these buttons to change the volume of the computer’s sound. CD-ROM drive Open/Close button Power-on light Headphone jack Remote control sensor - f 29 3 Connecting Additional Equipment Read this chapter for information on expanding your computer system with additional hardware.Where to connect additional equipment The illustration on this page shows where equipment should be connected to your computer. For instructions on connecting additional equipment such as a printer or scanner, see the manual that came with the equipment. - W Modem port [ Printer port Connects your Macintosh to a printer or LocalTalk network. V ADB port Connects your Macintosh to input equipment, such as a keyboard or a trackball. Å g SCSI port Connects your Macintosh to SCSI equipment, such as hard disk drives and scanners. Connects an external modem to your Macintosh. Sound output port Connects your Macintosh to headphones, externally powered (amplified) speakers, or other audio output equipment. Sound input port Connects your Macintosh to a professional-quality microphone or other audio input equipment. F Security lock port Standby power button ² Power socket ª Monitor port Connects your monitor to your Macintosh. Communication card access cover Covers port for optional communication card. Joystick port Connects your Macintosh to a joystick or other game controller. (For the PC environment only.) Video input card (optional) Connects your Macintosh to a video camera, VCR, or other video equipment. TV tuner card (optional) Connects your Macintosh to an external TV antenna or cable TV service. ¨ 30 Chapter 3Connecting an Apple PlainTalk Microphone Your computer has a sound input port, which you can use to connect an Apple PlainTalk Microphone. Use PlainTalk only: You should connect only the Apple PlainTalk Microphone. Other models of microphone will not work with your Macintosh. To connect the microphone, do this: m Plug the microphone’s connector into the sound input port (marked with the icon X) on the back of the computer. Sound input port Sound output port Connecting Additional Equipment 31Connecting external stereo speakers You can take advantage of your computer’s stereo sound output by attaching externally powered (amplified) speakers. (Only externally powered speakers will work with your Macintosh.) 1 Assemble the speakers and the cable you need. You need a cable with stereo miniplugs at each end to connect one or both speakers to the computer. (Some speakers require a dual-plug adapter. Others, like those shown here, accept a single stereo miniplug and are joined by standard speaker wires.) The following illustration shows the equipment configuration and the connections for a computer sound system. 2 Turn off the Macintosh. 3 Plug a stereo miniplug into the sound output port on the Macintosh. 4 Plug a stereo miniplug into the Audio In port on one of the speakers. If the speakers take a dual-plug cable, connect both plugs to the speakers’ Audio In ports. Stereo miniplug Audio In port - Sound output port Externally powered speakers 32 Chapter 35 Connect the speakers together with speaker wires, if necessary. 6 Turn on the computer. You hear the computer’s sound through the external speakers. Note: To control the volume of your external speakers, use the volume button on the front of the computer. If you are playing an audio compact disc (CD), you may also need to adjust the volume control in the program you’re using to play CDs. For more information on sound and playing audio CDs, see the “Sound” topic of Macintosh Guide, available in the Guide (h) menu. For information on hearing sounds in the PC environment, see “Turning On PC Sounds” in Chapter 6. Connecting a game controller Connect a game controller, such as a joystick, as shown. m Attach the joystick’s connector to the joystick port on the lower-right corner of the computer’s back panel. Tighten the thumbscrews securely. Joystick port Connecting Additional Equipment 33Expanding memory The random-access memory (RAM) in your computer can be expanded. Installing additional RAM adds more memory chips to your computer and expands its capabilities. The Technical Information booklet that came with your computer describes how much additional memory can be installed in your Macintosh. You can also add up to 32 megabytes (MB) of RAM for use exclusively in the PC environment. See Appendix B, “Installing an Expansion Card or Memory for the PC Environment,” for further information. Memory for your computer is provided in packages called Single Inline Memory Modules (SIMMs). The SIMMs must be the correct type for your computer. It is very important that the SIMMs be correctly installed in your Macintosh. Incorrect installation can result in errors, unpredictable results, and damage to your equipment and data. Installing internal drives Your Macintosh can hold up to three internal storage devices, including a floppy disk drive, a CD-ROM (compact disc read-only memory) drive, and a hard disk drive (several capacities are available). These drives may already be installed. If you want to add or replace an internal drive, see your Appleauthorized dealer. WARNING To avoid damage to your computer, Apple recommends that only an Apple-certified technician install additional RAM. Consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for service. If you attempt to install additional RAM yourself, any damage you may cause to your equipment will not be covered by the limited warranty on your computer. See an Apple-authorized dealer or service provider for information about this or any other warranty question. 34 Chapter 3Your computer has several Macintosh application programs already installed, as well as some Macintosh programs that must installed before you can use them. You will need to run an application program’s Installer program before the application program will work. You’ll find these programs on your hard disk. You may want to experiment with AppleScript, one of the programs on your hard disk. With AppleScript you can automate tasks in the Finder and other scriptable programs (programs that support AppleScript). Instructions for using AppleScript are included in the AppleScript folder. If your computer has enough memory, you can install QuickDraw GX and PowerTalk. QuickDraw GX gives your computer more powerful printing and font capabilities. PowerTalk provides an open collaboration environment with a universal mailbox and other electronic mail services. To install each of these programs, open the folder of the item you want to install and double-click the Installer icon. Another program, Video Monitor, is for use with computers that have audiovisual (AV) capabilities. For information on using Video Monitor, see the “Video” topic of Macintosh Guide, available in the Guide (h) menu. If you want to install DOS application programs, see Chapter 5, “Operating in the PC Environment,” and refer to your DOS manual. 35 4 Installing and Using Application Programs in the Macintosh Environment Read this chapter for information on installing and using application programs in the Mac OS.Installing Macintosh application programs You’ll probably want to buy and install additional application programs. See the manuals you receive with your programs for instructions on installing and using them. In most cases, you’ll install a Macintosh application program on your internal hard disk from floppy disks that contain the program. The following illustration shows how to insert a floppy disk in your computer’s floppy disk drive. To use your programs most effectively, follow these guidelines: m Put only one copy of each program on your hard disk. Having more than one copy can cause errors. m Whenever you copy a program disk to your hard disk, be careful not to copy a System Folder. Always check to see what you’ve copied, and drag any extra System Folders to the Trash. m If a program malfunctions consistently, try installing a fresh copy. If that doesn’t help, find out from the software manufacturer whether your version of the program is compatible with the system software you’re using. For instructions on how to eject floppy disks, see the “Disks” topic of Macintosh Guide, available in the Guide (h) menu. Insert the floppy disk, metal end first, into the floppy disk drive of your computer. 36 Chapter 4Working with several programs at a time You can open as many application programs and desk accessories as your computer’s memory allows. All open programs in the Mac OS are listed in the Application menu at the right end of the menu bar. The name of the active program (the one you’re using right now) has a checkmark next to it, and its icon appears in the menu bar. You can have programs open in both the Macintosh and PC environments at the same time, but only your Macintosh programs appear in the Application menu. Finding out which programs are open If you have several programs and windows open, you can find out which program is active and which other programs are open by pulling down the Application menu. Switching programs You can switch to another open program or desk accessory by choosing its name from the Application menu. If a program’s icon is dimmed in the menu, that means its windows are hidden. Choosing the program from the Application menu displays its windows. You can also switch to another program by clicking in a window that belongs to an open program, or by double-clicking a program icon (or the icon of a document that was created with the program). Installing and Using Application Programs in the Macintosh Environment 37 The Finder icon Commands to hide or display open windows Open programs A checkmark indicates the active program.For instructions on switching from the Macintosh environment to the PC environment, see the section “Switching Between the Macintosh and PC Environments” in Chapter 5. Hiding and showing windows on the desktop You can hide all windows except those of the active program by choosing Hide Others from the Application menu. The other programs remain open even though their windows are hidden. When you switch to another program, its windows become visible again. If you want to see all the open windows, choose Show All from the Application menu. Backing up your files Making backup copies of important files is good protection against possible damage to the originals. m You can back up files stored on your hard disk by copying them to floppy disks. m You can back up an entire floppy disk by copying it to another floppy disk, or to a hard disk. m You can use a commercial backup program to copy new and changed files from a hard disk to another hard disk, to a tape drive, or to a series of floppy disks. m If your computer is on a network, you can back up files by copying them to a shared disk on the network. To back up files in the Macintosh environment, copy the files to a disk manually or use a Macintosh backup program. Do not use PC backup programs in the Mac OS. 38 Chapter 4Your DOS-compatible Macintosh comes with standard versions of DOS and Windows already installed. Also installed is software you can use to work in both the Macintosh and PC environments and share data between the two environments. This software is described in this chapter and the next. This chapter covers how to m switch between the Mac OS and the PC environment m set up and operate in the PC environment m use floppy disks and disk drives m cut, copy, and paste data between Mac OS and DOS or Windows documents m run network software m use multimedia, MIDI, and game applications m use both Macintosh and PC peripheral devices in the PC environment 39 5 Operating in the PC Environment Follow the instructions in this chapter to start working in the PC environment on your Macintosh.Switching between the Macintosh and PC environments You switch between the Mac OS and the PC environment using the PC Setup control panel. Follow these steps: 1 Choose Control Panels from the Apple (K) menu. 2 Double-click the PC Setup icon to open the control panel 3 Click Switch to PC to switch to the PC environment. 4 To switch back to the Mac OS, press x-Return. 40 Chapter 5Switching with a keyboard command You can set a keyboard command, or hot key, to switch between the Mac OS and the PC environment. To set the hot key, you must be in the Macintosh environment (if you are in the PC environment, press x-Return). m To choose a hot key, open the PC Setup control panel and press the Tab key to select the Hot Key text field; then type the keys you want to use. The x key is automatically included. You can use any alphanumeric or special key. You can also include other modifier keys (Option, Control, and/or Shift). x-Return always switches from the PC to the Mac OS, regardless of the control panel setting. You can also switch to the PC by clicking Switch to PC in the control panel. Ejecting disks in the PC environment Here are a few commands you will find useful while you work in the PC environment. m To eject a disk from the Macintosh disk drive while you’re in the PC environment, press x-E. m To eject a CD-ROM disc in the PC environment, press x-Y. For more details, see the section “Working in the PC Environment,” later in this chapter. Turning the PC on and off You use the buttons near the bottom of the control panel to switch environments, to restart the PC, or to shut the PC off. m Switch to PC immediately switches to the PC environment. m Start/Restart PC starts the PC if it’s off, or restarts it if it’s running (but doesn’t switch to the PC environment). m Shut down PC turns off the PC. IMPORTANT Clicking Off at the top of the PC Setup control panel prevents you from switching to the PC environment. When you restart the computer, the PC environment is turned off and any RAM you requested for it is available to the Mac OS. Operating in the PC Environment 41Starting the PC automatically To have the PC start automatically when you turn on your Macintosh: m Click the checkbox next to Auto-start PC. To make the PC environment appear when you turn on your Macintosh: 1 Click the checkbox next to Switch at Startup. 2 In the Control Panels folder, double-click the General Controls icon to open it. 3 Turn off the Shutdown Warning option in the General Controls panel. If Shutdown Warning is turned on when you switch from the Mac OS to the PC environment, you will not be able to switch back again for a few minutes. Fading the screen To have the screen fade briefly before switching environments, click the checkbox next to Fade Screens. Setting up the PC environment In order to take advantage of certain utilities, you may need to modify your DOS CONFIG.SYS file. For information about how to edit DOS files, see your DOS manual. For information about the kinds of changes you might need to make, read the information below. Note: Your DOS system software also includes alternate versions of the CONFIG.SYS and AUTOEXEC.BAT files that allow you to select from a variety of memory management options each time you start DOS. For information on how to install these alternate files, see “Replacing the CONFIG.SYS and AUTOEXEC.BAT Files” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. 42 Chapter 5Memory management utilities If you use a memory management utility such as EMM386 or QEMM, you need to configure it to be compatible with your DOS-compatibility hardware and software. IMPORTANT Apple does not recommend using automated memory configuration utilities with your DOS-compatible Macintosh because they can require more memory than management utilities you configure manually. Additionally, some memory configuration utilities may not be able to determine the exact nature of the DOS-compatibility hardware, and therefore may not be compatible. If you want to use EMM386 (included as part of DOS) and don’t require expanded memory, set CONFIG.SYS to the following: DEVICE=C:\DOS\EMM386.EXE NOEMS RAM=D000-EFFF If you require expanded memory, set CONFIG.SYS to the following: DEVICE=C:\DOS\EMM386.EXE RAM=D000-EFFF FRAME=D000 If you want to use QEMM, use the frame option (ST:F): DEVICE=C:\QEMM\QEMM386.SYS RAM ST:F ARAM=B080-B7FF ARAM=C900-DFFF R:1 If you want to use the Stealth mapping option (ST:M), set CONFIG.SYS to DEVICE=C:\QEMM\QEMM386.SYS RAM ST:M X=C800-CFFF X=FC00- FCFF X=FE00-FFFF ARAM=B080-B7FF ARAM=C900-DFFF R:2 Configure other memory management utilities such that D000 through EFFF is the only area in the BIOS that can be mapped to upper memory. To prevent the ROM BIOS from becoming corrupted when the DOS-compatibility card is configured for 2 MB of memory, set the switch in the CONFIG.SYS file to turn memory testing off. DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF For more information on making the best use of memory, read the sections on memory management in your DOS manual, or refer to the documentation for your memory manager if you are using something other than EMM386. Operating in the PC Environment 43Working in the PC environment When you switch to DOS or Windows, you’re operating in a real PC world. The floppy disk drive, mouse, and keyboard all act as they would with a standard PC. There are, however, some mapping issues you need to be aware of. Floppy disk drives and floppy disks m The Macintosh floppy disk drive is drive A. To eject a disk from this disk drive while you’re in the PC environment, press x-E. m If you insert a Mac OS-format floppy disk while you’re in the PC environment, it is ejected. You can access an unlocked floppy disk only in the environment that was in the foreground when the floppy disk was inserted. When you insert a locked PC disk, both environments have access to it. Blank disks are formatted as DOS disks in the PC environment. In the Mac OS, you can format disks for DOS or the Mac OS (among other choices). Some blank disks are preformatted by the manufacturer. If you insert a new, blank disk in the PC environment and it is ejected, it may have been preformatted as a Macintosh disk. To use the disk in the PC environment, you must first return to the Mac OS and reformat (reinitialize) the disk as a DOS disk. The Mac OS Disk Copy application program cannot read a DOS-formatted floppy disk unless the disk is unlocked. Floppy disks formatted in the PC environment in DOS 720K format are not readable by some DOS computers. Instead, format the disk in the Macintosh environment, choosing “DOS 720K” as the format. See “How do I prepare a disk for use?” in the “Disks” topic of Macintosh Guide, available in the Guide (h) menu. Restarting the PC from a floppy disk To restart (reboot) the PC environment from a floppy disk, insert the disk into the floppy drive. Press x-Control-Alt-[keypad] period. When the floppy disk is ejected, immediately reinsert it into the disk drive. 44 Chapter 5CD-ROM discs and drives You can use DOS and Windows CD-ROM discs in Apple CD-ROM drives. To eject a CD-ROM disc in the PC environment, press x-Y. If the CD-ROM disc cannot be ejected (because a file is in use or the CD-ROM disc is being shared), the Macintosh beeps. You can listen to audio CDs in either the PC environment or Mac OS, but you cannot control them from both environments at the same time. For example, if you began listening to an audio CD while working in the PC environment and then switched to the Mac OS, you would have to return to the PC environment in order to adjust the CD’s volume. Playing an audio CD in Windows while running low-level media tools, such as PC Tools or Microsoft Anti-Virus, may cause your system to crash. It is best to reduce computer activity to a minimum while using such tools. You cannot use more than one CD-ROM drive at a time in the PC environment. The PC sets up a drive letter (E) for a CD-ROM drive even if no drive is connected. If no CD-ROM drive is connected to your system, you can use this drive letter and free some memory by editing the AUTOEXEC.BAT and CONFIG.SYS files. In the AUTOEXEC.BAT file, add REM to the beginning of the line LH C:\DOS\MSCDEX /D:CDDRVR /L:E In the CONFIG.SYS file, add REM to the beginning of the line DEVICE=C:\Apple\CDROM.SYS /D:CDDRVR Prefacing these commands with REM makes DOS ignore them. Operating in the PC Environment 45Pointing device The standard Macintosh pointing device has one button; most PC devices have two. The button on the Macintosh pointing device behaves like the left button on a PC device. m To simulate the right button, press the = key on the keypad. m To press the left and right buttons at the same time, press the mouse button and the = key simultaneously. If you have Windows installed, you can use its Mouse control panel to switch the button assignment. Note: DOS does not come with a mouse driver. A mouse driver for Windows is installed on your system along with Windows, however. Keyboard The DOS-compatible Macintosh supports all Apple keyboards. The Option key on an Apple keyboard can be used as the Alt key in the PC environment. The Apple Extended Keyboard and the Apple Design Keyboard can be used normally. With the Apple Keyboard II, use the following equivalents for keys on a PC keyboard. These equivalents also apply to the Apple Adjustable Keyboard if the function key keyboard isn’t plugged in. 46 Chapter 5PC key Equivalent on Macintosh keyboard F1 through F9 x-1 through 9 F10 x-0 F11 x-(minus) F12 x-(equals) F13 x-[ F14 x-] F15 x-\ Home x-[keypad] 7 PageUp x-[keypad] 9 End x-[keypad] 1 PageDown x-[keypad] 3 Insert x-[keypad] 0 Del x-[keypad] (period) Using the Apple Adjustable keyboard: If you are using the Apple Adjustable keyboard, you cannot use key combinations made up of keys from the main keyboard and function keys (for example, Shift-F1). This means you cannot restart the PC using the x-Control-Alt-[keypad] period key combination. Click Restart PC in the PC Setup control panel instead. MacShare MacShare is a PC application program that lets the PC view Mac OS folders and volumes as drive letters. You can have as many shared drives as there are drive letters. m To specify the number of drive letters, modify your CONFIG.SYS file to include a LASTDRIVE statement. LASTDRIVE=x where x is a letter between E and Z. (The PC reserves drives A through D for its floppy and hard disk drives.) Operating in the PC Environment 47For example, if you use M as your LASTDRIVE value, you could have up to nine extra drives using drives labeled E through M. A CD-ROM drive, if installed, uses E. Each additional drive letter uses 100 bytes of PC memory. Clipboard You can exchange clipboard information between the PC environment and the Mac OS. The type of information you can exchange depends on whether you’re running DOS or Windows. Windows Clipboard You can exchange text, PICT, RTF, and bitmap files between the Mac OS and Windows using the Copy and Paste commands from the Edit menu. You can also purchase additional third-party software to provide translations for other data types. DOS “Clipboard” If you’re running DOS, you can capture text or a PICT file from a region of the screen that you define using the DOSCLIP TSR (Terminate-and-StayResident program). The memory-resident program is loaded automatically each time you switch to DOS. You activate DOSCLIP by pressing a keyboard combination, or keystroke, (preset to Shift-Control-C) and then selecting a region to copy. Keystroke starts process: On the PC side, enter the keystroke first; then, holding down the mouse button, select a region to copy. (This process works only if a DOS mouse driver is installed.) Releasing the mouse button sends the selection to the Clipboard. In the Mac OS, you select the area first and then issue the keystroke. 48 Chapter 5To capture text or a PICT file from a region on the screen if you don’t have a DOS mouse driver installed, follow these instructions: 1 Activate DOSCLIP. The DOSCLIP activation keystroke is preset to Shift-Control-C. A cursor appears in the center of the screen. 2 Use the keyboard arrow keys to move the cursor to the upper-left corner of the region you want to copy. 3 Holding down the Shift key, use the arrow keys to move the cursor to the lower-right corner of the region. 4 Release the Shift key. The selected area is copied to the Clipboard. m You can paste text into DOS from the Mac OS. The preset keystroke is Shift-Control-V. Changing the predefined keystrokes in DOS You change the preset keystrokes for copying and pasting by editing the AUTOEXEC.BAT file. m To change the keystroke for the Copy command, use the form C:\APPLE\DOSCLIP/Cnm… m To change the keystroke for the Paste command, use the form C:\APPLE\DOSCLIP/Pnm… In both cases, n is a number representing a key scan code from the following table, and m… is one or more of the characters A, C, and S (for Alt, Control, and Left- or Right-shift). For example, the preset code for Copy is /C46CA—/C[opy using the key] 46 [which is C, plus the] C[ontrol key plus the] A[lt key]. To change the keystroke to F3, you’d type the following: C:\APPLE\DOSCLIP/C61 Note: To get on-screen help about other DOSCLIP options, type DOSCLIP /? at the DOS prompt. Operating in the PC Environment 49Key Scan code Key Scan code 0 11 ' " 40 1 2 , < 51 2 3 - _ 12 3 4 . > 52 4 5 / ? 53 5 6 ; : 39 6 7 = + 13 7 8 [ { 26 8 9 \ | 43 9 10 ] } 27 ` ~ 41 + (keypad) 78 tab 15 - (keypad) 74 alt 56 arrow (down) 80 bksp 14 arrow (left) 75 caps 58 arrow (right) 77 center 76 arrow (up) 72 ctrl 29 del 83 pgdn 81 end 79 pgup 73 enter 28 prtsc 55 esc 1 scroll 70 home 71 shift (left side) 42 ins 82 shift (right side) 54 num 69 space 57 continues . 50 Chapter 5Key Scan code Key Scan code F1 59 F7 65 F2 60 F8 66 F3 61 F9 67 F4 62 F10 68 F5 63 F11 87 F6 64 F12 88 A 30 N 49 B 48 O 24 C 46 P 25 D 32 Q 16 E 18 R 19 F 33 S 31 G 34 T 20 H 35 U 22 I 23 V 47 J 36 W 17 K 37 X 45 L 38 Y 21 M 50 Z 44 Operating in the PC Environment 51Tips for using the Clipboard When the PC environment is running, you have three separate clipboards to work with—the Mac OS Clipboard, the Windows Clipboard, and DOSCLIP. Translation between the clipboards takes place each time you switch between the PC and Macintosh environments. When using these clipboards there are a few things to keep in mind. m If you copy an item to the Macintosh Clipboard, switch to Windows, and then copy an item to the Windows Clipboard, the original Macintosh Clipboard contents will be deleted. To prevent this, remove the PC Clipboard extension from the Extensions folder (inside the System Folder in the Mac OS). m In order to translate the contents of the Macintosh Clipboard to the Windows Clipboard, Windows must be already running when you switch environments. If you switch to DOS and then launch Windows, the Macintosh Clipboard will be translated into DOSCLIP, and the Windows Clipboard will be blank. m In order to translate the contents of the Macintosh Clipboard to DOSCLIP, Windows must not be running when you switch environments. If Windows is running when you switch to the PC, the Macintosh Clipboard will be translated into the Windows Clipboard, and DOSCLIP will be blank. m DOSCLIP contents cannot be pasted into Windows, or vice versa. m Graphics can be copied from a DOS application program to DOSCLIP, but graphics cannot be pasted into a DOS program from DOSCLIP. m After copying a graphic from DOS using DOSCLIP, you may experience difficulty in pasting the graphic into a Macintosh application program. If this happens, try increasing the Macintosh program’s memory. (See the question “How do I change a program’s memory size?“ in the “Working with Programs” topic of Macintosh Guide, available in the Guide [h] menu.) m Sounds cannot be copied between the Macintosh and the PC. m Plain text is automatically translated from one environment to another, but in order to retain font and style information, additional Macintosh Easy Open translators must be used (for example, MacLink Plus from DataViz). 52 Chapter 5m When using DOSCLIP from within certain application programs, it may not be possible to select the text using the mouse. In these cases, either use the keyboard to select your text, or check that the standard DOS mouse driver is not loaded. m When the PC environment is active, all Macintosh programs are put in the background to allow the PC Clipboard to run in the foreground. If you do not want your Macintosh programs to run in the background while you are in the PC environment, you must disable the Clipboard translation by removing the PC Clipboard Extension from the Extensions folder (inside the System Folder in the Mac OS). Running network software The DOS-Compatibility Software on your computer supports any networking protocols, operating systems, or application programs that are compatible with Novell’s Open Data-Link Interface specification (ODI). m To set up the software, install your networking client software in the PC environment. Networking client software such as Netware is not included with the DOScompatible Macintosh. Compatible and incompatible protocols You can run NetWare in the PC environment at the same time that you’re running AppleTalk in the Mac OS. To use IPX or TCP networking protocols, you must have an Ethernet card installed in your computer’s communication slot. (The Ethernet card is not a standard feature.) You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. Operating in the PC Environment 53If you want to use the TCP protocol in the PC environment, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. Network performance is improved by adding memory to the DOScompatibility card installed in your computer, as described in Appendix B. For more information, see Appendix E, “Installing Network Management Software.” Using multimedia, MIDI, and game application programs These types of programs, whether they are run in the PC or Macintosh environment, see a marked performance improvement when there is a memory SIMM on the DOS-compatibility card for the exclusive use of the PC environment. See the Technical Specifications booklet to determine whether your computer has a SIMM installed on the DOS-compatibility card. You can also install a SIMM with greater memory capacity, as described in Appendix B, “Installing an Expansion Card or Memory for the PC Environment.” QuickTime application performance is especially improved with a SIMM. Some DOS-based MPEG players require a VGA monitor to output video. All VGA modes can be displayed on Macintosh monitors supported by the DOScompatible Macintosh. If the monitor specified to display the PC is a VGA monitor, select VGA in the Display box in the PC Setup control panel. You cannot select VGA for a shared monitor configuration from the PC Setup control panel if your monitor is not capable of displaying VGA. Multiscan monitors can display VGA. 54 Chapter 5Using Macintosh peripherals in the PC environment You use the serial ports of your Macintosh just like the serial ports of any PC-compatible computer. The maximum data transfer rate supported by the DOS-compatible hardware when a COM port is mapped to a Macintosh serial port is 19,200 bits per second (bps). If you’re capturing serial output to a Mac OS text file, there is no limit. Using printers For DOS or Windows printing, use the LPT1.DOS or LPT1 serial port. In general, you must use printers that are Macintosh-compatible and use their corresponding printer extension for the Macintosh. However, in a PC Novell NetWare environment you can print to a PC-compatible printer attached to a Novell network. See Appendix E, “Installing Network Management Software.” DOS uses the printer selected in the Macintosh Chooser as the default LPT1 device. If you have a serial printer directly connected to a COM port, however, DOS uses that printer instead. The DOS-compatible software can process output for Epson and PostScript printers, and for all printers that use Hewlett-Packard’s page control language (PCL). QuickDraw printers such as the StyleWriter or ImageWriter work only with Epson emulation. (If a printer is not a PostScript or PCL printer, it’s considered to be a QuickDraw printer.) For non-PostScript PCL printers, use the appropriate PCL driver in the PC environment. For non-PostScript, non-PCL printers, configure your DOS application program to use the Epson LQ-2500 driver. If this driver isn’t available, try another Epson LQ or LX series driver. Be sure to turn on the PCL option if it’s available for your printer. Operating in the PC Environment 55The Epson emulator works by first translating the DOS text to a similar Macintosh font, then interpreting that text into a series of QuickDraw commands. Some characters in the original DOS character set may not have exact translations to a Macintosh font. The use of a PostScript font is recommended in these cases, because the PostScript standard requires no translation. About color: Color printing is not supported under Epson emulation. When printing from the PC to a color or grayscale QuickDraw printer, be sure to select the Black & White option in the Print dialog box. If you have a PCL printer, printing is limited to text-only or graphics-only when printing over an AppleTalk network. To print text only, select your printer’s driver in the Windows Control Panel. To print graphics only, choose the LaserJet III driver from the Windows Control Panel. If you need to print mixed graphics and text, many Windows programs bit-map their text so that it becomes a graphic. Additionally, PCL printing of text and graphics together is possible when printing over a Novell network, where a PC print server is connected to the PCL printer and handles the print job. Select your printer’s own driver in the Windows Control Panel. For PostScript printers, use the Apple LaserWriter II NT driver (or another PostScript driver if the Apple LaserWriter II NT driver is not available) or the Windows PostScript driver. IMPORTANT Be sure to make settings in the Mac OS PC Print Spooler that match the drivers you use in the PC environment, or your printer will not work correctly. See “Setting Preferences in the PC Print Spooler” for details. Turning off Background Printing in the Macintosh Chooser may increase the performance of some printers. Configuring a printer for Windows: For better performance when you configure a printer for Windows, select LPT1.DOS instead of LPT as the port. 56 Chapter 5IMPORTANT If you try to print a file using a PostScript printer driver for a non-PostScript printer, and the preferences are set to Epson, your file will not be printed. Instead, the file will be moved to a folder called “Spooler Rejected” in the Mac OS. To print the file, choose the proper printer driver in the PC environment and try again. Note: Data sent to the LPT1 port is automatically routed to the printer selected in the Chooser in the Mac OS. There is no actual parallel port on the DOS-compatible Macintosh. AppleShare Print Server The AppleShare Print Server should not be installed in a DOS-compatible Macintosh because the server’s software conflicts with the PC Print Spooler. You can, however, connect your DOS-compatible Macintosh to a network that uses an AppleShare Print Server. Setting preferences in the PC Print Spooler You can set preferences in the PC Print Spooler to control a variety of print functions. To choose your Print Spooler settings, follow these steps: 1 In the Macintosh environment, open the Extensions folder inside the System Folder. 2 Find the PC Print Spooler icon and open it. Operating in the PC Environment 573 Choose Preferences from the File menu. A dialog box appears. 4 Choose your settings as appropriate. The selection you make for “Interpret non-PostScript as” must match the type of printer you have specified in the PC environment. If the settings are mismatched, your printer may produce gibberish. In addition, the PCL option works only if the printer is set up to accept PCL commands. The selection you make for “When emulating an Epson printer” determines how much of a page is available for printing. If you use the option that allows gaps between pages, configure your application programs to print to a 60-line page, rather than a 66-line page, or your margins will be off and your pages will not print correctly. 5 Click OK. 66 lines maximum for Epson: Page sizes greater than 66 lines (standard letter size paper) are not supported by the Epson driver. Legal and other larger sizes will be cut off after either 60 or 66 lines, depending on the setting you’ve chosen. If you find that your printing is clipped at either the top or bottom of the page, click the No Gaps option. 58 Chapter 5Using PC peripherals Because of the RS-422 implementation of the Macintosh, the following RS-232 signals are not available to the PC: m Carrier Detect (CD) m Data Set Ready (DSR) m Request to Send (RTS) m Ring Indicator (RI) Applications or serial devices requiring these signals won’t work. While the DOS-compatible Macintosh does not support Carrier Detect (CD), you can set most communications application programs to respond to the CARRIER string sent back by most modems. For more information about accessing serial ports from DOS, see the documentation that came with your DOS software. IMPORTANT The following chart lists the various signals present on the Macintosh Mini DIN-8 connector, and on what pins these signals are present on PC-style DB-9 and DB-25 connectors. This information may be of use if you are planning to have a custom cable built. Refer to the manual for the serial device that you plan to attach to the Macintosh for the recommended serial connection, and use the chart below to find out what the proper Macintosh wiring should be. Macintosh signal Macintosh Mini DIN-8 DB-9 DB-25 RS-232 name HSK0 1 4 20 DTR HSK1 2 8 5, 8 CTS, DCD TXD- 3 3 2 TXD GND 4 5 7 GND RXDA- 5 2 3 RXD TXDA+ 6 N/C N/C GP1 7 N/C N/C RXD+ 8 5 7 GND Operating in the PC Environment 59This chapter covers how to configure the PC environment and change PC options using the PC Setup control panel. Your Macintosh comes with the PC environment already configured and ready to use. Read this chapter only if you want to change the way the PC environment is set up, or if you have reinstalled the DOS-compatibility software and need to reconfigure it. You can control how your Macintosh and your DOS-compatible hardware and software work together with the PC Setup control panel. You use the control panel to accomplish the following tasks: m choose folders or volumes to be shared between the Mac OS and the PC environment m turn the PC card on and off m configure PC serial ports m set display options m set the shared memory size m turn PC sounds on and off and use Sound Blaster sound capabilities m configure PC drives You also use the control panel to switch environments immediately and to start, restart, or shut down the PC. 61 6 Configuring the PC Environment Use the instructions in this chapter if you need to change settings for the PC environment.Choosing settings To choose settings, follow these steps: 1 Choose Control Panels from the Apple (K) menu. 2 Double-click the PC Setup control panel to open it. 3 When you have specified the settings you want, close the control panel. All settings except RAM take effect as soon as you make them. If you change the RAM setting, you must restart the Macintosh before the change takes effect. Online help available: To get brief on-screen explanations of items in the control panel, choose Show Balloons from the Guide (h) menu. To get detailed step-by-step help, see the “DOS Compatibility Software” topic of Macintosh Guide, available in the Guide (h) menu. 62 Chapter 6Configuring the PC serial ports Your DOS-compatible Macintosh supports two serial ports, COM1 and COM2. You can map these ports to an unused Macintosh printer port or modem port, to a text file for later processing, or to a setting of None. m To assign a Macintosh serial port to a COM port, make a selection in the COM port’s pop-up menu. When you map a port to a text file, a dialog box appears that you use to specify a name and location for the file. Macintosh serial ports already in use appear dimmed in the menu. (The printer port may be in use by AppleTalk, which may be used for a network or LaserWriter connection; the modem port may be in use by communications or fax software.) Changes to these selections take place immediately. Assigned ports may not be available to the Mac OS: Mac OS programs may no longer be able to access ports that you’ve assigned to DOS. Allocate these ports only when they’re needed, and deallocate them when they’re no longer required by your DOS programs. (You won’t have to restart the computer to have the changes take effect.) The maximum baud rate supported by the DOS-compatible Macintosh when a COM port is mapped to a Macintosh serial port is 19,200. However, when the MODE command is issued in DOS and the serial port is set at 19,200 baud, the incorrect message “Function not supported on this computer” is displayed. This occurs because DOS is looking for specific hardware (a PC UART) that is not emulated by the DOS-compatible Macintosh. The Macintosh actually does support 19,200 baud, and can be set by a number of communication application programs. Configuring the PC Environment 63Setting the monitor The monitor connected to your Macintosh DOS-compatible system displays the environment (Mac OS or PC) you’re working in. Even though you see only one environment at a time, the other environment can still be active in the background. To set the monitor for the PC environment: m Choose a monitor type in the Display pop-up menu. See the Technical Information booklet that came with your computer for a list of supported Macintosh monitors and for VGA and SVGA monitor specifications. If the DOS-compatibility software recognizes the monitor connected to your computer as a non-multiscan display, it makes the appropriate selection for you; other menu options are dimmed. 16" monitor requires driver: If you have a 16" monitor, the PC doesn’t use the entire screen unless you install a display driver for the program that you’re using. (DOS can’t use a video driver, so there will always be a large black border around the DOS screen.) See “Reinstalling Video Drivers” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8 for instructions. Setting the time and date The PC environment uses the same date and time settings as the Mac OS. If you change the time and date on the PC, it will not affect the time and date on the Mac OS. When you restart the PC, it synchronizes its time and date with the settings you’ve chosen in the Mac OS. (The PC may lag up to 10 seconds behind the Mac OS.) 64 Chapter 6Setting shared memory You can install a 72-pin SIMM (memory module) on the DOS-compatible card in your computer to give the card up to 32 MB of RAM for its exclusive use. When no SIMM is installed, the card uses a portion of the RAM installed in your Macintosh. If your computer came with a SIMM already installed on the DOS-compatible card, you cannot share memory between the Mac OS and the PC environment. The PC uses the memory installed on the DOS-compatible card exclusively. The shared memory options in the PC Setup control panel will be dimmed (unavailable). See the Technical Specifications booklet to determine whether your computer contains a SIMM installed on the DOS-compatible card. m Choose the amount of memory you want for your PC in the RAM pop-up menu. In the RAM pop-up menu, a small square (M) shows the RAM that the PC is currently using and a bullet (•) indicates how much RAM you assigned. When the Macintosh starts up, it claims RAM for its own use before it sets aside RAM for the PC. If the PC has less RAM than you installed, turn off the Mac OS RAM disk (if you’re using one) in the Memory control panel. You may also need to lower the disk cache size in the Memory control panel to 128K or less. Memory changes take place when you restart the Macintosh. IMPORTANT Memory that you set aside for the PC environment is not available to the Mac OS. To make this memory available, you must turn off the PC (click the Off button at the top of the PC Setup control panel) and restart the Macintosh. Configuring the PC Environment 65Changing the amount of conventional memory Many DOS and Windows programs require conventional memory to run. At the same time, many device drivers and TSRs may be loaded into conventional memory. If you find that you do not have enough conventional memory to run some of your DOS or Windows programs, take the following steps. To increase Upper Memory Block (UMB) space to 122K instead of 64K, add the following line to your CONFIG.SYS file: DEVICE=C:\WINDOWS\EMM386.EXE RAM=D000-EFFF FRAME=D000 To load DOS into the UMB (high memory) also add the following to your CONFIG.SYS file: DOS=HIGH, UMB Insert the LOADHIGH (LH) command before all TSRs and device drivers in the AUTOEXEC.BAT file. For example: LH C:\DOS\SMARTDRV.EXE /X This will load these into UMB (high memory). If you run out of UMB space, you may see an error message like this during the boot process: Run time error R6009 -not enough space for environment. In this case, remove LH from TSRs and device drivers one or two at a time, and try again until the error message does not appear. If a DOSCLIP copy command is executed from within Harvard Graphics 3.0, then the PC crashes when Harvard Graphics is quit. To prevent this, use the steps outlined above, making sure that SMARTDRV is one of the drivers preceded with LH. IMPORTANT To prevent the System BIOS from becoming corrupted when the PC is configured for 2 MB of memory, set the switch in the CONFIG.SYS file to turn memory testing off: DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF 66 Chapter 6Choosing shared folders or volumes You can set up a Mac OS folder, Macintosh hard disk, shared disk, or CD-ROM disc on a network to act as a PC drive. Sharing a folder on your Macintosh hard disk is a convenient way to transfer files between the Mac OS and the PC environment, especially if you are dealing with many files, or large files. You can share entire disks, or volumes. This is especially useful for network volumes, CD-ROM drives, or other volumes that otherwise would not be readily available to the PC environment. DOS treats all shared volumes as network volumes. Some DOS commands, such as FORMAT, CHKDSK, UNDELETE, and SUBST will not work on shared volumes. m Choose an available drive letter from the Sharing pop-up menu in the PC Setup control panel. A dialog box appears, letting you select a folder or disk (volume) for the drive. Shared folders and volumes revert to their usual unshared status when you shut down your Macintosh. To have a folder or volume automatically assigned to a drive letter at startup, click the checkbox next to Attach at Startup. The name of an automatically attached folder or volume appears underlined in the Sharing pop-up menu. To turn off an assignment, choose the underlined item in the menu. IMPORTANT For the sharing functions to work properly, DOS must be running, MacShare should be loaded as part of the AUTOEXEC.BAT file, and a LASTDRIVE=x statement should appear in the CONFIG.SYS file, where x is the highest drive letter available for sharing. AUTOEXEC.BAT and CONFIG.SYS have x preset to M. See “MacShare” in the section “Working in the PC Environment” in Chapter 5 for more information. See the “Using DOS Files & Disks” topic of Macintosh Guide, available in the Guide (h) menu, for more information on transferring files between the PC environment and the Mac OS using floppy disks and other media. IMPORTANT Use caution when handling the drive file. Erasing one of these is equivalent to reformatting the hard drive it is emulating. The drive file is locked when it is installed on your computer. If you must unlock it, be very careful not to erase it. Configuring the PC Environment 67Using shared folders Because two operating systems have access to each shared folder, there may be a noticeable slowdown in performance when using these folders for highspeed PC applications such as multimedia programs, or during large file transfers between them. For optimum performance, place PC application programs and their files in the C or D drive rather than in a shared folder. The performance of Macintosh programs is unaffected by placing them in shared folders. Since the PC doesn’t understand the concept of resource forks the same way the Macintosh does, information in a Macintosh file’s “resource fork” is lost when it is copied by the PC. For example, if a Macintosh file is copied between two shared folders using the COPY command in DOS, that file’s original icon will be lost, and the file itself may be unusable in the Mac OS. Many document files do not have resource forks and can be copied between shared folders with no problems. The applications that created the files contain the resource information for these files. However, QuickTime files cannot be successfully copied between shared folders. In some Microsoft application programs, there is a misrepresentation of the shared drive icons. When you open a file from a shared folder in Microsoft Excel or Microsoft Word, the shared drive icon may appear as a floppy disk or CD. This does not affect the file’s content, and the file is still usable. Do not attempt to use shared folders from a DOS shell run from Windows. Strange text characters in a document When using shared folders to exchange documents between the Mac OS and the PC, in some cases a Macintosh application program may not be able to interpret the file format of a PC document. When this happens, the document’s formatting is displayed incorrectly and you may see strange characters in the document. m Try using a different application program. m Translate the document into a different file format using one of the file format translation utilities available for the Macintosh (such as MacLink Plus Easy Open Translators from DataViz). m Transfer the text using DOSCLIP. m Use the Export feature found in many programs. m Use a PC-Macintosh translation utility. 68 Chapter 6Turning on PC sounds To have Sound Blaster and other PC sounds played through the Macintosh speaker or through headphones, you need to make settings in both the PC Setup control panel and in the Sound control panel. Choosing a setting in the Sound pop-up menu The Sound pop-up menu in the PC Setup control panel gives you three choices: m To hear PC sounds in both the PC environment and the Mac OS, choose Enabled. m To hear PC sounds only when you’re in the PC environment, choose Auto Enabled. m To shut off PC sounds entirely, choose Disabled. Sound control panel takes precedence: The setting in the PC Setup control panel’s Sound pop-up menu has no effect on sounds generated in the Mac OS. If the volume is set to 0 in the Sound control panel, however, you won’t hear any PC sounds no matter what the setting is in the PC Setup control panel’s Sound menu. For sounds generated by the Sound Blaster card and for sounds from the PC, the Sound control panel must be set with the Internal CD playthrough option turned on. For instructions, see the “Sound” topic of Macintosh Guide, available in the Guide (h) menu. The PC Sound control in the PC Setup control panel does not affect sounds produced by the Sound Blaster card. Only PC-generated sounds such as the system beep are affected by this control. To turn off both PC and Sound Blaster-generated sounds, use the master volume control of the Mixer Control application from the Audio program group, or turn off the Internal CD playthrough in the Sound control panel in the Mac OS. (For instructions, see the “Sound” topic of Macintosh Guide, available in the Guide (h) menu.) The Sound Blaster hardware installed in your DOS-compatible Macintosh is not able to record sounds. The DOS-compatible Macintosh does not fully support Sound Blaster 8-bit, Sound Blaster 2.0, or Sound Blaster Pro drivers. If problems occur, use the Sound Blaster 16 driver that comes with your computer. Configuring the PC Environment 69Configuring drives C and D You use the C: and D: pop-up menus to create or select PC drives. Drive C is required; drive D is optional. You can use a PC-formatted SCSI hard drive attached to your Macintosh, or you can create a drive container—a virtual PC drive—on any Macintosh hard drive. You can even use a drive container created by SoftPC or SoftWindows. To use a PC-formatted SCSI drive as a startup (boot) drive, format the drive to be bootable by using the FORMAT C: /S command. m To create a drive container for drive C or D, choose New Drive File from the C: or D: pop-up menu. Set a location for the drive container, and give it a name and a size. Then click Initialize Drive File. When using a PC-formatted SCSI device as the PC’s C or D drive, ensure that the driver for that device is not loaded by PC Exchange. This would cause PC Exchange to mount the drive instead of the PC environment. Open the PC Exchange control panel and click the Options button. Make sure the SCSI driver for the device you want to use is not checked. Then click OK. This ensures that the PC will be able to load the C drive. Single versus multiple partitions: When you initialize a container this way, it contains a single partition. To initialize a container with multiple partitions, prepare it in DOS using the FDISK command instead of initializing it through the PC Setup control panel. Then format it using the FORMAT command. Use the /S parameter in the FORMAT command to make the container bootable (for example, type FORMAT C: /S at the DOS prompt). See the DOS manual for further instructions on using these commands. m To change the drive container for drive C or D, choose Other Drive File from the C: or D: pop-up menu, then locate the new drive container in the dialog box that appears. The change takes effect the next time you restart the PC. To have the change take place immediately, click the Restart button at the bottom of the control panel. 70 Chapter 6m To use a PC drive or partition, choose Drive Partition from the C: or D: pop-up menu. A dialog box appears with a list of available partitions. If you use a PC drive or partition and you have a utility that mounts these devices on the Macintosh, unmount the drive or partition before starting the PC by dragging its icon to the Trash. If you intend to mount your PC drive file, partition, or disk on the Macintosh using Macintosh PC Exchange, do not use a PC compression program. Drives that are compressed cannot be mounted. Managing PC files from the Mac OS You can gain access to files in a drive container even if you’re in the Mac OS. Follow these steps: 1 Double-click the drive container in the Finder. The drive container appears as a disk icon on the Mac OS desktop. 2 Double-click the container’s disk icon. The icon opens and you have access to the files inside it. You can now manipulate these files as you would any Mac OS files. Drive container may be read-only: If the PC is running, you won’t be able to add anything to the drive container from the Mac OS. To do so, shut down the PC from the PC Setup control panel and then do steps 1 and 2 above. WARNING If you don’t unmount the drive or partition, you may lose data because both the Macintosh and the PC may write to the device at the same time. Configuring the PC Environment 71Changing the size of the drive container You may find, after installing software in a drive container, that the container is too small or too large for your needs. You cannot change the size of an existing drive container, but you can create a new one in the appropriate size and move the software to it. You can also create an additional drive container to supplement the existing one. Two active containers maximum: For the following procedure to work, drive D must be available for assignment to a new drive container. If both drives C and D have been assigned, you must first set drive D to None and drive C to the container you need to replace. (The contents of the container mapped to drive D are unaffected.) Calculating the proper size To determine the proper size for the new container, follow these steps: 1 Make sure you’re in the Mac OS, then open the PC Setup control panel. You see a small apple at the upper-left corner of the screen when you’re in the Mac OS. 2 Check the name of the container associated with drive C. The name of the container appears above the C: pop-up menu. 3 Locate the container in the Finder. 72 Chapter 64 Open the container’s Get Info window and note the container’s size. To open the container’s Get Info window, select the container’s icon and choose Get Info from the File menu. 5 Close the Get Info window by clicking its close box. 6 Switch to the PC environment. 7 At the DOS C: prompt, type DIR. Note how much space is available. 8 Subtract the amount of available space on the drive from the container size. The number you get is the current size you need for storage. 9 Add 10 percent to the result of the calculation in step 8. It’s a good idea to have extra space available, because some applications may need to write temporary work files to the drive, or you may need to add software to the drive at a later time. The 10 percent figure, however, is arbitrary; use a number that suits your needs. If the current container is too large, the result of this calculation is the size that the new container should be. Skip to step 12. 10 Determine the amount of storage needed by the additional software you want to install. To do so, add together the individual storage space required for each program you want to install. This information is probably available in the documentation that came with your software. 11 Add the sums from steps 9 and 10. The resulting sum is the size that the new container should be. 12 Press x-Return to switch back to the Mac OS. Configuring the PC Environment 73Creating the new container Now that you know what size the container should be, you’re ready to create it. 1 Follow the instructions under “Configuring Drives C and D” earlier in this chapter to create a new container for drive D. You may need to remove some files from your hard disk to free enough space for the new container. 2 Click Restart PC at the bottom of the PC Setup control panel. 3 Click Switch to PC. You now have two drives available—drive C, your original container, and drive D, the container you just created. Moving the files You can transfer your files from the old container to the new one in either the Mac OS or the PC environment. m To move files in the Mac OS, drag all the files from the existing drive container to the new one. To move the files in the PC environment, follow these steps: 1 At the DOS prompt, type FORMAT D: /S and press Return. This command makes the new drive container bootable. Answer Y when DOS asks if you’re sure. 2 When the DOS prompt returns, type the following command: XCOPY C:\*.* D:\*.* /E /V This command copies all the files and directories from your drive C container to your drive D container. 3 Press x-Return to switch back to the Mac OS when copying is complete. 74 Chapter 64 In the PC Setup control panel, choose None from the D: pop-up menu. Doing so deallocates drive D. 5 Choose Other Drive File from the C: pop-up menu and select the container you just created. Your new container is now associated with drive C. 6 Click Restart PC at the bottom of the PC Setup control panel. 7 Click Switch to PC. 8 At the DOS prompt, type DIR. You should see a list of all the files you copied. You may want to run some of your programs to verify that everything has been copied correctly. m To throw away the original drive container, first switch to the Mac OS. Then drag the original container to the Trash and choose Empty Trash from the Special menu. Doing so frees up the space on your hard disk that the container held in reserve. Configuring The PC Environment 75Understanding the status line The status line at the bottom of the control panel gives you messages about the status of the PC hardware and software. Messages can include any of the following: m DOS-compatibility card not present Your computer’s system software did not recognize the DOS-compatible card installed in your computer. Reinstall the PC software according to the directions in Chapter 8. If reinstalling the software doesn’t help, contact an Apple-authorized service provider for assistance, or call Apple’s customer support hotline. (The phone number for the hotline is in the service and support information that came with your computer.) m PC Setup software not loaded An error occurred during the start-up process and the DOS environment won’t run. m PC is running You’ve clicked Start PC and the card is active. m PC is shut down The card is installed but not running. To start the card, click Start PC, or select Auto-Start PC and restart the computer. m PC is turned off The Off button at the top of the PC Setup control panel is selected. m Not enough memory Your computer must have at least 8 megabytes (MB) of RAM installed, and the PC requires at least 2 MB of free RAM if you don’t have a SIMM installed on the DOS-compatible card for the exclusive use of the PC. Turn off the RAM disk, if you’re using one, in the Memory control panel, and restart your Macintosh. 76 Chapter 577 Consult this chapter if you experience problems using the Mac OS. When you have questions If you want to know how to do a particular task in the Mac OS, refer to Macintosh Guide in the Guide (h) menu. For instructions on using Macintosh Guide, see Chapter 2 of this manual. If you have problems working in the PC environment on your Macintosh, see Chapter 8, “Troubleshooting in the PC Environment.” If you have questions about using DOS, see your DOS manual. When you run into trouble While you’re using your computer, you may occasionally see a bomb icon or an error message, or you may have a problem such as the pointer (8) “freezing” on the screen. If you have trouble with your computer, take a few minutes to read the information in this chapter. If your problem is related to a particular procedure, you should also look for information on that procedure in Macintosh Guide, available in the Guide (h) menu. For additional troubleshooting information and a list of common questions relating to the Mac OS, see the “Troubleshooting” topic of Macintosh Guide. If you are unable to access Macintosh Guide (for example, if your screen is “frozen”), refer to this chapter to see if you can resolve the problem. 7 Troubleshooting in the Macintosh EnvironmentTake your time When you see an error message, you don’t have to take action immediately. The message stays on the screen until you click the OK button or turn off the Macintosh. To help diagnose and correct the problem, gather as much information on the situation as you can before starting over. m Make a note of exactly what you were doing when the problem occurred. Write down the message on the screen and its ID number (if any). Also list the programs you were using and the names of any items you know have been added to the System Folder since the system software was installed. This information will help a service person diagnose the problem. (It is helpful to keep a printed copy of the items in your System Folder. For instructions on printing the contents of a folder, see the “Printing & Fonts” topic of Macintosh Guide, available in the Guide [h] menu.) m Check the screen for any clues. Is a menu selected? What programs and document icons are open? Note anything else that seems relevant. m If you were typing text and were not able to save it before the problem occurred, you can write down the parts of the text still visible on the screen so that some of your work will be easy to replace. m Ask other Macintosh users about the problem you’re having; they may have a solution for it. If you need repair service, consult the service and support information that came with your computer for instructions on how to contact an Appleauthorized service provider or Apple for assistance. 78 Chapter 7Start over Often you can eliminate a problem simply by clearing the computer’s memory and starting over. If you can, save any open documents before restarting the Macintosh. If your system is frozen and does not respond to anything you do, or if you have a “bomb” message on the screen, saving may not be possible. You can try pressing x-Option-Esc to quit the program in use when the problem occurred; if this works, you can then save the documents open in other programs before restarting. To restart your Macintosh, try the following steps: 1 If you can, choose Restart from the Special menu or from the dialog box that’s on the screen. Dialog boxes contain messages from the computer. If something goes wrong, a message may appear on the screen, asking you to restart the computer. 2 If you can’t choose Restart, hold down the x and Control keys while you press the Power key (marked with a triangle). This key combination restarts the computer. (Use this key combination only when you can’t choose Restart from the Special menu.) 3 If nothing happens, turn off your computer with the standby power button, wait at least 10 seconds, and then turn it on again. 4 If the standby power button doesn’t turn off the computer, unplug your Macintosh. If you suspect that the problem is with other equipment, such as a printer or an external hard disk that’s attached to your computer, turn that equipment off for 10 seconds or longer, then turn it on again and restart the Macintosh. Troubleshooting in the Macintosh Environment 79Rebuild your desktop regularly A process known as “rebuilding the desktop” helps your Macintosh keep track of data on your startup disks. Although you usually use the hard disk in your computer as a startup disk, you can also start up from any other disk that has system software installed. It’s a good idea to rebuild the desktop of your startup disks once a month or so. To rebuild the desktop of a startup disk, follow these steps: 1 Hold down the Option and x keys while you start up your computer. Do not release the keys until you see a message asking whether you want to rebuild the desktop. 2 Click OK. Solutions to common problems The computer is turned on but the screen is dark. One of the following is probably the cause: m You have a screen saver program that darkens the screen when the computer has not been used for a certain period. Press a key or move the mouse to turn off the screen saver. m The monitor’s brightness control (Û) is not adjusted properly. Check the monitor’s brightness control and turn it up if necessary. m The Macintosh or the monitor is not getting power. Make sure the monitor is plugged in and turned on, and that the monitor cable is firmly connected to both the computer and the monitor. Make sure the computer’s power cord is firmly connected to the computer and plugged into a grounded electrical outlet, and that the outlet has power. If you have more than one monitor and only one is dark, check that it is set up correctly in the Monitors control panel. For information on using more than one monitor, see the “Monitors” topic of Macintosh Guide, available in the Guide (h) menu. 80 Chapter 7m The monitor is plugged into the wrong port on the computer. Make sure the monitor is plugged into the monitor port (marked with the ª icon) on the upper-right corner of the computer’s back panel. If the monitor is plugged into another port, it will not work. If you are displaying video from your computer on a television screen, it is normal for your computer monitor to be dark. The computer won’t start up. m The game controller is plugged into the wrong port. Make sure the game controller is plugged into the joystick port on the lower-right corner of the computer’s back panel. If the game controller is plugged into another port, the computer will not start up. The computer’s clock keeps time inaccurately. Your computer has a clock that runs continuously. When the computer is turned off, a battery keeps the clock running. If your clock begins to keep time inaccurately, have your Apple-authorized service provider replace the battery. When you start up, a disk icon with a blinking question mark appears in the middle of the screen. This icon indicates that your Macintosh cannot find the system software it needs to start up. One of the following is probably the cause: m Your computer may be having a problem recognizing external equipment that uses the Small Computer System Interface (SCSI). Turn off all external SCSI equipment and disconnect the first SCSI device in the chain from your computer’s SCSI port. Then restart the computer. If the computer starts up after you disconnect your SCSI equipment, refer to the manuals that came with the equipment for information on the proper way to connect SCSI equipment and assign SCSI ID numbers. If you have a printer connected to your computer’s SCSI port, make sure your printer is not supposed to be connected to the printer port instead. Check the manuals that came with your printer for information on how to connect it properly. Troubleshooting in the Macintosh Environment 81m System software is not installed on the startup hard disk, the system software is damaged, or the hard disk is not working properly. Start up your computer using the Disk Tools floppy disk or (if you have a built-in CD-ROM drive) with the CD-ROM disc that contains system software. (For instructions on how to start up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section “Initializing a Hard Disk” later in this chapter.) Then follow the instructions in “Repairing a Damaged Disk” later in this chapter to test your startup hard disk and repair any damage. If repairing the disk doesn’t help, follow the instructions in “Installing or Reinstalling Mac OS System Software” later in this chapter to reinstall system software on your startup hard disk. When you try to start up from a floppy disk, a disk icon with an X appears in the middle of the screen and the floppy disk is ejected. This icon indicates that the floppy disk you tried to start up from is not a startup disk. Wait a few seconds. The computer should start up from its internal hard disk. Make sure you insert floppy disks only after the computer has begun starting up. 82 Chapter 7A “sad Macintosh” icon appears and the computer won’t start up. This icon indicates that your Macintosh cannot start up because of a problem with the system software or the computer hardware. Eject any floppy disks by turning off the computer and then holding down the mouse button while you turn the computer on again. Try starting up with the Disk Tools floppy disk or (if you have a built-in CD-ROM drive) with the CD-ROM disc that contains system software. (For instructions on how to start up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section “Initializing a Hard Disk” later in this chapter.) If the “sad Macintosh” icon appears again, consult the service and support information that came with your computer for information on contacting an Appleauthorized service provider or Apple for assistance. The Macintosh “hangs” or freezes during startup. If the Mac OS is sharing 16MB or more of memory with the PC environment and Disklight of Norton Utilities 3.1.1 is installed, the computer will freeze during startup. This does not occur with 8MB or less shared memory. Restart the Macintosh using one of the techniques described in “Start Over” in the section “When You Run Into Trouble,” earlier in this chapter. Open the PC Setup control panel and change the shared memory setting to 8 MB or less. The hard disk icon does not appear on the desktop. If you don’t see a hard disk icon on the desktop, try the following: m If the hard disk is internal, shut down your computer, wait at least 10 seconds, and then turn it on again. m If the hard disk is external, make sure that it is turned on and that its cable is connected firmly; then restart the Macintosh. m Check the ID numbers of all SCSI equipment connected to your computer. See the manuals that came with your SCSI equipment for information on setting SCSI ID numbers. Troubleshooting in the Macintosh Environment 83m If the hard disk is your startup disk, start your computer using the Disk Tools floppy disk or (if you have a built-in CD-ROM drive) with the CD-ROM disc that contains system software. (For instructions on how to start up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section “Initializing a Hard Disk” later in this chapter.) Then follow the instructions in “Repairing a Damaged Disk” later in this chapter to test your startup hard disk and repair any damage. If repairing the disk doesn’t help, follow the instructions in “Installing or Reinstalling Mac OS System Software” later in this chapter to reinstall system software on your startup hard disk. Icons do not appear correctly on your screen. You need to rebuild the desktop—a process that helps your Macintosh keep track of files and folders on your hard disks. For instructions, see “Rebuild Your Desktop Regularly” in the section “When You Run Into Trouble” earlier in this chapter. If icons do not appear correctly after you rebuild the desktop, restart your computer while pressing the Shift key to temporarily turn off system extensions. When you see the “Welcome to Macintosh—extensions off” message, release the Shift key and press the Option and x keys until you see a message asking if you want to rebuild the desktop. Your Macintosh can’t read a floppy disk. If you see a message that a floppy disk is unreadable, try one of the following: m If the disk has never been used, you may simply need to initialize it. For instructions, see the “Disks” topic of Macintosh Guide, available in in the Guide (h) menu. m The disk may be damaged. See “Repairing a Damaged Disk” later in this chapter for information on testing and repairing disks. m The disk may be a DOS disk that the Macintosh environment cannot use. Try switching to the PC environment and inserting the disk again. 84 Chapter 7If you are trying to use a DOS disk in the Macintosh environment, consider the following: m The disk may have been formatted incorrectly on a DOS computer (or in the PC environment on your Macintosh). On DOS computers it’s possible to format a standard double-sided disk in a high-density (1440K) format, and vice versa. Disks formatted in this way cannot be read by a Macintosh computer. When formatting disks in the DOS environment for use in both the Mac OS and DOS, always format standard double-sided disks in the 720K format. Always format high-density disks in the 1440K format. If a disk has been formatted incorrectly, switch to the PC environment and copy the disk’s contents onto another disk that has been properly formatted. The pointer (8) freezes on the screen. Your system has a software problem. m Press x-Option-Esc to quit the application program in use when the problem occurred. If this works, you can save the documents open in other programs before restarting. m Restart your Macintosh. (For instructions, see “Start Over” in the section “When You Run Into Trouble” earlier in this chapter.) Most software problems are temporary, and restarting usually corrects the problem. m Check the startup disk and program you were using when the problem occurred. Make sure that all programs, desk accessories, and system extensions you’re using are compatible with the system software. m Sometimes incompatible system extensions or control panels can cause system software problems. Restart while holding down the Shift key; this temporarily turns off all system extensions. If your computer works normally after you do this, remove all extensions from the Extensions folder (inside the System Folder) and put them back into the Extensions folder one at a time. Restart after you add each extension. This procedure should identify any incompatible extensions. You can also use the Extensions Manager control panel to turn off individual extensions. For information on using this control panel to manage system extensions, see the “Setting Options” topic of Macintosh Guide, available in the Guide (h) menu. Troubleshooting in the Macintosh Environment 85m If the problem recurs, you may need to reinstall system software. See “Installing or Reinstalling System Software” later in this chapter for instructions. A dialog box with a bomb appears. Your system has a software problem. m Write down what you were doing when the message appeared, the text of the message, and the message number, if there is one. m Restart your Macintosh. (See “Start Over” in the section “When You Run Into Trouble” earlier in this chapter for instructions.) Most software problems are temporary, and restarting usually corrects the problem. m Check the startup disk and application program you were using when the dialog box appeared. Make sure that all programs, desk accessories, and system extensions you’re using are compatible with the system software. Reinstalling the system software may correct the problem. m Sometimes incompatible system extensions or control panels can cause system software problems. Restart while holding down the Shift key; this temporarily turns off all system extensions. If your computer works normally after you do this, remove all extensions from the Extensions folder (inside the System Folder) and put them back into the Extensions folder one at a time. Restart after you add each extension. This procedure should identify any incompatible extensions. You can also use the Extensions Manager control panel to turn off individual extensions. For information on using this control panel to manage system extensions, see the “Setting Options” topic of Macintosh Guide, available in the Guide (h) menu. m If the problem recurs, you may need to reinstall system software. See “Installing or Reinstalling Mac OS System Software” later in this chapter for instructions. 86 Chapter 7The pointer (8) doesn’t move when you move the mouse. One of the following situations is probably the cause: m Your system has a software problem. Press x-Option-Esc to quit the application program in use when the problem occurred. If this works, you can save the documents open in other programs before restarting. Restart your Macintosh. See “Start Over” in the section “When You Run Into Trouble” earlier in this chapter for instructions. Check the startup disk and program you were using when the problem occurred. Make sure that all programs, desk accessories, and system extensions you’re using are compatible with the system software. Try starting up the computer from the Disk Tools disk or the CD-ROM disc that contains system software. (For instructions on how to start up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section “Initializing a Hard Disk” later in this chapter.) If your computer starts up normally, there may be an extension conflict. If the problem recurs, you may need to reinstall system software. See “Installing or Reinstalling Mac OS System Software” later in this chapter for instructions. m The mouse is not connected properly. Turn the computer off using the standby power button, check that the mouse and keyboard cables are connected properly, and then restart the computer. m Signals from the mouse are not reaching the computer, either because the mouse needs cleaning or because there is something wrong with the mouse. Clean the mouse according to the instructions in Appendix A of this book. If you have another mouse or pointing device, try connecting and using it. (Turn off the computer before connecting it.) If the new device works, there is probably something wrong with the mouse you replaced. If none of these procedures solves the problem, consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for assistance. Troubleshooting in the Macintosh Environment 87Typing on the keyboard produces nothing on the screen. One of the following is probably the cause: m Your system has a software problem. Restart your Macintosh. For instructions, see “Start Over” in the section “When You Run Into Trouble” earlier in this chapter. Check the startup disk and application program you were using when the problem occurred. Make sure that all programs, desk accessories, and system extensions you’re using are compatible with the system software. If the problem recurs, you may need to reinstall system software. See “Installing or Reinstalling System Software” later in this chapter for instructions. m You haven’t selected any text or set the insertion point (i). Make sure the program you want to type in is the active program. Then place the pointer (8) in the active window and click to set an insertion point (i) or drag to select text (if you want to replace the text with your typing). m The keyboard is not connected properly. Turn off the computer using the standby power button, then check that the keyboard cable is connected properly at both ends. If you have a keyboard with an ADB port (marked with the × icon) on each end, turn off the Macintosh using the standby power button and plug the keyboard cable into the other ADB port on the keyboard. (You may have to unplug the mouse to do this.) Then restart the computer. m The keyboard is damaged. If you have access to another keyboard, try using it instead. (Turn the computer off before connecting it.) If the new keyboard works, there is probably something wrong with the one you replaced. If none of these procedures solves the problem, consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for assistance. 88 Chapter 7You can’t start an application program or it quits unexpectedly. Or, when you try to open a program, you see a message that not enough memory is available. One of the following is probably the cause: m The Macintosh ran out of memory. Quit the programs that you have open and then open the program you want to use, or restart your Macintosh. Use the Memory control panel to turn on virtual memory. For more information on virtual memory, see the “Memory” topic of Macintosh Guide, available in the Guide (h) menu. m The program needs more memory. Use the program’s Info window to give it more memory. For more information on increasing a program’s memory, see the “Memory” topic of Macintosh Guide, available in the Guide (h) menu. m The program requires special hardware, such as a floating-point unit (FPU), and your computer doesn’t have the hardware installed. Check the documentation that came with the program to find out if the program requires a Macintosh with special hardware, such as an FPU. Then check the Technical Information booklet that came with your Macintosh to find out if your computer is equipped with such special hardware, or if the hardware can be installed. Consult your Apple-authorized service provider for information on installing special hardware in your computer. Troubleshooting in the Macintosh Environment 89You see a message that an application program can’t be found. The following dialog box appears if you try to open a document that was created with software that is not on your hard disk. Normally, you see this message if you try to open a document that came from another Macintosh with software that is different from yours. m The Macintosh Easy Open control panel is not installed. This is a control panel that you can use to open documents when you don’t have the program that created them. Reinstall the control panel from the system software disks or CD-ROM disc containing system software that came with your computer. (See the section “Installing or Reinstalling Mac OS System Software” later in this chapter for instructions.) See Appendix D for instructions on using Macintosh Easy Open. m Some documents can be opened by more than one application program. Try starting a program that you think might be able to open the document, and then choose Open from the program’s File menu to try to open the document. m Purchase and install the correct software to use the document, or find out if the creator of the document can convert it to a form that one of your programs can use. m Don’t try to open the files in the System Folder. Most of the files in the System Folder are used by your computer for internal purposes and are not intended to be opened. m Rebuild the desktop by holding down the Option and x keys while starting up your computer. Keep holding down the keys until you see a message asking whether you want to rebuild the desktop. Click OK. 90 Chapter 7m If the document is from a DOS computer and you want to open it in the Macintosh environment, use the PC Exchange control panel to specify which Macintosh program will open the document. For information about working with DOS documents in the Mac OS, see the “Using DOS Files & Disks” topic of Macintosh Guide, available in the Guide (h) menu. You experience problems using a DOS document. If you can’t open a DOS document using a Macintosh program, try the following: m Open the document from within the program by choosing Open in the program’s File menu. m Use the PC Exchange control panel to change the document’s type to one that can be opened by the program. If a DOS document is displayed incorrectly, or you see strange codes or characters in the document, try one of the following: m Your application program may have special procedures for opening and saving documents with different file formats. See the information that came with your program. m Try opening the document in another program. Note: Some characters that can be displayed on the Macintosh are not accurately displayed on DOS computers. For more information about working with DOS documents in the Mac OS, see the “Using DOS Files & Disks” topic of Macintosh Guide, available in the Guide (h) menu. Troubleshooting in the Macintosh Environment 91The Mac OS is running out of memory even though I’m not running any PC programs. When sharing memory with the PC environment, the Macintosh allocates a portion of its memory to the PC. Because of this, the Mac OS may not be able to load all your system extensions, including the PC Setup control panel. If this problem occurs, try the following: m Add memory to the DOS-compatibility card, as described in Appendix B. m Decrease the shared memory setting. m Remove PowerTalk and QuickDraw GX from the Extensions folder inside the System Folder. m Remove any other system extensions you don’t need. m Change the name of the PC Setup control panel to !PC Setup so that it loads first. Shared memory assigned to the PC isn’t available to the Mac OS until you turn off the PC. If the previous suggestions don’t solve your problem, click the Off button at the top of the PC Setup control panel and restart the Macintosh. 92 Chapter 7Initializing a hard disk Before you can use a new disk, the disk must be prepared so that the computer knows where to store information on the disk. This preparation is called initializing (or formatting) the disk. When do you need to initialize a hard disk? The hard disk inside your computer was initialized at the factory, so you shouldn’t need to initialize it. You need to initialize a hard disk only if m you purchase a hard disk that has not been initialized at the factory m your hard disk is damaged If a hard disk needs to be initialized, the disk’s icon does not appear on the desktop when you start up the computer using another disk. Starting up from a CD-ROM disc To initialize, test, or repair a hard disk, or to install system software on a hard disk, you need to start up your computer from another disk. If your computer has a CD-ROM drive, you can start up your computer using the CD-ROM disc containing system software that came with the computer. To start up the computer using the CD-ROM disc, follow these steps: 1 Turn your computer on. 2 Press the Open/Close button on your CD-ROM drive, and quickly insert the CD-ROM disc containing system software into the drive. 3 Immediately press and hold down the C key on your keyboard. Continue to hold down the key until you see the “Welcome to Macintosh” message. WARNING Initializing a disk erases any information that may be on it. Before you initialize a damaged disk, try to repair it as described in “Repairing a Damaged Disk” later in this chapter. Troubleshooting in the Macintosh Environment 93If a blinking question mark appears, or if the computer starts up from your hard disk: You did not insert the CD-ROM disc quickly enough for the computer to recognize it as a startup disk. Follow these steps: 1 Shut down your computer. The CD-ROM disc will remain in the CD-ROM drive. 2 Turn the computer on. 3 Immediately press and hold down the C key on the keyboard. Continue to hold down the key until you see the “Welcome to Macintosh” message. Starting up from a floppy disk To initialize, test, or repair a hard disk, or to install system software on a hard disk, you need to start up your computer from another disk. If you don’t have a built-in CD-ROM drive, you can start up the computer using either the Disk Tools or Install Disk 1 floppy disk that came with your computer. To start up your computer using a floppy disk, follow these steps: 1 Shut down your computer. 2 Insert the floppy disk into the disk drive. If you want to initialize, test, or repair your hard disk, use the Disk Tools disk to start up your computer. If you want to install Mac OS system software, use the Install Disk 1 disk. 3 Turn the computer on. 94 Chapter 7Reinitializing your computer’s internal hard disk You initialize the internal hard disk using a program called Internal HD Format, which is on the floppy disk labeled Disk Tools that came with your computer. If your computer came with a CD-ROM drive and you didn’t receive floppy disks, you can find Internal HD Format on the CD-ROM disc that contains system software. 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” earlier in this section. 2 Double-click the Internal HD Format icon to open it. You may need to look in a folder called Utilities to find Internal HD Format. 3 Type a name for your disk in the name box. 4 If you want to make sure that none of the hard disk’s original information is recognizable after reinitialization, choose Zero Data in the Options menu. If you choose Zero Data, initialization may take a few minutes. (If you don’t choose Zero Data, initialization will take less than 30 seconds.) 5 Click Initialize. A message informs you that initializing the disk erases all information on it. 6 Click OK. During initialization, a status bar shows you the progress of the initialization. 7 When the initialization is complete, click Done. If a message reports that initialization failed, try again. If initialization fails a second time, take the disk to your Apple-authorized service provider for repair. Troubleshooting in the Macintosh Environment 95Initializing an external SCSI hard disk You initialize an Apple external SCSI hard disk using a program called Apple HD SC Setup, which is on the floppy disk labeled Disk Tools that came with your computer. If your computer came with a CD-ROM drive and you didn’t receive floppy disks, you can find Apple HD SC Setup on the CD-ROM disc that contains system software. 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” earlier in this section. 2 Open the Apple HD SC Setup icon. You may need to look in a folder called Utilities to find Apple HD SC Setup. 3 Click Drive until the disk you want to initialize appears. You cannot initialize the disk that you used to start up your computer or the disk that contains the Apple HD SC Setup program. 4 Click Initialize. 96 Chapter 7 SCSI ID number of the currently selected hard disk Name of the currently selected hard disk5 Click Init to initialize the hard disk. 6 If a message appears asking you to name the disk, type a name and then click OK. 7 Click Quit when you see a message reporting that initialization was successful. If a message reports that initialization failed, try again. If initialization fails a second time, take the disk to your Apple-authorized service provider for repair. Repairing a damaged disk Disks can become damaged by repeated use and handling. When do you need to repair a disk? If you see a message reporting that a disk is damaged or unreadable, you may need to repair the disk. Try these suggestions first If you can’t start up from a hard disk or you don’t see the hard disk icon on the desktop, try the following: m If the hard disk is internal, shut down your Macintosh, wait at least 10 seconds, and then turn it on again. m If the hard disk is external, make sure that it is turned on and that its cable is connected firmly; then restart the Macintosh. m If the hard disk is your startup disk, start up with a different startup disk. If the hard disk’s icon appears on your desktop, reinstall system software on the hard disk (see “Installing or Reinstalling System Software” later in this chapter). Troubleshooting in the Macintosh Environment 97 Click here to initialize the disk. m Check the ID numbers of all SCSI equipment connected to your computer. Each device must have a unique ID number (the computer itself has the ID number 7). Also check that the chain of devices is terminated properly. For information on setting SCSI ID numbers and terminating a SCSI chain, see the manuals that came with your SCSI equipment. m Test the disk following the instructions that come next. Checking for damage on your internal hard disk You can check for damage on your internal hard disk with the Internal HD Format program, which is on the floppy disk labeled Disk Tools that came with your computer. If your computer has a built-in CD-ROM drive and you didn’t receive floppy disks, you can find the Internal HD Format program on the CD-ROM disc that contains system software. You can use Internal HD Format at any time to check for damaged blocks (segments of the hard disk that cannot reliably be used to store information). 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Open the Internal HD Format icon. You may need to look in a folder called Utilities to find Internal HD Format. 3 Choose Scan All Blocks in the Functions menu. If the program finds damaged blocks, it marks them so the computer will not store information in them. This process does not harm any information on the hard disk. 98 Chapter 7Testing an external SCSI hard disk You can test an external Apple SCSI hard disk with the Apple HD SC Setup program, which is on the floppy disk labeled Disk Tools that came with your computer. If your computer has a built-in CD-ROM drive, and you didn’t receive floppy disks, you can find the Apple HD SC Setup program on the CD-ROM disc that contains system software. 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Open the Apple HD SC Setup icon. You may need to look in a folder called Utilities to find Apple HD SC Setup. 3 Click Drive until the disk you want appears. 4 Click Test. 5 When a message tells you that testing is complete, click Quit. Troubleshooting in the Macintosh Environment 99 SCSI ID number of the currently selected hard disk Name of the currently selected hard diskIf the test reveals a problem, you may be able to correct it by using Disk First Aid or another disk repair program (see the instructions in the next section), or you may need to reinitialize the disk (see “Initializing a Hard Disk” earlier in this chapter). Consult an Apple-authorized service provider for assistance, if necessary. How to repair a hard disk or floppy disk You can repair some types of disk damage by using the Disk First Aid program, which is included either on the Disk Tools floppy disk or on the CD-ROM disc containing system software that came with your computer. 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Open the Disk First Aid icon. You may need to look in a folder called Utilities to find Disk First Aid. 3 Click the icon of the disk you want to test. Disk icons appear in a box at the top of the Disk First Aid window. 100 Chapter 74 Click Repair to begin testing and repairing the disk. You can’t repair the startup disk or the disk that contains the Disk First Aid program, but you can test these disks by clicking Verify. If the program reveals a problem with either of these disks, start up the computer from another disk so that you can repair the damaged disk. If you want to test and repair another disk, click its icon and then click Repair. 5 When testing and repair are finished, choose Quit from the File menu. If Disk First Aid cannot correct the problem m Try repairing the disk again. Sometimes repeating the process corrects the problem. m Use another disk repair or recovery program. Some disk repair programs let you recover information from a damaged disk. m Consult a computer repair specialist for help. m Once you have recovered all the information you can, erase (reinitialize) the disk. If initialization doesn’t work, discard the damaged disk (if it’s a floppy disk), or take it to your Apple-authorized service provider for repair (if it’s a hard disk). Troubleshooting in the Macintosh Environment 101Installing or reinstalling Mac OS system software System software is the set of programs and other files that the Mac OS uses to start itself up, keep track of your files, and run the application programs you use. System software is kept in the folder called the System Folder. When you turn on your computer, it looks for a startup disk, which is a disk that contains the system software. The startup disk is usually the hard disk that’s inside your computer, although another hard disk or a floppy disk can also be a startup disk. The accessory kit that came with your Macintosh provides system software on either a set of floppy disks or a CD-ROM disc. You can use the floppy disks or the CD-ROM disc to install the system software on your Macintosh if you need to do so. When should you install system software? Your Macintosh came with all the necessary system software installed on its internal hard disk, so you don’t need to install system software on that disk unless you encounter software problems. If you have a new hard disk or a newly initialized hard disk that doesn’t contain system software, or if you want to upgrade to a more recent version of system software on a hard disk, follow the instructions in “Installing System Software” later in this chapter. If you want to install DOS on a drive container or another volume that you’re using as a PC drive, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. When should you reinstall system software? If you have a problem with your system software, you may see this icon in the middle of the screen: If this icon appears, follow the instructions in “Repairing a Damaged Disk” earlier in this chapter to test your startup hard disk and repair any damage. 102 Chapter 7If repairing the disk doesn’t help, follow the instructions in the next section, “Installing System Software,” to reinstall system software on your startup hard disk. Installing system software Follow the steps in this section to do what is commonly called a “normal” installation of system software. If you’re installing system software on a hard disk for the first time, make sure that your hard disk has been initialized, a process that prepares the disk to store information. If you see the hard disk’s icon on the desktop when you start up the computer, the disk has been initialized. If no disk icon appears when you start up, see “Initializing a Hard Disk” earlier in this chapter for instructions. To do a normal installation, follow these steps: 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Find and open the Disk First Aid icon. You may need to look in a folder called Utilities to find Disk First Aid. After Disk First Aid starts, follow the instructions on the screen. Disk First Aid checks your hard disk for any problems. 3 When Disk First Aid has finished checking your hard disk, choose Quit from the File menu. 4 Shut down your computer. Troubleshooting in the Macintosh Environment 1035 Start up your computer from the Install Disk 1 disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. The Installer’s Welcome screen appears. You may have to double-click the System Software Installer icon to open the Installer program. 6 Click OK. The Easy Install dialog box appears. 7 Make sure that the hard disk named in the box is the one on which you want to install system software. If it isn’t, click Switch Disk until the correct disk name appears. 8 Click Install. 9 Follow the instructions that appear on the screen. If you’re installing system software from floppy disks, you see messages asking you to insert different disks. 104 Chapter 7 Parts of system software to be installed Disk on which system software will be installed Click here to install the software you need. Click here to install on a different disk.10 When you see a message reporting that the installation was successful, click Restart. If a message reports that installation was not successful, try installing again. (Follow the instructions on the screen.) If, after reinstalling system software by doing a normal installation, you still experience problems with your computer, follow the steps in the next section for doing a “clean” installation of system software. IMPORTANT Certain system extensions or application programs that were originally on your hard disk may not be installed with the Installer program. If you notice that a certain extension or program was not installed, you may need to install it separately. You can find these additional extensions and programs on the CD-ROM disc that contains system software. If you don’t have a CD-ROM drive, see the service and support information that came with your computer for information on how to contact Apple directly for assistance. Doing a clean installation of system software The steps in this section outline what is commonly called a “clean” installation of system software. Do a clean installation if you can’t determine what is damaged in your System Folder (especially if you think any special software, such as control panels, system extensions, or custom utilities, may be causing the problems you’re experiencing). You should also do a clean installation if you’re still having problems with your computer after you’ve reinstalled system software by doing a normal installation. Troubleshooting in the Macintosh Environment 105Testing your hard disk To prepare your hard disk for a clean installation, follow these steps: 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Find and open the Disk First Aid icon. You may need to look in a folder called Utilities to find Disk First Aid. After Disk First Aid starts, follow the instructions on the screen. Disk First Aid checks your hard disk for any problems. 3 When Disk First Aid has finished checking your hard disk, choose Quit from the File menu. Preparing an external SCSI hard disk for reinstallation of system software If you’re reinstalling system software on an Apple external SCSI hard disk, follow these additional steps. If you’re reinstalling system software on your internal hard disk, skip to the next section, “Installing New System Software.” 1 Find and open the Apple HD SC Setup icon. You may need to look in a folder called Utilities to find Apple HD SC Setup. 2 Click Drive until the disk on which you want to reinstall system software appears. 3 Click Update and follow the instructions on the screen. 106 Chapter 74 When you see a message that the update (preparation for reinstalling system software) was successful, click Quit. The external SCSI hard disk is now prepared for reinstalling system software, and you can proceed with the installation. Installing new system software 1 Insert the Install Disk 1 disk into the floppy disk drive, or insert the CD-ROM disc that contains system software into the CD-ROM drive. The Installer’s Welcome screen appears. You may have to double-click the System Software Installer icon to open the Installer program. 2 Click Continue. The Easy Install dialog box appears. 3 Make sure that the hard disk named in the Destination Disk box is the one on which you want to install system software. If it isn’t, click Switch Disk until the correct disk name appears. Troubleshooting in the Macintosh Environment 107 Parts of system software to be installed Disk on which system software will be installed Click here to install the software you need. Click here to install on a different disk.4 Hold down Shift–x–K to start the clean installation. The following dialog box appears. 5 Click the Install New System Folder button and click OK. The Easy Install dialog box appears. The Install button has changed to Clean Install, and the contents of your old System Folder have been moved to a new folder named Previous System Folder. 6 Click Clean Install. 7 Follow the instructions that appear on the screen. It takes a few minutes to complete the installation. 8 When you see a message reporting that the installation was successful, you may need to click Restart. You need to click Restart only if you installed software onto the startup disk. If a message reports that installation was not successful, try repeating the clean installation procedure. 108 Chapter 7 Click here to install the software you need.Replacing special software 1 Copy any special software items from the Previous System Folder back to your System Folder one item at a time, restarting the computer after copying each item. Special software consists of items such as control panels, system extensions, or custom utilities that you may have added to your System Folder. IMPORTANT Be very careful not to replace (copy over) any of the files in the System Folder with files from the Previous System Folder. 2 Check after each restart to make sure your computer is not having any software problems. If any of your special software items causes software problems, contact the software manufacturer for assistance or an upgrade. Doing a custom installation For most Macintosh users, the Easy Install procedure described in the previous sections is appropriate, because it automatically installs all the items you need. However, if you’d like to select a combination of system software files for your specific needs, you can customize your system software installation. You use custom installation to install or update one or more specific files, or to save space on your hard disk by installing only the files you want. To install customized system software, follow these steps: 1 Insert the Install Disk 1 disk into the floppy disk drive, or insert the CD-ROM disc that contains system software into the CD-ROM drive. The Installer’s Welcome screen appears. You may have to double-click the System Software Installer icon to open the Installer program. Troubleshooting in the Macintosh Environment 1092 Click OK. The Easy Install dialog box appears. 3 Choose Custom Install from the pop-up menu. The Custom Install dialog box appears, listing all available system software components. 4 Scroll through the list of components, clicking the checkbox next to each component you want to install. 110 Chapter 7To get additional information about a component, click the box with the letter i in it to the right of the component. 5 Click Install. 6 Follow the instructions that appear on the screen. 7 When you see a message reporting that the installation was successful, click Quit. If a message reports that installation was not successful, try installing again. (Follow the instructions on the screen.) 8 Restart your Macintosh. The system software is installed and your computer is ready to use. Troubleshooting in the Macintosh Environment 111When you have questions Read this chapter when you have questions about using the PC environment on your Macintosh. If you have questions about using DOS or DOS application programs, see your DOS manual or the manuals that came with your programs. WARNING If you have a problem with your DOS-compatibility hardware or software and nothing presented in this manual solves it, consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for assistance. If you attempt to repair the DOS-compatibility hardware yourself, any damage you may cause to the DOS-compatibility hardware will not be covered by the limited warranty on your DOScompatible Macintosh. Contact an Apple-authorized dealer or service provider for additional information about this or any other warranty question. 113 8 Troubleshooting in the PC Environment Consult this chapter if you have problems using the PC environment on your Macintosh.When I try to switch to DOS, my screen is blank or has no synchronization. If the monitor has never worked in DOS, it is most likely not able to synchronize properly to the DOS video signal. Refer to the information in the Technical Information booklet on monitor specifications and video modes, and check with your monitor vendor to see if your monitor conforms to these specifications. If your monitor was working previously, verify that its type is selected in the Display pop-up menu of the PC Setup control panel. If its type doesn’t show, use the Display pop-up menu to select the correct type. Restart the computer and, immediately after the chime sounds, hold down the x-Option-P-R keys. When you hear another chime, release the keys. Then open the PC Setup control panel again. You’ll get a message that PC Setup is not properly installed. This is normal. Verify the settings, and restart the computer again. The Macintosh “hangs” or freezes during startup. If the Mac OS is sharing 16 MB or more of memory with the PC environment, and Disklight of Norton Utilities 3.1.1 is installed, the computer will freeze during startup. This does not occur with 8 MB or less shared memory. Restart the Macintosh using one of the techniques described in “Start Over” in the section “When You Run Into Trouble” in Chapter 7. Open the PC Setup control panel and change the shared memory setting to 8 MB or less. The DOS-compatibility software doesn’t seem to be installed. Open the Control Panels folder and look for the PC Setup control panel. If you find it, the DOS-compatibility software is installed. If not, or if you find it but it doesn’t work, there may be a problem with the software. Reinstall the software according to the instructions in “Reinstalling the DOS-compatibility Software,” later in this chapter. If you do find the PC Setup control panel, open it. If drive C is mapped to a drive container, a drive container has been created. If drive C is not mapped to a drive container, follow the instructions in “Creating a Drive Container” in the section “Reinstalling the DOS-Compatibility Software” later in this chapter. 114 Chapter 8When I switch to the PC environment, I see this message: “Non-system disk or disk error. Replace and strike any key when ready.” The DOS-compatibility hardware can’t find DOS. Switch to the Mac OS by pressing x-Return, open the PC Setup control panel, and make sure drive C is mapped to a drive container. If not, follow the instructions under “Configuring Drives C and D” in Chapter 6. If drive C is mapped to a drive container, it may not be the drive container that holds DOS. If other drive containers have been created, double-click each one in the Mac OS and look for DOS folders and files. If you locate a container with DOS in it, map it to drive C. If no drive container exists, the PC software may not be installed. First, create a drive container by following the instructions under “Configuring Drives C and D” in Chapter 6. Then follow the instructions under “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” later in this chapter. I’m running applications in both environments and they seem sluggish. You may be sharing Macintosh RAM with the PC. Performance may improve if you give the PC environment its own memory by installing a SIMM (memory module) on the DOS-compatibility card in your computer. For instructions, see Appendix B. Additionally, significant drive access in one environment (including file sharing) can cause a slowdown in the other. There is a delay when switching between environments. When switching would interfere with a Mac OS system task, there is a slight delay until the task is completed. There also may be a delay while clipboard information is transferred between the two environments. (If there’s a large amount of information on the clipboard, you may actually see the translator window.) If Shutdown Warning is turned on in the General Controls panel in the Mac OS, you cannot switch back to the Mac OS immediately after switching to the PC. Wait a few minutes and try switching again. To fix the problem, open the General Controls panel in the Mac OS and turn off the Shutdown Warning option. Troubleshooting in the PC Environment 115I switched to the PC environment and I can’t figure out how to switch back to the Mac OS. Press x-Return at any time to switch to the Mac OS. Inserting a PC-format disk in the Mac OS brings up an initialization message. Macintosh PC Exchange may not be installed. Look in the Control Panels folder for a control panel called Macintosh PC Exchange. If you don’t find it, reinstall Macintosh PC Exchange from the floppy disks or CD-ROM disc that contains system software. I’m in the PC environment and I can’t figure out how to eject a floppy disk. Press x-E. I’m in the PC environment and I can’t figure out how to eject a CD-ROM disc. Press x-Y. The PC drive file I initialized has only one partition. Macintosh PC Exchange configures drives to have a single partition. The DOS program FDISK can configure a drive with up to four partitions. See your DOS manual for more information. The PC won’t start up, and there’s a message saying there is not enough free memory. Your computer must have at least 8 MB of RAM installed. If you don’t have a SIMM installed for the exclusive use of the PC environment (see the Technical Information booklet), the PC requires at least 2 MB of free RAM if you are using DOS, and 4 MB if you are using Windows. Turn off the RAM disk, if you’re using one, in the Memory control panel. Additionally, set the disk cache size in the Memory control panel to 128K or less. 116 Chapter 8The PC Setup icon has a red slash through it at startup. If PC Setup doesn’t have enough memory to allocate to the PC at startup time, it will turn itself off. Check the Memory control panel for disk cache and RAM disk sizes; the disk cache should be set no higher than 128K, and the RAM disk should be off (or have a small amount of memory allocated to it). Restart the Macintosh if you change either of these settings. If these steps don’t correct the problem, throw away the PC Setup Prefs file in the Preferences folder within the System Folder and restart the Macintosh. Then use the PC Setup control panel to recreate your settings. When I switch to the Mac OS from the PC environment, the following message appears: “PC Clipboard requires additional system services in order to function. Please ensure that the DOS-compatibility card is successfully installed.” Macintosh Easy Open software is either not installed or has been turned off. Turn on the Macintosh Easy Open control panel, or reinstall it from the DOS Compatibility Installer (for the Mac OS) disk. If your computer has a built-in CD-ROM drive and you don’t have the floppy disk, use the DOS Compatibility Installer program on the CD-ROM disc that contains system software. I set the DOS-compatibility card to use 4 MB (or more) of RAM, but I get an error message from my PC application program saying that there’s not enough memory to run it. If you are sharing memory between the Macintosh and PC, the Mac OS may be using some of the RAM you requested for the PC. Turn off the RAM disk, if you’re using one, in the Memory control panel; then restart the Macintosh. A PC program displays a message that it needs 540K to run, but I have 4MB of memory allocated to the PC environment. The program is referring to conventional memory. Most of the balance of the 4 MB of memory you assigned to the PC is used by the EMM386 memory management software. Configure your application program to use more extended memory and less conventional memory. You may also need to disable some device drivers or other software in your CONFIG.SYS and AUTOEXEC.BAT files to free up more conventional RAM. See the section on managing memory in your DOS manual for more information. Troubleshooting in the PC Environment 117The Mac OS is running out of memory even though I’m not running any PC programs. When sharing memory with the PC environment, the Macintosh allocates a portion of its memory to the PC. Because of this, the Mac OS may not be able to load all your system extensions, including the PC Setup control panel. If this problem occurs, try the following: m Add memory to the DOS-compatibility card, as described in Appendix B. m Decrease the shared memory setting. m Remove PowerTalk and QuickDraw GX from the Extensions folder inside the System Folder. m Remove any other system extensions you don’t need. m Change the name of the PC Setup control panel to !PC Setup so that it loads first. Shared memory assigned to the PC isn’t available to the Mac OS until you turn off the PC. If the previous suggestions don’t solve your problem, click the Off button at the top of the PC Setup control panel and restart the Macintosh. My monitor flashes oddly when I switch environments. This is a natural effect when a single monitor is used by two different environments. Turn on the Fade Screens option in the PC Setup control panel. The PC environment is frozen, and pressing Control-Alt-Delete doesn’t reset the system. Press the x-Control-Alt-[keypad] period keys. The system will reset with a cold start. When I print a document in the PC environment, the top and bottom get clipped. In the Mac OS, open PC Print Spooler in the Extensions folder, choose Preferences from the File menu, and click “Gaps between pages (60-lines).” In the PC environment, configure your applications to print to a 60 line page, rather than a 66-line page, or your margins will be off and your pages will not print correctly. 118 Chapter 8When I start up certain software in the PC environment, my Apple monitor shows a jumbled image and the display rolls. Some application programs that write directly to the hardware (especially games) may cause the Apple 13", 14", and 16" monitors to lose video synchronization at program startup. Call the software company to see if the software has a switch to force it to make BIOS calls (or if an upgrade is available with this feature). DOS begins to start up but then the screen freezes. My cursor blinks, but I cannot type anything. Press x-Control-Alt-[keyboard] period to restart the PC. When you see the message “Starting MS-DOS,” press and hold the F5 key. This will bypass your CONFIG.SYS and AUTOEXEC.BAT files. Edit the CONFIG.SYS file so that the HIMEM.SYS driver looks like the following: DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF Restart the PC; it should now start up normally. Reinstalling the DOS-compatibility software Your Macintosh DOS-compatible computer comes with the DOS-compatibility hardware and software already installed. You should reinstall the software only if you are having severe software problems. Follow the instructions in this section. There are several steps to reinstalling your DOS-compatibility software: m install the Mac OS software m create a storage area (called a drive container) for DOS software m set aside RAM for the PC environment, if necessary m install the Microsoft MS-DOS operating system (and Microsoft Windows if you wish) m install the additional DOS software that came with your DOS-compatible computer m install your own PC software For information on setting up the software after you install it, including additional changes you may need to make to the DOS AUTOEXEC.BAT and CONFIG.SYS files, see Chapter 5. Troubleshooting in the PC Environment 119Reinstalling Mac OS software You’ll install several extensions and control panels in your System Folder. 1 Start up your Macintosh while holding down the Shift key. This starts the Macintosh with extensions turned off. 2 Insert the floppy disk named DOS Compatibility Installer Disk (for Mac OS Environment) into the floppy disk drive. If your computer has a built in CD-ROM drive, and you don’t have this floppy disk, insert the CD-ROM disc that contains system software. 3 Find the DOS Compatibility Installer icon and double-click it to open it. 4 Click Install in the dialog box that appears. The software is automatically installed onto your hard disk. 5 When the installation is complete, click Quit and restart your Macintosh. The following Mac OS software is now installed in your System Folder: Name Location Macintosh Easy Open Control Panels folder PC Exchange Control Panels folder PC Setup Control Panels folder PC Setup Guide Additions Extensions folder PC Clipboard Extensions folder PC Clipboard Translators Extensions folder PC Print Spooler Extensions folder PC Network Extension Extensions folder 120 Chapter 8Creating a drive container A drive container is a file on a Macintosh hard disk that acts as a hard drive for the PC. You create a drive container using the PC Setup control panel. 1 Open the PC Setup control panel. 2 Choose New Drive File from the C: pop-up menu. A dialog box appears. 3 Choose a location for the drive container. The drive container can be on any hard disk attached to the Macintosh. At least 40 MB of free space is recommended. Troubleshooting in the PC Environment 121It’s best to locate the container at the root level of your hard disk (not in any folders or sub-folders) so that you can locate it easily. 4 Type a name for the drive container. You can type up to 31 characters. Pick a descriptive name such as PC Drive or PC Container so that you can easily identify it. When you finish, press the Tab key to move to the Size field. 5 Type a size (in MB) for the drive container. At least 40 MB is recommended. The exact amount of space you need depends on what application programs you intend to install for DOS and Windows. Check the documentation that came with the programs to see how much space you’ll need, then allow some extra room for growth. (The software included with your DOS-compatible computer requires about 25 MB.) 6 Check Initialize Drive File to automatically initialize the drive container with a single partition. If you want more than one partition, you can leave the box unchecked and use the FDISK and FORMAT programs after you’ve installed DOS. (See your DOS manual for instructions and information about the FDISK and FORMAT commands and their options.) 7 Click Create. Assigning RAM to the PC The PC needs memory to operate. You can provide memory with a memory module (SIMM) installed on the DOS-compatibility card in your computer, or by assigning it RAM from your Macintosh. If a memory module is installed on the DOS-compatibility card, the RAM pop-up menu options will be dimmed (unavailable). The amount of memory available to the PC will depend of the amount of RAM on the installed SIMM. See the Technical Specifications booklet to find out whether your DOS-compatibility card includes a SIMM and what RAM capacity the SIMM has. If a SIMM is installed, skip to “Reinstalling PC Software,” next. 122 Chapter 8Memory installed on the DOS-compatibility card in your computer is for the exclusive use of the PC environment, and provides a marked increase in performance of PC applications. If no memory module is installed, you need to assign RAM to the PC. 1 Choose a memory size from the RAM pop-up menu in the PC Setup control panel. If you’re installing DOS only, choose a minimum of 2 MB. If you intend to install Windows, choose a minimum of 4 MB. Note: Windows performance will increase if you allocate more memory to the PC. However, RAM assigned to the PC is not available in the Mac OS until you turn off the card in the PC Setup control panel and restart the computer. 2 Restart the Macintosh. IMPORTANT If the RAM size is set to 2 MB, modify the CONFIG.SYS file in DOS as follows: DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF Reinstalling PC software You begin by installing the Microsoft MS-DOS operating system included with your computer. You can also install Microsoft Windows if you wish. 1 Open the PC Setup control panel and click Switch to PC. The Macintosh desktop disappears, and you see a message about a missing operating system or about a disk error. Ignore the message. 2 Insert the CD-ROM disc containing DOS and Windows software into the computer’s CD-ROM drive. If you are using floppy disks, insert the Microsoft MS-DOS Setup floppy disk and press Return. The DOS disks and manual are in the same shrink-wrapped package. 3 If you are using the CD-ROM disc, find and open Microsoft MS-DOS Setup. Troubleshooting in the PC Environment 1234 Follow the instructions that appear on the screen. If you are using floppy disks, press x-E to eject a disk when necessary. Note: The MS-DOS installation disks do not include a DOS mouse driver. A mouse driver for Windows is automatically installed, however, if you install Microsoft Windows. Mouse drivers for DOS are widely available from thirdparty sources. 5 When DOS installation is complete, you may want to install Windows. If you are using the CD-ROM disc, find and open the file called Windows Series Installation Instruction Diskette 1 of 6, type A:setup, and press Return. If you are using floppy disks, insert the disk labeled Windows Series Installation Instruction Diskette 1 of 6, type A:setup, and press Return. The Windows disks and manual are in the same shrink-wrapped package. You can skip this and the next step if you don’t want to install Windows. 6 Follow the instructions that appear on the screen. If you are using floppy disks, press x-E to eject a disk when necessary. The following PC software is now installed: DOS (directory) WINDOWS (directory) COMMAND.COM AUTOEXEC.BAT CONFIG.SYS 124 Chapter 8Installing additional PC software Your DOS-compatible computer comes with additional software utilities that you may want to install. The following table describes the function of each program. For more information on using these programs, see Chapter 5, “Operating in the PC Environment.” Program name Function DOSCLIP Lets you copy and paste between DOS and Mac OS. WINCLIP Lets you copy and paste between Windows and Mac OS. MACSHARE Lets you share Mac OS volumes and folders with the PC environment. CDROM Lets you access your Macintosh CD-ROM drive from the PC environment. MACODI Provides support for accessing networks in the PC environment. To install the additional software, follow these steps: 1 With the PC environment on the screen, insert the disk named DOS Compatibility Installer Disk (for PC Environment) into the disk drive. 2 Choose one of the options below to install software for either DOS alone or both DOS and Windows. m To install software for DOS alone, type A:INSTALL at the DOS prompt and press Return. m To install software for both DOS and Windows, start Windows, select the Run command from the File menu, type A:SETUP for the program name, and click OK. 3 Follow the instructions that appear on the screen. Troubleshooting in the PC Environment 125Replacing the CONFIG.SYS and AUTOEXEC.BAT files Your DOS-compatible PC software includes alternate versions of the CONFIG.SYS and AUTOEXEC.BAT files that let you select from a variety of DOS memory-management options. Each time you start DOS, you will see a menu that asks if you want to optimize memory for just DOS, for a DOS program that requires maximum conventional memory, for a DOS program that requires maximum expanded memory, or if you want to start Windows immediately. To install the alternate CONFIG.SYS and AUTOEXEC.BAT files, follow these instructions: 1 Switch to the PC environment. 2 At the DOS prompt, type the following: C: REN CONFIG.SYS CONFIG.BAK REN AUTOEXEC.BAT AUTOEXEC.BAK COPY ALT_CFGS\CONFIG.APL CONFIG.SYS COPY ALT_CFGS\AUTOEXEC.APL AUTOEXEC.BAT 3 To restart the PC with the alternate files installed, type Control-Alt-[keypad] period. If your keyboard has a Delete key, you can press Control-Alt-Delete instead. The PC restarts and the new menu appears. Modifying the CONFIG.SYS and AUTOEXEC.BAT files You may want to modify the CONFIG.SYS file by hand to meet specific needs. Use the DOS Edit command (or any other DOS or Windows editor) and make the changes listed below. IMPORTANT Make backup copies of your original files before you change them. That way you still have your originals in case problems develop. Be sure to save the file when you are finished. To prevent the ROM BIOS from becoming corrupted when the PC is configured for 2 MB of memory, be sure to add the underlined text to the indicated line: DEVICE=C:\DOS\HIMEM.SYS/ TESTMEM:OFF 126 Chapter 8If you do not intend to use software that requires expanded memory (EMS), make the following change: DEVICE=C:\DOS\EMM386.EXE NOEMS RAM=D000-EFFF If you intend to use software that does use expanded memory, or you’re unsure what you may need in the future, make the following change: DEVICE=C:\DOS\EMM386.EXE RAM=D000-EFFF FRAME=D000 Depending on how you have reconfigured the file, your CONFIG.SYS file should look something like this: DEVICE=C:\DOS\SETVER.EXE DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF DEVICE=C:\DOS\EMM386.EXE RAM=D000-EFFF FRAME=D000 DOS=HIGH,UMB FILES=30 LASTDRIVE=M Additionally, your AUTOEXEC.BAT file should contain the following: LH C:\DOS\SMARTDRV.EXE /X @ECHO OFF PROMPT $p$g PATH C:\WINDOWS;C:\DOS SET TEMP=C:\DOS (The reference to Windows in the PATH line applies only if you chose to install Windows.) See your DOS manual to learn how to edit and save your DOS files. IMPORTANT Some memory configuration utilities, such as MEMMAKER, may not be able to determine the exact nature of the hardware of the DOScompatible computer and, therefore, may not be compatible. Additionally, using third-party compression software such as DriveSpace on a drive container prevents you from accessing the container or the files within it from the Mac OS. For these reasons, Apple does not recommend using these programs with your DOS-compatible computer. Troubleshooting in the PC Environment 127Bypassing the CONFIG.SYS and AUTOEXEC.BAT files at startup To bypass the CONFIG.SYS and AUTOEXEC.BAT files during the startup process, press and hold the F5 key (x-5 on non-extended keyboards) after the memory testing is complete. Reinstalling Sound Blaster software To install Sound Blaster software, follow these steps: 1 Insert the Sound Blaster Software Installation disk in the floppy disk drive while the PC is in the foreground. 2 From DOS, type A:INSTALL and press Return. 3 Follow the instructions that appear on the screen. 4 Restart DOS to use the new software. To do so, press Control-Alt-[keypad] period. See the enclosed manual, Using PC Sounds with the DOS-Compatibility Card, for information about using the Sound Blaster utilities. Reinstalling video drivers If you intend to run Windows with 256 colors at a resolution of 640 by 480 pixels, or if you intend to use an Apple 16" or VGA display with 16 colors at a resolution of 800 by 600 pixels, follow these steps: 1 Insert the Display Drivers Disk 1 disk in the floppy disk drive while the PC is in the foreground. 2 From DOS, type A: and press Return to set the current drive to A. 3 Type SETUP and press Return to run the setup program. Follow the instructions on the screen to install the video drivers. Select Windows 3.1 as the application. Note: If you are using an Apple 16" monitor, DOS is displayed at a resolution of 640 by 480 pixels centered on your monitor and surrounded by a large black border. 128 Chapter 8For your own safety and that of your equipment, follow all the instructions in this chapter. Keep these instructions available for reference by you and others. Health-related information about computer use Muscle soreness, eye fatigue, and other discomforts and injuries sometimes associated with using computers can occur from performing any number of activities. In fact, misuse of the same muscles during multiple activities can create a problem that might not otherwise exist. For example, if you engage in nonwork activities that involve repetitive stress on the wrist—such as bicycling—and also use your computer’s keyboard improperly, you may increase your likelihood of developing wrist problems. Some individuals are at greater risk of developing these problems because of their health, physiology, lifestyle, and general exposure to stress. Work organization and conditions, such as workstation setup and lighting, also play a part in your overall health and comfort. Preventing health problems is a multifaceted task that requires careful attention to the way you use your body every hour of every day. The most common health effects associated with using a computer are musculoskeletal discomfort and eye fatigue. We’ll discuss each area of concern below. 129 Appendix A Health, Safety, and Maintenance Tips Read this appendix for important health and safety instructions, as well as tips on keeping your computer in good working order.Musculoskeletal discomfort As with any activity that involves sitting for long periods of time, using a computer can make your muscles sore and stiff. To minimize these effects, set up your work environment carefully, using the guidelines that follow, and take frequent breaks to rest tired muscles. To make working with your computer more comfortable, allow enough space in your work area so that you can change position frequently and maintain a relaxed posture. Another type of musculoskeletal concern is repetitive stress injuries (RSIs), also known as cumulative trauma disorders (CTDs). These problems can occur when a certain muscle or tendon is repeatedly overused and forced into an unnatural position. The exact causes of RSIs are not totally understood, but in addition to awkward posture, such factors as the amount of repetition, the force used in the activity, the individual’s physiology, workplace stress level, and lifestyle may affect the likelihood of experiencing an RSI. RSIs did not suddenly arise when computers were invented; tennis elbow and writer’s cramp, for example, are two RSIs that have been with us for a long time. Although less common than other RSIs, one serious RSI discussed more often today is a wrist problem called carpal tunnel syndrome, which may be aggravated by improper use of computer keyboards. This nerve disorder results from excessive pressure on the median nerve as it passes through the wrist to the hand. This section offers advice on setting up your work area to enhance your comfort while you use your computer. Since the effects of repetitive movements associated with using a computer can be compounded by those of other work and leisure activities to produce or aggravate physical problems, proper use of your computer system must be considered as just one element of a healthy lifestyle. No one, of course, can guarantee that you won’t have problems even when you follow the most expert advice on using computer equipment. You should always check with a qualified health specialist if muscle, joint, or eye problems occur. 130 Appendix AEye fatigue Eye fatigue can occur whenever the eyes are focused on a nearby object for a long time. This problem occurs because the eye muscles must work harder to view an object that’s closer than about 20 feet (6 meters). Improper lighting can hasten the development of eye fatigue. Although eye fatigue is annoying, there’s no evidence that it leads to permanent damage. Whenever you’re engaged in an activity that involves close-up work—such as reading a magazine, doing craft work, or using a computer—be sure to have sufficient glare-free lighting and give your eyes frequent rest breaks by looking up and focusing on distant objects. Remember to have your eyes examined regularly. To prevent discomfort and eye fatigue: m Arrange your workspace so that the furniture is properly adjusted for you and doesn’t contribute to an awkward working posture. m Take frequent short breaks to give your muscles and eyes a chance to rest. Arranging your office Here are some guidelines for adjusting the furniture in your office to accommodate your physical size and shape. m An adjustable chair that provides firm, comfortable support is best. Adjust the height of the chair so your thighs are horizontal and your feet flat on the floor. The back of the chair should support your lower back (lumbar region). Follow the manufacturer’s instructions for adjusting the backrest to fit your body properly. m When you use the computer keyboard, your shoulders should be relaxed. Your upper arm and forearm should form an approximate right angle, with your wrist and hand in roughly a straight line. Health, Safety, and Maintenance Tips 131You may have to raise your chair so your forearms and hands are at the proper angle to the keyboard. If this makes it impossible to rest your feet flat on the floor, you can use a footrest with adjustable height and tilt to make up for any gap between the floor and your feet. Or you may lower the desktop to eliminate the need for a footrest. Another option is to use a desk with a keyboard tray that’s lower than the regular work surface. m Position the mouse at the same height as your keyboard. Allow adequate space to use the mouse comfortably. m Arrange the monitor so the top of the screen is slightly below your eye level when you’re sitting at the keyboard. The best distance from your eyes to the screen is up to you, although most people seem to prefer 18 to 28 inches (45 to 70 cm). m Position the monitor to minimize glare and reflections on the screen from overhead lights and windows. You may want to use a tiltable monitor stand. The stand lets you set the monitor at the best angle for viewing, helping to reduce or eliminate glare from lighting sources you can’t move. Thighs horizontal Shoulders relaxed Screen positioned to avoid reflected glare Forearms and hands in a straight line Forearms level or tilted up slightly Lower back supported Feet flat on the floor Top of the screen at or slightly below eye level (You may need to adjust the height of your monitor by placing something under it or by raising your work surface.) Clearance under work surface 45–70 cm (18–28 in.) 132 Appendix AAvoiding fatigue m Change your seated position, stand up, or stretch whenever you start to feel tired. Frequent short breaks are helpful in reducing fatigue. m Use a light touch when typing or using a mouse and keep your hands and fingers relaxed. m Some computer users may develop discomfort in their hands, wrists, or arms after intensive work without breaks. If you begin to develop chronic pain or discomfort in your hands, wrists, or arms, consult a qualified health specialist. m Allow adequate work space so that you can use your keyboard and mouse comfortably. Place papers or other items so you can view them easily while using your computer. A document stand may make reading papers more comfortable. m Eye muscles must work harder to focus on nearby objects. Occasionally focus your eyes on a distant object, and blink often while you work. m Clean your screen regularly. Keeping the screen clean helps reduce unwanted reflections. What about electromagnetic emissions? There has been recent public discussion of the possible health effects of prolonged exposure to extremely low frequency (ELF) and very low frequency (VLF) electromagnetic fields. Such fields are associated with electromagnetic sources such as television sets, electrical wiring, and some household appliances—as well as computer monitors. Apple has reviewed scientific reports and sought the counsel of government regulatory agencies and respected health organizations. Based on the prevailing evidence and opinions, Apple believes that the electric and magnetic fields produced by computer monitors do not pose a health risk. In response to those customers who wish to reduce their exposure to electromagnetic fields, Apple has lowered the emission levels of our products. We are also actively encouraging further scientific research so we can continue to promote the health and safety of our customers and employees. Health, Safety, and Maintenance Tips 133Safety instructions For your own safety and that of your equipment, always take the following precautions. Turn off the computer completely and disconnect the power plug (by pulling the plug, not the cord) if any of the following conditions exists: m the power cord or plug becomes frayed or otherwise damaged m you spill something into the case m your Macintosh is exposed to rain or any other excess moisture m your Macintosh has been dropped or the case has been otherwise damaged m you suspect that your Macintosh needs service or repair m you want to clean the case (use only the recommended procedure described later in this chapter) Be sure that you always do the following: m Keep your Macintosh away from sources of liquids, such as wash basins, bathtubs, shower stalls, and so on. m Protect your Macintosh from dampness or wet weather, such as rain, snow, and so on. m Read all the installation instructions carefully before you plug your Macintosh into a wall socket. m Keep these instructions handy for reference by you and others. m Follow all instructions and warnings dealing with your system. WARNING Electrical equipment may be hazardous if misused. Operation of this product, or similar products, must always be supervised by an adult. Do not allow children access to the interior of any electrical product and do not permit them to handle any cables. 134 Appendix AHandling your computer equipment Follow these guidelines for handling your computer and its components: m When setting up your computer, place components on a sturdy, flat surface, and carefully follow all setup instructions. m When connecting or disconnecting a cable, always hold the cable by its connector (the plug, not the cord). m Turn off your computer and all its components before connecting or disconnecting any cables to add or remove any component. Failure to do so could seriously damage your equipment. m Never force a connector into a port. If the connector and port do not join with reasonable ease, they probably don’t match. Make sure that the connector matches the port and that you have positioned the connector correctly in relation to the port. m Take care not to spill any food or liquid on the computer, keyboard, mouse, or other components. If you do, turn your computer off immediately and unplug it before cleaning up the spill. Depending on what you spilled and how much of it got into your equipment, you may have to bring your equipment to an Apple-authorized service provider. m Protect the computer and its components from direct sunlight and rain or other moisture. m Keep all ventilation openings clear and unobstructed. Without proper air circulation, components can overheat, causing damage or unreliable operation. WARNING This equipment is intended to be electrically grounded. Your Macintosh is equipped with a three-wire grounding plug—a plug that has a third (grounding) pin. This plug will fit only a grounded AC outlet. This is a safety feature. If you are unable to insert the plug into the outlet, contact a licensed electrician to replace the outlet with a properly grounded outlet. Do not defeat the purpose of the grounding plug! Health, Safety, and Maintenance Tips 135Handling the monitor Follow these procedures for handling a monitor: m Turn down the screen brightness control if you leave the computer turned on for extended periods. If the brightness is not turned down, the image on the screen could “burn in” and damage the screen. You can also use a “screen saver” program, which dims or varies the image on the screen when the computer has been idle for a specified period of time. These programs are available from independent suppliers and user groups. m Make sure that the ventilation openings on the computer and the monitor are clear and unobstructed. m Some large monitors cannot safely be placed on top of the computer. Check the instructions that came with the monitor for setup information. m If there is interference on the monitor’s screen or on a television or radio near your computer, move the affected equipment farther away. Handling the keyboard Take care not to spill any liquid on the keyboard. If you do, turn off your computer immediately. m If you spill liquid that is thin and clear, unplug the keyboard, turn it upside down to let the liquid drain out, and let it dry for 24 hours at room temperature. If, after you take these steps, the keyboard doesn’t work, take it to an Apple-authorized service provider for repair. m If you spill liquid that is greasy, sweet, or sticky, unplug the keyboard and take it to an Apple-authorized service provider for repair. 136 Appendix AHandling floppy disks Ejecting a disk For instructions on ejecting a floppy disk, a CD-ROM disc, or a removable media disk from the Mac OS, see the “Disks” topic of Macintosh Guide, available in the Guide (h) menu. For instructions on ejecting disks in the PC environment, see “Ejecting Disks in the PC Environment” in the section “Switching Between the Macintosh and PC Environments” in Chapter 5. 125° F (52° C) 50° F (10° C) Keep disks dry. Do not use a pencil or an eraser on a disk or disk label. Store disks at temperatures between 50° F and 125° F. Do not touch the exposed part of the disk behind the metal shutter. Keep disks away from magnets. Avoid exposing disks to extremely hot temperatures. Health, Safety, and Maintenance Tips 137If you can’t eject a floppy disk If you can’t eject a floppy disk in the usual way, try the following in order: m Hold down the x and Shift keys and press the number 1 key on your keyboard to eject a disk in the internal disk drive. m Turn off the computer. If the disk isn’t ejected, then hold down the button on your mouse or other pointing device while you turn the computer on again. m Locate the small hole near the disk drive’s opening, and carefully insert the end of a large straightened paper clip into it. Push gently until the disk is ejected. Do not use excessive force. If nothing works, take the computer or disk drive to your Apple-authorized service provider to have the disk removed. Power supply The power supply in your computer is a high-voltage component and should not be opened for any reason, even when the computer is off. If the power supply needs service, contact your Apple-authorized dealer or service provider. 138 Appendix ACleaning your equipment Follow these general rules when cleaning the outside of your computer and its components: m Use a damp, soft, lint-free cloth to clean the computer’s exterior. Avoid getting moisture in any openings. m Don’t use aerosol sprays, solvents, or abrasives. Cleaning the computer case To clean the case, do the following: 1 Turn off the computer completely and then disconnect the power plug. (Pull the plug, not the cord.) 2 Wipe the surfaces lightly with a clean, soft cloth dampened with water. Cleaning the monitor To clean the screen, put household glass cleaner on a soft cloth and wipe the screen. Don’t spray the cleaner directly on the screen, because the liquid might drip into the monitor or computer. Cleaning the mouse The mouse contains a small ball that must roll smoothly for the mouse to work properly. You can keep this ball free of dirt and grease by using the mouse on a clean, lint-free surface and cleaning it occasionally. You need a few cotton swabs and a clean, soft, lint-free cloth. 1 Turn off your computer. Health, Safety, and Maintenance Tips 1392 Turn the mouse upside down and turn the plastic ring on the bottom counterclockwise to disengage it. If you have an older mouse, you may need to press the plastic ring (rather than turn it) to disengage it. If the mouse is locked, see the next section, “Locking and Unlocking the Mouse,” for instructions on how to unlock it. 3 Turn the mouse right-side up with one hand and catch the ring and the ball with your other hand. 4 Clean the three small rollers inside the mouse with a cotton swab moistened with water. Rotate the rollers to clean all around them. 5 Wipe the mouse ball with a clean, soft, dry, and lint-free cloth. 6 If necessary, wash the mouse ball with warm soapy water (use a mild soap such as a dishwashing liquid) and then dry the mouse ball thoroughly. 7 Gently blow into the mouse case to remove any dust that has collected there. 140 Appendix A8 Put the ball and the ring back in place. Your mouse should roll smoothly across your mouse pad or desk. If it doesn’t, repeat these instructions carefully. Locking and unlocking the mouse If you have a newer mouse, you can lock it so the ball can’t be removed. A locking mouse has a small hole on the plastic ring. To lock the mouse, follow these steps: 1 Insert a straightened paper clip into the hole on the plastic ring. 2 Press down on the paper clip while you turn the ring clockwise. Turn the ring a very short distance, until it stops. When the recessed area on the ring is not lined up with the recessed area surrounding the ring, the mouse is locked. The mouse ring is locked when the recessed area on the ring does not line up with the recessed area surrounding the ring. Recessed area on ring Recessed area surrounding ring Insert a straightened paper clip into this hole. (The hole may be located here on your mouse.) Health, Safety, and Maintenance Tips 141To unlock the mouse, follow these steps: 1 Insert a straightened paper clip into the hole on the plastic ring. 2 Press down on the paper clip while you turn the ring counterclockwise. Turn the ring a very short distance. When the recessed area on the ring is lined up with the recessed area surrounding the ring, the mouse is unlocked. The mouse ring is unlocked when the recessed area on the ring lines up with the recessed area surrounding the ring. Recessed area on ring Recessed area surrounding ring Insert a straightened paper clip into this hole. (The hole may be located here on your mouse.) 142 Appendix AExpansion cards are printed circuit boards that can be installed in your computer to give it special capabilities, such as enhanced video capabilities, networking and communications, and additional processing power. You can install an expansion card by following the instructions that came with the card, or by following the instructions in this appendix. However, be sure to read this appendix for instructions that may be specific to your computer. If your computer comes with a Single Inline Memory Module (SIMM) installed on the DOS-compatibility card, you can remove it or replace it with a SIMM that has a higher memory capacity. 143 Appendix B Installing an Expansion Card or Memory for the PC Environment Read this appendix for instructions on installing an expansion card in your computer or memory for the PC environment. If your computer does not already have a SIMM installed on the DOS-compatibility card, you can add a SIMM that provides up to 32 MB (megabytes) of RAM for the exclusive use of your PC. The SIMM that your card uses is the same type of SIMM that your computer uses. Follow the instructions in this appendix to install a SIMM. Cards fit into slots on the computer’s logic board—the board that holds the components that make your computer work. There are three types of slots on your computer’s logic board, each labeled on the board: m a communication slot for an internal modem or an Ethernet card m a video-in slot for a card that brings signals into the computer from a videocassette recorder (VCR), laserdisc player, video camera, or similar equipment WARNING To avoid damage to your computer, Apple recommends that only an Apple-certified technician install additional RAM. Consult the service and support information that came with your Apple product for instructions on how to contact an Apple-authorized service provider or Apple for service. If you attempt to install additional RAM yourself, any damage you may cause to your equipment will not be covered by the limited warranty on your computer. See an Apple-authorized dealer or service provider for additional information about this or any other warranty question. 144 Appendix Bm an LC-compatible 68030 processor-direct slot (PDS). The DOS-compatibility card is already installed in this slot; you cannot add another card to it. Note: The process you use to install a TV tuner card is different from the one described in this appendix. See the documentation that came with that card for instructions. Installing an expansion card or SIMM involves three steps: m opening the computer m inserting the card or SIMM into a particular slot m closing the computer WARNING To avoid damaging your computer and expansion card, do not attempt to install any expansion card without first checking the documentation for that card. If the documentation specifies that an Apple-certified technician must install the card (usually because the installation requires special training or tools), consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for assistance. If you attempt to install the card yourself, any damage you may cause to the computer or card will not be covered by the limited warranty on your computer. If the card is not an Apple-labeled product, check with an Apple-authorized dealer or service provider to see if you can install it yourself. Video-in slot Communication slot Vertical plate LC-compatible PDS slot (with DOS-compatibility card installed) Installing an Expansion Card or Memory for the PC Environment 145Opening the computer 1 Shut down your computer by choosing Shut Down from the Special menu. You can also press the Power key on the keyboard. 2 Unplug all the cables except the power cord from your computer. Leaving the power cord plugged in helps protect the computer from damage caused by electrostatic discharge. IMPORTANT To avoid generating static electricity that may damage components, do not walk around the room until you have completed the installation of the expansion card or SIMM and closed the computer. Additionally, move the logic board as little as possible while it is outside the computer case. 3 Place your thumbs on the two tabs at the top of the back panel, and press down. 4 Pulling gently, swing the panel down, and slip it out. Remove the back panel. 146 Appendix B5 If there are security screws on the vertical plate on the back of the computer, remove them with a Phillips screwdriver. 6 Unplug the power cord from your computer. 7 Swing the handle out from its storage position. Then grasp the handle and gently but firmly pull it toward you. The vertical plate and the logic board to which it’s attached slide all the way out of the computer. What you do next depends on the type of equipment you want to install. If there are security screws, remove both screws from the vertical plate. Installing an Expansion Card or Memory for the PC Environment 147Installing a communication card 1 If your communication card has ports for connecting equipment, remove the plastic access cover from the vertical plate. 2 Remove the communication card from its static-proof bag. Hold the card by its edges to avoid touching any connectors on the card. 3 Locate the slot on the logic board labeled COMMUNICATION SLOT. Communication slot Push the two plastic tabs apart and pull off the metal retainer so the access cover can come off. Vertical plate Metal retainer 148 Appendix B4 Align the card over the communication slot. 5 Press down on the card until the connector is solidly in place. Don’t force the card. If you meet resistance, pull the card out and try again. To see if the card is properly connected, lift it gently. If it resists and stays in place, it’s connected. Installing or replacing a SIMM for the PC environment Your computer may have come with a SIMM already installed on the DOS-compatibility card inside your computer. The SIMM provides memory for the exclusive use of the PC environment. (See the Technical Information booklet to find out whether your computer has such a SIMM installed.) To replace the SIMM with a SIMM of greater capacity, or to install a SIMM if you don’t already have one installed, follow the instructions in this section. Note: The SIMMs used by the DOS-compatibility card are the same 72-pin SIMMs used to expand memory in your Macintosh. They are interchangeable. Communication slot Vertical plate Communication port access hole Installing an Expansion Card or Memory for the PC Environment 149Removing a SIMM If your computer has a SIMM already installed on the DOS-compatibility card, follow these steps to remove it. 1 Push the metal clips at either end of the SIMM away from the SIMM. Use your fingernails. 2 Rotate the SIMM until it is at a slight angle. Rotate the SIMM away from its vertical position to disengage it from the SIMM slot. To release the SIMM, move the metal clip on each side away from the SIMM. SIMM slot Vertical plate 150 Appendix B3 Gently pull the SIMM from its slot. Hold the SIMM only by its edges. Don’t touch the connectors along the bottom edge. Handle the SIMM by the sides only, so that you don’t touch the connectors along the bottom edge. Pull the SIMM from the SIMM slot. (It comes out at a slight angle.) Installing an Expansion Card or Memory for the PC Environment 151Installing a SIMM 1 Remove the SIMM from its static-proof bag. Handle the SIMM by its edges. Avoid touching the connectors. 2 Insert the SIMM into the SIMM slot on the DOS-compatibility card assembly, as shown in the illustration. (Your SIMM may have components on one side or on both sides, as shown.) The SIMM fits into the slot only one way. Make sure the notch on the SIMM is on this side. Insert the SIMM into the SIMM slot. (Insert the SIMM at a slight angle.) Connectors SIMM slot Vertical plate 152 Appendix B3 Rotate the SIMM gently to the back until you feel it snap into place. The plastic pin on the SIMM slot should engage the hole in the SIMM. Be sure that the metal clips snap into place. Rotate the SIMM back until it snaps into place. Installing an Expansion Card or Memory for the PC Environment 153Closing the computer 1 Slip the base of the logic board into the guide rails inside the computer case and swing the handle back into its storage position. 2 Press the reset button on the logic board, and then slide the logic board back into the computer. 1 Press the reset button located on the main logic board (the bottom-most layer) with a ball-point pen or similar object. 2 Gently but firmly push the vertical plate back into the computer until the logic board is solidly in place. Make sure the logic board slides into the guides that are on both sides of the computer’s interior. Swing the handle up, into its storage position. 154 Appendix B3 If you removed security screws earlier, reinsert them now. 4 Slip the three hooks at the base of the back panel into the grooves in the computer case. 5 Swing the back panel up and snap it into place. Snap the plastic back panel into place. Slip the three hooks on the back panel into the grooves in the computer case. Insert security screws here. Installing an Expansion Card or Memory for the PC Environment 1556 Plug the cables back into the computer. 7 Reconnect the power cord. Your computer is now ready to turn on and use. WARNING Never turn on your computer unless all of its internal and external parts are in place. Operating the computer when it is open or missing parts can be dangerous, and can damage your computer. 156 Appendix B157 Your computer keyboard contains certain special keys that typewriter keyboards don’t have. Many of these keys allow you to give commands to the computer without using the mouse. For example, in many application programs, pressing the x (Command) key at the same time as the Q key is often an alternative method of quitting a program. The following table describes what you can do with the special keys on your keyboard. The number of special keys on your keyboard may vary from this list; it depends on the model of keyboard you have. For information on how keys on Apple keyboards correspond to the keys on a PC keyboard, see “Keyboard” in the section “Working in the PC Environment” in Chapter 5. Special keys on Apple keyboards Arrow keys Use to move the insertion point, as an alternative to using the pointer. In some programs, the arrow keys have other functions. Caps Lock key Use to capitalize a series of letters (numbers and symbols aren’t affected). Clear key Use to delete the current selection (or use the Delete key). In some programs, Clear has other functions. x (Command) key Use in combination with other keys as an alternative to choosing a menu command. continued . num lock clear caps lock Read this appendix to learn how to use the special keys on your keyboard. Appendix C Special Keys on Your KeyboardSpecial keys on Apple keyboards (continued) Control key In combination with other keys, this key provides shortcuts or modifies other actions. Delete key Use to delete selected material, or the character to the left of the insertion point. Enter key In a dialog box, pressing Enter is the same as clicking the outlined button. In some programs, pressing this key confirms information you have provided. Escape key The function of this key depends on the program you’re using. Function keys Some programs allow you to use the 12 function keys to give commands. You can assign commands or action sequences to function keys with special utility programs. Option key Use in combination with other keys to produce special characters or modify actions. Numeric keys Use to produce numbers and mathematical symbols; some programs use these keys as function keys to initiate actions. Power key On some models, press to turn on the computer. Also press to shut down the computer on certain models. Return key Use to move the insertion point to the beginning of the next line. In a dialog box, pressing Return is the same as clicking the outlined button. Shift key Use to produce capital letters (or the upper character on the key). Other special keys The function of these keys depends on the operating system and program you’re using. Tab key Use to move the insertion point to the next stopping place (such as a tab stop or field in a dialog box or program). tab help home end ins del page up page down shift return num lock clear = / * 7 4 0 8 5 2 9 6 3 enter 1 . option alt F1 esc enter delete control 158 Appendix CYou use Macintosh Easy Open software to open a document when you don’t have the application that created it. When you choose Open from an application’s File menu with Macintosh Easy Open installed, you may see more documents than you did before. You’ll also see additional information when you use a list view of the files in a folder (including DOS, Windows, and ProDOS documents). Choosing an application to open a document Without Macintosh Easy Open, you see this message when you try to open a document created by an application missing from your computer. 159 Appendix D Using Macintosh Easy Open Follow the instructions in this chapter if you have problems opening some documents.With Macintosh Easy Open installed, you see a list of programs that can open the document. m Double-click any application in the dialog box to open the document. If you don’t like the results you see when the document opens, quit the application and try again using a different choice from the list. If Macintosh Easy Open can’t find any application to open your document, you see this dialog box: Note: Macintosh Easy Open lists only the programs that will produce the best results. To see applications that may produce less than optimum results, deselect “Show only recommended choices.” 160 Appendix DUsing the Macintosh Easy Open control panel You use the Macintosh Easy Open control panel to set preferences when you’ve installed additional translators available from your software retailer. Such translators give you more choices for opening documents. On/Off If you turn off Macintosh Easy Open, it won’t try to find applications to open your documents. You’ll still see extra information in list views. Always Show Choices When you use additional translators purchased from your software retailer, you can set preferences that determine which application opens a document. If you turn on Always Show Choices, Macintosh Easy Open presents the full list of applications and translators to open your documents, even if you have indicated a preference. Include Choices from Servers Turn off this option if you want Macintosh Easy Open to search for programs only on hard disks directly connected to your Macintosh, ignoring programs on shared disks. (Using applications over the network is slower than using them on a hard disk.) Delete Preferences Click this button to erase the record of choices you’ve made for specific translator preferences (useful only if you’ve previously installed translators purchased from your software retailer). You may want to erase your preferences when you install new translation software in order to have Macintosh Easy Open prompt you for new choices. Using Macintosh Easy Open 161In this chapter The DOS-compatibility card inside your computer supports network drivers that conform to Novell's Open Data-Link Interface (ODI). This appendix contains instructions for installing such network management software. It covers m installing NetWare client software m installing Novell’s LAN Workplace for DOS TCP/IP software m installing NetManage’s Chameleon TCP/IP software m installing Windows for Workgroups m installing Spry’s Air Series TCP/IP software m installing Mosaic Installing NetWare client software The instructions below will guide you through installation of client software for Novell NetWare versions 3.12, 4.01, and 4.02. PersonalNetWare is not supported at this time. You must have Windows installed before installing the NetWare client software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. 163 Appendix E Installing Network Management SoftwareBefore you start, be sure you have the appropriate floppy disks for the version of NetWare you wish to install. In addition, you need to know the Ethernet frame type in use on your network segment. You must choose the appropriate frame type in Step 11 below. If you are not certain which one to select, ask your network administrator before you begin the installation. 1 Insert the Novell NetWare Client for DOS WSDOS_1 disk into the disk drive. 2 At the DOS prompt, type the following: A: INSTALL 3 The NetWare Client Install screen appears. Follow the instructions, pressing Return for each selection. 4 Define the directory for NetWare. The default is C:\NWCLIENT. Press Return once to confirm the entry and press it again to execute this step. 5 Edit the CONFIG.SYS file. Change your LASTDRIVE statement so that it reads LASTDRIVE=Z. 6 Add the following line to your AUTOEXEC.BAT file: CALL C:\NWCLIENT\STARTNET.BAT Press Y-Return. 7 Decide whether you wish to load the Windows support in the directory where you have loaded Windows. Press Y or N. If yes, press Return once to confirm the Windows subdirectory entry and again to execute this step. 8 Select the driver for the network board. Press Return. 9 A message asks you to insert another disk. Follow the instructions on the screen. 10 In the dialog box, select Power Macintosh 6100 Ethernet Adapter and press Return. 164 Appendix E11 In the dialog box for selecting a frame type, press Return. 12 Use the arrow keys to choose the appropriate frame type for the Novell server you will be using. 13 Press Return. Then press Esc to continue. 14 Press Return to copy the MACODI.COM driver to the NetWare subdirectory. 15 Following the instructions on the screen, insert the NetWare Client for DOS WSDOS_1 disk again. 16 If you wish to add files and a NetWare group to the Windows directory, insert the NetWare Client for MS Windows WSWIN_1 disk and follow the instructions on the screen. When installation is complete, a dialog box appears asking you to reboot (restart) the computer. 17 Eject the disk by pressing x-E. 18 Press Control-Alt-Delete. You now have additional network drives and mappings available. Your first network drive letter is Novell’s default of F, unless this drive is already in use on your machine, or if your network is set up to use a different starting drive. 19 To log into the network, type: F: LOGIN PASSWORD: Installing Network Management Software 165Conserving memory During NetWare client installation you add the line CALL C:\NWCLIENT\STARTNET.BAT to the beginning of the AUTOEXEC.BAT file. This command then loads four programs into DOS memory—LSL.COM, MACODI.COM, IPXODI.COM, and VLM.EXE (in this order). To conserve memory in the lower DOS region, you may wish to edit the STARTNET.BAT file (installed with your NetWare software) to load those four programs with the LOADHIGH (LH) command. See your DOS documentation for details on manually optimizing DOS memory. (Be aware that the Microsoft utility MEMMAKER does not work with the DOS-compatible Macintosh.) Mapping drive letters When you map a network resource as a drive letter, the Macintosh PC Setup control panel recognizes that those drive letters are unavailable for use as shared folders. However, when the network no longer uses the drive letter, PC Setup will still show them as unavailable for sharing folders until you restart the PC. In addition, if a drive letter is being shared before you start up the PC and Novell needs to use that drive letter, then the Novell network drive will take precedence over that shared drive letter. For further information, see your Novell installation and administration manuals, or contact your network adminstrator. 166 Appendix EInstalling Novell’s LAN Workplace for DOS TCP/IP software IMPORTANT You must not have MacTCP installed when you run DOS TCP/IP software; the two will conflict with one another. You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have previously installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. If you want to use the TCP protocol in the PC environment and you have previously installed MacTCP in the Mac OS, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. You must have Windows installed before installing the LAN Workplace for DOS software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. In addition, you need to know the following information before you start: m A legitimate, assigned IP address for the machine on which you’re installing the TCP/IP software (for example, 222.111.11.1). For connecting to the Internet, your service provider will tell you the correct address. For TCP/IP networking within your company, your network administrator can provide you with an address. If you have either a BOOTP or an RARP server to dynamically assign IP addresses, you don’t need to know the IP address before beginning the installation. Installing Network Management Software 167m If you are on a network with a subnet mask, you need the IP address for that mask, for example: 255.0.0.0 for client Class A IP addresses (those between 0.0.0.1 to 127.255.255.254] 255.255.0.0 for client Class B IP addresses (those between 128.0.0.1 and 191.255.255.254] 255.255.255.0 for client Class C IP addresses (those between 192.0.0.1 and 223.255.255.254] m If you will connect to a TCP/IP host through a router, you need to know the IP address for that router. m The name of your domain name server (for example, server.edu). m The IP address of your domain name server. Once you have this information, you can proceed with the installation by following Novell’s instructions and answering the on-screen prompts. 168 Appendix EInstalling NetManage’s Chameleon TCP/IP software IMPORTANT You must not have MacTCP installed when you run DOS TCP/IP software; the two will conflict with one another. You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have previously installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. If you want to use the TCP protocol in the PC environment and you have previously installed MacTCP in the Mac OS, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. You must have Windows installed before installing the Chameleon TCP/IP software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. In addition, you need to know the following information before you start: m A legitimate, assigned IP address for the machine on which you’re installing the TCP/IP software (for example, 222.111.11.1). For connecting to the Internet, your service provider will tell you the correct address. For TCP/IP networking within your company, your network administrator can provide you with an address. m The name of your domain name server (for example, server.edu). m The IP address of your domain name server (for example, 111.222.0.0). m The IP address of your Internet gateway, if any. Once you have this information, you can proceed. Installing Network Management Software 169To install Chameleon from Windows: 1 In the Program Manager, choose Run from the File menu. 2 Type A:\SETUP. Follow the on-screen instructions and prompts. Near the end of the installation, you will be asked to respond to a series of dialog boxes. Respond as follows: ADD INTERFACE Click OK. INTERNET ADDRESS Enter the address provided by your network administrator or service provider. SUBNET MASK Click OK. The software will supply the correct mask. HOST NAME Select a name for your client machine. DOMAIN NAME Enter the name for your domain name server. 3 Choose Domain Servers from the Services menu. 4 Enter the IP address of the domain name server. 5 Choose Gateway from the Services menu. 6 Enter the IP address of the Internet gateway, if any. 7 Save the settings by pressing Alt-F-S. If you will be using a dial-up TCP/IP connection, skip to the next section, “Restarting Windows.” If not, proceed with step 8. 8 Go to the C:\NWCLIENT directory 9 Copy NET.CFG to NET.OLD. (Save a copy of the existing NET.CFG file.) 170 Appendix E10 Modify the NET.CFG file. A sample modified file is shown below. Note the addition of the Protocol statements in the Link Driver section and the addition of the Protocol TCP/IP section. The frame types and IP addresses used in your environment may be different from this example. Link Driver MACODI Protocol IPX E0 ETHERNET_802.2 Frame ETHERNET_802.2 Frame Ethernet_II ; Frame Ethernet_802.3 ; Frame Ethernet_SNAP Protocol RARP 8035 ethernet_ii Protocol ARP 806 ethernet_ii Protocol IP 800 ethernet_ii PORT 300 INT 10 ; node address 12d43 NetWare DOS Requester FIRST NETWORK DRIVE = F Protocol TCPIP ip_router 17.131.1.0 ip_netmask 255.0.0.0 ip_address 17.131.0.14 PATH LANG_CFG C:\NET\LANG PATH SCRIPT C:\NET\SCRIPT PATH PROFILE C:\NET\PROFILE PATH LWP_CFG C:\NET\HSTACC PATH TCP_CFG C:\NET\TCP Link Support Buffers 4 1500 MemPool 4096 Installing Network Management Software 171Restarting Windows 1 Restart the PC. 2 Start Windows. You see the Chameleon group window. Testing the installation If you will be using a direct connection to a domain name server, you can test the installation by using the Ping application program. 1 Double-click the Custom icon in the Chameleon group to open it. 2 Double-click the Ping icon. 3 Click Start. 4 Enter the name for a domain name server. You should get a response back within a few seconds. Using a dial-up service If you will be using a dial-up service such as Portal, you may need to edit the configuration file to reflect any differences between the default setup and your setup. Click the Custom icon in Windows, open the appropriate .CFG file, and edit the file. You can test the installation by using Ping. For example, with Portal: 1 Connect using Alt-C. 2 Ping the name news.ip.portal.com. You should get a response back within a few seconds. 172 Appendix EInstalling Windows for Workgroups To support networking with your DOS-compatibility hardware, you need to install software that supports ODI (Open Data-Link Interface) drivers. Follow these steps: 1 Install Windows for Workgroups 3.1.1, electing to not install the networking software. 2 Follow the instructions in “Installing NetWare Client Software,” earlier in this appendix. 3 Follow the instructions in “Installing NetManage’s Chameleon TCP/IP Software,” earlier in this appendix. Installing Spry’s Air Series TCP/IP Software IMPORTANT You must not have MacTCP installed when you run DOS TCP/IP software; the two will conflict with one another. You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have previously installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. If you want to use the TCP protocol in the PC environment and you have previously installed MacTCP in the Mac OS, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. You must have Windows installed before installing Spry’s Air Series TCP/IP software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. Installing Network Management Software 173If your PC is using a VGA driver, and your Air Series software is version 3.0, you need to make the following change. (These instructions assume that you have Windows installed in the C:\WINDOWS directory. If Windows is elsewhere, type the actual Windows location.) 1 Make sure the Air Series Setup disk is not read-only. 2 Place the disk in drive A. 3 Type the following at the DOS prompt: A: COPY SETUP.BMP SETUP.OLD COPY C:\WINDOWS\RIVETS.BMP A:SETUP.BMP In addition, you will need to know the following information before you start: m Your Internet e-mail address. m A legitimate, assigned IP address for the machine on which you're installing the TCP/IP software (for example, 222.111.11.1). For connecting to the Internet, your service provider will tell you the correct address. For TCP/IP networking within your company, your network administrator can provide you with an address. m If you are on a network with a subnet mask, the IP address for that mask, for example: 255.0.0.0 for client Class A IP addresses (those between 0.0.0.1 to 127.255.255.254), 255.255.0.0 for client Class B IP addresses (those between 128.0.0.1 and 191.255.255.254), and 255.255.255.0 for client Class C IP addresses (those between 192.0.0.1 and 223.255.255.254). m If you will connect through a gateway, the IP address for that device. m The name of your domain name server (for example, server.edu). Once you have this information, you can proceed. 174 Appendix ETo install Air Series from Windows: 1 In the Program Manager, open the File menu and choose Run. 2 Type A:\SETUP. Follow the instructions you see on the screen. 3 When the installation asks you to select the Ethernet card manufacturer and type, choose anything. Note the name of the adapter you select (for example, 3Com is 3C5x9). The Apple driver is not on the list, so you will need to edit the AUTOEXEC.BAT file after completing the installation. 4 When the installation asks if you want to update the AUTOEXEC.BAT file, select YES. 5 Once the installation is complete, exit Windows. 6 Edit the AUTOEXEC.BAT file as follows. (You can use any convenient text editor, such as EDIT in the DOS directory.) m Comment out the line CALL C:\NWCLIENT\STARTNET.BAT m Change the line C:\AIR\BIN\ to C:\AIR\BIN\MACODI m If you are are on a NetWare local area network and using the Novell VLM redirector, add the line C:\NWCLIENT\VLM after the line C:\AIR\BIN\TCPIP m If you are using NETx, add the line C:\NWCLIENT\VLM before the line C:\AIR\BIN\TCPIP Installing Network Management Software 1757 Restart the PC. 8 Log into the network and start Windows. You should now see the Air Series group window. Testing the installation To test the installation: 1 Double-click the Air Telnet icon to open it. An Open Telnet Session dialog box appears. 2 Double-click the name of your domain name server. You see a VT100 window with a login prompt. 176 Appendix EInstalling Mosaic IMPORTANT You must not have MacTCP installed when you run DOS TCP/IP software; the two will conflict with one another. You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have previously installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. If you want to use the TCP protocol in the PC environment and you have previously installed MacTCP in the Mac OS, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. You must have Windows installed before installing the Mosaic software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. In addition, you must have already installed m A TCP/IP software package. m Win32s, which allows Windows to run 32-bit applications. Win32s is freeware and can be found on a number of on-line services. To install Mosaic: 1 In the Program Manager, choose Run from the File menu. 2 Type C:\WIN32\DISK1\SETUP. 3 Answer all the dialog boxes to complete the installation. 4 After Win32s is installed, a Group window labeled Win32 Applications appears. 5 Press Alt-F-New to create an icon for Mosaic. 6 In the New Program Object dialog box, select Program Item. Installing Network Management Software 1777 Fill in the Program Item Properties dialog box as follows: Description: Mosaic Command Line: C:\MOSAIC\MOSAIC.EXE Working Directory: C:\MOSAIC 8 Click OK. A Mosaic icon appears in the Win32 Applications Group window. 9 Copy the C:\MOSAIC\MOSAIC.INI directory to the C:\WINDOWS\ directory. You are now ready to use Mosaic. 178 Appendix EA active program, identifying 13, 37 ADB. See Apple Desktop Bus Alt key (PC), simulating 46 Apple Adjustable keyboard, equivalent Macintosh and PC keys 46–47 Apple-authorized service provider, contacting can’t eject a floppy disk 138 damaged disks 100, 101 DOS-compatibility hardware/software problems 113 installing additional RAM (SIMMs) or internal drives 34, 144, 145 installing system extensions or programs 105 liquid or other spills on computer equipment 135, 136 radio or television interference vii repair service 78, 83, 87 replacing the clock battery 81 servicing the CD-ROM drive viii servicing the power supply 138 Apple Desktop Bus (ADB), port on computer 6, 7, 30 on keyboard 6, 7, 88 Apple HD SC Setup program 96, 99, 106–107 Apple Keyboard II, equivalent Macintosh and PC keys 46–47 Apple LaserWriter II NT printer driver 56 Apple PlainTalk Microphone, connecting 31 AppleScript program 35 AppleShare Print Server, conflict with PC Print Spooler 57 AppleTalk 53, 56 Application menu 13, 37–38 application programs installing (Mac OS) 36, 105 Macintosh Easy Open and 159–161 MacShare (PC environment) 47–48, 67, 125 memory management and 89, 117 Mixer Control 69 performance issues using shared folders 68 PowerTalk 35, 92, 118 QuickDraw GX 35, 92, 118 Sound Blaster 69 switching (Mac OS) 37–38 troubleshooting 89–91, 115, 117–119 working with several at a time (Mac OS) 37–38 179 Indexarrow keys 157 arrow pointer. See pointer audio compact discs, playing 33 Audio In port on external speakers 32 AUTOEXEC.BAT file (DOS) bypassing at startup 119, 128 changing preset keystrokes for DOSCLIP 49–51 freeing up RAM 117 installing NetWare client software 164, 166 installing Spry Air Series TCP/IP software 175 loading files into high memory (UMB) 66 loading MacShare program 67 modification guidelines 126–127 replacing with an alternate version 126 using CD-ROM drive letter if no CD-ROM drive is connected 45 using expanded memory 117, 127 Auto-start PC checkbox, PC Setup control panel 42 B background printing (PC environment) 56 backing up files (Mac OS) 38 Balloon Help 26 basic Macintosh system, illustration 29 battery in computer’s clock, replacing 81 baud rate, for a COM port mapped to a serial port 63 BIOS. See ROM BIOS; System BIOS blinking question mark on screen 9, 81–82, 94, 102 “bomb” message on screen 77, 79 brightness control on monitor 10, 80, 136 C C: or D: pop-up menu, PC Setup control panel 70–71, 72–73, 75 cables keyboard 6, 7 monitor 5 mouse 6, 7 safe handling of 135 Caps Lock key 157 carpal tunnel syndrome 130 CD-ROM discs ejecting while in PC environment 41, 45, 116 playing an audio CD in Windows while running low-level media tools 45 starting the computer from 93–94 using DOS or Windows CD-ROM discs 45 CDROM DOS utility 125 CD-ROM drive illustration 29 installing 34 PC drive letter for 45 chair, adjusting for computer use 131, 132 cleaning computer equipment 139–141 clean installation of system software 105–109 Clear key 157 Clipboard, exchanging information between PC environment and Mac OS 48–53, 115 clock keeps time inaccurately 81 setting time and date 64 close box 13 closing the computer 154–156 color printing (PC environment) 56 COM1/COM2 serial ports 63 x-Control-Alt-[keypad] period keys, to restart the computer (PC environment) 44, 47, 118, 119 180 Indexx-Control-Power key, to restart the computer (Mac OS) 79 x-E, to eject a disk in PC environment 41, 44 x key 157 x-Option-Esc, to quit an application program (Mac OS) 79, 85, 87 x-Option, restarting the computer to rebuild the desktop 80, 84, 90 x-Return, to switch back to Mac OS 40, 41, 116 x-Y, to eject a CD-ROM disc in PC environment 41, 45 communication card access cover 30, 148 installing 143–149, 154–156 communication slot on logic board 144, 145, 148, 149 COM port, mapped to Macintosh serial port 55, 63 compression programs, PC Exchange and 71 computer equipment arranging and adjusting for optimal use 130, 131–132 cleaning 139–141 closing the computer 154–156 components of a basic Macintosh system 29 guidelines for handling 135–138 opening the computer 146–147 safety precautions 134, 156 CONFIG.SYS file (DOS) bypassing at startup 119, 128 changing if RAM size is set to 2MB 123, 126 freeing up RAM 117 increasing high memory (UMB) 66 installing NetWare client software 164 modification guidelines 126–127 replacing with an alternate version 126 sharing Mac OS folders and volumes as PC drives 47–48, 67 turning memory testing off 66 using CD-ROM drive letter if no CD-ROM drive is connected 45 using expanded memory 43, 117, 127 using memory-management utilities 43 configuring the PC environment 61–76. See also PC environment connecting additional equipment 29–33 Apple PlainTalk Microphone 31 external stereo speakers 32–33 game controller or joystick 33 keyboard and mouse 6–7 monitor 3–5 containers. See drive containers Control-Alt-[keypad] period, to restart DOS 118, 119, 126, 128 Control key 158 control panels Extensions Manager 85, 86 Macintosh Easy Open 90, 117, 161 MacIPX 53 MacTCP 54 Memory 65, 89, 116, 117 Mouse (Windows) 46 PC Exchange 70, 91, 116 PC Setup 40–42, 61–76, 92, 114–115, 118, 121–123 Sound 69 Control Panels folder 53, 54, 116 conventional memory 66, 117. See also memory cumulative trauma disorders (CTDs) 130 customer service. See Apple-authorized service provider; customer support hotline customer support hotline 15 custom installation of system software (Mac OS) 109–111 Custom Install dialog box 110 Index 181D damaged disks, repairing 82, 84, 97–101 dampness, protecting the computer from 134, 135 data transfer rate for COM port mapped to Macintosh serial port 55, 63 date and time, setting (PC environment) 64 DB-9/DB-25 connectors (PC environment), signals present on 59 Delete key 158 desk accessories, working with several at a time 37 desktop, rebuilding 80, 84 dialog boxes Custom Install 110 dialog box with a bomb appears on screen 86 Easy Install 104, 107, 108 Disk First Aid program 100–101, 103, 106 disks. See CD-ROM discs; floppy disks; hard disks Disk Tools disk (or CD-ROM disc containing system software) initializing hard disks 94–96 installing system software 103 starting up from, for problem diagnosis 82–84, 87 testing/repairing hard disks 98–100 Display Drivers Disk 1 disk 128 Display pop-up menu, PC Setup control panel 64 documents. See files DOS “Clipboard” (DOSCLIP) 48–53, 125 DOS commands that do not work on shared volumes 67 DOS-compatibility card. See also PC environment installing a SIMM 143–147, 149–156 LC-compatible PDS slot 145 network management software support 53–54, 163–178 SIMM installed for exclusive use of PC environment 65, 76, 116, 122, 149 system software doesn’t recognize 76 DOS Compatibility Installer Disk (for Mac OS Environment) 117, 120 DOS Compatibility Installer Disk (for PC Environment) 125 DOS-compatibility software. See also AUTOEXEC.BAT file; CONFIG.SYS file; PC environment; PC Setup control panel; Windows networking protocol support 53–54, 163–178 reinstalling 119–128 troubleshooting 114, 115 DOS disks using in Mac OS 85 using in PC environment 44 drive containers accessing PC files in 71 choosing a location for 121–122 choosing or changing size of 72–74, 121–122 creating 70–71, 74, 121–122 naming 122 partitioning 70–71, 116, 122 throwing away 75 transferring files from an old to a new container 74–75 troubleshooting 114–115 DriveSpace DOS utility, compatibility issues with 127 182 IndexE Easy Install dialog box 104, 107, 108 ejecting disks can’t eject a disk 138 while in Mac OS 137 while in PC environment 41, 44, 45, 116, 137 electromagnetic emissions, health effects of exposure to 133 EMM386 memory management DOS utility 43, 117 Empty Trash command (Special menu) 13, 75 Enter key 158 Epson emulation, PC environment print output and 55–56, 57 error messages 77–79. See also messages Escape key 158 expansion card installing 3, 143–147, 149–156 Extensions folder PC Clipboard extension 52, 53 PC Print Spooler 57, 118 removing/replacing system extensions 85, 86 Extensions Manager control panel 85, 86 eye fatigue associated with computer use 129, 131, 133 F fading the screen before switching environments 42 fatigue from computer use, avoiding 131, 133 FDISK DOS utility 116 files accessing PC files in a drive container 71 backing up (Mac OS) 38 opening with Macintosh Easy Open 159–161 transferring between Mac OS and PC environment 67–68 transferring from an old to a new container 75 troubleshooting 68, 90–91 Finder, making active 18 floating-point unit (FPU) 89 floppy disk drive illustration 29 installing 34 floppy disks backing up files on (Mac OS) 38 Disk First Aid program and 100–101 DOS 720K format, problems with 44 ejecting 41, 44, 116, 137–138 formatting for use in both Mac OS and DOS 85 guidelines for handling 137 inserting 36 locked/unlocked (PC environment) 44 repairing 84, 100–101 restarting the PC environment from 44 starting the computer from 82, 94 unreadable 84–85 using a DOS disk in Mac OS 85, 116 using a Mac OS disk in PC environment 44 folders AppleScript 35 Control Panels 53, 54, 116 Extensions 52, 53, 57, 85, 86, 118 performance issues with shared folders 68 Previous System Folder 109 sharing with PC environment 47–48, 67–68, 125 Spooler Rejected 57 System Folder 36, 102, 109 Function keys 158 furniture for computer use, arranging 130, 131–132 Index 183G game applications, SIMMs and 54 game controller, connecting 33, 81 graphics DOSCLIP and 52 printing in PC environment 56 grounding plug 2, 135 Guide menu. See also Macintosh Guide defined 13, 15, 17 Macintosh Guide command 18 running the Macintosh Tutorial from 12–13 Shortcuts command 27–28 Show/Hide Balloons commands 26, 62 H hard disks backing up files on 38 checking for damage 98, 103, 106 Disk First Aid program and 100–101, 103, 106 icon 9, 13, 83 initializing/reinitializing 93–97 installing 34 repairing a damaged disk 82, 84, 97–101 testing an external SCSI hard disk 99–100 using a PC-formatted SCSI drive as a startup drive 70 headphone jack, illustration 29 health-related information about computer use 129–133 help. See Apple-authorized service provider; Balloon Help; customer support hotline; Macintosh Guide Hewlett-Packard page control language (PCL) 55, 58 Hide Balloons command (Guide menu) 26 Hide Others command (Application menu) 38 hiding/showing windows on the desktop 38 high memory (UMB), increasing (PC environment) 66 HIMEM.SYS driver (DOS) 119 hot key, to switch between Mac OS and PC environment 41 hotline. See customer support hotline “Huh?” button in Macintosh Guide window 25 I icons ADB 6, 7 Apple HD SC Setup 96, 99, 106 blinking question mark 9, 81, 102 defined 13 Disk First Aid 100, 103, 106 disk with an “X” 82 hard disk 9, 13, 83 “sad Macintosh” 83 Trash 13 Index button in Macintosh Guide window 19, 21–22 initializing an external SCSI hard disk 96–97 an internal hard disk 93–95 Install Disk 1 disk 94, 104, 107, 109 Installer program 104–105, 107–111 installing. See also reinstalling application programs (Mac OS) 36 communication cards 143–149, 154–156 internal drives 34 network management software 163–178 PC software utilities 125 Single Inline Memory Modules (SIMMs) 143–147, 149–156 system software 102–111 Windows for Workgroups 173 184 Indexinterference with radio and television reception vii, 136 internal drives, installing 34 Internal HD Format program 95, 98 IPX networking protocol, compatibility issues 53–54, 167, 169, 173, 177 J joystick, connecting 33 joystick port 30, 33, 81 K keyboard. See also keys connecting 6–7 correct posture for using 131–132 damaged or connection problems with 88 guidelines for handling 136 support for various Apple keyboards (in PC environment) 46–47 keyboard cable 6, 7 keyboard shortcuts 27–28 keyboard tray 132 keys. See also keyboard equivalent Macintosh and PC keys 46–47 special keys on Apple keyboards 157–158 key scan code table for DOSCLIP keystrokes 49–51 L LaserJet III printer driver (PC environment) 56 LC-compatible PDS slot on logic board 145 liquid spills on computer equipment 134, 135, 136 locking the mouse 141 logic board 144–145, 147, 154 Look For button in Macintosh Guide window 19, 23–24 LPT1.DOS/LPT1 port for printing in PC environment 55, 56 M Macintosh Easy Open program control panel 90, 117, 161 translators 52, 161 using 159–161 Macintosh environment (Mac OS) backing up files 38 Clipboard tips 52–53 initializing a hard disk 93–97 installing and working with application programs 36–38 installing system software 102–111, 119–123 Mac OS software installed in System Folder 120 network protocol compatibility with PC environment 53–54 PC Print Spooler settings 56, 57–58, 118 problems and solutions 77–92 repairing a damaged disk 97–101 switching to and from 40–42, 117, 118 Macintosh Guide. See also Guide menu closing 24, 25 “Huh?” button 25 moving or shrinking the window 25 opening the Macintosh Guide window 18 returning to the Macintosh Guide window 20, 22, 25 tips for using 25 using the Index button 19, 21–22 using the Look For button 19, 23–24 using the Topics button 19–20 Index 185Macintosh peripherals, using in PC environment 55–58 Macintosh Shortcuts window 27–28 Macintosh system, illustration 29 Macintosh Tutorial 12–13 MacIPX, Control Panels folder 53 MACODI DOS utility 125 Mac OS. See Macintosh environment MacShare program 47–48, 67, 125 MacTCP, compatibility issues with DOS TCP/IP software 54, 167, 169, 173, 177 MEMMAKER DOS utility, compatibility issues with 127, 166 memory. See also Single Inline Memory Modules (SIMMs) assigning to PC environment 65, 122–123 changing the RAM setting, PC control panel 62 conserving when using NetWare client software 166 conventional memory increasing for DOS or Windows programs 66 versus extended memory 117 expanding 34, 143–147, 149–156 not enough memory 76, 89, 92, 116–118 shared memory pre-installed SIMMs and 65, 76, 116, 122–123 setting 65, 122–123 troubleshooting 92, 114 virtual memory 89 Memory control panel 65, 89, 116, 117 memory-management DOS utilities 43, 117 menu bar 13 messages, on PC Setup control panel status line 76. See also error messages microphone, connecting 31 Microsoft MS-DOS Setup disk (or CD-ROM disc containing DOS/Windows software) 123 MIDI application programs, SIMMs and 54 Mini DIN-8 connector (Mac OS), signals present on 59 Mixer Control program 69 MODE command (DOS) 63 modem port 30 moisture, protecting the computer from 134, 135 monitor. See also screen brightness control 10, 80, 136 cleaning the screen 133, 139 connecting 3–5 guidelines for handling 136 positioning for optimal use 3, 132 setting for PC environment 64 synchronization to DOS video signal 114, 119 troubleshooting 80–81, 114, 118, 119 turning on 8 monitor cable, connecting 5 monitor port 5, 30 monitor power cord, connecting 3, 4 Mosaic network software, installing 177–178 mouse. See also pointing device cleaning 139–141 connecting 6–7 connection problems 87 how to use 12 locking/unlocking 141–142 mouse button 12 mouse cable 6, 7 Mouse control panel (Windows) 46 mouse drivers, DOS and Windows 46, 124 mouse shortcuts 27–28 MPEG players (DOS-based), video output requirements 54 MS-DOS and Windows, reinstalling 123–124 multimedia application programs, SIMMs and 54 musculoskeletal discomfort associated with computer use 129, 130 186 IndexN NetManage Chameleon TCP/IP software, installing 169–172 NetWare client software, installing 163–166 network management software and protocols 53–54, 163–178 networks, backing up files on (Mac OS) 38 Novell LAN Workplace for DOS TCP/IP software, installing 167–168 Novell NetWare Client for DOS WSDOS 1 disk 164, 165 Novell NetWare Client for MS Windows WSWIN 1 disk 165 Novell network, PCL printing of text and graphics (PC environment) 56 Novell Open Data-Link Interface (ODI) DOS compatibility with 53, 163 Windows for Workgroups and 173 numeric keys 158 O ODI. See Novell Open Data-Link Interface online help. See Balloon Help; Macintosh Guide opening the computer 146–147 Option key 46, 158 P page size, setting 58, 118 partitions for drive containers 70–71, 116, 122 PC Clipboard Extension (Mac OS) 52, 53 PC environment. See also AUTOEXEC.BAT file; CONFIG.SYS file; PC Setup control panel; Windows answers to common problems 113–119 configuring drives C and D 70–71 configuring the PC serial ports 63 conventional memory 66, 117 creating and using PC drive containers 70–75, 114–115, 121–122 DOSCLIP 48–53, 125 DOS commands that do not work on shared volumes 67 ejecting disks 41, 44, 45, 116, 137–138 exchanging Clipboard information with Mac OS 48–53, 125 expanding memory 34, 143–147, 149–156 installing PC utilities 125 memory-management utilities 43, 117 network management software and protocols 53–54, 163–178 not enough memory 76, 116–118 PC Print Spooler settings and 56, 57–58, 118 PC software installed during installation 124 playing sounds 69 reinstalling DOS-compatibility software 119–128 RS-232 signal support 59 setting the monitor for 64 setting the time and date 64 setting up 42–43 shared memory 65, 122–123 SIMMs and 65, 76, 116, 122–123 starting automatically 42 switching back and forth from Mac OS 40–42, 117, 118 using a PC-formatted SCSI drive as a startup drive 70 using CD-ROM discs 45 using floppy disks 44 using Macintosh-compatible printers and peripherals 55–57 using Mac OS folders and volumes as PC drives 47–48, 67–68, 125 using PC peripherals 59 Index 187PC Exchange control panel 70, 91, 116 PCL (Hewlett-Packard page control language) 55, 58 PC peripherals, using 59 PC Print Spooler, setting preferences in 56, 57–58, 118 PC Setup control panel changing RAM setting 62 choosing settings 61–62 configuring the PC serial ports 63 creating and using drive containers 70–71, 72–74, 114–115, 121–122 mapping drive letters when using NetWare client software 166 memory management, troubleshooting 117, 118 setting shared memory 65, 92, 123 setting the monitor for PC environment 64 sharing folders or volumes 67 status line messages 76 switching between Mac OS and PC environment 40–42 turning on PC sounds 69 plugging in the computer 1–2 the monitor 4 pointer doesn’t move when you move the mouse 87 “freezes” on the screen 85–86 learning how to move 12 pointing device. See also mouse simulating a PC pointing device 46 ports ADB 6, 7, 30, 88 Audio In, on external speakers 32 COM 55, 63 illustration 30 joining connectors to, safety instructions 135 joystick 30, 33, 81 LPT1.DOS/LPT1 55, 56 monitor 5, 30 sound input/output 30, 31, 32 PostScript-compatible print output (PC environment) 55, 56, 57 PostScript printer drivers (PC environment) 56, 57 power button. See standby power button power cord computer 2 monitor 3–4 Power key 8, 14, 158 power-on light 10, 29 power socket 30 power supply, servicing 138 PowerTalk program 35, 92, 118 precautions. See safety instructions Previous System Folder 109 printer port 30 printing page size and 58, 118 using Macintosh-compatible printers in PC environment 55–58 programs. See application programs Q QEMM memory management DOS utility 43 QuickDraw GX program 35, 92, 118 QuickDraw printers, Epson emulation and 55–56 R radio reception, interference with vii, 136 RAM. See memory; Single Inline Memory Modules (SIMMs) RAM disk 65, 116, 117. See also memory 188 IndexRAM pop-up menu, PC Setup control panel 65, 122, 123 rebuilding the desktop 80, 84 reinitializing the internal hard disk 95 reinstalling. See also installing DOS-compatibility software 119–128 MS-DOS and Windows 123–124 Sound Blaster software 128 system software 102–111 video drivers 128 remote control sensor, illustration 29 repairing disks 82, 84, 97–101 repetitive stress injuries (RSIs) 130 resource forks 68 Restart command (Special menu) 79 restarting the computer Mac OS 79 PC environment 44, 47, 119 Return key 158 ROM BIOS, DOS memory management and 43, 126 RS-232 signal support in PC environment 59 S safety instructions for CD-ROM drive viii general precautions 134 turning on the computer 156 screen. See also monitor appears dark 10, 80–81 cleaning 133, 139 fading before switching environments 42 minimizing glare and reflections 132, 133 screen saver programs 80, 136 scroll arrows, defined 13 SCSI equipment, computer doesn’t recognize 81 SCSI external hard disk initializing 96–97 preparing for reinstallation of system software 106–107 testing 99–100 using a PC-formatted SCSI drive as a startup drive 70 SCSI ID numbers 96, 98, 99 security lock port 30 serial ports 55, 56, 63 shared drives, using Mac OS folders or volumes as PC drives 47–48, 67–68 shared folders/volumes MacShare and 47–48, 67, 125 strange text characters in shared documents 68 using 67–68 shared memory. See also memory pre-installed SIMMs and 65, 76, 116, 122–123 setting 65, 122–123 troubleshooting 92, 114 shared volumes, DOS commands that do not work on 67 Sharing pop-up menu, PC Setup control panel 67 Shift key 158 Shortcuts command, Guide menu 27–28 Show All command (Application menu) 38 Show Balloons command (Guide menu) 26, 62 showing/hiding windows on the desktop 38 Shut Down command (Special menu) 14 Shut Down PC button, PC Setup control panel 41 SIMMs. See Single Inline Memory Modules SIMM slot 150–153 Index 189Single Inline Memory Modules (SIMMs). See also memory installed for exclusive use of the PC environment 65, 76, 116, 122, 149 installing 34, 143–147, 149–156 performance improvements and 54, 122–123 sharing memory and 65, 122 size box, defined 13 Sound Blaster (PC environment) playing sounds 69 reinstalling software 128 Sound Blaster Software Installation disk 128 Sound control panel 69 sound input/output ports 30, 31, 32 Sound pop-up menu, PC Setup control panel 69 sounds, turning on (PC environment) 69 speakers, connecting 32–33 Special menu Empty Trash command 13, 75 Restart command 79 Shut Down command 14 spills on computer equipment, safety instructions 134, 135, 136 Spooler Rejected folder 57 Spry Air Series TCP/IP software, installing 173–176 standby power button 2, 14, 30, 79 starting the computer. See also turning on the computer from a CD-ROM disc 93–94 from a floppy disk 82, 94 troubleshooting 80–84, 114, 119 Start/Restart PC button, PC Setup control panel 41 startup disk 84, 87, 102 static electricity, avoiding generating 146 status line on PC Setup control panel 76 stereo miniplug 32 stereo speakers, connecting 32–33 switching application programs (Mac OS) 37–38 switching environments 40–42, 114, 115–116, 118 Switch to PC button, PC Setup control panel 41 System BIOS, preventing corruption of 66 system extensions installing 105 Mac OS is unable to load 118 removing/replacing 85, 86 turning off 84, 85, 86 System Folder 36, 102, 109 system software (Mac OS) blinking question mark and 9, 81–82, 102 installing or reinstalling 102–111 T Tab key 158 TCP networking protocol, compatibility issues 53–54, 167, 169, 173, 177 television reception, interference with vii, 136 temperature ranges, for storing floppy disks 137 time and date, setting in PC environment 64 title bar, defined 13 Topics button in Macintosh Guide window 19–20 transferring files from an old to a new drive container 74–75 between Mac OS and PC environment 67–68 translating documents into different file formats 68 190 IndexTrash emptying 13, 75 icon 13 troubleshooting in Mac OS. See also troubleshooting in PC environment answers to common problems 80–92 application program problems 36, 89–91 blinking question mark on screen 9, 81–82, 94, 102 “bomb” message on screen 77, 79 clock keeps time inaccurately 81 computer doesn’t recognize SCSI equipment 81 computer “hangs” or freezes during startup 83 dialog box with a bomb appears on screen 86 ejecting a floppy disk 138 error messages 77–79 icons do not appear correctly on screen 84 initializing/reinitializing a hard disk 93–97 installing/reinstalling system software 102–111 keyboard problems 88 messages on PC Setup control panel status line 76 monitor problems 10, 80–81 mouse connection problems 87 not enough memory 89, 92 opening files 90–91 performance issues with shared folders 68 pointer doesn’t move 85–86, 87 rebuilding the desktop 80, 84 repairing a damaged disk 97–101 restarting the computer 79 “sad Macintosh” icon appears 83 screen is dark 10, 80–81 starting the computer 10, 80–84 strange text characters when using shared folders 68 system software installation problems 82 turning the computer on 10 typing produces nothing on screen 88 unreadable floppy disks 84–85 using a DOS document in Mac OS 91 troubleshooting in PC environment. See also troubleshooting in Mac OS answers to common problems 114–119 application program problems 115, 117–119 bypassing CONFIG.SYS and AUTOEXEC.BAT at startup 119 computer “hangs” or freezes during startup 114, 119 Disklight of Norton Utilities, shared memory issues 114 DOS-compatibility software problems 114, 115 ejecting a floppy disk or CD-ROM disc 116, 138 Macintosh Easy Open software not installed or turned off 117 memory-management issues 114, 116–118 monitor synchronization problems 114 not enough memory 116–117, 117–118 PC crashes when Harvard Graphics is quit 66 PC environment is frozen 114, 118 PC Setup memory issues 117 performance issues with shared folders 68 printing, top and bottom of page get clipped 118 running out of UMB (high memory) space 66 Index 191shared memory problems 114 Sound Blaster support 69 strange text characters when using shared folders 68 switching environments 114, 115–116, 117, 118 using a PC-format disk in Mac OS 116 turning off the computer 14, 134, 135 PC environment 41 sounds 69 system extensions 84, 85, 86 turning on. See also starting the computer the computer 8, 10, 156 PC environment 41, 42 sounds 69 tutorial, starting the Macintosh Tutorial 12–13 TV tuner card, installing 145 TV tuner card port 30 typing produces nothing on screen, troubleshooting 88 U UMB (high memory), increasing (PC environment) 66 unlocking the mouse 142 V ventilation for computer equipment 135, 136 vertical plate 145, 147–150, 152, 154 VGA modes displayed on Macintosh monitors 54 video drivers 64, 128 video input card port 30 video-in slot on logic board 144, 145 Video Monitor program 35 video signal (DOS), monitor specifications and 114, 119 virtual memory 89. See also memory volume buttons on computer 29, 33 volumes (Mac OS), sharing with PC environment 47–48, 67–68 W, X, Y, Z warranty on computer, limitations of 34, 113, 144, 145 WINCLIP Windows utility 125 Windows. See also PC environment Mosaic network software and 177–178 Novell LAN Workplace for DOS TCP/IP software and 167 performance based on memory 123 printing on Macintosh-compatible printers 55–57 reinstalling 123–124 Spry Air Series TCP/IP software and 173, 174–176 Windows Clipboard, exchanging information with Mac OS 48, 52–53 Windows control panel, selecting printer drivers 56 Windows for Workgroups, installing 173 windows on the desktop 13, 38 Windows PostScript driver 56 Windows Series Installation Instruction Diskette 1 of 6 124 work space, arranging 130, 131–132 192 Index Apple QuickTake 100 User’s Guide for MacintoshK Apple Computer, Inc. © 1994 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software license agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-6299 (408) 996-1010 © Image Software 1992, 1993, 1994. Portions Copyright Eastman Kodak Company. Apple, the Apple logo, AppleTalk, EtherTalk, LocalTalk, Macintosh, and PowerBook are trademarks of Apple Computer Inc., registered in the U.S. and other countries. Apple SuperDrive, GeoPort, QuickTake, and QuickTime are trademarks of Apple Computer, Inc. Adobe, Adobe Illustrator, Adobe Photoshop, and PostScript are trademarks of Adobe Systems Incorporated, which may be registered in certain jurisdictions. Classic is a registered trademark licensed to Apple Computer, Inc. ExposurePro is a registered trademark of Baseline Publishing, Inc. Helvetica and Times are registered trademarks of Linotype Company. QMS is a registered trademark of QMS, Inc. QuarkXPress is a registered trademark of Quark, Inc. SuperPaint is a registered trademark of Aldus Corporation. Tektronix is a registered trademark of Tektronix, Inc. Windows is a trademark of Microsoft Corporation. Simultaneously published in the United States and Canada. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.iii Communications regulation information vi 1 Getting Started With the QuickTake 100 Camera 1 Do you have what you need? 2 System requirements 2 Your camera at a glance 3 Charging the batteries 4 Installing the batteries 5 Installing the QuickTake software 6 Custom installation 7 What if you upgrade your Macintosh system software? 8 What next? 8 2 Using the Camera to Take Pictures 9 Turning on the camera 10 Taking pictures 11 Focal range and flash range 11 ContentsUsing the controls 12 Flash settings 12 Resolution settings 13 Pictures taken and pictures available 14 Battery level 14 Timer 15 Waking the camera 16 3 Using the Camera With Your Macintosh 17 Connecting the camera to your Macintosh 18 Looking at the pictures in the camera 20 Transferring pictures to your Macintosh 21 Opening pictures on the Macintosh 22 Opening a picture in the image window 22 Opening a slide table 23 Working with your pictures 24 Editing slide names 25 Getting information about a slide 25 Opening a slide to a full-size image 26 Zoom views in the image window 27 Changing the printed size of a picture 27 Cropping a picture 28 Changing the bit depth of a picture 29 Copying a picture to another application 29 Rotating a picture 30 Saving a picture 31 Printing your pictures 33 Printing a slide table 33 Printing a single image 34 iv ContentsNaming the camera 35 Setting the clock in the camera 36 Taking pictures from the Macintosh 37 Erasing pictures from the camera 38 Using the camera with a power adapter 39 Traveling with the camera 40 Using the battery booster pack with the camera 40 4 QuickTake Software Menu Commands 41 The File menu 42 The Edit menu 46 The Image menu 47 The Camera menu 49 The Windows menu 50 5 Maintenance and Troubleshooting 51 Caring for your camera 51 Solving problems 52 Appendix A Specifications 55 Appendix B Battery Information 57 Appendix C Using the Camera with a Windows-Based PC 61 Appendix D Using QuickTake Setup 63 Index 65 Contents vCommunications regulation information Radio and television interference The equipment described in this manual generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures: m Turn the television or radio antenna until the interference stops. m Move the computer to one side or the other of the television or radio. m Move the computer farther away from the television or radio. m Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple-authorized service provider or Apple. See the service and support information that came with your Apple product. Or, consult an experienced radio/television technician for additional suggestions. You may find the following booklet helpful: Interference Handbook (stock number 004-000-00493-1). This booklet, prepared by the Federal Communications Commission, is available from the U.S. Government Printing Office, Washington, DC 20402. IMPORTANT Changes or modifications to this product not authorized by Apple Computer, Inc., could void the FCC Certification and negate your authority to operate the product. This product was tested for FCC compliance under conditions that included the use of Apple peripheral devices and Apple shielded cables and connectors between system components. It is important that you use Apple peripheral devices and shielded cables and connectors between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. You can obtain Apple peripheral devices and the proper shielded cables and connectors through an Apple-authorized dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. vi Communications Regulation InformationFCC statement This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. See instructions if interference to radio or television reception is suspected. DOC statement DOC Class B Compliance This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus as set out in the interference-causing equipment standard entitled “Digital Apparatus,” ICES-003 of the Department of Communications. Observation des normes—Classe B Cet appareil numérique respecte les limites de bruits radioélectriques applicables aux appareils numériques de Classe B prescrites dans la norme sur le matériel brouilleur : “Appareils Numériques”, NMB-003 édictée par le ministre des Communications. VCCI statement Communications Regulation Information viiThe QuickTake 100 is an easy-to-use camera that produces high-quality pictures you can quickly transfer to your Macintosh computer. With the QuickTake 100 you can capture images, and with your Macintosh you can manipulate and modify those images to suit your purposes. The QuickTake 100 is a valuable new tool for graphic artists, publishing professionals, and anyone who wants to use images to communicate. IMPORTANT Save this manual. It contains important safety and operating instructions. In this chapter m An inventory of items you need m System requirements m Features of the camera m How to charge NiCad batteries m Installing batteries in the camera m Installing the QuickTake software 1 1 Getting Started With the QuickTake 100 CameraDo you have what you need? Before you begin, unpack the QuickTake 100 package. Be sure you have the items shown in this illustration: System requirements To use the QuickTake 100 camera with your computer, you need m a Macintosh with a 68020 or higher central processing unit (any Macintosh except a Macintosh Plus, SE, Classic, Portable, or PowerBook 100) m system software version 7.0.1• (with Tune-Up 1.1.1) or a later version m 4 MB of RAM with 8 MB of virtual memory or 8MB of RAM m an Apple SuperDrive (or any floppy drive that can read high-density disks) m a hard drive with at least 10 MB available QuickTake 100 camera Battery charger Rechargeable NiCad batteries Serial cable QuickTake software Neck strap 2 Chapter 1Your camera at a glance This illustration shows the front, rear, and bottom of the camera. Shutter release Serial port and power adapter port (behind the cover) Sliding lens cover (opened) Camera lens Viewfinder lens (with light sensors above and below, for the light meter) Built-in flash Viewfinder Battery compartment Control buttons Control panel display Timer light Adjustable neck strap Tripod mounting hole Neck strap attachment points Front view Rear view Bottom view Getting Started With the QuickTake 100 Camera 3Charging the batteries The three NiCad batteries you received with the QuickTake 100 must be charged before you can use them. Use the battery charger that came with the camera. 1 Insert the batteries into the charger. 2 Plug the battery charger into an electrical outlet. It takes five hours to fully charge three NiCad batteries. (Be sure to fully charge the batteries the first time you use them.) If you want to take pictures right away, you can use three AA non-rechargeable batteries (not included) in the camera. For information about battery care, see Appendix B. 3 Unplug the battery charger, remove the batteries, and install them in the camera. See instructions for installing batteries on the next page. WARNING To reduce the risk of injury, charge only rechargeable nickelcadmium batteries in the battery charger that came with the QuickTake 100 camera. Charging other types of batteries may cause them to leak or explode, resulting in personal injury and property damage. Make sure you position the + and – ends of each battery as indicated on the battery charger. When batteries are charging, this red light glows. 4 Chapter 1Installing the batteries Use the three NiCad batteries that came with your camera. If the NiCad batteries are being charged, you can substitute three AA non-rechargeable batteries in the camera. 1 Flip open the door to the battery compartment. 2 Insert the batteries into the camera. 3 Close the battery compartment door. See also: Appendix B, “Battery Information.” Position the – and + ends of each battery as indicated on the door. Arrange the ribbon under the batteries so you can use it to pull them out when you need to replace them. WARNING Do not mix different types of batteries in the camera. Use only three NiCad batteries or three AA non-rechargeable batteries. Mixing batteries may cause a fire or a small explosion. Getting Started With the QuickTake 100 Camera 5Installing the QuickTake software Before you can transfer images from your camera to your Macintosh computer, you need to install the necessary software on your Macintosh. You’ll need the QuickTake disks that came with your camera. The disks contain m the Installer, a program that installs everything you need m QuickTake 1.0, a program that transfers pictures from the camera to your Macintosh m other files needed by the QuickTake 100 camera IMPORTANT If you have system software version 7.0.1• on your Macintosh, you must turn on AppleTalk before you install QuickTake software. Open the Chooser and make sure that AppleTalk is active. 1 Insert the appropriate installation disk into a floppy disk drive. The choice depends on whether you have a Power Macintosh or not. m If you have a Power Macintosh, insert QuickTake for Power Macintosh. m Otherwise, insert QuickTake Install Disk 1. If necessary, open the disk icon. 2 Double-click the Installer icon to open it. 3 In the Welcome dialog box that appears, click OK. 6 Chapter 1 Use the Installer to install the QuickTake software. For important late-breaking information, open the Read Me.4 In the Installer dialog box, click Install. A status box keeps you informed of progress during installation. 5 When you see a message on your screen, follow directions and insert the next disk. Near the end of the process, you’ll be asked to insert the first disk again. 6 When you see a message reporting that the installation was successful, click Restart. The Installer restarts your Macintosh. You’ll find a new folder containing the QuickTake software on your hard disk. Custom installation If you click the Customize button in the Installer, you’ll see a list of specific items you can install individually. To ensure that all the necessary software is installed, use Easy Install instead. Getting Started With the QuickTake 100 Camera 7 Make sure you install the QuickTake software on the disk you use as your startup disk. When you’re ready to begin, click Install. To switch to a different disk, click Switch Disk.What if you upgrade your Macintosh system software? If you decide to replace or upgrade your Macintosh system software after you’ve installed the QuickTake software, you may not be able to open the QuickTake application program. To fix this problem, reinstall the QuickTake software. As an alternative, you can use the custom Installer: 1 Insert the appropriate installation disk into a floppy disk drive. The choice depends on whether you have a Power Macintosh or not. m If you have a Power Macintosh, insert QuickTake for Power Macintosh. m Otherwise, insert QuickTake Install Disk 1. If necessary, open the disk icon. 2 Double-click the Installer icon to open it. 3 In the Welcome dialog box that appears, click OK. 4 In the Installer dialog box, click Customize. 5 Choose Shared Library Manager from the list. 6 Click Install. 7 When you see a message reporting that the installation was successful, click Restart. You have reinstalled the Shared Library Manager, and you can open the QuickTake program again. What next? To begin taking pictures, go on to Chapter 2. 8 Chapter 1 Use the Installer to install the QuickTake software.Because the QuickTake 100 camera is small and light and runs on batteries, you can take pictures with it anywhere. In this chapter m Turning on the camera m Taking pictures m Using the controls m Waking the camera from sleep 9 2 Using the Camera to Take PicturesTurning on the camera To turn the camera on, slide open the lens cover. Lens cover Be careful not to touch the camera lens. 10 Chapter 2Taking pictures Look straight through the viewfinder and take time to frame the subject you want to photograph. Hold the camera steady, and press the shutter release. Because the camera delays briefly before taking the picture, be sure to hold it still until you hear the shutter click. When the camera is ready for the next picture (in a few seconds), a green light glows in the viewfinder. The pictures can remain in the camera’s memory up to one year (or until you erase them). Focal range and flash range Try to keep a distance of at least four feet between you and the object you want to photograph. The camera can focus on objects as close as four feet and as far away as infinity. Objects closer than four feet may be out of focus, but objects in the range between four feet and infinity will be properly focused. The flash can illuminate objects as close as four feet and as far away as nine feet. 4' 9' (Distance) Infinity Focus Flash Press the shutter release. Viewfinder You can hold the camera horizontally or vertically. Using the Camera to Take Pictures 11Using the controls When the camera is on, the control panel display appears. Flash settings There are three possible settings for the flash. Each time you press the flash button, you cycle from one setting to the next. A To let the camera’s light sensor determine when to flash, press the button until you see this icon. For a flash with every picture, press the button until you see this icon. To turn off the flash, press the button until you see this icon. A stands for automatic. When you turn on or wake the camera, this setting always appears. When your subject is in shadow, and the background is brighter, use this setting. A Flash button Erase All button (explained in Chapter 3) Control panel display Resolution button Timer button 12 Chapter 2Resolution settings There are two possible settings for resolution. Each time you press the resolution button, you toggle from one setting to the other. m Standard resolution means 320 x 240 pixels. You can take up to 32 standard-resolution pictures. m High resolution means 640 x 480 pixels. Each picture contains more detail. You can take a maximum of eight high-resolution pictures; they take more space in memory than standard-resolution pictures. m You can mix high- and standard-resolution pictures on the camera, all in 24-bit color. A A For standard resolution, press the button until you see this icon. For high resolution, press the button until you see this icon. Using the Camera to Take Pictures 13Pictures taken and pictures available The number in the center of the control panel shows how many pictures you’ve taken. The smaller number next to the resolution icon shows how many pictures you can take before the camera is full. Battery level Just below the center of the panel is a battery icon. It tells you how much power is left in your batteries. If the batteries run out, the pictures in your camera are safe, but you need fresh batteries to take any more pictures. For information about battery care, see Appendix B. A A A Batteries fully charged (or power adapter connected) Batteries running low Batteries empty Recharge them or replace them with fresh batteries. A A Pictures taken Pictures you can take at the selected resolution This number changes when you change the resolution setting. The camera automatically switches to standard resolution when there isn’t enough memory for a high-resolution picture. 14 Chapter 2Timer The timer gives you 10 seconds before the camera takes a picture. 1 Press the timer button. 2 Press the shutter and prepare for the picture. On the top front of the camera, a red indicator light glows steadily for eight seconds, then it blinks rapidly for another two seconds. When time is up, the camera takes the picture. A When the timer is on, the timer icon blinks. Using the Camera to Take Pictures 15Waking the camera To conserve battery power, the camera goes to sleep after 60 seconds of inactivity (or after 5 minutes of inactivity when connected to your Macintosh). To wake it, you can press and release the shutter, or close and reopen the sliding lens cover. If the camera is connected to your Macintosh, you must close and reopen the lens cover to wake it. Pressing the shutter won’t work. To wake the camera, press and release the shutter. Or close and reopen the lens cover. 16 Chapter 2When you finish taking pictures (or when the camera is full), you can connect it to your Macintosh computer and transfer the pictures to the computer. In this chapter m Connecting the camera to your Macintosh m Looking at the pictures on the camera m Transferring pictures to your Macintosh m Working with pictures m Saving a picture m Printing your pictures m Naming the camera m Setting the clock in the camera m Taking pictures from your Macintosh m Erasing pictures from the camera m Using the camera with an AC power adapter 17 3 Using the Camera With Your MacintoshConnecting the camera to your Macintosh Use the serial cable that came with your camera. 1 Turn off the camera (shut the lens cover). 2 Plug one end of the serial cable into the modem or printer port on your Macintosh. If both ports are in use, free the one that’s most convenient and connect the camera. IMPORTANT It is not necessary to turn off your Macintosh before you connect and disconnect the serial cable. (As long as a serial port is free, it’s not active.) However, if you want to connect or disconnect other devices (for example, SCSI devices), you should check the appropriate manuals first. In many cases you must turn off the Macintosh before you connect or disconnect a cable. These icons identify the printer and modem ports on your Macintosh. Connect the camera to either port. Some Macintosh computers have a combined serial port with two icons. 18 Chapter 33 Plug the other end of the cable into the serial port on the camera. 4 Turn on the camera (open the lens cover). When the camera is connected and turned on, an animated rectangle appears on the control panel display. The edge of the rectangle moves. Press the cover in and slide it open. Serial port Using the Camera With Your Macintosh 19Looking at the pictures in the camera While the pictures are in the camera, you can see what they look like and work with them. (To move them to your Macintosh before you work with them, see the next section, “Transferring Pictures to Your Macintosh.”) 1 Connect the camera to your Macintosh. For instructions, see “Connecting the Camera to Your Macintosh,” earlier in this chapter. 2 If necessary, turn on the camera by sliding open the lens cover. 3 On your Macintosh, double-click the QuickTake icon to open it. 4 Choose View Slides in Camera from the Camera menu. The pictures appear in a slide table on your Macintosh screen. For information about what you can do with the pictures, see “Working With Your Pictures,” later in this chapter. 20 Chapter 3Transferring pictures to your Macintosh Before you can transfer pictures from the camera, it must be connected to your Macintosh. For instructions, see “Connecting the Camera to Your Macintosh,” earlier in this chapter. 1 If the camera is off, turn it on by sliding open the lens cover. When the camera is connected and turned on, an animated rectangle appears on the control panel display. 2 On your Macintosh, double-click the QuickTake icon to open it. 3 Choose Move All Camera Images to Disk from the Camera menu. In the box that appears, choose the location you want for the pictures. After the images have been moved to your Macintosh, a message appears that gives you a chance to erase the images from the camera. (If you prefer, you can use the Erase All button. See “Erasing Pictures From the Camera,” later in this chapter.) Using the Camera With Your Macintosh 21 When you’re ready, click Save. To create a new folder for the pictures, click this button.Opening pictures on the Macintosh Once the pictures are on your Macintosh, you can use the QuickTake software to look at them, make some changes, and save the pictures in a variety of formats and bit depths. (See “Working with Pictures,” later in this chapter.) Opening a picture in the image window 1 On your Macintosh, double-click the QuickTake icon to open it. 2 Choose Open from the File menu. 3 In the box that appears, click the picture you want to see and click Open. 22 Chapter 3 The X means Show Preview is on. You see a preview of any QuickTake picture you select. The picture appears in an image window.Opening a slide table 1 On your Macintosh, double-click the QuickTake icon to open it. 2 Choose Open Slide Table from the File menu. 3 In the box that appears, find the pictures you want to see. 4 To open the slide table, click the Choose button. The pictures appear in a slide table window. 5 To see a picture in detail, double-click the slide. Using the Camera With Your Macintosh 23 When you’ve found the pictures you want to open as a slide table, click Choose. In this example, the pictures contained in the Mixed Pictures folder will open as a slide table. A slide like this represents an image with no preview imported from another application program. To see the image here, choose Create Slide from the Image menu.Working with your pictures Whether the pictures are in the camera or have been moved to your Macintosh, you can use the QuickTake software to look at them, make some changes, and save the pictures in a variety of formats and bit depths. With slides you can m edit the name under each slide, giving slides the names you want m use the Get Info command to get specific information (such as the image’s width and height) m print the slide table m open slides to full-size images With a full-size image you can m see different zoom views of an image m print the image m change the size of the printed image m crop the image m change the image’s bit depth m use the Copy command to copy the image (or selected parts of it) to paste into a document in another application program With slides or a full-size image you can m change the picture’s orientation by rotating it from vertical to horizontal (and vice versa) m save the pictures you like, using the Save or Save As command On the next few pages you’ll find instructions for doing the tasks listed here. 24 Chapter 3Editing slide names You can give your slides names that mean something to you. Getting information about a slide 1 Click the slide. 2 Choose Get Info from the File menu. An information window appears. Using the Camera With Your Macintosh 25 Select the name under the slide and type a new name.Opening a slide to a full-size image To see the picture full size, double-click the slide. 26 Chapter 3 Double-click the slide to see it full size.Zoom views in the image window To see the picture in the image window enlarged, actual size, or reduced, choose View from the Image menu, then choose an item from the submenu. When you open an image the first time, the QuickTake software uses all the pixels to present the best possible image on your monitor. With a highresolution image, the picture appears at 200% magnification. Changing the printed size of a picture To change the size of a printed picture, choose Resize from the Image menu. In the box that appears, you can specify one aspect (width, height, or resolution) of the size you want the picture to be. (Resizing affects the entire picture displayed in the image window. You can’t select and resize one section of the picture.) Using the Camera With Your Macintosh 27 High-resolution images show 144 dots per inch (dpi). Standard resolution images show 72 dpi. When you choose Zoom In, the image doubles in size. When you choose Zoom Out, the image shrinks to half its previous size. To change the width, height, or resolution of a printed picture, type the number you want in the space provided. You can define one aspect of the size; QuickTake calculates the other two aspects. To choose the unit of measure you want (inches or centimeters), use this pop-up menu. This represents a QuickTake high-resolution image. This shows the size of the picture when it’s printed.Cropping a picture 1 Drag the pointer to include just the part of the picture you want in the selection rectangle. If you don’t get it right the first time, click outside the selection rectangle (or press x-Z) to cancel the selection. Then try again. 2 Choose Crop from the Image menu. The cropped image appears. 28 Chapter 3 Inside the rectangle is the part of the image you keep.Changing the bit depth of a picture You may want to change the image bit depth of a picture you take. For example, if the picture uses millions of colors, but you plan to print it on a grayscale printer, you can change the image bit depth to 256 shades of gray. Changing bit depth and compression scheme can reduce the amount of disk space required to store an image, but the changes may affect image quality. To change the bit depth, choose Change Image Depth from the Image menu. Then choose the bit depth you want. If you’re not happy with the result, choose Undo from the Edit menu. Copying a picture to another application You can copy QuickTake pictures and paste them into documents in other applications. (You cannot paste them into other QuickTake pictures.) 1 Drag the pointer to include in the selection rectangle the part of the picture you want to copy. To copy the entire image, choose Select All from the Edit menu. 2 Choose Copy from the Edit menu. 3 Position the pointer in the target document and choose Paste from the Edit menu. A copy of the selected image appears in the document. Using the Camera With Your Macintosh 29 This is an optimized palette depending on the scene or subject in the picture.Rotating a picture To rotate the selected slide or picture, choose Rotate from the Image menu. A submenu appears, and you can specify how far you want to turn the slide or picture. In the slide table, you can only rotate pictures that are in the PICT QuickTake format. You can rotate a single, full-size image in any format. If you rotate a picture that’s in the camera, you must save it to make the change permanent. (If you’ve already moved the image to the Macintosh, the computer remembers the change whether you save it or not.) 30 Chapter 3Saving a picture If you want to preserve changes you make, you have to save the modified picture. The Save and Save As commands in the QuickTake software behave like the same commands in other Macintosh application programs. In addition, the QuickTake software provides features that allow you to choose a specific file format (such as PICT or TIFF), bit depth, and file compression. 1 To save the picture in the active image window, choose Save As from the File menu. 2 In the box that appears, type a name for the picture. Using the Camera With Your Macintosh 31 Type a name for the picture here.3 Choose the file format you want from the pop-up menu. The file format you choose depends on the requirements of the application into which you plan to import the picture. m PICT is the basic Macintosh file format for images and is used by almost all Macintosh programs that read image files. The PICT QuickTake format is created (and compressed) by the camera. To open images in this format on a Macintosh, you need the QuickTake Image and QuickTime extensions. To open images saved in the compressed PICT formats, you need only the QuickTime extension. To open images saved in PICT with no compression, use any application that reads PICT. m TIFF stands for Tagged Image File Format. TIFF is another commonly used file format for storing bitmapped images in various resolutions. 4 Choose the image depth you want from the pop-up menu. The image depth you choose depends on the printer to which you plan to send the picture or the monitor on which you plan to display it. 5 Click the Save button (or press Return). 32 Chapter 3 These three formats use JPEG compression for a smaller file size, but with some loss of image quality. If you use 256 colors, Custom Colors adjust to the scene or subject, showing an image at its best. However, this setting may cause other color images on your desktop to look strange. Default colors for a 256-color monitorPrinting your pictures You can use the QuickTake application to print the pictures you take, and you can print them while they are on the camera or after you transfer them to your Macintosh. Printing a slide table 1 Open the slide table you want to print. 2 Choose Print from the File menu. 3 In the box that appears, choose the settings you want. In a short while, the printed slide table is ready at your printer. Using the Camera With Your Macintosh 33 When the options are set the way you want them, click Print. IMPORTANT Be sure to click Color/ Grayscale before you print QuickTake images.34 Chapter 3 Printing a single image 1 Make sure the picture you want to print is opened as a full-size image. 2 Choose Print from the File menu. 3 In the box that appears, choose the settings you want. Sometimes a printed high-resolution picture is smaller than it appears on your screen. m A high-resolution image takes full advantage of its 640 x 480 pixels on the screen and appears at twice its actual size. (The title bar of the image window tells you the magnification is 200%.) Its printed size is 100%. m A standard-resolution image appears in a 320 x 240 pixel size on screen and the same size when it prints. (The magnification is 100%.) To change the size of a printed picture, use the Resize command. For details, see “Changing the Printed Size of a Picture,” earlier in this chapter. When the options are set the way you want them, click Print. IMPORTANT Be sure to click Color/ Grayscale before you print QuickTake images.Naming the camera You can give your camera a name. When you look at the pictures while they’re on the camera, its name appears as the title of the slide table window. The camera must be connected to your Macintosh. For instructions, see “Connecting the Camera to Your Macintosh,” earlier in this chapter. 1 On your Macintosh, double-click the QuickTake icon to open it. 2 Choose Set Camera Name from the Camera menu. 3 In the box that appears, type the name you want. 4 When you’re finished, click Set. Using the Camera With Your Macintosh 35 The name you type can contain up to 31 characters.Setting the clock in the camera The camera’s internal clock keeps track of the date and time you take each picture. This information is useful, and in some circumstances important, so take time now to set the clock. The camera must be connected to your Macintosh. (For instructions, see “Connecting the Camera to Your Macintosh,” earlier in this chapter.) If you want to check the date and time on the Macintosh before you set the camera, use the General Controls panel. 1 If necessary, turn on the camera by sliding open the lens cover. 2 On your Macintosh, double-click the QuickTake icon to open it. 3 Choose Set Camera Date & Time from the Camera menu. 4 To set the camera to match your Macintosh, click OK in the box that appears. Whenever you want to check the accuracy of the camera’s clock, choose Set Camera Date & Time from the Camera menu. IMPORTANT If the batteries in your QuickTake camera go dead or you remove them and don’t replace them immediately, the camera’s clock stops. To guarantee that the clock in the camera matches the clock on your Macintosh, you must connect the camera to the computer and repeat the procedure described here. 36 Chapter 3Taking pictures from the Macintosh You can use the camera controls on your Macintosh to take pictures. 1 Connect the camera to your Macintosh. For instructions, see “Connecting the Camera to Your Macintosh” earlier in this chapter. 2 Arrange the camera so it’s in a position to take the picture you want. 3 Choose Camera Controls from the Camera menu. 4 In the box that appears, change any settings to suit your needs. For details about the different settings, see “Using the Controls” in Chapter 2. 5 When you’re ready, click Take a Picture. You can use the Erase All button to erase the pictures on the camera. Remember that the control erases all the images permanently. Using the Camera With Your Macintosh 37 Resolution button Timer button Flash button Erase All buttonErasing pictures from the camera After you transfer your pictures to your Macintosh, you should erase them from the camera to make room for new pictures. If the camera is connected to your Macintosh, there’s another way to erase pictures. You can open the QuickTake program and choose Camera Controls from the Camera menu. Then click the Erase All button on the Macintosh screen. WARNING This erases all of the pictures in the camera. You cannot erase a few and leave the rest in the camera. To erase all the pictures in the camera, lightly press the Erase All button. (Use any small, pointed object.) As the pictures are erased, the Trash icon in the control panel display blinks. In a few seconds, the display shows 0 (zero) pictures taken. 38 Chapter 3Using the camera with a power adapter To conserve battery power, you can use a power adapter and plug the camera into an available power outlet. Use only the QuickTake 100 AC Adapter (part number M2851LL/A) or the PowerBook AC Adapter with the QuickTake 100. It’s a good idea to use the power adapter for power while the camera is connected to your Macintosh. (Note: The power adapter does not recharge batteries in the camera. If you have rechargeable batteries, use the charger that came with the QuickTake 100. See “Charging the Batteries” in Chapter 1.) WARNING Never alter the plug on the power adapter. If it will not fit an electrical outlet, have a proper outlet installed by a qualifed electrician. Improper connection may result in electrical shock. Use of a power adapter not recommended or sold by Apple Computer, Inc., may result in a risk of fire, electrical shock, or injury. Using the Camera With Your Macintosh 39Traveling with the camera The QuickTake 100 Travel Case (part number M2848G/A) is available at authorized Apple resellers. The travel case includes a leather camera grip and a protective carrying case. Using the battery booster pack with the camera The QuickTake 100 Battery Booster Pack (part number M2655G/A) is available at authorized Apple resellers. The booster pack lets you take thousands of pictures with your QuickTake 100 camera. It comes with eight AA lithium batteries and plugs into the power adapter port on your camera. QuickTake 100 Battery Booster Pack QuickTake 100 Travel Case 40 Chapter 341 This chapter explains what happens when you choose any of the commands from the QuickTake software menus. In this chapter m The File menu m The Edit menu m The Image menu m The Camera menu m The Windows menu 4 QuickTake Software Menu CommandsThe File menu The commands in the File menu work on the contents of windows or folders. m Open Brings up a box that you can use to locate and open your pictures. When you open the selected picture, it appears by itself in an image window. 42 Chapter 4 The X means Show Preview is on. You see a preview of any QuickTake picture you select.m Open Slide Table Brings up a box which you can use to open slides of all the pictures in a folder you select. The pictures in the selected folder appear together in a slide table window. m Close Closes the active window. If you haven’t saved changes to the picture in the image window, a message appears asking you whether you want to save the picture before closing the window. m Save Saves a picture you’ve opened, including any changes you’ve made to it. Use Save (rather than the Save As command) for routine saving of your pictures. m Save As Saves a picture the first time you open it and want to save it. Also lets you save it with a different name, or in a different folder, or on a different disk, or in a different file format. QuickTake Software Menu Commands 43 When you’ve chosen the folder containing the pictures you want to see, click here. To change the file format and bit depth of an image, use these pop-up menus.The file format you choose depends on the requirements of the application program into which you plan to import the picture. The image depth you choose depends on the printer to which you plan to send the picture or the monitor on which you plan to display it. m Page Setup Lets you set the page size, orientation, and other options for pictures that you print using QuickTake software. 44 Chapter 4 To select enhancements to the printed image, click Options. When the options are set the way you want them, click OK.m Print Prints the picture displayed in the image window. A box appears with options for printing your document. m Quit Ends a session with the QuickTake software. If you’ve modified the picture in the image window but haven’t saved it, a message appears asking you whether you want to save the picture before quitting the program. QuickTake Software Menu Commands 45 When the options are set the way you want them, click Print. IMPORTANT Be sure to click Color/ Grayscale before you print QuickTake images.The Edit menu The commands in the Edit menu let you work with selected parts of the picture in the image window. m Undo Cancels your most recent changes to the picture. For example, if you used the Crop command and don’t like the results, you can choose Undo to cancel the crop. m Cut Removes the material you have selected and places it on the Clipboard. You can only use the Cut command to edit the names of pictures in the slide table. m Copy Copies the material you have selected to the Clipboard. The original material stays where it was when you selected it. m Paste Copies the material on the Clipboard to the active window in another program (not QuickTake). The program you are using determines where you can paste the material and how much freedom you have to move it around. You can continue to paste copies until you cut or copy a new selection (which replaces the old contents of the Clipboard). m Select All Selects everything in the picture, placing the selection rectangle around the outer edge of the picture. 46 Chapter 4The Image menu The commands in the Image menu work with the picture in the image window, and some of them work with slides in the slide table. m View Lets you see a picture in the image window enlarged or reduced or at its actual size (100%). Each time you choose Zoom In, the image doubles in size. When you choose Zoom Out, the image shrinks to half its previous size. m Rotate Rotates the selected slide or picture. When you choose Rotate, a submenu appears that lets you specify how far you want to turn the slide or picture. In the slide table, you can only rotate pictures that are in the QuickTake format. Full-size images can be rotated in any format. If you rotate a picture that’s in the camera, you must save it to make the change permanent. (If you’ve already moved the image to the Macintosh, the computer remembers the change whether you save it or not.) QuickTake Software Menu Commands 47m Resize Brings up a box that lets you specify one aspect (width, height, or resolution) of the size you want the picture to be. (Resizing affects the entire picture displayed in the image window. You can’t select and resize one section of the picture.) You can change the dimensions of the image to meet your specific requirements. m Crop Trims a picture to include only the part you’ve selected with the selection rectangle. m Change Image Depth Lets you change the bit depth of the picture in the image window. For example, if you don’t need all the information contained in millions of colors, changing to 256 shades of gray reduces the size of the file on your disk. m Create Slide Creates a preview image so you can see pictures from other sources alongside your QuickTake pictures in the slide table. m Sort Slides By Lets you choose to sort slides in numerical order by date or alphabetical order by name. 48 Chapter 4 To change the width, height, or resolution of a printed picture, type the number you want in the space provided. You can define only one aspect of the size; QuickTake calculates the other two aspects. To choose the unit of measure you want, use this pop-up menu. This represents a QuickTake high-resolution image. This shows the size (in inches or centimeters) of the picture when it’s printed.The Camera menu The commands in the Camera menu work with the camera. You must connect the camera to your Macintosh before you can use this menu. (For instructions on connecting the camera to your Macintosh, see Chapter 3.) m View Slides in Camera Lets you see slides of the pictures currently in the camera. m Move All Camera Images to Disk Transfers pictures from the camera to your Macintosh. When you choose this command, a box appears that lets you specify where to save the pictures. QuickTake Software Menu Commands 49m Set Camera Name Brings up a box that lets you give a unique name to your camera. This is especially helpful if more than one camera may transfer pictures to a particular Macintosh. m Set Camera Date & Time Brings up a box that tells you whether the clock needs to be reset to match your Macintosh. If it does, click OK. m Camera Controls Brings up a control panel like the one on the camera. The Windows menu The Windows menu lists the names of all the QuickTake windows currently open. You can choose which window should be frontmost. (If you haven’t saved and named their contents, image windows are identified as Image 1, Image 2, and so on.) 50 Chapter 4 The name you type can contain up to 31 characters. When you’re ready, click Set. To change the resolution, click here. To turn on (or turn off) the timer, click here. To change the flash To erase the pictures in the camera, click here. To take a picture, click here.This chapter offers suggestions to help you care for your camera and solve problems. In this chapter m Maintenance tips m Problem-solving tips Caring for your camera These suggestions should help you maintain the QuickTake 100 camera: m Protect the camera from moisture and excessive heat. m Don’t use harsh or abrasive cleaners on the camera. Wipe off dust with a clean, dry cloth. m When you are not taking pictures, close the lens cover to protect the lens and keep it clean (and to extend battery life). 51 5 Maintenance and Troubleshootingm To clean the lens, first blow away any surface dust or dirt. Breathe on the lens to form a mist, then gently wipe away the mist with a soft, lint-free cloth or lens cleaning tissue. Don’t press hard, or you may scratch the lens. Never wipe a dry lens. m If you store the camera for an extended period, remove the batteries. When you replace the batteries, remember to reset the date and time. (For instructions, see “Setting the Clock in the Camera” in Chapter 3.) Solving problems This section describes some problems you might encounter, and offers solutions you can try. IMPORTANT If you have a problem with your camera and nothing recommended here solves it, contact your authorized service provider. Camera won’t take pictures m The camera may not be turned on. Make sure the lens cover is open. m The camera may be asleep. Press the shutter release or close and then open the lens cover. m If you just took a flash picture, the flash may be recharging. Look for the green light in the viewfinder. When it comes on, the camera is ready to take another picture. m The batteries may be low or dead. Replace the batteries or connect the AC power adapter to the camera. m The batteries may not be installed correctly. (See “Installing the Batteries” in Chapter 1.) WARNING Don’t use solvents or solutions unless they are specifically designed for cleaning camera lenses. Don’t use chemically treated tissues intended for eyeglasses. 52 Chapter 5m The camera’s memory may have no room for another picture. Transfer the pictures from the camera to your Macintosh, then erase the pictures. (See “Erasing Pictures From the Camera” in Chapter 3.) m The camera may be connected to your Macintosh. You can use the camera controls on the Macintosh to take pictures (see “Taking Pictures From the Macintosh” in Chapter 3), or disconnect the serial cable from the camera. Can’t see anything through the viewfinder m Make sure the lens cover is open. m Move the camera around slightly as you look through it. You need to look straight through the viewfinder. Flash fails to go off m Make sure the flash is turned on. (See “Flash Settings” in Chapter 2.) m The batteries may be low or dead. Replace the batteries. m The batteries may not be installed correctly. (See “Installing the Batteries” in Chapter 1.) The Macintosh doesn’t recognize the camera Different devices and programs may compete with the camera for the use of a serial port on your Macintosh. If there’s a problem, a message tells you that the camera is not responding. Make sure the serial cable is connected properly, the camera is turned on, and the batteries have enough power. If you have system software version 7.0.1•, try the following to resolve the problem: m Turn on AppleTalk in the Chooser. AppleTalk must be turned on to use the QuickTake software with system software version 7.0.1•. m Determine whether you have a LocalTalk device connected to the printer port. If you do, connect the camera to the modem port. m If you have a non-LocalTalk device, or no device at all, connected to the printer port, open the Network control panel and change the setting from LocalTalk to Remote Only. (If you use an EtherTalk network, leave the setting on EtherTalk.) Then connect the camera to either port. Maintenance and Troubleshooting 53Pictures are fuzzy, blurry, or blotchy m The lens may be dirty. Clean the lens. (See “Caring for Your Camera,” earlier in this chapter.) m The subject or the camera may have moved. Hold the camera steady, and use the flash. (See “Taking Pictures” and “Flash Settings” in Chapter 2.) m The subject may be out of focal range. Keep a distance of at least four feet between you and the subject. The flash illuminates subjects between four and nine feet from the camera. m The resolution setting may not be appropriate for the subject. Change to high resolution. (See “Resolution Settings” in Chapter 2.) Pictures are too dark (underexposed) m There may not be enough light to take a picture. Turn on the flash. (See “Flash Settings” in Chapter 2.) m The subject may be too far away for the flash to have an effect. Make sure the subject is no more than nine feet away. (See “Focal Range and Flash Range” in Chapter 2.) Pictures are too light (overexposed) m If the camera is set to use flash with every picture, that may be too much light. Change to automatic flash. (See “Flash Settings” in Chapter 2.) m The subject may be too close. Make sure the subject is at least four feet away. (See “Focal Range and Flash Range” in Chapter 2.) m The camera may be pointed directly at a bright light. Try a different angle. m The light sensors (above and below the viewfinder lens) may be dirty. Use a soft, dry cloth to clean them. (To locate the light sensors, see “Your Camera at a Glance” in Chapter 1.) m One or both of the light sensors may be covered inadvertently. Be careful not to obstruct the light sensors while you take pictures. Part of a picture is missing m Some part of the lens may be covered. Keep your hands, the neck strap, and other objects away from the lens and the built-in flash. 54 Chapter 5Physical m Depth 6.1 in. (155 mm) m Width 5.3 in. (135 mm) m Height 2.2 in. (55 mm) m Weight 1 lb. (0.5 kg) Technical m Type CCD Still Frame Camera m Image size 320 x 240 pixels standard resolution; 640 x 480 high resolution m Interface GeoPort (Macintosh); RS-232C serial (Windows) m Bit depth 24-bit color m Memory 1 MB Flash EPROM 55 Appendix A SpecificationsCamera m Lens field of view 8 mm (equivalent to 50-mm lens on a 35-mm film camera) m ISO equivalent to approximately ISO 85 m Focus range 4 feet to infinity m Aperture ƒ2.8 to ƒ16 m Shutter speed 1/30 second to 1/175 second m Flash range 4 feet to 9 feet Temperature m Operating 0° to 40° C (32° to 104° F) m Storage (6 months) –40° to 47° C (–40° to 117° F) m Transit (72 hours) –40° to 65° C (–40° to 149° F) m Humidity Classified as Class 1 equipment Power requirements m Standby <500 mW m Operating <4.5 W Operating environment m Temperature 0° to 40° C (32° to 104° F) m Humidity 20 to 95 percent, noncondensing Electrical requirements m Internal power 3 AA batteries (3.6 V DC to 5.4 V DC) m External power 4.5 V DC/1.75 A to 8.0 V DC/1.0 A Accessories m QuickTake 100 Travel Case (part number M2848G/A) m QuickTake 100 Battery Booster Pack (part number M2655G/A) 56 Appendix AThe QuickTake camera comes with three AA rechargeable NiCad (nickelcadmium) batteries and a battery charger. In place of the NiCad batteries, the camera can use other AA batteries. This appendix contains important information about the battery charger and the batteries you can use in the QuickTake camera. Important safety instructions for using the battery charger m Save this manual. It contains important safety and operating instructions. m Before using the battery charger, read all instructions and cautionary markings on the charger, the batteries, and the QuickTake camera. m The battery charger is designed for indoor use only. Do not expose the charger to rain or snow. m Charge only NiCad rechargeable batteries. Charging other types of batteries with the charger that came with the camera may cause them to leak or explode, resulting in personal injury and property damage. m Use of an attachment (such as a battery charger, power supply, or serial cable) not recommended specifically for use with QuickTake 100 and sold by Apple Computer may result in a risk of fire, electrical shock, or injury. m Do not plug the charger into an extension cord. 57 Appendix B Battery Informationm If the charger has been hit, dropped, or damaged in any way, do not operate it. Take it to an authorized service provider for repair. m Do not disassemble the charger. If it needs service or repair, take it to an authorized service provider. Incorrect reassembly may result in fire or electric shock. m To reduce the risk of electric shock, unplug the charger from the electrical outlet before you attempt to clean it. Turning off power to the outlet will not reduce this risk. Caring for batteries Here are some general suggestions for good battery care. m Always handle batteries carefully. m Do not short-circuit battery terminals (that is, do not touch both terminals with a metal object). Do not carry loose batteries in a pocket or purse where they may mix with coins, keys, or other metal objects. Doing so may cause an explosion or a fire. m Do not drop, puncture, disassemble, mutilate, or incinerate the batteries. m Recharge batteries only as described in this manual and only in ventilated areas. m Intense heat can shorten battery life. Do not leave batteries in hot locations (such as the trunk of a car) for more than a day or two. m Do not leave NiCad batteries in storage for longer than 6 months without recharging them. Store unused batteries in a dry place at normal room temperature. m Dispose of used batteries according to the battery manufacturer’s instructions. 58 Appendix BWays to improve battery performance Here are some tips that may help you get the most from your batteries. m When you replace used batteries, replace all the old ones with new ones. Mixing new and used batteries weakens the performance of the new ones. (If you are using rechargeable batteries, replace batteries that are running low with a complete set of fully charged batteries.) m Batteries work best when the contact surfaces are clean. If necessary, clean these surfaces by gently rubbing with a clean pencil eraser or a cloth. Rechargeable NiCad batteries If you’ve used a set of rechargeable batteries for a while, and they seem not to last as long as when they were new, discharge them completely before recharging them. Unless the batteries are wearing out, this should improve their lasting power. WARNING Damaged nickel-cadmium (NiCad) batteries may leak small amounts of potassium hydroxide. This substance can cause severe burns to the skin and eyes. If you touch a damaged battery, immediately rinse your hands and any other affected areas with water for at least 5 minutes. Do not use soap. Battery Information 59You can use the QuickTake 100 camera with a computer running Windows software, but you’ll need a special cable and the Windows version of the QuickTake software. You can purchase the QuickTake 100 Connection Kit for Windows with everything you need. 61 Appendix C Using the Camera with a Windows-Based PCThe QuickTake Setup control panel puts a camera icon on the desktop for convenient access to images on the QuickTake 100 camera. (By the way, you don’t need the camera icon to use the QuickTake 1.0 application program.) 1 Make sure the camera is connected to your Macintosh and turned on. 2 Choose Control Panels from the Apple (K) menu. 3 Open QuickTake Setup. 4 In the box that appears, click Connect To Camera. 63 Appendix D Using QuickTake Setup64 Appendix D The camera icon appears on your desktop. You can use the control panel to m rename the camera m make sure the camera’s clock is reset automatically when you connect your QuickTake 100 to the Macintosh m control the camera’s sleep schedule m erase the images on the camera 5 To see the images on the camera, double-click the camera icon to open it. You have several options for using the images on the camera: m To open an image in the QuickTake 1.0 application program, double-click the image icon. You can use QuickTake 1.0 to save images in formats other than PICT QuickTake (the original format of images on the camera). m To view the images and edit them, use an appropriate image-editing, image-database, or word-processing program. m To move the images to your hard disk, drag them to the disk. You can open and view images on the camera but cannot save them there. 6 To close the control panel, click its close box. 7 To remove the camera from your desktop, drag the icon to the Trash. By the way, you can move the QuickTake Setup icon out of the Control Panels folder to a more convenient place. This icon represents your QuickTake 100 camera. (You don’t need this icon on your desktop to use QuickTake 1.0.) IMPORTANT This erases everything on the camera. You cannot select individual images to erase. To change the time that elapses before the camera goes to sleep, use this pop-up menu. To rename your camera, type a name and click Set Name.A AC adapter 39 accessories 56 aperture 56 AppleTalk 6, 53 applications, copying pictures to 29 B batteries 57–59 caring for 58 charging 4 checking level of 14 cleaning 59 conserving with power adapter 39 conserving with sleep 16 damaged 59 discharging 59 disposing of 58 improving performance of 59 installing 5 rechargeable 57–59 recharging 58 removing for long-term storage 52 replacing 59 safety instructions for 4, 5, 59 storing 58 troubleshooting 59 types to use 57 battery booster pack 40 battery charger caring for 57–58 charging batteries with 4 safety instructions for 57–58 battery compartment 3 battery terminals 58 bit depth, changing 29, 43–44, 48 bit depth specifications 55 C cable, connecting 18–19 Camera Controls command (Camera menu) 37–38, 50 camera icon on desktop 63–64 camera lens 3 Camera menu 49–50 Camera Controls command 37–38, 50 Move All Camera Images to Disk command 21, 49 Set Camera Date & Time command 36, 50 Set Camera Name command 35, 50 View Slides in Camera command 20, 49 65 Indexcamera specifications 56 care of batteries 58 of battery charger 57–58 of camera 51–52 Change Image Depth command (Image menu) 29, 48 charging batteries 4 cleaning batteries 59 camera 51–52 lens 52 clock, setting 36, 50 resetting automatically 64 Close command (File menu) 43 closing active windows 43 color, 24-bit 13 colors (image depth) 44, 48 commands, undoing 46 compression scheme, changing 29 connecting camera to Macintosh 18–20 control buttons 3 control panel, QuickTake Setup 63–64 control panel display 3, 12 controls 12–15 battery level 14 flash settings 12 pictures taken and pictures available 14 resolution settings 13 timer 15 Copy command (Edit menu) 29, 46 copying pictures 46 to another application 29 Create Slide command (Image menu) 23, 48 Crop command (Image menu) 28, 48 cropping pictures 28, 48 customizing software installation 7 Cut command (Edit menu) 46 D date, setting 36, 50 desktop, camera icon on 63–64 disposing of batteries 58 E editing slide names 25, 46 Edit menu 46 Copy command 29, 46 Cut command 46 Paste command 29, 46 Select All command 29, 46 Undo command 29, 46 electrical requirements 56 Erase All button in QuickTake software 37–38 on camera 38 Erase Camera button 64 erasing pictures 37–38, 64 EtherTalk network 53 F file format, changing 31–32, 43–44 File menu 42–45 Close command 43 Get Info command 25 Open command 42 Open Slide Table command 23, 43 Page Setup command 44 Print command 33–34, 44 Quit command 44 Save As command 43–44 Save command 43 flash location of 3 range of 11, 54, 56 recharging 52 setting 12 troubleshooting 53 66 IndexFlash button in QuickTake software 37 on camera 12 flash icon 12 focal range 11, 54, 56 folders creating for pictures 21 opening pictures in 23, 43 format, changing 31–32, 43–44 framing subjects 11 G Get Info command (File menu) 25 grayscale printing 29, 33–34, 45 green light in viewfinder 11, 52 H hard disk, moving images to 64 high resolution, setting 13 high-resolution images 27 printing 34 humidity 56 I, J, K icons camera on desktop 63–64 flash 12 modem port 18 printer port 18 QuickTake 20, 22 resolution 14 serial port 18 timer 15 Trash 38 image depth, changing 29, 32, 43–44, 48 Image menu 47–48 Change Image Depth command 29, 48 Create Slide command 23, 48 Crop command 28, 48 Resize command 27, 48 Rotate command 30, 47 Sort Slides By command 48 View command 27, 47 image size specifications 55 image window changing image depth in 48 cropping pictures in 48 opening pictures in 22 resizing images in 48 rotating pictures in 47 zoom views in 27, 47 images. See pictures Installer 6–7 installing batteries 5 QuickTake software 6–8 custom installation 7 interface 55 interference vi–vii L lens 3, 10 cleaning 52 field of view 56 troubleshooting 54 lens cover 3 keeping closed 51 turning camera off with 18 turning camera on with 10, 19 waking camera with 16 lighting 54. See also flash lights green light in viewfinder 11, 52 red timer light 3, 15 light sensors 12, 54 LocalTalk devices 53 looking at pictures in camera 20 Index 67M Macintosh connecting camera to 18–20 failure to recognize camera 53 opening pictures on 22–23 taking pictures from 37 transferring pictures to 21 using camera with 17–39 working with pictures on 24–39 maintenance 51–53 memory, full 53 memory specifications 55 menu commands 41–50. See also specific menu or command modem port 18 modem port icon 18 Move All Camera Images to Disk command (Camera menu) 21, 49 moving images to hard disk 64 N naming camera 35, 50, 64 pictures 31 slides 25 neck strap 3 NiCad batteries. See batteries O Open command (File menu) 42 opening pictures 22–23, 42, 64 in image window 22 in QuickTake 1.0 64 in slide table 23, 43 opening slides to full-size image 26 Open Slide Table command (File menu) 23, 43 operating environment 56 P Page Setup command (File menu) 44 Paste command (Edit menu) 29, 46 pasting pictures 46 into other applications 29 PC, Windows-based 61 photography. See taking pictures physical specifications 55 PICT format 31–32, 44 PICT QuickTake format 30, 32, 44 pictures changing image depth of 32, 48 changing printed size of 27 changing size with Resize command 27, 48 changing size with View command 27, 47 copying 46 copying to another application 29 creating folder for 21 creating slides 23 cropping 28, 48 date and time stamp for 36, 50 editing slide names 25, 46 erasing from camera 21, 38, 64 getting information about slides 25 moving to hard disk 64 naming 31 number taken and number available 14 opening 22–23, 42 opening slides to full-size image 26 opening slide table 23 previewing 22, 42, 48 printing options for 44 printing single image 34 printing slide table 33 quality of 54 rotating 30, 47 saving 31–32, 43–44 sorting slides 48 68 Indextaking with camera 11–15 taking with Macintosh 37 transferring to Macintosh 21, 49 troubleshooting 52–54 undoing changes to 46 viewing different sizes of 27 viewing in camera 20, 49 working with 24–39 working with selected parts of 46 pixels 13 ports modem port 18 power adapter port 3, 40 printer port 18, 53 serial port 3, 18–19, 53 power. See batteries; power adapter power adapter 39 power adapter port 3, 40 PowerBook AC Adapter 39 power requirements 56 previewing pictures 22, 42, 48 Print command (File menu) 33–34, 44 printer port 18, 53 printer port icon 18 printers, grayscale 29, 33–34, 45 printing pictures 33–34, 44–45 grayscale 29, 33–34, 45 high-resolution images 34 low-resolution images 34 options for 43–44 printing a single image 34 printing slide table 33 Q QuickTake icon 20, 22 QuickTake 100 AC Adapter 39 QuickTake 100 Battery Booster Pack 40 QuickTake 100 Connection Kit for Windows 61 QuickTake 100 Travel Case 40 QuickTake Setup 63–64 QuickTake software AppleTalk and 6, 53 changing pictures with 24–25, 27–31 copying pictures to another application with 29 erasing pictures with 38 installing 6–8 menu commands 41–50 naming camera with 35 opening pictures with 22–31 printing pictures with 33–34 quitting 45 saving pictures with 31–32 setting clock with 36 taking pictures with 37 transferring pictures with 21 upgraded system software and 8 viewing pictures with 20, 26–27 Windows version of 61 Quit command (File menu) 44 R rechargeable batteries 57–59 recharging 4, 57–58 discharging 59 recharging flash 52 red timer light 3, 15 renaming the camera 64 repair 58 replacing batteries 59 resetting the clock automatically 64 Resize command (Image menu) 27, 48 Resolution button in QuickTake software 37 on camera 12 resolution icons 14 resolution settings 13 Rotate command (Image menu) 30, 47 rotating pictures and slides 30, 47 Index 69S safety instructions batteries 5, 59 battery charger 4, 57–58 Save As command (File menu) 31, 43–44 Save command (File menu) 31, 43 saving pictures 31–32, 43–44 Select All command (Edit menu) 29, 46 selecting whole picture 29, 46 serial cable connecting 18–19 disconnecting 53 serial port 3, 18–19, 53 serial port icon 18 service 52, 58 Set Camera Date & Time command (Camera menu) 36, 50 Set Camera Name command (Camera menu) 35, 50 setting camera clock 36, 50, 64 shadowed subjects, photographing 12 Show Preview 22, 42 shutter 3, 11 waking camera with 16 shutter speed 56 sleep setting time for 64 waking from 16 slides creating 23 editing names of 25, 46 getting information about 25 opening to full-size image 26 previewing 48 rotating 47 sorting 48 viewing in camera 20 slide table 20 creating slides in 48 opening 23 printing 34 rotating pictures in 47 sorting slides in 48 software. See applications; QuickTake software sorting slides 48 Sort Slides By command (Image menu) 48 specifications 55–56 standard resolution, setting 13 standard resolution images 27 printing 34 storing batteries 58 camera 52, 56 system requirements 2 system software version 7.0.1•, QuickTake software and 6, 53 upgrading 8 T taking pictures 11–15 focusing 11, 54, 56 framing subjects 11 from Macintosh 37 of shadowed subjects 12 resolution settings 13 tracking pictures taken and pictures available 14 troubleshooting 52–54 with or without flash 11–12 with timer 15 technical specifications 55–56 temperature specifications 56 TIFF format 31–32, 44 70 Indextime, setting 36, 50 Timer button in QuickTake software 37 on camera 12, 15 timer icon 15 timer light 3, 15 transferring pictures to Macintosh 21, 49 Trash icon 38 travel case 40 traveling with the camera 40 tripod mounting hole 3 troubleshooting 52–54 batteries 59 flash 53 Macintosh doesn’t recognize camera 53 picture quality 54 taking pictures 52–53 viewfinder 53 turning off camera 18 turning off flash 12 turning on camera 10, 19 U Undo command (Edit menu) 29, 46 upgrading system software 8 V View command (Image menu) 27, 47 viewfinder framing subject with 11 green light in 11, 52 location of 3 troubleshooting 53 viewfinder lens 3 viewing pictures in camera 20 View Slide in Camera command (Camera menu) 20, 49 W, X, Y waking the camera 16 windows, closing 43 Windows-based PCs, using camera with 61 Windows menu 50 Z zoom views in image window 27, 47 Index 71Apple Computer, Inc. 1 Infinite Loop Cupertino, California 95014-6299 408.996.1010 TLX 171-576 030-6161-A Printed in U.S.A. ð Personal LaserWriter300 User’s Guide ðK Apple Computer, Inc. This manual and the software described in it are copyrighted, with all rights reserved. Under the copyright laws, this manual or the software may not be copied, in whole or part, without written consent of Apple, except in the normal use of the software or to make a backup copy of the software. The same proprietary and copyright notices must be affixed to any permitted copies as were affixed to the original. This exception does not allow copies to be made for others, whether or not sold, but all of the material purchased (with all backup copies) may be sold, given, or loaned to another person. Under the law, copying includes translating into another language or format. You may use the software on any computer owned by you, but extra copies cannot be made for this purpose. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. © Apple Computer, Inc., 1993 20525 Mariani Avenue Cupertino, CA 95014-6299 (408) 996-1010 Apple, the Apple logo, AppleTalk, LaserWriter, and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Chicago, Finder, Geneva, GrayShare, Monaco, New York, System 7, and TrueType are trademarks of Apple Computer, Inc. Adobe, Adobe Illustrator, and PostScript are trademarks of Adobe Systems, Incorporated, registered in the United States. Adobe Photoshop is a trademark of Adobe Systems Incorporated. Helvetica, Palatino, and Times are registered trademarks of Linotype Co. ITC Avant Garde, ITC Bookman, ITC Zapf Chancery, and ITC Zapf Dingbats are registered trademarks of International Typeface Corporation. MacPaint is a registered trademark of Claris Corporation. QMS is a registered trademark, and ColorScript is a trademark, of QMS, Inc. QuarkXPress is a registered trademark of Quark, Inc. Simultaneously published in the United States and Canada. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.Radio and television interference v Preface About Your Personal LaserWriter 300 vii Energy conservation mode vii TrueType fonts viii GrayShare viii Sharing your printer viii Printing grayscale viii Chapter 1 Setting Up Your Printer 1 Choosing a location for the printer 1 Carrying the Personal LaserWriter 300 2 Important safety instructions 2 Connecting the printer to a Macintosh 3 Choosing a port 3 Installing the printer software 4 System requirements 4 Installation 5 Chapter 2 Adding Toner and Paper 7 Removing the plastic shipping restraints 7 Installing or changing a toner cartridge 8 Plugging in the printer 10 Loading the paper cassette 11 Loading 3-hole punched paper 13 Loading letterhead paper 13 Loading legal-size paper 14 Chapter 3 Printing 15 Turning on the printer 15 Choosing face-down or face-up delivery 16 Using the Chooser the first time you print 17 Defining the page setup 18 Printing a document 19 Printing paper or envelopes with the manual feed slot 20 iii ContentsPrinting on both sides of a page 21 Sharing your printer with other users 21 Using a shared printer connected to another Macintosh 23 Controlling the use of your printer by others 24 Chapter 4 Tips and Troubleshooting 25 Safety precautions 25 Checking the printer’s status lights 27 Solving some common problems 28 About paper 37 About fonts 38 How to use different kinds of fonts 38 Use restraint when choosing fonts 39 Add emphasis and contrast 39 Be careful setting alignment and columns 40 Choose the right size 40 Find out more 40 Appendix Specifications 41 Index 43 iv ContentsImportant This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. See instructions if interference to radio or television reception is suspected. Radio and television interference The equipment described in this manual generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and complies with the limits for a Class B digital device in accordance with the speci?cations in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that the interference will not occur in a particular installation. You can determine whether your computer is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures: m Turn the television or radio antenna until the interference stops. m Move the computer to one side or the other of the television or radio. m Move the computer farther away from the television or radio. m Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult your authorized Apple dealer or an experienced radio/television technician for additional suggestions. You may find helpful the following booklet, prepared by the Federal Communications Commission: Interference Handbook (stock number 004-000-00345-4). This booklet is available from the U.S. Government Printing Office, Washington, DC 20402. vS Important: Changes or modifications to this product not authorized by Apple Computer, Inc., could void the FCC Certification and negate your authority to operate the product. This product was tested for FCC compliance under conditions that included the use of shielded cables and connectors between system components. It is important that you use shielded cables and connectors to reduce the possibility of causing interference to radios, television sets, and other electronic devices. For Apple peripheral devices, you can obtain the proper shielded cables from your authorized Apple dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. S DOC Class B Compliance This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the radio interference regulations of the Canadian Department of Communications. Observation des normes—Classe B Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la Classe B prescrites dans les règlements sur le brouillage radioélectrique édictés par le Ministère des Communications du Canada. s Warning: Making adjustments or performing procedures other than those specified in your equipment’s manual may result in hazardous exposure. s s Warning: Do not attempt to disassemble the cabinet containing the laser. The laser beam used in this product is harmful to the eyes. The use of optical instruments, such as magnifying lenses, with this product increases the potential hazard to your eyes. For your safety, have this equipment serviced only by an authorized Apple service provider. s This printer is a Class 1 laser product. It carries a Class 1 label underneath the printer and a service warning label inside the printer. Service warning label Class 1 label viAbout Your Personal LaserWriter 300 The Personal LaserWriter 300 includes many features designed to produce high-quality text and graphics and deliver the performance of higher-priced laser printers. This preface describes the printer’s main features: m Energy conservation mode maintains your printer in a standby state that conserves energy by shutting off most of the printer’s functions when they are not in use. The printer “wakes up” automatically when you print a document. m TrueType fonts produce sharp characters at any size on the screen or printer. m GrayShare software lets you print grayscale images and share your personal printer with other users on a network. Energy conservation mode One of the first things you will notice about your Personal LaserWriter 300 is that it has no power on/off switch. This is because it is equipped with energy conservation mode, an automatic on/off feature that conserves energy by shutting off most of the printer’s functions when they are not in use. The printer remains in a standby state. When the printer detects something to be printed, it “wakes up” and goes to full power. After printing your document, the printer automatically returns to standby. As long as the Personal LaserWriter 300 is plugged in, it will be on standby. While on standby, the Ready/In Use status light (marked with the icon U) glows steadily. When you send the printer something to be printed, the light will flash and you will hear a fan come on. The Personal LaserWriter 300 is intended to be plugged in and on standby continuously. There is no need to unplug it, except for maintenance or moving. The printer consumes very little energy when it is on standby—less than 10 watts, about the same amount as a night-light. vii PrefaceTrueType fonts All fonts supplied with the LaserWriter are TrueType fonts. TrueType is a font technology from Apple Computer that produces sharp characters at any size on the screen or printer. The disks provided with your LaserWriter contain many widely used font families, including ITC Avant Garde® , ITC Bookman® , Courier, Helvetica® , Helvetica Narrow, New Century Schoolbook, Palatino® , and Times® , as well as four Apple fonts—Chicago, Geneva, Monaco, and New York—and three special-purpose fonts: Symbol, ITC Zapf Chancery® , and ITC Zapf Dingbats® . The Personal LaserWriter 300 is compatible with all font technologies for the Macintosh, including TrueType, bitmaps, and Type 1 fonts used with Adobe Type Manager. See “About Fonts” in Chapter 4, “Tips and Troubleshooting,” for more information. GrayShare Sharing your printer With the GrayShare printer software provided, you can either use the Personal LaserWriter 300 as a personal printer available to your Macintosh only, or share the printer with additional users connected to your network. When you share the printer, it remains connected to your own Macintosh. Network users can see the printer’s name and select it in the Macintosh Chooser like any other network printer. The documents they send to your printer are stored temporarily on your computer’s disk and printed in the order received. You have complete control over the shared printer. You can turn sharing on or off at any time. You use the Print Monitor program in your Macintosh system software to view and delete the print jobs that have been sent to your printer. Chapter 3 provides complete instructions about sharing. Printing grayscale The Personal LaserWriter 300 prints images in more than 30 levels of gray. Grayscale printing produces finer images. Choosing grayscale printing is explained in “Printing a Document” in Chapter 3. viii Preface: About Your Personal LaserWriter 300Setting Up Your Printer This chapter tells you how to connect the printer to your computer and install the printer software. S Important: Do not plug the printer in at this time. After you connect the printer to your computer, and install the printer software, you should continue with Chapter 2, “Adding Toner and Paper.” After you add the toner, you can plug the printer in. Plugging the printer in before adding toner can cause a paper jam when the printer starts up for the first time. S Choosing a location for the printer Choose a flat, stable surface with adequate room around the printer as shown. The area should be well ventilated and away from direct sunlight or sources of heat, cold, or humidity. Allow 4 inches (10 cm) at the back of the printer for airflow. Allow 21 inches (52 cm) at the front of the printer to allow access to the paper cassette. Allow space for airflow around the vent. 1 Chapter 1Carrying the Personal LaserWriter 300 To carry the Personal LaserWriter 300, hold it firmly and level with both hands. Holding the printer in positions other than the one shown may cause an accident. Place the LaserWriter on the flat, stable surface you have chosen. s Warning: Never lift the LaserWriter by the front and rear of the cassette, or the face-down delivery tray; otherwise, the printer may drop and be damaged. s Important safety instructions Always take the following precautions: m Protect the printer from dampness and sources of liquids. m Don’t use devices that produce open flames, such as Bunsen burners, near the printer. m Don’t use alcohol-based or ammonia-based cleaners on or around the printer. m Clean the printer with only a damp cloth and, if necessary, a mild soap or detergent. Be careful to avoid getting liquid in the printer or the power cord receptacle. Disconnect the power plug immediately if any of the following situations occur: m The power cord or plug is frayed or damaged. m Liquid gets spilled on or into the printer. m The printer needs cleaning, servicing, or repair. s Warning: Electrical equipment may be hazardous if misused. Operation of the printer must always be supervised by an adult. Do not allow children access to the interior of the printer and do not permit them to handle any cables. s 2 Chapter 1: Setting Up Your PrinterConnecting the printer to a Macintosh To connect the printer, you need an Apple Peripheral-8 cable, part number M0197. The Apple Peripheral-8 cable has special shielding to reduce the possibility of causing interference to radios, television sets, and other electronic devices. If you do not have an Apple Peripheral-8 cable, you can obtain one from an authorized Apple dealer. Choosing a port Your Macintosh has a printer port (marked with the icon [) and a modem port (marked with the icon W). You can attach the printer cable to either of these ports. If your computer is connected to a network, your printer port may already be connected to a network cable. If the printer port is unavailable, you can use the modem port. S Important: If your computer is not connected to a network, and you plug your printer cable into the printer port, you must make sure that AppleTalk is inactive in the Macintosh Chooser desk accessory. See “Using the Chooser the First Time You Print” in Chapter 3. S No matter which Macintosh you have, these icons identify the printer and modem ports. Press the cable firmly into this notch to secure it. Chapter 1: Setting Up Your Printer 3Installing the printer software Before you can print, you may need to install the software from the disks that came with your printer. To protect the disks, it is a good practice to lock them before use. See your Macintosh User’s Guide for information on locking floppy disks. v Is your software already installed? Some Macintosh computers come with printer software already installed on the hard disk. If your computer has the LaserWriter 300 software already installed, you do not need to install the printer software. v To see if your computer already has the LaserWriter 300 software, open the Apple (K) menu and choose the Chooser. If the LaserWriter 300 software is on your hard disk, the LaserWriter 300 icon will appear in the Chooser. If you see the LaserWriter 300 icon, skip this section of this book, and go on to Chapter 2, “Adding Toner and Paper.” System requirements The printer software can operate on a Macintosh using System 7 with at least 2 MB of memory, or System 6.0.7 with at least 1 MB of memory. Performance is best using System 7 with at least 4 MB of memory, or System 6.0.7 with at least 2 MB of memory. If your system software is an earlier version, you need to obtain a system software upgrade from your computer or software dealer. 4 Chapter 1: Setting Up Your Printer LaserWriter 300 iconInstallation Before you install the printer software, quit any application programs that may be open. If you have virus protection software, turn it off. Then follow these steps: 1. Insert the LaserWriter 300 Install disk and open the disk icon. A window appears, showing the contents of the disk. 2. Drag the TeachText icon to your hard disk. If you already have a copy of TeachText on your hard disk, you don’t need to drag this icon. 3. Double-click the Installer icon to open it. The Installer’s Welcome screen describes the items that will be installed on your disk. 4. Click OK to clear the Welcome screen and display the Easy Install dialog box. v Installing customized printer software: These instructions cover the Easy Install process, which is recommended for most Macintosh users. If you click Customize before you click Install, you can select individual items to install from the disks. This is not recommended unless you are an experienced user and know which items to select. v continues . Chapter 1: Setting Up Your Printer 55. Make sure that the disk indicated on the screen is the one on which you want to install printer software. If the wrong disk name appears, click Switch Disk until the correct name appears. 6. Click Install. If any of your system’s application programs are open, a message appears warning you that you must quit the applications before installing the printer software. Click Continue to quit the applications. Status messages inform you of progress during installation. 7. Insert additional disks when messages on your screen request them. 8. When you see a message reporting that the installation was successful, click Restart. Go on to Chapter 2 to install a toner cartridge and load the paper cassette, and then to Chapter 3 when you’re ready to begin printing. If you have virus protection software, turn it back on after the installation. v Read the ReadMe file: The ReadMe file on the LaserWriter 300 Install disk contains the latest information about your Personal LaserWriter 300. Double-click this file to open and read it; then choose Quit from the File menu to close it. v 6 Chapter 1: Setting Up Your PrinterAdding Toner and Paper This chapter tells you how to install a toner cartridge into the printer and load paper into a cassette. S Important: If you are setting up your Personal LaserWriter 300 for the first time, please add toner and paper before you plug your printer into an outlet. Otherwise, a paper jam may occur when your printer starts up. S Removing the plastic shipping restraints If you are installing a toner cartridge for the first time, you must remove the two orange plastic shipping restraints from inside the printer before you can install the cartridge. 1. Open the printer access door. 2. Remove the shipping restraints. Press on the restraints to remove them. If you are installing for the first time, remove the plastic shipping restraints. Press the release button to open the access door. 7 Chapter 2Installing or changing a toner cartridge Toner is the powdered ink that produces the image on the paper. Follow these steps to install a toner cartridge into the printer. 1. Open the printer access door. 2. If you are replacing a used cartridge, remove the old cartridge and set it aside. 3. Unpack the new toner cartridge and gently rock it to distribute the toner inside. Save the protective bag. If you move or transport your printer, you will need to remove the cartridge and transport it separately in the bag. Do not expose the cartridge to direct sunlight. Don’t expose it to room light for more than five minutes, or the life of the cartridge may be reduced. Gently rock the toner cartridge. Press the release button to open the access door. 8 Chapter 2: Adding Toner and Paper4. Pull the tab to remove the tape. s Warning: Be sure to pull the tape in the direction shown. Don’t pull it too quickly or at too sharp an angle; otherwise, the tape may break. s 5. Insert the cartridge into the printer. Line up the markings on the sides of the cartridge with the arrows in the printer. 6. With both hands, press down gently on the cartridge to secure it in place. 7. Close the access door. Align arrows. Pull the tape completely out. Pull the tape in the direction shown. Do not pull it to either side or it may break. Chapter 2: Adding Toner and Paper 9Plugging in the printer A power cord is supplied with your printer. Be sure the power cord is within easy reach, in case you want to unplug the printer. When you plug the power cord into an outlet, the Ready/In Use light comes on. s Warning: The Personal LaserWriter 300 is equipped with a three-wire grounding plug—a plug that has a third (grounding) pin. This plug fits only a grounding-type AC outlet. If you are unable to insert the plug into an outlet, contact a licensed electrician to replace the outlet with a properly grounded one. This equipment is meant to be electrically grounded. Do not defeat the purpose of the grounding plug! s Press the power cord firmly into this notch to secure it. 10 Chapter 2: Adding Toner and PaperLoading the paper cassette The universal paper cassette supplied with your printer holds up to 100 sheets of copier-weight bond paper. The paper size can be U.S. Letter, A4, U.S. Legal, or Executive. For good advice on paper quality, see Chapter 4, “Tips and Troubleshooting.” To load the paper cassette: 1. Take the cassette out of the printer and place it on a flat surface. If you are loading the paper cassette for the first time, remove the orange cardboard and plastic shipping inserts. 2. Adjust the sliding backstop in the cassette so it clicks into the notch for the appropriate paper size. Be sure the backstop is in one of the notches. Setting it between notches will result in a printing error. To change paper size, slide the paper guide in the direction of the arrow and line up the paper guide pointer with the paper size you want. continues . Adjustable paper guide Sliding backstop If you are installing for the first time, turn the paper cassette over and press both clips to remove the plastic insert. Chapter 2: Adding Toner and Paper 113. Insert a stack of paper that fits below the top edge of the paper bracket inside the cassette. 4. Slide the cassette into the printer. To remove the cassette to refill it, grasp it and pull firmly straight out. Push firmly to make sure the cassette is in place. Make sure paper fits under the corner brackets. Insert paper this end first. Corner bracket 12 Chapter 2: Adding Toner and PaperLoading 3-hole punched paper Follow the instructions for loading ordinary paper, and position the sheets as shown below. Loading letterhead paper Follow the instructions for loading ordinary paper, and position the sheets as shown below. Insert letterhead paper face down with the top of the page at this end of the cassette. The holes should line up along this side of the cassette. Chapter 2: Adding Toner and Paper 13Loading legal-size paper Follow the instructions for loading ordinary paper, adjusting the sliding backstop to accommodate legal-size paper. Slide the cassette firmly into the printer. The cassette and paper will extend out the back of the printer. 14 Chapter 2: Adding Toner and PaperPrinting This chapter explains how to print documents on a Personal LaserWriter 300 connected to your own Macintosh, to share the printer with other users on a network, and to use shared printers connected to other computers on the network. More printing instructions can be found in the manuals for your applications, such as word processing programs. These programs may include additional printing controls. Before you use the printer, you should have installed the software as described in Chapter 1, and installed a toner cartridge and paper cassette as shown in Chapter 2. Turning on the printer One of the first things you will notice about your Personal LaserWriter 300 is that it has no power on/off switch. As soon as the printer is plugged into an outlet, its power is on and the printer is in a standby state. There is no wait for the printer to warm up. The Personal LaserWriter 300 is equipped with an energy conservation mode, an automatic on/off feature that conserves energy by shutting off most of the printer’s functions when they are not in use. The printer remains on standby. When the printer detects something to be printed, it “wakes up” and goes to full power. After printing your document, the printer automatically returns to standby. As long as the printer is plugged in, it will be on standby. While on standby, the printer’s Ready/In Use status light (marked with the icon U) glows steadily. When you send the printer something to be printed, the light will flash and you will hear a fan come on. The Personal LaserWriter 300 is intended to be plugged in and on standby continuously. There is no need to unplug it, except for maintenance or moving. When it is on standby the printer consumes very little energy—less than 10 watts, about the same amount as a night-light. 15 Chapter 3Choosing face-down or face-up delivery You can select either face-down or face-up paper delivery with your Personal LaserWriter 300, depending on the type of paper you are using. When you choose face-down delivery, paper comes out into the delivery tray on top of the printer, face down and stacked in order. The delivery tray can hold at least 25 sheets of standard copierweight bond paper. Face-down delivery is useful when you want your document collated; but it is limited to plain paper only. To select face-down delivery, set the paper delivery selector as shown here: In face-up delivery, paper comes out of the face-up delivery slot at the back of the printer. Face-up delivery uses a straight paper path, which helps to avoid paper jams and curl. Face-up delivery is required for envelopes, transparencies, labels, and other special papers. If you choose face-up delivery, be sure there is enough space behind the printer for the paper to come out. To select face-up delivery, set the paper delivery selector as shown here: Set the selector for face-up delivery. Paper delivery selector Set the selector for face-down delivery. Paper delivery selector 16 Chapter 3: PrintingUsing the Chooser the first time you print You use the Chooser desk accessory to tell the Macintosh where to send print jobs. In the Chooser, you choose the port to which you connected the Personal LaserWriter 300, and can also choose among printers connected to your network, if any. S Important: Once you choose the printer in the Chooser, you won’t need to repeat this step unless you change printers or change the way your printer is connected. S 1. Choose the Chooser from the Apple (K) menu. 2. After you choose the printer, close the Chooser. Chapter 3: Printing 17 First click the LaserWriter 300 icon in this box. Then click the serial port that you used to connect the printer. Click here to share the printer over a network or to create a log of printed jobs. See “Sharing Your Printer With Other Users.” Be sure to make AppleTalk inactive if your computer is not on a network and you connected the printer to the printer port (marked with the icon [). Background Printing lets you use your computer for other things while it is printing. For details, see the Print Monitor instructions in your Macintosh User’s Guide.Defining the page setup The Page Setup command is found in the File menu of nearly all Macintosh programs. Depending on the program you are using, some of the options in this dialog box may change. You need to choose Page Setup only if you want to change settings. 18 Chapter 3: Printing Click here to reduce the image by 4%. This makes the printed dots proportional to the dots on your screen so there is no distortion when you print a bitmapped image. Click here to reduce the margins and print closer to the edge of the page. Click one of these icons to choose vertical or horizontal page orientation. Type any size from 5% to 999% or choose a preset size. Click Options to display the page setup options. Choose from six paper sizes: U.S. Letter, U.S. Legal, Executive, A4, #10 Envelope, and Monarch Envelope.Printing a document The Personal LaserWriter 300 prints your document using the cassette or manual feed. See the next section for instructions if you choose Manual Feed as the paper source. 1. Open the document you want to print or select its icon in the Macintosh Finder. 2. Choose Print from the File menu. 3. Choose the appropriate settings and click Print. After a moment, the Ready/In Use light begins to blink. Then you will hear the fan come on. There will be a brief wait before printing. Chapter 3: Printing 19 To print more than one copy, type a number here. Choose from an alert message or a system sound to notify you when a print job is finished. Choose the paper source from the top menu. To print the first page on special paper, click “First from” and use both menus. If you don’t want to print all pages, click in these boxes and type the first and last page to print. Click here to display the printer’s density control. See “The Image Is Too Light or Too Dark” in Chapter 4 for details. Choose Grayscale or Black and White printing. If your document contains colors or shades of gray, Grayscale produces a sharper image. Black and White printing is faster, but produces a coarser image. Printing paper or envelopes with the manual feed slot If you want to use paper that is different from the paper in the cassette, you can use the manual feed slot to insert sheets one at a time as the document is printed. You can also use this slot to print on envelopes and other nonstandard paper sizes. 1. Open the document you want to print or select its icon in the Macintosh Finder. 2. Choose Print from the File menu. 3. In the Print dialog box, choose Manual Feed from the Paper Source pop-up menu. 4. Click Print. The sheet you inserted is printed. If the document has additional pages, a message on your screen will alert you each time a new sheet is needed. To avoid paper jams, always wait for the prompt before inserting a new sheet. 5. Insert a sheet of paper or envelope as shown. Be sure to keep the page straight so it feeds correctly. Feed envelopes flap side down. Align along this edge. 20 Chapter 3: Printing Choose Manual Feed.Printing on both sides of a page Follow these steps to print a document using both sides of the paper. 1. Print the first side of the page using manual feed or the paper cassette. 2. Take out the printed sheet, turn it over, and print the second side using manual feed, inserting the sheet as shown here. Always use manual feed for printing the second side. To avoid jams, don’t load already printed pages into the paper cassette. Sharing your printer with other users If your Macintosh is connected to a network, you can set up your printer to let other users on the network use it. Follow these steps to turn on the printer’s sharing feature: 1. Choose the Chooser from the Apple (K) menu. 2. Click the LaserWriter 300 icon. continues . Top of sheet Chapter 3: Printing 21 Click the LaserWriter 300 icon in this box. Click the serial port to which you connected the printer. Click Setup. Make AppleTalk active.3. Make AppleTalk active if it is not already active. 4. Click Setup. 5. Click Share this Printer and enter the options for the shared printer and in the Setup dialog box. Background printing is automatically turned on when a printer is shared. For details, see the Print Monitor instructions in your Macintosh User’s Guide. 6. Click OK. 7. Close the Chooser window. Network users can now choose your printer in their Chooser (see the next section for details). 22 Chapter 3: Printing Click to place an X in this checkbox. Type a name for the printer. This is the name other users will see in their own Chooser. Type a password if you want to share the printer with only users who know the password. Click to place an X here if you want to keep a record of all print jobs. The log file (a text file) is kept in the Printer Preferences folder in the Preferences folder inside your System Folder.Using a shared printer connected to another Macintosh To print on a shared Personal LaserWriter 300, network users must have the LaserWriter 300 driver installed on their computers, AppleTalk must be active, and the shared printer and Macintosh must be turned on. Each user wanting to use the shared printer should use the LaserWriter 300 installation disks and follow the instructions in Chapter 1 to install the printer software. Once the software is installed, the shared printer appears in the list of network printers available in the Chooser desk accessory. 1. Choose the Chooser from the Apple (K) menu. 2. Click the LaserWriter 300 icon. 3. In the list of printers on the right, click the name of the shared LaserWriter you want to use. You can click the Get Info button in the Chooser window to see whether any fonts in your system are unavailable on the selected printer. If your document contains any such fonts, printing will be slower, because information about the fonts must be sent from your computer to the printer. (For faster printing, use a printer on which the fonts are available, or install the fonts on the Macintosh to which the shared printer is connected.) 4. Close the Chooser. Your Macintosh will now send all subsequent print jobs to the shared printer. Chapter 3: Printing 23 First click the LaserWriter 300 icon. Then click the name of the shared printer.Controlling the use of your printer by others After you turn on the sharing feature, you still have complete control over the shared printer: m You can turn sharing on or off at any time. m You can type a password in the Sharing Setup dialog box so only those who know the password can use your printer. m You can use the Print Monitor program in your Macintosh system software to view a list of print jobs that have been sent to your printer, and to delete any jobs in the list. The Print Monitor program is available when you have Background Printing turned on in the Chooser, and comes on automatically when others use your shared printer. Refer to your Macintosh User’s Guide for more information about the Print Monitor program. v Your computer’s performance: When others use your printer, their documents are printed in the background so your work is not interrupted. While your computer is printing in the background, you may experience an occasional pause or other symptoms of reduced performance. v 24 Chapter 3: PrintingTips and Troubleshooting This chapter provides solutions to printing problems you may encounter while using your printer. s Warning: If you have a problem with your printer and nothing presented in this chapter solves it, see the service and support information that came with your printer or computer. If you attempt to repair the printer yourself, any damage you may cause to the printer will not be covered by the limited warranty. s See page 2 for additional safety information. Safety precautions Consider these rules of safety before you open the printer or attempt to troubleshoot problems: m Don’t attempt to disassemble the printer. m Don’t use oil inside the printer. m Don’t use ammonia-based cleaners on or around the printer. They may react with the toner. m Don’t use alcohol-based cleaners on or around the printer. They may react with the plastic case. m Don’t leave the access door open. Exposing the toner cartridge to light may damage the cartridge. continues . 25 Chapter 4m Don’t open the drum-protection shutter on the toner cartridge. m Be sure the power cord is within easy reach, should you want to unplug the printer at any time. Since the Personal LaserWriter 300 has no power switch, unplugging it is the only way to turn it off. m Never try to manually defeat the interlock switches inside the printer. S Important: The fixing assembly in the printer operates at very high temperatures. When you need to open the printer, be careful not to touch the fixing assembly. S Some odor from the heat of the printing process is normal. Fixing assembly. This area gets very hot. 26 Chapter 4: Tips and TroubleshootingChecking the printer’s status lights Always check the status lights first when a printing problem occurs. These often tell you the cause of the problem. m The Ready/In Use light should glow steadily whenever the printer is on, and blink when it is printing. m The Paper Out light is on only when there is no paper in the cassette, or the printer is waiting for manual feed. m The Paper Jam light is on when any obstruction occurs in the paper path. Paper Out light Ready/In Use light Paper Jam light Chapter 4: Tips and Troubleshooting 27Solving some common problems The Chooser doesn’t show the LaserWriter 300 icon If the LaserWriter 300 icon is missing from the box that identifies different printer types, you need to install the printer software from the disks that came with your printer. To install the software, follow the instructions in “Installing the Printer Software” in Chapter 1. Then make sure you select the printer, as shown in “Using the Chooser the First Time You Print,” in Chapter 3. The Macintosh can’t find the printer If you have selected the printer icon in the Chooser but nothing prints or you get a message that no printer has been found, one of the following may be the cause: m The printer has been unplugged. Make sure it is plugged securely into an outlet (the green status light should be on). m In the Chooser, you may have chosen the wrong printer or selected the wrong serial port (the modem port instead of the printer port, or vice versa). Select the correct Chooser options as described in “Using the Chooser the First Time You Print,” in Chapter 3. m There’s a loose plug somewhere. Check to make sure that both ends of the cable are properly connected. See Chapter 1, “Setting Up Your Printer.” m If you are connected to a network and are printing on a shared Personal LaserWriter 300, check to be sure you have chosen the correct zone in the Chooser. The Macintosh to which the printer is connected must be turned on. If you still can’t resolve the problem, the printer may not be functioning properly. Contact an authorized Apple service provider about repairs. 28 Chapter 4: Tips and Troubleshooting If there’s no LaserWriter 300 icon here, you haven’t installed the printer software correctly.Printing takes a long time Printing may be slow on pages containing complex graphics or pages printed using landscape (horizontal) orientation. The processing speed of your computer and the amount of memory it has directly affect printing time. A faster computer or more memory results in faster printing. The printer won’t print a particular page or document If a document contains a page with very complex graphic images, the printer may be unable to print the page. You will see a message telling you that your printer has “insufficient memory.” Remove some of the complex detail from that page (or spread the information over two pages) and try again to print it. You are more likely to experience this problem when printing legal-size documents. Chapter 4: Tips and Troubleshooting 29Type looks jagged or some text changes to the Geneva font The most likely cause of this problem is that you are using a nonTrueType font. LaserWriter 300 printers use two kinds of fonts: outline fonts and bitmapped fonts. TrueType fonts are outline fonts. Each character in an outline font is produced by instructions that describe its shape. A character from an outline font can be printed smoothly in any size you specify. Your Personal LaserWriter 300 comes with a set of TrueType fonts (see “About Fonts,” later in this chapter). Bitmapped fonts are fixed in shape and size: Your printer can produce smooth bitmapped characters only in the sizes for which it has instructions (a map of dots for each font size). If you use a bitmapped font in a size for which your printer does not have instructions, your system tries to create the size you want. The resulting type can look jagged. Even a font that looks good on your screen can look bad when printed out. The best solution to this problem is to switch to a TrueType version of the font you want to use. To see if you have a TrueType version: 1. Find your Fonts on your system. If you have System 7, version 7.1 or higher, open your System Folder and then open your Fonts folder. If you have an earlier version of System 7, open your System Folder. If you have System 6, insert your LaserWriter 300 Install disk and double-click the Font-DA Mover. 30 Chapter 4: Tips and Troubleshooting2. Look in the list of fonts for the font you wish to use. If it is a TrueType font, its icon will look something like this: If it is a non-TrueType font, its icon will look like this: If you are using System 6, you will see a list of font names in the Font-DA Mover. If the font name has a number next to it, then it is a non-TrueType font. If a TrueType version of your font is available, use it in your documents. When your computer runs low on memory, TrueType turns itself off and some TrueType fonts may be displayed and printed in the Geneva font. If you’ve installed fixed-size versions of your TrueType fonts, they will not change to Geneva, but they will look very jagged when TrueType is turned off. For more help with fonts, see “About Fonts,” later in this chapter. Chapter 4: Tips and Troubleshooting 31 This number tells you the size of the font.The printer prints on only part of the paper Make sure you have selected the appropriate paper size in the Page Setup dialog box. Check the adjustment of the sliding backstop in the paper cassette to make sure it is correct for your paper size. See “Loading the Paper Cassette” in Chapter 2. Paper is jammed To avoid paper jams, make sure the paper cassette is properly loaded with one of the recommended paper types. (See “Paper Feeds Improperly,” next.) If you are using manual feed, be sure to wait for the prompt before inserting a new sheet. Paper jams are sometimes caused by moving or jarring the printer. 32 Chapter 4: Tips and TroubleshootingIf the Paper Jam status light is on, follow these steps: 1. Remove the paper cassette. Be sure the paper is loaded correctly in the paper cassette. The stack of paper should fit under all the corner brackets. With the paper cassette removed, look inside the printer and remove any jammed sheets you see. 2. Open the printer and remove the cartridge. Look inside the printer and remove any jammed sheets you see. Pull the sheet straight out. Avoid pulling at an angle that might tear the paper and leave scraps inside the printer. Replace the toner cartridge when done. continues . Chapter 4: Tips and Troubleshooting 333. Open the printer’s back door as shown below. Press the paper release lever and pull the jammed sheet out through the front. This type of jam is often caused by an interruption in printing. 4. If the paper is wrapped around the roller, remove it as shown below. Press the paper release lever. 34 Chapter 4: Tips and TroubleshootingPaper feeds improperly If paper tears, gets skewed, or comes through the printer crumpled, it may not be entering the printer properly. Remove any jammed sheets from inside the printer. Remove the paper cassette, turn the stack of paper over, and replace the cassette (most paper has one side that prints better). It may also help to fan the edge of the stack with your thumb, in case some of the sheets are stuck together. Make sure the stack of paper is loaded correctly into the paper cassette, and fits under all the corner brackets. Some papers cause jams because they are not intended for use with laser printers. See “About Paper,” later in this chapter, for advice on choosing papers. Unwanted lines or stripes appear If white or dark lines appear on the page, try the following: m Remove the toner cartridge and rock it to redistribute the toner. Be sure to hold the cartridge horizontally. Chapter 4: Tips and Troubleshooting 35Toner stains appear on printed pages If the printed pages are not clean, there may be a buildup of toner on the printing rollers. If stains appear on the backs of printed pages, you may have printed an image that is larger than the paper, causing toner to be deposited in the paper path. To clean the rollers, print several blank pages until the stains disappear. The image is too light or too dark If printing is too light or too dark, try the following: m Take out the toner cartridge and rock it gently to distribute toner. If this doesn’t help, you may need to replace the cartridge. See “Installing or Changing a Toner Cartridge” in Chapter 2 for instructions. m Choose Print from the File menu and click Options to display the Print Density control. m If the problem occurs on paper other than the recommended copier-weight bond, the toner may not adhere well to the paper you are using. Try using a fresh package of paper. For advice on choosing paper for your laser printer, see “About Paper,” next. 36 Chapter 4: Tips and Troubleshooting Drag the slider toward the right to darken the image.About paper Many problems, such as toner smearing, paper curling, or paper feeding improperly, can be caused by the paper you are using. To assure good results, use only paper, envelopes, and transparencies that are manufactured for use with laser printers and photocopy machines. Make sure any paper you use is free of tears, wrinkles, dust, and oil stains. Paper with cutouts or perforations is not recommended. Here is a list of papers to avoid: m extremely slick or shiny paper m erasable typewriter paper m paper that is highly textured m coated paper m stapled paper m envelopes that contain fasteners or snaps m multipart forms s Warning: Do not use paper printed using low-temperature dyes or thermography. Such materials can peel away from the paper or melt inside the LaserWriter and cause damage. Colored paper can be used as long as the color is added during the paper-making process, not after, and the color can withstand the heat generated by the printer’s fixing assembly (approximately 190° C or 374° F). Envelopes, transparencies, and labels are acceptable as long as they contain no fasteners and can withstand the heat generated by the fixing assembly. s The paper cassette can hold U.S. Letter, A4, U.S. Legal, and Executive paper. Chapter 4: Tips and Troubleshooting 37About fonts The disks provided with your LaserWriter contain fonts from the most widely used font families. Font families (also called typefaces) can be classified into two groups: serif and sans serif. The small accents at the ends of the strokes of the letters are serifs. Fonts that do not have these accents are “sans” serifs. How to use different kinds of fonts Serif fonts are considered more readable than sans serif fonts. For long passages of text, typographers generally choose serif fonts. Sans serif fonts are used for headlines and short passages. Your font disks contain seven serif typefaces: ITC Bookman® , Courier, New Century Schoolbook, Palatino® , Times® , Chicago, and New York. All but Courier are commonly used for both long passages and headlines or captions. Courier is designed to look like output from a typewriter, and does not give a page a typeset appearance. Times is the most commonly used typeface in the selection, and is considered to be one of the most readable fonts. The disks include five sans serif typefaces: ITC Avant Garde® , Helvetica® , Helvetica Narrow, Geneva, and Monaco. These fonts are appropriate for headlines, posters, and captions; they are sometimes also used for short passages in brochures, invitations, and so forth. Helvetica and Helvetica Narrow are the most widely used of the sans serif typefaces in the selection. Because of its compact width, Helvetica Narrow is also convenient for mathematical expressions and spreadsheets. Your font disks also contain three special-purpose fonts: Symbol, ITC Zapf Chancery® , and ITC Zapf Dingbats® . Symbol is handy for technical documents that contain equations and formulas. Zapf Chancery is highly decorative, and is useful for invitations, diplomas, and the like. Zapf Dingbats contains arrows, pointing fingers, small pictures (icons), and other symbols for decorating and illustrating your documents. 38 Chapter 4: Tips and Troubleshooting T T Serif Sans SerifUse restraint when choosing fonts A good rule of thumb to use when choosing fonts for your documents is: Avoid using more than two font families on the same page. It is fine to use several sizes and styles (such as bold or italic) of the same font family on the same page. Using too many font families on the same page gives your document a “ransom note” appearance. A good combination is one sans serif font for your headings and one serif font for your body text. Avoid combining two serif or two sans serif font families on a page. The two-font family rule does not apply to the Symbol and ITC Zapf Dingbats® fonts: You can add these as needed in addition to the regular fonts you have chosen. Add emphasis and contrast To add emphasis and contrast to your documents, use bold, italic, and, occasionally, all caps. Don’t underline unless there is a special purpose for it, as in a formula or equation. Underlining is a throwback to the typewriter and gives your document an unprofessional look. Italics is the best choice for putting emphasis on passages within your body text. It is also useful for book titles and foreign phrases. Bold is best used for headings. Type set in bold looks important and authoritative. Using all caps has a similar effect. Use type set in all caps sparingly, however, because it is very difficult to read. Don’t use outline or shadow styles except for decoration on posters, in logos, and similar pieces. Chapter 4: Tips and Troubleshooting 39Be careful setting alignment and columns Properly aligning your text can enhance or detract from your document’s readability. One of the most common mistakes is to set a document in many narrow columns, with full justification (text lined up on the left and right). This allows for only a few words per line, and “darkens” a page by eliminating the white space around the edges of the text. Flush-left alignment with a ragged right edge lends an informal feeling, and is generally considered to be the most readable of settings. Centering is useful for formal announcements or invitations, but avoid centering long passages. Choose the right size Use 9- to 12-point type for long passages of body text. Smaller sizes can be very difficult to read. Note, however, that different typefaces of the same point size vary in “visual size”: 9-point Helvetica looks larger than 9-point Times. Find out more There are many excellent sources to help you produce professional-looking documents. Look for books and magazines on desktop publishing, graphic design, and typography. 40 Chapter 4: Tips and Troubleshooting41 Specifications Print quality m 300 dots per inch for text and graphics Printer RAM m 512K of RAM Printer fonts m Standard TrueType font families. The Personal LaserWriter 300 can support additional fonts from Apple and from other suppliers. Speed m Four pages per minute maximum. Actual speed depends on the images printed and the computer used. Interface m Serial, externally clocked Life expectancy m Minimum life expectancy is 150,000 pages, with no monthly page limit. Paper feed m Automatic feed from paper cassette; manual feed for single sheets Printing materials Apple recommends 20-lb. photocopy bond (75 g/m 2 ). You can use 16-lb. (64 g/m 2 ) to 28-lb. (105 g/m 2 ) paper with manual feed; the paper cassette accepts 16-lb. (64 g/m 2 ) to 24-lb. (90 g/m 2 ) paper. Accepts most letterhead and colored stock, and medium-weight laser printer transparencies. Print labels using manual feed. Use envelopes recommended for laser printers. Print envelopes, transparencies, and other special media using manual feed and face-up delivery. Paper sizes and capacity The paper cassette can hold up to 100 sheets of U.S. Letter, U.S. Legal, A4, and Executive paper sizes. Imageable area m Maximum printable line: 203 mm (8.00 in.) m Minimum top and bottom margins: 6.35 mm (0.25 in.) m Minimum left and right margins: 6.35 mm (0.25 in.) Actual imageable area may vary depending on the application program. AppendixDimensions m Height: 16.1 cm (6.3 in.) m Width: 38.5 cm (15.2 in.) m Depth: 37.9 cm (14.9 in.) Weight m 7 kg (15.4 lb.) not including cartridge Operating environment Temperature m 50° to 90.5° F (10° to 32.5° C) Humidity m 20 to 80 percent, noncondensing Toner cartridge storage environment m 32° to 95° F (0° to 35° C) Input electrical requirements U.S./Japan m 100–120 V (±10%), 50–60 Hz (±2 Hz) Europe/Australia m 220–240 V (±10%), 50 Hz (±2 Hz) Power consumption Operating m 450 W maximum at 115 V or 220 V Standby m 10 W or less Ozone emission m Less than 0.05 parts per million maximum, measured in accordance with ECMA 129 or UL114 standards for ozone density measurement Laser Specifications m Type: Anode Common Type m Wavelength: 775–795 nm m Output power: 5 MW 42 Appendix: SpecificationsA alert message, choosing 19 alignment, design tips 40 Apple Peripheral-8 cable 3 AppleTalk, setting up printer for 21–22 Avant Garde® font 38 B background printing on network 22, 24 setting up in Choose 17 bitmapped fonts Page Setup for 18 TrueType fonts vs. 30 Black and White printing, choosing 19 bold font, using 39 Bookman® font 38 C cable checking 28 connecting to printer port 3 carrying the printer 2 cassette feed, printing with 19. See also paper cassette centering 40 changing toner cartridge 8–9 Chicago font 38 Chooser LaserWriter 300 icon missing from 28 printer problems and 28 setting up printer in 17 setting up for network in 21–23 cleaning the printer 2, 25 colored paper 37 columns, design tips 40 connecting the printer 3 Courier font 38 customized software, installing 5–6 D density control, displaying 19, 36 design tips 39, 40 E Easy Install dialog box 5 electrical requirements 42 energy conservation mode vii, 15 envelopes acceptable types of 37 face-up delivery required for 16 printing 20 environmental requirements 42 F fixing assembly caution 26 font families 38 combining 39 fonts about 38–40 adding emphasis or contrast with 39 choosing 38–39 finding 30–31 jagged type problems 30–31 mixing types of 39 shared printer and 23 sizes 40 TrueType viii TrueType vs. bitmapped 30 43 IndexG Geneva font 38 TrueType fonts printed as 31 graphics, print speed and 29 grayscale printing viii choosing 19 GrayShare software viii H Helvetica® font 38 Helvetica Narrow font 38 horizontal page orientation choosing 18 print speed and 29 I icons font 31 Installer 5 LaserWriter 300 4 printer and modem port 3 Installer icon 5 installing paper cassette 11–12 installing printer software 4–6 installing toner cartridge 7–9 “insufficient memory” message 29 italic font, using 39 ITC Avant Garde font® 38 ITC Bookman® font 38 ITC Zapf Chancery® font 38 ITC Zapf Dingbats® font 38, 39 J, K jagged type problems 30–31 L labels acceptable types of 37 face-up delivery required for 16 landscape orientation. See horizontal page orientation laser specifications 42 LaserWriter 300 icon 4 missing from Chooser 28 legal-size paper “insufficient memory” message with 29 loading 14 letterhead paper, loading 13 location for printer 1 log file, for shared printer 22 M Macintosh computer, connecting to 3 maintenance, safety precaution vi, 2, 25–26. See also troubleshooting manual feed, printing with 20 paper jam and 32 on second side 21 margins design tips 40 imageable area 41 reducing 18 memory capacity print speed and 29 TrueType fonts and 31 modem port 3 modem port icon 3 Monaco font 38 multiple copies, printing 19 N network connecting printer on 3 GrayShare software for viii setting up in Chooser 17 sharing printer on 21–24 New Century Schoolbook font 38 New York font 38 O operating environment 42 ozone emission 42 P, Q page orientation, choosing 18 Page Setup defining 18 design tips 40 Palatino® font 38 44 Indexpaper about 37 face-down vs. face-up delivery 16 feeding improperly 35 jammed 32–34 loading 13–14 Page Setup options 18 printing both sides of 21 printing on only part of 32 printing too light or dark on 36 sizes and types 11, 18, 37, 41 status lights 27 unwanted lines or stripes on 35 paper cassette capacity 41 loading 11–12 printing with 19 removing 12 removing paper jam from 33 paper delivery selector 16 paper jams 32–34 Paper Jam status light 27 Paper Out status light 27 paper release lever 34 password, for shared printer 22, 24 plugging in the printer 10 portrait (vertical page) orientation, choosing 18 ports 3 setting up in Chooser 17 power consumption 42 power cord, plugging in 10 Print Density control 36 Print dialog box 19, 20 printer icon. See LaserWriter 300 icon printer port connecting to 3 setting up in Chooser 17 printer port icon 3 printing 15–24 on both sides of page 21 with cassette feed 19 Chooser setup for 17 face-down vs. face-up delivery 16 with manual feed 20 Page Setup options 18 problems. See troubleshooting “turning on” printer 15 Print Monitor program, controlling printer with 24 problems. See troubleshooting R radio interference vii cable for preventing 3 ReadMe file 6 Ready/In Use status light vii, 15 reducing printed image 18 roller cleaning toner from 36 paper wrapped around 34 S safety precautions vi, 2 grounding plug 10 troubleshooting and 25–26 sans serif fonts 38 selected pages, printing 19 serial port, setting up in Chooser 17 serif fonts 38 setup 1–6 carrying the printer 2 in Chooser 17 connecting to Macintosh 3 face-down vs. face-up delivery 16 installing software 4–6 installing toner cartridge 7–9 loading paper cassette 11–12 location options 1 Page Setup 18 plugging in printer 10 for printer sharing 21–24 safety precautions 2 turning on printer 15 shared printer controlling 24 setup for 21–23 shipping restraints, removing 7 software GrayShare viii installing 4–6 preinstalled 4 TrueType fonts viii Index 45specifications 41–42 standby status vii, 15 status lights Paper Jam 27 Paper Out 27 Ready/In Use vii, 15, 27 Symbol font 38, 39 system software fonts and 30, 31 requirements 4 T television interference v–vi cable for preventing 3 3-hole punched paper, loading 13 Times® font 38 toner 8 pages stained with 36 redistributing 35, 36 toner cartridge changing 8–9 installing 7–9 transparencies, face-up delivery required for 16 troubleshooting 28–36 “insufficient memory” message 29 jagged type 30–31 LaserWriter 300 icon missing 28 paper feed problems 35 paper types to avoid 37 printing on only part of paper 32 printing too light or dark 36 printing too slow 29 safety precautions 25–26 toner stains on page 36 unwanted lines or stripes on page 35 warranty caution 25 TrueType fonts viii bitmapped fonts vs. 30 finding 30–31 turning off the printer 26 turning on printer 15 typefaces. See fonts U underlining 39 V vertical page orientation, choosing 18 W, X, Y warranty caution 25 Z Zapf Chancery® font 38 Zapf Dingbats® font 38, 39 46 IndexApple Computer, Inc. 20525 Mariani Avenue Cupertino, California 95014-6299 (408) 996-1010 TLX 171-576 030-3858-A Printed in U.S.A. MASTER ART FOR BLACK LOGO Cinema Tools 4 Manuel de l’utilisateurK Apple Inc. © 2007 Apple Inc. Tous droits réservés. Vos droits sur le logiciel sont régis par le contrat de licence du logiciel. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel Final Cut Studio est autorisé à reproduire cette publication à des fins d’apprentissage dudit logiciel. Aucune portion de cette publication ne peut être reproduite ni transmise à des fins commerciales, telles que la vente de copies de cette publication, ou pour fournir des services d’assistance payants. Le logo Apple est une marque d’Apple Inc., déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit préalable d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Option + 1) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tout a été mis en œuvre pour que les informations pré- sentées dans ce manuel soient exactes. Apple n’est pas responsable des erreurs de reproduction et d’impression. Remarque : comme Apple publie fréquemment de nouvelles versions et des mises à jour de son logiciel système, de ses applications et de ses sites Internet, il se peut que les images incluses dans cet ouvrage soient légèrement différentes de ce qui apparaît à l’écran. Apple Inc. 1 Infinite Loop Cupertino, CA 950142084 408-996-1010 www.apple.com Apple, le logo Apple, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, Mac, Mac OS, Monaco et QuickTime sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays. Cinema Tools, Finder et OfflineRT sont des marques d’Apple Inc. AppleCare et Apple Store sont des marques de service d’Apple Inc., déposée aux États-Unis et dans d’autres pays. Les autres noms de produits et de sociétés sont la propriété de leurs détenteurs respectifs. Les produits commercialisés par des entreprises tierces ne sont mentionnés que pour information, sans aucune intention de préconisation ni de recommandation. Apple décline toute responsabilité quant à l’utilisation et au fonctionnement de ces produits. Les photos de production du film « Koffee House Mayhem » sont utilisées avec l’aimable autorisation de Jean-Paul Bonjour. « Koffee House Mayhem » © 2004 Jean-Paul Bonjour. Tous droits réservés. http://www.jbonjour.com Les photos de production du film « A Sus Ordenes » sont utilisées avec l’aimable autorisation d’Eric Escobar. « A Sus Ordenes » © 2004 Eric Escobar. Tous droits réservés. http://www.kontentfilms.com 3 1 Table des matières Préface 7 Introduction à Cinema Tools 8 Montage numérique de film 10 Pourquoi la vidéo 24P ? 10 Utilisation de la vidéo 24P 11 Montage offline et online 11 À propos de ce manuel 12 Sites Web Apple Partie I Utilisation de Cinema Tools Chapitre 1 17 Avant de commencer votre projet 17 Avant de tourner votre film 18 Choix du film à utiliser 19 Transfert du film sur bande vidéo 19 Télécinéma 20 Techniques de transfert déconseillées 21 Quelle quantité de données faut-il transférer ? 23 Infos générales sur la vitesse de défilement des images 23 Utilisation de la vidéo NTSC 25 Utilisation de la vidéo PAL 26 Utilisation de la vidéo 24P 27 Prise en compte du timecode 30 À propos du son 30 Choix d’un enregistreur audio 30 Choix d’un format de timecode audio 31 Mixage de l’audio final 32 Synchronisation de l’audio et de la vidéo 34 Utilisation de Final Cut Pro 34 Réglage de la base temps des séquences 34 Sortie sur bande lors d’un montage à 24 ips 35 Utilisation d’effets4 Table des matières Chapitre 2 37 Le flux de production de Cinema Tools 37 Étapes fondamentales du flux de production 37 Création de la base de données Cinema Tools 41 Capture des plans sources 45 Connexion des plans à la base de données 45 Préparation des plans pour le montage 46 Montage des plans dans Final Cut Pro 46 Génération de listes de film et de listes des modifications dans Cinema Tools 47 Cinema Tools Exemples de flux de production 47 Jusqu’où peut-on aller dans Final Cut Pro ? 49 Si vous avez utilisé des transferts scene-and-take 50 Si vous avez utilisé des transferts camera-roll Chapitre 3 53 L’interface utilisateur de Cinema Tools 53 Cinema Tools Fenêtres et zones de dialogues 64 Les zones de dialogues disponibles dans Final Cut Pro et Cinema Tools Chapitre 4 69 Création et utilisation d’une base de données Cinema Tools 71 Choix du mode de création de la base de données 71 Réalisation de la capture avant la création de la base de données 71 Si vous disposez d’une liste télécinéma ou d’un fichier ALE 72 Si vous ne disposez pas d’une liste télécinéma ou d’un fichier ALE 74 Autres usages de la base de données 74 Création et configuration d’une nouvelle base de données 74 Création d’une nouvelle base de données à l’aide de Cinema Tools 75 Création d’une nouvelle base de données à l’aide de Final Cut Pro 77 Réglages de la zone de dialogue Nouvelle base de donées 80 Utilisation de la base de données 80 Ouvrir une base de données existante 80 Recherche et ouverture d’enregistrements de base de donnée 84 Sauvegarde, copie, renommage et verrouillage de bases de données 84 Accès à des informations sur un plan source 85 Saisie d’informations dans la base de données 85 Importation des informations de la base de données 91 Saisie manuelle des informations de base de données 102 Utilisation de la fonction Identify pour saisir et calculer des informations de base de données 104 Modification d’informations dans la base de données 105 Suppression d’un enregistrement de la base de données 105 Changement de l’affiche d’un plan 106 Modification des réglages de base de données par défaut 107 Modification de tous les identifiants de bobine ou de bande 108 Vérification et correction de numéros de code de bordure de timecodeTable des matières 5 Chapitre 5 111 Capture des plans sources et création d’un lien avec la base de données 111 Préparation de la capture 112 Comment éviter les pertes d’images 113 Configuration de votre matériel afin de capturer un timecode exact 114 Avant de capturer de l’audio 115 Génération d’une liste de capture par lot dans Cinema Tools 121 Ce qu’il faut savoir avant de capturer des plans individuellement 121 Connexion des plans sources capturés à la base de données 123 Utilisation de la commande Connect Clips pour connecter des plans sources 124 Utilisation de la fenêtre Detail View pour connecter et déconnecter des plans sources 125 Utilisation de la fenêtre Clip pour connecter ou déconnecter des plans source 126 Réparation des liens rompus entre les plans et les enregistrements 127 Reconnexion de plans individuels ayant été renommés ou déplacés 127 Détection des liens rompus et reconnexion de groupes de plans ayant été déplacés Chapitre 6 129 Préparation des plans sources pour le montage 129 Choix d’une méthode de préparation des plans sources en vue du montage 131 Utilisation de la fonction de conformation 133 Inversion du pulldown télécinéma 145 Ajustements de la vitesse audio 146 Synchronisation séparée de l’audio et de la vidéo capturés 147 Division ou suppression de sections de plans sources avant le montage Chapitre 7 151 Montage dans Final Cut Pro 151 À propos des configurations simplifiées et du paramétrage de la base temps 153 Utilisation de vidéo à 25 ips conformée à 24 ips 154 Affichage d’informations relatives au film dans Final Cut Pro 159 Ouverture de plans Final Cut Pro dans Cinema Tools 159 Restrictions concernant l’utilisation de pistes multiples 160 Utilisation d’effets, de filtres et de transitions 165 Détection des usages multiples des plans sources 166 Exactitude des listes de conformation lors du montage de vidéo pulldown 3:2 ou 24 & 1 Chapitre 8 167 Création de listes de film et de listes de modification 168 Sélection du format de liste 169 Listes que vous pouvez exporter 174 Exportation de listes de film à l’aide de Final Cut Pro 182 Création de listes de modification Chapitre 9 191 Observations à propos de l’exportation et création de listes EDL audio 192 Observations à propos de l’exportation sur bande vidéo 192 Observations à propos de l’exportation audio 193 Exportation d’une liste EDL audio6 Table des matières Chapitre 10 199 Utilisation de fichiers EDL, XML et ALE externes 199 Création de listes de film basées sur une liste EDL ou un fichier XML 204 Utilisation de fichiers ALE Partie II Utilisation de la vidéo 24P Chapitre 11 209 Utilisation de la vidéo 24P et de listes EDL 24 ips 210 Éléments à prendre en compte lors de la création sur film 211 Montage de vidéo 24P avec Final Cut Pro 211 Utilisation du même système Final Cut Pro pour le montage 24p offline et online 212 Utilisation de la vidéo 24p avec Final Cut Pro et Cinema Tools 213 Utilisation de Final Cut Pro comme système de montage 24p online 214 Utilisation de Final Cut Pro comme système de montage offline 24P 218 Ajout et suppression du pulldown dans les plans 24P 219 Utilisation du pulldown 2:3:3:2 220 Suppression de pulldown 2:3:3:2 avec Final Cut Pro 221 Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools 225 Modèles de pulldown applicables à la vidéo 23,98 ips 227 Ajout d’un pulldown à une vidéo de 23,98 ips 227 Utilisation de listes EDL audio pour le son à deux systèmes Partie III Annexes Annexe A 231 Principes généraux 231 Notions élémentaires sur le film 237 Montage selon les méthodes traditionnelles 239 Montage à l’aide des méthodes numériques Annexe B 245 Création de listes de films avec Cinema Tools 246 À propos de la méthode basée sur les plans 247 À propos de la méthode basée sur le timecode Annexe C 249 Solutions aux problèmes fréquents et assistance client 249 Solutions aux problèmes fréquents 252 Contact de l’assistance AppleCare Glossaire 253 Index 263 7 Préface Introduction à Cinema Tools Cinema Tools associé à Final Cut Pro est une solution qui apporte des possibilités sans précédent aux professionnels du montage de film et de vidéo 24p. Aujourd’hui, dans la postproduction, les monteurs et les réalisateurs se trouvent souvent confrontés à une multitude de formats, de fréquences d’images et de flux de production au sein du même projet. Un projet est souvent tourné, monté et sorti dans des formats totalement différents à chaque étape de la production. Pour les monteurs et les réalisateurs qui souhaitent tourner et finaliser sur film, Cinema Tools devient un composant essentiel du processus de postproduction lors du montage avec Final Cut Pro, en permettant de monter de la vidéo transférée à partir d’un film et de faire le suivi des opérations de montage numérique dans le but de pouvoir conformer ensuite les copies de travail et les coupes au négatif de caméra original. Par exemple, lorsque vous travaillez sur pellicule il est nécessaire de suivre la correspondance entre les images de la pellicule d’origine et leur contrepartie vidéo. Cinema Tools exploite une base de données sophistiquée qui suit et assure cette correspondance quel que soit le standard vidéo que vous utilisez, ce qui garantit que le film peut être conformé pour refléter votre montage dans Final Cut Pro. Vous pouvez aussi convertir les plans vidéo capturés en vidéo à 24 images par seconde (ips). Pour le format NTSC, cela inclut une fonction de télécinéma inversé qui élimine les images supplémentaires ajoutées durant le procédé de pulldown 3:2 couramment utilisé pour le transfert du film sur bande vidéo ou pour convertir à la baisse de la vidéo 24P. Cinema Tools, en combinaison avec Final Cut Pro, propose des outils conçus pour rendre le montage numérique de films et l’utilisation de la vidéo 24p plus faciles et moins chers, en offrant des fonctionnalités que l’on ne trouvait, jusque là, que dans des systèmes de montage haut de gamme ou très spécialisés. L’intégration entre Cinema Tools et Final Cut Pro permet d’effectuer les tâches les plus courantes de Cinema Tools directement à partir de Final Cut Pro, Cinema Tools effectuant les tâches automatiquement en arrière-plan.8 Préface Introduction à Cinema Tools Montage numérique de film La technologie informatique est en train de bouleverser le processus de création ciné- matographique. De nos jours, la grande majorité des longs métrages sont montés numériquement, sur des systèmes de montage non linéaires de haute technologie et très coûteux, conçus à cet effet. Jusqu’à il y a peu, ce type d’outil n’était pas disponible pour les réalisateurs disposant d’un budget limité. Cinema Tools complète Final Cut Pro en lui apportant les fonctionnalités de systèmes professionnels coûtant beaucoup plus cher, et ce à un prix abordable pour tous les réalisateurs. Si vous tournez en 35 mm ou en 16 mm et souhaitez faire un montage numé- rique et une finalisation sur film, Cinema Tools vous permet de monter les transferts vidéo provenant de votre film à l’aide de Final Cut Pro, puis de produire une liste de conformation précise pouvant être utilisée pour la finalisation du film. Même si vous ne prévoyez pas de conformer le négatif de caméra original, sachez que Cinema Tools fournit une grande variété d’outils pour la capture et le traitement de la vidéo de votre film. En quoi Cinema Tools est-il utile pour le montage d’un film ? Pour beaucoup, la pellicule constitue encore le meilleur support de capture d’images. Si votre objectif consiste à sortir votre film en salle ou à le projeter lors d’un festival, vous devrez disposer de l’œuvre finale sur pellicule. L’utilisation de Final Cut Pro avec Cinema Tools ne change pas le processus d’exposition de la pellicule dans la caméra ni la projection du film dans une salle de cinéma ; c’est toutes les opérations situées entre ces deux activités qui peuvent profiter des avancées technologiques. Le montage d’un film, de façon classique, c’est découper et coller bout à bout des morceaux de pellicule pour réaliser une copie de travail du film, une opération longue et fastidieuse et qui avait tendance à décourager l’expérimentation avec des versions de scène alternatives. Le transfert de la pellicule sur vidéo rend possible l’utilisation d’un système de montage non linéaire pour le montage de votre projet. La souplesse de ces systèmes simplifie l’assemblage de chaque scène et vous offre la possibilité d’essayer plusieurs options de montage. Le montage final vidéo n’est généralement pas utilisé, ce sont les décisions de montage prises qui comptent vraiment. Elles constituent les informations nécessaires pour couper et coller (conformation) le négatif original afin d’aboutir au film final. La difficulté est de faire correspondre le timecode des raccords vidéo au numéros de bord du négatif, afin qu’un monteur négatif puisse créer sur pellicule une version précise du montage vidéo.Préface Introduction à Cinema Tools 9 Voilà où Cinema Tools entre en jeu. Cinema Tools effectue un suivi de la correspondance entre le négatif original de la caméra et le transfert vidéo. Une fois que le montage dans Final Cut Pro est fini, vous pouvez utiliser Cinema Tools pour générer une liste de conformation basée sur les coupes que vous avez faites. Armé de cette liste, un monteur négatif peut transformer le négatif original de la caméra en film abouti. Si des projections et des modifications de la copie de travail font partie de votre processus de production, vous pouvez également utiliser Cinema Tools pour créer des listes de modification décrivant les changements à réaliser sur la copie de travail afin qu’elle corresponde à la nouvelle version de la séquence montée dans Final Cut Pro. Quelles sont les tâches prises en charge par Cinema Tools Cinema Tools assure le suivi de tous les éléments qui contribuent à la réalisation de l’œuvre finale. Il « connaît » la correspondance entre le négatif original, les bandes vidéo transfé- rées et les plans vidéo capturés sur l’ordinateur de montage. Il collabore avec Final Cut Pro pour stocker des informations sur la façon dont les plans vidéo sont utilisés et génère la liste de conformation nécessaire pour transformer le négatif de caméra original en film monté final. Cinema Tools contrôle aussi la présence ou l’absence de problèmes pouvant se poser dans le cadre de l’utilisation de Final Cut Pro, le plus courant étant la présence de doublons de plans sources : un plan (ou une partie de plan) utilisé plusieurs fois. Outre la création de listes d’éléments dupliqués, vous pouvez utiliser Cinema Tools pour géné- rer d’autres listes, telles qu’une liste traitant des effets d’optique, c’est-à-dire des emplacement des transitions, effets de mouvement (vidéo à une vitesse de défilement différente de la vitesse normale) et titres. Cinema Tools peut aussi travailler sur le son, en relevant la relation entre l’audio utilisé dans Final Cut Pro et les sources sonores originales. Il est possible d’utiliser l’audio monté provenant de Final Cut Pro pour créer une liste EDL (pour l’anglais Edit Decision List) et de traiter (ou de finaliser) l’audio dans un studio de postproduction audio spécialisé. Il est important de garder à l’esprit que vous n’utilisez Final Cut Pro que pour prendre les décisions de montage ; on ne tire en général pas de copie vidéo à partir de ce travail, puisque la vidéo de travail est en général compressée et assortie de timecode gravé (fenêtre d’affichage) et d’informations sur le film. C’est la cut list basée sur le montage, que Cinema Tools permet de générer, qui constitue l’objectif principal. Tournage du film Conversion du film en vidéo Conformation du négatif original Montage dans Final Cut Pro avec Cinema Tools Cut list Négatif original Création de copies d’exploitation10 Préface Introduction à Cinema Tools Pourquoi la vidéo 24P ? La prolifération des normes vidéo haute définition (HD) et la volonté de diffuser des contenus vidéo dans le monde entier ont créé une demande pour une norme vidéo qui puisse être convertie facilement vers toutes les autres normes. Par ailleurs, une norme facilement convertible en film et offrant une méthode aisée et de haute qualité pour la création et le montage vidéo avant la finalisation sur film, s’avère nécessaire. La vidéo 24p permet tout cela. Elle utilise la même vitesse de défilement de 24 ips que les films, ce qui permet de tirer parti des dispositifs de conversion existants pour créer des versions NTSC et PAL de votre projet. Elle utilise le balayage progressif pour créer une sortie convenant à la projection sur grand écran et la conversion en film. De plus, la vidéo 24p permet de produire des transfert télécinéma 24 ips de haute qualité à partir d’un film. Ceux-ci sont particulièrement utiles si vous comptez diffuser le produit finalisé selon différents standard TV. Utilisation de la vidéo 24P Avec l’apparition des enregistreurs vidéo 24p HD, il est de plus en plus nécessaire que Final Cut Pro prenne en charge plusieurs aspects du montage 24 ips (dans certains cas, il s’agit en réalité d’un montage 23,98 ips). Pour cela, Final Cut Pro et Cinema Tools proposent les fonctions suivantes :  L’importation et l’exportation de listes EDL 24 ips et 23,98 ips.  La possibilité de convertir des listes EDL 29,97 ips NTSC en 23,98 ips ou en listes EDL 24 ips.  Une fonction de télécinéma inversé permettant d’annuler le pulldown 3:2 utilisé lors de la conversion de pellicule ou de vidéo 24 ips en format NTSC 29,97 ips.  La possibilité de supprimer le pulldown 2:3:3:2 ou 2:3:2:3 de fichier de données NTSC afin de pouvoir monter à 24 ips ou 23,98 ips.  La possibilité de sortir de la vidéo 23,98 ips via FireWire au format NTSC de 29,97 ips.  La possibilité de mettre en correspondance les coupes d’audio dans une bande vidéo avec les bandes audio de production originales et de générer une liste EDL audio pouvant être utilisée pour recapturer et finaliser l’audio si l’on prévoit de le recapturer ailleurs pour le traitement final. Plusieurs des fonctionnalités mentionnées ci-avant figurent dans Final Cut Pro et ne requièrent pas Cinema Tools. Ces fonctionnalités sont toutefois décrites dans le présent manuel parce qu’elles concernent l’utilisation de la vidéo 24p, ce qui intéresse particuliè- rement de nombreux réalisateurs. Consultez la section « Infos générales sur la vitesse de défilement des images » à la page 23 pour en savoir plus sur l’utilisation des différentes fréquences d’images.Préface Introduction à Cinema Tools 11 Montage offline et online Si vous utilisez un format 24p haute résolution, comme, par exemple, la vidéo HD non compressée, vous voudrez peut-être réaliser des copies basse résolution de votre métrage pour économiser l’espace disque et la puissance de calcul de votre ordinateur. Dans ce cas, le processus de montage comporte quatre grandes étapes :  Production (génération de la vidéo maîtresse) : transfert ou tournage du film en vidéo HD 24p sans compression.  Montage offline : conversion du métrage en vidéo NTSC ou PAL (d’une résolution généralement inférieure à 24p) et montage.  Compatibilité de formats : exportation d’un projet Final Cut Pro ou d’une liste EDL contenant vos décisions de montage finales.  Montage online : remplacement du métrage basse résolution et création d’une bande originale en pleine résolution. Pour en savoir plus, consultez la section « Montage de vidéo 24P avec Final Cut Pro » à la page 211. À propos de ce manuel Le présent manuel ne documente pas seulement tous les aspects de l’utilisation de l’application Cinema Tools, mais aussi les fonctions liées de Final Cut Pro. Ce manuel est un document PDF avec hyperliens et doté de nombreuses fonctions qui facilitent l’obtention des informations que vous recherchez.  La page d’entrée donne un accès rapide à diverses fonctionnalités, y compris à l’index et au site web de Cinema Tools.  Une liste de signets complète vous permet de choisir ce que vous souhaitez voir en un instant, simplement en cliquant sur le lien.  Tous les renvois du texte sont reliés. Vous pouvez cliquer sur n’importe quel renvoi afin d’y accéder immédiatement. Vous pouvez ensuite utiliser le bouton Précédent de la barre de navigation pour revenir à l’endroit où vous vous trouviez avant de cliquer sur le renvoi.  La table des matières et l’index sont également reliés. Si vous cliquez sur une entrée de l’une de ces deux sections, vous passez directement à la page concernée. Source du master 24P Capture de vidéo Montage online (24 ips) Montage de plans Liste EDL 24 ips Vidéo NTSC ou PAL Vidéo 24P Conversion en 24 ips Final Cut Pro avec Cinema Tools (montage offline) Master 24P monté12 Préface Introduction à Cinema Tools  Vous pouvez aussi utiliser le champ de recherche pour rechercher un terme ou une expression particulière. Ce manuel vous présente des informations conceptuelles de fond, des instructions étape par étape et un glossaire spécialisé. Il est conçu pour fournir les informations dont vous avez besoin pour commencer à travailler sans tarder et tirer pleinement parti des riches fonctionnalités de Cinema Tools.  Si vous souhaitez commencer par quelques informations élémentaires sur la comparaison entre le montage traditionnel et le montage numérique, consultez l’annexe A, « Principes généraux », à la page 231.  Pour obtenir des informations détaillées sur l’utilisation de Cinema Tools, ainsi que des remarques préliminaires sur la planification d’un projet, consultez la première partie intitulée « Utilisation de Cinema Tools, » ci-après.  Si vous êtes intéressé par l’utilisation conjointe de Final Cut Pro et Cinema Tools pour le traitement de la vidéo 24P, consultez la deuxième partie intitulée « Utilisation de la vidéo 24P » à la page 207. Remarque : ce manuel ne prétend pas être un guide complet sur l’art de faire un film. La plupart des informations sur la réalisation de films présentées ici sont de nature très générale et sont fournies pour contextualiser la terminologie utilisée pour décrire les fonctions de Cinema Tools. Sites Web Apple Plusieurs sites web Apple contiennent des informations destinées à vous aider à profiter pleinement de la puissance de Cinema Tools et de votre système Apple. Site Web de Cinema Tools Pour des informations et des mises à jour générales ainsi que pour les dernières nouvelles sur Cinema Tools, visitez le site web suivant :  http://www.apple.com/fr/finalcutstudio/finalcutpro/cinematools.html Site Web Apple Service et Support Pour des mises à jour logicielles et des réponses aux questions les plus fréquemment posées sur tous les produits Apple, y compris Cinema Tools, visitez ce site web :  http://www.apple.com/fr/support Vous aurez également accès aux caractéristiques des produits, à la documentation de référence et aux articles techniques concernant les produits Apple ou de tierce partie. Pour des informations de support technique sur Cinema Tools, allez à l’adresse suivante :  http://www.apple.com/fr/support/cinematoolsPréface Introduction à Cinema Tools 13 Autres sites web Apple Démarrez à la page d’accueil du site web Apple pour tout savoir sur les produits Apple :  http://www.apple.com/fr QuickTime est une technologie standard de reproduction de la vidéo, du son, d’animation, de texte de musique et de scènes de réalité virtuelle (RV) à 360°. QuickTime permet de produire de la vidéo numérique très performante, très compatible et de qualité élevée. Visitez le site web de QuickTime pour des informations sur les types de données pris en charge, une visite guidée de l’interface de QuickTime, des spécifications, etc :  http://www.apple.com/fr/quicktime FireWire est l’une des normes standard de périphériques les plus rapides jamais développées, ce qui la rend particulièrement adaptée à l’utilisation des périphériques multimé- dias, tels que les caméscopes ou les disques durs ultra rapides de dernière génération. Visit this website for information about FireWire technology and available third-party FireWire products:  http://www.apple.com/fr/firewire Pour plus d’informations sur les séminaires, événements et outils tiers de publication sur le web, de conception et impression, de musique et d’audio, de films sur ordinateur et d’art multimédia en général, allez à cette adresse :  http://www.apple.com/fr/pro Pour des ressources, des récits et des informations sur des projets éducatifs menés par d’autres à l’aide de logiciels Apple, notamment Cinema Tools, allez à cette adresse :  http://www.apple.com/fr/education Rendez-vous sur Apple Store pour acheter du logiciel, du matériel et des accessoires directement auprès d’Apple et profiter de promotions et rabais portant également sur des produits logiciels et matériels tiers :  http://www.apple.com/fr/storeI Partie I : Utilisation de Cinema Tools Cette section détaille l’utilisation de Cinema Tools pendant le montage de projets de film. Chapitre 1 Avant de commencer votre projet Chapitre 2 Le flux de production de Cinema Tools Chapitre 3 L’interface utilisateur de Cinema Tools Chapitre 4 Création et utilisation d’une base de données Cinema Tools Chapitre 5 Capture des plans sources et création d’un lien avec la base de données Chapitre 6 Préparation des plans sources pour le montage Chapitre 7 Montage dans Final Cut Pro Chapitre 8 Création de listes de film et de listes de modification Chapitre 9 Observations à propos de l’exportation et création de listes EDL audio Chapitre 10 Utilisation de fichiers EDL, XML et ALE externes 1 17 1 Avant de commencer votre projet Planifiez votre projet au plus tôt afin de garantir sa réussite. Le succès de la production d’un film requiert une planification minutieuse avant même d’avoir filmé la première scène. Si vous envisagez de procéder au montage numérique du film, pensez aux tâches supplémentaires que cela implique. Pensez notamment au film à utiliser, à la méthode d’enregistrement du son et à d’autres aspects de votre production. Dans ce chapitre vous trouverez des informations générales relatives aux difficultés susceptibles de survenir :  choix du film à utiliser,  choix du mode de transfert du film sur bande vidéo,  incompatibilités de vitesses de défilement entre le film, votre format vidéo et votre base temps de montage,  questions relatives au son, notamment quel enregistreur et timecode utiliser et comment synchroniser le son avec la vidéo,  questions relatives à Final Cut Pro, notamment quant à la sélection de la base temps d’une séquence et l’utilisation d’effets. Remarque : la plupart de ces informations sont de nature générale et ne constituent pas un guide complet pour la création d’un film. L’industrie du film numérique change rapidement, à tel point que ce que vous lisez ici n’est certainement pas le mot de la fin. Avant de tourner votre film Avant de commencer, vous devez discuter de votre projet avec toutes les personnes impliquées dans le processus, à savoir :  les fournisseurs du matériel qui seront utilisés pendant la production,  les personnes impliquées dans la production elle-même,  le studio chargé du développement de votre film, de la création de copies de travail et de la version finale,  le studio de transfert sur bande vidéo,  le monteur qui utilise Cinema Tools et Final Cut Pro (si ce n’est vous-même),  le monteur négatif,  le studio de postproduction.18 Partie I Utilisation de Cinema Tools Toutes ces personnes connaissent parfaitement leur métier ; elles peuvent vous communiquer des informations d’une importance capitale qui vous permettront de réussir votre projet facilement sans vous heurter constamment à des obstacles. Choix du film à utiliser Lorsque vous créez un film, la première chose à faire est d’en choisir le format. Pour ce faire, vous devez prendre en compte les caractéristiques requises par Cinema Tools. Cinema Tools prend en charge les formats de film 35 mm à 4 perforation, 35 mm à 3 perforations et 16 mm-20. Consultez la section « Notions élémentaires sur le film » à la page 231 pour des détails sur ces formats. Vous choisirez probablement le format de votre film en fonction de votre budget. Il est recommandé d’employer le même format tout au long de la production, même si cette condition n’est pas nécessaire pour utiliser Cinema Tools. Chaque enregistrement de la base de données possède son propre réglage de format de film. Apprenez à gérer votre budget Au cours de la production de votre film, vous serez parfois confronté au dilemme suivant : choisir entre « faire les choses bien » et « faire les choses relativement bien ». Le choix que vous ferez dépendra du montant de votre budget ou du temps dont vous disposez. Assurez-vous de bien comprendre les conséquences de vos décisions avant de choisir des solutions qui, sur le long terme, pourraient vous coûter davantage de temps et d’argent que prévu. Des difficultés liées à des décisions prises plus tôt au cours du processus, telles que la décision de ne pas avoir recours à une liste télécinéma par exemple, peuvent resurgir plus tard et vous prendre de court. Si vous réalisez ce type de projet pour la première fois, il est fortement conseillé de vous adresser à des professionnels spécialisés pour chacune des tâches. Vous pouvez faire des économies en en dépensant un peu sur des tâches que vous pouvez réaliser vousmême, comme, par exemple, en faisant appel à un studio de postproduction audio. Par ailleurs, ne sous-estimez pas l’importance de l’utilisation d’une cut list pour conformer une copie de travail avant de conformer le négatif. La création et le montage d’une copie de travail rend votre projet plus onéreux, mais une mauvaise conformation du négatif original peut avoir des conséquences irréparables sur votre film.Chapitre 1 Avant de commencer votre projet 19 I Transfert du film sur bande vidéo Pour effectuer le montage numérique de votre film, vous devez le transférer sur bande vidéo afin que l’ordinateur puisse le capturer. Il existe différentes méthodes de transfert mais vous devez avant tout disposer d’un moyen fiable permettant de faire coïncider les numéros de bord du film avec le timecode de la vidéo montée. Ce lien permet à Cinema Tools de calculer avec précision des numéros de bord spécifiques à partir des valeurs de timecode des points de sortie et d’entrée de chaque coupe. Les vitesses de défilement du film et de la vidéo doivent également être prises en considération avant d’effectuer le transfert. En effet, ces vitesses affectent la base temps et ont un impact sur la précision de la cut list créée par Cinema Tools. Télécinéma La méthode la plus courante pour transférer un film sur bande vidéo est, de loin, le télécinéma. Les télécinémas sont des appareils qui numérisent une à une toutes les images d’un film à l’aide d’un capteur d’image CCD (Charge-coupled device) pour les convertir en images vidéo, qui fournit une image d’une excellente qualité. Il permet en outre de bloquer le lien entre le film et la vidéo (aucun décalage ne se produit), ce qui constitue un énorme avantage dans le cadre de l’utilisation de Cinema Tools. En général, un télécinéma ménage davantage votre film et offre une correction de couleur et un contrôle opérationnel plus sophistiqués que les chaînes de films, décrites ci-dessous. Le télécinéma présente un autre avantage, celui de pouvoir créer la vidéo à partir du négatif original, alors que la plupart des autres méthodes requièrent la création préalable d’un film positif (copie de travail). (La création d’une copie de travail est onéreuse, mais vous réaliserez qu’elle s’avère d’une grande utilité par la suite puisqu’elle procure la meilleure manière de regarder le film sur grand écran et de détecter d’éventuels problèmes, ce qui facilite la sélection des prises à utiliser. Autre avantage de poids des copies de travail: elles vous permettent de tester la cut list avant de travailler sur le négatif.) La plupart des télécinémas actuels ne se contentent pas de fournir un transfert de haute q ualité, ils peuvent également lire les numéros de bord du film et accéder au générateur de timecode du magnétoscope, afin d’incruster ces numéros sur la bande vidéo. Cette méthode de transfert permet en outre de synchroniser l’audio et la vidéo. Le système est capable de contrôler la source audio et d’incruster le timecode audio ainsi que le timecode vidéo et les numéros de bord.20 Partie I Utilisation de Cinema Tools Dans la plupart des cas, les télécinémas produisent une liste qui peut servir de référence pour créer la base de données Cinema Tools. Cela permet d’automatiser la capture vidéo sur l’ordinateur. Les studios de télécinéma sont de plus en plus souvent capables de capturer aussi les plans vidéo à votre place et de vous fournir les plans sur un disque DVD ou sur un périphérique FireWire en même temps que la liste télécinéma et les bandes vidéo. Techniques de transfert déconseillées Vous trouverez ci-dessous certaines techniques de transfert qu’il est préférable de ne pas utiliser. Chaînes de film Évitez, si possible, d’utiliser une « chaîne de film ». Il s’agit d’une technologie relativement dépassée par rapport au télécinéma. Une chaîne de film, c’est en fait un projecteur de film relié à une caméra vidéo. En général, les chaînes de film ne gèrent pas les fonctionnalités telles que la lecture des numéros de bord ou le contrôle des magnétoscopes et ne peuvent pas créer un positif vidéo à partir d’un film négatif. Pour utiliser une chaîne de film, vous devez créer une copie de travail. Les chaînes de film sont généralement moins coûteuses que les télécinémas, mais la création d’une copie de travail entraîne une augmentation significative du coût. Le plus grand défi est de parvenir à définir le lien entre les numéros de bord du film et le timecode de la vidéo. Cela est généralement réalisé à l’aide de perforations (ou d’autres types de marqueurs d’images) placées sur des images connues. Important : certaines chaînes de film plus anciennes ne permettent pas la synchronisation du projecteur et du magnétoscope, ce qui peut entraîner un décalage entre le film et la vidéo. Que faire si vous voulez un original propre ? Si vous prévoyez de conformer le négatif de caméra original, la présence d’un timecode et de numéros de bord gravés sur les plans vidéo que vous montez dans Final Cut Pro ne pose pas nécessairement de problème, en particulier si vous utilisez un format vidéo très comprimé. Les numéros gravés peuvent toutefois constituer un problème si vous prévoyez d’utiliser la vidéo montée pour des projections ou la diffusion. Si les numéros gravés sont très précieux aux yeux des monteurs, ils peuvent distraire lorsque l’on regarde un projet monté. Voici deux méthodes pour minimiser l’impact de ce problème :  Convertissez la vidéo au format Letterbox au cours de la capture en utilisant des proportions de 2:35 afin qu’il y ait assez d’espace sous la vidéo pour afficher les numéros.  Ne flashez les informations gravées que sur la première image. Bien que cela ne soit pas aussi pratique que la gravure continue, cela donne au monteur la possibilité de s’assurer que le lien entre numéro de bord et timecode est correct.Chapitre 1 Avant de commencer votre projet 21 I Enregistrement d’une image projetée à l’aide d’un caméscope En raison du fort pourcentage d’erreurs susceptible de se produire et des heures de travail supplémentaires à consacrer au suivi des numéros de bord, cette méthode de transfert est complètement déconseillée. Projeter votre film afin de l’enregistrer à l’aide d’un caméscope revient relativement bon marché mais la présence d’erreurs est quasiment inévitable dans le découpage final du négatif. Avec les systèmes de télécinéma et de chaîne de film, le film et la vidéo sont en général synchronisés, ce qui garantit un transfert réussi quelles que soient les vitesses choisies. Dans ce type de transfert, même si les vitesses du projecteur et du caméscope sont quasi idéales, elles se décaleront progressivement au cours du transfert et il sera alors impossible de garantir un lien fiable entre les numéros de bord du film et le timecode vidéo. Cela signifie que du temps supplémentaire devra être consacré à l’examen de la cut list afin de vérifier l’exactitude des images utilisées. Il se peut en outre qu’une fois sur bande vidéo, les images soient affectées d’un scintillement important, ce qui rend difficile la lecture de certaines d’entre elles et la sélection de celles qui serviront au montage. Étant donné que la bande vidéo ne sert presque exclusivement qu’à sélectionner des points de coupe, sa qualité ne revêt pas une grande importance. Comme dans le cas des chaînes de film, vous devez créer une copie de travail pour projeter votre film. Avec ce type de transfert, il est très important de pouvoir corriger votre cut list avant de travailler sur le négatif original. Quelle quantité de données faut-il transférer ? Pour déterminer la quantité de données du film à transférer sur support vidéo, vous devez considérer plusieurs facteurs, dont le plus important sera sans doute le coût. Il dépend du temps passé par l’opérateur télécinéma sur la réalisation du transfert. Vous devez déterminer au préalable s’il est plus intéressant de transférer des bobines entières de film (transfert « camera-roll »), y compris les mauvaises prises et les scènes qui ne seront pas employées, ou de consacrer du temps à la détection de prises particulières afin de ne transférer que celles dont vous ferez usage (transfert « scene-and-take »).22 Partie I Utilisation de Cinema Tools Transferts camera-roll Cinema Tools utilise une base de données pour réaliser un suivi du lien entre les numé- ros de bord du film et les timecodes audio et vidéo. La base de données est conçue pour contenir un enregistrement par prise, mais cette condition n’est pas obligatoire. Si vous transférez sur bande vidéo une bobine de film entière sans interruption, Cinema Tools n’aura besoin que d’un enregistrement pour établir le lien entre les numéros de bord et le timecode vidéo. Toutes les coupes utilisant l’une ou l’autre portion de ce grand plan unique pourront être associées avec précision aux numéros de bord correspondants du négatif caméra original. Un des inconvénients de cette méthode de transfert, c’est le volume important des fichiers, en particulier en cas d’utilisation de longs passages de métrage. Par ailleurs, l’audio, de par la façon dont il est enregistré, est difficile à synchroniser sur télécinéma quand il s’agit d’un transfert caméra-bobine. Pendant la production, l’enregistrement audio démarre généralement avant que le film ne se mette à tourner et s’interrompt après l’arrêt de la caméra. Il est également courant de tourner un film sans son (technique appelée plans MOS [Motion Omit Sound]). Cela signifie qu’il est impossible, même si la synchronisation audio est établie en début de bobine, de la conserver tout au long de la bobine. Vous devez dans ce cas synchroniser chaque plan individuellement. La base de données de Cinema Tools inclut des fonctionnalités permettant de réaliser un suivi des bandes son et du timecode du film original. Après la capture, un long plan peut être subdivisé en plusieurs petits plans, ce qui vous permet de supprimer la vidéo superflue. Même en présence de plusieurs plans, Cinema Tools est capable de créer une cut list complète avec un seul enregistrement. Une autre méthode consiste à ajouter manuellement des enregistrements pour chaque plan, ce qui permet de tirer parti des capacités de base de données étendues de Cinema Tools. Consultez la section « Création de la base de données Cinema Tools » à la page 37 pour une approche détaillée des options possibles. Transfert scene-and-take Les transferts scène et prise sont un peu plus onéreux que les transferts caméra-bobine mais offrent des avantages importants :  Avec les transferts scène et prise, l’audio est plus facile à synchroniser durant le transfert.  La liste télécinéma contient un enregistrement par prise, ce qui constitue une base de données solide une fois importée dans Cinema Tools.  À partir d’une base de données préétablie, Cinema Tools peut exporter une liste de capture par lot. Grâce à cette liste (et au contrôle de périphérique approprié), Final Cut Pro peut capturer et numériser les prises appropriées avec un effort minimal pour vous. Il est possible, grâce à une liste de film précise et à un clap, d’accélérer le processus du transfert et d’en réduire le coût.Chapitre 1 Avant de commencer votre projet 23 I Infos générales sur la vitesse de défilement des images Pour transférer un film sur support vidéo, il faut prendre en compte la différence de vitesse de défilement entre le film et la vidéo. Les films sont presque toujours tournés en 24 images par seconde (ips) ou 23,98 ips, alors que l’on utilise généralement 25 ips pour livrer le projet final sous la forme de vidéo PAL. La vitesse de la vidéo est, selon le format vidéo choisi, de 29,97 ips (NTSC), de 25 ips (PAL) ou de 24 ou 23,98 ips (24p). La vitesse de défilement de votre vidéo (que vous synchronisiez l’audio durant le transfert télécinéma ou pas) et la vitesse à laquelle vous souhaitez réaliser le montage peuvent déterminer les étapes à suivre pour préparer vos plans en vue du montage. Il est conseillé de lire la section « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129 avant de choisir les vitesses de défilement. Utilisation de la vidéo NTSC À l’origine, la vitesse de défilement de la vidéo NTSC était de 30 ips. Lorsque la couleur fut ajoutée, elle dut être légèrement modifiée de façon à atteindre la valeur de 29,97 ips. La fréquence de trame de la vidéo NTSC est de 59,94. On dit souvent que la vidéo NTSC a une fréquence d’images de 30 ips, mais, bien que la différence soit minime, elle ne peut pas être ignorée lors du transfert d’un film sur vidéo (à cause de son impact sur la synchronisation audio, comme c’est expliqué à la section « Synchronisation de l’audio et de la vidéo » à la page 32). Vous devez à présent penser au problème suivant: comment distribuer les 24 ips du film sur les 29,97 ips de la vidéo NTSC. Deux options s’offrent à vous :  réaliser un 3:2 pulldown  lire le film à 29.97 ips Réalisation d’un 3:2 pulldown La méthode la plus courante pour passer des 24 ips du film aux 29,97 ips de la vidéo est d’effectuer un pulldown 3:2 (appelé 2:3:2:3 pulldown). En alternant l’enregistrement de deux trames d’une image du film et de trois trames de l’image suivante, les 24 images qui défilent en 1 seconde de film finissent par remplir les 30 images d’une seconde de vidéo. 24 Partie I Utilisation de Cinema Tools Remarque : la fréquence d’images de la vidéo NTSC est de 29,97 ips. La fréquence d’images du film est changée en 23,98 ips pour créer le modèle 3:2. Comme illustré ci-dessus, le modèle 3:2 (qui est en réalité un modèle 2:3:2:3 étant donné que l’image A est enregistrée en deux trames, suivie de l’image B enregistrée en trois trames) est reproduit au bout de quatre images du film. Presque tous les spots publicitaires de haute qualité, les films et les programmes de télévision en différé utilisent ce procédé avant la diffusion. Notez qu’après ce pull-down, les images du film ne correspondent pas exactement à celles de la vidéo. En effet, la durée d’une image vidéo ne correspond qu’aux quatre cinquièmes de la durée d’une image du film. En raison de cet écart, si vous comparez un nombre précis d’images vidéo et le nombre correspondant d’images du film, vous vous rendrez compte que les deux durées sont rarement exactement les mêmes. Pour que la synchronisation de l’ensemble soit maintenue, il faut généralement ajouter (ou supprimer) une fraction d’une image du film à la durée de la coupe suivante. Cela signifie que Cinema Tools doit parfois ajouter (ou supprimer), dans la liste de conformation, une image du film à la fin d’une coupe pour conserver la synchronisation. Pour cette raison, si vous montez une vidéo à laquelle a été appliqué un 3:2 pull-down, la cut list de Cinema Tools n’est précise qu’à plus ou moins 1 image pour chaque coupe. Avant (23,98 ips) A B A B B C C D D D A B C D A D A B C D A B C D A B C D A B C D B C A A B B B C C D D D A A B B B C C D D D A A B B C C D D D A A B B B D B C C D D D A B A B B C C D D A B C D A A B B B C C D D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 3:2 Pulldown Après (29,97 ips) Une secondeChapitre 1 Avant de commencer votre projet 25 I Ce problème de précision peut être résolu facilement à l’aide de la fonction Reverse Telecine (ou du matériel ou des logiciels de tierce partie) pour supprimer les trames supplé- mentaires et revenir aux 24 ips originales du film avant de commencer le montage numérique, à condition qu’il y ait une relation de un à un entre les images de la vidéo et les images du film. Le choix de 24 ips (ou de 23,98 ips, voir « Synchronisation de l’audio et de la vidéo » à la page 32) comme base temps de montage Final Cut Pro dans l’Éditeur de préréglage de séquence vous permet de monter la vidéo et de générer une liste de conformation très précise. Consultez la section « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129 pour en savoir plus sur ces options. Lecture du film à 29,97 ips Une autre option en matière de transferts de vidéo NTSC consiste à faire tourner le film à 29,97 ips. De cette manière, les images du film coïncident exactement avec celles de la vidéo, mais l’action du film subit une accélération de 25 pour cent. En raison de facteurs liés à la synchronisation audio, cette méthode est rarement employée ou recommandée. Utilisation de la vidéo PAL La vitesse de défilement de la vidéo PAL est d’exactement 25 ips. Deux méthodes peuvent être utilisées pour transférer un film sur une bande vidéo PAL : lire le film à 25 ips (méthode appelée 24 @ 25) et ajouter deux trames supplémentaires par seconde (similaire au pulldown 3:2 de la vidéo NTSC, appelé méthode 24 & 1, ou à la méthode de pulldown 24 @ 25). Qu’est-ce qu’une image A ? Il est souvent fait référence aux images « A » au sujet de la vidéo pulldown 3:2. Comme le montre l’illustration ci-avant, l’image A est la seule dont toutes les trames tiennent dans une image vidéo. Les autres images (B, C et D) apparaissent dans deux images vidéo. L’image A étant le point de départ du modèle vidéo à cinq images, il est souhaitable qu’elle soit la première image de chacun des plans vidéo. En général, les images A sont placées aux numéros de timecode « non-drop frame » se terminant par « 5 » et « 0 ». Consultez la section « À propos des images A » à la page 142 pour en savoir plus.26 Partie I Utilisation de Cinema Tools Méthode 24 @ 25 En lisant le film à 25 ips, les images du film coïncident exactement avec les images de la vidéo. L’inconvénient réside dans le fait que l’action subit une accélération de 4 pour cent et qu’il faut par conséquent accélérer l’audio dans les mêmes proportions pour conserver la synchronisation. Pour tirer parti de la grande variété disponible d’équipements vidéo à 25 ips, vous pouvez choisir de réaliser le montage avec des images plus rapides de 4 pour cent. Vous pouvez également choisir la fonction Conform (conformation) de Cinema Tools pour faire passer la base temps du plan à 24 ips, corrigeant ainsi la vitesse. La vidéo peut ensuite être montée à l’aide de Final Cut Pro à condition que les séquences qui l’utilisent aient une base temps de 24 ips. Remarque : Final Cut Pro comprend une configuration simplifiée et un préréglage de séquence dont les noms contiennent « 24 @ 25 », ainsi qu’un format de timecode appelé « 24 @ 25 ». Ils sont tous les deux destinés à être utilisés avec des plans provenant de vidéo PAL à 25 ips mais ayant été conformés à la vidéo 24 ips. Consultez la section « Utilisation de vidéo à 25 ips conformée à 24 ips » à la page 153 pour en savoir plus. Méthode 24&1 L’ajout de deux trames vidéo supplémentaires par seconde (appelée également méthode de pulldown 24 @ 25 dans Final Cut Pro) offre l’avantage de conserver la vitesse originale du film tout en perdant la relation univoque film vers vidéo. Cette méthode consiste à enregistrer une trame vidéo supplémentaire toutes les 12 images du film. Utilisation de la vidéo 24P Avec sa fréquence d’images et son balayage progressif, la vidéo 24p convient bien aux transferts télécinéma. Il utilise la même vitesse que le film et permet par conséquent une concordance parfaite des images du film et de la vidéo, sans conversion de vitesse. 24 ips 25 ips 1 2 3 4 5 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 6 7 Première trame de la seconde suivante 1 1 1 1 2 2 3 3 4 4 5 5 6 6 7 7 8 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 17 18 18 19 20 21 22 23 24 19 20 21 22 23 24 Une Seconde 1 2 3 4 5 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 6 7 13 14 15 16 17 18 19 20 21 22 23 24 12 13 14 15 16 17 18 19 20 21 22 23 Trame répétée Trame répétée 1 1 2 2 3 3 4 4 5 5 6 6 7 7 8 8 9 9 10 10 11 11 12 12 24 24 Une seconde 24 ips 25 ipsChapitre 1 Avant de commencer votre projet 27 I Votre système Final Cut Pro doit être équipé d’un matériel spécialisé pour capturer de la vidéo 24P, que ce soit en plans compressés ou décompressés. Vous pouvez également utiliser certaines caméras DV, telles que la Panasonic AG-DVX100, pour tourner de la vidéo 24P et utiliser la méthode 2:3:3:2 pulldown pour l’enregistrer sur bande à 29,97 ips (NTSC). À l’aide de Final Cut Pro et de Cinema Tools, vous pouvez capturer cette vidéo et supprimer le 2:3:3:2 pulldown afin de pouvoir effectuer le montage à 24 ips. Consultez la section « Ajout et suppression du pulldown dans les plans 24P » à la page 218 pour en savoir plus. Remarque : lorsque l’enregistreur de bande vidéo 24p est utilisé au sein d’un système NTSC, sa fréquence d’images est en réalité de 23,976 ips (on parle de 23,98 ips) pour être compatible avec la fréquence d’images de 29,97 ips du NTSC. Prise en compte du timecode Il est important de prendre en considération les remarques générales ci-dessous concernant le timecode. Si vous utilisez de la vidéo NTSC, vous pouvez choisir entre deux formats de timecode. Conseils généraux relatifs au timecode Si votre appareil audio ou vidéo vous permet de définir les réglages du timecode, il est recommandé de régler la partie « heures » du timecode de sorte qu’elle corresponde au numéro de la bande vidéo. Il est ainsi beaucoup plus facile de savoir de quelle bande provient un plan. Il est également fortement conseillé de ne pas « passer minuit » sur une bande. Cela arrive lorsque le timecode passe de 23:59:59:29 à 00:00:00:00 lors de la lecture. Vous avez le choix entre le timecode record run et le timecode free run au cours de la production :  Timecode record run : le générateur de timecode s’arrête chaque fois que vous arrêtez l’enregistrement. Vous obtenez de cette manière une bande à timecode continu puisque chaque fois que vous commencez à enregistrer, le timecode reprend au point où il s’était arrêté précédemment.  Timecode free run : le générateur de timecode tourne sans arrêt. Une rupture de timecode est donc générée chaque fois que vous relancez l’enregistrement. Pour éviter d’éventuels problèmes au moment de la capture des plans, il est recommandé d’employer la méthode record run, ce qui permet d’éviter les ruptures de timecode sur une bande. Dans le cas où une bande contiendrait des ruptures de timecode (avec des sauts de numérotation entre les prises), veillez à laisser suffisamment de temps (poignées) pour les pre-roll et post-roll requis durant la capture lorsque vous listez vos plans. Consultez la documentation de Final Cut Pro pour des informations supplémentaires sur l’utilisation du timecode.28 Partie I Utilisation de Cinema Tools À propos du timecode NTSC Le timecode NTSC normal (appelé non-drop frame fonctionne comme son nom l’indique : chaque image utilise le numéro libre suivant. Il y a 30 images par seconde, 60 secondes par minute et 60 minutes par heure. Étant donné que la vitesse d’images réelle de la norme NTSC est un peu inférieure à 30 ips (29,97 ips), le timecode non-drop frame finit par prendre du retard (3 secondes et 18 images par heure) par rapport au temps réel écoulé. Pour compenser cela, le timecode drop frame saute en avant de deux images par minute, sauf pour les minutes se terminant par « 0 ». (Le saut se fait uniquement par rapport aux numéros, pas par rapport aux images vidéo.) Cette correction permet de faire coïncider le timecode avec le temps réel, mais rend le montage numérique du film plus confus. Avec le timecode non-drop frame, une fois que vous avez trouvé une image A, vous savez que l’image A suivante correspond au numéro de cette image plus 5, et ainsi de suite. Si vous trouvez par exemple une image A à 1:23:14:15, vous savez que toutes les images terminant par « 5 » et « 0 » seront des images A. Avec le timecode drop frame, il est difficile d’établir ce type de lien. Remarque : en général, les images A sont placées aux numéros de timecode « non-drop frame » se terminant par « 5 » et « 0 ». Il est vivement recommandé de ne pas utiliser de timecode non-drop frame pour la vidéo et l’audio dans vos projets de montage, même si Cinema Tools et Final Cut Pro sont capables de le traiter. Quel que soit le type de timecode que vous utilisez, n’oubliez pas d’utiliser le même pour les bandes vidéo et pour les bandes audio. Remarque : le timecode PAL ne pose pas ce problème : il lit à une vitesse réelle de 25 ips. Qu’arrive-t-il au timecode après que vous ayez utilisé la fonction Reverse Telecine ? La fonction Reverse Telecine (utilisée pour convertir de la vidéo 29,97 ips en vidéo 23,98 ips) a une incidence directe sur le timecode des images vidéo. Comme Cinema Tools doit géné- rer un nouveau timecode 23,98 ips pour les images (à partir du timecode original), il se peut qu’il y ait une différence entre les numéros de timecode gravés et les numéros affichés dans Final Cut Pro. Bien que les différences de timecode entre la fenêtre d’affichage et le timecode de Final Cut Pro puissent provoquer une certaine confusion, Cinema Tools gère le nouveau timecode de la vidéo 23,98 ips et est capable de le remettre en correspondance avec les valeurs NTSC ou PAL originales et donc avec les numéros de bord du film. Remarque : la fonction Reverse Telecine est généralement utilisée pour convertir de la vidéo NTSC en 23,98 ips afin qu’elle corresponde au timecode audio, mais elle peut aussi convertir la vidéo en 24 ips. Chapitre 1 Avant de commencer votre projet 29 I Le timecode passe par les modifications suivantes : le télécinéma inversé supprime six images par seconde afin que les valeurs de timecode coïncident toujours au début de chaque seconde. Cela signifie qu’un plan qui dure 38 secondes s’il est lu à la vitesse NTSC de 29,97 ips conservera sa durée de 38 secondes s’il est lu à la vitesse de 23,98 ips du télé- cinéma inversé. Dans l’illustration ci-avant, les trames NTSC bleues représentent les trames supprimées au cours du processus de télécinéma inversé sur un plan à l’aide du pulldown 3:2 traditionnel. (Consultez la section « Ajout et suppression du pulldown dans les plans 24P » à la page 218 pour des informations sur le pulldown 2:3:3:2.) La fenêtre d’affichage du timecode NTSC sera différente de ce que Final Cut Pro affiche pour toutes les images sauf la première de chaque seconde, quelle que soit la longueur du plan. Qu’arrive-t-il au timecode après que vous ayez utilisé la fonction Conform ? L’on utilise la fonction Conform dans trois situations :  Conversion de vidéo 25 ips PAL en 24 ips : le timecode n’est pas modifié, ce qui garantit qu’une liste EDL exportée après le montage des plans fera bien référence au timecode PAL original. L’inconvénient, c’est que le timecode, à 25 ips, ne représente plus exactement le passage du temps réel lors de la lecture à 24 ips car chaque image est affichée un peu plus longtemps. Consultez la section « Utilisation de vidéo à 25 ips conformée à 24 ips » à la page 153 pour en savoir plus.  Conformation de vidéo 29,97 ips en 29,97 ips : le timecode n’est pas modifié. Ce processus est utilisé pour corriger des problèmes dans un fichier QuickTime avant l’utilisation de la fonction Reverse Telecine. Consultez l’annexe C, « Solutions aux problèmes fréquents et assistance client », à la page 249 pour en savoir plus.  Conversion de vidéo 29,97 ips NTSC en 23,98 ips : le timecode est modifié, un numéro étant passé toutes les cinq images. Cette situation de conformation est rare. Consultez la section « Utilisation de la fonction de conformation » à la page 131 pour en savoir plus. 1:00 1:11 1:01 1:02 1:03 1:04 1:05 1:16 1:06 1:07 1:08 1:09 1:10 1:12 1:13 1:14 1:15 1:17 1:18 1:19 1:20 1:21 1:22 1:23 1:24 1:25 1:26 1:27 1:28 1:29 2:00 2:01 2:02 1:00 1:01 1:02 1:03 1:04 1:05 1:06 1:07 1:08 1:09 1:10 1:11 1:12 1:13 1:14 1:15 1:16 1:17 1:18 1:19 1:20 1:21 1:22 1:23 2:00 2:01 2:02 Images vidéo NTSC (29,97 ips) Images vidéo télécinéma inversé (23,98 ips) Début du plan Trames éliminées Une seconde30 Partie I Utilisation de Cinema Tools À propos du son Le son d’un film étant enregistré séparément sur un enregistreur audio, certains aspects sont à prendre en considération :  choix du type d’enregistreur audio à utiliser  format de timecode à utiliser  mode de mixage audio final  mode de synchronisation de l’audio et de la vidéo Choix d’un enregistreur audio Il existe plusieurs types d’enregistreurs audio : le magnétophone analogique (en géné- ral un Nagra), le magnétophone numérique (DAT, pour Digital Audio Tape) ou l’enregistreur de disques numériques. Qu’il soit analogique ou numérique, l’essentiel est qu’il gère les timecodes. Choix d’un format de timecode audio Contrairement à la vidéo ou au film, qui doivent être structurés avec une vitesse spécifique, l’audio est linéaire et dépourvu de divisions dues aux images. L’ajout de timecode à l’audio sert donc à déterminer des points dans le temps afin de faciliter la synchronisation de l’audio avec les images de la vidéo ou du film. Durant le tournage, vous pouvez choisir le format de timecode audio à utiliser (généralement 30 ips, 29,97 ips, 25 ips, 24 ips ou 23,98 ips). Vous pouvez également choisir, pour les formats 30 ips et 29,97 ips, d’utiliser le timecode drop frame ou non-drop frame. Pour les transferts de vidéo NTSC, il est fortement recommandé d’utiliser le timecode non-drop frame tant pour la vidéo que pour l’audio (même si Cinema Tools est compatible avec les deux). Consultez la section « À propos du timecode NTSC » à la page 28 pour en savoir plus sur les timecodes drop frame et non-drop frame. Au moment de choisir votre réglage de timecode audio, vous devez tenir compte du mode de mixage du son final :  Si le mixage final doit être réalisé à l’aide de Final Cut Pro : ce réglage doit correspondre au réglage Editing Timebase dans l’Éditeur de préréglage de séquence de Final Cut Pro.  Si le mixage final doit être réalisé dans un studio de postproduction audio : le timecode doit être compatible avec l’équipement du studio. Remarque : contactez le studio afin de confirmer ces réglages avant de commencer le tournage. En général, si vous synchronisez l’audio au cours du transfert télécinéma, le timecode doit correspondre à celui du format vidéo (29,97 ips pour NTSC, 25 ips pour PAL ou 24 ips pour 24p). Consultez le monteur son avant le tournage, afin de vous assurer qu’il pourra travailler avec le timecode choisi.Chapitre 1 Avant de commencer votre projet 31 I Mixage de l’audio final La méthode utilisée pour mixer l’audio final dépend de la complexité de la bande sonore (le nombre de pistes, les effets sonores et l’overdubbing peuvent la rendre très complexe) et de votre budget. Vous pouvez soit finaliser l’audio dans Final Cut Pro soit le faire finaliser dans un studio de postproduction. Finishing the Audio With Final Cut Pro Si vous capturez des plans audio en haute qualité, vous pouvez terminer l’audio de votre projet à l’aide de Final Cut Pro, qui comprend des outils de montage du son sophistiqués. N’oubliez toutefois pas qu’il faut absolument disposer d’audio de bonne qualité pour faire un bon film et que choisir de ne pas confier l’audio à un studio de postproduction audio familier aux problèmes liés à la création d’audio pour les films peut donner des résultats décevants. Vous pouvez exporter l’audio de Final Cut Pro sous la forme d’un fichier Open Media Framework (OMF) pouvant être utilisé dans un studio de postproduction audio. Un fichier OMF exporté contient le son ainsi que les informations sur les point d’entrée et de sortie audio. Cela signifie que tous les éléments d’effets sonores que peut contenir votre projet sont inclus dans le fichier. Lorsque vous utilisez un fichier OMF, la qualité de l’enregistrement doit être optimale car elle correspond exactement à ce que les spectateurs entendront. Veillez par conséquent à utiliser un appareil de capture de bonne qualité et des niveaux d’enregistrement appropriés. Exportation de listes EDL audio Une autre façon de faire consiste à utiliser des plans de moindre qualité dans Final Cut Pro, puis à les exporter dans une liste EDL audio (Edit Decision List) que l’on fournit au studio de postproduction audio. Dans le studio, des éléments audio de haute qualité peuvent être capturés directement à partir de la source sonore d’origine, puis montés en se basant sur la liste EDL. Pour que cela marche, il faut que le timecode et les numéros des bandes sonores originales soient consignés et utilisés pour créer la liste EDL audio. Les plans audio capturés dans des plans vidéo ne conservent pas leur timecode ni leur numéros de bobine originaux et la liste EDL de Final Cut Pro ne peut pas être utilisée par les studios de postproduction audio. Cela arrive souvent avec les plans créés à partir d’un transfert scene-and-take, car l’audio est alors synchronisé avec le film, puis enregistré sur la bande vidéo et perd le timecode audio original. Toutefois, étant donné que la liste télécinéma produite lors du transfert contient généralement les informations de timecode et de numéro de bande de l’audio et de la vidéo, il suffit de l’importer dans la base de données de Cinema Tools afin que la base de données puisse assurer le suivi de l’audio et que vous puissiez exporter une liste EDL audio depuis Cinema Tools une fois le montage terminé. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour en savoir plus sur ce procédé.32 Partie I Utilisation de Cinema Tools Synchronisation de l’audio et de la vidéo Le son de production d’un film est enregistré séparément sur un enregistreur audio ; ce procédé est connu sous le nom de méthode du système d’enregistrement dual (ou double) system recording. La synchronisation du son avec le film et la bande vidéo (pour une synchronisation labiale parfaite) est une étape fondamentale dans la réalisation d’un film. La méthode de synchronisation dépendra de l’équipement dont vous disposez ainsi que du moment choisi pour la synchronisation. D’autres considérations liées au format vidéo, à la méthode de transfert télécinéma et au timecode employés ont également un impact sur le processus et ne doivent pas être oubliées. La synchronisation est particulièrement importante lors des trois étapes suivantes :  durant le transfert télécinéma  durant le montage  au moment de la création de la version finale Pour conserver la synchronisation à chacune de ces étapes, différentes stratégies peuvent s’avérer nécessaires. Veillez à planifier votre travail en conséquence. Synchronisation : informations générales La synchronisation du son avec l’image vidéo ne doit pas poser de problème majeur si les précautions nécessaires ont été prises lors du tournage. La synchronisation du son comporte deux aspects : l’établissement de la synchronisation à un point particulier de chaque plan et la lecture du son à la bonne vitesse afin qu’il reste synchronisé. Lorsque vous filmez, vous devez créer des repères sonores et visuels qui serviront à la synchronisation. La méthode la plus courante consiste à utiliser un clap (également appelé ardoise ou claquette) au début de chaque prise. L’idéal est d’employer un clap avec timecode sur lequel est affiché le timecode de l’enregistreur audio. Pour synchroniser l’audio et la vidéo, positionnez la vidéo sur la première image où le clap est refermé, puis localisez le son (ou timecode) correspondant. Sachez que pour des raisons liées à la production, il est parfois nécessaire que le clap soit effectué à la fin de la prise. En géné- ral, il doit alors être tenu à l’envers. Le transfert par télécinéma engendrant souvent une accélération ou un ralentissement du film, la vitesse audio doit également être modifiée. Si la synchronisation audio se fait au cours du transfert, le changement de vitesse s’effectue à ce moment-là. Si la synchronisation audio/bande vidéo est effectuée après le transfert, le changement de vitesse doit également être effectué au cours de cette synchronisation.Chapitre 1 Avant de commencer votre projet 33 I Synchronisation au cours du transfert par télécinéma Lors du tournage, l’enregistreur audio démarre généralement juste avant que la caméra ne se mette à tourner et s’arrête un petit peu après la caméra. Comme l’enregistrement audio obtenu est plus long que le film, il n’est pas possible de lire en même temps la bande sonore et le film pendant plusieurs prises consécutives tout en conservant la synchronisation. Si vous souhaitez que le transfert par télécinéma enregistre l’audio synchronisé sur la bande vidéo, vous devez soit utiliser le transfert scene-and-take en synchronisant chaque prise séparément, soit créer une bande audio synchronisée avant de réaliser un transfert camera-roll. La synchronisation durant le transfert télécinéma permet non seulement d’obtenir des bandes vidéo avec audio synchronisé prêtes pour la capture, mais présente également un autre avantage : la liste télécinéma inclut généralement les informations de timecode et de numéro de bande audio. L’importation de la liste dans Cinema Tools permet d’exporter une liste EDL audio afin qu’un studio de postproduction audio puisse ensuite recapturer les plans audio à une qualité supérieure, si nécessaire. Transferts de vidéo NTSC Lorsque vous transférez un film sur bande NTSC, il est toujours nécessaire de lire le film à une vitesse plus lente de 0,1 pour cent que 24 ips (c’est-à-dire à 23,976 ips ou 23.98 ips) afin de compenser la vitesse réelle de 29,97 ips de la bande NTSC (au lieu de la vitesse idéale de 30 ips). La vitesse du film ayant été réduite, celle de l’audio doit l’être à son tour pour que la synchronisation soit conservée. Transferts de vidéo PAL Pour les transferts de vidéo PAL à l’aide de la méthode 24@25 (en augmentant la vitesse du film à 25 ips), l’audio doit également être accéléré si vous le synchronisez durant le transfert par télécinéma ou si vous avez l’intention de monter la vidéo à cette vitesse. Si vous transférez le film sur bande à l’aide de la méthode 24&1 (en enregistrant une trame vidéo supplémentaire toutes les douze images du film), vous devez lire l’audio à sa vitesse normale sans vous préoccuper du point où la synchronisation est établie. Dans ce cas, utilisez un timecode audio de 25 ips. Synchronisation dans Final Cut Pro Si vous ne synchronisez pas le son et les images sur la bande via le transfert télécinéma, ils seront capturés séparément dans Final Cut Pro : éléments audio et plans vidéo. Vous pouvez les synchroniser par la suite dans Final Cut Pro en utilisant les plans avec clap (méthode expliquée dans la section « Synchronisation : informations générales » à la page 32). Une fois que deux plans (ou plus) sont synchronisés, vous pouvez les fusionner en un seul plan grâce à la fonction des plans fusionnés de Final Cut Pro. Consultez la section « Synchronisation séparée de l’audio et de la vidéo capturés » à la page 146 ainsi que la documentation de Final Cut Pro pour en savoir plus.34 Partie I Utilisation de Cinema Tools Utilisation de Final Cut Pro Les décisions que vous prenez pour le transfert télécinéma et la façon dont vous utilisez l’audio influent sur votre utilisation de Final Cut Pro au cours du processus de montage. Réglage de la base temps des séquences Dans Final Cut Pro, vous devez définir la base temps de sorte que les séquences correspondent à la fréquence d’images des plans capturés. Important : ne placez pas des plans dans une séquence dont la vitesse de défilement est différente de la leur, car vous risquez d’obtenir une liste de film inexacte. Si vous souhaitez par exemple effectuer un montage à 24 ips, assurez-vous que les vitesses de vos plans sont toutes réglées sur 24 ips (en utilisant soit la fonction Reverse telecine (télécinéma inversé), soit la fonction Conform (conformation)). Consultez la section « À propos des configurations simplifiées et du paramétrage de la base temps » à la page 151 et la documentation de Final Cut Pro pour des détails sur la définition de la base temps de montage pour des séquences. Sortie sur bande lors d’un montage à 24 ips Le montage à 24 ips offre l’avantage d’une concordance parfaite entre les images du film et les images vidéo, permettant ainsi la création de listes de conformation très précises. L’un des inconvénients provient du fait qu’un magnétoscope 24P est nécessaire pour enregistrer directement la vidéo à 24 ips (car l’enregistrement avec des appareils vidéo NTSC ou PAL standard est compliqué). Cela peut poser problème si vous souhaitez enregistrer votre projet monté sur une cassette vidéo (soit pour la montrer à d’autres personnes, soit pour la donner au monteur négatif, comme référence visuelle à utiliser avec la cut list). Il existe cependant des solutions :  Si vous utilisez de la vidéo NTSC : vous pouvez utiliser la fonction d’insertion de pulldown de Final Cut Pro pour appliquer un modèle de pulldown à la vidéo et donc sortir la vidéo à 29,97 ips. Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus. Il existe également des cartes et des applications de tierce partie qui peuvent réaliser un 3:2 pulldown sur la vidéo, permettant ainsi la vitesse NTSC de 29,97 ips.  Si vous utilisez de la vidéo PAL : si vous envisagez d’enregistrer votre projet sur bande vidéo au terme de votre travail, il s’avère plus simple de réaliser le montage à 25 ips (après avoir augmenté la vitesse du film afin de conserver la concordance des images).Chapitre 1 Avant de commencer votre projet 35 I Utilisation d’effets Final Cut Pro offre des possibilités d’effets étendues, notamment des effets de film courants tels que les fondus, les balayages, les modifications de vitesse et les textes de génériques. N’oubliez pas que la sortie vidéo de Final Cut Pro n’est pas conçue pour être transférée sur film et ces effets doivent être créés par une fonction spécialisée pour les trucages optiques ou créés numériquement à l’aide de numérisations haute résolution du métrage à combiner. Consultez la section « Utilisation d’effets, de filtres et de transitions » à la page 160 pour obtenir des informations supplémentaires, y compris un aperçu des étapes élémentaires d’insertion d’effets et de transitions dans un film monté numériquement.2 37 2 Le flux de production de Cinema Tools Cinema Tools s’inscrit facilement dans un flux de production de montage de film. L’objectif premier de Cinema Tools est de créer une cut list précise en fonction des montages réalisés dans Final Cut Pro. Il existe un certain nombre d’étapes cruciales pour y parvenir mais pour la plupart, le flux de production de Cinema Tools lui-même dépend de l’équipement utilisé, de votre standard vidéo et de la façon dont vous travaillez. Étapes fondamentales du flux de production Voici à quoi ressemble un flux de production dans Cinema Tools (chacun de ces étapes est décrite en détail dans les rubriques qui suivent) : Étape 1: création de la base de données Cinema Tools Étape 2: capture des plans sources avec Final Cut Pro Étape 3: connexion des plans à la base de données Étape 4: préparation des plans pour le montage Étape 5: montage des plans dans Final Cut Pro Étape 6: création de listes de conformation et d’autres listes avec Cinema Tools Création de la base de données Cinema Tools Le point central de Cinema Tools est sa base de données, dans laquelle les liaisons entre les éléments de votre film (le film, la vidéo et le son) sont établies et suivies. Bien qu’il ne soit pas obligatoire de créer une base de données avant de commencer le montage, cette étape peut fournir des outils utiles pour la capture de plans et la planification du montage.38 Partie I Utilisation de Cinema Tools Fonctionnement de la base de données La base de données peut contenir une fiche ou bien des milliers selon la manière dont vous choisissez d’utiliser Cinema Tools. Ces fiches sont mises en correspondance avec les montages réalisés dans Final Cut Pro afin de créer la cut list. Pour être valide, une fiche doit comporter des valeurs relatives à la caméra, le rush, ou la bobine laboratoire, le code de bordure et être reliée à un plan ou comporter des valeurs de bande vidéo et de timecode vidéo (point d’entrée et durée). Lorsque vous exportez la cut list après avoir monté la vidéo dans Final Cut Pro, Cinema Tools regarde chaque montage et cherche la fiche approprié dans sa base de données afin de déterminer les numéros de clé et la codification manuelle qui correspondent (code de bordure). Cinema Tools recherche d’abord une fiche qui est reliée au nom du plan utilisé dans le montage. S’il la trouve, il localise le fichier du plan, une note est ajoutée à la cut list et Cinema Tools passe au montage suivant. Si aucun enregistrement n’est trouvé sur la base du nom de plan d’une coupe ou si le plan n’est pas localisé, Cinema Tools analyse le numéro de bande vidéo pour voir si des enregistrements portent le même numéro (« 001 » est différent de « 0001 »). Si c’est le cas, il recherche ensuite si les points d’entrée et de sortie du montage sont à la portée d’une des fiches. Si cette condition est également remplie, le montage est ajouté à la cut list et Cinema Tools passe au montage suivant. Si une fiche utilisant le nom du chemin d’accès à un plan ou un numéro de bobine vidéo avec des données de timecode appropriées est introuvable, « » apparaît dans la cut list et une note est ajoutée à la liste des éléments manquants. Si une fiche est trouvée mais qu’elle est incomplète (numéro de clé manquant, par exemple), « » est placé dans ces champs et une note est ajoutée à la liste des éléments manquants. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 et l’annexe B, « Création de listes de films avec Cinema Tools », à la page 245 pour des détails sur ce processus et la liste des éléments manquants. Base de données simple ou détaillée Cinema Tools est conçu pour vous permettre de créer un enregistrement pour toute une bobine de caméra, pour chaque prise ou entre ces deux extrêmes, selon la façon dont vous travaillez. Chaque enregistrement peut contenir :  les numéros de scène, de plan et de prise avec descriptions,  le numéro de la bobine de caméra du film, le code de bordure, le timecode et le numéro de bobine de la vidéo,  le numéro de bobine et le timecode audio,  une affiche de plan avec une image représentative du plan,  des réglages de base tels que les formats du timecode et du film.Chapitre 2 Le flux de production de Cinema Tools 39 I Les fiches peuvent être saisies manuellement ou importées d’une liste télécinéma. Vous pouvez modifier, supprimer et ajouter des fiches à la base de données en fonction des nécessités, même si elles sont basées sur la liste télécinéma. Vous pouvez également fusionner des bases de données. Si vous travaillez avec des rushes par exemple, vous pouvez créer une nouvelle base de données pour chaque session et toutes les fusionner une fois que le tournage est terminé. La liste télécinéma des transferts scene-and-take, dans lesquels seules les prises de films spécifiées sont transférées sur vidéo, peut fournir les informations basiques à la base de données. Vous pouvez ajouter d’autres fiches, des commentaires ou d’autres informations si besoin est. La liste télécinéma des transferts camera-roll fournit des informations pour une seule fiche (le code de bordure et le timecode vidéo utilisés au début du transfert). Si les numéros de clé et le timecode vidéo du film sont continus tout au long du transfert, cette seule fiche suffit à Cinema Tools pour générer une cut list pour cette bobine de film. Importation de listes télécinéma Vous pouvez importer la liste télécinéma à l’aide de Cinema Tools ou de Final Cut Pro. Vous pouvez choisir l’une des deux méthodes en fonction de votre flux de production. Dans les deux cas, vous pouvez assigner une lettre de caméra, qui est ajoutée aux entrées de prise, à l’importation. Cela est utilise dans les cas où plusieurs caméras sont utilisées pour chaque prise. Consultez la rubrique « Attribution de lettres de caméra » à la page 86 pour en savoir plus. Consultez la rubrique « Importation d’informations à partir d’une liste télécinéma ou d’un fichier ALE » à la page 85 pour en savoir plus sur l’importation de listes télécinéma. Importation de listes télécinéma à l’aide de Cinema Tools Pour importer une liste télécinéma dans Cinema Tools, vous devez d’abord disposer d’une base de données ouverte. La base de données peut être une base de données existante à laquelle vous ajoutez de nouveaux enregistrements ou une nouvelle sans enregistrement. Une fois que les enregistrements ont été importés, vous pouvez exporter une liste de capture par lot de Cinema Tools que vous pouvez ensuite importer dans Final Cut Pro pour automatiser le processus de capture des plans. Importation de listes télécinéma à l’aide de Final Cut Pro Lorsque vous importez une liste télécinéma à l’aide de Final Cut Pro, vous spécifiez si vous voulez l’importer dans une base de données Cinema Tools existante ou créer une nouvelle base de données. 40 Partie I Utilisation de Cinema Tools Lors de l’ajout d’enregistrements à la base de données Cinema Tools sélectionnée, chaque enregistrement crée un plan offline dans le Navigateur de Final Cut Pro pour que les plans puissent être capturés par lot. Les informations relatives au film provenant de la liste télécinéma sont ajoutées automatiquement à chaque plan. Vous pouvez afficher ces informations de plusieurs façons pendant le montage des plans dans Final Cut Pro. Consultez la rubrique « Affichage d’informations relatives au film dans Final Cut Pro » à la page 154 pour en savoir plus. Entrée manuelle de fiches de la base de données La raison la plus courante d’entrer manuellement une fiche dans la base de données est qu’il n’y a pas de liste disponible à partir du processus de transfert du film vers la vidéo. Certaines méthodes de tranfert du film vers la vidéo, telles que les chaînes de films, ne produisent pas de liste. Chaque enregistrement, dans une base de données, doit faire référence à un fichier de données possédant un timecode et des numéros de bord continus. Avec les transferts scene-and-take, chaque prise nécessite sa propre fiche puisque les numéros de bord de film sont ignorés en sautant d’une prise à l’autre pendant le transfert. Avec les transferts camera-roll, comme la bobine de film et l’enregistreur vidéo tournent continuellement du début à la fin, vous n’avez besoin que d’un seul enregistrement pour l’ensemble du plan, même si vous le subdivisez ultérieurement en plans plus petits (ces derniers gardent le timecode original) et supprimez les portions non utilisées. Cela est dû au fait que Cinema Tools peut utiliser le numéro de bobine vidéo et les points de montage d’une coupe pour calculer les numéros de bord appropriés, tant que les informations de bobine vidéo et de point de montage figurent dans un enregistrement. Pour saisir des enregistrements de base de données manuellement, vous devez connaître le numéro de bord et le numéro de timecode vidéo d’une image du plan. Le plus simple est d’avoir ces valeurs gravées dans la vidéo grâce au transfert.Chapitre 2 Le flux de production de Cinema Tools 41 I Consultez le chapitre 4, « Création et utilisation d’une base de données Cinema Tools », à la page 69 pour des détails sur la création et la gestion de base de données Cinema Tools. Capture des plans sources Vous devez capturer la vidéo et l’audio sur l’ordinateur du montage. Votre manière de procéder dépendra en majeure partie du support utilisé pour le transfert télécinéma. Si vous avez utilisé un magnétoscope analogue, tel qu’un Sony Betacam, la vidéo et l’audio doivent être convertis en format numérique et compressés avant de pouvoir être utilisés. Si vous avez utilisé un magnétoscope numérique, tel qu’un Sony Digital Betacam, la vidéo et l’audio sont déjà numériques mais doivent être capturés et compressés. Dans les deux cas, un matériel spécialisé avec des connexions adéquates est généralement nécessaire. Si vous avez utilisé un système DV, la vidéo (et l’audio, en fonction du type de transfert) est déjà numérique et compressée et a seulement besoin d’être capturée à l’aide de FireWire. Important : lorsque vous utilisez le contrôle de périphériques en série, n’oubliez pas de calibrer son décalage de capture. Consultez la documentation de Final Cut Pro pour obtenir plus d’informations. Consultez aussi la rubrique « Configuration de votre matériel afin de capturer un timecode exact » à la page 113 pour en savoir plus sur la capture de plans. Les numéros de fenêtre d’affichage sont-ils corrects ? Il peut y avoir plusieurs raisons à l’affichage de valeurs de fenêtre d’affichage incorrectes. Elles vont de la saisie de valeurs incorrectes à la détection automatique incorrecte. Vous devez vérifier que les valeurs de fenêtre d’affichage sont correctes. Il est essentiel que ces valeurs soient correctes si vous devez compter sur elle. Le numéro de clé se vérifie généralement en comparant la valeur affichée avec une valeur documentée sur une image perforée ou marquée près de la tête du plan. N’oubliez pas de vérifier cela au moins une fois par bobine de caméra (l’idéal étant de faire la vérification pour chaque prise). Comparez le timecode dans la fenêtre d’affichage avec la valeur affichée par la platine de la bande vidéo.42 Partie I Utilisation de Cinema Tools Dans tous les cas, il se peut que vous décidiez de recompresser les fichiers pour en diminuer la taille et les rendre plus faciles à exploiter. En utilisant le bon codec par exemple, vous pourrez monter sur un ordinateur portable plus ancien. Tactiques de capture Il existe diverses manières de capturer la vidéo et l’audio. Déterminer le meilleur choix pour vous dépend d’un certain nombre de facteurs, en particulier si vous avez le contrôle du périphérique de la platine de la bande source et le type de transfert utilisé (camera-roll ou scene-and-take). Contrôle de périphérique La première question à se poser avant de déterminer la méthode à suivre pour capturer la vidéo et l’audio est de savoir si Final Cut Pro prend en charge le contrôle de périphérique pour la platine que vous utilisez. Le contrôle de périphérique vous permet de capturer avec précision la vidéo et l’audio que vous voulez suivant un procédé pouvant être répété de manière exacte si nécessaire. Vous pouvez même définir une « capture par lot » qui automatise le processus et vous laisse libre de vous concentrer sur d’autres tâches. La capture sans contrôle de périphérique présente plusieurs inconvénients. Les plans capturés manuellement n’ont pas de temps de début et de fin précis. Si vous cherchez à faire correspondre les temps de début et de fin d’une liste télécinéma, vous devez rogner les plans après les avoir capturés. De plus, sans contrôle de périphérique le timecode d’un plan ne correspond pas au timecode de la bande. Final Cut Pro permet de changer le timecode d’un plan, mais pour que ce timecode corresponde à la bande source, vous devez disposer d’une référence visuelle (une perforation ou une image marqué) possédant une valeur de timecode connue. À propos de la compression La compression, en termes de vidéo numérique, est une méthode de transformation du contenu en fichiers plus petits utilisant moins d’espace sur le disque dur et potentiellement moins d’énergie de la part du processeur au moment de les afficher. L’inconvénient, c’est que les images sont de qualité moindre. Il est important d’avoir à l’esprit que la vidéo montée à partir de Final Cut Pro et utilisée avec Cinema Tools ne sera généralement pas utilisée si une grande qualité est exigée. L’usage le plus courant de la vidéo montée est de servir de guide visuel allant avec la cut list pour le monteur négatif. Cela signifie que la qualité de la vidéo doit juste être assez bonne pour que vous puissiez faire vos choix de montage et lire les valeurs de la fenêtre d’affichage. Cependant, vos choix de montage étant parfois basés sur des repères visuels subtils, il vaut mieux ne pas s’embarquer dans un choix de compression excessif. Important : n’utilisez pas de codecs de compression temporelle, comme, par exemple, le MPEG-2. En plus d’être difficiles à monter, ces fichiers ne peuvent pas bénéficier de la fonction Reverse Telecine. Chapitre 2 Le flux de production de Cinema Tools 43 I Pour en savoir plus sur le contrôle de périphérique, consultez la documentation de Final Cut Pro. Transferts camera-roll Pour effectuer des transferts camera-roll, vous devez soit capturer la bande entière soit capturer manuellement un plan pour chaque prise. Si la bande utilise un timecode vidéo et des numéros de bord de film continus, Cinema Tools n’a besoin que d’un seul enregistrement de base de données établissant la relation entre les deux. Si Final Cut Pro a un contrôle de périphérique de votre magnétoscope source, la meilleure façon de capturer les prises souhaitées consiste à utiliser la fenêtre Log and Capture de Final Cut Pro et à saisir les points d’entrée et de sortie et le numéro de bande de chaque. Vous pouvez alors utiliser la capture par lot pour terminer le processus. Il n’est pas nécessaire de créer une fiche dans la base de données pour chaque plan du moment que vous ne changez pas le timecode. Sans contrôle de périphérique, vous devez capturer manuellement soit les prises désirées soit la bande entière. Il se peut que vous ayez à rogner chaque prise que vous capturez manuellement et vous devrez également définir manuellement le timecode pour qu’il corresponde à la bande source. L’avantage de capturer la bande entière est que vous n’avez à définir le timecode du plan qu’une seule fois (en partant du principe que la bande source avait un timecode continu). L’inconvénient, c’est la quantité d’espace disque nécessaire, bien qu’une fois que la bande est capturée, vous pouvez utiliser Final Cut Pro pour créer des sous-plans des prises utiles, puis supprimer le contenu inutilisé. Consultez le chapitre 5, « Capture des plans sources et création d’un lien avec la base de données », à la page 111 pour des détails sur la capture de plans. Transfert scene-and-take En réalisant des transferts scene-and-take, les fiches de la base de données de Cinema Tools sont généralement adaptées à la capture par lot. Vous pouvez exporter une liste des captures de Cinema Tools, puis l’importer dans le Navigateur de Final Cut Pro. Final Cut Pro peut ensuite réaliser une capture par lot (en partant du principe qu’il puisse contrôler le périphérique source) et créer des plans comme indiqué dans la liste Cinema Tools. Ces plans peuvent ensuite être facilement liés aux fiches de la base de données de Cinema Tools. 44 Partie I Utilisation de Cinema Tools Finalisation avec de la vidéo de haute qualité Si vous voulez fournir une sortie vidéo de haute qualité au terme du projet, vous devez tenir compte de plusieurs points. Lorsque vous capturez de la vidéo pour le montage offline initial, vous pouvez la capturer avec une compression relativement haute et inclure un timecode et des numéros de bord gravés. La compression permet à votre ordinateur de traiter la vidéo plus facilement et nécessite moins d’espace sur votre disque dur, ce qui vous permet de capturer plus de vidéo pour prendre les décisions en matière de montage. Une fois que vous avez fini le montage offline, vous pouvez utiliser Final Cut Pro pour recapturer uniquement la vidéo réellement utilisée dans les coupes à l’aide d’un codec de haute qualité et d’une version de la vidéo sans timecode ni numéros de bord gravés. Consultez le chapitre 11, « Utilisation de la vidéo 24P et de listes EDL 24 ips », à la page 209 pour en savoir plus sur ce processus. Consultez aussi la documentation Final Cut Pro pour en savoir plus sur les flux de production du montage offline et online.Chapitre 2 Le flux de production de Cinema Tools 45 I Connexion des plans à la base de données Une fois que vous avez capturé les plans sources, vous pouvez les connecter à la base de données Cinema Tools (on parle aussi de lier les plans à la base de données). Lier un plan à la base de données permet à Cinema Tools d’accéder au plan d’une fiche en créant la cut list, ce qui réduit la probabilité d’avoir des problèmes d’entrées de timecode. Lors de la création d’une liste de conformation, Cinema Tools commence par analyser le chemin d’accès aux plans utilisés dans le montage et les remet en correspondance avec la base de données. Le fait que Cinema Tools soit capable de travailler avec le fichier du plan de cette façon réduit la possibilité d’une erreur de timecode pouvant provoquer des imprécisions dans la liste de conformation. Ceci est primordial lorsque vous effectuez un montage à 24 ips. Consultez l’annexe B, « Création de listes de films avec Cinema Tools », à la page 245 pour en savoir plus sur la façon dont Cinema Tools génère une liste de conformation. Consultez également la rubrique « Connexion des plans sources capturés à la base de données » à la page 121 pour obtenir plus d’informations. Préparation des plans pour le montage Cinema Tools présente deux puissantes fonctions pouvant être utilisées sur les plans avant de les monter : la fonction Reverse Telecine et la fonction Conform. Reverse Telecine La fonction Reverse Telecine (pour les transferts NTSC uniquement) permet de supprimer les trames supplémentaires ajoutées lors du processus pull-down 3:2 d’un transfert télécinéma. Vous devez l’utiliser lorsque vous montez de la vidéo à 23.98 ips. Consultez la rubrique « Infos générales sur la vitesse de défilement des images » à la page 23 pour des informations sur ce qu’est un pulldown 3:2 et pourquoi vous pouvez vouloir l’inverser. Consultez la rubrique « Inversion du pulldown télécinéma » à la page 133 pour des détails sur son utilisation. Remarque : la fonction Reverse Telecine ne peut pas être utilisée avec de la vidéo comprimée dans le temps, comme, par exemple, la vidéo au format MPEG-2. Conform La fonction Conform est utile à la fois pour corriger les erreurs présentes dans des plans vidéo et pour changer la fréquence d’images (base temps) d’un plan. Cinema Tools vous permet de sélectionner la fréquence d’images à laquelle vous souhaitez conformer un plan. Afin de comprendre la fonction Conform, il faut connaître la nature des fichiers vidéo QuickTime. Chaque image vidéo au sein d’un fichier QuickTime a un réglage de durée qui définit pendant combien de temps l’image doit être affichée (dans les vidéos QuickTime basées sur NTSC ou PAL normales, toutes les images ont la même durée). Par exemple, le taux vidéo NTSC a une valeur correspondant à 1/30e de seconde (plus exactement 1/29,97e de seconde) attribué à chaque image. Le taux vidéo PAL correspond à 1/25e de seconde. 46 Partie I Utilisation de Cinema Tools Il arrive parfois qu’à la capture de plans vidéo, la durée de certaines images soit définie sur une valeur légèrement différente. Alors que les différences ne sont pas visibles lors de la lecture du plan, elles peuvent provoquer des problèmes lorsque Cinema Tools crée la liste de conformation ou lorsque vous utilisez la fonction Reverse Telecine. Dans ce cas, vous devez conformer le plan à sa fréquence d’images actuelle. Il peut également vous arriver de vouloir changer la fréquence d’images d’un plan. Si vous avez transféré du film à 24 ips en vidéo en l’accélérant (soit à 29,97 ips pour le standard NTSC, soit à 25 ips pour le standard PAL — en prenant soin d’assurer à chaque fois une relation individuelle entre images du film et images de la vidéo), le mouvement à l’écran sera plus rapide que dans le film d’origine et il faudra rectifier la vitesse de lecture de la bande son pour compenser. Vous pouvez utiliser la fonction Conform pour changer la fréquence d’images et la définir sur 24 ips pour que la lecture se fasse à la fréquence originale du film et soit synchronisée avec l’audio. Consultez la rubrique « Utilisation de la fonction de conformation » à la page 131 pour des détails sur l’utilisation de la fonction Conform. Remarque : n’oubliez pas qu’il faut utiliser la fonction Conform sur un plan avant de le monter dans Final Cut Pro. Vérifiez aussi que la base temps dans l’Éditeur de préréglage de séquence de Final Cut Pro est réglé sur la même vitesse que la vitesse à laquelle vous conformez le plan. Consultez la rubrique « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129 pour en savoir plus. Montage des plans dans Final Cut Pro On monte les plans dans Final Cut Pro plus ou moins comme n’importe quel autre projet vidéo, mais il a quelques points importants à garder à l’esprit. Ces points sont expliqués dans le chapitre 7, « Montage dans Final Cut Pro », à la page 151. Génération de listes de film et de listes des modifications dans Cinema Tools Une fois que vous avez monté vos plans et êtes satisfaits du montage numérique de votre projet, vous êtes prêt à générer des listes relatives au film qui décrivent la façon dont le négatif ou la copie de travail doit être monté. La cut list reprend les informations de montage et de titrage. Il existe un certain nombre d’autres listes utiles pouvant être générées à tout moment. Un fichier de liste de film peut contenir une des listes suivantes :  liste des éléments manquants : liste contenant les informations nécessaires introuvables dans la base de données ;  liste des doublons : liste des utilisations multiples d’une même source ;Chapitre 2 Le flux de production de Cinema Tools 47 I  liste optique : liste destinée aux effets spéciaux, décrivant les transitions et les effets de mouvement ;  liste Pull : liste destinée à aider le laboratoire à tirer les négatifs dont il a besoin ;  liste des scènes : liste de toutes les scènes utilisées dans votre projet et des plans utilisés pour les effets d’optique. Vous pouvez également exporter une liste des modifications, ce qui s’avère utile si votre flux de production comprend des visionnements et des modifications de votre copie de travail. La liste des modifications part du principe qu’une copie de travail a été montée selon les spécifications de la liste de conformation (ou de la liste de modifications antérieure) et elle indique d’autres modifications à apporter à la copie de travail en fonction des modifications que vous avez apportées à la séquence dans Final Cut Pro. Consultez la rubrique « Quand utilise-t-on des listes de modification ? » à la page 182 pour voir un organigramme du processus de la liste des modifications et de la copie de travail. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 pour plus de détails sur les listes relatives au film qui sont disponibles. Cinema Tools Exemples de flux de production Cette rubrique présente divers scénarios du flux de production de la base de données Cinema Tools. N’oubliez pas qu’il en existe de nombreuses variantes et qu’il n’est souvent pas nécessaire de suivre ces étapes dans l’ordre exact. Il est aussi possible d’utiliser des parties de plusieurs flux de production. Consultez la rubrique « Étapes fondamentales du flux de production » à la page 37 pour des détails sur les différentes étapes. La première rubrique décrit l’intégration entre Final Cut Pro et Cinema Tools. Elle est suivie par des rubriques qui couvrent deux groupes de flux de production : ceux qui utilisent des transferts scene-and-take et ceux qui utilisent des transferts camera-roll. Celles-ci sont ensuite divisées à nouveau en fonction de la disponibilité d’une liste télécinéma et du contrôle de périphérique de votre lecture vidéo lors du processus de capture. Jusqu’où peut-on aller dans Final Cut Pro ? Grâce à niveau d’intégration élevé entre Cinema Tools et Final Cut Pro, vous avez plusieurs possibilités pour chaque étape de flux de production. Par exemple, vous pouvez importer la liste télécinéma dans Cinema Tools et exporter une liste de capture par lot pour Final Cut Pro ou vous pouvez importer la liste télécinéma directement dans Final Cut Pro. Vos choix seront déterminés par votre situation et vos préférences en matière de méthodes de travail. Parmi les fonctions liées à Cinema Tools que vous pouvez exécuter directement à partir de Final Cut Pro il y a les fonctions suivantes :  Importation de fichiers de liste télécinéma48 Partie I Utilisation de Cinema Tools  Conformation de vidéo à 25 ips en 24 ips  Inversion du télécinéma (en utilisant les derniers réglages utilisés dans Cinema Tools)  Ouverture d’un plan dans la fenêtre Clip de Cinema Tools  Synchronisation d’une base de données Cinema Tools avec un groupe de plans sélectionnés Voici une illustration représentant le flux de production idéal mettant l’accent sur l’utilisation de méthodes Final Cut Pro. Dans cet exemple, vous pouvez utiliser Final Cut Pro, Cinema Tools effectuant des tâches en arrière-plan, si nécessaire. Vous devez utiliser Cinema Tools manuellement si vous souhaitez ajouter des informations dans la base de données en plus de ce que la liste télécinéma a fourni ou si vous avez rencontré un problème unique avec le télécinéma inversé et devez configurer ses réglages. Étapes effectuées à partir de Final Cut Pro Implication de Cinema Tools Traitement des plans (si nécessaire) • Télécinéma inverse • Conformation (25 @ 24) Synchronisation des plans capturés avec la base de données Cinema Tools Montage des plans Importation d’une liste dans le projet Final Cut Pro pour créer les plans offline à capturer Capture des plans par lots Exportation des listes Cinema Tools crée les listes Cinema Tools effectue le traitement Une nouvelle base de données Cinema Tools est créée Les plans sont connectés à la base de données Cinema Tools Création d’un nouveau projet Final Cut ProChapitre 2 Le flux de production de Cinema Tools 49 I Si vous avez utilisé des transferts scene-and-take Comme les transferts scene-and-take nécessitent un enregistrement de base de données pour chaque prise (à cause des numéros de bord non continus), une première décision importante va dépendre de l’existence ou non d’une liste télécinéma. Flux de production pour un transfert scene-and-take avec une liste télécinéma Oui Non Génération d’une liste de capture par lot avec Cinema Tools Importation de la liste par lot dans le navigateur Final Cut Pro et capture par lot Utilisation de la commande Connect Clips de Cinema Tools pour connecter les plans à la base de données Contrôle de périphériques ? Oui Non Importation de la liste télécinéma dans la base de données Création d’une base de données vide Connexion des plans à la base de données Numéro de bord incrusté ? Trimming des plans pour les faire correspondre aux enregistrements de la base de données Capturer chaque plan manuellement à l’aide de Final Cut Pro Connexion des plans à la base de données Utilisation de la fonction Identify pour déterminer et saisir le numéro de bord et le timecode d’une image connue de chaque plan Capturer chaque plan manuellement à l’aide de Final Cut Pro Indique les étapes utilisant des processus automatisés. Les boîtes bleues illustrent le processus préféré, qui comprend les étapes les plus automatisées et produit la cut list la plus précise.50 Partie I Utilisation de Cinema Tools Flux de production pour un transfert scene-and-take sans liste télécinéma Si vous avez utilisé des transferts camera-roll Le premier point à considérer lors de l’utilisation de transferts camera-roll est la méthode de génération de la liste de film que vous comptez utiliser. Consultez l’annexe B, « Création de listes de films avec Cinema Tools », à la page 245 pour obtenir des explications su les deux méthodes disponibles. Il est fortement recommandé de synchroniser l’audio et la vidéo avant de capturer les plans. Oui Non Génération d’une liste de capture par lot avec Cinema Tools Importation de la liste par lot dans le navigateur Final Cut Pro et capture par lot Utilisation de la commande Connect Clips de Cinema Tools pour connecter les plans à la base de données Contrôle de périphériques ? Oui Non Ajout dans la base de données Cinema Tools d’une entrée pour chaque plan Création d’une base de données vide Connexion des plans à la base de données Numéro de bord incrusté ? Trimming des plans pour les faire correspondre aux enregistrements de la base de données Capturer chaque plan manuellement à l’aide de Final Cut Pro Connexion des plans à la base de données Utilisation de la fonction Identify pour déterminer et saisir le numéro de bord et le timecode d’une image connue de chaque plan Capturer chaque plan manuellement à l’aide de Final Cut Pro Indique les étapes utilisant des processus automatisés. Les boîtes bleues illustrent le processus préféré, qui comprend les étapes les plus automatisées et produit la cut list la plus précise.Chapitre 2 Le flux de production de Cinema Tools 51 I Flux de production pour un transfert camera-roll (méthode basée sur le plan) Oui Non Oui Non Contrôle de périphériques ? Importation de la liste dans la base de données (devrait générer un enregistrement par bobine) Saisie d’au moins un enregistrement par bobine définissant la relation entre numéro de bord et timecode Facultatif : saisie d’unenregistrement supplémentaire par plan (recommandé en cas de contrôle de périphériques) Facultatif : saisie d’un enregistrement supplémentaire par plan (recommandé en cas de contrôle de périphérique) Génération d’une liste de capture par lot avec Cinema Tools Importation de la liste par lot dans le navigateur Final Cut Pro et capture par lot Utilisation de la commande Connect Clips de Cinema Tools pour la connexion à la base de données Liste télécinéma ? Oui Non Création d’une base de données vide Indique les étapes utilisant des processus automatisés. Les boîtes bleues illustrent le processus préféré, qui comprend les étapes les plus automatisées et produit la cut list la plus précise. Connexion des plans à la base de données Numéro de bord incrusté ? Trimming des plans pour les faire correspondre aux enregistrements de la base de données Capturer chaque plan manuellement à l’aide de Final Cut Pro Connexion des plans à la base de données Utilisation de la fonction Identify pour déterminer et saisir le numéro de bord et le timecode d’une image connue de chaque plan Capturer chaque plan manuellement à l’aide de Final Cut Pro52 Partie I Utilisation de Cinema Tools Flux de production pour un transfert camera-roll (méthode basée sur le timecode) Saisie d’au moins un enregistrement définissant la relation entre numéro de bord et timecode Importation de la liste dans la base de données (devrait générer un enregistrement par bobine) Liste télécinéma ? Oui Non Création d’une base de données vide Utilisation de Final Cut Pro pour capturer l’intégralité de la bobine sous forme de plan unique ou capturer les prises souhaitées sous forme de plans séparés (en prenant soin que le timecode ne soit pas modifié)3 53 3 L’interface utilisateur de Cinema Tools Cinema Tools dispose de tout un ensemble de fenêtres et de zones de dialogue pour vous permettre d’accéder à ses puissantes fonctions. Certaines fenêtres et zones de dialogue sont génériques, comme, par exemple, les zones de dialogue de sélection de fichier, alors que d’autres sont spécialisées pour des fonctions et des réglages uniques. La plupart de ces fenêtres et zones de dialogue s’ouvrent depuis Cinema Tools ; trois zones de dialogues liées s’ouvrent aussi depuis Final Cut Pro. Cinema Tools Fenêtres et zones de dialogues Les fenêtres et zones de dialogue suivantes s’ouvrent à partir de Cinema Tools. Fenêtre Welcome La première fois que vous ouvrez Cinema Tools, une fenêtre de bienvenue apparaît. Par la suite, Cinema Tools ouvre la base de données qui était ouverte la dernière fois que vous avez fermé Cinema Tools. Si aucune base de données n’était ouverte lorsque vous avez fermé Cinema Tools, la fenêtre Welcome apparaît à nouveau. 54 Partie I Utilisation de Cinema Tools Sélectionnez une option, puis cliquez sur Continue.  Create a New Database : ouvre la zone de dialogue New Database pour vous permettre de configurer une nouvelle base de données.  Open Existing Database : ouvre une zone de dialogue de sélection de fichiers pour vous permettre de sélectionner une base de données existante à ouvrir.  View Documentation : ouvre le Manuel de l’utilisateur de Cinema Tools dans Aperçu. Zone de dialogue New Database La zone de dialogue New Database permet de définir des réglages élémentaires chaque fois que vous créez une base de données Cinema Tools. Ces réglages s’appliquent à tous les enregistrements que vous créez dans la base de données. La fenêtre Detail View permet de modifier individuellement ces réglages pour chaque enregistrement de la base de données. Pour ouvrir la zone de dialogue New Database : m Choisissez Database > New Database (ou appuyez sur Commande + Maj + N). Remarque : la base de données courante se ferme, si une base de données était ouverte. Pour des informations sur les réglages par défaut de votre base de données, consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77. Fenêtre Detail View La fenêtre Detail View permet d’afficher, de saisir et de modifier les informations d’un enregistrement de base de données. Lorsque vous ouvrez une base de données existante, la fenêtre Detail View affiche le premier enregistrement. Les numéros spécifiques de la fenêtre Detail View (numéros de bande, de bobine, de bord ainsi que la codification manuelle) décrivent tous des valeurs concernant la première image du plan source associé à l’enregistrement de la base de données. La fenêtre Detail View s’affiche en même temps que la fenêtre List View chaque fois que vous ouvrez une base de données. Chapitre 3 L’interface utilisateur de Cinema Tools 55 I Pour afficher la fenêtre Detail View, procédez de l’une des manières suivantes : m Choisissez Window > Detail View (ou appuyez sur Commande + 2). m Si nécessaire, faites glisser la fenêtre List View vers un autre endroit de l’écran. m Si nécessaire, cliquez sur la fenêtre Detail View pour la faire passer au premier plan. Le bouton qui se trouve dans le coin inférieur droit de la fenêtre est intitulé soit :  Open Clip : avec un plan connecté (comme illustré ci-avant), le bouton est intitulé Open Clip. Cliquez sur Open Clip pour ouvrir la fenêtre Clip qui affiche le plan connecté.  Connect Clip : si aucun plan n’est connecté à l’enregistrement de base de données, le bouton Open Clip est intitulé Connect Clip. Cliquez sur le bouton Connect Clip pour ouvrir une zone de dialogue de sélection de fichier. Une fois le fichier de plan localisé et sélectionné, la fenêtre Clip s’ouvre et l’affiche. De plus, placer le pointeur au-dessus de la vignette affiche une bulle d’aide indiquant l’emplacement du plan. Cela est particulièrement utile si le plan est absent, car cela vous permet de voir où Cinema Tools s’attend à trouver le plan. Pour en savoir plus sur l’utilisation de la fenêtre Detail View, consultez la section « Saisie manuelle des informations de base de données » à la page 91.56 Partie I Utilisation de Cinema Tools Fenêtre List View Tous les enregistrements de la base de données ouverte apparaissent sous forme de liste dans la fenêtre List View. Elle peut afficher une liste de tous les enregistrements de la base de données ou, si vous utilisez la fonction Find, uniquement les enregistrements trouvés. Les fenêtres List View et Detail View s’affichent chaque fois que vous ouvrez une base de données. Pour afficher la fenêtre List View, procédez de l’une des manières suivantes : m Choisissez Window > List View (ou appuyez sur Commande + 1). m Faites glisser la fenêtre Detail View vers un autre endroit de l’écran. m Cliquez sur la fenêtre List View pour la faire passer au premier plan. Les boutons Show All et Find permettent d’afficher rapidement tous les enregistrements de la base de données ouvertes (cliquez sur Show All) ou d’afficher rapidement les enregistrements trouvés à l’aide de la zone de dialogue Find (cliquez sur Find). Le menu local qui se trouve dans le coin supérieur gauche de la fenêtre permet de sélectionner le mode d’affichage en sélectionnant le type d’informations à afficher :  Keycode : affiche des informations sur le film telles que les numéros de bord et de bobine.  Video : affiche les informations de timecode et de bande vidéo.  Sound : affiche les informations de timecode et de bande audio.  Ink Numbers : affiche des informations sur la copie de travail, telles que la codification manuelle et les rushes.Chapitre 3 L’interface utilisateur de Cinema Tools 57 I Colonne Display Mode Les colonnes suivantes apparaissent dans tous les modes d’affichages :  Slate : une combinaison des champs Scene et Take, séparés par un tiret  Clip : le nom du plan connecté à chaque enregistrement de la base de données Les colonnes suivantes apparaissent en mode d’affichage Keycode :  Lab Roll : valeur spécifiée dans le champ Lab Roll (dans la fenêtre Detail View)  Cam Roll : valeur spécifiée dans le champ Cam Roll  Keycode : valeur spécifiée dans le champ Key Les colonnes suivantes apparaissent en mode d’affichage Video :  Reel : valeur spécifiée dans le champ Video Reel  Timecode : valeur spécifiée dans le champ Video Timecode Les colonnes suivantes apparaissent en mode d’affichage Sound :  Roll : valeur spécifiée dans le champ Sound Roll  Timecode : valeur spécifiée dans le champ Sound Timecode Les colonnes suivantes apparaissent en mode d’affichage Ink Numbers :  Lab Roll : la valeur spécifiée dans le champ Lab Roll  Daily roll : valeur spécifiée dans le champ Daily Roll  Ink number : valeur spécifiée dans le champ Ink Tri des colonnes Par défaut, les colonnes sont triées par ordre croissant de la valeur Slate. Il est possible de trier les données en fonction de n’importe quelle colonne affichée en cliquant sur le nom de la colonne souhaitée. Le nom de la colonne change de couleur pour indiquer qu’elle sert de critère de tri, puis une flèche indiquant l’ordre du tri s’affiche. Une flèche orientée vers le haut indique un ordre croissant, alors qu’une flèche orientée vers le bas indique un ordre décroissant. Cliquez sur le nom de la colonne pour changer le sens du tri. Localisation des enregistrements comportant des éléments manquants Le tri des colonnes peut aider à retrouver des enregistrements comportant des éléments manquants. Par exemple, la sélection de la colonne Cam Roll rassemble tous les enregistrements n’ayant pas d’entrée dans ce champ et les place tout en bas (ou en haut) de la liste, en fonction du sens de la flèche. Recherche d’enregistrements spécifiques Vous pouvez localiser un enregistrement à l’aide d’un numéro de bord ou d’un numéro de timecode spécifique en triant les colonnes. Par exemple, en sélectionnant la colonne Keycode, les enregistrements sont classés en fonction de leur numéros de bord. Vous pouvez alors faire défiler la liste pour retrouver un enregistrement à l’aide d’une image du film donnée.58 Partie I Utilisation de Cinema Tools Sélection d’enregistrements Il y a plusieurs façons de sélectionner des enregistrements dans une base de données Cinema Tools. Remarque : vous pouvez ne sélectionner qu’un seul enregistrement à la fois. Pour sélectionner un enregistrement de la base de données, procédez de l’une des manières suivantes : m Cliquez sur n’importe quel enregistrement affiché. m Double-cliquez sur un enregistrement pour ouvrir son plan dans la fenêtre Clip. m Utilisez la touche Flèche vers le haut du clavier pour sélectionner l’enregistrement qui se trouve juste au-dessus de l’enregistrement sélectionné. m Utilisez la touche Flèche vers le bas du clavier pour sélectionner l’enregistrement qui se trouve juste au-dessous de l’enregistrement sélectionné. m Utilisez la touche Page préc. du clavier pour monter d’une page d’enregistrements dans la liste. m Utilisez la touche Page suiv. du clavier pour descendre d’une page d’enregistrements dans la liste. Une fois un enregistrement sélectionné, il reste sélectionné lorsque vous changez le mode d’affichage. Modification des données affichées Il n’est pas possible de modifier les réglages d’un enregistrement dans la fenêtre List View. Pour faire des modifications, utilisez la fenêtre Detail View. Pour afficher un enregistrement dans la fenêtre List View, dans la fenêtre Detail View, procédez de l’une des manières suivantes : m Cliquez sur l’enregistrement. Remarque : un double clic sur un enregistrement l’ouvre également dans la fenêtre Clip. m Sélectionnez l’enregistrement à l’aide des touches fléchées du clavier. Zone de dialogue Find Il est possible de sélectionner des enregistrements spécifiques pour les afficher dans la fenêtre List View en créant un ensemble d’enregistrements trouvés. Il est possible par exemple de créer une liste de tous les enregistrements liés à une scène donnée. Utilisez pour cela la zone de dialogue Find.Chapitre 3 L’interface utilisateur de Cinema Tools 59 I Pour ouvrir la zone dialogue Find, procédez de l’une des manières suivantes : m Choisissez Database > Find (ou appuyez sur Commande + F). m Cliquez sur Find dans la fenêtre List View. Consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80 pour des détails sur la création d’ensembles d’enregistrements trouvés. Fenêtre Clip La fenêtre Clip permet de lire le plan sélectionné, d’identifier le timecode et le numéro de bord d’une image donnée, d’afficher des informations générales sur le plan et de le traiter à l’aide des fonctions Reverse Telecine et Conform. Pour ouvrir la fenêtre Clip, procédez de l’une des manières suivantes : m Choisissez File > Open Clip (ou appuyez sur Commande + O), localisez un plan, puis cliquez sur Choose. m Cliquez sur Open Clip dans la fenêtre Detail View (si un plan est connecté à l’enregistrement actuel). m Cliquez sur Connect Clip dans la fenêtre Detail View, puis sélectionnez un plan (si aucun plan n’est connecté à l’enregistrement). Remarque : il est possible d’ouvrir plusieurs fenêtres Clip en même temps. Elles s’ajoutent au menu Window et en disparaissent de façon dynamique au fur et à mesure que vous les ouvrez et les fermez. 60 Partie I Utilisation de Cinema Tools Vous pouvez lire le plan en cliquant sur le bouton de lecture (triangle situé à gauche de la Timeline) ou en appuyant sur la barre d’espace. Remarque : pour lire le plan en utilisant la barre d’espace, veillez à ce qu’aucun champ de texte de la sous-fenêtre Identify ne soit sélectionné. Vous pouvez appuyer sur la touche de tabulation autant de fois que cela est nécessaire ou cliquer sur le bouton Analysis pour désélectionner les champs de texte. Si le plan contient de l’audio, vous pouvez contrôler le volume en cliquant sur l’icône de haut-parleur qui se trouve près du bouton de lecture, puis en faisant glisser le curseur de volume. Vous pouvez aussi faire glisser la tête de lecture pour faire défiler le plan. Vous pouvez cliquer sur les boutons avec la flèche vers la gauche ou vers la droite qui se trouvent à l’extrême droite de la Chronologie ou appuyer sur les touches Flèche gauche ou Flèche droite du clavier pour faire défiler le plan une image à la fois. La plupart des boutons qui se trouvent dans le bas de la fenêtre ouvrent des fenêtres ou des zones de dialogue supplémentaires et sont aussi disponibles dans le menu Clip :  Set Poster Frame : affecte l’image actuellement affichée aux vignettes de la fenêtre Detail View.  Disconnect Clip : le bouton Disconnect Clip change selon que le plan actuel est connecté à la base de données ou pas. Avec un plan connecté (comme illustré ci-avant), le bouton est intitulé Disconnect Clip. Cliquez sur Disconnect Clip pour déconnecter le plan de la base de données.  Enter in Database : si le plan actuel n’est pas connecté à la base de données, le bouton Disconnect Clip s’intitule Enter in Database. Cliquez sur Enter in Database pour ouvrir une zone de dialogue dans laquelle vous pouvez connecter le plan à un enregistrement existant ou un nouvel enregistrement en tapant des valeurs de scène et de prise.  Reverse Telecine : ouvre la zone de dialogue Reverse Telecine (télécinéma inversé).  Conform : ouvre la zone de dialogue Conform Clip.  Boutons Previous Clip et Next Clip (flèches) : les flèches vers la gauche et vers la droite qui se trouvent dans le coin inférieur droit de la fenêtre Clip permettent de passer facilement à l’enregistrement précédent ou suivant (tels qu’ils sont affichés et triés dans la fenêtre List View) assigné à un plan. Remarque : ces boutons ne sont actifs que lorsque le plan courant est relié à un enregistrement de la base de données courante et cet enregistrement fait partir des résultats de recherche de la fenêtre List View. L’un de ces boutons est estompé lorsqu’il n’y a pas de plan précédent ou suivant.Chapitre 3 L’interface utilisateur de Cinema Tools 61 I Les deux boutons qui se trouvent dans le coin supérieur droit déterminent quelles informations sont affichées dans la partie droite de la fenêtre.  Identify : affiche les informations du plan provenant de la base de données Cinema Tools à laquelle il est connecté. Vous pouvez utiliser la sous-fenêtre Identify pour saisir des informations de film et de timecode dans la base de données ou pour obtenir des informations sur l’image affichée dans la fenêtre Clip. De plus, les réglages sont mis à jour pour toujours afficher les informations relatives à l’image affichée lorsque vous faites défiler un plan. Consultez la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102 pour des informations sur l’utilisation de la fonction Identify.  Analysis : affiche les informations de fichier d’un plan. Ces informations comprennent à la fois des informations spécifiques aux fichiers (nom et taille, emplacement et date de création) ainsi que des informations spécifiques au contenu (durée, vitesse de défilement, format d’image et type de compression utilisé). Zone de dialogue Reverse Telecine On utilise la zone de dialogue Reverse Telecine pour convertir de la vidéo pulldown 3:2 NTSC ou de la vidéo pulldown 2:3:3:2 en 24 ips. Pour ouvrir la zone de dialogue Reverse Telecine, procédez de l’une des manières suivantes : m Sélectionnez Clip > Reverse Telecine (uniquement disponible si la fenêtre Clip est ouverte).62 Partie I Utilisation de Cinema Tools m Cliquez sur Reverse Telecine dans la fenêtre Clip. Consultez la section « Inversion du pulldown télécinéma » à la page 133 pour des détails sur l’utilisation de cette fonction. Il existe aussi une forme simplifiée de la zone de dialogue Reverse Telecine qui s’affiche si le ou les plans ont été capturés depuis un caméscope numérique DV 24P, tel que le Panasonic AG-DVX100. Les informations sur la cadence de pulldown de ces plans sont incorporées de telle façon que Cinema Tools puisse les lire, si bien que si Cinema Tools détecte ces informations de cadence, la zone de dialogue du télécinéma inversé automatique s’affiche. Consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221 pour en savoir plus. Zone de dialogue Conform Clip La zone de dialogue Conform Clip sert à régler la durée de chaque image du plan actuel sur une valeur spécifique. Par exemple, sélectionnez 24,0 pour régler la durée de chaque image sur 1/24 de seconde. Cela permet de changer la vitesse de défilement d’un plan capturé ou de s’assurer de la précision et de la cohérence de la vitesse de défilement d’un plan. Pour ouvrir la zone de dialogue Conform Clip, procédez de l’une des manières suivantes : m Sélectionnez Clip > Conform (uniquement disponible si la fenêtre Clip est ouverte). m Cliquez sur Conform dans la fenêtre Clip. Remarque : vous devez disposer d’un accès en lecture et écriture au fichier du plan pour pouvoir utiliser la fonction Conform. Important : la fonction Conform modifie le fichier de données source. Consultez la section « Utilisation de la fonction de conformation » à la page 131 pour des détails sur l’utilisation de cette fonction.Chapitre 3 L’interface utilisateur de Cinema Tools 63 I Zone de dialogue Change Reel La zone de dialogue Change Reel vous permet d’introduire des modifications d’ensemble dans les paramètres de bande vidéo, bande-son, bobine de caméra ou de laboratoire des enregistrements de la base de données. Par exemple, il se peut que le nombre de zéros initiaux diffère (« 001 » par rapport à « 0001 ») entre les numéros de bande vidéo de Final Cut Pro et ceux que vous avez saisi dans la base de données Cinema Tools. Cette zone de dialogue vous permet de modifier toutes les occurrences d’un numéro de bande ou de bobine. Pour ouvrir la zone de dialogue Change Reel : m Choisissez Database > Change Reel. Zone de dialogue Database Properties La zone de dialogue Database Properties affiche une grande variété d’informations sur la base de données actuelle, y compris les paramètres par défaut et des statistiques sur les enregistrements. Pour ouvrir la zone de dialogue Database Properties : m Choisissez Database > Database Properties (ou appuyez sur Commande + I). 64 Partie I Utilisation de Cinema Tools Les zones de dialogues disponibles dans Final Cut Pro et Cinema Tools Les zones de dialogue suivantes s’ouvrent tant à partir de Final Cut Pro que de Cinema Tools. Zone de dialogue Export Film Lists On utilise la zone de dialogue Export Film Lists pour exporter des listes de film au format PDF. Il faut définir le type d’informations et les listes à exporter, la plus importante étant la liste de conformation. Il faut définir aussi les éléments que vous souhaitez voir figurer dans la liste de film exportée. On utilise généralement cette zone de dialogue une fois que l’on a fini le montage des plans du film, mais vous pouvez l’utiliser à tout moment pour vérifier l’état de la coupe. Pour ouvrir la zone de dialogue Export Film Lists à partir de Final Cut Pro : m Dans Final Cut Pro, sélectionnez Fichier > Exporter > Listes de films Cinema Tools. (Cette commande n’est disponible que lorsque la Chronologie de Final Cut Pro est active ou lorsque vous avez sélectionné une séquence dans le Navigateur.) Pour ouvrir la zone de dialogue Export Film Lists à partir de Cinema Tools : 1 Dans Cinema Tools, choisissez File > Export > Film Lists from EDL ou File > Export > Film Lists from XML. 2 Dans la zone de dialogue qui apparaît, localisez le fichier EDL ou XML sur lequel vous souhaitez baser la liste de film exportée, puis cliquez sur Choose. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 pour des détails sur les réglages de cette zone de dialogue. Consultez le chapitre 10, « Utilisation de fichiers EDL, XML et ALE externes », à la page 199 pour des détails sur la génération de listes de film à partir de listes EDL externes.Chapitre 3 L’interface utilisateur de Cinema Tools 65 I Zone de dialogue Export XML Film Lists On utilise la zone de dialogue Export XML Film Lists pour exporter des listes de film au format XML. Il faut définir le type d’informations et les listes à exporter, la plus importante étant la liste de conformation. Contrairement à l’exportation de listes de film au format PDF, tous les éléments possibles figurent d’office dans la liste exportée, vous n’avez pas besoin de sélectionner les éléments à exporter. On utilise généralement cette zone de dialogue une fois que l’on a fini le montage des plans du film, mais vous pouvez l’utiliser à tout moment pour vérifier l’état de la coupe. Pour ouvrir la zone de dialogue Export XML Film Lists à partir de Final Cut Pro : m In Final Cut Pro, choisissez File > Export > Cinema Tools XML Film Lists. (Cette commande n’est disponible que lorsque la Chronologie de Final Cut Pro est active ou lorsque vous avez sélectionné une séquence dans le Navigateur.) Pour ouvrir la zone de dialogue Export XML Film Lists à partir de Cinema Tools : 1 Dans Cinema Tools, choisissez File > Export > XML Film Lists from EDL ou File > Export > XML Film Lists from XML. 2 Dans la zone de dialogue qui apparaît, localisez le fichier EDL ou XML sur lequel vous souhaitez baser la liste de film exportée, puis cliquez sur Choose. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 pour des détails sur les réglages de cette zone de dialogue. Consultez le chapitre 10, « Utilisation de fichiers EDL, XML et ALE externes », à la page 199 pour des détails sur la génération de listes de film à partir de listes EDL externes.66 Partie I Utilisation de Cinema Tools Zone de dialogue Export Change List On utilise la zone de dialogue Export Change List pour faire des sélections relatives à l’exportation d’une liste décrivant les différences entre deux versions d’une même séquence montée dans Final Cut Pro. Il est possible d’inclure une liste Pull de modifications, qui ne détaille que le film à traiter pour effectuer les modifications. Important : pour pouvoir exporter une liste des modifications, vous devez avoir enregistré un fichier de programme Cinema Tools de la version précédente de la séquence. Consultez la section « Création de listes de modification » à la page 182 pour en savoir plus. Pour ouvrir la zone de dialogue Export Change List à partir de Final Cut Pro : 1 In Final Cut Pro, choose File > Export > Cinema Tools Change List. (Cette commande n’est disponible que lorsque la Chronologie de Final Cut Pro est active ou lorsque vous avez sélectionné une séquence dans le Navigateur.) 2 Dans la zone de dialogue qui apparaît, localisez le fichier de programme Cinema Tools de la version précédente de cette séquence, puis cliquez sur Open. La zone de dialogue Export Change List apparaît. Lorsque vous exportez un fichier de liste des modifications à partir de Final Cut Pro, vous pouvez aussi exporter une nouvelle liste de conformation (ainsi que toutes les autres listes disponibles dans la zone de dialogue Export Film Lists) pour la séquence. Ces autres listes fournissent des informations sur la séquence entière, plutôt que des informations sur les modifications uniquement. L’ouverture de la zone de dialogue Export Change List à partir de Cinema Tools nécessite la présence de deux fichiers de programme Cinema Tools : un pour l’ancienne version de la séquence et un autre pour la version actuelle de la séquence.Chapitre 3 L’interface utilisateur de Cinema Tools 67 I Pour ouvrir la zone de dialogue Export Change List à partir de Cinema Tools : 1 In Cinema Tools, choose File > Export > Change List. 2 Dans la zone de dialogue qui apparaît, localisez le fichier de programme Cinema Tools de la version précédente de cette séquence, puis cliquez sur Open. 3 Dans la zone de dialogue qui apparaît, localisez le fichier de programme Cinema Tools de la version courante de cette séquence, puis cliquez sur Open. La zone de dialogue Export Change List apparaît. Consultez la section « Création de listes de modification » à la page 182 pour des détails sur les réglages de la zone de dialogue Export Change List. Zone de dialogue Export Audio EDL L’audio est souvent remonté dans un studio de postproduction audio à l’aide de maté- riel et de logiciels de haute qualité et d’outils de traitement haut de gamme. Selon la façon dont vous montez, il se peut que la sortie EDL de Final Cut Pro ne contienne pas le numéro de bande et le timecode des bandes audio de production originales. Ces informations se trouvent souvent dans la liste télécinéma que vous importez dans Cinema Tools ou peuvent être saisies manuellement. On ouvre en général la zone de dialogue Export Audio EDL à partir de Final Cut Pro. Vous pouvez aussi l’ouvrir à partir de Cinema Tools, si nécessaire, bien que des étapes supplémentaires soient nécessaires, y compris la création d’un fichier de programme dans la zone de dialogue Export Film Lists. Pour ouvrir la zone de dialogue Export Audio EDL depuis Final Cut Pro : m Dans Final Cut Pro, sélectionnez Fichier > Exporter > EDL audio Cinema Tools. (Cette commande n’est disponible que lorsque la Chronologie de Final Cut Pro est active ou lorsque vous avez sélectionné une séquence dans le Navigateur.)68 Partie I Utilisation de Cinema Tools Pour ouvrir la zone de dialogue Export Audio EDL depuis Cinema Tools : 1 Dans Cinema Tools, sélectionnez File > Export > Audio EDL from Program DB. 2 Dans la zone de dialogue qui s’affiche, sélectionnez le fichier de programme à utiliser, puis cliquez sur Open. La zone de dialogue Export Audio EDL s’affiche. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour des détails sur l’exportation de listes EDL audio.4 69 4 Création et utilisation d’une base de données Cinema Tools Le cœur de Cinema Tools est constitué par sa base de données, qui offre de puissants outils d’organisation. Une base de données Cinema Tools contient des enregistrements qui :  décrivent vos plans sources ;  effectuent le suivi du lien entre les bobines et le code de bordure du film (numéros de bord, codification manuelle ou les deux) et les bandes et le timecode vidéo ;  peuvent également effectuer le suivi d’autres éléments tels que les scènes, les plans, les prises, les bandes son et le timecode audio. Vous pouvez créer une base de données pour chaque projet de film. Grâce aux bases de données, vous pouvez exporter des listes de film à partir desquelles le monteur de film pourra savoir comment couper votre négatif original. Hormis cet usage, les bases de données peuvent tout simplement servir d’outils d’organisation. Ces derniers fonctionnent selon le code habituellement utilisé dans la postproduction de films en gérant des éléments importants tels que la scène, le plan et la prise ; la caméra et les bobines de laboratoire ; les numéros de code de bordure ; les bandes vidéo et numéros de timecode ; les bandes son et les numéros de timecode et les plans source. Selon votre situation, il se peut que vous puissiez simplifier le processus de création de la base de données en construisant celle-ci à partir d’une liste télécinéma ou en créant un seul enregistrement de base de données par bobine.70 Partie I Utilisation de Cinema Tools Structure de base d’une base de données Cinema Tools Une base de données contient des enregistrements. Chaque enregistrement décrit un plan source. Un enregistrement peut être créé pour trois types de plans sources :  Si vous avez utilisé un transfert scène-prise : vous disposez d’un enregistrement de base de données par prise, chaque plan source correspondant à une prise.  Si vous avez utilisé un transfert télécinéma caméra-bobine : vous disposez d’un enregistrement de base de données par bobine dans lequel chaque plan source correspond à une bobine (contenant habituellement plusieurs prises).  Si vous avez subdivisé les plans source en groupes de prises : chaque enregistrement de base de données est associé à un plan source contenant plusieurs prises. Un plan source comportant une prise Take 1 Un enregistrement de base de donnée Un plan source comportant une bobine Un enregistrement de base de données Un plan source comportant plusieurs prises Take 1 Take 2 Take 3 Un enregis- trement de base de donnéesChapitre 4 Création et utilisation d’une base de données Cinema Tools 71 I Choix du mode de création de la base de données Le mode de création de la base de données dépend de l’usage auquel vous la destinez et de la disponibilité ou non d’une liste télécinéma ou d’un fichier ALE (Avid Log Exchange). Si vous ne l’avez pas encore fait, jetez un coup d’œil à la section « Le flux de production de Cinema Tools » à la page 37. Utilisez les exemples ci-dessous pour savoir quelles étapes suivre pour créer votre base de données et capturer vos plans. Les étapes à suivre et l’ordre à respecter dépendent de facteurs qui sont brièvement expliqués dans les exemples de travail. Réalisation de la capture avant la création de la base de données Il est possible de capturer les plans sources avant de créer la base de données, puis de construire la base de données Cinema Tools en important une liste de capture de lots créée à l’aide Final Cut Pro. Cette méthode est plus compliquée que la création à partir d’une liste télécinéma ou d’un fichier ALE car vous devez ensuite ajouter manuellement les informations de numéros de bord et de bobine de film à chaque enregistrement. Consultez à ce sujet la section « Importation des informations relatives à une base de données dans une liste de capture de lots Final Cut Pro » à la page 89. Si vous disposez d’une liste télécinéma ou d’un fichier ALE Une liste télécinéma, que l’on nomme parfois aussi un fichier FLEX, est un fichier créé par un technicien de télécinéma au cours d’un transfert télécinéma. Vous pouvez également utiliser un fichier ALE (Avid Log Exchange) de la même manière qu’une liste télécinéma. La liste télécinéma enregistre les numéros de bord du négatif caméra original et le timecode du transfert vidéo, puis assure le suivi de leur lien. Pour créer une base de données à partir d’une liste existante : 1 Créez une nouvelle base de données vide. Consultez à ce sujet la section « Création et configuration d’une nouvelle base de données » à la page 74. Avantages de l’utilisation d’une liste télécinéma ou d’un fichier ALE La création de votre base de données à partir d’une liste présente les avantages suivants :  Gain de temps : vous pouvez créer des enregistrements à partir d’une liste télécinéma. La création et la saisie des informations de chaque enregistrement ne se fait pas manuellement. Vous pouvez ensuite créer une liste de capture par lot à partir de la base de données, ce qui permet d’accélérer le processus de capture.  Exactitude : si la liste ne contient aucune erreur, l’exactitude de la base de données obtenue est assurée, ce qui vous épargne tout souci d’erreur de saisie éventuelle. L’utilisation de la liste de capture par lot de la base de données permet aussi de s’assurer que les fichiers de données source que vous capturez correspondent bien aux informations qui figurent dans la base de données.72 Partie I Utilisation de Cinema Tools 2 Créez des enregistrements à partir de la liste. Consultez à ce sujet la section « Importation d’informations à partir d’une liste télécinéma ou d’un fichier ALE » à la page 85. Si vous ne disposez pas d’une liste télécinéma ou d’un fichier ALE Bien qu’il soit plus rapide de créer une base de données à partir d’une liste, vous pouvez également vous en passer. Pour créer une base de données sans liste : 1 Créez une nouvelle base de données vide. Consultez à ce sujet la section « Création et configuration d’une nouvelle base de données » à la page 74. 2 Saisissez manuellement les informations des enregistrements. Consultez à ce propos la section « Gain de temps potentiel lors du transfert camera-roll » à la page 73 et « Saisie manuelle des informations de base de données » à la page 91. Remarque : vous pourriez aussi capturer les plans sources avant de créer la base de données et construire la base de données Cinema Tools en important une liste de capture par lot créée dans Final Cut Pro. Consultez à ce sujet la section « Importation des informations relatives à une base de données dans une liste de capture de lots Final Cut Pro » à la page 89. Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? Le lien entre le numéro de code de bordure et la timecode dans une bobine est continu si la bobine a été transférée vers la vidéo sans arrêt. Le lien entre le numéro de code de bordure et le timecode est non continu si :  vous avez utilisé le transfert télécinéma scene-and-take, c’est-à-dire que l’enregistrement vidéo a été interrompu puis relancé entre chaque prise ;  la bobine du film était composée de prises jointes les unes aux autres avant d’être transférée sur bande vidéo. Remarque : occasionnellement, le lien entre le numéro de code de bordure et le timecode est brisé lorsque, au cours de la prise de vue, l’équipe de prise de vues a ouvert une caméra pour en contrôler, nettoyer ou remplacer des pièces (on parle souvent de contrôler le couloir). Dans les cas où la caméra est ouverte pour ces motifs, le film est en général déchargé, puis rechargé. Il se peut qu’il soit rechargé sur un numéro de perforation différent. Cela signifie que le technicien du télécinéma devra s’arrêter, recadrer et faire une coupe, ce qui entraînera une rupture du lien entre les numéros de code de bordure et le timecode dans la bobine. Cela doit apparaître dans la liste télécinéma.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 73 I Gain de temps potentiel lors du transfert camera-roll Si vous effectuez un transfert camera-roll et que vous devez créer manuellement votre base de données, gagnez du temps en créant un enregistrement par bobine, en fonction du caractère continu ou non du lien entre les numéros du code de bordure et le timecode pour chaque transfert camera-roll. Si le lien code de bordure/timecode est continu sur chaque bobine Vous pouvez créer un enregistrement de base de données par bobine et Cinema Tools peut utiliser la méthode des timecodes pour localiser les enregistrements de base de données pour créer des listes de films. Dans ce cas, chaque bobine représente un plan source. Tant que vous créez des enregistrements de base de données précis pour les bobines, Cinema Tools sera capable de créer des listes de films précises. Toutefois, si vous connectez aussi les plans sources aux enregistrements de base de données, vous augmentez les chances de pouvoir réaliser un mise en correspondance correcte même en cas d’erreur de timecode. Pour en savoir plus, consultez les sections « Flux de production pour un transfert camera-roll (méthode basée sur le timecode) » à la page 52 et « Création de listes de films avec Cinema Tools » à la page 245. Il peut s’avérer utile, même si le lien code de bordure/timecode est continu, de prendre le temps de créer un enregistrement par plan source afin de pouvoir travailler de façon plus organisée. Par exemple :  Une base de données peut servir à vérifier sur quelle bande son se trouve une prise particulière ou quelle bobine de laboratoire contient le négatif dont vous avez besoin.  Vous pouvez prévoir des enregistrements pour chaque plan afin de pouvoir ajouter des commentaires sur différents plans.  Chaque enregistrement de la base de données contient une affiche du plan correspondant, ce qui permet de se repérer visuellement et d’accéder à un plan pour le lire dans sa totalité à partir de la base de données. Si le lien code de bordure/timecode est discontinu sur chaque bobine Vous devez créer des enregistrements de base de données séparés pour chaque plan et connecter chaque plan à l’enregistrement correspondant. Chaque enregistrement doit contenir le numéro de bord ou la codification manuelle de la première image du plan correspondant afin que Cinema Tools puisse suivre parfaitement le lien entre le numéro du code de bordure et le timecode tout au long de votre séquence.74 Partie I Utilisation de Cinema Tools Autres usages de la base de données Vous pouvez également utiliser votre base de données à d’autres fins que de faire coïncider la vidéo et le film. Si c’est le cas, tenez compte de ce qui suit avant de créer vos bases de données :  Bases de données individuelles pour les rushes : si vous disposez de rushes quotidiens à traiter et à synchroniser séparément, vous pouvez créer des bases de données individuelles pour chaque session quotidienne. Pensez alors à utiliser la date des rushes comme intitulé de chaque fichier de base de données. Vous pouvez ensuite les fusionner dans une base de données principale en important toutes les bases de données dans une seule base de données.  Création d’une liste EDL audio (Edit Decision List) : si vous prévoyez de fournir une liste audio EDL à la postproduction audio, vérifiez que les informations de timecode audio, timecode vidéo et la bande son ont bien été saisies pour chaque enregistrement de base de données. La création de la base de données par importation de la liste télécinéma est la façon la plus facile et la plus efficace de s’assurer que toutes les informations nécessaires figurent bien dans la base de données. Création et configuration d’une nouvelle base de données Lorsque vous créez une nouvelle base de données Cinema Tools, vous définissez des réglages par défaut pour le projet dans la zone de dialogue New Database. Remarque : lorsque vous importez les données qui figurent dans la liste télécinéma, le format de film, la vitesse du timecode vidéo, la vitesse du timecode audio et la vitesse télécinéma de la liste sont définis automatiquement dans Cinema Tools. Les informations contenues dans la liste télécinéma ont la priorité sur les réglages par défaut. Cinema Tools utilisera donc les réglages de la liste même sils diffèrent des réglages par défaut. Vous pouvez créer une nouvelle base de données à l’aide de Cinema Tools ou de Final Cut Pro. Création d’une nouvelle base de données à l’aide de Cinema Tools Vous pouvez créer une nouvelle base de données et définir ses réglages par défaut directement dans Cinema Tools. Pour créer une nouvelle base de données : 1 Procédez de l’une des manières suivantes :  Ouvrez Cinema Tools et cliquez sur Create a New Database dans la fenêtre Welcome, si elle apparaît.  Choisissez Database > New Database (ou appuyez sur Commande + Maj + N). Remarque : le menu New Database ne sera pas disponible si une base de données Cinema Tools est ouverte. Fermez toute base de données ouverte pour pouvoir accéder à la commande de menu New Database.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 75 I 2 Dans la zone de dialogue New Database, définissez des réglages par défaut pour votre base de données, puis cliquez sur OK. Consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77 pour des informations sur les réglages. 3 Dans la zone de dialogue Create a new database, choisissez un emplacement pour le fichier et donnez-lui un nom. Une base de données vide est créée dans laquelle vous pouvez saisir des informations. Pour savoir comment procéder, consultez la section « Saisie d’informations dans la base de données » à la page 85. Création d’une nouvelle base de données à l’aide de Final Cut Pro Vous pouvez utiliser deux méthodes pour créer une base de données Cinema Tools à l’aide de Final Cut Pro :  Synchronisation d’un ensemble de plans avec une nouvelle base de données  Importation d’un fichier de liste télécinéma dans une nouvelle base de données Synchronisation d’un ensemble de plans sélectionnés pour créer une nouvelle base de données Vous pouvez utiliser la commande Synchroniser avec Cinema Tools si vous voulez ajouter un ou plusieurs plans des plans qui figurent dans le Navigateur de Final Cut Pro dans une nouvelle base de données Cinema Tools. Cela peut s’avérer utile lorsque vous avez capturé un ensemble de plans manuellement mais ne disposez pas de la liste télécinéma correspondante ou lorsque vous souhaitez créer une base de données séparée pour un ensemble de plans qui figure déjà dans une base de données. Pour créer une nouvelle base de données à l’aide de la commande Synchroniser avec Cinema Tools : 1 Dans le Navigateur de Final Cut Pro, sélectionnez les plans à ajouter dans la nouvelle base de données Cinema Tools. Il peut s’agir de plans qui figurent déjà dans une base de données ou de nouveaux plans qui ne figurent encore dans aucune base de données. 76 Partie I Utilisation de Cinema Tools 2 Choisissez Outils > Synchroniser avec Cinema Tools. Une zone de dialogue apparaît dans laquelle vous pouvez configurer le processus de synchronisation. Le champ Base de donées indique la base de données sélectionnée. 3 Sélectionnez la case Ajouter de nouveaux enregistrements. Cette option doit être sélectionnée en cas de synchronisation avec une nouvelle base de données. 4 Sélectionnez la case Connecter automatiquement si vous voulez que la base de données connecte automatiquement les plans à tout nouvel enregistrement qui est créé dans la base de données. 5 Cliquez sur Nouvelle base de données pour créer une nouvelle base de données Cinema Tools. 6 Dans la zone de dialogue qui apparaît, saisissez le nom et l’emplacement de la base de données et configurez ses réglages par défaut. Consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77 pour des informations sur ces réglages. 7 Pour fermer la zone de dialogue, cliquez sur Save lorsque vous avez fini. 8 Cliquez sur OK. Une nouvelle base de données Cinema Tools est créée et les plans sélectionnés y sont ajoutés en même temps que toutes les informations relatives au film qu’ils peuvent contenir. Chapitre 4 Création et utilisation d’une base de données Cinema Tools 77 I Consultez la section « Synchronisation de plans Final Cut Pro avec Cinema Tools » à la page 155 pour en savoir plus sur la commande Synchronize with Cinema Tools, y compris sur la façon de l’utiliser pour synchroniser des plans avec une base de données existante. Importation d’un fichier de liste télécinéma pour créer une nouvelle base de données Lorsque vous importez un fichier de liste télécinéma dans Final Cut Pro, vous pouvez choisir de l’importer dans une base de données Cinema Tools existante ou dans une nouvelle. Consultez la section « Importation de listes télécinéma à l’aide de Final Cut Pro » à la page 87 pour en savoir plus. Réglages de la zone de dialogue Nouvelle base de donées Au moment de choisir vos réglages, rappelez-vous les points suivants :  Le fait de sélectionner des réglages par défaut ne vous oblige pas à les utiliser dans les enregistrements de la base de données. Les réglages par défaut sont appliqués automatiquement aux nouveaux enregistrements de base de données, mais vous pouvez changer le format de film, la vitesse du timecode vidéo et la vitesse du timecode audio pour chaque plan séparément dans la fenêtre Detail View.  Lorsque vous importez les données qui figurent dans la liste télécinéma, le format de film, la vitesse du timecode vidéo, la vitesse du timecode audio et la vitesse télécinéma de la liste sont définis automatiquement dans Cinema Tools. Les informations contenues dans la liste télécinéma ont la priorité sur les réglages par défaut. Cinema Tools utilisera donc les réglages de la liste même s’ils diffèrent des réglages par défaut. Pour modifier des réglages par défaut, consultez la section « Modification des réglages de base de données par défaut » à la page 106. ? Astuce : si vous combinez des bases de données existantes ou si vous voulez contrôler des attributs tels que les réglages par défaut, les noms de fichier et les dates de modification d’une base de données existante, choisissez Database > Database Properties. La zone de dialogue Database Properties affiche le chemin d’accès complet et la taille du fichier de la base de données, ainsi que ses dates de création et de modification. Vous pouvez voir les réglages de projet par défaut pour le format de film, la vitesse du timecode vidéo et la vitesse du timecode audio.78 Partie I Utilisation de Cinema Tools Format de film Cinema Tools prend en charge les formats 35 mm à 4 perforations, 35 mm à 3 perforations et 16 mm-20. (Consultez l’annexe A, « Principes généraux », à la page 231 pour des informations sur ces formats.) Le même film est généralement utilisé pour tout le projet afin de conserver le format. Vous pouvez cependant choisir un format différent pour chaque prise dans la fenêtre Detail View. Si par exemple certains de vos plans sont inversés alors que la majorité sont normaux, vous pouvez spécifier le format de film inversé pour ces plans dans la fenêtre Detail View. Pour choisir un format de film par défaut : m Sélectionnez le format de film utilisé dans le projet dans le menu local Film Standard :  35 mm 4p : film 35 mm, 4 perforations par image  16 mm 20 : film 16 mm, 20 images par numéro de bord  35 mm 3p : film 35 mm, 3 perforations par image Vitesse du timecode (Video TC Rate) Cinema Tools gère quatre vitesses de timecode vidéo. Consultez l’annexe A, « Principes généraux », à la page 231 pour des informations sur les vitesses de timecode. Le laboratoire qui transfère votre film sur bande vidéo peut vous dire quel type de timecode est enregistré sur la bande vidéo. Pour choisir une vitesse de timecode vidéo par défaut : m Sélectionnez le type de timecode enregistré sur les bandes vidéo pour votre projet dans le menu local Video TC Rate :  30 NDF : Timecode Non-drop frame NTSC à 29,97 ips  30 DF : Timecode NTSC drop frame à 29.97 ips  25 FPS : Timecode PAL à 25 ips  24 FPS : Timecode vidéo à 24 ips ou 23,98 ipsChapitre 4 Création et utilisation d’une base de données Cinema Tools 79 I Vitesse du timecode audio Le timecode est généralement enregistré en même temps que les pistes sonores sur les bandes son de production. Ce timecode peut être utilisé pour localiser l’audio d’un plan particulier. Par ailleurs, de nombreux systèmes l’utilisent pour synchroniser l’audio et la vidéo. La saisie des bandes audio et du timecode audio dans la base de données vise principalement à faire correspondre l’audio à une liste EDL audio, opération expliquée à la section « Exportation d’une liste EDL audio » à la page 193. Pour choisir une vitesse de timecode audio par défaut : m Sélectionnez le type de timecode enregistré sur les bandes son de production dans le menu local Sound TC Rate :  30 NDF : Timecode Non-drop frame NTSC à 29,97 ips  30 DF : Timecode NTSC drop frame à 29.97 ips  25 FPS : Timecode PAL à 25 ips  24 FPS : Timecode vidéo à 24 ips ou 23,98 ips Vitesse télécinéma La vitesse télécinéma (appelée TK Speed dans la fenêtre Detail View, dans la sous-fenêtre Identify de la fenêtre Clip et, facultativement, dans la fenêtre Navigateur de Final Cut Pro) fait référence à la fréquence d’images du film dans le matériel de télécinéma durant le transfert sur bande vidéo. Si vous travaillez avec la vidéo NTSC, vous choisirez généralement une vitesse télécinéma de 24 ips, alors que la vitesse télécinéma réelle est d’approximativement 23,98 ips. Le menu local Telecine Speed vous permet aussi de sélectionner une vitesse de 30 ips car il est possible de transférer un film vers une vidéo NTSC lorsque le film tourne à une vitesse de 30 ips (en réalité 29,97 ips). Si vous travaillez sur vidéo PAL, consultez la section « Infos générales sur la vitesse de défilement des images » à la page 23 pour savoir quelle vitesse choisir. Si votre film a été transféré sur bande vidéo à une vitesse télécinéma de 24 ips, sélectionnez 24 ips comme vitesse télécinéma. Si votre film a été transféré sur bande vidéo à une vitesse téléciméma de 25 ips, choisissez 25 ips.80 Partie I Utilisation de Cinema Tools Pour choisir une vitesse télécinéma par défaut : m Dans le menu local Telecine Speed, sélectionnez la vitesse à laquelle le film a été transféré :  24 : vitesse télécinéma de 24 ips ou 23,98 ips  25 : vitesse télécinéma de 25 ips  30 : vitesse télécinéma de 29.97 ips Utilisation de la base de données Pour utiliser la base de données, vous devez savoir réaliser les tâches suivantes :  Ouvrir une base de données existante  Recherche et ouverture d’enregistrements de base de donnée  Sauvegarde, copie, renommage et verrouillage de bases de données  Accéder aux informations relatives à un plan. Ouvrir une base de données existante La première étape, lorsque vous utilisez une base de données, consiste à l’ouvrir. Pour ouvrir une base de données existante : m Choisissez Database > Open Database (ou appuyez sur Commande + Maj + O), puis sélectionnez la base de données souhaitée dans la zone de dialogue. Tous les enregistrements de la base de données ouverte sont répertoriés dans la fenêtre List View. Remarque : si une base de données était ouverte, elle se ferme. Recherche et ouverture d’enregistrements de base de donnée Les enregistrements sont généralement ouverts à partir de la fenêtre List View. Le groupe d’enregistrements qui apparaît dans cette fenêtre est souvent appelé (ensemble trouvé) found set, car vous avez utilisé la commande Find pour spécifier ces enregistrements. Pour afficher un enregistrement de la base de données dans la fenêtre Detail View : m Sélectionnez l’enregistrement dans la fenêtre List View. Chapitre 4 Création et utilisation d’une base de données Cinema Tools 81 I Pour afficher des enregistrements particuliers dans la fenêtre List View : m Utilisez la zone de dialogue Find. Consultez la section sur l’utilisation de la commande Find (ci-dessous) pour des détails. Pour naviguer dans les enregistrements de la fenêtre Detail View : m Cliquez sur les boutons Previous Record et Next Record. Pour rechercher un numéro de bord : m Dans la fenêtre List View, choisissez Keycode dans le menu local, puis cliquez sur le titre de la colonne Keycode pour effectuer le tri par numéro de bord. Consultez la section « Fenêtre List View » à la page 56 pour en savoir plus. Pour utiliser la commande Find afin de rechercher des enregistrements dans la base de données ouverte : 1 Ouvrez la zone de dialogue Find en procédant de l’une des manières suivantes :  Choisissez Database > Find (ou appuyez sur Commande + F).  Cliquez sur le bouton Find dans la fenêtre List View. Boutons Previous Record et Next Record82 Partie I Utilisation de Cinema Tools 2 Choisissez l’un des éléments suivants dans le menu local Results :  Replace Current Found Records : les enregistrements trouvés remplacent ceux qui sont affichés dans la fenêtre List View.  Add to Current Found Records : les enregistrements trouvés sont ajoutés à ceux de la fenêtre List View. ? Astuce : l’option Add to Current Found Records est utile lorsque vous souhaitez rechercher des enregistrements de plus d’une scène, mais pas pour toutes les scènes. Par exemple, pour n’afficher que les enregistrements des scènes 5 et 6, choisissez Replace Current Found Records, saisissez « 5 » dans le champ Scene, puis cliquez sur Find Records. Ensuite, choisissez Add to Current Found Records, saisissez « 6 » dans le champ Scene, et cliquez sur Find Records. Seuls les enregistrements des scènes 5 et 6 apparaissent dans la fenêtre List View. 3 Procédez de l’une des manières suivantes :  Pour rechercher tous les enregistrements qui figurent dans la base de données ouverte : laissez les champs Scene et Take vides et cliquez sur Show All Records.  Pour rechercher tous les enregistrements relatifs à une scène ou un plan particulier : saisissez l’identifiant de la scène ou du plan dans le champ Scene, laissez le champ Take vide, puis cliquez sur le bouton Find Records. (Le champ Take est ignoré, à moins que vous ne sélectionniez la case Show only exact matches.) Par exemple, si vous saisissez « 1 » dans le champ Scene puis cliquez sur Find Records, Cinema Tools recherche tous les enregistrements associés à la scène 1, y compris les plans 1, 1A, 1B, 1C, etc. Si vous saisissez « 1A » dans le champ Scene, seuls les enregistrements du plan 1A sont recherchés.  Pour rechercher l’enregistrement relatif à une scène ou prise particulière : saisissez les identifiants de la scène et de la prise dans les champs Scene et Take, sélectionnez Show only exact matches, puis cliquez sur Find Records. Les enregistrements trouvés apparaissent dans la fenêtre List View.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 83 I Détails relatifs à la scène, le plan et la prise La façon dont Cinema Tools interprète les numéros de scène peut donner des résultats inattendus lors de l’utilisation de la zone de dialogue Find. Cinema Tools traite les numéro de scène comme ayant jusqu’à quatre parties :  Préfixe : partie facultative composée d’une ou plusieurs lettres qui figure devant le numéro de scène, généralement utilisée pour identifier une scène nouvelle et unique ajoutée au script. Par exemple, le « A » dans la scène A54C-3. Les préfixes n’identifient toutefois pas toujours des scènes uniques, les lettres utilisées dans le préfixe contrôlent la façon dont ils affectent l’utilisation de la zone de dialogue Find (décrit plus loin).  Numéro de scène : le premier groupe de chiffres. Selon le préfixe, il peut s’agir du numéro de scène entier, bien qu’avec certains préfixes, le préfixe fasse partie intégrante du numéro de scène (comme décrit plus loin).  Suffixe : groupe d’une ou plusieurs lettres qui suit le numéro de scène et qui identifie le plan de la scène. Par exemple, le « C » dans la scène A54C-3.  Numéro de prise : numéro qui suit le suffixe (indicateur de prise) qui identifie la prise. Il est généralement précédé par un trait d’union (que vous n’avez pas besoin de saisir dans la zone de dialogue Find). Par exemple, le « 3 » dans la scène A54C-3. La difficulté consiste à déterminer si le préfixe indique une scène unique ou pas. Les préfixes qui utilisent les lettres de A à D sont traités comme faisant référence à des scènes uniques. Les préfixes qui utilisent les lettres de E à Z sont traités comme étant des lettres de modification du numéro de scène, mais pas comme indiquant une scène unique. Par exemple, si vous utilisez la zone de dialogue Find pour rechercher la scène 54, vous trouverez les enregistrements « 54, » « G54 » et « K54 » (qui sont tous considérés comme étant la scène 54), mais pas « A54, » « B54, » « C54 » ni « D54 » (qui sont considérés comme étant des scènes différentes). Les suffixes identifient les plans qui composent une scène. Si vous recherchez la scène 54, vous trouverez tous les plans de la scène 54, comme, par exemple, les enregistrements « 54A » et « 54F », mais pas l’enregistrement « B54A » car le préfixe en fait une scène différente. Les numéros de prise sont liés à des plans spécifiques qui, à leur tour, sont liés à des scènes spécifiques. Si vous recherchez la scène « 54 », vous trouverez tous les plans et toutes les prises de cette scène. Si vous saisissez « 54A » dans le champ Scene de la zone de dialogue, vous ne trouverez que les enregistrements relatifs au plan A de la scène 54 ; vous ne trouverez pas les enregistrements relatifs à la scène 54B. Si vous saisissez un nombre dans le champ Take, vous ne trouverez que les plans qui utilisent cette prise. Par exemple, saisir « 54A » dans le champ Scene et « 3 » dans le champ Take ne vous permettra de trouver que l’enregistrement « 54A-3 ». Saisir « 54 » dans le champ Scene (sans spécifier de plan) et « 3 » dans le champ Take, vous permettra de trouver tous les enregistrements de la scène 54 qui ont une prise 3, comme, par exemple, les enregistrements « 54A-3 » et « 54D-3 ».84 Partie I Utilisation de Cinema Tools Sauvegarde, copie, renommage et verrouillage de bases de données Comme vous le faites avec toutes vos données importantes, veillez à réaliser des copies de sauvegarde de vos fichiers de bases de données Cinema Tools et de verrouiller ces fichiers afin de ne pas courir le risque de les modifier ou de les supprimer. Utilisez à cette fin n’importe quelle méthode standard de copie et de verrouillage de fichiers. Vous pouvez sauvegarder vos fichiers sur le disque dur de votre ordinateur ou sur une unité de stockage amovible. Avant de verrouiller un fichier de base de données, assurez-vous que la base des données est fermée. Vous pouvez également employer la méthode standard de votre choix pour modifier le nom d’un fichier de base de données. La modification du nom de fichier d’une base de données (contrairement à la modification du nom de fichier d’un plan source) n’affecte pas les fonctions de la base de données ni son contenu. Important : il est déconseillé de modifier le nom de fichier d’un plan source (dans le Finder) car cela entraîne la rupture du lien entre le plan source et la base de données. Vous pouvez toutefois reconnecter des plans à la base de données à l’aide de la commande Reconnect. Accès à des informations sur un plan source La sous-fenêtre Analysis de la fenêtre Clip vous permet d’accéder à des informations spécifiques sur un plan source. La sous-fenêtre Analysis affiche le chemin complet (l’emplacement) et le nom du fichier ainsi que la taille et les dates de création et de modification de ce dernier. La durée du plan y est également indiquée.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 85 I Apparaissent aussi des informations relatives aux différentes piste d’un plan :  Pour les pistes vidéo : vous voyez les dimensions de l’image et la fréquence d’images, le compresseur utilisé et la qualité de la compression, le débit de données et s’il s’agit d’un fichier autonome ou d’un fichier de données de référence. Consultez la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149 pour en savoir plus.  Pour les pistes audio : vous voyez la fréquence d’échantillonnage et le nombre de canaux pour jusqu’à deux pistes. Saisie d’informations dans la base de données Comme l’explique la section « Choix du mode de création de la base de données » à la page 71, il existe deux méthodes principales pour créer une base de données :  Vous pouvez générer la base de données en important une liste télécinéma, un fichier ALE ou une liste de capture par lot Final Cut Pro.  Vous pouvez saisir manuellement les informations. Même si vous créez votre base de données à partir d’une liste télécinéma, il est probable que vous deviez ultérieurement apporter des modifications ou faire des ajouts aux enregistrements. Procédez à ces changements via les fenêtres Detail View ou Clip. (Dans la fenêtre Clip, vous ne pouvez modifier que des enregistrements de base de données existants.) Important : pour pouvoir saisir des informations dans une base de données, vous devez disposer d’une base de données existante. Pour créer une base de données vide, consultez la section « Création et configuration d’une nouvelle base de données » à la page 74. Importation des informations de la base de données Vous pouvez créer une base de données en important les données d’une liste télécinéma, d’un fichier ALE, d’une liste de capture par lot Final Cut Pro ou d’une base de données Cinema Tools existante. Importation d’informations à partir d’une liste télécinéma ou d’un fichier ALE Vous pouvez saisir des informations dans la base de données en important la liste télécinéma provenant du transfert film vers vidéo. Cinema Tools gère les listes télécinéma suivantes :  Fichiers de listes télécinéma ATN de Aaton  Fichiers d’historique FLX (Film Log EDL Exchange, généralement abrégé en FLEx) provenant du logiciel TLC (Time Logic Controller software)86 Partie I Utilisation de Cinema Tools  Fichiers d’historique FTL (Film Transfer List) provenant d’Evertz  Fichiers ALE (Avid Log Exchange) (différent des listes télécinéma du point de vue technique, mais contiennent les mêmes informations) Vous pouvez importer des fichiers de liste télécinéma à l’aide de soit Cinema Tools soit Final Cut Pro. Attribution de lettres de caméra Pour importer le fichier de liste télécinéma à l’aide de Cinema Tools ou de Final Cut Pro, vous pouvez attribuer une lettre de caméra de A à E à tous les enregistrements importés. La lettre de caméra est ajoutée à l’entrée de prise de chaque enregistrement. Cela est utile en cas d’utilisation de plusieurs caméras par prise, les lettres permettant de distinguer aisément les plans des différentes caméras. De plus, si vous configurez un multiplan dans Final Cut Pro, les lettres de caméra seront utilisées pour créer les différents angles. Importation de listes télécinéma à l’aide de Cinema Tools Pour importer une liste télécinéma dans Cinema Tools, vous devez d’abord disposer d’une base de données ouverte. La base de données peut être une base de données existante à laquelle vous ajoutez de nouveaux enregistrements ou une nouvelle sans enregistrement. Pour importer une liste télécinéma à l’aide de Cinema Tools : 1 Procédez de l’une des manières suivantes :  Ouvrez une base de données Cinema Tools existante. Consultez la section « Ouvrir une base de données existante » à la page 80 pour en savoir plus.  Créez une nouvelle base de données Cinema Tools. Consultez la section « Création et configuration d’une nouvelle base de données » à la page 74 pour en savoir plus. 2 Importez le fichier de liste télécinéma en choisissant File > Import > Telecine Log (ou en appuyant sur Commande + L). 3 Dans la zone de dialogue qui s’ouvre, sélectionnez la liste télécinéma ou le fichier ALE.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 87 I 4 Pour affecter une lettre de caméra aux enregistrements importés, sélectionnez la case Append a camera letter et choisissez une lettre de caméra dans le menu local. 5 Cliquez sur Open. Les données de la liste sont importées dans la base de données ouverte et chaque nouvel enregistrement est affiché dans la fenêtre List View. Une fois que Cinema Tools a fini de créer les enregistrements pour une liste télécinéma, il affiche le nombre d’événements que la liste contient et le nombre de ces événements qui ont été importés dans la base de données. Certaines entrées de la liste télécinéma font référence à des coupes pour lesquelles aucune donnée de film n’a été transférée. Aucun enregistrement n’est créé pour ces entrées. Une fois que les enregistrements ont été importés, vous pouvez exporter une liste de capture par lot de Cinema Tools que vous pouvez ensuite importer dans Final Cut Pro pour automatiser le processus de capture des plans. Consultez la section « Génération d’une liste de capture par lot dans Cinema Tools » à la page 115 pour en savoir plus. Importation de listes télécinéma à l’aide de Final Cut Pro Lorsque vous importez une liste télécinéma à l’aide de Final Cut Pro, vous spécifiez si vous voulez l’importer dans une base de données Cinema Tools existante ou créer une nouvelle base de données. Lors de l’ajout d’enregistrements à la base de données Cinema Tools sélectionnée, chaque enregistrement crée un plan offline dans le Navigateur de Final Cut Pro pour que les plans puissent être capturés par lot. Les informations relatives au film qui figurent dans la liste télécinéma sont aussi ajoutées à chacun de ces plans. Pour importer une liste télécinéma à l’aide de Final Cut Pro : 1 Créez un nouveau projet ou ouvrez un projet existant. Ce projet contient les plans offline créés lors de l’importation du fichier de liste télécinéma. 2 Sélectionnez le projet dans le Navigateur. 3 Choisissez Fichier > Importer > Liste télécinéma Cinema Tools.88 Partie I Utilisation de Cinema Tools La zone de dialogue d’importation de liste télécinéma Cinema Tools est alors affichée. 4 Utilisez la partie supérieure de la zone de dialogue pour sélectionner le fichier de liste télécinéma à importer. 5 Pour affecter une lettre de caméra aux enregistrements importés, sélectionnez la case Ajouter une lettre à la caméra et choisissez une lettre de caméra dans le menu local. 6 Procédez de l’une des manières suivantes :  Cliquez sur Nouvelle base de donées pour créer une nouvelle base de données Cinema Tools dans laquelle importer le fichier de liste télécinéma. Cela a pour effet d’ouvrir une nouvelle zone de dialogue dans laquelle vous pouvez saisir le nom et l’emplacement de la base de données ainsi que configurer ses réglages par défaut. Consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77 pour des informations sur ces réglages. Cliquez sur Enregistrer lorsque vous avez fini.  Cliquez sur Choisir une base de donées pour ouvrir une zone de dialogue dans laquelle vous pouvez sélectionner la base de données existante dans laquelle vous voulez importer les enregistrements du fichier de liste télécinéma. Cliquez sur Ouvrir lorsque vous avez fini. Sélectionnez le fichier de liste télécinéma à importer. Choisissez de créer une nouvelle base de données ou d’importer le fichier dans une base de données. Choisissez la lettre de caméra à ajouter aux prises importées (si nécessaire). Indique le nom de la base de données sélectionnée.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 89 I La base de données sélectionnée, nouvelle ou préexistante, apparaît dans le champ Base de donées de la zone de dialogue d’importation de liste télécinéma Cinema Tools. 7 Cliquez sur Ouvrir pour importer le fichier de liste télécinéma sélectionné dans la base de données Cinema Tools sélectionnée. Une fois que les enregistrements ont été importés et que les plans offline ont été ajoutés au Navigateur, vous pouvez utiliser Final Cut Pro pour capturer les plans par lot. Consultez la documentation de Final Cut Pro pour des informations sur la capture de plans par lot. Importation des informations relatives à une base de données dans une liste de capture de lots Final Cut Pro Il se peut que vous souhaitiez créer des enregistrements de base de données en important une liste de capture par lot Final Cut Pro si :  vous ne disposez pas de liste télécinéma ni de fichier ALE ;  vous avez déjà capturé par lots les plans dont vous voulez disposer dans Final Cut Pro et vous voulez que des enregistrements soient créés dans la base de données pour ces plans sources et non pour les prises énumérées dans votre liste télécinéma. Remarque : la création d’enregistrements dans la base de données à partir d’une liste de capture par lot Final Cut Pro n’est pas l’idéal, car vous perdez l’avantage d’utiliser une liste télécinéma ou un fichier ALE pour construire votre base de données. Ainsi, une liste de capture par lot Final Cut Pro ne contient pas d’indication de numéro de bord ou de bobine de caméra ou de laboratoire, des informations qui seraient importées d’une liste télécinéma. Consultez également la section « Avantages de l’utilisation d’une liste télécinéma ou d’un fichier ALE » à la page 71. ? Astuce : dans la plupart des cas, au lieu d’exporter une liste de capture par lot Final Cut Pro, puis de l’importer dans une base de données Cinema Tools, utilisez la fonction Final Cut Pro intitulée « Synchroniser avec Cinema Tools ». Consultez la section « Synchronisation de plans Final Cut Pro avec Cinema Tools » à la page 155 pour en savoir plus. Pour importer les informations relatives à une base de données dans une liste de capture par lot Final Cut Pro : 1 Assurez-vous qu’une base de données Cinema Tools est ouverte. 2 Dans Cinema Tools, sélectionnez File > Import > Final Cut Pro Batch List. 3 Dans la boîte de dialogue qui apparaît, sélectionnez la liste de capture par lot que vous avez exportée depuis Final Cut Pro. 4 Cliquez sur Open pour importer la liste de capture par lot. Les données de la liste sont utilisées pour créer les enregistrements de la base de données. 90 Partie I Utilisation de Cinema Tools Remarque : les plans sources ne sont pas encore connectés à des enregistrements de la base de données. Vous devez utiliser la commande Connect Clips pour les relier. Pour en savoir plus, consultez la section « Utilisation de la commande Connect Clips pour connecter des plans sources » à la page 123. 5 Dans chaque enregistrement, saisissez le numéro du code de bordure et l’identifiant de la bobine de film (ces éléments sont nécessaires pour créer une cut list ou une liste de modification). Remarque : étant donné qu’une liste de capture par lot Final Cut Pro contient tout ce qui apparaît dans le Navigateur Final Cut Pro, il se peut qu’elle contienne des plans ou des séquences dont vous ne voulez pas. Procédez par conséquent à la suppression de tous les enregistrements inutiles. Consultez à ce sujet la section « Suppression d’un enregistrement de la base de données » à la page 105. Importation d’une base de données Cinema Tools existante Il est possible d’importer une base de données Cinema Tools dans une autre base de données Cinema Tools. Cette opération peut s’avérer nécessaire dans les cas suivants :  Il se peut que vous souhaitiez créer des bases de données séparées à des fins d’organisation et d’archivage, puis les rassembler au sein d’une base de données maîtresse. Des bases de données séparées peuvent être utiles pour vos rushes par exemple. Si vous souhaitez gérer vos rushes en créant une base de données portant une date comme nom pour chacun des jours de tournage, vous pouvez importer la liste télécinéma pour la session quotidienne en question, exporter une liste de capture par lot, capturer les plans, puis utiliser la commande Connect Clips de Cinema Tools pour connecter tous les plans à ce fichier de base de données portant une date comme nom. Ensuite, vous pouvez importer ce fichier de base de données dans une base de données maîtresse contenant toutes les bases de données quotidiennes.  Si vous devez corriger les réglages de projet par défaut d’une base de données. Pour ce faire, créez une nouvelle base de données vide avec les réglages par défaut corrects, puis import votre fichier de base de données original dans la nouvelle. Pour importer un fichier de base de données dans un autre fichier : 1 Ouvrez la base de données dans laquelle vous avez importé un autre fichier de base de données en choisissant Database > Open Database (ou en appuyant sur Commande + Maj + O), puis en sélectionnant la base de données dans la zone de dialogue. 2 Choisissez File > Import > Database. 3 Dans la zone de dialogue qui s’affiche, sélectionnez la base de données à importer.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 91 I Saisie manuelle des informations de base de données Vous pouvez utiliser la fenêtre Detail View pour modifier manuellement les informations des enregistrements. Vous devez d’abord créer des enregistrements dans la base de données. Remarque : si un enregistrement de base de données a déjà été créé pour un plan, vous pouvez aussi utiliser la fenêtre Identify de la fenêtre Clip pour saisir des informations. Consultez la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102 pour en savoir plus. Description du lien entre les scènes, les plans et les prises Pour saisir des informations de scène, de plan et de prise dans la base de données, vous devez savoir comment les scènes, les plans et les prises sont compris par la base de données. Un film est composé d’une série de scènes et chaque scène est généralement composée de plusieurs plans ou angles de vue. Un plan est un enregistrement continu sans interruptions. Lors d’un tournage, il peut y avoir plusieurs prises par plan, une prise est donc une version d’un plan. Une scène peut compter plusieurs plans. Le tableau cidessous présente un exemple de lien entre les scènes, les prises et les plans dans une base de données Cinema Tools. Scène 1 Prise de vue 1A Prise de vue 1 Prise de vue 1B Prise 1 Prise 2 Prise 4 Prise 2 Prise 3 Prise 5 Clap 1-1 Clap 1-2 Clap 1-4 Clap 1A-2 Clap 1A-3 Clap 1B-592 Partie I Utilisation de Cinema Tools Création d’un enregistrement de base de données Vous devez créer des enregistrements de base de données si vous saisissez les informations de base de données manuellement. Pour créer un enregistrement : 1 Procédez de l’une des manières suivantes :  Choisissez Database > New Record (ou appuyez sur Commande + N).  Cliquez sur New Record dans la fenêtre Detail View. 2 Dans la zone de dialogue qui apparaît, saisissez des identifiants pour la scène et la prise ou laissez ces champs vides, puis cliquez sur OK. Pour en savoir plus, lisez l’encadré ci-dessous « Utilisation d’identifiants de scène, de plan et de prise, ». Remarque : il n’est pas nécessaire de saisir quoi que ce soit dans les champs Scene et Take pour utiliser Cinema Tools pour mettre en correspondance vos modifications numériques et vos négatifs de caméra originaux. Vous pouvez laisser ces champs vides ou les compléter ultérieurement. Souvenez-vous aussi que les entrées de scène et de prise sont utilisées pour créer les noms des plans, si vous exportez une liste de capture par lot. Consultez la section « Génération d’une liste de capture par lot dans Cinema Tools » à la page 115 pour en savoir plus. La fenêtre Detail View apparaît une fois que vous cliquez sur OK.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 93 I Utilisation d’identifiants de scène, de plan et de prise Un identifiant peut comprendre des chiffres et des lettres et compter jusqu’à 15 caractères.  Take identifier : si le plan source associé à un enregistrement de base de données contient plus d’une prise, vous pouvez vous représenter l’identifiant de prise comme un identifiant de sous-plan source. Si le plan source associé à un enregistrement de base de données ne contient qu’une seule prise, vous pouvez vous représenter l’identifiant de prise comme un identifiant de plan source.  Scene identifier : l’identifiant que vous saisissez dans le champ Scene identifie en réalité tant la scène que le plan (la position de la caméra) pour le plan en question. On inscrit généralement dans ce champ la combinaison de lettres ou de chiffres qui apparaît dans le champ Scene du clap. La méthode généralement employée pour identifier les scènes et les plans est d’attribuer un chiffre à la scène et d’ajouter une lettre pour spécifier le plan de la scène. Ainsi, si un clap indique « Scène 12B », il fait référence à la prise B de la scène 12. Cette information est reflétée dans la fenêtre Detail View ; le premier nombre indiqué dans le champ Scene apparaît en regard du mot « Scene » dans la fenêtre Detail View. En regard du mot « Shot », par contre, tant le numéro que la lettre apparaissent. Par exemple, si vous saisissez « 1D » dans le champ Scene, vous voyez apparaître ce qui suit dans le coin supérieur gauche de la fenêtre Detail View :  « 1 » en regard du mot « Scene »  « 1D » en regard du mot « Shot » Astuce : dans le champ Scene, vous pouvez saisir une lettre (de A à D) devant le premier numéro, elle fera partie intégrante de l’identifiant de scène. Ajouter une lettre devant un identifiant de scène est une convention d’appellation utile lorsque vous devez ajouter une scène au milieu d’une série de scènes. Imaginons, que vous ajoutiez une scène nommée A2 entre la scène 1 et la scène 2. Le nouvel ordre serait donc scène 1, scène A2, scène 2, scène 3, et ainsi de suite. L’ajout d’autres lettres (de E à Z) n’ajoute pas de nouvelle scène. Par exemple, la scène G2 est identique à la scène 2. Pour plus d’informations, reportezvous à la section « Détails relatifs à la scène, le plan et la prise » à la page 83.94 Partie I Utilisation de Cinema Tools Saisie d’informations dans un enregistrement de base de données Une fois que vous avez créé un enregistrement de base de données, vous pouvez saisir les informations sur son plan. Pour saisir des informations dans un enregistrement de base de données : 1 Assurez-vous que l’enregistrement souhaité apparaît dans la fenêtre Detail View. (Si nécessaire, cliquez sur l’enregistrement, dans la fenêtre List View, pour l’ouvrir dans la fenêtre Detail View.) Pour en savoir plus, consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80. 2 Saisissez des informations et des réglages dans la fenêtre Detail View. « Réglages de la fenêtre Detail View, » ensuite, décrivez tous les réglages et spécifiez ceux qui sont obligatoires si vous prévoyez d’utiliser la base de données pour générer des listes de conformation ou de modification. Utilisez la touche de tabulation pour passer d’un champ ou d’un réglage à l’autre. ? Astuce : lorsque vous reliez un plan à enregistrement de base de données et que cet enregistrement ne contient pas encore le timecode, le numéro de bobine et la durée du timecode du plan, Cinema Tools recherche ces informations dans le fichier du plan et les introduit automatiquement dans l’enregistrement. Si vous connaissez le code de bordure ou le numéro de timecode d’une autre image d’plan, la fonction Identify peut vous aider à déterminer le timecode ou numéro de code de bordure correct de la première image d’un plan. Consultez à ce sujet la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102. 3 Cliquez sur Save. Les informations affichées dans la fenêtre Detail View ne sont définitivement saisies dans la base de données que si vous les enregistrez. Vous pouvez choisir Database > Revert Record (ou appuyer sur Commande + R) pour revenir à la dernière version enregistrée de l’enregistrement.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 95 I Réglages de la fenêtre Detail View La fenêtre Detail View contient des champs et des boutons servant à la création d’enregistrements de base de données. Parmi ces réglages, seul un petit nombre sert à la création de cut lists ou de listes de modification à partir de la base de données. Réglages nécessaires Les réglages nécessaires dépendant du type de liste à créer et de la méthode que vous allez utiliser pour la créer. Ces réglages sont nécessaires si vous prévoyez de générer une liste de conformation ou de modifier une liste de modifications :  Lab, camera, or daily roll  Key number or ink number Par ailleurs, chaque plan source doit être associé à un enregistrement, sauf si vous pouvez utiliser la méthode basée sur le timecode pour créer les cut lists ou les listes de modification (consultez à ce sujet la section « Gain de temps potentiel lors du transfert camera-roll » à la page 73). Pour utiliser la méthode basée sur le timecode afin de créer des cut lists ou des listes de modification, les éléments suivants sont également requis :  Video reel  Timecode vidéo et durée Ces réglages sont nécessaires pour exporter une liste audio EDL :  Chaque plan source doit être connecté à un enregistrement ou la bande vidéo, le timecode vidéo et la durée doivent être saisis pour chaque enregistrement.  Chaque enregistrement doit comporter le numéro de la bande audio, le timecode audio et la vitesse du timecode audio (Sound TC Rate).96 Partie I Utilisation de Cinema Tools Réglages de la fenêtre Detail View La fenêtre Detail View contient les champs et boutons suivants : Boutons et champs Database Ces boutons et champs s’appliquent à la base de données entière.  Boutons Previous Record et Next Record (flèches) : cliquez sur ces boutons pour passer à l’enregistrement précédent ou suivant (selon l’ordre en vigueur dans la fenêtre List View). Remarque : l’un de ces boutons est estompé lorsque vous vous trouvez au début ou à la fin de la liste et qu’il n’y a pas de plan précédent ou suivant. Vous pouvez utiliser comme raccourci les touches fléchées vers la droite et vers la gauche de votre clavier. Si vous avez apporté des modifications à l’enregistrement courant, une zone de dialogue vous demandant si vous souhaitez enregistrer ces modifications apparaît.  Bouton New Record : cliquez sur ce bouton pour créer un nouvel enregistrement. Dans la zone de dialogue qui s’ouvre, saisissez les identifiants de scène et de prise du nouvel enregistrement. Consultez la section « Utilisation d’identifiants de scène, de plan et de prise » à la page 93 pour en savoir plus.  Bouton Save : cliquez sur ce bouton si vous avez ajouté ou modifié des données dans l’enregistrement actuel. Ces ajouts ou modifications ne seront enregistrés que si vous cliquez sur le bouton Save.  Zone Telecine Session : cette zone, au centre droit de la fenêtre, indique le nom du fichier de liste télécinéma importé dans la base de données (si d’application).  Champ Telecine Session Notes : saisissez d’éventuels commentaires sur la session télécinéma. Remarque : ce champ n’est disponible que si vous avez importé un fichier de liste télécinéma dans la base de données. Champ pour la prise de notes Champ destiné aux notes sur les sessions télécinéma Boutons Previous Record et Next RecordChapitre 4 Création et utilisation d’une base de données Cinema Tools 97 I Champs Scene et Shot Description Ne remplissez ces champs qu’une seule fois par scène. Une fois les données saisies, elles sont ajoutées à tous les enregistrements existants et nouveaux correspondant à la même scène.  Champ de description Scene : décrivez la scène.  Champ de description Shot : décrivez la prise de vue.  Champs Script Pages : saisissez la première et la dernière page de script associées à la scène et à la prise. Réglages du film Les réglages suivants portent sur le film.  Champ Scene : saisissez ou modifiez l’identifiant de la scène dans ce champ. Consultez la section « Utilisation d’identifiants de scène, de plan et de prise » à la page 93 pour en savoir plus.  Champ Take : saisissez un identifiant de prise dans ce champ. En règle générale, des chiffres sont utilisés mais vous pouvez saisir n’importe quelle combinaison de caractères (maximum 15). Si le plan source comporte plusieurs prises, considérez l’identifiant de prise comme un identifiant de sous-plan. À propos des descriptions de scènes et de prises de vue Toutes les prises de vue d’une scène sont reliées à cette scène et tous les plans sources d’une prise de vue sont reliés à cette prise de vue. Comme la base de données mémorise ces liens, vous n’avez à saisir ces descriptions qu’une fois pour chaque scène et prise de vue. Lorsque vous saisissez ou modifiez la description d’une scène, les mêmes informations apparaissent pour toutes les prises de vue associées à la scène, dans les enregistrements existants comme dans ceux que vous créerez ultérieurement et qui porteront le même identifiant de scène. De la même façon, toutes données descriptives que vous saisissez pour un plan apparaîtra dans les enregistrements de base de données existants avec le même identifiant de plan. Dans l’exemple ci-après, tous les enregistrements de la scène A54 auront le même texte descriptif (« Outside ») et les mêmes numéros de page (de 146 à 167). Toutes les prises du plan (A54J) auront le même texte descriptif (« Left » dans cet exemple) et les mêmes numéros de page (de 148 à 155). Chaque prise de ce plan aura aussi une entrée de note de prise unique.98 Partie I Utilisation de Cinema Tools  Champ Cam Roll : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, vous devez compléter un des champs de bobine.) Si vous procédez à un montage à partir des bobines d’une caméra, saisissez l’identifiant de bobine attribué par l’assistant cameraman au cours de la production. Cet identifiant doit être le même que celui qui est affiché sur le clap de la prise. Remarque : souvent, la bobine de caméra et la bobine de laboratoire sont identiques et peuvent donc porter le même identifiant. Vous pouvez saisir des données dans l’un de ces deux champs ou dans les deux. Veillez cependant à être cohérent. Lorsque vous créez une cut list ou une liste de modification, Cinema Tools vous donne l’option d’afficher la bobine caméra, la bobine laboratoire ou la bobine des rushes. Quelle que soit l’option choisie, elle doit apparaître dans tous les enregistrements de la base de données, sinon Cinema Tools signalera une erreur lorsque vous exporterez une liste de film.  Champ Lab Roll : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, vous devez compléter un des champs de bobine.) Si les données que vous montez proviennent de bobines de laboratoire, saisissez l’identifiant attribué par le laboratoire qui a traité votre film. Ou alors saisissez l’identifiant d’une bobine créée à partir de prises choisies, pour l’impression (cette bobine est parfois appelée négatif A). Souvent, la bobine de caméra et la bobine de laboratoire sont identiques et peuvent donc porter le même identifiant (consultez la note ci-avant).  Champ Daily Roll : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, vous devez compléter un des champs de bobine.) Si vous procédez au montage à partir des rushes, saisissez l’identifiant attribué à la bobine de rushes d’où le plan source est tiré.  Champs Key : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, ces champs ou les champs de codification manuelle sont obligatoires.) Le premier champ doit contenir le préfixe utilisé tout au long de la bobine de film. Par exemple, pour le numéro de clé KJ 29 1010 5867+07, le préfixe de clé est « KJ 29 1010 » que l’on saisit sous la forme « KJ291010 ». Vous pouvez saisir jusqu’à huit caractères (y compris les espaces, bien que vous passerez les espaces dans la plupart des cas, comme dans cet exemple). Dans le deuxième champ, saisissez la deuxième partie du numéro de bord (numéro d’image) de la première image du plan. Par exemple, pour le numéro de clé KJ 29 1010 5867+07, le numéro d’image est « 5867+07 ». Le numéro d’image indique chaque pied ou demi-pied de la bobine, complété du numéro de comptage d’image. Si vous connaissez le numéro de clé d’une autre partie du plan, la fonction Identify peut déterminer et saisir le numéro de clé (champs Key) de la première image du plan. Consultez à ce sujet la section « Utilisation de la fonction Identify pour la saisie de numéros de code de bordure et de timecode dans la base de données » à la page 102.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 99 I  Champs Ink : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, ces champs ou les champs de clé sont obligatoires.) Saisissez le numéro du préfixe dans le premier champ et le numéro d’image dans le second. Par exemple, dans la codification manuelle 123 4567+08, le préfixe est « 123 » et le numéro d’image est « 4567+08 », ce qui indique que l’image apparaît à 4567 pieds et 8 images.  Menu local TK Speed : ce menu local vous donne la possibilité de spécifier individuellement la vitesse de transfert de télécinéma pour chaque enregistrement de la base de données. Si l’enregistrement de base de données a été créé à partir d’une liste télécinéma, ce réglage devrait déjà être correct et il ne devrait pas être nécessaire de le modifier. Si vous créez la base de données manuellement, la valeur de ce menu local devrait refléter le réglage de la vitesse du film de télécinéma que vous avez choisi lorsque vous avez défini les valeurs par défaut au niveau du projet. Pour en savoir plus, consultez la section « Vitesse télécinéma » à la page 79.  Menu local Film Std : ce menu permet de spécifier individuellement le format du film pour chaque enregistrement de la base de données. Si l’enregistrement de base de données a été créé à partir d’une liste télécinéma, ce réglage devrait déjà être correct et il ne devrait pas être nécessaire de le modifier. Si vous créez la base de données manuellement, cette valeur doit refléter le réglage choisi dans la zone de dialogue New Database. Pour les plans qui sont en sens inverse, vous pouvez spécifier un sens inverse pour le format de film en choisissant 35.4p.rev (pour les films 35 mm à 4 perforations) ou 16.20.rev (pour les films 16 mm-20). Un film en sens inverse est un film dont les numéros de bord sont en ordre décroissant plutôt que croissant. Cette situation se produit par exemple quand le film a été tourné en sens inverse ou quand la bobine a été placée à l’envers dans la caméra et que les numéros de bord sont alors lus dans l’ordre inverse. Pour en savoir plus, consultez la section « Format de film » à la page 78. Pour les plans qui utilisent le format 35 mm à 3 perforations, choisissez de décalage de la perforation du numéro de bord. Ce décalage (3 perf. •1, 3 perf. •2 ou 3 perf. •3) fait référence à la relation entre la perforation marquée du symbole « • » et l’image du film à ce point. Pour en savoir plus, consultez la section « Décalages 35 mm à 3 perforations » à la page 235. Remarque : le film 35 mm à 3 perforations en sens inverse n’est pas pris en charge.100 Partie I Utilisation de Cinema Tools Réglages vidéo Les réglages suivants portent sur les bandes vidéo.  Champ Video Reel : (à moins que tous les plans que vous allez monter ne soient connectés à la base de données, ce champ est obligatoire si vous prévoyez de créer une liste de conformation, une liste de modifications ou une liste audio EDL.) Saisissez l’identifiant de la bande vidéo contenant cette prise. Ce champ doit être rempli sans faute si vous souhaitez garantir l’exactitude de la cut list ou de la liste de modification. Lorsque vous reliez un plan à un enregistrement de base de données qui ne contient pas encore l’identifiant de bande, Cinema Tools recherche cette information dans le fichier du plan et l’introduit automatiquement dans l’enregistrement. Veillez à ne pas commettre d’erreurs lors de la saisie de cet identifiant afin que l’enregistrement puisse être associé au plan approprié après le montage numérique de votre film. Par exemple, « 001 » est différent de « 0001 ».  Champ Video Timecode : (à moins que tous les plans que vous allez monter ne soient connectés à la base de données, ce champ est obligatoire si vous prévoyez de créer une liste de conformation, une liste de modifications ou une liste audio EDL.) Saisissez le numéro de timecode de la première image du plan. Le lien entre les numéros de code et le timecode est établi lors du transfert du film sur bande vidéo et ces informations sont en général saisies automatiquement lorsque vous créez la base de données à partir d’une liste télécinéma. Lorsque vous reliez un plan à un enregistrement de la base de données qui ne contient pas encore le timecode du plan, Cinema Tools recherche cette information dans le fichier du plan et l’introduit automatiquement dans l’enregistrement. Vous pouvez aussi déterminer la valeur du timecode pour ce champ en jetant un coup d’œil à la première image du plan, à condition que le numéro de bord et le timecode soient gravés dans la vidéo. ? Tip : si vous saisissez les informations de bande vidéo et de timecode dans la fenêtre Detail View, vous pouvez utiliser la base de données pour localiser du matériel source sur la bande vidéo pendant le montage. Si vous êtes par exemple en train de monter un plan et que vous souhaitez vérifier le contenu d’une partie du plan dont la netteté est médiocre, il est alors nécessaire d’utiliser la bande vidéo, où l’image est de meilleure qualité. Vous pouvez consulter l’enregistrement de base de données du plan pour voir quelle bande contient le matériel et l’emplacement de timecode sur la bande.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 101 I  Champ Video Duration : (à moins que tous les plans que vous allez monter ne soient connectés à la base de données, ce champ est obligatoire si vous prévoyez de créer une liste de conformation, une liste de modifications ou une liste audio EDL.) Saisissez la durée du timecode du plan source. Cette valeur peut provenir d’une liste télécinéma. Lorsque vous reliez un plan à un enregistrement de base de données qui ne contient pas encore le timecode du plan, Cinema Tools recherche cette information dans le fichier du plan et l’introduit automatiquement dans l’enregistrement. Cette durée est exprimée en heures, minutes, secondes et images, ce qui peut vous sembler plus parlant que la longueur exprimée en pieds et images. La durée du timecode est particulièrement importante si vous souhaitez réaliser une capture par lot ou créer une cut list ou une liste de modification en faisant correspondre le programme monté avec la bande et le timecode vidéo.  Menu local Video TC Rate : ce menu local affiche la vitesse de timecode vidéo par défaut que vous avez choisie lorsque vous avez créé la base de données ou le format qui figurait dans la liste télécinéma que vous avez importée pour créer la base de données. Le laboratoire qui transfère votre film sur bande vidéo peut vous dire quel type de timecode vidéo est enregistré sur la bande vidéo. Consultez la section « Vitesse du timecode (Video TC Rate) » à la page 78 pour en savoir plus. Réglages du son Les réglages suivants portent sur les bandes son.  Champ Sound Roll : (obligatoire si vous prévoyez de créer une liste audio EDL.) Saisissez le nom de la bande son.  Champ Sound Timecode : (obligatoire si vous prévoyez de créer une liste audio EDL.) Saisissez le numéro de timecode audio de début du plan. Le format du timecode audio peut être différent de celui du timecode vidéo.  Champ Sound TC Rate : (obligatoire si vous prévoyez de créer une liste audio EDL.) Saisissez le type de timecode utilisé sur les bandes son de production. Bouton Clip et réglages Ce qui suit s’applique en particulier au plan lié à cet enregistrement.  Bouton Connect Clip/Open Clip : si aucun plan n’a été associé à l’enregistrement, ce bouton s’intitule Connect Clip. Si un plan est déjà associé, il s’intitule Open Clip.  Cliquez sur Connect Clip pour sélectionner un plan source à relier à cet enregistrement. Lorsque vous sélectionnez un plan, il est relié à la base de données et sa première image s’affiche dans la zone située sous le bouton Connect Clip/Open Clip.  Cliquez sur Open Clip pour ouvrir la fenêtre du plan relié. Si le plan est introuvable, une zone de dialogue s’ouvre pour vous permettre de sélectionner le bon plan.  Appuyez sur la touche Commande pour passer d’Open Clip à Disconnect Clip. Cliquez sur Disconnect Clip pour annuler le lien entre le plan et la base de données.  Champ Take Notes : saisissez-y les commentaires que vous souhaitez inclure à propos du plan source.102 Partie I Utilisation de Cinema Tools Utilisation de la fonction Identify pour saisir et calculer des informations de base de données Vous pouvez utiliser la fonction Identify de la fenêtre Clip pour déterminer le numéro de bord, le numéro de codification manuelle ou les valeurs de timecode des plans de la base de données. Ces valeurs sont obligatoires dans la base de données pour la première image du plan, mais il se peut qu’elles ne soient pas disponibles si vous ne créez pas les enregistrements de base de données à partir d’une liste télécinéma ou si vos plans n’ont pas de fenêtre d’affichage. Pour utiliser la fonction Identify afin de déterminer ou de vérifier le code de bordure ou le timecode :  Vous devez connaître le numéro de bord, la codification manuelle ou le timecode d’au moins une des images du plan.  Le plan doit posséder un enregistrement dans la base de données.  Le lien numéro de bord/timecode doit être continu. Consultez à ce sujet la section « Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? » à la page 72. N’oubliez pas qu’avec la fonction Identify, les champs Key, Ink, Video Timecode et Sound Timecode doivent toujours refléter les valeurs de l’image affichée dans la fenêtre Clip, alors que dans la fenêtre Detail View, ces champs sont associés à la première image du plan. Toutefois, la fonction Identify calcule et introduit les valeurs de la première image qui apparaissent dans la fenêtre Detail View. Utilisation de la fonction Identify pour la saisie de numéros de code de bordure et de timecode dans la base de données Si vous connaissez le code de bordure (numéro de bord ou codification manuelle) et le timecode de toute image d’un plan, vous pouvez utiliser la fonction Identify pour déterminer ces valeurs pour la première image du plan. Ces informations seront alors saisies automatiquement dans la base de données. Cette fonction est particulièrement utile si vous travaillez sur une bande vidéo sans fenêtre d’affichage, car vous devez dans ce cas marquer physiquement une image de chaque plan pour assurer le suivi des timecodes et codes de bordure. Si l’image marquée n’est pas la toute première image du plan, la fonction Identify peut calculer les valeurs de la première image, qui sont alors automatiquement saisies dans la base de données.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 103 I Pour saisir les valeurs du code de bordure et du timecode dans la base de données : 1 Si le plan souhaité n’est pas encore ouvert, ouvrez-le dans la fenêtre Clip en procédant de l’une des manières suivantes :  Choisissez File > Open Clip (ou appuyez sur Commande + O), puis utilisez la zone de dialogue pour sélectionner le plan.  Cliquez sur Open Clip, dans la fenêtre Detail View de l’enregistrement dans la base de données du plan. 2 Cliquez sur Identify dans la fenêtre Clip pour afficher les réglages relatifs à l’image actuelle. 3 Localisez l’image marquée dans la zone de lecture du plan. ? Astuce : utilisez les touches fléchées du clavier pour avancer et reculer image par image. Les réglages Identify sont mis à jour pour afficher les informations de chaque image lorsque vous vous déplacez dans un plan afin que vous puissiez localiser l’image marquée. 4 Saisissez, dans les champs appropriés, les valeurs de code de bordure et de timecode de l’image marquée (l’image affichée dans la fenêtre Clip). Remarque : vous pouvez utiliser soit la codification manuelle, soit les numéros de bord. Dans ce cas, ne remplissez pas le champ inutile. Remarque : pour réinitialiser les valeurs aux valeurs en vigueur à l’ouverture du plan dans la fenêtre, cliquez sur Revert. 5 Lorsque vous identifiez un plan de 35 mm à 3 perforations, vous devez aussi choisir le décalage (3 perf. •1, 3 perf. •2 ou 3 perf. •3) dans le menu local Film Std. Remarque : en principe, vous ne devez pas modifier le réglage du menu local Film Std si vous utilisez l’un des autres formats de film. 6 Cliquez sur Save. Saisissez les valeurs de numéro de bord ou de codification manuelle de l’image marquée. Saisissez la valeur de timecode vidéo de l’image marquée.104 Partie I Utilisation de Cinema Tools L’enregistrement de base de données correspondant à ce plan est immédiatement actualisé avec les valeurs de la première image du plan. De plus, la durée du plan est calculée et saisie. À propos de la modification de données à l’aide de la fonction Identify Vous ne pouvez utiliser la fonction Identify pour un plan que si un enregistrement de base de données a été créé pour ce plan. La sous-fenêtre Identify de la fenêtre Clip contient des champs et des menus locaux pour des réglages qui apparaissent aussi dans la fenêtre Detail View. Vous pouvez modifier ces réglages à l’aide de la fonction Identify, mais gardez les points suivants à l’esprit :  Les champs Key, Ink, Video Timecode et Sound Timecode doivent toujours refléter les valeurs de l’image affichée dans la fenêtre Clip, alors que dans la fenêtre Detail View, ces champs sont associés à la première image du plan. C’est pourquoi il se peut que ce que vous voyez ou saisissez dans la sous-fenêtre Identify de la fenêtre Clip diffère de ce que vous voyez ou saisissez dans la fenêtre Detail View. Consultez à ce sujet la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102.  La fonction Identify ne permet de faire le suivi des numéros de bord que si la relation entre les numéros de bord et les timecodes est continue, comme c’est le cas avec la plupart des transferts caméra-bande. Consultez à ce sujet la section « Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? » à la page 72. Si vous avez modifié les valeurs dans la fenêtre et souhaitez revenir aux valeurs antérieures, cliquez sur Revert plutôt que sur Save. Lorsque vous cliquez sur Save, l’enregistrement de base de données est mis à jour et ces modifications sont reflétées dans la fenêtre Detail View. Modification d’informations dans la base de données Vous pouvez modifier toute information de la base de données en modifiant des réglages dans la fenêtre Detail View et dans la sous-fenêtre Identify de la fenêtre Clip. Certains des calculs que vous faites à l’aide de la fonction Identify modifient automatiquement des informations qui figurent dans la base de données. Consultez la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102 pour en savoir plus. Chapitre 4 Création et utilisation d’une base de données Cinema Tools 105 I Suppression d’un enregistrement de la base de données Il se peut que vous n’ayez plus besoin de certains enregistrements. Vous pouvez alors les supprimer de la base de données. Remarque : soyez très prudent lors de cette opération car elle est irréversible. Pour supprimer un enregistrement de la base de données : 1 Ouvrez l’enregistrement dans la fenêtre Detail View ou sélectionnez-le dans la fenêtre List View. 2 Choisissez Database > Delete Record (ou appuyez sur Commande + Suppr). Remarque : lorsque vous supprimez un enregistrement de base de données qui est connecté à un fichier de données source, vous ne supprimez pas le fichier du disque dur. Vous ne supprimez que l enregistrement de base de données. Changement de l’affiche d’un plan Par défaut, lorsqu’un plan relié à un enregistrement est ouvert dans la fenêtre Clip, une vignette de la première image du plan est affichée dans la fenêtre Detail View. Cette image est appelée affiche du plan. Vous pouvez choisir une autre affiche si cette image n’est pas pertinente (si elle est noire par exemple). L’affiche de plan par défaut n’apparaît dans la fenêtre Detail View qu’une fois que :  le plan est relié à un enregistrement de la base de données  le plan est ouvert dans la fenêtre Clip Pour choisir une nouvelle affiche : 1 Si le plan souhaité n’est pas encore ouvert, ouvrez-le dans la fenêtre Clip en procédant de l’une des manières suivantes :  Choisissez File > Open Clip (ou appuyez sur Commande + O), puis utilisez la zone de dialogue pour sélectionner le plan.  Cliquez sur Open Clip, dans la fenêtre Detail View de l’enregistrement dans la base de données du plan. 2 Dans la zone de lecture du plan, repérez l’image à utiliser comme affiche.106 Partie I Utilisation de Cinema Tools ? Tip : utilisez les touches fléchées du clavier pour avancer et reculer image par image. 3 Cliquez sur Set Poster Frame une fois que l’image souhaitée apparaît dans la zone de lecture du plan. La nouvelle affiche apparaît dans la fenêtre Detail View du plan. Remarque : quelle que soit l’affiche choisie, la fenêtre Clip s’ouvre toujours sur la première image du plan. Modification des réglages de base de données par défaut Bien que vous ne puissiez pas modifier les réglages par défaut d’une base de données directement, vous pouvez obtenir le même résultat en créant une nouvelle base de données possédant les réglages souhaités, puis en important la base de données original dedans. Pour modifier les réglages par défaut d’une base de données : m Créez une nouvelle base de données, attribuez-lui des réglages par défaut, puis importez-y la base de données originale. Consultez à ce sujet la section « Importation d’une base de données Cinema Tools existante » à la page 90. Vous pouvez faire glisser la tête de lecture pour localiser et afficher l’image que vous voulez utiliser comme affiche de plan. Cliquez sur le bouton Set Poster Frame pour que l’image courante apparaisse comme vignette dans la fenêtre Detail View.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 107 I Modification de tous les identifiants de bobine ou de bande Il s’avère parfois nécessaire de modifier tous les identifiants de bobine ou de bande contenus dans une base de données. Par exemple pour passer d’un identifiant de bobine non compatible EDL à un identifiant compatible, ou pour faire concorder les identifiants d’une base de données avec ceux d’une liste EDL. Remarque : si vous comptez exporter une liste de capture par lot à partir de la base de données, pensez à apporter les modifications de bobine ou de bande avant d’exporter la liste. Pour modifier toutes les occurrences d’un nom de bobine ou de bande dans une base de données : 1 Cliquez sur le bouton Show All dans la fenêtre List View pour vous assurer que tous les enregistrements de base de données apparaissent bien dans la fenêtre List View. 2 Choisissez Database > Change Reel. 3 Effectuez les réglages suivants dans la zone de dialogue Change Reel :  Choisissez le type de bande ou de bobine.  Dans le champ From, saisissez l’identifiant à modifier.  Dans le champ To, saisissez le nouvel identifiant. 4 Cliquez sur OK. Lorsque vous cliquez sur OK, une recherche est lancée dans tous les enregistrements de la fenêtre List View et tous les identifiants trouvés à modifier sont remplacés par le nouvel identifiant. Choisissez le type de bande ou de bobine. Saisissez l’ancien et le nouvel identifiant.108 Partie I Utilisation de Cinema Tools Vérification et correction de numéros de code de bordure de timecode Si vous connaissez les valeurs de timecode, de numéro de bord ou de codification manuelle d’une image de plan, que ce soit par une image marquée ou par une fenêtre d’affichage, vous pouvez utiliser la fonction Identify pour vérifier ces valeurs pour le plan. Cette vérification est importante car l’exactitude de votre cut list ou de votre liste de modification repose sur ces valeurs. La vérification de valeurs à l’aide de la fonction Identify est particulièrement utile lorsque :  vous constatez une différence entre le timecode et les numéros de bord ou de clé de la fenêtre d’affichage et les valeurs de la base de données Cinema Tools ou de Final Cut Pro ;  vous avez saisi les valeurs manuellement et souhaitez contrôler la saisie. Important : la fonction Identify ne permet de faire le suivi des numéros de code de bordure que si la relation entre les numéros de code de bordure et les timecodes est continue, comme c’est le cas avec la plupart des transferts caméra-bande. Consultez à ce sujet la section « Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? » à la page 72. Si la relation entre les numéros de code de bordure et les timecodes est non continue, vous pouvez vérifier et corriger les valeurs de numéro de code de bordure et de timecode pour les plans source en comparant visuellement ces valeurs avec la fenêtre d’affichage et, si nécessaire, en corrigeant manuellement les valeurs de numéro de code de bordure et de timecode dans Cinema Tools et les valeurs de timecode dans Final Cut Pro. Pour vérifier et corriger les valeurs de code de bordure et de timecode saisies pour un plan : 1 Si le plan souhaité n’est pas encore ouvert, ouvrez-le dans la fenêtre Clip en procédant de l’une des manières suivantes :  Choisissez File > Open Clip (ou appuyez sur Commande + O), puis utilisez la zone de dialogue pour sélectionner le plan.  Cliquez sur Open Clip, dans la fenêtre Detail View de l’enregistrement dans la base de données du plan.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 109 I 2 Dans la zone de lecture de plan, localisez une image près du début du plan dont vous connaissez le numéro de code de bordure ou la valeur de timecode. Cela ne pose aucun problème si votre bande vidéo contient une fenêtre d’affichage. 3 Si nécessaire, cliquez sur Identify pour afficher les réglages de l’enregistrement. 4 Regardez si les valeurs des champs Key, Ink et Video Timecode de la sous-fenêtre Identify correspondent à la fenêtre d’affichage de l’image dans la fenêtre Clip. (Vous pouvez utiliser soit la codification manuelle, soit les numéros de bord. Dans ce cas, ne remplissez pas le champ inutile.) 5 Si l’une ou l’autre valeur des champs Key, Ink ou Video Timecode est incorrecte, saisissez la valeur correcte dans le champ correspondant. 6 Dans la zone de lecture de plan, localisez une image près de la fin du plan et répétez les étapes 4 et 5.  Si les valeurs du code de bordure et du timecode sont exactes au début du plan mais pas à la fin : il se peut que des images aient été perdues durant la capture et vous devez alors recapturer le plan. Consultez à ce sujet la section « Comment éviter les pertes d’images » à la page 112. Il se peut aussi que cela soit dû au fait que le plan n’aie pas de relation entre numéro de code de bordure et timecode continue, au quel cas la fonction Identify ne peut pas vous aider à confirmer les valeurs de numéro de code de bordure et de timecode parce que cette fonction utilise un calcul basé sur une relation entre numéro de code de bordure et timecode continue. Cliquez sur Identify pour afficher les réglages de l’image courante. Valeur de timecode gravée Valeur de code de bordure gravée110 Partie I Utilisation de Cinema Tools  Si la valeur de timecode est incorrecte : ouvrez la même image dans Final Cut Pro et regardez si la valeur de timecode est correcte. Si ce n’est pas le cas, corrigez le timecode dans Final Cut Pro. Utilisez pour cela la zone de dialogue Modifier le timecode. Consultez la documentation de Final Cut Pro pour en savoir plus sur la façon de modifier le timecode. Si vous avez utilisé le contrôle de périphérique série, l’inexactitude de timecode peut être dû au fait que vous n’avez pas défini le décalage de timecode voulu dans Final Cut Pro pour l’appareil que vous avez utilisé. Ce réglage doit être effectué une fois pour chaque périphérique et par ordinateur. Pour en savoir plus, consultez la section consacrée à l’étalonnage du signal de timecode dans la documentation de Final Cut Pro. 7 Si vous avez saisi de nouveaux nombres dans les champs, cliquez sur Save. Si les valeurs étaient déjà correctes, fermez la fenêtre.5 111 5 Capture des plans sources et création d’un lien avec la base de données La clef de la réussite d’un projet est l’établissement des liaisons entre les plans sources et la base de données Cinema Tools. Une fois créée la base de données du projet, vous pouvez enfin capturer vos plans source à l’aide de Final Cut Pro. (Les plans sources sont les premiers fichiers multimédias que vous traitez lorsque vous commencez le montage.) Après la capture, établissez des liens entre les enregistrements de la base de données et les plans sources. ? Astuce : utilisez les scénarios de la section « Le flux de production de Cinema Tools » à la page 37 pour connaître les étapes élémentaires nécessaires pour capturer vos plans sources et établir un lien entre eux et la base de données. Les étapes à suivre et l’ordre à respecter dépendent de facteurs qui sont brièvement expliqués dans les exemples de travail. Il n’est par exemple pas toujours nécessaire de créer un lien entre les plans et la base de données. Préparation de la capture Des informations détaillées sur la capture des plans sont présentées dans la documentation de Final Cut Pro. Avant de procéder à la capture, prenez en considération certains des facteurs susceptibles d’affecter votre projet :  comment éviter les pertes d’images au cours de la capture,  comment configurer votre matériel pour la capture vidéo,  les facteurs liés à la capture d’audio,  comment préparer une capture par lot (si vous disposez d’une platine vidéo avec contrôle de périphérique),  les facteurs liés à la capture individuelle de plans sources (si vous ne disposez pas de contrôle de périphérique). 112 Partie I Utilisation de Cinema Tools Comment éviter les pertes d’images Si les performances de votre ordinateur sont médiocres ou que votre disque de travail n’est pas suffisamment rapide, des images peuvent être perdues au cours de la capture, ce qui signifie que plusieurs images ne sont pas capturées. Lorsqu’une image est perdue lors de la capture, l’image précédente est répétée. Ainsi, une image que vous voyez lors du montage peut ne pas être l’image vue lors de la coupe du film. Les pertes d’images peuvent entraîner des erreurs de timecode et donc engendrer une cut list incorrecte et des problèmes lors de la procédure de télécinéma inversé. Vous pouvez éviter ce problème dans Final Cut Pro en réglant le programme pour qu’il arrête la capture et vous prévienne lorsqu’une image est perdue. Pour régler Final Cut Pro afin d’arrêter la capture lorsque des images sont perdues : 1 Dans Final Cut Pro, choisissez Final Cut Pro > Préférences. 2 Dans l’onglet Généralités, assurez-vous que l’option « Interrompre la capture si perte d’images » est sélectionnée. Si cette option est sélectionnée, un message s’affiche dès que des images sont perdues en cours de capture et cette dernière est interrompue. En cas de perte d’images, assurez-vous d’abord qu’aucune autre application n’est ouverte et ralentit de ce fait les performances de l’ordinateur. Ensuite, capturez à nouveau le plan source. Un message d’avertissement est affiché si vous essayez d’utiliser la fonction Télécinéma inversé pour un plan source ayant perdu des images. Avertissement sur l’utilisation d’Offline RT Media avec Cinema Tools Lorsque vous capturez des données avec la configuration simplifiée Offline RT dans Final Cut Pro, les données capturées sont légèrement compressées, ce qui vous permet de capturer plus de plans source sur votre disque dur, approximativement 2 heures de vidéo par gigaoctet (Go) d’espace disque. Sachez toutefois qu’une capture avec compression Offline RT rend la lecture des numéros de bord et des timecodes incrustés très difficile, voire impossible. La fenêtre d’affichage est en général nécessaire pour vérifier et corriger, le cas échéant, les numéros de bord et les timecodes, ainsi que pour utiliser la fonction Télécinéma inverse de Cinema Tools. C’est pour cette raison que l’utilisation d’Offline RT avec Cinema Tools n’est pas idéale. Pour obtenir plus d’informations sur OfflineRT, consultez la documentation de Final Cut Pro.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 113 I Configuration de votre matériel afin de capturer un timecode exact La capacité de Final Cut Pro de capturer un timecode précis image par image pour chaque plan dépend aussi de la configuration de votre matériel de capture. Cette opération s’avère très simple si vous utilisez des platines DV. Dans Final Cut Pro 3 et les versions ultérieures, la capture de vidéo avec une platine DV à l’aide de FireWire à la fois pour le contrôle de périphérique et l’entrée audio et vidéo rendra un timecode exact à 100 %. Si en revanche la capture est réalisée à l’aide d’une platine avec contrôle de périphérique série (par exemple une platine Digital Betacam ou Beta SP), certaines opérations supplémentaires sont nécessaires pour garantir l’exactitude du timecode. Si vous capturez à l’aide d’une platine dotée du contrôle de périphérique série Avant de procéder à la capture à l’aide d’une platine équipée du contrôle de périphérique série, suivez ces conseils pour garantir l’exactitude du timecode :  asservissez votre platine et votre interface de capture vidéo,  calibrez le décalage du timecode. Synchronisation (genlock) de la platine et de l’interface de capture vidéo Connectez d’abord la platine à l’ordinateur à l’aide du câble de contrôle de périphérique série (via un adaptateur d’interface série recommandé), puis branchez tous les connecteurs audio et vidéo nécessaires. Ensuite, assurez-vous que votre platine est synchronisée (genlock) avec votre interface de capture vidéo. Le terme Genlock se réfère au verrouillage de la synchronisation entre deux périphériques vidéo à l’aide d’un générateur de signaux de référence. Qu’est-ce que le Contrôle de périphérique ? Le contrôle de périphérique permet à Final Cut Pro de contrôler votre caméra ou votre platine vidéo. Si votre platine ou caméra vidéo utilise un protocole pris en charge par Final Cut Pro, Final Cut Pro peut échanger les données du timecode et du contrôle de périphérique avec la caméra ou la platine. Si vous disposez du contrôle de périphérique, vous pouvez repérer et capturer plusieurs plans sources à la fois (réaliser une capture par lot). Dans le cas contraire, vous devez capturer les plans sources un par un. Consultez la documentation de Final Cut Pro pour obtenir des informations sur les protocoles de contrôle de périphérique pris en charge.114 Partie I Utilisation de Cinema Tools Si votre platine et votre appareil de capture vidéo prennent en charge l’asservissement (également appelé la synchronisation externe), connectez-les à un générateur de signaux classique (en général, il s’agit d’un générateur de signaux de référence produisant un signal vidéo noir continu). Réalisez cette connexion à l’aide des connecteurs genlock de votre platine vidéo et de votre interface de capture (qui sont parfois intitulés reference video). De cette manière, la platine et l’interface de capture vidéo sont synchronisées et le timecode sera toujours exact. Important : si vous effectuez la capture à partir d’une platine utilisant le contrôle de périphérique série, mais que votre interface de capture vidéo ne peut pas être synchronisée avec la platine, l’exactitude du timecode capturé avec vos plans ne peut pas être garantie. Calibrage du décalage du timecode Même si votre magnétoscope et votre interface de capture vidéo sont asservis, si vous utilisez le contrôle de périphérique série plutôt que le contrôle de périphérique FireWire pour la capture, il est toujours essentiel de calibrer le décalage de capture (dans l’onglet Final Cut Pro Device Control Preset de) avant la capture. Pour utiliser le contrôle de périphérique série, vous devez régler cette option sur la platine et sur l’ordinateur. Pour en savoir plus, consultez la section consacrée au calibrage du signal de timecode dans la documentation de Final Cut Pro. Avant de capturer de l’audio Before you capture your audio with Final Cut Pro, you need to take into account the following :  Si vous pouvez régler la vitesse de l’audio sur la platine audio dont vous disposez pour la synchroniser avec la fréquence d’images de montage si nécessaire : utilisez la platine audio pour ce faire avant de capturer l’audio dans votre ordinateur. Consultez la section « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129 pour connaître les cas où cet ajustement est nécessaire. Remarque : si vous n’avez pas de platine audio, il existe d’autres moyens d’ajuster l’audio après la capture. Consultez à ce sujet la section « Ajustements de la vitesse audio » à la page 145.  Si vous allez monter à 24 ips (la fréquence d’images à laquelle le film a été enregistré) : capturez l’audio à la fréquence d’images à laquelle il a été enregistré.  Avant de capturer un plan audio à synchroniser avec un plan vidéo : vérifiez que votre platine audio pilotable est bien asservi à une interface de capture vidéo installée sur votre ordinateur. (consultez la documentation de Final Cut Pro pour en savoir plus sur le procédé de genlock de la platine audio et de l’interface de capture). Par ailleurs, sélectionnez dans Final Cut Pro l’option « Synchroniser la capture audio avec la source vidéo éventuelle » dans l’onglet Généralités de la fenêtre Préférences utilisateur.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 115 I Génération d’une liste de capture par lot dans Cinema Tools Si vous disposez d’une platine ou d’une caméra dotée du contrôle de périphérique (soit une caméra DV avec FireWire, soit un magnétoscope ou une caméra vidéo haut de gamme), la manière la plus simple de transférer les données dans votre ordinateur est la capture par lot. Avec la capture par lot, vous connectez un magnétoscope ou une caméra vidéo à votre ordinateur, puis, sur la base d’une liste de plans source générée par Cinema Tools, Final Cut Pro copie tous les plans source de la bande vers l’ordinateur. En d’autres termes, lorsque vous utilisez la capture par lot, vous n’avez pas besoin d’utiliser votre magnétoscope ou caméra vidéo pour localiser manuellement chaque plan source avant de le capturer avec Final Cut Pro. Pour configurer une capture par lot, vous devez spécifier les plans à capturer (après la création de votre base de données Cinema Tools) et Cinema Tools crée une liste à partir des informations de la base de données. Une fois cette liste de capture par lot importée dans Final Cut Pro, ces plans sources apparaissent dans le Navigateur comme plans offline, étant donné qu’ils sont listés et prêts à être capturés par lot. Si vos rushes se trouvent sur plusieurs bandes, vous pouvez également effectuer une capture par lot. Lorsqu’une capture par lot commence, une liste de toutes les bandes vidéo nécessaires s’affiche. Une fois que tous les plans d’une bande ont été capturés, vous êtes invité à choisir une autre bande. Avantages de l’utilisation d’une liste de capture par lot Cinema Tools  Gain de temps : Cinema Tools crée pour vous la liste de capture par lot, vous épargnant la création manuelle.  Exactitude : la liste de capture par lot capture les plans sources qui correspondent aux fiches de votre base de données.  Clarté des noms des plans sources : lorsque la capture par lot est réalisée à partir de la liste de capture par lot d’une base de données, vos fichiers de plans sources sont intitulés en fonction des identifiants de prise et de scène. Par exemple, le fichier de la scène 10, prise 1 sera intitulé 10-1.  Lien automatique entre les plans sources et la base de données : la commande Connect Clips vous permet d’établir un lien automatique entre vos plans sources capturés et les enregistrements appropriés de la base de données.116 Partie I Utilisation de Cinema Tools Remarque : vous ne devez pas obligatoirement créer une liste de capture par lot à partir d’une base de données Cinema Tools. Vous pouvez aussi d’abord capturer par lot les plans avec Final Cut Pro, puis générer une base de données à partir de la liste de capture par lot Final Cut Pro. Cette méthode n’est cependant pas idéale, car vous perdez les avantages liés à la création de votre base de données à partir d’une liste télécinéma ou d’un fichier ALE (Avid Log Exchange). Le principal inconvénient, c’est que les informations des numéros de bord et de bobine ne sont pas ajoutées à chaque enregistrement de la base de données, vous devez donc accomplir cette tâche manuellement. Consultez la section « Importation des informations relatives à une base de données dans une liste de capture de lots Final Cut Pro » à la page 89 pour en savoir plus. À propos des différences entre les listes de capture par lot standard et XML Dans Cinema Tools, vous pouvez créer des listes de capture par lot standard ou XML. Les liste de capture par lot standard sont des fichiers au format Texte qui contiennent des informations sur les bobines, les noms des plans (sur la base du contenu des champs de plan et de prise), les commentaires et le timecode. Les listes de capture par lot XML contiennent les mêmes informations que les listes standard, plus toutes les informations sur le film, comme, par exemple, les valeurs des numéros de bord, le type de film et la vitesse de télécinéma. Ces informations supplémentaires sont ajoutées aux entrées de tous les plans dans le Navigateur Final Cut Pro, où vous pouvez les afficher. Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 117 I Attribution du nom des plans capturés par lot par Cinema Tools Si vous capturez des plans avec une liste de capture par lot et si les enregistrements de la base de données contiennent les identifiants de scène et de prise, Cinema Tools nomme les plans à partir des identifiants de scène et de prise (séparés par un tiret). Par exemple, le plan de la scène 10, prise 1 sera intitulé « 10-1 ». S’il n’y a pas d’identifiants de scène et de prise, Cinema Tools crée un nom de plan en fonction de la bande et du timecode de la vidéo. Par exemple, le plan provenant de la bande 001 et commençant par la valeur de timecode 01:35:30:15 sera intitulé « 001-01.35.30.15 ». Cinema Tools veille à ne jamais attribuer le même nom à deux plans distincts. Si, par exemple, les plans de deux caméras distinctes possèdent les même identifiants de scène et de prise. Lorsque cela se produit, les noms des plans sont distingués par l’ajout des identifiants de bobine ou bande aux plans après le premier. Ainsi, les plans de la scène 4, prise 4, bobine 1A et 1B seront intitulés « 4-4 » et « 4-4B » respectivement. En l’absence d’identifiant de bobine ou de bande, ces plans porteraient les noms “4-4” et “4-4_1.” Remarque : avant d’exporter une liste de capture par lot depuis Cinema Tools, il est recommandé d’effectuer un tri en fonction du critère Slate dans la fenêtre List View, afin de voir s’il existe des plans ayant les mêmes descriptions dans la colonne Slate. Si des plans présentent exactement les mêmes informations dans la colonne Slate, modifiez les champs Scene ou Take dans les enregistrements de la base de données afin de les différencier. Vous garantissez ainsi que tous les plans de la liste de capture par lot auront des noms différents. Important : afin que le processus de connexion des plans soit le plus automatisé possible, ne modifiez pas les noms de fichiers donnés par Cinema Tools aux plans sources lors de la capture.118 Partie I Utilisation de Cinema Tools Utilisation de listes de capture par lot standard L’exportation de listes de capture par lot standard et leur importation dans Final Cut Pro est un processus simple. Pour exporter une liste de capture par lot standard à partir de Cinema Tools : 1 Assurez-vous que la fenêtre List View contient les enregistrements des plans à capturer. Pour afficher tous les enregistrements de la base de données, cliquez sur Show All dans la fenêtre List View. Important : la liste de capture par lot ne contient que les enregistrements où apparaissent la bande vidéo, le timecode de départ et des valeurs de durée du timecode. Par ailleurs, aucun enregistrement déjà associé à un plan n’apparaîtra dans la liste de capture par lot. 2 Sélectionnez File > Export > Batch Capture. 3 Dans la zone de dialogue Export Batch Capture, sélectionnez les plans à capturer et cliquez sur OK :  Vidéo Final Cut Pro : choisissez cette option pour capturer la totalité de la vidéo et de l’audio contenus dans les plans sources. Lorsque vous choisissez cette option, la liste de capture par lot inclut la bande et le timecode vidéo saisis dans l’enregistrement de chaque plan.  Final Cut Pro Audio : choisissez cette option pour ne capturer que l’audio des plans sources. Lorsque vous choisissez cette option, la liste de capture par lot inclut la bande son et le timecode audio saisis dans l’enregistrement de chaque plan. Dans la fenêtre List View, affichez les enregistrements de base de données auxquels vous souhaitez connecter des plans. Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 119 I 4 Dans la zone de dialogue qui s’affiche, sélectionnez un emplacement pour la liste de capture par lot et donnez-lui un nom. 5 Cliquez sur Save. Une liste de capture par lot au format Texte est crée et enregistrée à l’emplacement spécifié. ? Astuce : vous pouvez modifier la liste de capture par lot dans un éditeur de texte. Veillez toutefois à ne pas supprimer les tabulations qui séparent les champs de chaque ligne. Vous pouvez en revanche supprimer les lignes des plans que vous ne souhaitez pas capturer. Pour importer une liste de capture par lot standard Cinema Tools dans Final Cut Pro : 1 Ouvrez un projet existant ou créez un nouveau projet dans Final Cut Pro. 2 Dans Final Cut Pro, choisissez File > Import > Batch List at [ips en vigueur], où « ips en vigueur » est la fréquence d’images préréglée de la séquence. Vous pouvez modifier la fréquence d’images préréglée de la séquence en choisissant Audio/Video Settings dans le menu de Final Cut Pro. 3 Dans la zone de dialogue qui apparaît, sélectionnez la liste de capture par lot que vous avez exportée à partir de Cinema Tools, puis cliquez sur Choose. Les plans apparaissent dans le Navigateur en tant que plans offline, prêts pour la capture par lot. Consultez la documentation de Final Cut Pro pour des détails sur la capture par lot. Important : si votre vidéo a un timecode non-drop frame, vérifiez que Non-Drop Frame est sélectionné dans le menu local Default Timecode, dans l’onglet Device Control Presets Final Cut Pro de la zone de dialogue Audio/Video Settings avant de lancer la capture. Utilisation de listes de capture par lot XML L’exportation de listes de capture par lot XML à partir de Cinema Tools et l’importation de ces dernières dans Final Cut Pro est un processus similaire au processus utilisés pour les listes de capture par lot standard. Pour exporter une liste de capture par lot XML à partir de Cinema Tools : 1 Assurez-vous que la fenêtre List View contient les enregistrements des plans à capturer. Pour afficher tous les enregistrements de la base de données, cliquez sur Show All dans la fenêtre List View. Important : la liste de capture par lot ne contient que les enregistrements où apparaissent la bande vidéo, le timecode de départ et des valeurs de durée du timecode. Par ailleurs, aucun enregistrement déjà associé à un plan n’apparaîtra dans la liste de capture par lot.120 Partie I Utilisation de Cinema Tools 2 Choisissez File > Export > XML Batch List. 3 Dans la zone de dialogue qui s’affiche, sélectionnez un emplacement pour la liste de capture par lot et donnez-lui un nom. 4 Cliquez sur Save. Une liste de capture par lot XML est créée et enregistrée à l’emplacement spécifié. Pour importer une liste de capture par lot XML Cinema Tools dans Final Cut Pro : 1 Dans Final Cut Pro, choisissez Fichier > Importer > XML. 2 Dans la zone de dialogue qui apparaît, sélectionnez la liste de capture par lot XML que vous avez exportée à partir de Cinema Tools, puis cliquez sur Choose. La zone de dialogue Importer le fichier XML apparaît. 3 Sélectionnez le projet auquel il faut ajouter les plans de la liste par lot à l’aide du menu local Destination. Vous pouvez aussi créer un nouveau projet à l’aide de ce menu local. 4 Choisissez le préréglage de séquence par défaut à utiliser dans le menu local Default. 5 Lors de l’importation de fichiers XML exportés à partir de Cinema Tools, vous pouvez laisser toutes les cases désélectionnées. 6 Cliquez sur OK pour importer le fichier XML. Les plans apparaissent dans le Navigateur en tant que plans offline, prêts pour la capture par lot. Consultez la documentation de Final Cut Pro pour des détails sur la capture par lot. De plus, vous pouvez afficher les détails du film, comme, par exemple, des informations sur le keycode et la vitesse de film télécinéma (la vitesse TK), dans le Navigateur. Consultez la section « Affichage d’informations relatives au film dans le Navigateur » à la page 157 pour des informations sur l’ajout de colonnes de film dans le Navigateur.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 121 I Ce qu’il faut savoir avant de capturer des plans individuellement Il est également possible de capturer des plans individuellement avec Final Cut Pro sans avoir recours au contrôle de périphérique. (Consultez la documentation de Final Cut Pro pour des détails sur la capture de plans individuels.) Pour capturer vos plans, pensez aux points suivants :  Si vous n’utilisez pas le contrôle de périphérique, Final Cut Pro ne peut pas recevoir le timecode correct pour les plans lors de la capture. Cela signifie que vous devez corriger le timecode pour chaque plan source dans Final Cut Pro. Pour ce faire, ouvrez chaque plan dans le Visualiseur et prenez note de la valeur de timecode qui apparaît dans la fenêtre d’affichage de la première image. Ensuite, choisissez Modify >Timecode et saisissez la valeur que vous avez notée dans le champ Source. Cochez la case Drop Frame, si nécessaire. Enfin, mettez à jour les numéros de bord du plan dans la base de données de Cinema Tools à l’aide de la fonction Identify comme décrit dans la section « Vérification et correction de numéros de code de bordure de timecode » à la page 108.  Si une perte d’images survient lors de la capture, la cut list risque de contenir des informations inexactes et le processus de télécinéma inversé risque de ne pas fonctionner correctement.  Si votre vidéo a un timecode non-drop frame, vérifiez que Non-Drop Frame est sélectionné dans le menu local Default Timecode, dans l’onglet Device Control Presets de Final Cut Pro. Pour le faire rapidement, vous pouvez choisir DV-NDF dans la zone de dialogue Configuration simplifiée de Final Cut Pro. (Consultez la documentation de Final Cut Pro pour plus de détails sur l’utilisation de configurations simplifiées.)  L’attribution de noms aux plans sources est importante car vous devrez relier ces derniers à la base de données. Pour rendre le processus d’établissement de ce lien le plus facile possible, utilisez des conventions de noms qui utilisent les identifiants de scène et de prise. Par exemple, le plan de la scène 33, prise 1 serait intitulé « 33-1 ». Vous pouvez utiliser des traits d’union dans les noms de plans mais pas de barre oblique ni de deux-points. Connexion des plans sources capturés à la base de données Les plans sources et les enregistrements de la base de données étant créés par des méthodes différentes et à des moments différents, le lien entre les deux doit être établi après leur création. On parle de la connexion d’un plan à un enregistrement. La méthode que vous allez utiliser pour connecter les plans à la base de données dépend de la façon dont vous les avez capturés.122 Partie I Utilisation de Cinema Tools  Si vous avez capturé vos plans sources à l’aide d’une liste de capture par lot : utilisez la commande Connect Clips pour relier automatiquement tous vos plans sources à la base de données. Consultez à ce sujet la section « Utilisation de la commande Connect Clips pour connecter des plans sources » à la page 123.  Si vous n’avez pas capturé vos plans sources à l’aide d’une liste de capture par lot : vous devez relier individuellement chaque plan source aux enregistrements de la base de données via la fenêtre Detail View ou la fenêtre Clip. Ces deux méthodes étant d’une facilité d’usage équivalente, votre choix dépendra de la fenêtre qui se trouve déjà ouverte. La fenêtre Clip est plus pratique si vous souhaitez sélectionner une nouvelle affiche pour chaque plan ou si vous souhaitez utiliser la fonction Conform ou Reverse Telecine sur chaque plan, immédiatement après l’avoir relié à la base de données. Pour connecter vos plans, pensez à ces quelques règles :  Chaque enregistrement de la base de données ne peut être connecté qu’à un plan et chaque plan ne peut être connecté qu’à un enregistrement dans la même base de données. En d’autres termes, vous ne pouvez pas connecter deux plans à un enregistrement ni connecter un plan à deux enregistrements dans la même base de données. (Un plan peut toutefois être connecté à des enregistrements de plusieurs bases de données. Par exemple, vous pourriez avoir un plan connecté à un enregistrement dans une base de données principale et à un enregistrement dans une seconde base de données plus petite représentant une séquence montée.) Consultez la section « Synchronisation d’un ensemble de plans sélectionnés pour créer une nouvelle base de données » à la page 75 pour en savoir plus. Un enregistrement de la base de données ne doit pas nécessairement être connecté à un plan.  Vous pouvez relier des plans sources aux enregistrements à n’importe quel moment situé entre la capture des plans et l’exportation des listes.  Si vous utilisez un transfert camera-roll avec un lien numéros de bord/timecode continu, vous pouvez utiliser la méthode de création de liste de film basée sur le timecode, afin de ne pas devoir relier vos plans sources aux enregistrements. Pour plus d’informations, consultez les sections « Gain de temps potentiel lors du transfert camera-roll » à la page 73 et l’annexe B, « Création de listes de films avec Cinema Tools », à la page 245. Évitez de déplacer vos plans sources ou d’en modifier le nom dans le Finder Une fois qu’un plan source est relié à la base de données, le lien doit demeurer intact jusqu’au moment de la création de listes de film. Si le lien est rompu, les listes seront incomplètes. Un lien entre un plan et une base de données est rompu dans les cas suivants :  le nom de fichier du plan source est modifié,  le fichier du plan source est déplacé ou supprimé. Pour rétablir des liens rompus, consultez « Réparation des liens rompus entre les plans et les enregistrements » à la page 126.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 123 I Utilisation de la commande Connect Clips pour connecter des plans sources Si vous avez capturé vos plans à l’aide d’une liste de capture par lot, la commande Connect Clips peut connecter vos fichiers de plans capturés aux enregistrements appropriés de la base de données. Remarque : la commande Connect Clips ne fonctionne pas pour les plans sources renommés après avoir été capturés ni pour les enregistrements qui sont déjà connectés à un plan. Si l’enregistrement n’est pas relié au plan adéquat, utilisez la commande Reconnect Clip pour corriger cette erreur. Pour utiliser la commande Connect Clips afin de relier des plans à la base de données : 1 Assurez-vous que la fenêtre List View contient les enregistrements auxquels vous souhaitez relier des plans. Pour afficher tous les enregistrements de la base de données, cliquez sur Show All dans la fenêtre List View. 2 Choisissez Database > Connect Clips. 3 Dans la zone de dialogue qui apparaît, naviguez jusqu’au dossier contenant les plans, puis sélectionnez un plan source dans le dossier. Cinema Tools pourra se connecter à tous les plans se trouvant dans le dossier contenant le plan sélectionné. 4 Cliquez sur Choose. Pour chaque enregistrement n’ayant pas de plan associé, Cinema Tools recherche dans le dossier sélectionné un plan dont le nom correspond. Chaque fois que Cinema Tools en trouve un, il le connecte à l’enregistrement approprié. Remarque : l’affiche de chaque plan relié n’apparaît dans la fenêtre Detail View que si vous ouvrez ce plan dans la fenêtre Clip. Dans la fenêtre Detail View, cliquez sur le bouton Open Clip pour ouvrir la fenêtre Clip et faire apparaître l’affiche. Dans la fenêtre List View, affichez les enregistrements de base de données auxquels vous souhaitez connecter des plans. 124 Partie I Utilisation de Cinema Tools Utilisation de la fenêtre Detail View pour connecter et déconnecter des plans sources Dans la fenêtre Detail View, il est possible de déterminer si un enregistrement est relié à un plan en examinant le bouton situé au-dessus de l’affiche du plan. Si le bouton s’intitule Open Clip, c’est que l’enregistrement actuel est déjà connecté à un plan. Si le bouton s’intitule Connect Clip, c’est que l’enregistrement actuel n’est pas connecté à un plan. Pour utiliser la fenêtre Detail View afin de connecter un plan à un enregistrement : 1 Ouvrez la fiche de la base de données dans la fenêtre Detail View. Consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80 pour en savoir plus. 2 Cliquez sur le bouton Connect Clip. Remarque : si le bouton s’intitule Open Clip, c’est que l’enregistrement est déjà connecté à un plan. 3 Dans la zone de dialogue qui s’affiche, sélectionnez un plan à relier à l’enregistrement actuel. Lorsque vous sélectionnez le plan, trois choses se produisent:  Le plan est connecté à la base de données.  Une affiche de la première image du plan apparaît dans la fenêtre Detail View et le nom du plan apparaît au-dessus de l’affiche. ? Astuce : de plus, placer le pointeur au-dessus de la vignette affiche une bulle d’aide contenant l’emplacement du plan. Cela est particulièrement utile si le plan est absent, car cela vous permet de voir où Cinema Tools s’attend à trouver le plan. Le bouton Open Clip remplace le bouton Connect Clip si un plan est déjà connecté à l’enregistrement. Le nom du plan apparaît au-dessus de l’affiche du plan.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 125 I  Une fenêtre Clip s’ouvre pour le plan. Si vous souhaitez changer d’affiche pour représenter le plan, positionnez-vous sur l’image souhaitée, puis cliquez sur le bouton Poster Frame. Pour en savoir plus sur la fenêtre Clip, consultez la section « Fenêtre Clip » à la page 59. Remarque : si vous ne souhaitez pas que la fenêtre Clip s’ouvre après avoir connecté un plan, appuyez sur la touche Commande lorsque vous cliquez sur le bouton Connect Clip. Pour utiliser la fenêtre Detail View afin de déconnecter un plan capturé : 1 Ouvrez l’enregistrement dans la fenêtre Detail View, puis appuyez sur la touche Commande. Le bouton Open Clip se transforme en bouton Disconnect Clip. 2 Cliquez sur Disconnect Clip. Remarque : cette action permet de rompre le lien entre le plan source et l’enregistrement de sorte qu’ils ne sont plus connectés. Le plan n’est pas supprimé de votre disque dur. Utilisation de la fenêtre Clip pour connecter ou déconnecter des plans source Lorsqu’un plan n’est pas connecté à un enregistrement de base de données, la fenêtre Clip contient un bouton nommé Enter in Database. Si un plan est déjà connecté, ce bouton s’intitule Disconnect Clip. Le bouton Enter in Database vous permet de connecter un plan source à un enregistrement de base de données existant ou de créer un nouvel enregistrement de base de données et d’y connecter le plan. Pour utiliser la fenêtre Clip pour connecter un plan source à la base de données : 1 Choisissez File > Open Clip pour ouvrir le plan dans la fenêtre Clip, puis sélectionnez le plan dans la zone de dialogue. 2 Cliquez sur le bouton Enter in Database. Ce bouton se transforme en Disconnect Clip une fois que le plan est connecté à une base de données.126 Partie I Utilisation de Cinema Tools 3 Dans la zone de dialogue qui s’ouvre, saisissez un identifiant de scène et de prise pour le plan source. Important : les textes saisis sont sensibles à la casse. De plus, ne saisissez pas de trait d’union entre le numéro de prise et la valeur pour la scène/la prise. Consultez la section « Utilisation d’identifiants de scène, de plan et de prise » à la page 93 pour en savoir plus. 4 Procédez de l’une des manières suivantes :  Cliquez sur OK pour connecter ce plan à l’enregistrement existant correspondant à la scène et à la prise que vous avez spécifiées dans la zone de dialogue. S’il n’y a pas d’enregistrement pour cette scène et cette prise, un nouvel enregistrement est créé.  Cliquez sur New Record pour créer un nouvel enregistrement, même si un enregistrement correspond déjà à la scène et à la prise que vous avez saisies. Dans les deux cas, le plan source de la fenêtre Clip est connecté à l’enregistrement de sorte que le lien est établi dans la base de données. Un plan source peut être connecté à un enregistrement dans plusieurs bases de données, mais dans une même base de données, il ne peut être connecté ou relié qu’à un seul enregistrement. Si le plan source est déplacé ou renommé, le lien doit être rétabli. Pour utiliser la fenêtre Clip pour annuler le lien d’un plan capturé : 1 Ouvrez le plan dans la fenêtre Clip. 2 Cliquez sur Disconnect Clip. Remarque : cette action permet de rompre le lien entre le plan source et l’enregistrement de sorte qu’ils ne sont plus connectés. Le plan n’est pas supprimé de votre disque dur. Réparation des liens rompus entre les plans et les enregistrements Lorsqu’un plan source qui a été connecté à la base de données est déplacé ou renommé, son lien avec la base de données est rompu et ce plan doit être à nouveau connecté. Pour des plans individuels, cliquez sur le bouton Open Clip de la fenêtre Detail View : une zone de dialogue s’ouvre dans laquelle vous pouvez reconnecter le plan à son enregistrement. Si un groupe (dossier) de plans sources a été déplacé, vous pouvez utiliser la commande Reconnect Clips du menu Database pour rétablir les liens de tous les plans qui partagent le même dossier que le plan sélectionné (il suffit de sélectionner un plan par dossier). Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 127 I Reconnexion de plans individuels ayant été renommés ou déplacés Vous pouvez facilement reconnecter un plan individuel dont le lien avec la base de données est brisé. Pour reconnecter un plan source qui a été renommé ou déplacé : 1 Ouvrez la fiche de la base de données dans la fenêtre Detail View. Consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80 pour en savoir plus. 2 Cliquez sur Open Clip. 3 Dans la zone de dialogue qui apparaît, cliquez sur Reconnect, puis sélectionnez le plan. Le plan est connecté à l’enregistrement de la base de données. Détection des liens rompus et reconnexion de groupes de plans ayant été déplacés Pour les plans qui ont été déplacés (mais dont le nom n’a pas été modifié), la commande Reconnect Clips du menu Database permet de détecter aisément les liens rompus et de les réparer pour plusieurs plans d’un même dossier. Cette commande rétablit les liens de tous les plans qui partagent le même dossier que le premier plan sélectionné, de sorte que vous ne devez sélectionner qu’un plan par dossier. Remarque : lorsqu’un volume de disque contenant des plans est démonté, Cinema Tools ne peut pas retrouver les plans tant que ce volume n’a pas été remonté. La commande Reconnect Clips ne permet pas de réparer ce genre de rupture temporaire de lien. Il vous suffit de remonter le volume pour rétablir les liens. Pour détecter et rétablir les liens rompus suite au déplacement des plans sources : 1 Assurez-vous que la fenêtre List View contient le groupe d’enregistrements dans lequel vous souhaitez rechercher des liens rompus. Pour afficher tous les enregistrements de la base de données, cliquez sur Show All dans la fenêtre List View. 2 Choisissez Database > Reconnect Clips.128 Partie I Utilisation de Cinema Tools Une recherche est effectuée dans le groupe d’enregistrements de la fenêtre List View. Si une rupture de lien est détectée, une zone de dialogue vous demande de sélectionner le plan. 3 Dans la zone de dialogue, sélectionnez le plan correct pour l’enregistrement courant, puis cliquez sur Open. Cinema Tools modifie le lien pour refléter le nouvel emplacement du plan et rétablit les liens vers d’autres plans qui se trouvent dans le dossier contenant le plan sélectionné. Si le nom des plans n’a pas été modifié, il suffit de sélectionner un plan par dossier.6 129 6 Préparation des plans sources pour le montage Un examen de vos plans sources avant de débuter le montage peut vous faciliter ensuite le travail. Une fois que vous avez créé la base de données Cinema Tools et capturé vos plans sources, vous devez, avant de passer au montage, suivre certaines étapes importantes. Consultez la section « Choix d’une méthode de préparation des plans sources en vue du montage, » qui suit pour des informations sur ces processus. Si vous avez capturé l’audio et la vidéo séparément, consultez la section « Synchronisation séparée de l’audio et de la vidéo capturés » à la page 146. Par ailleurs, afin d’utiliser au mieux votre espace disque, il est conseillé d’éliminer une partie des données capturées avant de commencer le montage. Consultez la section « Division ou suppression de sections de plans sources avant le montage » à la page 147 pour en savoir plus. Choix d’une méthode de préparation des plans sources en vue du montage Pour déterminer les étapes à suivre pour préparer vos plans sources, vous devez prendre en considération la vitesse du télécinéma, le type de vidéo (NTSC ou PAL) et la vitesse que vous envisagez d’utiliser pour le montage. Vos principaux objectifs sont de :  régler la vitesse de défilement vidéo sur la vitesse que vous souhaitez utiliser pour le montage,  conserver ou rétablir la synchronisation audio/vidéo. Remarque : pour en savoir plus sur l’utilisation de la vidéo 24P, consultez le chapitre 11, « Utilisation de la vidéo 24P et de listes EDL 24 ips », à la page 209.130 Partie I Utilisation de Cinema Tools Sélection d’une vitesse de montage Il est généralement recommandé de monter votre film à la vitesse à laquelle il a été tourné et enregistré. Par exemple, si vous filmez, enregistrez et montez à 24 ips, l’audio, la vidéo et le son et les images originaux sont à la même vitesse. Lorsque la vitesse du montage est la même que celle du tournage et de l’enregistrement, vous pouvez numériser directement à partir des enregistrements sonores originaux car l’image et le son sont synchronisés. Aucun réglage de synchronisation n’est alors nécessaire. Sachez cependant qu’il existe une exception : dans un environnement NTSC, dans lequel vous devez utiliser un équipement NTSC et sortir le fruit de votre travail sur des bandes NTSC, il se peut que vous préfériez monter à 23,98 ips parce que vous pouvez alors profiter de la fonction pulldown Real-Time Effects de Final Cut Pro qui vous permet de sortir votre vidéo à 23,98 ips sur un périphérique FireWire externe sous la forme de vidéo à 29,97 ips. Vous avez le choix entre trois modèles de pulldown (2:3:2:3, 2:3:3:2 et 2:2:2:4). Ces modèles de pulldown ne sont pas disponibles pour la vidéo à 24 ips. Remarque : de plus, Final Cut Pro dispose de deux options de pulldown pour la vidéo PAL à 24 ips qui vous permettent de sortir la vidéo à 24 ips sur un périphérique FireWire externe sous la forme de vidéo à 25 ips. Consultez la section « Ajout d’un pulldown à une vidéo de 23,98 ips » à la page 227 pour en savoir plus sur l’ajout d’un pulldown à l’aide de Final Cut Pro. Consultez la documentation de Final Cut Pro pour en savoir plus sur l’utilisation de la fonction de pulldown Real-Time Effects. Rappelez-vous que si vous enregistrez à 24 ips puis convertissez en 23,98 ips, votre vidéo est lue à une vitesse légèrement inférieure à celle de l’enregistrement original. Étant légèrement plus lente, elle est appelée pulled down. Lorsque de la vidéo est ajustée en 24 images, le son numérisé doit lui aussi être ajusté, soit en ralentissant légèrement la lecture de la bande ou du disque audio original pendant la numérisation (par exemple, au cours du processus de transfert télécinéma) soit en ajustant la vitesse du plan à 99,9 pour cent après la capture. Méthodes de préparation des plans sources Il y a plusieurs façons d’ajuster vos plans sources à la fréquence d’images à laquelle vous souhaitez faire le montage :  Utilisez du matériel spécialisé pour capturer à la vitesse de défilement choisie : si vous utilisez l’appareil adéquat, vous pouvez convertir la vitesse de défilement des images en temps réel pendant que les plans sont capturés et régler la vitesse audio pour la faire concorder. Une fois que vous l’avez fait, les plans sont déjà synchronisés et vous n’avez plus besoin des fonctions Cinema Tools Reverse Telecine ou Conform pour la conversion de la fréquence d’images.Chapitre 6 Préparation des plans sources pour le montage 131 I  Utilisez la fonction de télécinéma inversé dans les cas suivants : si vos plans ont la fréquence d’images NTSC standard de 29,97 ips, vous pouvez utiliser la fonction Reverse Telecine pour inverser le pulldown 3:2 qui fut utilisé pour convertir les plans en 29,97 ips, en supprimant les trames supplémentaires créées par l’ajustement en 24 images et en convertissant les plans en 23,98 ips ou 24 ips. Lorsque les plans contiennent à la fois de l’audio et de la vidéo, la fonction de télécinéma inversé adapte également la vitesse audio, afin que l’audio et la vidéo restent synchronisés après le changement de vitesse.  Utilisez la fonction de conformation : si vos plans ont la fréquence d’images PAL standard de 25 ips, vous pouvez utiliser la fonction Conform pour les convertir à la fréquence d’images à laquelle vous voulez faire le montage. Lorsque les plans contiennent à la fois de l’audio et de la vidéo, la fonction de conformation adapte également la vitesse audio, afin que l’audio et la vidéo restent synchronisés après le changement de vitesse. Remarque : si l’audio a été enregistré séparément et qu’il ne fait pas partie des plans sources, vous devez également synchroniser les éléments audio et vidéo et les fusionner en un seul plan dans Final Cut Pro. Consultez à ce sujet la section « Synchronisation séparée de l’audio et de la vidéo capturés » à la page 146. Utilisation de la fonction de conformation Conformer un plan à une vitesse signifie attribuer à chaque image du plan une durée identique exprimée en secondes, basée sur une vitesse que vous spécifiez. Par exemple, si vous conformez un plan de 360 images à la vitesse de 24 images par seconde, chaque image représente 1/24 de seconde et la durée totale du plan est égale à 360/24 secondes, c’est-à-dire 15 secondes. Utilisez la fonction de conformation pour convertir la vitesse d’un plan en vue du montage. Si le plan contient à la fois de l’audio et de la vidéo, la fonction de conformation adapte également la vitesse audio, afin que l’audio et la vidéo restent synchronisés. Pour savoir s’il faut ou non utiliser la fonction Conform, consultez la section « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129. Important : la conformation modifie le fichier de données source proprement dit. Vous devez disposer d’autorisations de lecture et d’écriture sur le fichier de données pour que la fonction Conform soit disponible. De plus, vous ne pouvez pas utiliser la commande Annuler pour rétablir la fréquence d’images originale du fichier, par contre vous pouvez utiliser la fonction Conform une seconde fois pour rétablir la fréquence d’images originale, si nécessaire. 132 Partie I Utilisation de Cinema Tools Conformation d’un plan à la fois La conformation se fait un plan à la fois. Pour conformer un plan dans Cinema Tools : 1 Choisissez File > Open Clip, puis sélectionnez le plan voulu dans la zone de dialogue. 2 Dans la fenêtre Clip, cliquez sur le bouton Conform. 3 Dans la zone de dialogue Conform Clip, choisissez une nouvelle vitesse dans le menu local « Conform to », puis cliquez sur Conform. Vous pouvez aussi conformer des plans à 25 ips en 24 ips à partir de Final Cut Pro. Pour conformer un plan dans Final Cut Pro : 1 Sélectionnez le ou les plans à conformer de 25 ips à 24 ips dans le Navigateur. 2 Choisissez Tools > Conform 25 to 24. Les plans sont conformés à 24 ips. Remarque : si l’un ou l’autre des plans sélectionnés n’est pas à 25 ips, un avertissement disant que ce ou ces plans ne seront pas traités apparaît. Conformation par lot de plusieurs plans à la fois Si vous ne souhaitez pas conformer la vitesse de chaque plan individuellement, vous pouvez le faire pour tous les plans d’un dossier sélectionné en utilisant la fonction de conformation par lot « Batch conform ». Pour procéder à une conformation par lot dans Cinema Tools : 1 Veillez à placer tous les plans à conformer dans le même dossier. 2 Choisissez File > Batch Conform. 3 Dans la zone de dialogue qui s’affiche, sélectionnez n’importe quel fichier de plan source dans le dossier contenant les plans à conformer, puis cliquez sur Choose. Remarque : il suffit de sélectionner un fichier. Tous les plans du dossier seront conformés.Chapitre 6 Préparation des plans sources pour le montage 133 I 4 Dans la zone de dialogue Batch Conform, choisissez une vitesse dans le menu local Conform to, puis cliquez sur Conform. Au terme de ce processus, vous obtenez les résultats suivants :  Les plans sont conformés à la fréquence d’images sélectionnée et placés dans un dossier créé par Cinema Tools nommé Conformed [fréquence d’images] où « fréquence d’images » est la nouvelle fréquence d’images des plans. Un dossier peut par exemple porter le nom « Conformed 24.0 ».  Si Cinema Tools n’est pas en mesure d’effectuer jusqu’au bout le processus de conformation d’un plan, ce dernier est placé dans un sous-dossier spécial créé par Cinema Tools et nommé Skipped (Ignorés). (Les plans ne sont pas traités s’il ne contiennent pas de piste vidéo, si leur vitesse n’est pas gérée ou si aucun codec n’est détecté pour leur piste vidéo.)  Un fichier texte nommé « conform.log » apparaît au premier niveau du dossier. Il s’agit d’un historique qui indique la date et l’heure du début et de la fin du traitement pour chaque plan. Si des problèmes surgissent, tels qu’un manque d’espace disque ou de mémoire, un message d’erreur décrivant le problème apparaît également dans l’historique. Inversion du pulldown télécinéma Lorsque vous utilisez un télécinéma pour convertir un film à 24 ips ou 23,98 ips en vidéo NTSC à 29,97 ips, la façon typique de distribuer les images du film dans les images NTSC est la méthode pulldown 3:2. La méthode du pulldown 3:2, comme l’explique la section « Infos générales sur la vitesse de défilement des images » à la page 23, consiste à insérer des trames vidéo supplémentaires. Le télécinéma inversé supprime les trames supplémentaires (comme illustré ci-après) en rétablissant la fréquence d’images du film. En d’autres termes, le télécinéma inversé inverse le pulldown 3:2. En inversant (ou supprimant) le pulldown 3:2, les images de la vidéo et celles du film concordent parfaitement de sorte que vos cut lists sont exactes. 134 Partie I Utilisation de Cinema Tools Remarque : la fonction Reverse Telecine ne peut pas être utilisée avec de la vidéo comprimée dans le temps, comme, par exemple, la vidéo au format MPEG-2. Important : si vos plans sources proviennent d’un type spécial de caméscope DV capable de filmer en mode 24p, tel que le Panasonic AG-DVX100 camcorder, c’est une forme simplifiée de la zone de dialogue Reverse Telecine qui s’affiche. Consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221 pour des instructions sur l’inversion du pulldown de plans provenant d’une caméra DV compatible 24p. A A B B B C C D D D A A B B B C C D D D A A B B C C D D D A A B B B D B C C D D D A B A B B C C D D A B A B B C C D D D A B C D A D A B C D A B C D A B C D A B C D B C A B C D A A B B C C D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 D Field 2 B Field 1 Avant (29,97 ips) Après (23,98 ips) Une seconde 3:2 Suppression du pulldown Conseils d’utilisation du télécinéma inversé  Le télécinéma inversé est plus efficace si la vidéo capturée n’a pas subi de pertes de données. Si vous essayez d’utiliser la fonction Reverse Telecine sur un plan ayant subi des pertes d’images, un avertissement apparaît. Consultez la section « Comment éviter les pertes d’images » à la page 112 pour en savoir plus.  Si vous devez inverser le pulldown de plusieurs plans, il est conseillé d’utiliser la fonction Batch Reverse Telecine (télécinéma inversé par lot) afin de pouvoir les traiter simultanément. Consultez à ce sujet la section « Utilisation de la fonction Batch Reverse Telecine » à la page 141.  L’inversion du pulldown 3:2 à l’aide d’un logiciel est une opération qui exige beaucoup de temps. Vous devrez prévoir un temps d’attente pendant que l’ordinateur traite les données. Il est plus rapide d’effectuer un télécinéma inversé matériel à l’aide d’une carte de capture de tierce partie pendant que la vidéo est capturée sur votre ordinateur.Chapitre 6 Préparation des plans sources pour le montage 135 I Spécification des informations de capture de trame Vous devez saisir des informations de capture de trame dans la zone de dialogue Reverse Telecine. Tous vos plans sont en général créés à partir du même matériel et des mêmes réglages, il suffit donc d’analyser quelques images d’un plan pour déterminer le mode de capture de trame. Un plan peut être capturé comme une trame ou deux trames, avec une priorité de trame 1 ou de trame 2. Dans la fenêtre d’affichage des images vidéo, observez les numéros de bord et les timecodes pour déterminer la séquence d’images et vérifier si la vidéo comporte une trame ou deux. La fenêtre d’affichage des numéros de bord inclut généralement les indicateurs de types d’images A, B, C et D. (En outre, le timecode place souvent le numéro « 1 » à la fin pour indiquer la trame 1 et « 2 » pour indiquer la trame 2.) Dans la fenêtre Clip, utilisez les touches fléchées de votre clavier pour faire défiler quelques images d’un plan et observer la séquence de numéros d’image du film. Consultez le tableau ci-dessous pour trouver vos informations de trame. Si la séquence d’images répétée est Alors votre vidéo contient Dans la zone de dialogue Reverse Telecine, sélectionnez comme Capture Mode AA, BB, BC, CD, DD ou A1A2, B1B2, B3C1, C2D1, D2D3 Les deux trames, avec priorité de la trame 1 Trame 1 - trame 2 AB, BB, CC, DD, DA, ou A2B1, B2B3, C1C2, D1D2, D3A1 Les deux trames, avec priorité de la trame 2 Trame 2 - trame 1 A, B, B, C, D ou A1, B1, B3, C2, D1 Une trame, avec priorité de la trame 1 Trame 1 uniquement A, B, C, D, D ou A2, B2, C1, D1, D3 Une trame, avec priorité de la trame 2 Trame 2 uniquement 136 Partie I Utilisation de Cinema Tools Utilisation de la fonction Reverse Telecine sur un unique plan source dans Cinema Tools Utilisez la fonction de télécinéma inversé à plan unique pour procéder au télécinéma inversé sur un seul plan. Vous pouvez aussi procéder au télécinéma inversé sur des plans à l’aide de Final Cut Pro. Consultez la section « Utilisation de la fonction Reverse Telecine sur des plans source dans Final Cut Pro » à la page 140 pour en savoir plus. La fenêtre d’affichage est généralement nécessaire pour utiliser la fonction Reverse Telecine car vous devez pouvoir observer les numéros de bord ou les timecodes directement sur le plan pour décider des réglages de télécinéma inversé. Cependant, si vos plans sources proviennent d’un type particulier de caméscope gérant le 24P, tel que le modèle AG-DVX100 de Panasonic, la fenêtre d’affichage n’est pas nécessaire pour inverser le pulldown. Consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221 pour en savoir plus. Remarque : pour que le télécinéma inversé fonctionne correctement, le fichier de données ne peut pas être utilisé par une autre application. De plus, le plan ne peut pas être ouvert dans le Finder ni protégé en écriture. Si vous procédez au télécinéma inversé sur des plans qui sont ouverts dans une autre application, un message d’alerte apparaît pour vous prévenir que le fichier est en cours d’utilisation. Qu’est-ce que la priorité de trame ? La priorité de trame d’un plan capturé est déterminée par le matériel de télécinéma et n’est généralement pas configurable par l’utilisateur. Les images vidéo sont composées de deux trames ; une trame contient toutes les lignes paires de la vidéo et l’autre toutes les lignes impaires. Sur le télécinéma, les deux trames sont numérisées à des moments différents, ce qui signifie que la cadre du film peut avancer entre le moment où la première trame est numérisée et le moment où la seconde trame est numérisée :  Lorsqu’une seule trame est capturée : la priorité de trame 1 signifie que seule la trame 1 est capturée, tandis que la priorité de trame 2 signifie que seule la trame 2 est capturée.  Lorsque les deux trames sont capturées : la priorité de trame 1 signifie que chaque image capturée est numérisée à partir de deux trames vidéo, mais que la trame 1 survient plus tôt. Remarque : avec la priorité de trame 1, les deux trames vidéo numérisées dans chaque image capturée doivent présenter la même adresse de timecode, car le timecode SMPTE est spécifié comme débutant à la trame 1. La priorité de trame 2, lorsque les deux trames sont capturées, signifie que la trame 2 survient plus tôt et que l’image capturée contient des trames vidéo présentant deux valeurs de timecode différentes.Chapitre 6 Préparation des plans sources pour le montage 137 I Pour utiliser la fonction Reverse Telecine sur un unique plan dans Cinema Tools : 1 Choisissez File > Open Clip, puis sélectionnez le plan voulu dans la zone de dialogue. 2 Dans la fenêtre Clip, positionnez la tête de lecture de manière à ce qu’une image fixe avec une fenêtre d’affichage aisément lisible soit affichée. Vous devez voir la fenêtre d’affichage pour pouvoir identifier le type d’image dans la zone de dialogue Reverse Telecine. N’importe quelle image du plan peut convenir (le télécinéma inversé sera appliqué à la totalité du plan quelle que soit l’image affichée). 3 Dans la fenêtre Clip, cliquez sur Reverse Telecine. 4 Dans la zone de dialogue qui apparaît, sélectionnez le mode de capture qui indique la capture de trame correcte pour le plan :  Trame 1 uniquement : sélectionnez cette option si la vidéo ne contient que la trame 1.  Trame 2 uniquement : sélectionnez cette option si la vidéo ne contient que la trame 2.  Field 1 - Field 2 : sélectionnez cette option si la vidéo contient les deux trames et que la trame 1 est prédominante (celle qui apparaît en premier).  Field 2 - Field 1 : sélectionnez cette option si la vidéo contient les deux trames et que la trame 2 est prédominante (celle qui apparaît en premier). Consultez la section « Spécification des informations de capture de trame » à la page 135 pour en savoir plus. Remarque : si Cinema Tools trouve les informations de pulldown incrustées dans les plans sources, la zone de dialogue apparaît dans sa version simplifiée. Consultez à ce sujet la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221. 5 Sélectionnez l’élément en bas de la fenêtre qui indique le type d’image affichée dans la fenêtre Clip. 138 Partie I Utilisation de Cinema Tools Le type d’image dépend du mode de capture de trame choisi. 6 Sélectionnez New (smaller) ou Same (faster) pour spécifier le type de fichier que la fonction Reverse Telecine doit créer :  New (smaller) : crée un nouveau fichier de plan ne contenant pas les images supplémentaires insérées par le pulldown 3:2. La taille du nouveau fichier est réduite d’environ 20 pour cent, mais cette méthode est plus lente. Que le fichier original soit une référence ou autonome, cette méthode crée un fichier autonome. Consultez la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149 pour en savoir plus.  Same (faster) : modifie le fichier du plan pour faire en sorte que les images surnuméraires ne soient pas visibles pour le système de montage, mais ne supprime pas ces données du fichier. Ce processus est plus rapide, mais ne réduit pas la taille du fichier. Le fichier qui en résulte est autonome s’il était autonome à l’origine ou une référence s’il était une référence à l’origine. Remarque : la méthode Same (faster) n’est disponible que si le plan a été capturé ou recompressé afin d’obtenir seulement une trame par image. Cela est dû au fait que l’inversion du pulldown 3:2 d’un plan contenant deux trames par image requiert le désentrelacement de deux images distinctes, en supprimant une trame de chacune de ces images, puis en créant une nouvelle image à partir des deux autres trames. Lorsque vous créez de nouvelles images, vous devez également créer un nouveau fichier de film. Choisissez le type d’image qui correspond à l’image affichée dans la fenêtre Clip. Si vous souhaitez que vos sélections soient affichées en tant que lettres et chiffres (par exemple, A2, B2, C1, etc), choisissez Style 2 dans le menu local. Différents choix sont disponibles selon le mode de capture sélectionné.Chapitre 6 Préparation des plans sources pour le montage 139 I ? Tip : si vous choisissez la méthode New (smaller), le fichier original devient inutile mais n’est pas automatiquement supprimé. Une zone de dialogue suggère de nommer le nouveau fichier de la même façon que l’original, mais en ajoutant l’extension « .rev ». Pour supprimer le fichier original en le remplaçant par le nouveau fichier, supprimez l’extension « .rev » dans la zone de dialogue afin que le nouveau fichier porte le même nom que l’original. Mais n’oubliez pas que si vous supprimez le fichier original, vous ne pourrez pas utiliser la télécinéma inversé une seconde fois pour essayer un autre réglage. 7 Dans le menu local « Conform to », choisissez la fréquence d’images qui vous permet de maintenir ou de restaurer la synchronisation audio-video :  23.98 : cette vitesse est utile si vous comptez utiliser ultérieurement la fonction pulldown de Final Cut Pro qui permet de sortir la vidéo 23,98 ips à 29,97 ips (Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus.)  24.0 : vous pouvez avoir intérêt à conformer et à monter les plans à cette vitesse si vous comptez les inclure à un projet contenant d’autres plans à exactement 24 ips. Remarque : si le plan contient à la fois la vidéo et l’audio et si vous choisissez 24.0 dans ce menu local, la fonction Reverse Telecine accélère très légèrement l’audio pour qu’elle soit synchrone avec la vitesse de 24 ips et non de 23,98. 8 Laissez la case Standard Upper/Lower sélectionnée. Il est recommandé de sélectionner la case Standard Upper/Lower à moins que vous ne trouviez que le processus de télécinéma inversé ne produit pas les bons résultats. Elle n’est utile que lorsque les deux trames vidéo sont capturées, mais est sans effet si une seule trame est capturée. Pour en savoir plus, consultez la section « Vérification des résultats du télécinéma inversé » à la page 140. 9 Cliquez sur OK pour lancer le télécinéma inversé. Si vous avez sélectionné l’option New (smaller), vous devez attribuer une destination et un nom au nouveau plan inversé. Si le plan d’origine était connecté à un enregistrement de base de données, le nouveau plan inversé remplace cette connexion (qu’il écrase ou non l’ancien plan). Remarque : on tombe parfois sur des plans qui possèdent des durées d’image individuelles plus longues que ce qu’elles ne devraient être. Dans ce cas, la fonction Reverse Telecine peut signaler des pertes d’images qui, en réalité, ne se sont pas produites. Si ce message apparaît, utilisez la fonction Conform, expliquée à la section « Utilisation de la fonction de conformation » à la page 131 pour conformer le plan à 29,97 ips, puis relancez le télécinéma inversé. La fonction Conform garantit une longueur uniforme de tous les plans. Choisissez une vitesse. Laissez cette case sélectionnée.140 Partie I Utilisation de Cinema Tools Si vous avez créé un nouveau fichier (par défaut, avec l’extension « .rev ») et n’avez pas supprimé le fichier original, vous pouvez procéder une seconde fois au télécinéma inversé, si nécessaire (par exemple, pour essayer un autre réglage de trame). Pour préparer une seconde utilisation de la fonction Reverse Telecine sur un plan unique : 1 Déconnectez le fichier inversé courant de son enregistrement de base de données. 2 Connectez le fichier original à l’enregistrement de base de données. 3 Renommez ou déplacez le fichier inversé courant si vous ne voulez pas qu’il soit écrasé. Vous pouvez maintenant utiliser la fonction Reverse Telecine sur un plan unique dans Cinema Tools comme décrit à la page 137. Utilisation de la fonction Reverse Telecine sur des plans source dans Final Cut Pro Final Cut Pro contient une commande de menu qui permet de procéder au télécinéma inversé sur les plans sélectionnés dans le Navigateur. Il est important de comprendre que, si c’est Final Cut Pro qui lance le processus de télécinéma inversé, c’est Cinema Tools qui effectue l’opération. De plus, vous n’avez pas les mêmes choix que lorsque vous utilisez le télécinéma inversé directement dans Cinema Tools (les réglages qui sont utilisés pour le processus de télécinéma inversé à l’aide de Final Cut Pro sont les derniers réglages utilisés dans Cinema Tools). C’est pourquoi il est recommandé de toujours procéder au télécinéma inversé sur un plan directement dans Cinema Tools pour vérifier que les réglages sont corrects avant de traiter des plans à l’aide de Final Cut Pro. Vérification des résultats du télécinéma inversé Après un transfert pulldown 3:2 télécinéma, la trame du dessus est généralement la trame 1 et celle du dessous la trame 2, sauf si le format DV est utilisé. Normalement, lorsque la case « Standard upper/lower » est sélectionnée, Cinema Tools détermine ce qu’il faut faire et les plans sont traités correctement. Il arrive cependant (très rarement) que lors de la capture ou du traitement de la vidéo, l’ordre des trames soit interverti, ce qui entraîne des résultats erronés du télécinéma inversé. Pour savoir si des erreurs se sont produites, observez les images d’un plan sur lequel le télécinéma inversé a été appliqué. En examinant chaque image du plan, vous devez constater que la série d’images A, B, C et D est répétée et que chaque lettre est bien lisible. Vous ne devriez pas voir de scintillement intertrame. Les numéros d’images doivent se suivre en ordre croissant et doivent également être bien lisibles. Si ce n’est pas le cas, procédez de nouveau au télécinéma inversé, mais cette fois sans sélectionner l’option « Standard upper/lower ». Chapitre 6 Préparation des plans sources pour le montage 141 I Important : appliquer le télécinéma inversé à l’aide de Final Cut Pro modifie le fichier de données original (vous n’avez pas la possibilité de créer un nouveau fichier de données comme dans Cinema Tools). Vous devez disposer de privilèges de lecture et d’écriture sur les fichiers de données. Pour utiliser Final Cut Pro pour procéder au télécinéma inversé sur des plans sources : 1 Dans le Navigateur de Final Cut Pro, sélectionnez les plans à traiter. Remarque : seuls les fichiers utilisant une fréquence d’images de 29,97 ips sont traités. 2 Choisissez Tools > Cinema Tools Reverse Telecine. Cinema Tools s’ouvre et applique le télécinéma inversé en affichant une zone de dialogue qui montre la progression de la tâche. Utilisation de la fonction Batch Reverse Telecine Si vous devez inverser le pulldown 3:2 de plusieurs plans, vous pouvez utiliser la commande Batch Reverse Telecine (télécinéma inversé par lot) afin de pouvoir les traiter simultanément. Remarque : si vos plans sources ont été enregistrés à l’aide d’un type particulier de caméscope DV 24P, tel que le modèle AG-DVX100 de Panasonic, consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221. Préparation avant de procéder à un télécinéma inversé par lot Il y a deux choses à faire avant de procéder à un télécinéma inversé par lot :  Commencez par appliquer le télécinéma inversé à un seul plan et observez le résultat afin de vous assurer que les réglages sont corrects. Vous trouverez des instructions à ce sujet dans la section « Utilisation de la fonction Reverse Telecine sur un unique plan source dans Cinema Tools » à la page 136.  Si vous travaillez sur de la vidéo contenant deux trames, assurez-vous que tous vos plans ont la même priorité de trame. Pour en savoir plus, consultez la section « Spécification des informations de capture de trame » à la page 135. Certains matériels de numérisation peuvent basculer de façon imprévisible entre la priorité de trame 1 et la priorité de trame 2. S’il s’avère que la priorité de certains de vos plans diffère des autres plans, vous pouvez séparer vos plans en deux lots et les traiter séparément.142 Partie I Utilisation de Cinema Tools À propos des images A Si votre vidéo a une fenêtre d’affichage, la façon la plus simple de localiser une image « A » est de jeter un œil au numéro de bord dans l’image vidéo qui, normalement, est suivi d’une lettre indiquant le type d’image. Cette lettre s’appelle indicateur de type d’image. Les images A comprennent toutes les images possédant un indicateur de type d’image commençant par « A », y compris les images AA (on parle aussi de A1A2), AB (on parle aussi de A2B1), A1 ou A2. Lorsque vous regardez la vidéo une image à la fois, l’indicateur de type d’image d’une image A est « A » tandis que le numéro d’image est fixe (il ne scintille pas entre deux images). Si vous utilisez un timecode non-drop frame et que vos plans sources n’ont pas encore été montés, les images A surviennent systématiquement toutes les 5 images. Généralement, tout numéro de timecode se terminant par « 0 » ou « 5 » est une image A (par exemple, 1:23:14:10 et 1:23:14:15). Pendant le télécinéma inversé par lot, si un plan commence à un numéro de timecode qui n’est pas divisible par cinq (numéro de timecode se terminant par « 5 » ou « 0 »), Cinema Tools ajuste les images depuis le début du plan, afin que le plan commence à l’image suivante avec un numéro de timecode se terminant par « 0 » ou « 5 ». Cela permet de s’assurer que tous les plans sources commencent sur une image A. Les plans qui sont ajustés sont consignés dans le fichier d’historique de télécinéma inversé par lot, qui est nommé « reverse.log ». Il est plus difficile de localiser les images A lorsque les numéros de bord ne sont pas incrustés dans la vidéo. Si votre vidéo présente beaucoup de mouvement, vous parviendrez peut-être à distinguer l’une des images du film original aux côtés d’une image vidéo. Dans ce cas, recherchez une image vidéo composée de deux trames de l’image originale correspondante, qui soit précédée et suivie d’images de film distinctes. Cette image doit être une image A. L’indicateur de type d’image dans la fenêtre d’affichage vous indique qu’il s’agit d’une image A.Chapitre 6 Préparation des plans sources pour le montage 143 I Utilisation du télécinéma inversé par lot sur plusieurs plans Avant d’utiliser le télécinéma inversé par lot pour traiter plusieurs plans sources à la fois, lisez la section « Préparation avant de procéder à un télécinéma inversé par lot » à la page 141. Pour utiliser le télécinéma inversé par lot : 1 Placez tous les plans à traiter dans le même dossier. 2 Choisissez File > Batch Reverse Telecine. 3 Dans la zone de dialogue qui s’affiche, sélectionnez n’importe quel fichier de plan source dans le dossier contenant les plans sources, puis cliquez sur Choose. 4 Dans la zone de dialogue Batch Reverse Telecine, sélectionnez le mode de capture qui indique la capture de trame correcte pour le plan :  Trame 1 uniquement : sélectionnez cette option si la vidéo ne contient que la trame 1.  Trame 2 uniquement : sélectionnez cette option si la vidéo ne contient que la trame 2.  F1 - F2 : sélectionnez cette option si la vidéo contient les deux trames et que la trame 1 est prédominante (celle qui apparaît en premier).  F2 - F1 : sélectionnez cette option si la vidéo contient les deux trames et que la trame 2 est prédominante (celle qui apparaît en premier). Consultez la section « Spécification des informations de capture de trame » à la page 135 pour en savoir plus. Remarque : si Cinema Tools trouve les informations de pulldown incrustées dans les plans sources, la zone de dialogue apparaît dans sa version simplifiée. Consultez à ce sujet la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221. 5 Dans le menu local « Conform to », choisissez la fréquence d’images qui vous permet de maintenir ou de restaurer la synchronisation audio-video :  23.98 : cette vitesse est utile si vous comptez utiliser ultérieurement la fonction pulldown de Final Cut Pro qui permet de sortir la vidéo 23,98 ips à 29,97 ips. (Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus.) Sélectionnez les informations de capture de trame pour ce plan.144 Partie I Utilisation de Cinema Tools  24.0 : vous pouvez avoir intérêt à conformer et à monter les plans à cette vitesse si vous comptez les inclure à un projet contenant d’autres plans à exactement 24 ips. Remarque : si le plan contient à la fois la vidéo et l’audio et si vous choisissez 24.0 dans ce menu local, la fonction Reverse Telecine accélère très légèrement l’audio pour qu’elle soit synchrone avec la vitesse de 24 ips et non de 23,98. 6 Laissez la case « Standard Upper/Lower » sélectionnée. Il est recommandé de sélectionner la case « Standard Upper/Lower » à moins que vous ne trouviez que le processus de télécinéma inversé ne produit pas les bons résultats. Pour en savoir plus, consultez la section « Vérification des résultats du télécinéma inversé » à la page 140. 7 Pour enregistrer les plans d’origine dans un dossier distinct, laissez la case Keep Originals sélectionnée. Si vous ne souhaitez pas enregistrer les plans originaux, ne la sélectionnez pas (si elle n’est pas sélectionnée, les plans originaux sont supprimés chaque fois qu’un nouveau plan est créé). Important : vous ne pouvez pas annuler une opération de télécinéma inversé. Si vous n’enregistrez pas les plans originaux et si vous trouvez ultérieurement que l’un des réglages n’était pas correct, vous devrez recapturer les plans pour corriger le réglage et procéder au télécinéma inversé sur les plans une seconde fois. 8 Cliquez sur OK pour lancer le télécinéma inversé par lot. Une fois le processus terminé, la situation est la suivante :  Pour chaque plan du dossier est créé un nouveau plan portant le même nom. Il est alors placé dans un sous-dossier créé par Cinema Tools nommé Reversed.  Si vous avez sélectionné Keep Originals, les fichiers d’origine sont placés dans un sous-dossier créé par Cinema Tools et nommé Originals.  Si Cinema Tools ne peut effectuer le processus de télécinéma inverse pour un plan, ce dernier est transféré à un sous-dossier Cinema Tools nommé Skipped. Un plan n’est pas traité s’il ne contient pas de piste vidéo, si sa vitesse n’est pas gérée ou si aucun codec n’est détecté pour la piste vidéo.  Un fichier texte nommé « reverse.log » apparaît au premier niveau du dossier par lequel vous avez commencé. Ce fichier précise la date et l’heure du lancement et de la fin du processus, ainsi que l’heure de début de chaque plan. Si des problèmes surgissent, tels qu’un manque d’espace disque ou de mémoire, un message d’erreur décrivant le problème apparaît également dans l’historique. De plus, vous devrez utiliser la commande Reconnect pour reconnecter les plans inversés nouvellement créés aux enregistrements correspondants. Consultez la section « Réparation des liens rompus entre les plans et les enregistrements » à la page 126 pour en savoir plus.Chapitre 6 Préparation des plans sources pour le montage 145 I Utilisation du télécinéma inversé par lot une seconde fois Si, après avoir procédé au télécinéma inversé par lot, vous devez modifier un réglage et procéder à un nouveau télécinéma inversé par lot, procédez comme suit. Pour préparer l’utilisation du télécinéma inversé par lot une seconde fois : 1 Déplacez les plans du dossier Originals dans leur dossier original. Remarque : si vous n’avez pas sélectionné Keep Originals, vous devez recapturer les plans originaux. 2 Si vous souhaitez garder la version inversée des plans tout en en créant une nouvelle version, vous devez les déplacer du dossier Reversed dans un autre dossier ou renommer le dossier Reversed (par exemple, en Reversed 1). Vous pouvez laisser les fichiers courants là où ils se trouvent si vous souhaitez les écraser. 3 De même, vous devez déplacer ou renommer le fichier « reverse.log » si vous souhaitez le garder. 4 Procédez comme décrit à la section « Utilisation du télécinéma inversé par lot sur plusieurs plans » à la page 143. Remarque : si vous reconnectez les plans inversés originaux aux enregistrements de base de données, les nouveaux plans inversés devraient être connectés automatiquement à la base de données. Ajustements de la vitesse audio Si vous devez procéder à des ajustements de la vitesse audio pour rétablir la synchronisation avec la vidéo, il y a plusieurs façons de faire. Remarque : les fonctions de télécinéma inversé et de conformation ajustent automatiquement la vitesse audio d’un plan afin de l’adapter à la vitesse de défilement vidéo de ce plan.  Vous pouvez modifier la vitesse de défilement à l’aide de la commande Vitesse de Final Cut Pro. Défaites d’abord le lien entre le plan audio et le plan vidéo. Sélectionnez l’élément audio dans la timeline, choisissez Modifier > Vitesse et saisissez un nouveau pourcentage de vitesse. Par exemple, pour ralentir un plan audio de 0,1 pour cent, saisissez « 99,9 ». Reliez à nouveau le plan audio et le plan vidéo lorsque vous avez fini de modifier la vitesse du plan audio.  Certains équipements d’enregistrement et de lecture audio permettent d’ajuster la vitesse de lecture pour la synchroniser avec la vidéo. Ce type d’appareil permet de capturer l’audio à la vitesse de synchronisation appropriée.146 Partie I Utilisation de Cinema Tools  Il existe des appareils spécialisés, tels que ceux de chez Aaton, qui sont conçus pour contrôler et ajuster l’audio de manière à ce que la synchronisation soit possible avec n’importe quelle vitesse vidéo. Ces appareils s’utilisent avant de capturer l’audio dans votre ordinateur.  Si vous n’avez pas besoin d’ajuster la vitesse de l’audio pour le montage, mais devez l’ajuster pour le projet fini, vous pouvez faire finaliser l’audio par une société de postproduction audio capable d’ajuster la vitesse. Synchronisation séparée de l’audio et de la vidéo capturés Si votre son et vos images n’ont pas été pas synchronisés sur la bande vidéo, mais ont été capturés séparément, vous pouvez les synchroniser dans Final Cut Pro. Dans Final Cut Pro, une fonctionnalité nommée les plans fusionnés vous permet de lier un ou plusieurs fichiers de données source entre eux afin d’en faire un seul et unique plan. Vous devez d’abord les synchroniser, puis les fusionner en un plan unique. Les claps de vos prises de vue vous donnent les repères audibles et visibles permettant de synchroniser vos éléments audio et vidéo. Vous pouvez utiliser plusieurs techniques pour synchroniser des plans avant de les fusionner, en fonction de la façon dont vous avez filmé votre métrage :  Si vos clips vidéo et audio ne couvrent pas exactement les mêmes valeurs de timecode et si vous avez mis un clap au début de tous vos plans à l’aide d’une claquette : vous pouvez utiliser des points d’entrée pour aligner tous les plans à fusionner. De cette manière, le début du plan fusionné obtenu correspond au point d’entrée utilisé et tous les éléments sont alignés sur ce point. La fin du plan fusionné correspond à la fin de l’élément possédant la dernière valeur de timecode.  Si vos plans vidéo et audio ne couvrent pas exactement les mêmes valeurs de timecode et si un ou plusieurs plans ont un clap de fin : vous pouvez utiliser des points de sortie pour aligner tous les plans à fusionner. Vidéo Audio Audio Plan fusionnéChapitre 6 Préparation des plans sources pour le montage 147 I De cette manière, la fin du plan fusionné obtenu correspond au point de sortie utilisé et tous les éléments sont alignés sur ce point. Le début du plan fusionné correspond au début de l’élément possédant la première valeur de timecode. Pour des détails sur la façon de synchroniser et de fusionner des plans dans Final Cut Pro, consultez la section, dans la documentation de Final Cut Pro qui décrit l’utilisation de plans fusionnés. Division ou suppression de sections de plans sources avant le montage Avant de monter votre contenu Final Cut Pro, vous avez la possibilité de diviser ou de supprimer encore des parties de plans sources. Si vous avez capturé vos données à l’aide d’une liste de capture par lot et du contrôle de périphérique, vos fichiers de plans contiennent sans doute exactement les données souhaitées. Il se peut toutefois que vous ayez besoin de diviser ces plans sources capturés en prises individuelles ou d’en éliminer certaines données avant de passer au montage et ce, afin d’utiliser rationnellement l’espace disque disponible. Stratégies pour la division de plans sources avant le montage Avant de commencer, si la relation entre le numéro de code de bordure et le timecode n’est pas continue sur l’ensemble de la bobine de caméra dont provient un plan source, sachez que vous devez faire deux ou trois choses importantes après avoir subdivisé des plans sources :  Créez un nouvel enregistrement de base de données pour le nouveau plan source généré suite à la division d’un plan et assurez-vous qu’il est connecté à l’enregistrement.  Mettez à jour l’enregistrement du plan de manière à ce que le numéro de code de la nouvelle première image du plan soit correct. (Cela n’est nécessaire que si vous supprimez du matériel au début d’un plan.) Remarque : consultez la section « Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? » à la page 72 pour en savoir plus. Vidéo Audio Audio Plan fusionné148 Partie I Utilisation de Cinema Tools Il y a plusieurs façons de subdiviser des plans sources avant le montage :  Final Cut Pro simplifie la division de plans sources en plans plus petits. La première étape consiste à créer un ou plusieurs sous-plans du plan dans le navigateur. Utilisez ensuite le gestionnaire de données pour supprimer les sections de plan qui n’ont pas été sélectionnées comme sous-plan. Consultez la section sur la création et l’utilisation de sous-plans dans la documentation de Final Cut Pro pour en savoir plus.  Une autre méthode de sélection et d’enregistrement de sections d’un plan consiste à utiliser QuickTime Pro. Si vous utilisez QuickTime Pro pour ce faire, n’oubliez pas de choisir « Film autonome » dans la zone de dialogue « Enregistrer sous ». Consultez à ce sujet la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149.  Si les images que vous utilisez sont perforées ou marquées d’un repère (plutôt que dotées d’une fenêtre d’affichage) pour identifier les numéros de bord des plans sources, veillez à ne pas éliminer les images marquées d’un repère.  Si la méthode pulldown 3:2 a été utilisée lors du transfert télécinéma, il est recommandé de faire commencer chaque plan source à une image A. Après le pulldown 3:2, les images A sont les seules images du film à ne pas être divisées en deux images vidéo. Pour cette raison et parce que l’image A est le point de départ du modèle récurrent à cinq images de la vidéo, il est préférable qu’une image A soit la première image dans tous les plans vidéo. Consultez à ce sujet la section « À propos des images A » à la page 142.Chapitre 6 Préparation des plans sources pour le montage 149 I Suppression d’un fichier de plan source Pour éliminer un fichier de plan source indésirable avant de commencer le montage, faites-le glisser dans la Corbeille. puis supprimez l’éventuel enregistrement de la base de données Cinema Tools auquel ce plan était connecté. Consultez la section « Suppression d’un enregistrement de la base de données » à la page 105 pour en savoir plus. La différence entre les fichiers de données autonomes et les fichiers de données de référence Il y a deux types de fichiers vidéo et audio que vous devez connaître, en particulier si vous subdivisez un fichier de données volumineux en fichiers de données plus petits à l’aide de QuickTime Pro. Comme les fichiers vidéo ont tendance à être volumineux, le type de fichier de données que vous créez peut avoir un impact énorme sur l’espace disque.  Fichiers de données autonomes : un fichier de données autonome est complet, vous pouvez supprimer le fichier original, sa copie pourra toujours être lue indépendamment. C’est pourquoi les fichiers de données autonomes sont généralement très volumineux. Il est recommandé d’enregistrer vos données sous la forme d’un fichier autonome si vous prévoyez de ne pas utiliser une grande partie de l’original ; vous pourrez alors supprimer l’original une fois que vous aurez enregistré les parties dont vous avez besoin.  Fichiers de données de référence : un fichier de données de référence est un fichier contenant des dépendances du fichier de données original. Les fichiers de référence ne contiennent en réalité aucunes données, ils ne contiennent que des pointeurs vers des parties bien précises du fichier de données original. Les fichiers de ces plans ne sont pas volumineux. Si vous supprimez, déplacez ou renommez le fichier de données original, tous les fichiers qui y font référence ne pourront plus être lus comme ils ne pourront plus localiser l’original. Une façon de savoir si un fichier de données est autonome ou de référence consiste à l’ouvrir dans la fenêtre Cinema Tools Clip et à cliquez sur le bouton Analysis. La sousfenêtre Analysis affiche cette information. Une autre façon de le savoir consiste à regarder la taille du fichier; les fichiers de données contenant des dépendances sont assez petits (une vingtaine de 20 kilo-octets), alors que les fichiers de données autonomes, même les plus courts, peuvent avoir une taille de plusieurs centaines de mégaoctets ou plus.7 151 7 Montage dans Final Cut Pro Le montage de plans sources issus d’un support film avec Final Cut Pro présente un certain nombre de points originaux. Une fois vos plans sources capturés et préparés, vous pouvez les monter dans Final Cut Pro. Avant de commencer le montage des images provenant d’une pellicule, vous devez tenir compte des éléments suivants :  les configurations simplifiées (Easy Setups) fournies aux utilisateurs de Cinema Tools et la nécessité de régler la base temps ;  les restrictions concernant l’utilisation de pistes audio et vidéo multiples ;  le processus de création d’effets et de transitions pour le film ;  la méthode utilisée pour détecter les usages multiples de vos données sources. À propos des configurations simplifiées et du paramétrage de la base temps Cinema Tools installe des configurations simplifiées qui facilitent la configuration de Final Cut Pro pour les utilisateurs de Cinema Tools. Lorsque vous sélectionnez les configurations simplifiées Final Cut Pro, les réglages de séquence, les réglages de capture, les réglages de contrôle de périphérique et les réglages vidéo externes sont tous préconfigurés et vous n’avez pas besoin de les configurer individuellement. Il est recommandé aux utilisateurs de Cinema Tools de profiter de ces configurations simplifiées :  23.98fps from DV PAL : sélectionnez cette configuration simplifiée pour capturer de la vidéo au format PAL et régler la base temps sur 23,98 ips. Cette option part du principe que vous allez conformer la vidéo capturée à 23,98 ips.  24fps from DV PAL : sélectionnez cette option pour capturer de la vidéo au format PAL et régler la base temps sur 24 ips. Cette option part du principe que vous allez conformer la vidéo capturée à 24 ips.  23.98fps from DV NTSC : sélectionnez cette option pour capturer de la vidéo au format NTSC (au format de timecode non-drop frame) et pour régler la base temps sur 23,98 ips. Cette option part du principe que vous allez inverser la projection télécinéma de la vidéo capturée à 23,98 ips.152 Partie I Utilisation de Cinema Tools  24fps from DV NTSC : sélectionnez cette option pour capturer de la vidéo au format NTSC (au format de timecode non-drop frame) et pour régler la base temps sur 24 ips. Cette option part du principe que vous allez inverser la projection télécinéma de la vidéo capturée à 24 ips.  DV NTSC NDF : sélectionnez cette option pour capturer de la vidéo au format NTSC (au format de timecode non-drop frame) et pour régler la base temps sur 29,97 ips. Cette option part du principe que vous n’allez pas inverser la projection télécinéma de la vidéo capturée.  DV PAL 24 @ 25 : choisissez cette option pour capturer de la vidéo PAL et régler la base temps sur 24 ips, tout en utilisant un timecode de 25 ips. Cette configuration assume part du principe que vous allez conformer la vidéo capturée de 25 ips à 24 ips. Consultez la documentation de Final Cut Pro pour des détails sur l’accès et l’utilisation des configurations simplifiées. Important : si vous n’utilisez pas de configuration simplifiée, vous devez tout de même régler la base temps sur la vitesse de défilement de vos plans sources avant de commencer le montage. De cette façon, les nouvelles séquences que vous créerez dans Final Cut Pro seront réglées pour la vitesse de défilement que vous visez pour le montage. Consultez la documentation de Final Cut Pro pour des détails sur la configuration de la base temps dans l’éditeur de préréglage de séquence. Toutes les configurations simplifiées conçues spécialement pour les utilisateurs de Cinema Tools, à l’exception de « DV PAL 24 @ 25 », ont Cinema Tools dans leur titre. Par exemple, « Cinema Tools - 23.98fps from DV NTSC ». Par défaut, les Easy Setups pour les utilisateurs de Cinema Tools ne s’affichent pas dans le menu local de la zone de dialogue Choose Setup. Pour que tous les Easy Setups du menu local (ceux de Cinema Tools compris) s’affichent, cochez la case Show All dans la zone de dialogue. Ou, pour ajouter des configurations simplifiées spécifiques au menu local, vous pouvez ajouter un astérisque (*) à la fin du nom du fichier de la configuration simplifiée. Par exemple, modifiez le nom de fichier « Cinema Tools - 23.98fps from DV NTSC » comme ceci : « Cinema Tools - 23.98fps from DV NTSC* ». Les fichiers de configuration simplifiée se trouvent à l’emplacement suivant : /Library/Application Support/Final Cut Pro System Support/Custom Settings/.Chapitre 7 Montage dans Final Cut Pro 153 I Utilisation de vidéo à 25 ips conformée à 24 ips La méthode la plus courante pour le transfert d’un film à 24 ips en vidéo PAL est la méthode 24 @ 25 (décrite à la section « Méthode 24 @ 25 » à la page 26). Comme cette méthode nécessite que le film tourne 4 pour cent plus vite, il se peut que vous rencontriez des problèmes de synchronisation audio, au minimum, l’action à l’écran sera accélérée. Pour solutionner les problèmes de synchronisation audio, vous pouvez utiliser la fonction Conform pour ralentir à nouveau la vidéo à sa vitesse originale de 24 ips. Comme le processus de conformation ne modifie par le timecode de 25 ips créé lors du transfert du film, vous pouvez conserver ce format de timecode pendant le montage dans la base temps de 24 ips. Cela peut être utile dans les situations où le monteur négatif préfère recevoir une EDL de 25 ips plutôt qu’une liste de conformation pour la remise en correspondance du film . Consultez la section « Utilisation de la fonction de conformation » à la page 131 pour en savoir plus sur la conformation de vidéo. À propos du timecode Lorsque vous conformez de la vidéo à 25 ips en 24 ips, la fréquence de timecode est réglée sur 24 @ 25. Remarque : comme la base temps et la lecture sont basées sur 24 ips, le timecode de 25 ips ne représente plus exactement le véritable écoulement du temps. Par exemple, la lecture de 38 secondes de vidéo durera en réalité 40 secondes. Vous pouvez voir la fréquence de timecode d’un plan dans la fenêtre Item Properties. Pour vérifier la fréquence de timecode d’un plan : 1 Dans le Navigateur, sélectionnez le plan à vérifier. 2 Effectuez l’une des opérations suivantes pour ouvrir la fenêtre Propriétés de l’élément :  Choisissez Édition > Propriétés de l’élément > Infos de stockage.  Cliquez tout en maintenant la touche Contrôle enfoncée sur le plan, puis choisissez Item Properties > Logging Info dans le menu contextuel. Pour les plans qui ont été conformés de 25 ips à 24 ips, « 24 @ 25 » est affiché dans la ligne TC Rate.154 Partie I Utilisation de Cinema Tools À propos des préréglages de séquence Il y a deux préréglages de séquence conçus pour la vidéo PAL à 24 ips :  DV PAL 48 kHz - 24 @ 25 : ce préréglage utilise une base temps de 24 ips et un timecode de 25 ips pour les points d’entrée et de sortie source comme d’enregistrement, tout en conservant le timecode source original de 25 ips. La configuration simplifiée DV PAL 24 @ 25 utilise ce préréglage de séquence. Lorsque vous exportez une EDL, elle est basée sur des valeurs de timecode de 25 ips. Il est recommandé d’utiliser ce préréglage de séquence lorsque vous prévoyez d’exporter une EDL de 25 ips plutôt qu’une liste de conformation.  DV PAL 48 kHz - 24 : ce préréglage utilise une base temps de 24 ips et un timecode de 24 ips pour les points d’entrée et de sortie source comme d’enregistrement, tout en remplaçant le timecode source original de 25 ips. Il est recommandé d’utiliser ce préréglage de séquence lorsque vous prévoyez d’exporter une liste de conformation. Affichage d’informations relatives au film dans Final Cut Pro Vous pouvez afficher toute une série d’informations relatives au film lors du montage des plans du film dans Final Cut Pro. Il y a quatre zones que vous pouvez contrôler :  La fenêtre Propriétés de l’élément : l’onglet Film de la fenêtre Propriétés de l’élément contient les informations relatives au film auquel appartient le plan. Consultez la section « Affichage d’informations relatives au film dans la fenêtre Propriétés de l’élément » à la page 157 pour en savoir plus.  Le Navigateur : vous pouvez ajouter des colonnes contenant des informations relatives au film telles que les numéros de bord et la vitesse télécinéma (champ Vitesse TK). Ces informations apparaissent aussi dans la fenêtre Propriétés de l’élément. Consultez la section « Affichage d’informations relatives au film dans le Navigateur » à la page 157 pour en savoir plus.  Le Visualiseur et le Canevas : vous pouvez ajouter le keycode et la codification manuelle aux valeurs de timecode de l’incrustation. Consultez la section « Affichage d’incrustations relatives au film dans le Visualiseur et le Canevas » à la page 157 pour en savoir plus.  La Chronologie, le Visualiseur et le Canevas : vous pouvez afficher le numéro d’image au format pieds et images. Consultez la section « Affichage de numéros d’image basés sur le film » à la page 158 pour en savoir plus. Pour afficher des informations relatives au film dans Final Cut Pro, vous devez d’abord importer les informations en provenance de Cinema Tools. Il y a trois façon de le faire :  Lorsque vous importez une liste de capture par lot XML exportée à partir de Cinema Tools, les informations relatives au film sont elles aussi importées. Consultez la section « Utilisation de listes de capture par lot XML » à la page 119 pour en savoir plus.Chapitre 7 Montage dans Final Cut Pro 155 I  Utilisez Final Cut Pro pour importer une liste télécinéma. Cela ajoute les informations relatives au film qui figurent dans le fichier de la liste télécinéma aux plans offline. Consultez la section « Importation de listes télécinéma à l’aide de Final Cut Pro » à la page 87 pour en savoir plus.  Utilisez la commande Synchroniser avec Cinema Tools décrite ci-après. Important : il n’est pas nécessaire d’importer ni d’afficher des informations relatives au film dans Final Cut Pro pour exporter des listes de film. Synchronisation de plans Final Cut Pro avec Cinema Tools La modification d’informations relatives au film ou leur ajout à des plans ne peut pas se faire manuellement dans Final Cut Pro. Les informations doivent être importées depuis une base de données Cinema Tools. Final Cut Pro permet de synchroniser un ou plusieurs plans sélectionnés avec une base de données Cinema Tools. C’est particulièrement utile lorsque vous avez importé une liste télécinéma et capturé les plans car la synchronisation des plans avec leur base de données connectera automatiquement les plans aux enregistrements correspondants. Vous pouvez aussi créer une nouvelle base de données qui ajoutera les informations de chaque plan à l’enregistrement correspondant. ? Astuce : créer une nouvelle base de données à partir d’un groupe de plan qui figurent déjà dans une autre base de données permet de créer des bases de données spécialisées à partir de Final Cut Pro. Toutes les informations relatives au film que les plans contiennent déjà sont ajoutées automatiquement aux enregistrements correspondants dans la nouvelle base de données. Pour synchroniser des plans Final Cut Pro avec une base de données Cinema Tools : 1 Dans le Navigateur de Final Cut Pro, sélectionnez les plans à synchroniser avec une base de données Cinema Tools. Il peut s’agir de plans qui figurent déjà dans la base de données et dont les informations doivent être mises à jour ou de plans qui ne figurent pas dans la base de données. Dans ce cas, de nouveaux enregistrements sont ajoutés à la base de données pour chaque plan et toutes les informations d’application sont ajoutées aux différents enregistrements. 2 Choisissez Outils > Synchroniser avec Cinema Tools. Une zone de dialogue apparaît dans laquelle vous pouvez configurer le processus de synchronisation. Le champ Database indique la base de données sélectionnée. 156 Partie I Utilisation de Cinema Tools 3 Sélectionnez la case « Ajouter de nouveaux enregistrements » si vous souhaitez ajouter automatiquement à la base de données de nouveaux enregistrements pour les plans sélectionnés qui n’y figurent pas encore. Cette option doit être sélectionnée en cas de synchronisation avec une nouvelle base de données. 4 Sélectionnez la case Connecter automatiquement si vous voulez que la base de données connecte automatiquement les plans à tout nouvel enregistrement qui est créé dans la base de données. 5 Procédez de l’une des manières suivantes :  Si la base de données affichée dans le champ Database est la bonne, cliquez sur OK. (Le champ Base de donées est mis à jour si vous utilisez le bouton Nouvelle base de donées ou Choisir un base de donées.)  Cliquez sur Nouvelle base de données pour créer une nouvelle base de données Cinema Tools. Cela a pour effet d’ouvrir une zone de dialogue dans laquelle vous pouvez saisir le nom et l’emplacement de la base de données ainsi que définir des réglages par défaut. Consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77 pour des informations sur ces réglages. Cliquez sur Enregistrer lorsque vous avez fini.  Cliquez sur Choisir una base de donées pour sélectionner une base de données existante. Cela a pour effet d’ouvrir une zone de dialogue dans laquelle vous pouvez sélectionner la base de données existante avec laquelle les plans doivent être synchronisés. Cliquez sur Ouvrir lorsque vous avez fini. 6 Si vous avez utilisé le bouton Nouvelle base de données ou Choisir un base de donées, cliquez sur OK. Les plans sélectionnés sont synchronisés avec la base de données sélectionnée. Chapitre 7 Montage dans Final Cut Pro 157 I Affichage d’informations relatives au film dans la fenêtre Propriétés de l’élément L’onglet Film de la fenêtre Propriétés de l’élément contient les informations relatives au film de chaque plan. Pour afficher des informations relatives au film dans la fenêtre Propriétés de l’élément : 1 Sélectionnez un plan dans le Navigateur. 2 Procédez de l’une des manières suivantes :  Choisissez Édition > Propriétés de l’élément > Film.  Cliquez tout en maintenant la touche Contrôle enfoncée sur le plan, puis choisissez Propriétés de l’élément > Film dans le menu contextuel.  Appuyez sur Commande + ç pour ouvrir la fenêtre Propriétés de l’élément, puis cliquez sur l’onglet Film. Remarque : les commentaires ajoutés à un enregistrement dans Cinema Tools ou à un enregistrement dans un fichier de liste télécinéma apparaissent dans la ligne Take Note. Affichage d’informations relatives au film dans le Navigateur Vous pouvez ajouter des colonnes au Navigateur pour afficher les informations relatives au film dont vous avez besoin. Pour ajouter des colonnes au Navigateur : m Cliquez tout en maintenant la touche Contrôle enfoncée sur l’en-tête la colonne devant laquelle vous souhaitez insérer la nouvelle colonne, puis choisissez la colonne à ajouter dans le menu contextuel. Consultez la documentation de Final Cut Pro pour en savoir plus sur l’organisation des colonnes dans le Navigateur. Remarque : les commentaires ajoutés à un enregistrement dans Cinema Tools ou à un enregistrement dans un fichier de liste télécinéma apparaissent dans la colonne Take Note. Affichage d’incrustations relatives au film dans le Visualiseur et le Canevas Vous pouvez configurer les incrustations du Visualiseur et du Canevas pour afficher le keycode et la codification manuelle d’un plan en plus du timecode. Pour afficher des incrustations relatives au film dans le Visualiseur et le Canevas : 1 Cliquez dans le Visualiseur ou le Canevas pour l’activer. 2 Choisissez Présentation > Afficher les incrustations (ou appuyez sur Option + Contrôle + W). 3 Pour configurer l’incrustation, choisissez Présentation > Incrustations de timecode pour afficher la liste des éléments que vous pouvez afficher. Cliquez sur l’élément souhaité pour l’afficher ou le masquer. (Des coches apparaissent en regard des éléments qui sont affichés.)158 Partie I Utilisation de Cinema Tools Affichage de numéros d’image basés sur le film Vous pouvez configurer le format d’affichage du timecode d’un projet en mode pieds+image, ce qui donne aux monteurs une façon plus familière de juger la longueur d’un projet. Ce réglage affecte l’affichage du temps dans le haut de la Chronologie ainsi que dans les champs pour le timecode, dans le haut du Visualiseur et du Canevas. Pour configurer un projet de façon à afficher le timecode en mode pieds+image : 1 Sélectionnez l’onglet Project dans le Navigateur. 2 Choisissez Édition > Propriétés du projet. La fenêtre Propriétés du projet apparaît. 3 Choisissez Pieds+images dans le menu local Affichage du temps. 4 Choisissez le format de film dans le menu local Standard de film par défaut. Le format de film détermine le nombre d’images par pied. Important : pour vous assurer que les bonnes listes de film seront exportées, vérifiez que ce réglage correspond bien au format de film défini dans la base de données Cinema Tools. Consultez la documentation de Final Cut Pro pour en savoir plus sur la fenêtre Propriétés du projet. Vous pouvez aussi contrôler l’affichage du timecode dans la Chronologie, le Visualiseur et le Canevas séparément. Pour modifier l’affichage du timecode dans la Chronologie, le Visualiseur ou le Canevas : m Cliquez tout en maintenant la touche Contrôle enfoncée dans un champ de timecode, dans la fenêtre dont vous souhaitez modifier l’affichage du timecode, puis choisissez le mode souhaité dans le menu contextuel. Cela affecte les champs de timecode qui se trouvent dans le haut du Visualiseur et du Canevas ainsi que les champs de timecode des onglets du Visualiseur. Pour la Chronologie, cela affecte le timecode affiché dans le haut de la fenêtre ainsi que le champ Timecode actuel. Le timecode est affiché dans l’éditeur de transition et cela affecte aussi les fenêtres Ajustage.Chapitre 7 Montage dans Final Cut Pro 159 I Important : les valeurs de pieds et d’image qui sont affichées diffèrent du keycode et de la codification manuelle. Les valeurs de pieds et d’image commencent toujours à 0000+00 au début de la séquence ou du plan. Lorsque vous utilisez le mode d’affichage du timecode Feet+Frame, vous pouvez saisir des valeurs aux endroits où vous pouvez saisir des valeurs de timecode. Par exemple, vous pouvez saisir une valeur dans le champ Current Timecode du Visualiseur pour positionner la tête de lecture dans la Chronologie. Pour être sûr que le nombre que vous avez saisi est correctement interprété par Final Cut Pro, utilisez l’un des caractères suivants pour séparer les valeurs de pieds et d’images : signe plus (+), esperluette (&), point (.) ou virgule (,). Ouverture de plans Final Cut Pro dans Cinema Tools Vous ne pouvez pas modifier des éléments directement dans une base de données Cinema Tools pendant que vous êtes dans Final Cut Pro. Vous pouvez toutefois ouvrir un plan dans Cinema Tools à partir de Final Cut Pro pour apporter des modifications à l’enregistrement de base de données de ce plan. Une fois que c’est fait, vous devez synchroniser ce plan afin que les modifications apparaissent dans Final Cut Pro. Pour ouvrir un plan dans Cinema Tools à partir de Final Cut Pro : 1 Sélectionnez un plan ou un groupe de plans dans le Navigateur . 2 Choisissez Présentation > Ouvrir dans Cinema Tools. Le plan s’ouvre dans une fenêtre Cinema Tools Clip. Si vous avez sélectionné plusieurs plans, chacun s’ouvre dans sa propre fenêtre Clip. Toute modification que vous apportez, comme, par exemple, à un numéro de bobine de caméra, est ajoutée à l’enregistrement de base de données du plan. Une fois que vous avez fini d’apporter des modifications, vous pouvez synchroniser les plans dans Final Cut Pro avec la base de données Cinema Tools modifiée. Consultez la section « Synchronisation de plans Final Cut Pro avec Cinema Tools » à la page 155 pour en savoir plus. Restrictions concernant l’utilisation de pistes multiples Final Cut Pro vous permet de réaliser des montages sur des pistes audio et vidéo multiples. Bien qu’il y ait des avantages à utiliser de nombreuses pistes, il faut garder certaines restrictions à l’esprit lorsque vous utilisez Final Cut Pro avec Cinema Tools :  Lorsque vous exportez vos listes de film, vous spécifiez la piste vidéo sur laquelle la liste doit être basée. Si vous avez mis des titres et des images superposées sur une seconde piste vidéo, vous devez exporter une seconde liste de film contenant ces informations.  Si vous devez exporter une liste EDL audio, vous devez restreindre l’audio aux huit premières pistes de la timeline de Final Cut Pro. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour en savoir plus.160 Partie I Utilisation de Cinema Tools Utilisation d’effets, de filtres et de transitions Final Cut Pro provides extensive effects capabilities for video, including common film effects such as dissolves, wipes, motion effects, and titles. Lorsque vous comptez terminer votre projet sur pellicule souvenez-vous que ces effets doivent être recréés sur pellicule, mais vous pouvez néanmoins utiliser Final Cut Pro lors du processus de création pour choisir et essayer les effets souhaités. Les effets et les transitions des films montés numériquement sont en général effectués des différentes façons suivantes (en raison de la nature très évolutive de l’industrie du cinéma, votre expérience de la chose est peut-être différente) :  Transitions, titres et animations de base : ces effets sont habituellement recréés dans des studios, spécialisés dans le tirage optique ou par contact, qui utilisent les instructions contenues dans une liste de film générée par Cinema Tools. Certains types de transitions peuvent être créés à l’aide de la méthode du tirage par contact (parfois appelé tirage A/B roll ), où le support d’émulsion du négatif original et la pellicule sont en contact pendant que le film original est projeté sur le nouveau tirage. Les transitions, titres et animations peuvent aussi être réalisés par tirage optique, où les effets sont générés par un procédé de manipulation et de projection du négatif original sur une autre pellicule à travers la lentille d’une tireuse optique. Ce processus est souvent appelé création d’effets d’optique.. Certains facteurs de décision pour le choix entre le tirage optique et le tirage par contact sont détaillés dans la section « Tirage par contact et tirage optique » à la page 163.  Effets complexes nécessitant du compositing : les effets tels que le fond bleu et les animations peuvent être recréés numériquement en haute définition sur une station de travail numérique de pointe, puis appliqués sur le film grâce à un enregistreur sur film numérique. Cette méthode est parfois appelée méthode film-numérique-film. Le négatif de caméra original est d’abord numérisé, puis la copie numérique résultant de la numérisation est importée dans un poste de travail de film numérique et les effets spéciaux y sont créés avant d’être réenregistrés sur film. Certains laboratoires d’effets numériques offrent ce service en utilisant votre liste de film comme référence pour déterminer l’emplacement et la durée des effets d’animation et de compositing en surimpression tels que les fonds bleus. La méthode film-numérique-film peut donner de très bons résultats, mais il est important de savoir qu’elle peut s’avérer beaucoup plus chère que la méthode de tirage optique.  Effets impliquant des filtres et une correction de couleur : la restauration de films numériques et la suppression des artefacts sont d’autres types de manipulations numériques pour lesquelles la méthode film-numérique-film est utilisée. Les manipulations numériques de ce genre sont documentées dans la liste des effets de filtre, qui fait partie de la liste optique. Toutes les corrections de couleur et effets de type filtre effectués dans le film fini sont créés par un spécialiste dans un atelier de tirage de films ou à l’aide de la méthode film-numérique-film. Vous pouvez travailler directement avec un spécialiste de la couleur (souvent désigné par le terme anglais de color timer) pour effectuer l’étalonnage de votre film.Chapitre 7 Montage dans Final Cut Pro 161 I Ajout de titres, de surimpressions et de transitions Le flux de production suivant illustre la façon dont des effets, de surimpressions (d’images superposées) et des transitions peuvent être ajoutées à un film monté dans Final Cut Pro. Cette description est très succincte et comprend des étapes d’intégration d’effets optiques et d’effets de tirage par contact, mais vous ne pouvez utiliser que l’une ou l’autre des deux méthodes. Important : l’évolution très rapide de ce secteur et la variété des possibilités offertes font que la méthode de travail la mieux adaptée pour vous n’est pas forcément celle qui suit. Renseignez-vous auprès de votre laboratoire pour obtenir des informations les plus précises et les conseils les mieux adaptés à votre cas personnel. Étape 1: assurez-vous que votre laboratoire répond à vos besoins et qu’il peut vous assister Si votre budget le permet, il est conseillé de consulter le laboratoire (l’atelier d’effets spéciaux ou tout autre atelier qui tirera vos effets) avant le montage pour voir ce qu’il peut offrir. Souvent, les laboratoires disposent d’effets standard parmi lesquels vous pouvez faire votre choix, les effets personnalisés pouvant coûter nettement plus cher ou ne pas être disponibles. Le laboratoire peut aussi vous expliquer ce que vous devrez fournir exactement. Étape 2: créations d’effets et de transitions dans Final Cut Pro Vous avez intérêt à faire différentes expérimentations en termes de styles et de durées dans Final Cut Pro. Cela vous permettra de communiquer avec précision vos besoins à votre laboratoire. Comme vous pouvez exporter une liste de conformation distincte pour chaque piste vidéo, vous pouvez ajouter des titres et des images superposées à plusieurs pistes vidéo, comme versions alternatives par exemple, et choisir laquelle inclure dans la liste de film à exporter. Étape 3: exportation d’une liste de film Une fois que vous avez terminé votre montage, exportez une liste de film en suivant la procédure décrite dans le chapitre 8, « Création de listes de film et de listes de modification », à la page 167. La liste de film peut contenir plusieurs types de listes différents. La liste optique contient la description des effets de transition, de filtre et de mouvement. Vous devrez aussi exporter une liste de film pour chaque piste vidéo contenant des titres ou des images superposées. Si vous avez l’intention de créer toutes vos transitions par contact au lieu de créer des effets d’optique, sélectionnez « Toutes des cuts » dans le menu local Transitions. Consultez également la section « Répartition des transitions entre le tirage par contact et le tirage optique » à la page 164.162 Partie I Utilisation de Cinema Tools Étape 4: (tirage optique) confiez la liste de film et les images appropriées au laboratoire Si vos effets et vos transitions sont créés via la méthode optique, le laboratoire utilise les spécifications et les descriptions de votre liste de film pour créer les effets d’optique. Le laboratoire a besoin des bonnes séquences de film pour créer les effets d’optique. Il se peut que le laboratoire de trucage optique vous demande de fournir des intermédiaires positifs ou que le laboratoire les imprime. Il se peut que le laboratoire vous demande aussi une bande vidéo de votre film comme référence. Si vous avez réalisé une copie de travail, vous pouvez la fournir comme référence au laboratoire ou lui donner une copie couleur (un « internégatif ») des parties de la copie de travail qui contiennent les effets d’optique. Toutes ces options peuvent faire l’objet d’une discussion préalable entre le laboratoire et vous. Étape 5: (tirage optique) effectuez le transfert des effets d’optique par télécinéma, ajoutez-les à la base de données, capturez-les dans votre séquence, puis exportez une cut list Si vous décidez de créer des effets d’optiques pour votre film, cette étape est idéale car elle fournit une cut list qui détaille très précisément les effets d’optique et elle vous permet de visualiser les effets dans votre séquence afin de voir s’ils vous conviennent. Par contre, si vous disposez d’une copie de travail, le monteur négatif pourra l’utiliser comme guide pour découper les effets d’optique de votre film afin que vous n’ayez pas à les transférer sur bande vidéo ni à créer une nouvelle cut list. N’oubliez pas de demander à votre monteur négatif ce dont il a besoin. À propos des interpositifs Le métrage d’origine étant négatif, toute la pellicule doit être développée à partir d’images négatives afin d’obtenir une image positive normale. Cela signifie que vos effets d’optique doivent être négatifs lorsqu’ils sont collés sur votre négatif original. Le laboratoire optique utilise habituellement un tirage à faible contraste des parties correspondantes du négatif original, appelé interpositif, comme source à partir de laquelle sont assemblés les effets d’optique. Une fois que les effets d’optique ont été assemblés à partir de l’interpositif, ils sont développés comme des effets d’optiques négatifs qui peuvent être collés sur le négatif original. D’habitude, avant la création de l’interpositif final, un ou plusieurs tirages de test sont réalisés avec l’aide d’un spécialiste de la couleur pour trouver la combinaison d’exposition et de balance de couleurs idéale. Remarque : dans certains cas, lorsque les effets d’optique nécessitent une image très stable (comme dans le cas d’images sous du texte), un interpositif de calage est nécessaire. L’utilisation d’un interpositif de calage diminue le flottement latéral indésirable de la pellicule dans le cadre de la lentille de la tireuse optique. Le laboratoire d’effets optiques vous indiquera si un interpositif de calage est nécessaire. Chapitre 7 Montage dans Final Cut Pro 163 I Étape 6: (tirage optique) confiez le négatif optique au monteur négatif À partir du moment où vous avez visionné les effets d’optique et que vous en êtes satisfait, confiez le négatif optique, le négatif original et la liste de film complète au monteur négatif. Grâce à la liste de film (et à la copie de travail éventuelle), le monteur négatif pourra couper et coller les effets dans votre film. Étape 7: (tirage par contact) confiez la liste de film à la personne chargée du tirage par contact Lorsque le négatif conformé est prêt à être imprimé sur tireuse par contact, assurezvous que le technicien a reçu une liste de film contenant des informations sur les titres, les images superposées et les transitions à inclure dans le film. Remarque : le monteur négatif établit une liste des repères de tirage, incluant les transitions, cette liste est ensuite confiée au tireur avec le négatif original découpé. Tirage par contact et tirage optique Le choix entre le tirage par contact et le tirage optique dépend de plusieurs facteurs. Il est possible d’utiliser une méthode pour créer certains effets et l’autre méthode pour en créer d’autres. Voici les éléments à prendre en compte :  Conservation du métrage original : le tirage par contact implique la découpe et le collage du négatif original. Le tirage optique aboutit de fait à la création d’un nouveau négatif, ce qui permet de réutiliser le métrage original.  Prévisualisation : si vos transitions sont imprimées par un imprimeur par contact, vous ne pouvez pas voir les transitions finies avant le montage du négatif, mais si elles sont imprimées sur une tireuse optique, vous pouvez. Une fois sur pellicule, il se peut que les transitions et les effets n’apparaissent pas exactement tels qu’ils étaient sur votre système de montage numérique. Pour avoir une idée exacte de l’aspect que prendra une transition une fois le film terminé, faites-la réaliser par la méthode optique avant de finaliser le montage. Transférez ensuite l’effet d’optique sur bande vidéo. Il est possible d’effectuer le montage de l’effet transféré dans votre programme numérique afin de le prévisualiser.  Coût : si vous avez des transitions de longueur standard et si ces dernières sont nombreuses, cela vous coûtera sans doute moins cher de les tirer sur une tireuse par contact. Alors que le tirage optique offre l’avantage de donner un nouveau négatif que vous pouvez monter dans votre programme numérique pour voir à quoi il ressemble et inclure dans votre liste de conformation, le négatif du tirage optique doit d’abord être transféré sur vidéo pour un coût supplémentaire. Il est judicieux de comparer les coûts des différentes méthodes de réalisation de vos transitions. 164 Partie I Utilisation de Cinema Tools  Longueur : à l’inverse du tirage optique, le tirage par contact impose une longueur de transition standard. Cinema Tools identifie les longueurs standard pour les données à 24 ips ou 23,98 ips comme des durées de 16, 24, 32, 48, 64 et 96 images. Cinema Tools identifie les longueurs standard pour les données à 29,97 ips sous la forme d’une « durée » de 20, 30, 40, 60, 80 ou 120 images. (Vérifiez les longueurs standard requises pour les différentes fréquences d’image avec votre imprimeur par contact.) Comparaison des devis Pour obtenir des devis afin de comparer les coûts du tirage par contact et du tirage optique, vous devez exporter deux versions de la liste de film. Pour exporter différentes listes de film à donner aux tireurs pour l’obtention de devis : 1 Dans la zone de dialogue Exporter les listes de film, choisissez « Toutes des cuts » dans le menu local Transitions pour exporter une liste de film pour un devis de tirage par contact. 2 Après l’exportation, sélectionnez « Toutes des trucages optiques » dans le menu local Transitions pour exporter une liste film destinée à à obtenir un devis pour le tirage optique. Répartition des transitions entre le tirage par contact et le tirage optique Vous pouvez faire créer les transitions de longueur standard par un imprimeur par contact et le reste des transitions sous la forme d’effets d’optique. Pour ce faire, vous devez exporter une liste de film dans laquelle les transitions de longueur standard sont répertoriées comme coupes pour le tirage par contact et les transitions de longueur non standard sont répertoriées comme effets d’optique.Chapitre 7 Montage dans Final Cut Pro 165 I Pour exporter une liste de film prenant en charge à la fois le tirage par contact et le tirage optique : m Dans la zone de dialogue Exporter les listes de films, choisissez « Les standards sont des cuts » dans le menu local Transitions. Pour plus de renseignements sur la création d’une liste de film, consultez la section « Exportation de listes de film à l’aide de Final Cut Pro » à la page 174. Détection des usages multiples des plans sources Cinema Tools permet de détecter les utilisations multiples du même élément source dans votre séquence montée. Ce suivi est nécessaire pour deux raisons :  Si vous voulez utiliser le même contenu source plus d’une fois dans votre projet : vous pouvez exporter une liste des contretypes et la fournir au laboratoire dans le cadre d’une commande de contretype négatif.  Si vous ne voulez pas dépenser d’argent pour la création d’un contretype négatif : vous devez faire attention à ne pas utiliser le même contenu plus d’une fois lors du montage car vous ne disposez que d’un seul négatif de caméra original. Lors d’un montage numérique, il est tellement facile d’utiliser plusieurs fois un même élément source que vous risquez de ne pas vous en rendre compte, Cinema Tools vous offre toutefois la possibilité de vérifier régulièrement de telles utilisations multiples. Lorsqu’il détermine si certaines images ont été utilisées plus d’une fois, Cinema Tools part du principe qu’au moins la moitié d’une image sera perdu au point d’entrée et au point de sortie de chaque coupe du film à cause du collage de bobine A et B typique. Cinema Tools, désigne ces images sous le nom cut handles (images de transition). Some negative cutters may want to use more than a half-frame on each side of a cut. Dans la zone de dialogue Export Film Lists, vous pouvez spécifier jusqu’à cinq images et demi d’images de transition. Si vous incorporez par accident dans une séquence des images requises comme images de transition, Cinema Tools les signale comme doublons dans la liste des doublons et dans les avertissements en cas de doublons.166 Partie I Utilisation de Cinema Tools Il est important de rechercher les utilisations multiples avant de finaliser l’image et de préparer le montage du négatif original. Pour apprendre comment exporter une liste des doublons et inclure des informations sur l’utilisation de doublons dans une liste de film, consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167. Si vous montez votre projet en plusieurs séquences (par exemple, une séquence par bobine), il est recommandé de rassembler toutes les séquences avant d’exporter une liste des doublons. De cette manière, Cinema Tools sera en mesure de rechercher les utilisations multiples dans la totalité du projet. Le plus facile, c’est de placer toutes les séquences dans une séquence imbriquée avant de produire une liste des doublons. Cependant, si vous avez l’intention d’exporter une liste de film, n’imbriquez pas une partie de séquence dans une autre séquence. Seule l’imbrication de séquence entière est prise en charge lorsque vous exportez une liste Cinema Tools. Consultez la documentation de Final Cut Pro pour des informations sur la création de séquences imbriquées. Exactitude des listes de conformation lors du montage de vidéo pulldown 3:2 ou 24 & 1 Avec la vidéo NTSC pulldown 3:2 ou la vidéo PAL 24 & 1 (également appelée vidéo pulldown 24 @ 25 dans Final Cut Pro), toute image de film remise en correspondance à partir de vos coupes peut en fait être située juste avant ou juste après le point de montage original. (Vous trouverez des explications plus complètes à la section « Infos générales sur la vitesse de défilement des images » à la page 23.) Avec la vidéo NTSC pulldown 3:2, vous pouvez éviter de telles imprécisions de remise en correspondance en utilisant la fonction Cinema Tools Reverse Telecine ou du matériel de télécinéma inverse de tierce partie pour inverser le pulldown télécinéma 3:2 avant de commencer le montage. Si vous n’avez pas inversé le pulldown 3:2 en vidéo NTSC (ou si vous travaillez en vidéo PAL 24 & 1), vous pouvez toujours éviter les imprécisions de liste de conformation en soignant le montage. L’objectif étant que pour chaque plan, l’image montrant le clap, ou la dernière image du plan précédent, n’apparaisse pas dans le film terminé :  Lorsque vous déterminez des points de coupe dans un plan, veillez à ne pas placer le point d’entrée sur la première image valable du plan (ou le point de sortie sur la dernière image). En d’autres termes, fixez le point d’entrée à au moins une image après le début de votre plan et le point de sortie à au moins une image avant la dernière image du plan.  Si vous devez faire un raccord sur la première ou la dernière image d’un plan, notez le numéro de bord de la fenêtre d’affichage, puis vérifiez la cut list plus tard pour confirmer que le numéro de bord est identique dans la cut list.  Évitez de placer des points de sortie ou d’entrée à des images possédant deux champs provenant de deux images différentes du film. Ne placez pas un raccord sur une image BC ou CD par exemple. 8 167 8 Création de listes de film et de listes de modification Cinema Tools vous permet de créer différentes listes relatives à votre projet de montage. Une fois que vous avez fini le montage et que vous êtes prêt pour le montage des négatifs de caméra originaux ou pour la conformation d’une copie de travail, le temps est venu d’exporter une liste de films. En utilisant les informations de la base de données, Cinema Tools convertit les modifications effectuées dans Final Cut Pro en informations pourvant servir de guide à un monteur de film. Ces informations sont fournies sous la forme d’une cut list. De nombreuses autres listes utiles pour le film peuvent être exportées avec la cut list. Toutes ces listes, y compris la cut list, sont appelées listes de film. Un fichier de liste de film peut contenir plusieurs listes associées, comme par exemple les listes suivantes :  liste de coupe : liste des informations de montage et de titrage (on parle aussi de liste d’assemblage) ;  liste des éléments manquants : liste contenant les informations nécessaires introuvables dans la base de données ;  liste des doublons : liste des utilisations multiples d’une même source ;  liste optique : liste destinée aux effets spéciaux, décrivant les transitions, les filtres et les effets de mouvement ;  liste Pull : liste destinée à aider le laboratoire à tirer les négatifs dont il a besoin ;  liste des scènes : liste de toutes les scènes utilisées dans votre projet et des plans utilisés pour les effets d’optique. Vous pouvez créer une autre sorte de liste appelée liste des modifications, après la création d’une première cut list. La liste des modifications part du principe qu’une copie de travail a été montée selon les spécifications de la liste de conformation (ou de la liste de modifications antérieure) et elle indique d’autres modifications à apporter à la copie de travail en fonction des modifications que vous avez apportées à la séquence dans Final Cut Pro. Pour plus de renseignements sur la création de listes de modification, consultez la section « Création de listes de modification » à la page 182.168 Partie I Utilisation de Cinema Tools Sélection du format de liste Cinema Tools propose deux formats pour l’exportation des listes :  Fichier PDF : format permettant une visualisation aisée contenant uniquement les informations que vous spécifiez  Fichier XML : format pour l’utilisation avec un autre logiciel contenant toutes les informations sur le film provenant de la séquence Consultez la section « Exportation de listes de film à l’aide de Final Cut Pro » à la page 174 pour des informations sur la création de listes de film PDF et XML à l’aide de Final Cut Pro et la section « Création de listes de film basées sur une liste EDL ou un fichier XML » à la page 199 pour des informations sur la création de listes de film à l’aide de Cinema Tools. Remarque : Cinema Tools ne prend plus en charge l’exportation de listes de film au format Texte. À propos des listes de film au format PDF L’exportation d’une liste de film au format PDF crée un fichier pouvant être ouvert dans Aperçu ou dans tout autre visualiseur PDF. Vous pouvez choisir les éléments qui doivent figurer dans la liste et même en déterminer l’ordre. ? Astuce : bien qu’il ne soit pas possible de modifier directement le texte d’un fichier PDF lorsqu’il est visualisé à l’aide de l’application Aperçu, vous pouvez utiliser l’outil d’annotation d’Aperçu pour ajouter vos commentaires. Pour plus d’informations, reportez-vous à l’Aide Aperçu. À propos des listes de film au format XML L’exportation d’une liste de film au format XML crée un fichier contenant toutes les informations relatives au film provenant de la séquence Final Cut Pro. Important : les listes de film au format XML ne sont pas liées aux autres fichiers XML que l’on peut exporter à partir de Final Cut Pro. Contrairement aux listes de film au format PDF, les listes de film au format XML ne sont pas conçues pour une impression aisée ni pour la lecture par des humains. Le format XML est destiné à l’échange d’informations entre applications logicielles. La raison d’être des listes de film au format XML est de fournir toutes les informations sur une séquence Final Cut Pro dans un format que l’utilisateur peut importer dans un autre logiciel personnalisé utilisé dans la flux de production du film. Remarque : vous pouvez ouvrir une liste de film au format XML dans un éditeur de Texte, comme, par exemple, TextEdit, pour voir la structure et les informations qu’elle contient. Chapitre 8 Création de listes de film et de listes de modification 169 I Listes que vous pouvez exporter Vous pouvez exporter une grande variété de listes très utiles à l’aide des zones de dialogue Export Film Lists et Export XML Film Lists. Lorsque vous exportez une liste de film, un seul fichier de liste de film contenant toutes les listes sélectionnées dans la zone de dialogue est généré. Toute liste non sélectionnée ne sera pas incluse dans le fichier de liste de film exporté. Remarque : toutes les listes que vous exportez dans la liste de film sont basées sur la piste vidéo que vous avez sélectionnée dans le menu local Track. Vous pouvez sélectionner une autre piste et exporter une seconde liste si nécessaire. Par exemple, si votre séquence contient des titres (y compris d’éventuelles images superposées) sur la piste vidéo 2, vous pouvez exporter une seconde liste de film contenant les informations de montage de ces derniers. Cela permet de configurer des pistes de titrage alternatives et d’exporter des listes de film pour chacune des versions. Cut list La première liste que vous pouvez sélectionner pour l’exporter est la cut list (liste de conformation). La liste de conformation que vous exportez depuis Final Cut Pro est la liste contenant les instructions de montage du négatif d’origine ou de la copie de travail, afin qu’il ou elle corresponde au montage numérique. On appelle également ces listes des listes d’assemblage. Liste des éléments manquants : La liste des éléments manquants répertorie tous les plans d’une séquence pour lesquels soit aucun enregistrement correspondant n’a été trouvé dans la base de données, soit les informations sont incomplètes. Il est important d’exporter et d’examiner la liste des éléments manquants afin de s’assurer qu’aucun élément ne manque avant que le monteur négatif ne commence la conformation du négatif. L’élément manquant est spécifié pour chaque plan apparaissant dans la liste des éléments manquants. Le numéro de plan pour lequel ce plan apparaît dans la cut list est indiqué sur une ligne distincte. Si un des éléments suivants vient à manquer, il apparaîtra dans la liste des éléments manquants :  Laboratoire, caméra ou bobine journalière.  Numéro de clé ou codification manuelle. De plus, chaque plan source doit être connecté à un enregistrement, sauf si vous utilisez la méthode de création de cut list basée sur le timecode (consultez la section « Gain de temps potentiel lors du transfert camera-roll » à la page 73). Pour utiliser la méthode de création de cut list basée sur le timecode, chaque enregistrement doit également inclure les éléments suivants :  video reel  timecode et durée170 Partie I Utilisation de Cinema Tools Traitement des éléments manquants Le traitement d’un élément manquant consiste soit à trouver, s’il existe, l’enregistrement de base de données correspondant et à compléter les informations manquantes, soit à créer un nouvel enregistrement dans la base de données s’il n’y en a pas. Pour localiser l’enregistrement, deux méthodes sont possibles. Si le nom du plan figure dans la liste des éléments manquants : Vous pouvez utilisez ce nom pour rechercher le plan dans la fenêtre List View. Dans la fenêtre List View, cliquez sur Clip pour trier les enregistrements par nom de plan. Ou, si le nom du plan contient son identifiant de scène, vous pouvez utiliser la commande Find pour rechercher le plan par l’identifiant de scène. Si aucun enregistrement correspondant au plan n’est trouvé, créez-en un, puis connectez-y le plan. Utilisez la fonction Identify de la fenêtre Clip pour saisir les informations requises. Si la bande vidéo et le timecode figurent dans la liste des éléments manquants : Vous pouvez utiliser la bande vidéo et le timecode pour rechercher l’enregistrement de base de données existant du plan. Dans la fenêtre List View, choisissez Video dans le menu local du haut de la fenêtre. Cliquez sur Reel ou sur Timecode pour trier les enregistrements par bande vidéo ou par timecode. Recherchez la bande vidéo ou la valeur de timecode manquante (ou une valeur de timecode similaire). N’oubliez pas que la valeur de timecode qui figure dans la liste des éléments manquants ne correspond généralement pas exactement à l’enregistrement de base de données parce que la valeur de timecode de la base de données correspond à la première image du plan. Vous aurez trouvé l’enregistrement de base de données recherché si la valeur de timecode de la liste des éléments manquants apparaît avant la fin de la durée de timecode spécifiée dans l enregistrement de base de données. Remarque : n’oubliez pas que le nom de bande vidéo doit apparaître exactement tel qu’il est dans la liste des éléments manquants. Par exemple, la bande « 001 » ne correspond pas à la bande « 0001. »  Si vous trouvez la valeur de timecode, mais si le nom de la bande vidéo ne correspond pas à celle qui figure dans la liste des éléments manquants : mettez à jour le nom de la bande dans l’enregistrement de base de données ou modifiez-le dans Final Cut Pro.  Si le nom de la bande correspond à un ou plusieurs enregistrements de la base de données, mais si la liste des éléments manquants indique que l’enregistrement de base de données manque : le timecode est incorrect. La meilleure façon de résoudre ce problème est de créer un enregistrement dans la base de données et d’y connecter le plan source. Vous pouvez ensuite utiliser la fonction Identify pour déterminer et saisir le code de bordure et le timecode du plan. Si vous créez un enregistrement, supprimez l’enregistrement incorrect. Vous pouvez aussi mettre à jour les champs Video Timecode ou Video Duration de l’enregistrement, mais il vous faudra alors également mettre à jour les champs Key et Ink. Chapitre 8 Création de listes de film et de listes de modification 171 I Liste des doublons et avertissements en cas de doublons Lorsque l’on effectue un montage numérique, il est très facile d’inclure un plan ou une partie de plan plusieurs fois dans le montage. Lorsque cela se produit, vous devez soit créer un double du négatif soit remodifier le programme pour supprimer les doublons, parce que la séquence n’existe qu’une seule fois sur le négatif de caméra original. Mais vous devez d’abord savoir où les doublons se trouvent. C’est précisément à cela que servent la liste des doublons et les avertissements en cas de doublons. Liste des doublons La liste des doublons est le document que vous fournissez au laboratoire si vous souhaitez que ce dernier tire des plans spécifiques de vos bandes de négatif et et en fasse des doubles négatifs. Elle répertorie tous les plans utilisés plus d’une fois. Remarque : les éléments faisant partie d’effets d’optique ne sont pas considérés comme des utilisations multiples. Toutefois, placer une transition de fondu entre deux plans lorsqu’il n’y a pas d’autre séquence source entre les deux (comme, par exemple, deux plans qui constituaient un seul et même plan à l’origine) donne des doublons. Avertissements en cas de doublons Si vous choisissez le menu local « Warn from the Duplicates » dans la zone de dialogue Export Film Lists, un message d’avertissement apparaît à l’endroit des doublons dans la liste de conformation. Le message indique quelles images sont utilisées plus d’une fois et l’endroit exact où elles sont utilisées dans votre projet de montage. Tous ces messages figurent aussi dans la liste des avertissements de doublons. Liste optique La liste optique sert de liste principale pour les effets de transition, de filtre et de mouvement. Dans le cas d’une série de transitions et d’effets de mouvement connectés, la liste optique les combine et les décrit comme un seul effet d’optique. La liste optique est confiée aux services de réalisation d’effets afin de préciser la manière dont les plans à effets doivent être assemblés. Remarque : les titres, une sorte d’effet d’optique parmi d’autres, utilisent une seconde piste vidéo et ne figurent pas dans la liste optique. Vous pouvez exporter une liste de conformation distincte pour la piste qui contient les titres. Consultez la section « Utilisation d’effets, de filtres et de transitions » à la page 160 pour en savoir plus.172 Partie I Utilisation de Cinema Tools Une liste optique comporte en réalité jusqu’à quatre listes distinctes :  La liste optique : cette liste contient une entrée pour chaque événement de liste de conformation qui utilise un effet d’optique. En fonction du type d’effet d’optique, chaque entrée est liée à l’une des trois listes d’effets (voir description ci-après) qui composent la liste optique. Ces listes d’effets contiennent les détails des effets d’optique.  La liste des effets de transition : cette liste contient une entrée pour chaque entrée de liste optique qui contient un effet de transition tel qu’un fondu enchaîné ou un balayage. Consultez la section « Liste des effets de transition » à la page 172 pour en savoir plus.  La liste des effets de filtre : cette liste contient une entrée pour chaque entrée de liste optique qui contient un effet de filtre tel qu’un flou ou un étalonnage. Consultez la section « Liste des effets de filtre » à la page 173 pour en savoir plus.  La liste des effets de mouvement : cette liste contient une entrée pour chaque entrée de liste optique qui contient un effet de mouvement tel qu’une modification de vitesse par Time Remapping. Consultez la section « Liste des effets de mouvement » à la page 173 pour en savoir plus. Comment les entrées des listes sont liées Si une entrée de liste optique contient plusieurs types d’effets, comme un effet de transition, un effet de filtre et un effet de mouvement, l’entrée de liste optique n’est liée qu’à une seule des listes d’effets.  Si l’entrée de liste optique comprend un effet de transition : l’entrée est liée à une entrée de la liste des effets de transition. Si l’entrée de liste optique contient également un effet de filtre, l’entrée de la liste des effets de transition est liée à une entrée de la liste des effets de filtre qui, à son tour, est liée à une entrée de la liste d’effets de mouvement si un tel effet de mouvement est également utilisé.  Si l’entrée de liste optique contient uniquement un filtre et un effet de mouvement : l’entrée est liée à une entrée de la liste des effets de filtre, qui est liée à une entrée de la liste d’effets de mouvement.  Si l’entrée de liste optique contient uniquement un effet de mouvement : l’entrée est liée directement à une entrée de la liste des effets de mouvement. Chaque entrée de la liste d’effets contient le numéro d’entrée de liste optique original, ainsi que le numéro de l’événement de liste de conformation original auquel l’entrée s’applique, ce qui permet de relier facilement les différentes listes entre elles. Liste des effets de transition La liste des effets de transition contient des informations sur les fondus, les fondus enchaînés et les autres transitions provenant de votre programme monté. Les transitions peuvent être traitées comme des coupes ou comme des effets d’optique, selon ce que vous choisissez dans le menu local Transitions dans la zone de dialogue Export Film Lists. Si vous décidez de traiter toutes les transitions comme des coupes, la liste des effets de transition sera vide et les transitions seront détaillées comme des coupes dans la cut list.Chapitre 8 Création de listes de film et de listes de modification 173 I Liste des effets de filtre La liste des effets de filtre contient des informations, comprenant le nom du filtre et sa catégorie, sur tous les effets de filtre appliqués à la séquence. Liste des effets de mouvement Si un plan a une vitesse différente de la vitesse avant normale de 24 ips, une entrée est créée dans la liste des effets de mouvement, tandis que la liste optique fait référence à la liste des effets de mouvement pour ce plan. Un système de montage numérique peut faire défiler un plan à n’importe quelle vitesse pour créer un effet de mouvement de façon numérique, mais ni la bande vidéo ni la pellicule ne peuvent reproduire toutes les vitesses de défilement d’un système de montage numérique. Par conséquent, sachez que les effets qui sont recréés sur le négatif ne ressembleront pas forcément aux effets de mouvement tels qu’ils apparaissaient dans le système de montage. Important : en raison des changements de vitesse de défilement qu’impliquent les effets de mouvement, les numéros de bord indiqués dans la liste des effets de mouvement ne seront pas forcément exacts. Si vous disposez d’une fenêtre d’affichage des numéros de bord, vous devriez vous assurer que les numéros de bord de la liste des effets de mouvement sont corrects et les corriger si nécessaire. Liste Pull La liste Pull est identique à la cut list mais les plans y sont répertoriés dans leur ordre d’apparition sur les bobines de négatif. Le laboratoire peut se baser sur la liste Pull en parcourant les bobines de négatif pour trouver les plans qui seront montés sur la pellicule. Chaque élément de la liste Pull affiche le numéro de plan de la cut list. Scene List La liste des scènes répertorie tous les plans utilisés dans la cut list, chaque plan n’y apparaissant qu’une fois. Il est possible d’utiliser la liste des scènes pour commander des retirages de plans de votre programme afin de pouvoir conformer une copie de travail avant le découpage du négatif. Liste des scènes optiques Si vous sélectionnez « Optical list » et « Scene list » dans la zone de dialogue Export Film Lists, une liste des scènes optiques est générée en même temps que la liste des scènes. La liste des scènes optiques est une liste de tous les plans utilisés dans l’ensemble des effets d’optique et de mouvement, chaque plan n’y apparaît qu’une fois. Le laboratoire peut utiliser cette liste pour tirer les images nécessaires à la réalisation des effets.174 Partie I Utilisation de Cinema Tools Exportation de listes de film à l’aide de Final Cut Pro Dans la plupart des situations, vous utiliserez Final Cut Pro pour exporter les listes décrites ci-avant. Si vous disposez d’un fichier EDL, vous pouvez aussi exporter des listes de film directement à partir de Cinema Tools. Consultez la section « Création de listes de film basées sur une liste EDL ou un fichier XML » à la page 199 pour en savoir plus. Dans les deux cas, un fichier de liste de film XML ou PDF contenant toutes les listes que vous avez sélectionnées dans la zone de dialogue d’exportation est généré. Exportation de listes de film L’exportation de fichiers de liste de film fonctionne de la même manière pour les listes de film en format PDF et XML. Pour exporter un fichier de liste de film : 1 Dans le Navigateur ou la chronologie de Final Cut Pro, sélectionnez la séquence pour laquelle vous voulez créer une liste. 2 Procédez de l’une des manières suivantes :  Pour exporter un fichier de liste de film au format PDF : choisissez Fichier > Exporter > Listes de films Cinema Tools. La zone de dialogue Exporter les listes de films apparaît.Chapitre 8 Création de listes de film et de listes de modification 175 I  Pour exporter un fichier de liste de film au format XML : choisissez Fichier > Exporter > Listes de films XML Cinema Tools. La zone de dialogue Exporter les listes de film XML apparaît. 3 Définissez les réglages souhaités dans la zone de dialogue d’exportation, puis cliquez sur OK. Pour en savoir plus sur les réglages, consultez la section « Réglages communs aux deux zones de dialogue d’exportation » à la page 176. Si vous prévoyez d’apporter des modifications à la séquence Final Cut Pro et d’exporter une liste des modifications ultérieurement, sélectionnez « Enregistrer un fichier de programme Cinema Tools ». Vous aurez besoin de ce fichier de programme pour exporter une liste des modifications comparant cette version de la séquence à une autre version. 4 Si vous avez sélectionné « Enregistrer un fichier de programme Cinema Tools », tapez un nom de fichier et un emplacement pour ce fichier de programme dans la zone de dialogue qui s’affiche. 5 Dans la zone de dialogue suivante, tapez un nom de fichier pour la liste de film, sélectionnez un emplacement, puis cliquez sur Enregistrer. Important : donnez au fichier de programme un nom qui identifie clairement la séquence et la version, afin de pouvoir le localiser facilement plus tard lorsque vous devrez exporter une liste des modifications comparant cette séquence à la nouvelle version. 6 Dans la zone dialogue qui s’affiche, sélectionnez le fichier de base de données que Cinema Tools doit utiliser pour produire les listes que vous avez sélectionnées. (Sélectionnez la base de données que vous avez créée pour les plans sources utilisés dans la séquence.) Une liste de film est générée sous la forme d’un fichier contenant toutes les listes sélectionnées. Si vous avez exporté une liste au format PDF, elle s’ouvre automatiquement dans Aperçu (ou l’application que vous avez défini comme application par défaut pour l’ouverture des fichiers PDF). 176 Partie I Utilisation de Cinema Tools Après avoir exporté une liste de film, il est conseillé de comparer le code bordure (numé- ros de bord ou codification manuelle) de la liste de film au code de bordure de la fenêtre d’affichage à l’emplacement de l’image de point d’entrée de chaque point de montage. Bien que parcourir toutes les modifications et comparer les numéros de code de bordure prennent beaucoup de temps, cela permet d’éviter les pertes de temps et, partant, d’argent provoquées par des coupures incorrectes. Il est particulièrement important de vérifier les codes de bordure si vous ne procédez pas à la conformation d’une copie de travail avant de monter votre négatif. Réglages communs aux deux zones de dialogue d’exportation Les zones de dialogue Exporter les listes de films et Exporter les listes de film XML contiennent toutes les deux les réglages suivants pour la sélection et la configuration des listes. Consultez la section « Réglages de configuration PDF dans la zone de dialogue Exporter les listes de films » à la page 179 pour en savoir plus sur la configuration de listes de film PDF.  Titre de liste : tapez un nom pour le fichier de liste de film que vous allez exporter.  Format standard de film : sélectionnez le format de film correspondant à celui que vous utilisez. Ce format doit être identique au format de film spécifié lors de la création de la base de données du projet. Cinema Tools utilise le format de film sélectionné ici pour calculer le piétage de la cut list.  Vitesse de télécinéma : sélectionnez la vitesse à laquelle le film a été transféré :  Si vous travaillez avec la vidéo NTSC, vous optez généralement pour une vitesse télécinéma de 24 ips, alors que la vitesse télécinéma réelle était d’approximativement 23,98 ips.  Si vous avez monté de la vidéo NTSC transférée à 29,97 ips, sélectionnez 30 ips.  Si votre film a été transféré à 24 ips, sélectionnez 24 ips. Chapitre 8 Création de listes de film et de listes de modification 177 I  Si votre film a été transféré à 25 ips, sélectionnez 25 ips.  Doublons : il est possible d’être averti chaque fois qu’une utilisation multiple d’élé- ments sources est détectée. Si vous sélectionnez Warn, un message d’avertissement s’affiche dans la cut list à chaque utilisation multiple. Le message indique quelles images sont utilisées plus d’une fois et l’endroit exact où elles sont utilisées dans votre projet de montage. Tous ces messages figurent également dans une liste d’avertissements de doublons. Si vous sélectionnez Ignore, ces avertissements ne sont pas affichés.  Transitions : permet de choisir la manière dont les transitions sont répertoriées dans la liste de film. Consultez la section « Tirage par contact et tirage optique » à la page 163 pour en savoir plus. Vous avez trois possibilités :  Toutes des cuts : toutes les transitions sont représentées par une coupe au milieu de la transition, que les transitions soient ou non de longueur standard. Sélectionnez cette option si vous exportez une liste destinée à la conformation d’une copie de travail. Cinema Tools insère également des notes indiquant le début et la fin de la transition pour les plans d’ouverture et de fermeture. Ces notes peuvent servir de guide pour marquer les transitions sur la copie de travail conformée.  Les standards sont des cuts : les transitions de longueur standard sont répertoriées comme des coupes et les autres sont répertoriées comme des effets d’optique. Sélectionnez cette option si vos transitions sont destinées à être tirées par contact. Si vous choisissez cette option, les transitions de longueur standard apparaissent dans la liste de conformation, mais pas dans la liste optique, et sont affichées comme une coupure au milieu de la transition. Les points de début et de fin de la transition apparaissent également dans la cut list sous la forme de trois lignes pour un fondu enchaîné et de deux lignes pour un fondu. La cut list contient toutes les informations dont le monteur négatif a besoin pour préparer les bobines A et B pour ces transitions.  Toutes des trucages optiques : tous les plans faisant partie d’un fondu ou d’un fondu enchaîné sont répertoriés dans la liste optique. Sélectionnez cette option si vous souhaitez que tous vos fondus et vos fondus enchaînés soient réalisés par procédé optique, indépendamment de leur longueur. Définition des transitions de longueur standard par Cinema Tools Cinema Tools identifie les longueurs standard pour les données à 24 ips ou 23,98 ips comme des durées de 16, 24, 32, 48, 64 et 96 images. Cinema Tools identifie les longueurs standard pour les données à 29,97 ips sous la forme de « durées » de 20, 30, 40, 60, 80 et 120 images. (Vérifiez les longueurs standard requises pour les différentes fréquences d’image pour votre tireuse par contact.)178 Partie I Utilisation de Cinema Tools  Poignées : il est possible que le monteur négatif ou le studio de tirage optique souhaite disposer d’images de réserve de part et d’autre d’une transition. Dans Cinema Tools, ces images sont appelées transition handles (images de transition). Tapez un nombre compris entre 0 et 32. Lorsqu’il vérifie si des images sont utilisées plusieurs fois, Cinema Tools ajoute ce nombre d’images plus une moitié devant le plan entrant et derrière le plan sortant pour chaque transition. (Le paramètre choisi pour les images de coupes ne s’applique pas aux transitions.)  Poignées des cuts : lorsqu’il détermine si des images ont été utilisées plus d’une fois, Cinema Tools part du principe qu’au moins la moitié de l’image est détruite tant au point d’entrée qu’au point de sortie de chaque coupe. Certains monteurs peuvent vouloir utiliser plus qu’une demi-image de chaque côté d’une coupe. Vous pouvez spécifier jusqu’à cinq images et demie de transition. Si vous incorporez par accident dans une séquence des images requises comme poignée de cut, Cinema Tools les signale comme doublons dans la liste des doublons et les avertissements en cas de doublons.  Piste : vous pouvez choisir la piste vidéo sur laquelle vous souhaitez baser la liste exportée.  Métrage de début : saisissez le numéro de début à utiliser pour la valeur « Feet & frames » de la liste de film. La valeur par défaut est 0000+00.  Heure de début : saisissez le numéro de timecode de début pour la valeur Time de la liste de film. La valeur par défaut est la valeur de timecode de début de la séquence.  Compte de début : saisissez le numéro de comptage d’image de début pour la valeur Count de la liste de film. La valeur par défaut est 0000.  Enregistrer un fichier de programme Cinema Tools : un fichier de programme est essentiel si vous souhaitez créer ultérieurement pour cette séquence une liste des modifications qui reflétera les opérations de montage réalisées après ce stade. Astuces pour la saisie du point de départ Voici quelques astuces sur la façon d’utiliser les entrées « Début » :  Si vous générez une liste de conformation pour la conformation du négatif : vous voudrez sans doute commencer à zéro.  Si vous montez votre film scène par scène ou bande par bande : vous voudrez probablement saisir un point de départ identique au point de fin de la scène ou bande précédente dans les champs « Début ». Ce champ est complété automatiquement avec le point de départ de la séquence que vous avez définie dans la chronologie de Final Cut Pro.  Si vous voulez générer une liste de conformation avec timecode afin de pouvoir comparer des événements de la liste avec des modifications qui dans Final Cut Pro ou dans la EDL : commencez la liste de conformation à la même valeur de timecode que la séquence de la chronologie ou la date de début de la EDL. Chapitre 8 Création de listes de film et de listes de modification 179 I Un fichier de programme est également nécessaire si vous souhaitez exporter une liste EDL audio à partir de Cinema Tools. L’exportation d’une liste EDL audio depuis Final Cut Pro est plus automatisée et ne nécessite pas de fichier de programme Cinema Tools. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour en savoir plus.  Commencer avec 8 secondes d’amorce : indiquez si vous souhaitez commencer la liste de conformation avec 8 secondes d’amorce. Huit secondes constitue la durée standard de l’amorce Academy ou SMPTE. Si vous sélectionnez cette option, 8 secondes d’amorce sont insérées au début de la liste de conformation. Si un plan d’amorce est déjà inclu au début de la séquence, ne cochez pas cette case. (Il est préférable d’utiliser un plan d’amorce dans votre séquence plutôt que de sélectionner cette option dans la cut list car le timecode de la séquence numérique ne correspondra pas au timecode de la cut list, à moins qu’un plan d’amorce n’existe réellement dans la séquence.)  Cases à cocher Film list : sélectionnez les types de liste à inclure dans la liste de film à exporter.  Listes de cuts : sélectionnez cette option pour inclure une cut list. Les cut lists sont décrites à la section « Cut list » à la page 169.  Listes des doublons : sélectionnez cette option pour inclure une liste des doublons. Les listes des doublons sont décrites à la section « Liste des doublons et avertissements en cas de doublons » à la page 171.  Listes des trucages optiques : sélectionnez cette option pour inclure une liste optique. Les listes optiques sont décrites à la section « Liste optique » à la page 171.  Liste des épreuves : sélectionnez cette option pour inclure une liste Pull. Les listes Pull sont décrites à la section « Liste Pull » à la page 173.  Liste des scènes : sélectionnez cette option pour inclure une liste de scènes. Les listes de scènes sont décrites à la section « Scene List » à la page 173.  Liste des éléments manquants : sélectionnez cette option pour inclure une liste d’éléments manquants. Les listes d’éléments manquants sont décrites à la section « Liste des éléments manquants : » à la page 169. Réglages de configuration PDF dans la zone de dialogue Exporter les listes de films Lors de l’exportation d’une liste de film au format PDF, vous pouvez contrôler les éléments qui apparaissent dans la liste et leur ordre. Cela vous permet de créer une liste de film qui contient exactement les informations souhaitées. Pour configurer une liste de film PDF, effectuez l’une des opérations suivantes : m Faites glisser des éléments de la colonne de gauche vers la colonne de droite pour les ajouter à la liste. m Sélectionnez des éléments dans la colonne de droite et appuyez sur Supprimer pour les supprimer de la liste.180 Partie I Utilisation de Cinema Tools m Faites glisser des éléments vers le haut ou le bas dans la colonne de droite pour définir l’ordre d’apparition des éléments dans la liste de film PDF. La largeur de la liste de film PDF est limitée et il est possible d’ajouter des éléments qui n’apparaîtront pas dans la liste. En utilisant les réglages de la section Layout Options de la zone de dialogue Export Film Lists, vous pouvez personnaliser la mise en page des pages PDF et la taille de police pour pouvoir exporter plus de colonnes. Pour personnaliser la mise en page des pages PDF : 1 Choisissez Portrait ou Landscape dans le menu local Orientation. 2 Choisissez une taille de police dans le menu local Taille de la police. Il est possible d’enregistrer et de charger des fichiers de réglages comprenant la configuration des colonnes et les réglages d’orientation et de taille de police. De plus, la plupart des autres réglages de la zone de dialogue sont également enregistrés dans le fichier de réglages. Les seules exceptions sont les réglages Piste, Métrage de début, Heure de début et Compte de début. La possibilité d’enregistrer et de charger les fichiers de réglages de cette zone de dialogue simplifie la configuration de plusieurs systèmes Cinema Tools afin qu’ils utilisent la même configuration de listes pour l’exportation. Remarque : chaque zone de dialogue que vous utilisez pour exporter des listes de films et de modifications mémorise automatiquement les derniers réglages utilisés et se sert de ces réglages lors de son ouverture suivante. La colonne de droite énumère les éléments qui doivent apparaître dans la liste de film PDF, dans l’ordre. La colonne de gauche énumère tous les éléments pouvant apparaître dans la liste de film PDF.Chapitre 8 Création de listes de film et de listes de modification 181 I Pour enregistrer les réglages actuels : 1 Cliquez sur le bouton Save Settings. 2 Dans la zone de dialogue qui s’ouvre, saisissez un nom de fichier et un emplacement pour le fichier de réglages. 3 Cliquez sur Enregistrer. Pour charger un fichier de réglages : 1 Cliquez sur le bouton Load Settings. 2 Sélectionnez le fichier de réglages, puis cliquez sur Ouvrir. Voici la liste des éléments que vous pouvez faire figurer dans une liste de film PDF que vous exportez. Nom de l’élément Nom PDF Contenu Pieds et images Footage Piétage courant en commen- çant à la valeur Starting Footage Temps Time Timecode courant en commen- çant à la valeur Starting Time Comptage Count Numéro d’image courant en commençant à la valeur Starting Count Longueur métrage Longueur Longueur de chaque événement en pieds et images Longueur temps Longueur Longueur de chaque événement en timecode Longueur comptage Longueur Longueur de chaque événement en images Numéros de clés Prefix and Key Numéro de bord source de début de chaque événement Codification manuelle Prefix and Ink Codification manuelle de début de chaque événement Bande source Bande Numéro de la bande source Temps source Src Time Numéro de timecode de début de chaque événement Bobine de caméra Cam Roll Numéro de bobine de caméra Bobine de laboratoire Lab roll Numéro de bobine de laboratoire Bobine journalière Dly Roll Numéro de bobine journalière Nom du clip Clip name Nom du plan source Scène et prise Scene and Take Réglages de scène et prise182 Partie I Utilisation de Cinema Tools Création de listes de modification Une liste des modifications énumère les différences entre deux versions d’une même séquence montée dans Final Cut Pro. Sa raison d’être est la description des modifications apportées à la copie de travail ou au négatif depuis qu’elle ou il fut conformé(e) à une version antérieure de la séquence. Lorsque vous exportez un fichier de liste des modifications, vous pouvez aussi exporter une nouvelle liste de conformation (et d’autres listes de film) pour la séquence. Vous avez aussi la possibilité de générer une liste Pull de modification qui répertorie les bobines de film dans l’ordre où elles doivent être tirées afin d’ajouter de nouveaux extraits de film à la copie de travail. De plus, vous pouvez inclure une liste des éliminés reprenant les sections à supprimer. Remarque : seules les listes des modifications au format PDF sont prises en charge. Quand utilise-t-on des listes de modification ? Les listes de modification sont habituellement utilisées dans des processus de travail cycliques mettant en œuvre à la fois un montage numérique et des copies de travail. Plus de modifications nécessaires Final Cut Pro avec base de données Cinema Tools Montage de la séquence Conformation de la copie de travail à la liste de modifications Conformation de la copie de travail à la cut list Projection de la copie de travail Création de la copie de travail Conformation du négatif original à la cut list et à la copie de travail les plus récentes Transfert sur bande vidéo Exportation de la cut list Oui Non Exportation de la liste de modifications et de la cut list 1 2Chapitre 8 Création de listes de film et de listes de modification 183 I Voici un flux de production de liste des modifications typique : Étape 1 : faites une copie de travail du négatif de la caméra originale dans laquelle la codification manuelle est appliquée à la bordure et faites une vidéo de transfert télécinéma de la copie de travail Étape 2 : montez la vidéo de la copie de travail dans un système de montage numé- rique et exportez la liste de conformation (généralement basée sur la codification manuelle) à utiliser comme guide pour la conformation de la copie de travail Étape 3 : visionnez la copie de travail montée et décidez ce que vous allez ajouter ou couper au film Étape 4 : apportez toutes les modifications souhaitées au film dans le système de montage numérique Étape 5 : exportez une liste des modifications contenant des instructions sur la modification de la copie de travail pour la conformer à la nouvelle version du film Étape 6 : en utilisant la liste des modifications comme guide, conformez la copie de travail afin qu’elle corresponde à la nouvelle version du film Répétez les étapes 3 à 6 jusqu’à ce que le film soit verrouillé. Finalement, le négatif original est monté pour correspondre à la copie de travail et à la cut list finales. Exportation de listes des modifications à l’aide de Final Cut Pro L’exportation d’une liste des modifications est similaire à l’exportation d’une cut list. Notez ce qui suit avant de commencer :  Seules les premières pistes vidéo sont comparées : une liste des modifications décrit les différences entre la piste vidéo 1 d’une séquence et la piste vidéo 1 d’une autre séquence. Elle ne décrit pas d’autres pistes vidéo ou audio.  Évitez de modifier la base de données Cinema Tools entre deux exportations de listes de modification : lorsqu’une base de données est modifiée après l’exportation de la liste précédente, la nouvelle liste des modifications risque de ne pas être fiable. Toutefois, si vous avez modifié la base de données après l’exportation de la liste précédente, vous pouvez éliminer ce risque en exportant une nouvelle liste de conformation de la séquence précédente et en enregistrant un nouveau fichier de programme. Utilisez ensuite ce fichier de programme lorsque vous exportez la liste des modifications.  Si vous avez mis chaque bande dans une séquence distincte dans Final Cut Pro et souhaitez équilibrer des bandes : procédez à l’équilibrage des bandes après toutes les autres modifications. Consultez la section « Si vous devez équilibrer les bobines » à la page 186 pour en savoir plus.  Les listes des modifications utilisent le format contrairement aux listes de film, qui peuvent être soit au format PDF soit au format XML, les listes des modifications ne sont qu’au format PDF.184 Partie I Utilisation de Cinema Tools Remarque : consultez la section « Utilisation de la fonctionnalité d’exportation de liste de modifications depuis Cinema Tools » à la page 189 pour des informations sur l’exportation de listes des modifications à l’aide de Cinema Tools. Pour exporter une liste des modifications à l’aide de Final Cut Pro : 1 Dans Final Cut Pro, sélectionnez la nouvelle version de la séquence, puis choisissez Fichier > Exporter > Liste de modifications Cinema Tools. 2 Dans la zone de dialogue qui s’affiche, sélectionnez le fichier de programme (.pgm) que vous avez sauvegardé lorsque vous avez exporté une liste pour la version antérieure de la séquence. (Il contient des informations nécessaires sur la séquence précédente.) 3 Dans la zone de dialogue Exporter la Liste de modification qui apparaît, configurez les réglages, puis cliquez sur OK. À propos des listes de modification, des effets, des vides et des bandes-son Si vous ajoutez des effets de mouvement à un programme, un trucage optique devra être réalisé et la longueur de la portion de film concernée sera modifiée, la synchronisation s’en trouvera donc affectée. L’assistant réalisateur qui conforme la copie de travail doit savoir où placer des éléments de remplissage afin de conserver la synchronisation pendant la réalisation du trucage. C’est pourquoi Cinema Tools énumère les effets de mouvement dans la liste des modifications de la même façon que les information d’amorce. Pour les effets de mouvement, « Insert Leader » apparaît dans la colonne Do This, tandis que « Effect » est affiché dans la colonne First/Last Key. Les vides d’une séquence sont également décrits comme des amorces dans les listes de modification. Une liste des modifications ne fournit pas d’informations sur les transitions,les titres superposés, les filtres ni les bandes son. Cependant, pour vérifier si des transitions ou des surimpressions ont été modifiées ou ajoutées, il est possible d’exporter une cut list ou une liste optique pour chaque séquence et de comparer les listes. Ou bien, si vous marquez les transitions sur la copie de travail, il est possible d’exporter une cut list avec la liste des modifications, puis de faire passer la copie de travail conformée dans le synchronisateur, en notant le début ou la fin des transitions à différents endroits de la cut list. Chapitre 8 Création de listes de film et de listes de modification 185 I Consultez la section « Réglages dans la zone de dialogue Exporter la Liste de modifications » à la page 187 pour en savoir plus. Lorsque vous sélectionnez les listes de film dans la section Réglages de la zone de dialogue Exporter la Liste de modifications, le fichier de liste de modifications contient (outre les options de liste de modifications sélectionnées) le même contenu que si vous exportiez ces listes à l’aide de la zone de dialogue Exporter les listes de films. Remarque : gardez à l’esprit que les réglages suivants doivent être les mêmes pour les deux séquences que vous comparez : le format de film, la vitesse télécinéma, le fait que les numéros de bord ou la codification manuelle figurent dans la zone Colonnes incluses ou non et le fait que vous ayez sélectionné la case « Commencer avec 8 secondes d’amorce » ou non. Les deux séquences doivent aussi avoir la même base temps (définie dans Final Cut Pro). 4 Dans la zone de dialogue qui apparaît, saisissez un nom de fichier et choisissez un emplacement. 5 Cliquez sur Choisir une base de données pour sélectionner la base de données associée au plans dans les séquences que vous comparez. (Veillez à sélectionner la même base de données que celle utilisée lors de l’exportation de la liste précédente.) 6 Cliquez sur Enregistrer. Ces listes fournissent des informations sur la séquence entière. Ces listes fournissent des informations sur les modifications.186 Partie I Utilisation de Cinema Tools 7 Si vous avez sélectionné « Enregistrer un fichier de programme Cinema Tools », saisissez le nom de fichier et l’emplacement dans la zone de dialogue qui apparaît. Donnez au fichier de programme un nom qui identifie clairement la séquence et la version afin de pouvoir le localiser facilement ultérieurement le jour où vous devez exporter une autre liste des modifications. Un fichier de liste des modifications contenant toutes les listes que vous avez sélectionnées dans la zone de dialogue Exporter la Liste de modifications est généré. Si vous devez équilibrer les bobines Lors de l’équilibrage de bobines, les points d’entrée et de sortie des bobines sont répartis à nouveau afin de s’assurer que la longueur de chaque bobine se trouve dans la plage correcte. Si vous souhaitez effectuer un équilibrage de bobines dans Final Cut Pro, réalisez les opérations d’équilibrage séparément de tout autre changement. Pour déplacer une scène du début d’une bobine à la fin d’une autre, par exemple, conformez d’abord les deux bobines en fonction des listes de modifications exportées de leurs séquences correspondantes. Ensuite, dans Final Cut Pro, coupez la scène à partir du début de la séquence pour la bobine 1, puis collez-la à la fin de la séquence pour la bobine 2. Enfin, exportez les nouvelles listes de modifications et de conformation pour les deux séquences, puis utilisez ces listes comme guides pour équilibrer les deux bobines. Les plans supprimés d’une bobine doivent avoir exactement la même longueur que les plans ajoutés à l’autre.Chapitre 8 Création de listes de film et de listes de modification 187 I Réglages dans la zone de dialogue Exporter la Liste de modifications La zone de dialogue Exporter la Liste de modifications accessible à partir de Final Cut Pro contient les mêmes réglages que la zone de dialogue Exporter les listes de films (décrite à la section « Réglages communs aux deux zones de dialogue d’exportation » à la page 176) et les mêmes options de colonne PDF (décrites à la section « Réglages de configuration PDF dans la zone de dialogue Exporter les listes de films » à la page 179, sauf pour les exceptions et les ajouts décrits ci-après.  Transitions : le meilleur choix pour le traitement des transitions lors de l’exportation d’une liste des modifications est « Toutes des cuts », dans laquelle les transitions sont représentées par une ligne de coupe au milieu de chacune d’elles, qu’elles soient de longueur standard ou non. Cinema Tools ajoute des notes à la cut list (exportée avec la liste des modifications) pour indiquer les emplacements de début et de fin de la transition pour les plans d’ouverture et les plans de fermeture. Ces notes peuvent servir de guide pour marquer les transitions sur la copie de travail conformée. Consultez la section « Réglages communs aux deux zones de dialogue d’exportation » à la page 176 pour des informations sur les autres réglages.  Options de la liste des modifications : les options suivantes contrôlent ce qui est inclus dans les liste de modifications :  Liste des épreuves : sélectionnez cette option pour ajouter une liste Pull de modification où apparaît toute portion de film devant être ajoutée à la copie de travail.  Liste Éliminés : sélectionnez cette option pour ajouter une liste de chutes qui ne répertorie que les plans à supprimer de la copie de travail. 188 Partie I Utilisation de Cinema Tools  Afficher uniquement modifications : si cette option est sélectionnée, la liste des modifications ne contient que des entrées relatives aux nouvelles modifications. Le métrage inchangé n’est pas affiché. (Toutefois, si vous sélectionnez la case Cut List, une liste de conformation contenant l’ensemble du métrage de la séquence, y compris le métrage inchangé, est incluse dans le fichier de liste des modifications.)  Combiner les suppresions : si vous sélectionnez cette option, les suppressions de métrages contigus sont énumérées comme une seule et même suppression plutôt que comme des suppressions individuelles. Cela indique à l’assistant réalisateur que ces portions doivent être coupées en une seule lift, pièce et conservées intactes plutôt que sous la forme de petits morceaux séparés. Les assistants réalisateurs préfèrent généralement procéder de cette manière car cela rend l’opération plus simple et plus rapide. À propos des éléments et des listes des modifications PDF Contrairement aux listes de conformation, les listes des modifications ne peuvent quasiment pas être personnalisées. Les listes des modifications fournissent des informations spécifiques et doivent posséder les colonnes nécessaires pour ces informations. Toutefois, les éléments que vous faites glisser dans la colonne de droite de la zone de dialogue Exporter la Liste de modifications peuvent avoir une incidence sur le type de données affiché dans ces colonnes. Vous devez ajouter un élément pour chacune de ces trois catégories :  Name identifier : « Scène et prise » ou « Nom du clip »  Roll number : « Bobine de caméra », « Bobine de laboratoire » ou « Bobine journailière »  Edge code : « Numéro de clés » ou « Codification manuelle » Important : si vous ajoutez plusieurs éléments du même type (par exemple, si vous ajoutez « Numéro de clés » et « Configuration manuelle » à la colonne de droite dans la zone de dialogue Exporter la Liste de modifications), c’est le premier qui apparaît dans la colonne de droite qui sera utilisé par la liste des modifications. Si vous décidez d’inclure une liste de conformation dans la liste des modifications, vous pouvez ajouter des éléments supplémentaires à la colonne de droite et les mettre dans l’ordre dans lequel ils doivent apparaître dans la liste de conformation.Chapitre 8 Création de listes de film et de listes de modification 189 I Utilisation de la fonctionnalité d’exportation de liste de modifications depuis Cinema Tools Si la version la plus récente d’une séquence n’est pas disponible ou facilement accessible, ou si elle est endommagée, vous pouvez toujours créer une liste des modifications tant que vous disposez des fichiers de programme (.pgm) exportés des deux séquences à comparer. Vous pouvez exporter la liste des modifications à partir de Cinema Tools à l’aide des fichiers de programme, au lieu d’exporter la liste des modifications à partir de Final Cut Pro (où vous devez sélectionner une séquence). Lorsque vous exportez une liste des modifications à partir de Cinema Tools, vous ne pouvez pas inclure de liste de conformation ni aucune des autres listes de film que vous pouvez exporter à l’aide de la zone de dialogue Export Film Lists ; vous ne pouvez exporter que les listes et les informations spécifiques aux listes des modifications. Pour ouvrir la zone de dialogue Export Change List depuis Cinema Tools : m Sélectionnez File>Export>Change List. Le logiciel vous invite à saisir les emplacements des fichiers de programme ainsi que le nom et l’emplacement de la liste des modifications. Pour en savoir plus sur les réglages de cette zone de dialogue, consultez la section « Réglages dans la zone de dialogue Exporter la Liste de modifications » à la page 187.9 191 9 Observations à propos de l’exportation et création de listes EDL audio Une fois que vous avez monté votre projet, vous voudrez sans doute l’exporter sur bande vidéo, exporter l’audio ou exporter une liste EDL audio basée sur le projet monté. La principale raison d’être de Cinema Tools est de permettre de générer des listes de conformation. Vous pouvez, dans la plupart des projets, créer d’autres éléments utiles à partir de votre film monté :  une bande vidéo du film : elle peut servir à montrer le film à d’autres personnes ou constituer un guide visuel pour le monteur négatif. Certains éléments comme la vitesse de défilement du montage ou le matériel spécialisé nécessaire sont à prendre en considération. Pour plus de détails, consultez la section « Observations à propos de l’exportation sur bande vidéo, ».  un fichier contenant la bande-son du programme : on crée généralement ce fichier lorsque l’on souhaite utiliser l’audio du programme, mais aussi le finaliser à l’aide d´un logiciel audio spécialisé ou dans un studio de postproduction audio. Il existe pour cela plusieurs approches et vous devez être conscient de certains points. Consultez la section « Observations à propos de l’exportation audio » à la page 192 pour en savoir plus.  une liste EDL audio : vous avez besoin d’une telle liste si vous voulez recapturer l’audio à l’aide d’un équipement spécialisé et le remonter à l’aide du timecode audio à partir du programme monté. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour en savoir plus.192 Partie I Utilisation de Cinema Tools Observations à propos de l’exportation sur bande vidéo Il se peut que vous souhaitiez produire une bande vidéo de votre programme monté, soit pour en faciliter le visionnage soit pour fournir une référence visuelle au monteur de film. Il existe plusieurs manières de créer une bande vidéo à partir d’un programme monté, et ces différentes méthodes sont expliquées dans la documentation de Final Cut Pro. Toutefois, si vous avez monté la vidéo à 24 ips et que vous souhaitez créer une vidéo au format PAL ou NTSC, les points suivants sont à prendre en considération. Lorsque vous créez une bande vidéo à partir d’une séquence à 24 ips, certains appareils de sortie vidéo créent un signal NTSC ou PAL en ajoutant les trames supplémentaires nécessaires au passage de 24 ips à 25 ips ou 29,97 ips. Une telle bande est généralement adaptée au visionnage, mais elle n’est pas suffisamment précise pour servir de référence visuelle pour le montage du négatif. N’oubliez pas de prévenir le monteur de film si vous avez rencontré des problèmes avec la bande vidéo (comme, par exemple, si la vidéo affiche de temps en temps la mauvaise image). Observations à propos de l’exportation audio Selon l’étendue de vos besoins pour le projet, il est possible que vous puissiez utiliser directement l’audio déjà monté dans Final Cut Pro dans la copie d’exploitation du film. La plupart du temps il faudra effectuer la finition du montage audio soit à l’aide d’une application spécialisée, soit dans un studio spécialisé dans le traitement final du son. C’est généralement à ce stade que l’on ajoute ou améliore le bruitage, la musique et les dialogues. Il y a un certain nombre d’éléments à prendre en considération lorsque vous exportez de l’audio :  le type de fichier audio requis : vous pouvez exporter un fichier Open Media Framework (OMF) ou Audio Interchange File Format (AIFF).  la vitesse audio : en fonction de la manière dont la vidéo a été transférée, il est possible que vous ayez légèrement modifié la vitesse audio pour conserver la synchronisation. Si vous avez décidé de recapturer et de faire remonter l’audio dans un studio de postproduction audio, consultez la section « Exportation d’une liste EDL audio » à la page 193 pour les détails. Fichiers OMF Un fichier OMF contient non seulement le son, mais aussi une description des opérations de montage du son. Les stations de travail audio numériques (DAW) capables d’importer des fichiers OMF peuvent tirer parti de la disponibilité des points d’entrée et de sortie des coupes ainsi que d’autres informations, tels que les fondus enchaînés, pour effectuer de petites modifications. Les fichiers OMF contiennent généralement toutes les pistes audio utilisées dans le film (d’autres formats d’exportation sont plus limités).Chapitre 9 Observations à propos de l’exportation et création de listes EDL audio 193 I Un autre avantage des fichiers OMF, c’est qu’ils peuvent contenir l’audio et des informations sur le montage provenant de sources non basées sur le timecode, comme, par exemple, du contenu de CD audio. (Les listes EDL audio ne décrivent que les coupes faites sur des sources basées sur le timecode et ne contiennent aucune référence à des sources comme, par exemple, des CD audio.) Consultez la documentation de Final Cut Pro pour plus d’informations sur l’exportation de fichiers OMF. Fichiers AIFF Un fichier AIFF ne contient que l’audio et ne peut pas être modifié facilement. Vous devez exporter un fichier séparé pour chaque piste audio. Comme les fichiers OMF, les fichiers AIFF peuvent contenir de l’audio provenant de sources non basées sur le timecode, comme, par exemple, du contenu de CD audio. (Les listes EDL audio ne décrivent que les opérations de montage basées sur le timecode.) Consultez la documentation de Final Cut Pro pour des informations sur l’exportation de plusieurs pistes sous la forme de fichiers AIFF. Vitesse Audio La vitesse de lecture de l’audio monté est souvent légèrement différente de la vitesse de l’enregistrement initial (la vitesse naturelle). Cette différence compense les variations de vitesse de la pellicule se produisant lors du transfert télécinéma. Lorsque vous effectuez un montage à 29,97 ips ou 23,98 ips, le son défile à 0,1 pour cent moins vite que sa vitesse naturelle. Si vous montez à 25 ips et si la vitesse du film de transfert télécinéma était de 25 ips, l’audio est 4 pour cent plus rapide. Cette différence de vitesse est maintenue si vous exportez un fichier AIFF ou OMF. N’oubliez pas de vous renseigner sur les exigences de votre studio de postproduction audio en matière de vitesse de l’audio avant d’exporter les fichiers. Exportation d’une liste EDL audio À l’instar du montage vidéo final de Final Cut Pro, qui n’est en général pas utilisé pour la conformation du négatif, le montage audio n’est en général pas utilisé. Si vous prévoyez de recapturer et de faire remonter l’audio dans un studio de postproduction audio, vous avez besoin d’une liste EDL audio (ou liste EDL) indiquant comment les clips audio sont utilisés dans le montage. Alors que la liste EDL Final Cut Pro contient des informations vidéo et audio, elle peut ne pas contenir de références aux timecodes et au numéros de bande provenant des bandes audio de production originales ; cela dépend de la façon dont les plans ont été capturés et de la façon dont la vidéo a été synchronisée avec l’audio. Une base de données Cinema Tools permet de générer une liste EDL audio avec les timecode et numéros de bobine de la production originale.194 Partie I Utilisation de Cinema Tools Emplacement du timecode audio Les productions de film utilisent l’enregistrement à deux systèmes (une caméra et un magnétoscope) pour capturer les images et le son. Vous devez synchroniser ces deux systèmes, soit au cours du transfert télécinéma, soit avant la capture des plans avec Final Cut Pro. Si votre audio est synchronisé pendant le transfert télécinéma et enregistré sur les pistes audio de la bande vidéo, le timecode et le numéro de bande de la bande audio source originale ne sont plus indiqués dans le clip et toutes les coupes, dans Final Cut Pro, ne font plus référence qu’au timecode vidéo et au numéro de bande. Heureusement, la liste télécinéma crée pendant le transfert contient généralement les informations audio, ce qui permet de les ajouter à la base de données lorsque vous importer la liste télécinéma dans Cinema Tools. Vous pouvez également possible saisir manuellement les informations audio si aucune liste télécinéma n’est disponible. Using Cinema Tools to Export an Audio EDL Cinema Tools peut exporter une liste EDL audio tant que sa base de données contient, dans chaque enregistrement, des informations précises sur le son (un numéro de timecode audio correspondant à la première image vidéo du plan ainsi que le numéro de bobine audio). À cause de la façon dont l’audio est enregistré pendant la production (en utilisant l’enregistrement à deux systèmes, un enregistreur audio qui est lancé et arrêté indépendamment de la caméra), la fonction Export Audio EDL de Cinema Tools ne peut être utilisée que lorsque la base de données du projet contient un enregistrement par prise (comme pour les transferts scène-prise). Il est impératif que la valeur qui figure dans le champ Sound Timecode corresponde à la première image vidéo du plan. C’est habituellement le cas lorsque vous importez les informations relatives au son depuis une liste télécinéma. Utilisez la fonction Identify de la fenêtre Clip pour saisir (ou vérifier) la valeur du timecode audio d’un point connu dans le plan (généralement à la fermeture du clap). À partir de cette valeur, Cinema Tools calcule le timecode pour la première image. Consultez la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102 pour obtenir des informations sur l’utilisation de la fonction Identify de cette façon. Une fois le montage terminé et les informations de numéro de bobine et de timecode audio ajoutées à la base de données, vous êtes prêt pour exporter la liste EDL audio. Pour exporter une liste EDL audio : 1 Dans la Chronologie ou le Navigateur de Final Cut Pro, sélectionnez la séquence de laquelle vous souhaitez exporter une liste EDL audio. 2 Sélectionnez Fichier > Exporter > EDL audio Cinema Tools. Chapitre 9 Observations à propos de l’exportation et création de listes EDL audio 195 I Cinema Tools s’ouvre et la zone de dialogue Export Audio EDL s’affiche. 3 Entrez et sélectionnez des réglages dans la zone de dialogue Export Audio EDL, puis cliquez sur OK. Pour obtenir des informations sur ces réglages, consultez la section « Paramètres de la zone de dialogue Export Audio EDL, » ci dessous. 4 Dans la zone de dialogue qui s’affiche, sélectionnez le fichier de base de données Cinema Tools à utiliser, puis cliquez sur Choose. Une fois la base de données sélectionnée, Cinema Tools commence à y faire correspondre des événements de la séquence :  Pour chaque opération de montage impliquant une piste activée dans la zone de dialogue Export Audio EDL, Cinema Tools inspecte la base de données pour vérifier si le plan vidéo de cette opération est connecté à l’un des enregistrements de la base de données. Si ce n’est pas le cas, il utilise le numéro de bande vidéo de la coupe pour essayer de localiser un enregistrement qui contient les points d’entrée et de sortie du timecode de la coupe. Consultez la section « Utilisation des pistes audio » à la page 198 pour obtenir des informations sur les pistes audio.  Si Cinema Tools trouve un enregistrement valable, il vérifie si ce dernier comprend des informations audio (timecode et numéro de bobine). Si c’est le cas, une entrée est ajoutée à la liste EDL et Cinema Tools passe à la coupe suivante.  Il est possible que Cinema Tools ne soit pas en mesure de faire correspondre toutes les opérations de montage audio dans la séquence. Cela peut être dû à des enregistrements de base de données incomplets ou à l’utilisation du son provenant d’autres sources que les bandes sonores listées. Pour les coupes qui ne peuvent pas être remises en relation avec la base de données, une entrée est ajoutée à la liste EDL en utilisant les informations de bande et de timecode provenant de la séquence et cette entrée est identifiée par un astérisque en regard du nom de la bande. Un commentaire précisant qu’aucun enregistrement de la base données n’a été trouvé est également ajouté à l’entrée de liste EDL.196 Partie I Utilisation de Cinema Tools Cinema Tools crée deux fichiers lors de l’exportation : un fichier au format de liste EDL CMX 3600 et un fichier texte contenant des informations sur l’exportation de la liste EDL :  Le format de liste EDL CMX 3600 est très utilisé comme norme pour les échanges de listes EDL et devrait être accepté par pratiquement tous les studios.  Le fichier texte créé en même temps que le fichier EDL utilise le nom de fichier de la liste EDL et y ajoute une extension « .txt ». Le fichier contient des informations concernant la séquence utilisée ainsi que tous les paramètres de la zone de dialogue Export Audio EDL, y compris le nombre de pistes et leur affectation. Il répertorie également les erreurs survenues pendant l’exportation. Paramètres de la zone de dialogue Export Audio EDL Cinema Tools utilise des informations provenant de la séquence pour remplir plusieurs champs de la partie supérieure de la zone de dialogue Export Audio EDL :  File : nom du programme Cinema Tools que vous venez d’ouvrir. Il n’est utilisé que lors de l’exportation de listes EDL audio directement à partir de Cinema Tools. Consultez la section « Utilisation de la fonction Export Audio EDL à partir de Cinema Tools » à la page 198 pour en savoir plus.  Audio Tracks : nombre de pistes audio utilisées dans la coupe.  Project name : nom de la séquence Final Cut Pro sur laquelle le fichier est basé.  Project timebase : fréquence d’images de la séquence dans la Chronologie.  Start time : heure de début de la séquence qui est assignée dans la fenêtre Audio/Video Settings de Final Cut Pro.  EDL Title : nom de la liste EDL. Par défaut, il s’agit du même nom que le nom de projet de la séquence.  EDL start time and timecode format : heure de début de la liste EDL et format de timecode à utiliser. Par défaut, l’heure de début est la même que l’heure de début de la séquence. Il est recommandé de ne pas modifier l’heure de début, sauf si votre studio de postproduction audio vous le demande.Chapitre 9 Observations à propos de l’exportation et création de listes EDL audio 197 I Le reste de la zone de dialogue contient des champs et des commandes servant à configurer la liste audio EDL :  Audio Mapping : sert à affecter chacune des huit pistes audio de séquence possibles aux quatre pistes EDL audio (nombre maximal géré par des listes EDL audio). Consultez la section « Utilisation des pistes audio, » pour des détails sur la configuration de ces réglages.  Include clip comments : lorsque cette option est sélectionnée, la liste EDL audio contient le nom de fichier du clip (s’il est connu) sous la forme d’un commentaire pour chaque événement de la liste.  Include scene and take comments : lorsque cette option est sélectionnée, la liste EDL audio contient les numéros de scène et de prise sous la forme de commentaires pour chaque événement de la liste.  Open in text editor : lorsque cette option est sélectionnée, la liste EDL audio exportée s’ouvre dans l’éditeur de texte spécifié dans le menu local. La liste EDL audio étant un fichier texte, l’application TextEdit est habituellement utilisée.198 Partie I Utilisation de Cinema Tools Utilisation des pistes audio Bien que Final Cut Pro prenne en charge de nombreuses pistes audio, la fonction Export Audio EDL de Cinema Tools ne tient compte que des huit premières et les listes EDL audio n’en prennent en charge que quatre. La zone de dialogue Export Audio EDL contient des réglages pour chacune des huit pistes audio possibles vous permettant de les mettre en correspondance avec les quatre pistes de la liste EDL. Les sélections de configuration de piste sont actives pour les pistes qui sont incluses dans la séquence (elles ne sont pas disponibles pour les autres). Bien qu’il soit possible d’affecter plusieurs pistes à une seule piste EDL, la liste EDL qui en résulte peut être confuse et comporte souvent des erreurs. Comme il n’est pas possible de mettre les huit pistes sur les quatre pistes de la liste EDL, vous devez exporter deux listes EDL : une liste EDL en ayant activé les pistes 1 à 4 (et désactivé les autres) et une autre liste EDL en ayant activé les pistes 5 à 8. Sachez que certains monteurs son peuvent préférer une seule piste par liste EDL, ce qui vous oblige à exporter plusieurs listes EDL audio. N’oubliez pas de consulter votre monteur son avant d’exporter la liste EDL audio. Utilisation de la fonction Export Audio EDL à partir de Cinema Tools Vous utiliserez souvent la fonction Export Audio EDL de Cinema Tools à partir de Final Cut Pro. Vous pouvez utiliser cette fonction à partir de Cinema Tools, mais comme la séquence montée n’est pas directement disponible pour Cinema Tools, une étape supplémentaire consistant à créer un fichier de programme Cinema Tools est nécessaire. Final Cut Pro crée un fichier de programme Cinema Tools si vous sélectionnez « Save a Cinema Tools program file » dans la zone de dialogue Export Film Lists. Un fichier de programme Cinema Tools contient des informations sur le montage de la séquence, présentées dans un format utilisable par Cinema Tools pour créer la liste EDL audio. Les autres réglages de la zone de dialogue Export Film Lists, comme, par exemple, s’il faut inclure les différentes listes disponibles ou pas, n’ont pas d’incidence sur le fichier de programme.10 199 10 Utilisation de fichiers EDL, XML et ALE externes Utilisation de Cinema Tools pour des projets commencés sur d’autres systèmes. Il se peut que vous souhaitiez un jour créer des listes de film, y compris une liste de conformation, basées sur des coupes provenant d’un système de montage autre que Final Cut Pro ou d’une installation Final Cut Pro d’un autre ordinateur. C’est pourquoi Cinema Tools vous permet de générer des listes de film basées sur des listes EDL (pour l´anglais Edit Decision Lists) crées avec Final Cut Pro et d’autres systèmes ainsi que des listes de film basées sur des fichiers XML Final Cut Pro. Cinema Tools permet également l’importation et l’exportation de fichiers ALE (Avid Log Exchange). Ces fichiers contiennent la plupart des informations sur le film, la bande vidéo et l’audio, que l’on trouve dans une base de données Cinema Tools, dans un format compatible avec la plupart des systèmes de montage basés sur film. Les fichiers ALE ne contiennent pas d’informations sur les coupes (telles qu´on trouve dans une liste EDL). Création de listes de film basées sur une liste EDL ou un fichier XML Les points à prendre en compte lorsqu’on crée des listes de film depuis Final Cut Pro sont les mêmes dans les autres applications de montage vidéo. Il faut que :  la base de données Cinema Tools doit être complète, exacte et contenir les informations du film et du timecode ;  le timecode vidéo et les numéros de bande du fichier EDL ou XML correspondent exactement à ceux qui figurent dans la base de données Cinema Tools  vous devez savoir comment gérer les problèmes de vitesse audio qui peuvent dérégler la synchronisation avec l’image.200 Partie I Utilisation de Cinema Tools Tous les aspects liés au transfert télécinéma, notamment le choix d’un transfert « sceneand-take » ou « camera-roll », sont également à prendre en compte. Rappelez-vous que la meilleure manière de créer une base de données Cinema Tools est de le faire à partir d’une liste télécinéma produite lors d’un transfert « scene-and-take ». Consultez le chapitre 4, « Création et utilisation d’une base de données Cinema Tools », à la page 69 pour des informations sur la création d’une base de données Cinema Tools. Important : lorsque vous exportez des listes de film à partir d’un fichier EDL ou d’un fichier XML, Cinema Tools doit utiliser la méthode du timecode de la création de liste de film. Assurez-vous par conséquent de l’exactitude des timecodes vidéo de la base de données, car ils servent de seule et unique référence pour la création des listes (les plans ne sont pas pris comme référence). Il y a deux façons de générer des listes de film à partir d’une liste EDL :  Utiliser les commandes Export de Cinema Tools : cette méthode est la plus simple. Consultez la section « Utilisation des commandes Export de Cinema Tools, » ci-après.  Importer la liste EDL dans une séquence Final Cut Pro : cette méthode est un peu plus laborieuse mais présente l’avantage d’afficher les points de coupes sur une timeline (sans vidéo ni audio si les plans ne sont pas disponibles). Si les plans sont disponibles, il est possible de lire et de modifier la séquence avant d’exporter les listes. Pour des informations sur l’importation de listes EDL, consultez la documentation de Final Cut Pro. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 de ce manuel pour des détails sur la génération de listes de film à partir de Final Cut Pro. Utilisation des commandes Export de Cinema Tools En plus de la base de données Cinema Tools, vous devez disposer d’un fichier EDL ou d’un fichier XML adéquat pour créer des listes de film à partir de Cinema Tools. Caractéristiques requises des listes EDL Cinema Tools prend en charge les listes EDL aux formats CMX 3600 et GVG. En règle générale, toutes les options « pre-read » ou « B-reels » doivent être désactivées, car elles s’appliquent directement au montage sur bande. Le cas échéant, Cinema Tools peut travailler avec des données « pre-read », mais le nom de la bande « pre-read » doit être PREREAD. N’oubliez pas d’inclure des commentaires car ces derniers permettent d’afficher les noms des plans, des transitions et des effets. Ils seront reconnus par Cinema Tools et insérés dans les commentaires de la cut list. Les noms de bandes qui apparaissent dans la liste EDL doivent concorder avec ceux de la base de données Cinema Tools. La moindre différence, comme, par exemple, une espace ou un « 0 » initial supplémentaire (« 001 » au lieu de « 0001 ») peut provoquer des problèmes. Chapitre 10 Utilisation de fichiers EDL, XML et ALE externes 201 I Vous devez également savoir que certains systèmes de montage modifient les noms des bandes lors de l’exportation des listes EDL. Le format CMX 3600 autorise des noms de huit caractères maximum et uniquement les chiffres et les lettres majuscules (pas d’espaces). Une liste de conversion des bandes est souvent ajoutée à la fin de la liste EDL pour aider à solutionner les éventuels problèmes de noms. Vous pouvez utiliser la commande Change Reel de Cinema Tools pour modifier toutes les occurrences d’un nom de bande dans la base de données afin d’obtenir une concordance exacte avec la liste EDL (vous pouvez par exemple remplacer tous les noms Tape 004 par TAPE004). Consultez la section « Modification de tous les identifiants de bobine ou de bande » à la page 107 pour en savoir plus. Normes vidéo EDL Les listes EDL sont créées en prenant comme référence les points de timecode vidéo. Cela signifie que les listes EDL ont généralement une fréquence d’images de 29,97 ips (NTSC), 25 ips (PAL), ou 23,98 ips ou 24 ips (selon soit la fréquence d’images du film, soit la fréquence d’images de la vidéo 24p). De plus, les listes EDL NTSC doivent contenir une ligne commençant par « FCM » près du début. Cela indique si le timecode est « drop frame » ou « non-drop frame ». Les timecodes PAL et 24 ips sont toujours « non-drop frame » et ne nécessitent pas la ligne commençant par « FCM » (bien qu’ils puissent apparaître comme non-drop frame). Malheureusement, une liste EDL n’inclut pas de ligne indiquant sa vitesse. Cinema Tools considère que la vitesse de la liste EDL est la même que celle de la dernière base de données ouverte. Il est par conséquent conseillé d’ouvrir la base de données avec laquelle la liste EDL sera utilisée, avant d’exporter les listes de film. Important : c’est à vous de connaître la fréquence d’images de la liste EDL et de vous assurer qu’elle correspond à la base de données avec laquelle elle est utilisée. Conditions requises pour le XML Cinema Tools prend en charge les fichiers XML Final Cut Pro. Comme les fichiers XML contiennent bien plus d’informations sur une séquence montée qu’un fichier EDL, le format XML est le format recommandé pour l’exportation de listes de film à l’aide de Cinema Tools. Exportation de listes de film à partir de Cinema Tools Le processus d’exportation d’une liste de film à partir de Cinema Tools est similaire, qu’il soit basé sur un fichier EDL ou XML. Dans les deux cas, vous pouvez exporter une liste de film au format PDF ou au format XML.202 Partie I Utilisation de Cinema Tools Pour créer des listes de film à l’aide de la commande Export de Cinema Tools : 1 Ouvrez la base de données Cinema Tools correspondant au fichier EDL ou XML que vous allez utiliser pour créer les listes de film. Cela permet de s’assurer que la fréquence d’images de la liste et la fréquence d’images de la base de données correspondent. 2 Procédez de l’une des manières suivantes :  Pour exporter une liste de film au format PDF basée sur un fichier EDL : choisissez File > Export > Film Lists from EDL.  Pour exporter une liste de film au format XML basée sur un fichier EDL : choisissez File > Export > XML Film Lists from EDL.  Pour exporter une liste de film au format PDF basée sur un fichier XML Final Cut Pro : choisissez File > Export > Film Lists from XML.  Pour exporter une liste de film au format XML basée sur un fichier XML Final Cut Pro : choisissez File > Export > XML Film Lists from XML. 3 Sélectionnez le fichier EDL ou XML dans la zone de dialogue qui apparaît, puis cliquez sur Choose. 4 Choisissez l’emplacement et le nom du fichier de liste de film à créer, puis cliquez sur Save. Remarque : si Cinema Tools rencontre des problèmes au cours du traitement du fichier EDL, le message « parsing error » (erreur d’analyse) s’affiche. Il indique le numéro de la ligne où l’erreur s’est produite. Consultez la section « Que se passe-t-il avec la liste EDL ? » à la page 203 pour en savoir plus. 5 Dans la zone de dialogue Export Film Lists Cinema Tools, choisissez les réglages souhaités, puis cliquez sur OK. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 pour des détails sur les réglages de cette zone de dialogue.Chapitre 10 Utilisation de fichiers EDL, XML et ALE externes 203 I 6 Si vous choisissez de créer un fichier de programme Cinema Tools dans la zone de dialogue Export Film Lists, choisissez l’emplacement et le nom du fichier, puis cliquez sur OK. 7 Sélectionnez la base de données Cinema Tools à utiliser pour l’exportation de la liste, puis cliquez sur Choose. La liste de film est générée. Que se passe-t-il avec la liste EDL ? Une fois l’exportation de la liste de film lancée, Cinema Tools commence par traiter le fichier EDL, puis crée une version destinée à son usage interne. Au cours de ce traitement, Cinema Tools recherche d’éventuelles erreurs qui rendraient la liste EDL inutilisable pour la création d’une liste de film. Si des éléments anormaux ou inattendus sont détectés, l’exportation est interrompue et un message indiquant la ligne où s’est produite l’erreur s’affiche. Ce type d’erreur est appelé parsing error. Les erreurs détectées dans une liste EDL peuvent souvent être corrigées manuellement. Les listes EDL étant en fait des fichiers de texte, elles peuvent être ouvertes dans TextEdit. Attention : il arrive souvent que la ligne affichée ne contienne pas l’erreur, qui se trouve parfois dans la ligne précédente. Pour détecter le problème, essayez de supprimer des lignes et de les comparer avec des lignes similaires situées plus avant dans la liste EDL. Consultez la section « Utilisation de TextEdit pour modifier une liste EDL, » ci-dessous pour en savoir plus. Cinema Tools recherche aussi d’éventuels conflits au sein de la liste EDL, comme, par exemple, lorsque deux coupes se superposent. Cinema Tools nettoie ces coupes en enlevant toutes les portions sur lesquelles des coupes qui suivent seraient enregistrées. Toutes les transitions ou surimpressions complètement recouvertes par une coupe suivante sont supprimées. Si la transition ou surimpression n’est que partiellement recouverte, elle est marquée comme conflit, la coupe suivante est supprimée et une entrée indiquant l’opération est ajoutée à la cut list. Une fois que Cinema Tools a traité une liste EDL avec succès, il place un résumé des événements traités au début de la liste de film. Le nombre d’occurrences de chaque événement y est indiqué (coupe, fondu, volet et clé). Ce nombre d’évènements doit concorder avec celui de la liste EDL.204 Partie I Utilisation de Cinema Tools Utilisation de TextEdit pour modifier une liste EDL Par défaut, TextEdit enregistre les fichiers au format RTF, mais la liste EDL doit être enregistrée comme fichier texte. Les étapes suivantes permettent de modifier une liste EDL dans TextEdit et de la sauvegarder au format texte. Pour modifier un fichier EDL dans TextEdit : 1 Ouvrez TextEdit. 2 Choisissez Fichier > Ouvrir, recherchez le fichier EDL, sélectionnez-le et cliquez sur Ouvrir. 3 Choisissez Format > Convertir au format Texte, puis cliquez sur OK dans la zone de dialogue qui apparaît. La police est convertie en Monaco, une police non proportionnelle qui garantit l’alignement des colonnes de texte. Le fichier prend le nom de « Sans titre ». 4 Apportez vos modifications et choisissez Fichier > Enregistrer. Le nom par défaut est « Sans titre » et l’extension « .txt » est ajoutée. 5 Saisissez un nom de fichier et remplacez « .txt » par l’extension « .edl » (ou par l’extension utilisée dans le fichier original), puis cliquez sur Enregistrer. Une zone de dialogue s’affiche vous demandant si vous souhaitez que l’extension « .txt » soit ajoutée au nom du fichier. 6 Cliquez sur Ne pas ajouter. Si vous éditez souvent des fichiers au format texte, vous pouvez configurer les préférences TextEdit pour faciliter l’opération. Remarque : un double clic sur un nom de fichier comportant l’extension « .edl » entraîne l’ouverture de ce fichier dans une fenêtre en lecture seule de Final Cut Pro. Utilisation de fichiers ALE Le format ALE (Avid Log Exchange) a été conçu pour permettre le transfert du contenu des bases de données de film d’un système à l’autre. Comme Cinema Tools gère l’exportation et l’importation de fichiers ALE, vous pouvez partager vos bases de données avec d’autres systèmes. Comme les fichiers EDL, les fichiers ALE sont des fichiers de texte qui peuvent être ouverts et modifiés dans un éditeur de texte. La seule différence est qu’ils sont délimités par des tabulations, ce qui rend leur lecture un peu plus difficile. Faites très attention à ne pas corrompre le fichier en supprimant involontairement une tabulation lorsque vous apportez vos modifications. Avertissement : la modification de fichiers EDL doit se faire avec précaution : certains éléments insignifiants au demeurant peuvent revêtir une grande importance. Veillez à toujours conserver une copie de sauvegarde au cas où des modifications irréversibles étaient apportées à votre copie de travail.Chapitre 10 Utilisation de fichiers EDL, XML et ALE externes 205 I Champs ALE gérés Chaque ligne d’un fichier ALE correspond à un enregistrement de la base de données. Cinema Tools gère les champs ALE suivants : Champs relatifs au film  Camroll : contient le numéro utilisé pour le champ Cam Roll.  Labroll : contient le numéro utilisé pour le champ Lab Roll.  Daily roll : contient le numéro utilisé pour le champ Daily Roll.  Ink number : contient les valeurs du champ Ink.  KN Start : contient les valeurs du champ Key. Champs relatifs à la bande vidéo  Tape : contient la valeur du champ Video Reel.  Start : contient la valeur du champ Video Timecode.  End : dans Cinema Tools, il s’agit d’une valeur calculée crée en additionnant la valeur du champ Video Duration et la valeur du champ Video Timecode.  Duration : contient le contenu du champ Video Duration.  TC 24 : contient une valeur de timecode vidéo basée sur 24 ips qui est utilisée à la place de la valeur du champ Start si la base de données dans laquelle vous importez le fichier est réglée sur un timecode de 24 ips. De plus, si le fichier ALE ne contient pas de colonne Sound TC, les valeurs de la colonne TC 24 sont ajoutées à la base de données comme valeurs de timecode audio. Champs relatifs à l’audio  Tracks : Cinema Tools insère « VA1 » dans ce champ au cours de l’exportation.  Soundroll : contient le contenu du champ Sound Roll.  Sound TC : contient le contenu du champ Sound Timecode représentant la valeur de timecode de la première image. Champs généraux  Name : lors de l’exportation, contient le nom de fichier du plan connecté (s’il y en a un) ou un nom créé par Cinema Tools en combinant les numéros de scène et de prise (s’ils ont été saisis) ou, en dernier recours, les valeurs de bande vidéo et de timecode séparées par un trait d’union.  Scene : contient le contenu du champ Scene.  Take : contient le contenu du champ Take.  Notes : contient les remarques que vous avez saisies dans l’enregistrement de base de données.206 Partie I Utilisation de Cinema Tools Importation d’un fichier ALE Pour importer un fichier ALE, utilisez la commande Import Telecine Log. Vous pouvez importer un fichier ALE dans une base de données Cinema Tools existante ou dans sa propre nouvelle base de données. Il est conseillé de l’importer dans une nouvelle base de données (vous pourrez l’importer dans une autre par la suite). Vous pouvez aussi importer le fichier ALE à l’aide de Final Cut Pro ou de Cinema Tools. Consultez la section « Importation d’informations à partir d’une liste télécinéma ou d’un fichier ALE » à la page 85 pour en savoir plus sur l’importation de fichiers ALE et de liste télécinéma à l’aide de Final Cut Pro ou de Cinema Tools. Exportation d’un fichier ALE Cinema Tools exporte un fichier ALE en prenant comme référence l’ensemble trouvé actuel (current found set). Pour éviter de rencontrer un problème, assurez-vous que tous les enregistrements sont complets et corrects avant l’exportation. Pour exporter un fichier ALE : 1 Créez un nouvel ensemble trouvé (found set) contenant les fiches que vous souhaitez exporter. (Consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80 pour des détails sur la création d’ensembles d’enregistrements trouvés.) 2 Dans Cinema Tools, choisissez File > Export > Avid Log Exchange. 3 Attribuez un nom au nouveau fichier et donnez-lui un emplacement. Il est conseillé d’ajouter l’extension « .ale » au nom de fichier. 4 Cliquez sur Save pour exporter le fichier.II Partie II : Utilisation de la vidéo 24P Cette section détaille l’utilisation de Cinema Tools pendant le montage de projets de vidéo haute définition. Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 11 209 11 Utilisation de la vidéo 24P et de listes EDL 24 ips Cinema Tools offre plusieurs outils utiles pour monter de la vidéo 24p. La prolifération des normes vidéo haute définition (HD) et la volonté de diffuser des contenus vidéo dans le monde entier ont créé une demande pour une norme vidéo qui puisse être convertie facilement vers toutes les autres normes. Par ailleurs il s’avère nécessaire de disposer d’un format aisément convertible en film et offrant une méthode de qualité supé- rieure permettant la création et le montage en vidéo avant d’achever le projet sur film. La vidéo 24p permet tout cela. Elle utilise la même vitesse de défilement de 24 ips que les films, ce qui permet de tirer parti des dispositifs de conversion existants pour créer des versions NTSC et PAL de votre projet. Elle utilise un schéma de balayage progressif et généralement une image HD pour créer une sortie convenant à la projection sur grand écran et à la conversion en film. De plus, la vidéo 24p permet de produire des transferts télécinéma 24 ips de haute qualité à partir d’un film. Ceux-ci sont particulièrement utiles si vous comptez diffuser le produit finalisé selon différents standard TV. Remarque : plusieurs des fonctionnalités mentionnées ici figurent dans Final Cut Pro et ne requièrent pas Cinema Tools. Ces fonctionnalités sont toutefois décrites ici parce qu’elles concernent l’utilisation de la vidéo 24p, ce qui intéresse particulièrement de nombreux réalisateurs.210 Partie II Utilisation de la vidéo 24P Éléments à prendre en compte lors de la création sur film Lors du montage d’images 24P provenant d’un film, tenez compte des points ci-après :  Si vous souhaitez conformer le film pour le faire correspondre à la vidéo montée, une base de données Cinema Tools doit assurer le suivi de son code de bordure. (Consultez la section « Code de bordure du film » à la page 233 pour des détails sur le code de bordure.)  Le film doit être transféré sur bande vidéo à l’aide d’un télécinéma. En général, le résultat vidéo télécinéma offline contient des timecodes vidéo et audio incrustés, ainsi que des numéros de bord. Ces valeurs (figurant dans une fenêtre d’affichage) sont fort précieuses pour la conformation ultérieure du film. Il se pose malheureusement un problème de visibilité si vous tentez d’utiliser le format 24P pour produire une version vidéo du film. C’est pour cela que si vous souhaitez produire à la fois un film conforme et une version vidéo montée du projet, vous pouvez faire fonctionner le télécinéma sur deux magné- toscopes à la fois (l’un avec la fenêtre d’affichage, l’autre sans).  Que l’on tourne un film ou de la vidéo 24p, le son est presque toujours enregistré séparément des images avec un enregistreur dédié. On parle souvent dans ce cas d’enregistrement de son à deux systèmes. Si les productions en 24p permettent l’enregistrement du son sur le magnétoscope 24P, fournissant ainsi un son synchronisé et aisément capturé avec Final Cut Pro, les productions de film n’ont pas la possibilité d’enregistrer le son sur la pellicule ; celui-ci doit donc être synchronisé à un moment ultérieur du processus. Il est préférable de synchroniser le son lors du transfert télécinéma. Cela facilite la capture de l’audio en même temps que des plans vidéo pour montage dans Final Cut Pro. La base de données Cinema Tools permet de gérer les numéros des bandes son originales et le timecode et de générer une liste audio EDL pouvant être utilisée pour recapturer et monter le son dans un studio de postproduction audio. Consultez la section « Transfert du film sur bande vidéo » à la page 19 pour des informations sur les transferts télécinéma. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour des informations sur l’exportation de listes audio EDL. Tournage du film Conversion en vidéo avec un télécinéma Conformation du négatif Système de montage online Magné- toscope 24P Liste télécinéma Négatif original Cut list Liste EDL 24 ips 24P video Master film monté Master vidéo monté Final Cut Pro avec Cinema Tools (montage offline) Capture et traitement Montage Exportation de la cut list Exportation de la liste EDL 24 ips Cinema Tools Création de la base de donnéesChapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 211 II Montage de vidéo 24P avec Final Cut Pro L’excellente qualité offerte par la vidéo 24P se transforme en inconvénient au moment du montage, du fait de la largeur de bande et de l’espace de stockage nécessaires. Le travail sur de la vidéo 24p très peu compressée directement dans Final Cut Pro réclame un système doté d’un disque dur de grande capacité et à haut débit, ainsi qu’une carte de capture spécialisée. Même avec un système bien configuré, vous ne pourrez capturer que la vidéo que vous comptez vraiment utiliser, pas les 20 à 100 heures que vous aurez probablement tournées. Le montage de vidéo 24p avec Final Cut Pro se déroule en général en deux étapes : un montage offline avec des plans 24P compressés ou convertis à la baisse (à la résolution standard NTSC) et d’autres plans compressés, suivi d’un montage online avec des plans non compressés et recapturés. Utilisation du même système Final Cut Pro pour le montage 24p offline et online Idéalement, vous pourriez utiliser le même système Final Cut Pro pour le montage offline et online. Cela rend le processus à la fois simple et sans erreur. Dans le cas d’un système unique pour les deux types de montage, le déroulement des opérations se présente comme suit : Étape 1 : capturez votre vidéo 24p sous la forme de plans compressés Étape 2 : montez les plans offline Étape 3 : utilisez le Gestionnaire de données pour créer une copie du projet qui n’utilise que les plans et les sections de plans dont vous avez besoin Étape 4 : supprimez les plans originaux Étape 5 : recapturez le matériel dans votre copie de projet sous la forme de vidéo 24p sans compression Que signifie « vidéo convertie à la baisse » ? Il est souvent nécessaire d’utiliser de la vidéo HD (24p par exemple) dans les systèmes conçus pour de la vidéo NTSC SD. Le processus de conversion de la vidéo HD en vidéo SD est appelé la conversion à la baisse. La plupart des magnétoscopes HD comportent une option permettant de sortir de la vidéo SD. Il existe également plusieurs modèles d’appareils spécialisés pour ce type de conversion. Consultez la section « À propos des questions de proportions » à la page 217 pour des informations sur la façon de gérer les différences de proportions entre les normes lors de la conversion à la baisse.212 Partie II Utilisation de la vidéo 24P Même si votre système Final Cut Pro n’est pas configuré pour travailler sur de la vidéo 24p non compressée, il peut servir de système de montage offline pour ensuite exporter une liste EDL 24 ips qui servira sur le système de montage online. Mieux encore, si votre système de montage 24p online fait appel à Final Cut Pro, vous pouvez simplement copier le projet depuis le système offline, ce qui permet de préserver beaucoup plus d’informations de montage qu’avec seulement la liste EDL. Consultez les sections « Utilisation de Final Cut Pro comme système de montage 24p online » à la page 213 et « Utilisation de Final Cut Pro comme système de montage offline 24P » à la page 214 pour en savoir plus sur les différentes options. Utilisation de la vidéo 24p avec Final Cut Pro et Cinema Tools Final Cut Pro et Cinema Tools vous donnent les moyens de traiter différentes situations liées au montage vidéo 24p :  Importation de listes EDL 24 ips : permet le montage online d’images vidéo 24P montées offline sur un autre système. Consultez la section « Utilisation de Final Cut Pro comme système de montage 24p online, » ci-après.  Exportation de listes EDL 24 ips : permet le montage offline d’images vidéo 24P avec une base temps de 24 ips. Consultez à ce sujet la section « Utilisation de Final Cut Pro comme système de montage offline 24P » à la page 214.  Conversion d’une liste EDL à 24 ips ou à partir de 24 ips : permet soit le montage offline de vidéo 24P à l’aide d’une base temps NTSC, soit le montage online de vidéo 24P montée offline sur un système NTSC. Consultez à ce sujet la section « Utilisation de Final Cut Pro comme système de montage offline 24P » à la page 214.  Suppression du pulldown 2:3:3:2 ou 2:3:2:3 : permet de capturer vos plans source à partir d’un caméscope numérique ayant appliqué le pulldown 2:3:3:2 ou 2:3:2:3 à de la vidéo 24P. Cette fonction élimine proprement les trames d’image redondantes créées par le pulldown sans aucune recompression afin que vous puissiez faire le montage à 23,98 ips ou 24 ips. Consultez à ce sujet la section « Utilisation du pulldown 2:3:3:2 » à la page 219.  Ajout de pulldown : permet de sortir de la vidéo à 23,98 ips dans un format lisible sur un appareil NTSC, tel qu’un moniteur NTSC, et de l’enregistrer comme vidéo à 29,97 ips. Cette fonction vous permet de sortir de la vidéo à 23,98 ips via FireWire au format vidéo NTSC à 29,97 ips. Consultez à ce sujet la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225.  Création d’une liste audio EDL lors de l’utilisation de son à deux systèmes : utile si vous avez l’intention de recapturer le son ailleurs pour le traitement final. Consultez à ce sujet la section « Utilisation de listes EDL audio pour le son à deux systèmes » à la page 227.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 213 II Utilisation de Final Cut Pro comme système de montage 24p online Si vous utilisez Final Cut Pro comme système de montage online, la façon dont vous allez importer les informations de montage offline est un point important. Si vous employez un système de montage offline distinct, vous avez le choix entre trois méthodes pour obtenir les informations de montage de ce dernier (présentées par ordre de préférence) :  Copier le projet : peut être utilisé lorsqu’un système Final Cut Pro séparé est le système offline et utilisait une base temps de montage de 24 ips.  Importer une liste EDL 24 ips : peut être utilisé lorsque votre système offline prend en charge l’exportation de listes EDL à 24 ips.  Importer une liste EDL NTSC : peut être utilisé lorsque votre système offline ne peut monter que des version NTSC converties à la baisse de la vidéo 24p et exporter une liste EDL NTSC. Copie du projet La copie d’un projet depuis le système de montage offline Final Cut Pro au système de montage online Final Cut Pro permet de préserver non seulement les informations relatives aux points d’entrée et de sortie de coupe, mais également toutes les autres informations liées au projet, notamment les utilisations de filtres et d’effets. Pour utiliser cette méthode, vous devez avoir fait le montage avec une base temps de 24 ips sur le système offline. Importation de listes EDL Si vous utilisez un autre système que Final Cut Pro pour le montage offline (ou un système Final Cut Pro pour travailler sur des versions NTSC converties à la baisse de la vidéo 24p d’origine), vous devez importer une liste EDL. Final Cut Pro permet tant l’importation de listes EDL à 24 ips que la conversion de listes EDL NTSC vers 24 ips. Important : avant d’importer une liste EDL dans Final Cut Pro, assurez-vous que la base temps pour la séquence possède la même vitesse que la liste EDL. Si ces vitesses ne sont pas identiques, la liste EDL ne sera pas correctement importée. Vidéo source 24P Vidéo 24P montée Liste EDL offline (24 ips ou NTSC) Final Cut Pro avec Cinema Tools Montage online Vidéo 24P Montage online de vidéo 24P Capture de vidéo 24P non compressée Exportation de film Final Cut Pro214 Partie II Utilisation de la vidéo 24P Importation de listes EDL 24 ips Lorsque le système de montage offline n’est pas un système Final Cut Pro, la meilleure façon d’importer des informations sur le montage offline consiste à fournir une liste EDL. Les listes EDL ne contiennent que les informations basiques relatives au projet de montage : les points d’entrée et de sortie pour les deux premières pistes vidéo et les quatre premières pistes audio, des informations sur les transitions simples et tout commentaire que vous avez ajouté. Pour importer une liste EDL 24 ips dans Final Cut Pro : 1 Ouvrez une projet Final Cut Pro existant ou créez-en un nouveau. 2 Choisissez Fichier > Importer > EDL. 3 Configurez les options de la zone de dialogue « Importer les options », puis cliquez sur OK. Remarque : si la zone de dialogue ne vous permet pas de choisir 24 ips comme base temps, cela est probablement dû au fait que les configurations simplifiées incluses avec Cinema Tools n’ont pas été installées. Dans ce cas, réinstallez Cinema Tools. 4 Choisissez le nom et l’emplacement du fichier EDL, puis cliquez sur Choisir. Une nouvelle séquence contenant les opérations de montages de la liste EDL s’ouvre dans le projet, ce qui indique que les données sont offline. Le navigateur comporte une liste des données utilisées dans le montage. Vous pouvez ensuite utiliser le Gestionnaire de données de Final Cut Pro pour capturer les plans pour le montage online. Consultez la documentation de Final Cut Pro pour des détails sur la capture de plans, l’importation de listes EDL et la configuration de la zone de dialogue Import Options. Importation de listes EDL NTSC Vous pouvez ainsi procéder à un montage offline de votre vidéo 24p convertie à la baisse sur un système NTSC, puis exporter une liste EDL convertible et utilisable par un système Final Cut Pro online. Pour importer une liste EDL NTSC à utiliser avec un projet 24p, vous devez d’abord convertir la liste EDL 29,97 ips NTSC en 24 ips (ou, dans la plupart des cas, en 23,98 ips). Remarque : Cinema Tools ne gère pas la conversion de listes EDL PAL en 24 ips. Consultez la section « Conversion de listes EDL NTSC en 24 ips » à la page 216 pour en savoir plus. Une fois que vous avez converti la liste EDL, vous pouvez importer la liste EDL 24 ips dans Final Cut Pro à l’aide du processus décrit à la section « Importation de listes EDL 24 ips, » ci-avant. Utilisation de Final Cut Pro comme système de montage offline 24P Le montage de vidéo 24P haute résolution (HD) requiert généralement un montage offline préalable. Cela vous permet de choisir les données à utiliser tout en travaillant avec des versions converties à la baisse ou compressées de vidéo 24P.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 215 II Lorsque le système online utilise aussi Final Cut Pro, il est fortement recommandé de procéder au montage offline en utilisant une base temps de 24 ips. Cela vous permet d’ouvrir le projet avec le système online et de conserver tous les réglages, effets et filtres spéciaux, tous ces éléments qui ne figurent pas dans les listes EDL. Avec les systèmes online autres que Final Cut Pro, vous devez fournir une liste EDL 24 ips provenant du projet. Cinema Tools dispose de plusieurs outils qui facilitent l’usage de Final Cut Pro comme système de montage offline 24p :  Reverse Telecine et Conform : utile si vous avez capturé des versions converties à la baisse de vidéo 24P et souhaitez les convertir en 24 ips.  24 fps EDL export : utile si vous effectuez le montage avec une base temps de 24 ips et que vous avez besoin d’une liste EDL 24 ips pour le système online.  NTSC–to–24 fps EDL conversion : utile si vous effectuez le montage à l’aide d’une base temps de 29,97 ips NTSC tout en ayant besoin d’une liste EDL de 23,98 ips ou de 24 ips. Pour le montage offline, il est préférable que la vidéo 24P soit directement compressée et capturée, sans conversion de vitesse. Cela réduit les possibilités d’erreur pendant les conversions de vidéo et de fréquence de timecode et rend superflue la conversion des proportions de la vidéo (consultez la section « À propos des questions de proportions » à la page 217). Il faut toutefois disposer pour cela d’un matériel spécialisé ; les solutions alternatives exposées ci-après ont donc été mises au point avec des versions standard converties à la baisse de vidéo 24P. Utilisation des fonctions Reverse Telecine et Conform La vidéo 24P est souvent convertie à la baisse pour en simplifier l’utilisation avec un équipement vidéo standard. Cinema Tools fournit des outils pour la reconversion de plans capturés NTSC ou PAL en vidéo 24 ips originale, ce qui vous permet de procéder au montage à l’aide d’une base temps de 24 ips :  NTSC : la conversion de vidéo 24p en NTSC requiert l’utilisation d’une méthode de pulldown qui ajoute des trames redondantes en maintenant la vitesse originale de l’action (1 seconde de vidéo 24p est égale à 1 seconde de vidéo NTSC). La fonction Reverse Telecine supprime le pulldown en éliminant les trames superflues et en restaurant la vitesse originale de 24 ips. Consultez la section « Inversion du pulldown télécinéma » à la page 133 pour des informations sur l’utilisation de la fonction Reverse Telecine. Si vos plans sources proviennent d’un type spécial de caméscope DV capable de filmer en 24p, comme le Panasonic AG-DVX100, c’est une forme simplifiée de la fonction Reverse Telecine qui vous est proposée. Consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221 pour des instructions sur l’inversion du pulldown de plans provenant d’un caméscope DV compatible 24p.216 Partie II Utilisation de la vidéo 24P  PAL : il existe plusieurs méthodes de conversion de vidéo 24P en PAL. La plus courante consiste à lire la bande 4 pour cent plus vite, ce qui fournit une relation de un à un entre les images 24p et PAL, mais accélère l’action de 4 pour cent. Cinema Tools et Final Cut Pro offrent une fonction Conform que vous pouvez utiliser pour remettre la vidéo en 24 ips pour la monter en 24 ips dans Final Cut Pro. Consultez la section « Infos générales sur la vitesse de défilement des images » à la page 23 pour des informations sur les problèmes de fréquence d’images. Exportation de listes EDL 24 ips Lorsque le système de montage 24p n’est pas un système Final Cut Pro, la meilleure façon de fournir les informations de montage du projet consiste à exporter une liste EDL à partir de Final Cut Pro, puis à importer cette dernière dans le système de montage online. Les listes EDL ne contiennent que les informations basiques relatives au projet de montage : les points d’entrée et de sortie pour les deux premières pistes vidéo et les quatre premières pistes audio, des informations sur les transitions simples et tout commentaire que vous avez ajouté. Cinema Tools donne à Final Cut Pro la capacité d’exporter les listes EDL à 24 ips. Pour exporter une liste EDL 24 ips à partir de Final Cut Pro : 1 Dans la Chronologie de Final Cut Pro, sélectionnez la séquence pour laquelle vous voulez exporter une liste EDL. 2 Choisissez Fichier > Exporter > EDL. 3 Configurez la zone de dialogue « Options d’exportation EDL » comme il se doit, puis cliquez sur OK. 4 Choisissez le nom et l’emplacement du fichier EDL et cliquez sur Enregistrer. Consultez la documentation de Final Cut Pro pour des détails sur l’exportation de listes EDL et la configuration de la zone de dialogue EDL Export Options. Conversion de listes EDL NTSC en 24 ips Il se peut que vous décidiez de monter la version NTSC convertie à la baisse de la vidéo 24p en utilisant une base temps 29,97 ips NTSC standard. Sachez toutefois que la plupart des systèmes de montage online 24p requièrent une liste EDL 23,98 ips ou 24 ips. Cinema Tools comporte une fonction permettant de convertir des listes EDL 29,97 ips NTSC en 23,98 ips ou 24 ips. Vous pouvez ainsi réaliser un montage offline de votre vidéo 24P convertie à la baisse sur un système NTSC, puis exporter une liste EDL convertible et utilisable par un système online. Remarque : Cinema Tools ne gère pas la conversion de listes EDL PAL en 24 ips. Pour convertir une liste EDL NTSC en 24 ips, il faut convertir le fichier de la liste EDL au format CMX 3600 ou GVG. La base de données Cinema Tools n’est pas nécessaire.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 217 II Pour convertir une liste EDL NTSC en 24 ips : 1 Dans Cinema Tools, choisissez File > Export > Converted EDL > 24 FPS from 30 FPS. 2 Dans la zone de dialogue qui s’ouvre, localisez et choisissez le fichier EDL à convertir. 3 Dans la suivante, choisissez le nom et l’emplacement du fichier à créer, puis cliquez sur Save. Le nouveau fichier EDL est identique à celui d’origine, à l’exception des valeurs de timecode et de durée des effets qui ont été converties afin de correspondre à la nouvelle vitesse de défilement. Important : le timecode 24P est toujours non-drop frame et le timecode NTSC à convertir doit l’être également. Cinema Tools ne vous empêche pas de convertir une liste EDL NTSC basée sur un timecode drop frame, mais il la traite comme s’il s’agissait d’un timecode non-drop frame. La liste EDL 24 ips exportée comportera des erreurs et Cinema Tools insère un message d’avertissement dans la liste EDL. Vous pouvez désormais importer les listes EDL à 24 ips dans Final Cut Pro en suivant les instructions fournis à la section « Importation de listes EDL 24 ips » à la page 214. À propos des questions de proportions Lorsque vous capturez de la vidéo NTSC ou PAL à partir de sources 24P, vous devez généralement décider comment gérer leurs différences de proportions. La vidéo SD (NTSC ou PAL) a des proportions de 4:3 (1,33). La hauteur de l’image équivaut donc à 75% de sa largeur. De nombreux formats 24p utilisent des proportions de 16:9 (1,78) plus proche des proportions habituelles du film de 1,85 et identiques aux formats HD de diffusion écran large. De nombreux magnétoscopes HD peuvent convertir à la baisse de la vidéo 16:9 en vidéo 4:3 SD. Les systèmes Final Cut Pro qui ne sont pas capables de capturer de la vidéo 24p directement peuvent réaliser la capture à l’aide d’une de ces sorties vidéo SD pour le montage. Consultez le Manuel de l’utilisateur de Final Cut Pro pour des informations détaillées sur les options pour la conversion de vidéo 16:9 en vidéo 4:3.218 Partie II Utilisation de la vidéo 24P Ajout et suppression du pulldown dans les plans 24P Cinema Tools et Final Cut Pro possèdent des fonctions d’ajout et de suppression de pulldown qui permettent de régler des problèmes propres à la manipulation de vidéo 24P. Comme cela a déjà été expliqué dans la section « Infos générales sur la vitesse de défilement des images » à la page 23, le pulldown est un processus qui ajoute des trames redondantes à la vidéo afin de répartir 24 images par seconde sur les 29,97 images par seconde du standard NTSC. Certains caméscopes, tel que le modèle AG-DVX100 de Panasonic, sont conçus pour filmer en mode progressif à 24 ips (23,98 ips, exactement), puis enregistrer la vidéo sur bande sous forme d’un signal entrelacé de 60 trames, en appliquant un type particulier de pulldown nommé pulldown 2:3:3:2 avancé. Avec Final Cut Pro ou Cinema Tools, vous pouvez supprimer les trames redondantes créées par le pulldown de la caméra afin de pouvoir procéder au montage à 23,98 ips ou 24 ips. Dans le cas d’un montage à 23,98 ips, il se peut que vous deviez sortir la vidéo sur un moniteur NTSC, l’enregistrer sur une cassette NTSC ou l’envoyer à un autre type d’appareil NTSC. Sachant que le standard NTSC suppose une vitesse de défilement de 29,97 ips, Final Cut Pro vous permet de rajouter le pulldown à la vidéo lorsque vous la sortez. Pour répondre à divers cas de figure, Final Cut Pro fournit plusieurs modèles de pulldown permettant de sortir votre vidéo à 23,98 ips comme vidéo à 29,97 ips : pulldown 3:2, 2:3:3:2 et 2:2:2:4. (Ces modèles sont décrits dans la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225.) Les sections suivantes présentent plusieurs modes d’utilisation de Final Cut Pro ou de Cinema Tools pour supprimer le pulldown 2:3:3:2 avancé ou le pulldown 2:3:2:3 des plans vidéonumériques. Vous pouvez ainsi :  utiliser Final Cut Pro pour supprimer le pulldown 2:3:3:2 pendant ou après la phase de capture,  utiliser Cinema Tools pour supprimer le pulldown 2:3:3:2 ou 2:3:2:3 sur un plan à la fois,  utiliser Cinema Tools pour supprimer le pulldown 2:3:3:2 ou 2:3:2:3 sur plusieurs plans à la fois. En quoi consiste le pulldown 2:3:2:3 ? Le modèle de pulldown 2:3:2:3 est identique à celui du pulldown 3:2, sauf qu’il s’applique à l’aide d’un caméscope numérique (et non à l’aide de tout autre type d’équipement capable d’appliquer ce même modèle). Dans le présent manuel, nous utilisons le terme 2:3:2:3 pour faire référence au pulldown réalisé par les caméscopes vidéo numériques 24p. Ce type de pulldown peut être supprimé à l’aide de la forme automatisée de télécinéma inversé décrite à la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 219 II Utilisation du pulldown 2:3:3:2 Certains caméscopes, tels que le modèle AG-DVX100 de Panasonic, sont conçus pour filmer en mode progressif à 24 ips (23,98, exactement), puis enregistrer la vidéo sur bande sous forme de signal entrelacé de 60 trames en appliquant le pulldown 2:3:3:2. Le pulldown 2:3:3:2 est semblable, par son concept, au pulldown 3:2, mais possède un autre modèle de répétition des trames, comme illustré ci-après. Il y a quelques avantages à filmer avec le pulldown 2:3:3:2, puis à le supprimer plutôt que d’utiliser le pulldown 3:2 :  Final Cut Pro peut facilement supprimer le pulldown 2:3:3:2 pendant la capture afin que vous puissiez monter de la vidéo progressive en 24 ips (à 23,98 ips pour être précis). A A B B B C C C D D A A B B B C C C D D A A B B C C C D D A A B B B D B C C C D D A B A B B C C C D A B A B B C C C D D Avant (23,98 ips) A B C D A D A B C D A B C D A B C D A B C D B C 2:3:3:2 Pulldown Après (29,97 ips) Une seconde A B C D A A B B B C C C D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2220 Partie II Utilisation de la vidéo 24P  Contrairement au pulldown 3:2, la suppression du pulldown 2:3:3:2 ne requiert pas un nouvel effort de compression et de création d’images, ce qui procure une meilleure qualité d’image. Final Cut Pro élimine les trames redondantes en retirant simplement les images contenant des trames comprenant deux images différentes (images géné- rées à partir de deux images originales distincte). Seules les images contenant une seule image fixe sont conservées, ce qui donne un résultat plus net. Vous pouvez supprimer le pulldown 2:3:3:2 soit avec Final Cut Pro lors de la capture des données source, soit avec Final Cut Pro ou Cinema Tools après la capture. Remarque : pour en savoir plus sur l’application (plutôt que la suppression) du pulldown 2:3:3:2 à une vidéo, consultez la section « Pulldown 2:3:3:2 » à la page 226. Suppression de pulldown 2:3:3:2 avec Final Cut Pro Vous pouvez supprimer le pulldown 2:3:3:2 avec Final Cut Pro soit lors de la capture de la vidéo soit après la capture des plans. Pour supprimer le pulldown lors de la capture à partir d’une source vidéo numérique : 1 Dans Final Cut Pro, choisissez Final Cut Pro > Réglages audio/vidéo. 2 Cliquez sur l’onglet Prérég. de capture. 3 Sélectionnez le préréglage souhaité et cliquez sur Modifier. 4 Sélectionnez « Supprimer le pulldown avancé et/ou les images en doube des sources FireWire ». A A B B B C C C D D A A B B B C C C D D A A B B C C C D D A A B B B D B C C C D D A B A B B C C C D A B A B B C C C D D A B C D A D A B C D A B C D A B C D A B C D B C A B C D A A B B C D D Field 1 Field 2 Field 1 Field 2 Field 1 C Field 2 Field 2 Field 1 B Field 1 C Field 2 Avant (29,97 ips) Après (23,98 ips) Une seconde 2:3:3:2 Suppression du pulldownChapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 221 II Après avoir supprimé le pulldown 2:3:3:2, il se peut que vous deviez sortir la vidéo en y rajoutant le pulldown 2:3:3:2, afin de la capturer à nouveau avec la caméra. Dans le cas d’une diffusion ou d’une distribution au format NTSC, vous pouvez appliquer le pulldown 3:2 plus répandu. La sortie vidéo 24P peut s’effectuer dans l’un de ces modèles de pulldown. Consultez à ce sujet la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225. Pour supprimer le pulldown dans Final Cut Pro après la capture : 1 Dans Final Cut Pro, sélectionnez les plans ou le programme. 2 Choisissez Outils > Supprimer le pulldown avancé. Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools Dans les plans capturés à partir de caméscopes vidéo numériques en 24p, comme, par exemple, le caméscope Panasonic AG-DVX100, les informations du modèle de pulldown (on parle aussi de cadence) sont intégrées d’une façon lisible pour Cinema Tools. Si Cinema Tools détecte ces informations de cadence lorsque vous utilisez la fonction Reverse Telecine, la zone de dialogue Automated Reverse Telecine apparaît. Il s’agit d’une version simplifiée de la zone de dialogue Reverse Telecine. Remarque : la fonction Reverse Telecine ne peut pas être utilisée avec de la vidéo comprimée dans le temps, comme, par exemple, la vidéo au format MPEG-2. Vous pouvez utiliser le télécinéma inversé automatisé pour supprimer le pulldown soit d’un plan à la fois soit d’un groupe de plans (par lot). Pour utiliser le télécinéma inversé automatisé dans le but de supprimer le pulldown dans un seul plan : 1 Choisissez File > Open Clip, puis sélectionnez le plan voulu dans la zone de dialogue. 2 Dans la fenêtre Clip, cliquez sur Reverse Telecine. 3 Choisissez une vitesse de défilement dans le menu local Conform.  23.98 : cette vitesse est utile si vous comptez utiliser ultérieurement la fonction pulldown de Final Cut Pro qui permet de sortir la vidéo 23,98 ips à 29,97 ips. (Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus.)  24.0 : vous pouvez avoir intérêt à conformer et à monter les plans à cette vitesse si vous comptez les inclure à un projet contenant d’autres plans à exactement 24 ips. Remarque : si le plan contient à la fois la vidéo et l’audio et si vous choisissez 24.0 dans ce menu local, la fonction Reverse Telecine accélère très légèrement l’audio pour qu’elle soit synchrone avec la vitesse de 24 ips et non de 23,98. Choisissez une vitesse de défilement dans le menu local.222 Partie II Utilisation de la vidéo 24P 4 Sélectionnez New (smaller) ou Same (faster) afin de préciser le type de fichier que vous voulez créer :  New (smaller) : crée un fichier de données ne contenant pas les images supplémentaires insérées par le pulldown. La taille du nouveau fichier est environ 20 pour cent plus petite, mais cette méthode est plus lente. Que le fichier original soit une référence ou autonome, cette méthode crée un fichier autonome. (Consultez la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149 pour en savoir plus.)  Same (faster) : modifie le fichier de données courant afin que les images supplémentaires ne soient pas visibles par le système de montage, mais sans supprimer ces données du fichier. Ce processus est plus rapide, mais ne réduit pas la taille du fichier. Le fichier qui en résulte est autonome s’il était autonome à l’origine ou une référence s’il était une référence. À propos de la vérification de discontinuité de la cadence : en supprimant le pulldown, Cinema Tools recherche d’éventuels trous dans la cadence du pulldown. S’il en trouve, il ajuste le traitement pour s’accommoder de ces discontinuités. Une discontinuité de cadence peut se produire si un enregistrement a été arrêté puis relancé à un autre point dans la séquence de cinq images. Cette vérification demande plus de temps pour l’option Same que pour l’option New. Par conséquent, si vous sélectionnez Same (faster), vous pouvez décocher la case « Check for cadence discontinuities » afin d’accélérer le traitement. Remarque : si cette case est décochée et que le plan présente des discontinuités de cadence, ou si la cadence passe de 2:3:3:2 à 2:3:2:3 (ou à tout autre modèle) en milieu de plan car les réglages ont été modifiés en cours d’enregistrement, le télécinéma inversé ne peut pas être correctement appliqué à ce plan. 5 Cliquez sur OK pour lancer le processus de suppression de pulldown. Si vous avez sélectionné l’option New file, vous devez préciser le nom et l’emplacement du nouveau plan. Si le plan d’origine était connecté à un enregistrement de base de données, le nouveau plan inversé remplace cette connexion (qu’il écrase ou non l’ancien plan). Si vous sélectionnez New, l’option « Check for cadence discontinuities » est activée. Pour Same, vous pouvez désélectionner cette option pour accélérer le traitement. Si vous sélectionnez New, le fichier sera plus petit. Si vous sélectionnez Same, le traitement sera plus rapide.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 223 II Pour utiliser le télécinéma inversé par lot automatisé dans le but de supprimer le pulldown de plusieurs plans à la fois : 1 Placez tous les plans à traiter dans le même dossier. (Assurez-vous que tous ont été capturés à l’aide d’un caméscope numérique 24P.) 2 Choisissez File > Batch Reverse Telecine. 3 Dans la zone de dialogue qui s’affiche, sélectionnez n’importe quel fichier de plan source dans le dossier contenant les plans à traiter, puis cliquez sur Choose. 4 Choisissez une vitesse de défilement dans le menu local Conform.  23.98 : cette vitesse est utile si vous comptez utiliser ultérieurement la fonction pulldown de Final Cut Pro qui permet de sortir la vidéo 23,98 ips à 29,97 ips (Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus.)  24.0 : vous pouvez avoir intérêt à conformer et à monter les plans à cette vitesse si vous comptez les inclure à un projet contenant d’autres plans à exactement 24 ips. Remarque : si le plan contient à la fois la vidéo et l’audio et si vous choisissez 24.0 dans ce menu local, la fonction Reverse Telecine accélère très légèrement l’audio pour qu’elle soit synchrone avec la vitesse de 24 ips et non de 23,98. 5 Sélectionnez New (smaller) ou Same (faster) afin de préciser le type de fichier que vous voulez créer :  New (smaller) : crée des fichiers de plan ne contenant pas les images supplémentaires introduites par le pulldown. La taille des nouveaux fichiers est environ 20 pour cent plus petite, mais cette méthode est plus lente. Que les fichiers originaux soient des références ou autonomes, cette méthode crée des fichiers autonomes. (Consultez la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149 pour en savoir plus.) Si vous sélectionnez New (smaller), vous pouvez également choisir de conserver ou de supprimer les fichiers de plan d’origine. Pour enregistrer les plans d’origine dans un dossier distinct, cochez la case Keep Originals. Choisissez une vitesse de défilement dans le menu local.224 Partie II Utilisation de la vidéo 24P  Same (faster) : modifie le fichier du plan sélectionné de sorte que ses images surnuméraires ne soient plus visible pour le système de montage, mais ces données ne sont pas supprimées du fichier. Ce processus est plus rapide, mais ne réduit pas la taille du fichier. Le fichier qui en résulte est autonome s’il était autonome à l’origine ou une référence s’il était une référence. À propos de la vérification de discontinuité de la cadence : en supprimant le pulldown, Cinema Tools recherche d’éventuels trous dans la cadence du pulldown. S’il en trouve, il ajuste le traitement pour s’accommoder de ces discontinuités. Une discontinuité de cadence peut se produire si un enregistrement a été arrêté puis relancé à un autre point dans la séquence de cinq images. Cette vérification demande plus de temps pour l’option Same que pour l’option New. Par conséquent, si vous sélectionnez Same (faster), vous pouvez décocher la case « Check for cadence discontinuities » afin d’accélérer le traitement. Remarque : si cette case est décochée et que le plan présente des discontinuités de cadence, ou si la cadence passe de 2:3:3:2 à 2:3:2:3 (ou à tout autre modèle) en milieu de plan car les réglages ont été modifiés en cours d’enregistrement, le télécinéma inversé ne peut pas être correctement appliqué à ce plan. 6 Cliquez sur OK pour lancer la suppression de pulldown. Une fois le processus terminé, la situation est la suivante :  Si vous avez sélectionné New (smaller), un nouveau plan portant le même nom que l’original est créé pour chaque plan du dossier. Ce nouveau plan est placé dans un sous-dossier créé par Cinema Tools et nommé Reversed. Si vous avez sélectionné Keep Originals, les fichiers d’origine sont placés dans un sous-dossier créé par Cinema Tools et nommé Originals. Si vous avez sélectionné Same (faster), les nouvelles versions des plans remplacent les versions antérieures dans leur dossier d’origine.  Si Cinema Tools ne peut effectuer le processus de télécinéma inverse pour un plan, ce dernier est transféré à un sous-dossier Cinema Tools nommé Skipped. Un plan n’est pas traité s’il est dépourvu de piste vidéo, si sa vitesse n’est pas compatible, si ce plan ne contient pas d’informations sur la cadence ou si aucun codec n’est disponible pour la piste vidéo. Si vous choisissez Same, vous pouvez désactiver l’option « Check for cadence discontinuities » afin d’accélérer le traitement. Si vous choisissez New, l’option « Selecting Keep Originals » enregistre les plans originaux dans un dossier. Si vous sélectionnez New, le fichier sera plus petit. Si vous sélectionnez Same, le traitement sera plus rapide.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 225 II  Un fichier texte nommé « reverse.log » apparaît au premier niveau du dossier par lequel vous avez commencé. Ce fichier précise la date et l’heure du lancement et de la fin du processus, ainsi que l’heure de début de chaque plan. Si des problèmes surgissent, tels qu’un manque d’espace disque ou de mémoire, un message d’erreur décrivant le problème apparaît également dans l’historique. Modèles de pulldown applicables à la vidéo 23,98 ips Dans le cas d’un montage vidéo à 23,98 ips, il se peut que vous deviez sortir la vidéo sur un moniteur NTSC, l’enregistrer sur une cassette NTSC ou l’envoyer à un autre type d’appareil NTSC. Vous disposez pour cela de la fonction d’ajout de pulldown de Final Cut Pro. L’ajout de pulldown est une méthode logicielle de conversion de vidéo 23,98 ips en vidéo NTSC 29,97 ips. Final Cut Pro peut appliquer plusieurs modèles de pulldowns à une vidéo 23,98 ips. Pulldown 3:2 Le pulldown 3:2 est du même type que celui utilisé par le télécinéma, comme décrit à la section « Réalisation d’un 3:2 pulldown » à la page 23. Comme le modèle 3:2 est le modèle de pulldown généralement pris en charge par les appareils NTSC, vous devez l’utiliser pour enregistrer sur un appareil NTSC tel qu’un téléviseur SD, un encodeur MPEG-2 ou un système de finalisation haut de gamme. Avant (23,98 ips) A B A B B C C D D D A B C D A D A B C D A B C D A B C D A B C D B C A A B B B C C D D D A A B B B C C D D D A A B B C C D D D A A B B B D B C C D D D A B A B B C C D D A B C D A A B B B C C D D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 3:2 Pulldown Après (29,97 ips) Une seconde226 Partie II Utilisation de la vidéo 24P Pulldown 2:3:3:2 Le pulldown 2:3:3:2 constitue un autre type de pulldown que vous pouvez utiliser. Comme pour le pulldown 3:2, le « 3 » du modèle représente trois trames, une trame redondante étant ajoutée aux deux trames originales de l’image. Consultez la section « Utilisation du pulldown 2:3:3:2 » à la page 219 pour en savoir plus sur ce modèle et ses avantages. Bien que le modèle 3:2 soit traditionnellement pris en charge par les appareils NTSC, il est conseillé d’utiliser le pulldown 2:3:3:2 pour sortir de la vidéo que vous pouvez enregistrer sur bande et, plus tard, la reconvertir en 23,98 ips en profitant des avantages de la suppression du 2:3:3:2 (possibilité de supprimer le pulldown sans qu’il soit nécessaire de compresser et de créer à nouveau des images). Pulldown 2:2:2:4 Le modèle de pulldown 2:2:2:4 n’est pas toujours pris en charge par les appareils d’enregistrement ou les caméras, mais comme il requiert le moins de puissance de traitement, c’est un bon choix si vous montez de la vidéo à 23,98 ips et souhaitez la visionner avec autant d’effets en temps réel que possible sur un moniteur NTSC. Ce modèle s’avère également utile si vous devez afficher la vidéo provenant d’un ordinateur plus ancien et plus lent (ou d’un ordinateur supportant une charge de traitement élevée) qui provoque des pertes d’images lorsque vous essayez d’utiliser le pulldown 3:2 ou 2:3:3:2. A A B B C C D D D D A A B B C C D D D D A A B B C D D D D A A B C C D B B D C D D D A B A B C D C D D A B A C D C D D D A B C D A A B B C C D D D D Field 1 D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Une seconde Avant (23,98 ips) A B C D A D A B C D A B C D A B C D A B C D B C 2:2:2:4 Pulldown Après (29,97 ips)Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 227 II Ajout d’un pulldown à une vidéo de 23,98 ips Final Cut Pro vous permet d’ajouter un pulldown à une vidéo de 23,98 ips lors de sa sortie via FireWire. Comme expliqué à la section précédente, l’opération présente un intérêt lors du montage d’une vidéo de 23,98 ips que vous voulez sortir sur un appareil NTSC. Important : un périphérique FireWire doit être connecté à votre ordinateur et la séquence doit avoir une base temps de 23,98 ips pour que les options de pulldown apparaissent. Elles n’apparaissent pas si la séquence a une base temps de 24 ips. Pour rajouter un pulldown lors de l’envoi d’un signal vidéo de 23,98 ips à un périphérique NTSC via FireWire : 1 Dans Final Cut Pro, sélectionnez la séquence dans la Chronologie. 2 Choisissez le type de pulldown à utiliser dans le menu local Real-Time Effects (RT), dans la Chronologie. Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour des détails sur les modèles disponibles. 3 Sortez la vidéo via votre connexion FireWire. Consultez la documentation de Final Cut Pro pour des détails sur la sortie de vidéo. Le pulldown est effectué sur la vidéo envoyée de votre ordinateur via FireWire. Utilisation de listes EDL audio pour le son à deux systèmes À l’instar des productions sur film, les productions en vidéo 24P utilisent également un enregistreur audio distinct pour séparer l’enregistrement du son et des images. On parle souvent d’enregistrement de son à deux systèmes. Ce son est souvent enregistré simultané- ment sur la cassette vidéo du magnétoscope 24P, ce qui facilite la capture ultérieure de la vidéo et du son, ce dernier étant déjà synchronisé avec les images pour le montage. Bande vidéo Système de montage 24P online Master monté achevé Traitement final du son Magnétoscope 24P Vidéo 24P Bandes audio originales Vidéo synchronisée Son synchronisé Liste EDL 24 ips Liste EDL audio Final Cut Pro avec Cinema Tools Mixeur audio de production Enregistreur audio Montage offline Base de données pour l’exportation de la liste EDL audio Exportation de la liste EDL vidéo 228 Partie II Utilisation de la vidéo 24P Dans la plupart des cas, une fois que vous avez fini le montage, vous voudrez recapturer l’audio à partir des bandes de production originales et le faire finaliser par un studio de postproduction audio. La difficulté, c’est que la liste EDL de Final Cut Pro ne « connaît pas » les numéros de bande et les timecodes des bandes audio d’origine ; elle ne contient que les informations sur la bande vidéo. Comme l’enregistreur audio de production démarre et s’arrête indépendamment du magnétoscope, son timecode ne correspond pas à celui de ce dernier. À l’aide de sa fonction de base de données, Cinema Tools peut mettre en correspondance les modifications en utilisant l’audio des bandes vidéo avec les bandes audio de production originales et générer une liste EDL audio qui pourra ensuite être utilisée pour recapturer et finaliser l’audio. Pour utiliser cette fonction, vous devez d’abord créer une base de données Cinema Tools. Consultez la section « Création et configuration d’une nouvelle base de données » à la page 74 pour des détails sur la création d’une base de données et la section « Exportation d’une liste EDL audio » à la page 193 pour des détails sur l’exportation d’une liste EDL audio à partir de Cinema Tools.III Partie III: Annexes Ces annexes propose des informations complémentaires générales sur l’utilisation de Cinema Tools. Le glossaire et l’index peuvent vous aider à retrouver rapidement les informations que vous cherchez. Annexe A Principes généraux Annexe B Création de listes de films avec Cinema Tools Annexe C Solutions aux problèmes fréquents et assistance client Glossaire Index 231 A Annexe A Principes généraux Avant d’utiliser Cinema Tools pour monter votre film, il est utile de posséder quelques connaissances générales sur les propriétés d’un film et d’être familiarisé avec les méthodes traditionnelles de montage. Cette annexe vous présente quelques informations générales sur les films et les méthodes de montage traditionnelles et numériques. La plupart de ces informations sont très générales et ne sont pas destinées à constituer un guide exhaustif sur le traitement du film. Il existe une grande quantité de sources d’informations qui pourront vous fournir des renseignements plus détaillés à ce sujet. Notions élémentaires sur le film Un certain nombre d’éléments permettent de distinguer les différents formats de film. Les plus courants sont :  le format d’image,  la disposition des perforations par image sur le côté de la bande,  les codes de bordure, comprenant les numéros de bord et la codification manuelle,  la vitesse de défilement (le nombre d’images par secondes). Les sections suivantes traitent de ces points en relation avec Cinema Tools.232 Partie III Annexes Le format d’image Cinema Tools prend en charge deux formats de film courants : le 16 mm et le 35 mm. Le rapport hauteur/largeur de chaque format est différent. En raison de son moindre coût, le 16 mm est habituellement utilisé pour les productions à petits budgets. Si vous avez l’intention de filmer en 16 mm mais de sortir votre projet en 35 mm à 4 perforations, il est préférable d’utiliser une pellicule Super 16 mm. Elle est perforée sur un seul côté et son format d’image plus grand s’adapte mieux au rapport hauteur/largeur du 35 mm 4-perf. La pellicule 35 mm est habituellement utilisée pour les salles de cinéma, la version à 4 perforations par image (4-perf) étant la plus courante. Une autre version utilise 3 perforations par image. Il existe d’autres versions du format 35 mm, comme, par exemple, le format à 8 perforations, mais elles ne sont actuellement pas prises en charge par Cinema Tools. Perforations Les caméras et le matériel de projection utilisent des perforations (également appelées trous d’entraînement) situées le long d’un ou des deux côtés de la pellicule pour la faire passer devant l’obturateur. Format 16 mm Super 16mm Format 35 mm 4-perf Format 35 mm 3-perfAnnexe A Principes généraux 233 III Film 16 mm Le film 16 mm a une seule perforation par image, ce qui donne 40 perforations par pied. Le 16 mm existe en version perforé d’un seul côté (ce qui laisse de la place pour une piste optique ou, dans le cas du film Super 16 mm, pour une image plus grande) et perforé des deux côtés (perforations le long des deux bordures). Cinema Tools prend en charge les films 16 mm perforés d’un seul côté et des deux côtés à condition qu’ils possèdent un numéro de clé toutes les 20 images. Consultez la section « Numéros de bord » à la page 234 pour en savoir plus. Film 35 mm Le film 35 mm a 64 perforations par pied. Cinema Tools prend en charge les formats 35 mm à 4 perforations et 35 mm à 3 perforations pour tous les types de listes de film et de listes des modifications. Ces derniers sont, de loin, les formats 35 mm les plus courants. Le format de film 35 mm à 4 perforations a 16 images par pied. Le format 35 mm à 3 perforations ne possède pas un nombre entier d’images par pied (il y en a 21 et un tiers par pied). Pour éviter de devoir gérer des fractions d’images, on considère que le format 35 mm à 3 perforations est composé d’une succession de motifs composés de deux pieds à 21 images suivis d’un pied à 22 images. Consultez la section « Décalages 35 mm à 3 perforations » à la page 235 pour en savoir plus. Code de bordure du film Pour faciliter la localisation d’images spécifiques, les fabricants de films placent des chiffres le long de la bordure du film. Ces numéros de bord (également appelés code de bordure latent) n’apparaissent qu’une fois le film développé. Pour les copies de travail, les laboratoires peuvent ajouter des numéros appelés codification manuelle (également appelée codification Acmade). Les codes de bordure sont essentiels à votre base de données Cinema Tools car ils vous permettent d’exporter des cut lists ou des listes de modification qui spécifient précisé- ment où vos négatifs ou copies de travail doivent être coupés afin de correspondre à vos coupes numériques.234 Partie III Annexes Numéros de bord Les numéros de bord fournissent à la fois un numéro d’identification pour chaque bobine de film et une numérotation permettant d’identifier des images spécifiques. Ils apparaissent souvent à la fois comme texte normal et comme code à barres. Chaque format de film utilise les numéros de bord de manière différente :  Les films au format 16 mm peuvent contenir un numéro de bord toutes les 20 images (type le plus courant) ou 40 images, selon l’émulsion cinématographique. Cinema Tools prend en charge le format 16 mm-20.  Le film 35 mm a un numéro de clé toutes les 64 perforations (ce qui équivaut à toutes les 16 images avec le format à 4 perforations ou toutes les 21 images et un tiers avec le format à 3 perforations). Contrairement au timecode vidéo qui comporte un numéro par image vidéo, les numéros de bord n’apparaissent pas sur chaque image de la pellicule. C’est pourquoi, lorsque l’on identifie une image donnée dans un relevé ou dans Cinema Tools, les numéros de bord comportent une extension permettant de spécifier chaque image. L’extension « +08 » ajoutée à un numéro de bord indique qu’il s’agit de la huitième image à partir de la première de ce numéro de bord. Numéro de bordAnnexe A Principes généraux 235 III Dans l’illustration précédente, le numéro de clé réel de l’image du centre est KJ 29 1234 5678+00. L’extension « • » suivant le numéro indique l’image 00 du numéro de clé. (Sur une pellicule 4-perf, comme celle de l’illustration, il y a 16 images par numéro de bord, la première correspondant à « 00 ».) L’image de droite a donc le numéro de clé KJ 29 1234 5678+01. L’image de gauche est la dernière image du numéro de clé précédent, KJ 29 1234 5677+15. (Le film 16 mm place le symbole « • » au début du numéro de clé.) La pellicule 35 mm comprend également des marqueurs tous les demi pied, à mi-chemin entre les marqueurs d’image zéro. Ils permettent de localiser plus facilement le point médian (l’image « +08 » dans l’exemple précédent) et de diminuer les risques d’erreur de décompte. Ces marqueurs utilisent le même numéro de bord en y ajoutant « +32 » (indiquant le numéro de perforation et non le numéro d’image) dans une taille de police plus petite. Décalages 35 mm à 3 perforations Comme le format 35 mm à 3 perforations ne possède pas un nombre d’images entier entre les numéros de clé, un numéro de décalage de perforation supplémentaire est ajouté à la fin du numéro de clé. Ce numéro indique la relation de la perforation marquée d’un « • » avec l’image à cette position. Codification manuelle La codification manuelle, souvent utilisée pour les copies de travail, est une méthode supplémentaire de codification sur la bordure de la pellicule permettant de mesurer le pié- tage et de compter les images. La codification manuelle est ajoutée aux copies de travail et aux bandes (son des bandes magnétiques correspondantes) une fois la copie de travail et la bande son synchronisées. Sur les copies de travail transférées, la codification manuelle est plus facile à lire que les numéros de bord et elle constitue un mécanisme de comptage synchronisé pour la bande-son et la copie de travail. La codification manuelle est parfois appelée codification Acmade car Acmade est le constructeur d’une machine utilisée pour l’impression de codification manuelle. Ces machines sont habituellement louées ou sont la propriété des équipes de tournage qui les utilisent. Décalage 1 Décalage 2 Décalage 3236 Partie III Annexes La codification manuelle est habituellement constituée d’un préfixe à trois chiffres, d’un caractère ou d’une espace, de quatre chiffres représentant le numéro du métrage et de chiffres représentant la vue de référence. Dans la codification manuelle 123 4567 +08, par exemple, « 123 » est le préfixe et « 4567+08 » est le numéro d’image, indiquant que l’image se trouve à 4567 pieds et 8 images. En réalité, la codification manuelle indiquée sur la pellicule ne comprend pas la dernière partie (le numéro de la vue de réfé- rence). Cette dernière est calculée lors du transfert télécinéma et apparaît dans la liste télécinéma. Le nombre de chiffres constituant le préfixe peut être supérieur ou inférieur à trois et la méthode de numérotation utilisée est habituellement déterminée par un assistant monteur. La numérotation pourrait, par exemple, être associée au numéro de scène, tel que « 042 » pour le métrage de la scène 42, ou les préfixes pourraient représenter les numéros de bobines journalières. Fenêtre d’affichage Lors du processus de transfert télécinéma (décrit dans la section « Transfert du film sur bande vidéo » à la page 19), le numéro de bord est habituellement incrusté dans l’image vidéo (en même temps que le timecode vidéo et audio) afin de faciliter l’identification d’images particulières. On appelle ces codes incrustés la fenêtre d’affichage. Cinema Tools s’avère bien plus simple à utiliser si les numéros de bord sont visibles. Il est possible d’utiliser Cinema Tools sans la fenêtre d’affichage, mais cela demandera plus d’efforts de votre part pour vous assurer que les coupes sont correctement détectées. Remarque : une fois vos images vidéo capturées, mais avant le montage, vérifiez que les numéros de bord et le timecode incrustés correspondent à ceux de la pellicule et de la bande vidéo. Une erreur à ce stade entraînerait de sérieux problèmes lors de la conformation du négatif. La méthode la plus courante pour vérifier ces codes est de demander au laboratoire ou au studio de transfert de perforer ou d’appliquer une marque sur une image de la pellicule, de noter son numéro de bord et de le comparer au numéro de bord incrusté lors du visionnage de la vidéo transférée.Annexe A Principes généraux 237 III Vitesse de défilement Un film possède normalement une fréquence d’images de 24 images par secondes (ips). Ce qui veut dire qu’une nouvelle image est exposée ou projetée 24 fois par seconde. Afin de faciliter la conversion aux vitesses de défilement vidéo, il est courant de faire tourner le film à d’autres vitesses que 24 ips durant le transfert télécinéma. Cinema Tools prend en charge les films transférés sur bande vidéo à des vitesses de télécinéma de 23,98 ips, 24 ips, 25 ips et 29,97 ips (souvent appelé 30 ips). Pour de plus amples renseignements sur la vitesse de défilement, consultez la section « Infos générales sur la vitesse de défilement des images » à la page 23 . Montage selon les méthodes traditionnelles La procédure traditionnelle de montage a peu évolué au fil du temps. Alors que le maté- riel utilisé a connu de profondes améliorations, les étapes du processus sont restées fondamentalement les mêmes. Vous trouverez ci-dessous le déroulement simplifié du processus de montage d’un film. Remarquez que le négatif original n’est presque pas utilisé pendant la partie créative du montage. Le négatif doit être manipulé aussi peu que possible, par des professionnels et dans un environnement adéquat, afin d’éviter tout risque d’endommagement. Étape 1 : tournage et enregistrement du son Le son est toujours enregistré séparément sur un enregistreur audio indépendant. On appelle ce procédé le tournage à système sonore séparé. Au moment de tourner le film, vous devez inclure une méthode de synchronisation du son et de l’image. La méthode la plus courante consiste à utiliser un clap (également appelé ardoise ou claquette) au début de chaque prise. Il existe de nombreuses autres méthodes utilisables, l’idée étant d’utiliser un signal court et ponctuel, à la fois audible et visible (il faut que l’on voie ce qui provoque le bruit). Étape 2 : développement du film La pellicule développée est appelée négatif de caméra original. Ce négatif sera conformé afin de créer le film abouti et doit être manipulé avec soin pour éviter toute possibilité de rayure ou de contamination. Le négatif est normalement utilisé pour créer une copie de travail (film positif), puis mis de côté jusqu’à sa conformation. Création de la copie de travail Montage de la copie de travai Montage de pistes audio de travail Tournage du film Développement du film Création de pistes audio de travail Enregistrement du son Mixage de pistes audio Ajout de bruitages Conformation du négatif original à la copie de travail Création de copies d’exploitation Négatif original Bandes audio originales238 Partie III Annexes Étape 3 : création de la copie de travail La copie de travail est créée à partir du négatif original et vous fournit une copie du film brut à utiliser pour le montage. Les copies de travail étant des épreuves positives de la pellicule, elles peuvent être projetées et utilisées comme rushes, afin que vous puissiez visualiser ce qui a été tourné. Étape 4 : création de pistes audio de travail Une piste de travail audio est comparable à la copie de travail du film: c’est la copie de la bande-son à utiliser lors du montage. En fonction du type d’appareil de montage mécanique que vous compter utiliser, vous devrez souvent créer une piste audio de travail sur bande magnétique. La bande magnétique, également appelée bande-son, utilise des perforations comme la pellicule, mais elle est recouverte d’un revêtement magnétique. Une fois synchronisée avec le film sur la monteuse, le monteur fait défiler la bande-son et la copie de travail en même temps, tout en maintenant leur synchronisation durant le montage. Étape 5 : montage de la copie de travail C’est à ce stade où vous décidez quelles parties du métrage vous voulez utiliser et de la manière de les agencer. Le montage de la copie de travail implique de couper et de coller sur chaque point de montage. Changer d’avis sur l’emplacement exact d’une coupe ou essayer différents raccords prend du temps et a tendance à fragiliser la pellicule. (C’est cette partie du processus que le montage numérique facilite énormément.) Lorsque vous êtes satisfait par la copie de travail montée, elle peut être envoyée au monteur négatif. Étape 6 : conformation du négatif La copie de travail montée est utilisée comme guide pour le découpage du négatif original. Ce processus est appelé conformation. Étant donné qu’il n’y a qu’un seul négatif, il est primordial de ne faire aucune erreur à ce stade. Contrairement aux méthodes de découpe et de collage utilisées sur la copie de travail, les méthodes utilisées pour la conformation du négatif détruisent les images de début et de fin du plan monté. Cela rend l’allongement d’un montage virtuellement impossible et constitue l’une des raisons pour lesquelles vous devez être absolument sûr de vos points de coupe avant d’entamer la conformation. Étape 7 : montage du son Le son est généralement monté « bout-à-bout » pendant le montage de la copie de travail. Pendant la conformation du négatif, le son est monté (à l’aide des bandes originales) puis on y rajoute les bruitages et les modifications de dialogues nécessaires.Annexe A Principes généraux 239 III Étape 8 : création des copies d’étalonnage et d’exploitation Une fois que vous avez conformé le négatif original et terminé le montage audio, vous pouvez créer une copie d’étalonnage. Cette copie est utilisée pour l’amélioration des couleurs finales, étape au cours de laquelle l’équilibre des couleurs et l’exposition de chaque prise sont retouchés afin d’assurer le bon enchaînement des prises. Il peut s’avérer nécessaire de créer plusieurs copies d’étalonnage avant d’obtenir des résultats satisfaisants. Une fois que la copie d’étalonnage vous convient, la copie d’exploitation est réalisée. Montage à l’aide des méthodes numériques Le processus de montage numérique de film est en constante évolution, mais le principe reste le même : vous commencez et vous finissez sur pellicule, seule le travail de création du montage change. Vous trouverez ci-dessous le déroulement simplifié des étapes de base. (Pour une explication détaillée de ces étapes, consultez le chapitre 2, « Le flux de production de Cinema Tools », à la page 37.) Bien que ce flux de production paraisse plus compliqué que la méthode de montage traditionnelle, beaucoup de ces étapes peuvent être automatisées. Pour la plupart des réalisateurs, la possibilité de faire le montage en numérique compense largement le fait qu’il y ait des procédures supplémentaires. De nombreuses étapes du montage numérique sont identiques à la méthode traditionnelle, seule la phase intermédiaire du montage est affectée par le montage numérique. Étape 1 : tournage et enregistrement du son Le son est toujours enregistré séparément sur un enregistreur audio indépendant. On appelle ce procédé le tournage à système sonore séparé. Au moment de tourner le film, vous devez inclure une méthode de synchronisation du son et de l’image. La méthode la plus courante consiste à utiliser un clap (également appelé ardoise ou claquette) au début de chaque prise. Il existe de nombreuses autres méthodes utilisables, l’idée étant d’utiliser un signal court et ponctuel, à la fois audible et visible (il faut que l’on voie ce qui provoque le bruit). Tournage du film Mixage des pistes audio Ajout de bruitages Conformation du négatif original à la cut list Création de copies d’exploi- tation Conversion en vidéo avec un télécinéma Dévelop- pement du film Décisions de montage Liste télécinéma Son pour le montage Liste EDL audio Cut list Négatif original Bandes audio originales Montage vidéo et audio Final Cut Pro Télécinéma inversé Conformation Capture du son Capture de la vidéo Prépara- tion des plans Enregis- trement du son Cinema Tools Base de données Cinema Tools Exportation de la cut list en fonction du montage 240 Partie III Annexes Étape 2 : développement du film La pellicule développée est appelée le négatif de caméra original. Ce négatif sera utilisé pour créer le film abouti et doit être manipulé avec soin pour éviter toute possibilité de rayure ou de contamination. Le négatif est utilisé pour créer un transfert sur bande vidéo (et habituellement une copie de travail comme dans la méthode traditionnelle) puis mis de côté jusqu’à sa conformation. Étape 3 : transfert du film sur bande vidéo La première étape de la conversion du film vers un format utilisable dans Final Cut Pro est le transfert sur vidéo, généralement à l’aide d’un télécinéma. Les télécinémas sont des appareils qui numérisent une à une toutes les images d’un film à l’aide d’un capteur CCD (charge-coupled device) pour les convertir en images vidéo. Bien que la vidéo générée par le télécinéma ne soit utilisée que pour déterminer les points de coupe, il est conseillé de réaliser un transfert de la meilleure qualité possible. Si vous décidez de ne pas faire de copies de travail, c’est peut-être là votre unique chance de déceler des éléments indésirables (comme une perche ou une ombre de micro dans le champ) dans chaque prise avant de les valider. La version vidéo doit comporter le numéro de bord du film, le timecode vidéo et le timecode audio incrustés sur chaque image. Le format de bande vidéo utilisé pour le transfert est sans importance, tant que des timecodes fiables sont utilisés. Vous pourrez ensuite capturer la vidéo et l’audio numé- riquement sur ordinateur avant le montage. Vous pouvez néanmoins décider d’utiliser le transfert vidéo pour créer également une version vidéo montée du projet, afin de réaliser une bande annonce par exemple. Cela nécessite deux bandes vidéo réalisées lors du transfert : une de qualité supérieure, sans fenêtre d’affichage et une autre avec fenêtre d’affichage. Il est fortement recommandé de synchroniser l’audio sur la vidéo, puis de l’enregistrer sur la bande en même temps que la vidéo lors du transfert télécinéma. Il existe également certaines méthodes pour synchroniser l’audio une fois que le transfert télécinéma est complet. Il est important de pouvoir capturer simultanément la vidéo et l’audio synchronisé avec Final Cut Pro. Étape 4 : création d’une base de données Cinema Tools La base de données de Cinema Tools constitue l’élément clé de son utilisation. Cette base de données est semblable au « code book » (livre de codes) utilisé par les réalisateurs. Elle contient des informations sur tous les éléments impliqués dans un projet, y compris les numéros de bord du film, les timecodes vidéo et audio et les fichiers de plan utilisés par Final Cut Pro. En fonction de votre situation, la base de données peut contenir soit un enregistrement de chaque prise utilisée dans le montage, soit des enregistrements uniques pour chaque bobine de pellicule. Le transfert pellicule/vidéo génère un journal que Cinema Tools peut importer pour constituer sa base de données. C’est cette base de données que Cinema Tools utilise pour faire correspondre vos montages Final Cut Pro avec les numéros de clé du film en générant la cut list. Annexe A Principes généraux 241 III Il n’est pas nécessaire que la base de données soit créée avant la capture du son et de la vidéo, ou même avant qu’ils ne soient montés. Le seul impératif est qu’elle doit être créée avant qu’une cut list ne puisse être exportée. L’atout que présente la création de la base de données avant la capture de la vidéo et de l’audio est de permettre ensuite de l’utiliser pour créer des listes de capture par lot, ce qui permet à Final Cut Pro de capturer les plans. La base de données peut également être mise à jour et modifiée pendant le montage. Étape 5 : capture de la vidéo et du son La vidéo crée au cours du processus de télécinéma doit être capturée sous la forme d’un fichier numérique pouvant être monté avec Final Cut Pro. La méthode employée dépend du format de la bande utilisée pour le transfert télécinéma et des performances de votre ordinateur. Pour capturer des fichiers provenant d’une Betacam SP ou d’un magnétophone à bobines Digital Betacam, vous devez disposer d’une carte de capture de tierce partie. Si vous utilisez une source DVCam, l’importation peut se faire directement via FireWire. Pour pouvoir bénéficier de la fonctionnalité de capture par lot de Final Cut Pro, vous devriez utiliser une source aux images précises et contrôlable par périphérique. Contrairement à la vidéo capturée, qui n’est jamais utilisée dans le film final, le son monté peut être utilisé. Vous pouvez décider de capturer le son à un niveau de qualité supérieur, puis l’exporter une fois monté sous forme de fichier OMF (Open Media Framework) qui peut être importé, pour la finition, sur une plateforme de travail DAW (Digital Audio Workstation). Une autre façon de faire consiste à capturer l’audio en basse qualité, puis, une fois le montage terminé, à exporter une liste EDL audio pouvant être utilisée par un studio de postproduction audio où le son de production peut être capturé et traité en très haute qualité. Étape 6 : traitement des plans vidéo et audio En fonction de la façon dont vous utilisez Cinema Tools, les plans capturés peuvent être reliés à la base de données Cinema Tools. Ils peuvent aussi être traités à l’aide des fonctions Reverse Telecine et Conform de Cinema Tools pour garantir la compatibilité avec la base temps de montage de Final Cut Pro. La fonction de télécinéma inversé de Cinema Tools vous permet, par exemple, de retirer les images supplémentaires ajoutées lors du transfert du film sur bande vidéo NTSC à l’aide du procédé pulldown 3:2. Étape 7 : montage vidéo et audio Vous pouvez maintenant modifier le projet à l’aide de Final Cut Pro. Dans les grandes lignes, le montage de votre projet de film se fait comme pour tout projet vidéo. Si vous avez capturé le son séparément de la vidéo, il est possible de les synchroniser à l’aide de Final Cut Pro. Tous les effets que vous appliquez, tels que les fondus, transitions, variations de vitesse ou titres, ne sont pas utilisés directement. Ils doivent être créés sur pellicule par une unité spécialisée dans les effets visuels. 242 Partie III Annexes Sortir une bande vidéo du montage final du projet peut constituer une aide précieuse pour la personne chargée du montage du négatif. Même si la cut list contient toutes les informations nécessaires pour faire correspondre la pellicule au montage vidéo, il est utile de pouvoir visualiser les coupes. Étape 8 : exportation des listes de film Une fois le montage terminé, vous pouvez exporter toutes sortes de listes concernant le film, comme, par exemple, la liste de conformation, utilisée par le monteur négatif pour mettre en correspondance le négatif caméra original avec la vidéo montée. Il est également possible de créer d’autres listes, comme la liste des doublons, qui indique si des plans sont utilisés plusieurs fois. Étape 9 : création d’une coupe test sur une copie de travail Avant de conformer le négatif original, il est fermement recommandé de conformer une copie de travail à la cut list afin de s’assurer de la fiabilité de cette dernière (certains monteurs négatif exigent de travailler à partir d’une copie de travail conformée). De nombreux facteurs peuvent entraîner des inexactitudes dans la cut list :  des numéros de bord endommagés ou mal lus introduits pendant le transfert télécinéma,  des valeurs de timecode incorrectes,  des erreurs de timecode survenues pendant le processus de capture,  des problèmes de pulldown 3:2 avec le format vidéo NTSC. Outre la vérification de la cut list, d’autres problèmes, tels que le rythme d’une scène, sont des éléments souvent difficiles à appréhender avant d’avoir vu le film projeté sur grand-écran. Cela vous permet également de vous assurer que les plans choisis ne posent aucun problème inattendu. Si des projections et des modifications de la copie de travail font partie de votre processus de production, vous pouvez également exporter une liste de modifications décrivant les changements à réaliser sur la copie de travail afin qu’elle corresponde à une nouvelle version de la séquence montée dans Final Cut Pro. Étape 10 : conformation du négatif Le monteur négatif utilise la liste de conformation, la copie de travail montée et la version vidéo montée (si elle est disponible) comme guide pour effectuer le montage sur le négatif original. Étant donné qu’il n’y a qu’un seul négatif, il est primordial de ne faire aucune erreur à ce stade. Contrairement aux méthodes de découpe et de collage utilisées sur la copie de travail, les méthodes utilisées pour la conformation du négatif détruisent les images de début et de fin du plan monté. Cela rend l’allongement d’un montage virtuellement impossible et constitue l’une des raisons pour lesquelles vous devez être absolument sûr de vos points de coupe avant d’entamer la conformation.Annexe A Principes généraux 243 III Étape 11 : finition audio Le son est généralement monté « bout-à-bout » pendant le montage de la vidéo (étape 7), la finition étant normalement effectuée pendant la conformation du film. Comme indiqué à l’étape 5, vous pouvez utiliser une version OMF exportée de l’audio Final Cut Pro monté ou exporter une liste EDL audio et recapturer le son de production (à l’aide des bandes originales) sur un poste de travail audionumérique. La finition audio est l’étape où l’on effectue le mixage final du son, y compris l’élimination des problèmes de dialogues et l’ajout des bruitages, des arrière-plans et de la musique. Étape 12 : création des copies d’étalonnage et d’exploitation Une fois que vous avez conformé le négatif original et terminé le montage audio, vous pouvez créer une copie d’étalonnage. Cette copie est utilisée pour l’amélioration des couleurs finales, étape au cours de laquelle l’équilibre des couleurs et l’exposition de chaque prise sont retouchés afin d’assurer le bon enchaînement des prises. Il peut s’avérer nécessaire de créer plusieurs copies d’étalonnage avant d’obtenir des résultats satisfaisants. Une fois que la copie d’étalonnage vous convient, la copie d’exploitation est réalisée. 245 B Annexe B Création de listes de films avec Cinema Tools Cinema Tools ne peut créer une liste de film que s’il parvient à faire coïncider les coupes faites dans le système de montage et les enregistrements de la base de données de Cinema Tools. Un enregistrement contient des informations sur la bande du film et sur les numéros de bord requises par Cinema Tools pour décrire les coupes dans la liste de film. Pour créer une liste de film, Cinema Tools utilise deux méthodes pour rechercher un enregistrement de la base de données associée à une coupe particulière :  Méthode basée sur les plans : Cinema Tools obtient le nom du plan de Final Cut Pro, puis recherche le plan dans la base de données. Cinema Tools tente d’abord de localiser le plan d’après le chemin d’accès au plan indiqué dans le système de montage. Si cette méthode ne permet pas de trouver le plan, la recherche est effectuée à l’aide du nom et de la date de modification du plan. Lorsque Cinema Tools trouve le plan dans la base de données, il peut également localiser l’enregistrement correspondant, car chaque plan est obligatoirement associé à un enregistrement.  Méthode basée sur le timecode : si Cinema Tools ne trouve pas l’enregistrement de base de données sur la base du nom du plan, il recherche l’enregistrement de base de données en cherchant les informations de bobine vidéo et de timecode associées à la coupe dans la séquence dansFinal Cut Pro.246 Partie III Annexes Cinema Tools utilise autant que possible la méthode de localisation basée sur les plans. S’il ne trouve aucun plan correspondant, il utilise la méthode de localisation basée sur le timecode. Si Cinema Tools ne parvient pas à trouver un enregistrement de base de données approprié, une entrée est effectuée dans la liste des éléments manquants (si vous choisissez d’inclure une liste d’éléments manquants dans la liste de film). Ce processus apparaît dans le diagramme ci-dessous. À propos de la méthode basée sur les plans Pour localiser un enregistrement de la base de données grâce à la méthode basée sur les plans, Cinema Tools n’a besoin de connaître que le lien entre le plan source et les numéros de bord ou la codification manuelle. Avec la méthode basée sur le timecode en revanche, Cinema Tools doit connaître le lien entre les numéros de bord ou la codification manuelle et la bande et le timecode vidéo. La méthode des plans s’avère plus fiable car elle utilise moins de critères. C’est pourquoi Cinema Tools l’utilise toujours en premier. Oui Non Oui Non Cinema Tools obtient le nom du plan à partir de Final Cut Pro Cinema Tools recherche le nom du plan dans la base de données Cinema Tools obtient le timecode du planet l’identifiant de bobine à partir de Final Cut Pro Cinema Tools utilise les informations de bobine et de numéro de bord pour décrire la coupe dans la cut list Enregistrement trouvé dans la base de données ? Cinema Tool recherche le timecode du plan et l’identifiant de bobine dans la base de données L’élément manquant est noté dans la cut list et ajouté à la liste des éléments manquants Enregistrement trouvé dans la base de données ?Annexe B Création de listes de films avec Cinema Tools 247 III À propos de la méthode basée sur le timecode Cette méthode s’avère très utile, voire essentielle, dans certaines situations :  Si vous n’avez pas listé vos plans dans la base de données de Cinema Tools en les associant aux enregistrements, seule la méthode basée sur le timecode permet de localiser ces enregistrements. Si la base de données contient les données nécessaires pour pouvoir mettre en correspondance le numéro de bord et le timecode et les plans source ont été capturés par Final Cut Pro en utilisant un contrôle de périphérique aux images précises, Final Cut Pro devrait connaître les informations de bobine de film et de timecode de chaque plan et pouvoir produire une liste de film à partir de ces informations. (Dans ce cas, il n’est pas nécessaire d’établir un lien entre les plans sources et les enregistrements de la base de données, ce qui constitue un gain de temps appréciable.)  Si vous générez une liste de film à partir d’une liste EDL externe, la méthode basée sur le timecode est utilisée (en supposant que vous n’avez pas relié les plans sources à la base de données).  Si les fichiers de plans sont inaccessibles (offline) lorsque la liste de film est créée, seule la méthode basée sur le timecode peut localiser les enregistrements de la base de données. 249 C Annexe C Solutions aux problèmes fréquents et assistance client Si vous rencontrez des problèmes avec Cinema Tools, plusieurs ressources d’aide sont à votre disposition.  Cette annexe : cette annexe contient des informations relatives aux problèmes les plus fréquents rencontrés par les utilisateurs.  Informations de dernière minute : le menu Aide de Cinema Tools contient les informations de dernière minute qui n’ont pas pu être incluses dans le manuel. Consultez cette page d’aide dès que vous installez ou mettez à jour Cinema Tools.  Base d’informations techniques AppleCare : l’assistance AppleCare gère une base de données des problèmes d’assistance les plus courants, qui est mise à jour et agrandie au fur et à mesure que de nouvelles questions surgissent. Elle constitue une ressource gratuite très intéressante pour les utilisateurs de Cinema Tools. Pour accéder à la base de connaissances AppleCare, rendez-vous sur la page de support AppleCare à l’adresse http://www.apple.com/fr/support.  Assistance AppleCare : les utilisateurs de Cinema Tools peuvent choisir entre plusieurs options d’assistance. Pour en savoir plus, consultez la documentation sur les options d’assistance qui accompagnait Cinema Tools. Solutions aux problèmes fréquents Voici la liste des problèmes courants que vous pouvez rencontrer lors de l’utilisation de Cinema Tools avec une ou plusieurs solutions à chaque problème. Affichage d’avertissements concernant des utilisations multiples d’une même source.  Si le nombre d’images réutilisées est inférieur au nombre d’images que vous avez indiqué dans les réglages Cut Handles ou Transition Handles de la zone de dialogue Film List Export, il se peut qu’un message d’avertissement concernant des utilisations multiples soit affiché comme résultat des Cut Handles ou des Transition Handles. Pour vérifier si c’est le cas, réglez l’option Transition Handles sur zéro image et l’option Cut Handles sur une demi image, puis exportez de nouveau la liste de film. 250 Partie III Annexes  Lorsque votre programme monté contient des utilisations multiples de données sources et que vous ne disposez que d’un négatif original à couper, deux options s’offrent à vous. Vous pouvez monter à nouveau votre scène (ou vos scènes) afin d’éviter d’utiliser les données plusieurs fois. Vous pouvez aussi exporter une liste de doublons et la confier à un laboratoire pour qu’il crée plusieurs négatifs de chaque plan utilisé plus d’une fois. Transférez ensuite les doublons des négatifs sur vidéo et capturez-les dans Final Cut Pro, listez-les dans la base de données Cinema Tools et utilisez-les pour remplacer les doublons de section dans le projet monté. Les numéros de bord de la cut list ne concordent pas avec ceux des plans numériques.  Vous devez tout d’abord vous assurer qu’il s’agit d’un problème grave. Lorsque vous effectuez un montage à la vitesse vidéo NTSC de 30 ips (29,97 ips exactement), il arrive que les numéros de bord présentent un écart de plus ou moins 1 image. Ce résultat est donc tout à fait normal et ne doit pas vous préoccuper. (Consultez à ce propos la section « Infos générales sur la vitesse de défilement des images » à la page 23.) Il arrive également que le numéro de bord présente un écart supérieur à une image à la fin de la coupe, dans le cas où une image a été ajoutée ou supprimée pour conserver la synchronisation avec le son. Cet écart ne doit cependant jamais dépasser une image au début de la coupe. Par ailleurs, si vous effectuez un montage vidéo PAL à 24 ips, le numéro de bord incrusté dans l’image doit toujours être identique à celui des points d’entrée et de sortie de la cut list.  Si l’écart est supérieur à une image, il est très probable que le plan n’est pas correctement identifié dans la base de données Cinema Tools. Pour vérifier s’il est correctement identifié, ouvrez l’enregistrement correspondant et cliquez sur Open Clip pour ouvrir la fenêtre Clip. Utilisez la fonction Identify pour vérifier les numéros de bord en plusieurs points du plan et voir, de cette manière, si les images sont bien identifiées. Si le numéro de clé est incorrect, corrigez-le dans la sous-fenêtre Identify de la fenêtre Clip. Consultez la section « Vérification et correction de numéros de code de bordure de timecode » à la page 108 pour en savoir plus. Ensuite, générez à nouveau la cut list et vérifiez l’exactitude des numéros de bord affichés.  Assurez-vous que le timecode est correct dans Final Cut Pro. Si vous avez utilisé le contrôle de périphérique pour capturer les plans, mais constatez que Cinema Tools indique le mauvais timecode, il y a de fortes chances que le timecode soit incorrect dans Final Cut Pro. Si le timecode est incorrect dans Final Cut Pro, vous devez recapturer les plans source. Si vous avez utilisé le contrôle de périphérique série, il a pu se produire un décalage du timecode si vous n’avez pas réglé le décalage de timecode approprié dans Final Cut Pro pour la platine spécifique que vous avez utilisée. Vous devez réaliser ce réglage pour chaque platine et chaque ordinateur. Si le décalage de timecode n’a pas été spécifié, faites-le et recapturez les plans sources. Pour en savoir plus, consultez la section consacrée au calibrage du signal de timecode dans la documentation de Final Cut Pro.Annexe C Solutions aux problèmes fréquents et assistance client 251 III  Assurez-vous que tous les plans de la séquence ont la même fréquence d’images que la base temps de la séquence dans Final Cut Pro. Consultez la section la documentation de Final Cut Pro pour des détails sur la configuration de la base temps de montage dans l’Éditeur de préréglage de séquence.  La vidéo peut présenter des pertes d’images ou une discontinuité des numéros de bord. Dans ce cas, essayez de recapturer les plans. Lorsque vous tentez d’utiliser la fonction de télécinéma inversé, un message vous indique que des données ont été perdues.  Il arrive que des plans contiennent des images trop longues. Dans ce cas, la fonction de télécinéma inversé de Cinema Tools peut signaler des pertes d’images qui ne se sont en fait pas produites. Essayez de conformer le plan à 29,97 ips à l’aide de la fonction de conformation, puis relancez le processus de télécinéma inversé.  Si des pertes d’images se sont réellement produites lors de la capture, il est préférable de recapturer les plans sources sans pertes d’images car ces dernières peuvent perturber le processus de télécinéma inversé. Consultez à ce sujet la section « Comment éviter les pertes d’images » à la page 112. Vous trouvez des fichiers .tmp inattendus.  Cinema Tools crée parfois plusieurs fichiers temporaires lorsqu’il produit la cut list. Ces fichiers sont généralement supprimés une fois la liste créée et vous ne pouvez donc pas les voir. Si une erreur système se produit avant que la liste ne soit créée, il arrive que ces fichiers ne soient pas supprimés. Si vous trouvez des fichiers créés par Cinema Tools avec le suffixe « .tmp », « .tmp.dat » ou « .tmp.idx », vous pouvez les supprimer. Une erreur relative à un fichier temporaire apparaît dans la cut list.  Si une erreur se produit pendant que Cinema Tools est en train de créer un fichier temporaire, des messages d’erreur relatifs à ces fichiers peuvent apparaître dans la cut list. Ce problème est sans doute dû à un manque d’espace sur votre volume de stockage. Vérifiez que l’espace disponible sur le volume de stockage est suffisant.252 Partie III Annexes Contact de l’assistance AppleCare Votre coffret Final Cut Studio comprend de la documentation sur les options d’assistance disponibles chez Apple. Plusieurs types d’assistance vous sont proposés selon vos besoins. Quel que soit votre problème, il est recommandé que vous ayez les informations suivantes à portée de la main lorsque vous prenez contact avec l’assistance d’Apple. Vous réglerez plus rapidement votre problème si vous pouvez communiquer ces informations sans délai aux agents d’assistance.  L’identifiant d’assistance qui se trouve sur la couverture du fascicule Installing Your Software qui accompagnait Final Cut Studio. Remarque : l’identifiant d’assistance à 11 chiffres est différent du numéro de série du produit utilisé pour installer Final Cut Studio.  La version de Mac OS X que vous avez installée. Cette information est accessible via la commande À propos de ce Mac, dans le menu Pomme.  La version de Cinema Tools installée, y compris les mises à jour le cas échéant. Le numéro de la version se trouve dans Cinema Tools > About Cinema Tools.  Le modèle d’ordinateur utilisé.  La quantité de mémoire RAM installée sur votre ordinateur et la quantité allouée à Cinema Tools. Pour connaître la quantité de mémoire RAM installée, choisissez À propos de ce Mac dans le menu Pomme du Finder.  Les autres matériels tiers installés sur votre ordinateur ou reliés à celui-ci, ainsi que leur fabricant. Cela inclut les disques durs, les cartes vidéo, etc.  Modules de tierce partie ou autres logiciels installés avec Cinema Tools. Dans certains cas, AppleCare peut demander des informations sur votre ordinateur et la façon dont l’application est configurée. Choisissez Help > Create Support Profile crée un fichier contenant les informations nécessaires pouvant être envoyé à AppleCare par courrier électronique. En principe, n’utilisez cette fonctionnalité que si un membre du service AppleCare vous le demande. Vous pouvez accéder à l’assistance AppleCare en ligne à l’adresse http://www.apple.com/fr/support/cinematools. 253 Glossaire Glossaire 24 @ 25 Il s’agit de la méthode la plus courante de transfert de film vers le format vidéo PAL, qui consiste à accélérer le film à 25 ips lors du transfert télécinéma. Chaque image du film correspond exactement à une image de la vidéo, mais l’action s’en trouve accélérée de 4 pour cent. Voir aussi 24 & 1 ; pulldown 24 @ 25. 24&1 Cette méthode de transfert de film au format vidéo PAL consiste à ajouter deux trames supplémentaires par seconde à la vidéo, afin que les 24 ips de film remplissent les 25 ips du format vidéo PAL. Cette méthode maintient la vitesse d’origine de l’action. Voir aussi 24 @ 25 ; pulldown 24 @ 25. 24P Ce format vidéo de haute résolution utilise une vitesse de 24 ips et la technologie du balayage progressif. Il est de plus en plus utilisé dans la production de films à cause de sa haute qualité et fréquence d’images identique. Il est en outre facilement convertible dans la plupart des formats vidéo standard et haute résolution à 29,97 ips et 25 ips. 35 mm 4-perf Format courant de film 35 mm géré par Cinema Tools. Il comporte quatre perforations (trous d’entraînement) par image. 35 mm à 3 perforations Format de film 35 mm pris en charge par Cinema Tools. Il comporte trois perforations (trous d’entraînement) par image. Il gagne en popularité, en particulier avec la télévision par épisodes, car il contient 25 pour cents d’images en plus par pied de film que le format 35 mm à 4 perforations plus courant. 3:2 pulldown Méthode de distribution des 24 images par seconde du film sur les 29,97 images par seconde du standard vidéo NTSC lors du transfert de films ou de vidéos 24P. Dans le transfert, l’enregistrement alterne deux trames d’une image puis trois trames de la suivante afin que les 24 images d’une seconde de film ou de vidéo 24p remplissent les 30 images en 1 seconde de vidéo NTSC. Cette méthode est également connue sous le nom de pulldown 2:3. amorce Blanc ou métrage de substitution utilisé pour remplir des espaces vides où le métrage est temporairement manquant, afin de conserver la synchronisation entre l’image et la bande son.254 Glossaire code de bordure Fait référence à la numérotation en pieds et images qui se trouve sur la bordure du film. Cette codification peut se présenter soit sous forme de numéros de bord latents sur le négatif original, soit sous forme de codification manuelle ajoutée sur la bordure des copies de travail. Voir aussi codification manuelle ; numéro de bord. codification manuelle Décompte en pieds et images ajouté sur la bordure des copies de travail et des bandes sonores magnétiques. Également appelé numéro Acmade. conformation (film) Cette opération consiste à découper et à assembler un négatif original afin qu’il corresponde au montage effectué sur un système de montage numérique. Cela permet également d’assembler la vidéo ou le son sur la base d’une liste EDL (Edit Decision List). Voir aussi liste de conformation ; liste EDL. conformation (vidéo) Cette opération consiste à changer la vitesse de défilement d’un plan vidéo. Il est possible, par exemple, d’utiliser la fonction de conformation (Conform) de Cinema Tools pour faire passer la vitesse de défilement d’un plan vidéo PAL (25 ips) à celle d’un film (24 ips). Vous pouvez également conformer un plan à sa vitesse de défilement actuelle afin de vous assurer qu’il ne contient aucune erreur de vitesse de défilement. contrôle de périphérique Technologie permettant à Final Cut Pro de commander un périphérique externe, par exemple un magnétoscope ou une caméra. copie d’étalonnage C’est la première copie du film comprenant le son et l’image, livrée par le laboratoire afin de la soumettre à l’approbation du client. copie d’exploitation Une copie positive du film abouti ; le produit fini prêt à la distribution. copie de travail Copie positive du négatif original, découpée afin de constituer une trace et un prototype du montage créatif. Dans l’industrie du cinéma traditionnel, la copie de travail est montée en premier, puis utilisée par le monteur comme guide pour le montage du négatif de caméra original. Dans la réalisation de film numérique, la copie de travail est habituellement utilisée pour vérifier la cut list et créer un prototype du film pouvant être projeté sur grand écran avant la conformation du négatif. Sometimes called a work pix or cut pix. correspondance Remettre en correspondance les coupes d’un programme vidéo provenant d’un film avec le négatif de caméra original. Toutes les opérations de montage de la vidéo sont détaillées dans une cut list utilisée par le monteur négatif pour monter la copie de travail et le négatif original de la caméra. DF Voir timecode drop frame. effets d’optique Effets réalisés par une tireuse optique, comme par exemple les transitions et les titres en surimpression. Voir également tireuse optique.Glossaire 255 ensemble des enregistrements trouvés Il s’agit du groupe d’enregistrements affiché dans la fenêtre List View de Cinema Tools. Ce groupe est appelé l’ensemble des enregistrements trouvés parce que l’on utilise la commande Find pour l’afficher. entrelacé Voir vidéo entrelacée. fenêtre d’affichage Informations de timecode et de keycode superposées aux images vidéo. Elle apparaît habituellement sur la bande inférieure ou supérieure de l’image et fournit des informations de codification au monteur, sans masquer aucune image. fichier ALE Sigle de Avid Log Exchange. Un format de fichier qui permet le partage des bases de données de film entre des systèmes différents. Voir également liste télécinéma. fichier FLEx Format de fichier de liste télécinéma courant. Voir également liste télécinéma. identifiant de prise C’est, dans Cinema Tools, un code constitué d’une ou plusieurs lettres, nombres, ou les deux à la fois, servant à identifier un plan, une scène, une prise, une bobine vidéo, une bobine son, une bobine de laboratoire ou de caméra. image Une image unique. Le film et la vidéo sont constitués de ces images. Bien qu’une image de film soit une image photographique, une image vidéo contient une ou plusieurs trames. image « A » C’est la première des cinq images de la séquence répétitive du pulldown 3:2. Dans la vidéo pulldown 3:2 à deux trames, elle constitue la seule image qui contient complètement les deux trames d’une seule image du film. Les images B, C, et D ont leurs trames réparties sur deux images vidéo. Les images A surviennent normalement sur les numéros de timecode se terminant par « 0 » ou « 5 » (lors de l’utilisation d’un timecode « non-drop frame »). Voir aussi pulldown 3:2 ; trame. interpositif C’est une copie positive à faible contraste réalisée à partir du négatif original de la caméra. Elle ne peut pas être projetée comme une image en couleurs car elle porte un masque orange, comme un négatif. L’interpositif est habituellement utilisé comme étape intermédiaire dans la création des effets d’optique et des copies de négatifs. ips Abréviation d’images par seconde. liste de conformation (cut list) C’est un fichier texte qui détaille de façon séquentielle les opérations de montage qui constituent votre film. Le monteur négatif utilise la cut list pour conformer le négatif original. La liste de conformation est un sous-ensemble de la liste de film que vous pouvez exporter à partir de Final Cut Pro en utilisant Cinema Tools. On l’appelle aussi liste d’assemblage.256 Glossaire liste de film Fichier texte que vous fournissez au monteur de film comme guide pour la conformation du négatif de caméra original. La liste de film peut contenir un ou plusieurs des éléments suivants : une liste de conformation, une liste des éléments manquants, une liste des doublons, une liste des trucages optiques, une liste des épreuves et une liste des scènes. Elle peut aussi contenir des informations supplémentaires pour sortir les bobines de négatif, tirer des doubles des négatifs, réaliser une copie de travail ou des effets. liste de modification Liste que vous pouvez exporter à partir de Final Cut Pro en utilisant Cinema Tools, en partant du principe qu’une copie de travail ou un négatif a été coupé aux spécifications d’une liste de conformation (ou, auparavant, d’une liste des modifications) et décrit d’autres modifications à apporter sur la base de nouvelles coupes que vous avez apportées à une séquence Final Cut Pro. liste des doublons C’est une liste de film que les utilisateurs de Cinema Tools peuvent exporter et qui indique les utilisations multiples d’une même source dans un programme monté. Également appelée liste des doublons. liste des scènes Liste de film que les utilisateurs de Cinema Tools peuvent exporter. Elle détaille tous les plans qui sont dans la cut list, chaque plan n’y figure qu’une fois. Les listes de scènes sont habituellement utilisées pour commander des copies de plans afin de pouvoir conformer une copie de travail avant de découper le négatif original. liste EDL (Edit Decision List) C’est un fichier texte qui détaille de façon séquentielle toutes les opérations de montage et les plans individuels utilisés dans une séquence. Les listes EDL servent soit à faire migrer un projet d’une application de montage vers une autre, soit à harmoniser l’ensemble d’un programme dans un studio de montage online sur bande. liste optique Une liste de film que les utilisateurs de Cinema Tools peuvent exporter pour faire réaliser des effets dans des studios de trucage optique. La liste optique décrit les transitions et les effets de mouvement créés lors du montage numérique. liste Pull Liste de film que les utilisateurs de Cinema Tools peuvent exporter et dans laquelle les plans de la cut list sont répertoriés dans l’ordre où ils se trouvent sur les bobines de négatif. Le laboratoire se base sur une liste Pull lorsqu’il parcourt vos bobines de négatifs pour sortir les plans destinés à une copie de travail ou une coupe du négatif original. liste télécinéma Fichier généré par le technicien pendant le transfert télécinéma. Enregistre les numéros de bord du négatif original et le timecode du transfert vidéo, assurant ainsi le suivi de leur lien. Parfois appelé fichier FLEx. montage offline C’est la partie créative du montage, où les décisions de montage sont prises. Lorsque le montage offline est terminé, le matériau est souvent capturé à nouveau à une qualité supérieure ou une liste EDL est générée dans le but de recréer le montage sur un autre système. Voir liste EDL.Glossaire 257 montage online L’étape finale du processus de montage, au cours de laquelle toutes les décisions prises lors du montage offline sont mises en œuvre soit sur le négatif original, soit sur des bandes vidéo pleine résolution. monteur négatif Professionnel qui conforme le négatif original à partir d’une cut list et/ou d’une référence visuelle telle que la copie de travail ou une cassette vidéo créée par le système de montage numérique. NDF Voir timecode non-drop frame. négatif original de la caméra Également appelé OCN. Il s’agit des négatifs du tournage, de la pellicule d’origine. Le négatif original est découpé par le monteur négatif une fois que le montage est finalisé dans le système de montage numérique. Il n’existe qu’un seul négatif original. (Des copies peuvent être réalisées, mais elles sont chères.) NTSC Sigle de National Television Standards Committee, l’organisme qui définit les normes de diffusion en Amérique du Nord. Le terme vidéo NTSC se réfère à cette norme vidéo définie par le comité et dont les caractéristiques sont : 29,97 ips, 525 lignes par image et entrelacement. numéro Acmade See codification manuelle. numéro d’image C’est la partie finale du numéro de bord. Le numéro d’image est composé du numéro de métrage et du compteur d’image et indique à combien de pieds et d’images du début du film une image apparaît. Voir aussi numéros de bord. numéro de métrage C’est une partie du numéro de bord qui correspond au numéro à quatre chiffres indiquant la position sur une bobine de pellicule. Voir aussi numéro d’image ; numéro de bord. numéros de bord Numéros de décompte en pieds et images inscrits sur la bordure de la pellicule. Les numéros de bord sont souvent superposés par le télécinématographe sur le bord des images vidéo (on appelle cela la fenêtre d’affichage). Cinema Tools se sert des numéros de bord pour aider à faire correspondre les opérations de montage numérique et le négatif original. Les numéros de bord se composent d’un préfixe clé, qui reste identique tout le long de la bobine de pellicule et d’un numéro d’image, lui même composé d’un numéro de métrage et d’un numéro de décompte d’images. Les systèmes de transfert télécinéma ajoutent souvent également un identificateur de type d’image au numéro de bord. Par exemple, dans le numéro de bord KJ 291010 5867+07, « KJ 291010 » est le préfixe clé et « 5867+07 » est le numéro d’image. Également appelé code de bordure. numéros de bord latents Numéro ajouté sur la bordure de la pellicule lors de son processus de fabrication. Également appelé code de bordure latent. Voir également numéros de bord.258 Glossaire OMF Sigle de Open Media Format. Format d’échange de données pris en charge par de nombreux postes de travail audionumériques qui permet d’exporter tout l’audio et tous les points de montage qui figurent dans une séquence audio sous la forme d’un fichier autonome. Les fichiers OMF sont souvent transmis à un studio de postproduction audio, où ils sont finalisés, puis utilisés comme audio final dans une fonction. PAL Sigle de Phase Alternating Line. Format vidéo utilisé dans de nombreux pays européens et dans d’autres pays en dehors de l’Amérique du Nord. Le standard PAL est de 25 ips, 625 lignes par image et entrelacé. pertes d’images Images qui ne sont pas capturées. Si les performances de votre ordinateur ne sont pas optimales ou si votre disque de travail n’est pas assez rapide, il est possible que des pertes d’images surviennent lors du processus de capture. Lorsqu’une image est perdue lors de la capture, l’image précédente est répétée. Les pertes d’images peuvent engendrer une cut list incorrecte et interférer avec le processus de télécinéma inversé. plan Prise de vue continue ne comprenant aucune coupe. Un plan est un sousensemble de scène. plans sources Les fichiers de données avec lesquels on commence lorsqu’on débute le montage. Ce sont des fichiers capturés sur votre ordinateur et reliés à la base de données Cinema Tools avant de commencer le montage. priorité de trame Désigne la première trame d’une image vidéo entrelacée. Si une seule trame est capturée, « priorité de trame 1 » signifie que seule la trame 1 est capturée, alors que « priorité de trame 2 » signifie que seule la trame 2 est capturée. Voir aussi trame. prise Une prise est une version d’un plan particulier. Lors du tournage d’un film, il peut y avoir plusieurs prises de chaque plan. proportions (rapport largeur/hauteur) C’est le rapport entre la largeur d’une image et sa hauteur, exprimé soit par deux chiffres (largeur:hauteur), soit par une valeur égale à la hauteur divisé par la largeur. La vidéo en définition standard utilise le format 4:3 (0,75), alors que la vidéo haute définition utilise généralement le format 16:9 (0,56). Pour les films, ce rapport dépend du format et des objectifs utilisés. pulldown 24 @ 25 Terme Final Cut Pro désignant la même méthode que 24 & 1. Voir aussi 24 & 1 ; 24 @ 25.Glossaire 259 pulldown 2:3:2:3 Il s’agit d’une méthode de pulldown identique au pulldown 3:2, sauf qu’elle est appliquée par un caméscope numérique (plutôt que par tout autre type de matériel capable d’appliquer le même modèle de pulldown). Dans le présent manuel, nous utilisons le terme 2:3:2:3 pour faire référence au pulldown réalisé par les caméscopes vidéo numériques 24p. Ce type de pulldown peut être supprimé à l’aide de la forme automatisée de télécinéma inversé . Voir également pulldown 3:2. pulldown 2:3:3:2 Méthode de distribution des 24 images par seconde du film sur les 29,97 images par seconde du standard vidéo NTSC lors du transfert de films ou de vidéos 24P. Lors du transfert, l’enregistrement alterne deux trames d’une image puis trois trames des deux images suivantes, suivi de deux trames de l’image suivante. De cette façon, les 24 images en 1 seconde de film ou de vidéo 24p remplissent les 30 images en 1 seconde de vidéo NTSC. Bien que le 3:2 constitue le modèle de pulldown habituellement géré par les appareils NTSC, certaines caméras et certains systèmes de montage numériques commencent à gérer le pulldown 2:3:3:2. scène En cinéma, cela désigne le moment et l’endroit d’une série d’une ou de plusieurs prises de vues, habituellement reliées entre elles par une intrigue commune ou certains personnages. SMPTE Sigle de Society of Motion Picture and Television Engineers. L’organisme de normalisation qui a définit la norme du timecode SMPTE pour la vidéo. Le timecode SMPTE est le format de timecode le plus couramment utilisé. son à deux systèmes Tout type de production utilisant des appareils distincts pour enregistrer le son et l’image. Toujours utilisé pour les productions cinématographiques et souvent utilisé pour les productions en 24P. Également appelé production double système. supers Abréviation de superimposed (surimpression en français). Superposition d’images ou de texte sur des images du film. Les titres, par exemple, sont superposés à des images. synchro Apocope de synchronisation. Lorsque le son et l’image sont synchrones, on dit qu’ils sont synchronisés. synchroniseur Petit appareil mécanique équipé de galets d’entraînement montés sur un axe en rotation. Situé entre les bobines de pellicule, monté sur des enrouleuses, il accepte une bande de pellicule et de bande son perforée par galet d’entraînement. Une fois la pellicule et la piste en place sur les galets, elles peuvent être placées en état de synchronisation mécanique exacte et conserveront cette synchronisation en passant dans le synchroniseur. Le synchroniseur garde aussi la trace du métrage déroulé à l’aide d’un compteur de pieds et d’images mécanique actionné par les galets d’entraînement. Ègalement appelé bloc de synchronisation ou synchroniseur.260 Glossaire télécinéma Machine qui reproduit les images du négatif original sur une bande vidéo, en ajoutant souvent une fenêtre d’affichage du code de bordure de la pellicule. Voir aussi fenêtre d’affichage. télécinéma inversé C’est le processus qui supprime les images supplémentaires de la vidéo pulldown 3:2, en revenant à sa vitesse de défilement initiale de 24 ips. La fonction de télécinéma inversé crée une corrélation image pour image entre la vidéo et les images de la pellicule, afin d’obtenir des cut lists précises. L’inversion du pulldown 3:2 peut être réalisée matériellement en temps réel durant la capture, cependant, si vous ne disposez pas de l’équipement approprié, vous pouvez utiliser la fonction télécinéma inversé de Cinema Tools. Voir pulldown 3:2. timecode Format dans lequel une unité temporelle séquentielle unique est attribuée à chaque image vidéo. Le format se présente ainsi : heures: minutes: secondes: images. timecode drop frame Timecode NTSC qui saute deux numéros d’image par minute, sauf pour les minutes terminant par « 0 », afin que le timecode total final s’accorde avec le temps effectif écoulé. (Certains numéros de timecode sont ignorés, mais aucune image vidéo n’est omise.) Cette omission corrige la fréquence d’images réelle du NTSC qui est de 29,97 ips, ce qui provoque une imprécision de 3 secondes et 18 images par heure par rapport au temps réellement écoulé lorsqu’un timecode non-drop frame est utilisé. Afin d’éviter toute confusion, le timecode drop frame doit être évité pour les productions basées sur pellicule. Voir aussi timecode non-drop frame. timecode non-drop frame Timecode NTSC normal, dans lequel les images sont numérotées séquentiellement et où 30 images défilent en une seconde, 60 secondes par minute et 60 minutes par heure. La vitesse de défilement du format NTSC étant en fait de 29,97 ips, le timecode non-drop frame est dépassé de 3 secondes et 18 images par heure par rapport au temps effectivement écoulé. Comparez avec timecode dropframe. tirage par contact C’est une méthode de développement de pellicule au cours de laquelle l’émulsion du négatif original est mise en contact avec une pellicule de retirage pendant que le négatif est projeté sur cette pellicule. Une image de couleur et de lumière inversées est ainsi créée (par exemple le noir devient blanc et vice versa). tireuse optique Machine servant à reproduire un ou plusieurs éléments de la pellicule sur une nouvelle section de la pellicule. Le tirage optique permet d’ajouter ou de retirer de la lumière dans une image, de créer des effets de surimpression ou de réaliser des transitions entre les scènes, telles que des fondus, fondus enchaînés ou balayages.Glossaire 261 trame Moitié d’une image vidéo entrelacée constituée par le balayage des lignes paires ou des lignes impaires. Les trames vidéo alternantes sont tracées tous les 1/60 de seconde pour la vidéo NTSC (1/50 de seconde pour le format PAL) afin de créer la vidéo à 29.97 ips perçues (25 ips PAL). Il y a deux trames par image, une trame supérieure et une trame inférieure. Il n’est possible de capturer qu’une seule trame par image. Voir également entrelacement. vidéo convertie à la baisse C’est de la vidéo créée à l’issue d’une conversion de vidéo haute résolution (comme la vidéo 24P) vers de la vidéo de définition standard (NTSC ou PAL). vidéo de résolution standard Se réfère aux formats vidéo NTSC et PAL. Voir également vidéo haute résolution, NTSC, PAL. vidéo entrelacée Format d’image vidéo qui divise les lignes en deux trames, chacune composée de lignes paires et impaires alternées, balayées à des moments différents. Utilisé pour la vidéo de résolution standard. Voir aussi trame ; priorité de trame ; vidéo progressive. vidéo haute définition Fait référence à tous les formats vidéo à écran large, y compris au format 24p, qui fournissent une image de meilleure qualité que la vidéo en définition standard. Les améliorations peuvent consister en une résolution accrue, un rapport largeur/hauteur plus important (image plus large) ou un balayage progressif. Voir aussi vidéo progressive ; video en définition standard. vidéo HD Voir vidéo haute définition. vidéo progressive Un format d’image vidéo qui balaye progressivement toutes les lignes d’une image. Voir également vidéo entrelacée. vidéo SD Voir vidéo de résolution standard. vitesse de défilement de la pellicule lors du télécinéma Vitesse de défilement de la pellicule dans l’appareil de télécinéma lors du transfert vidéo. vitesse TK Voir vitesse de défilement télécinéma. XML Sigle de Extensible Markup Language. Un langage de balisage universel qui combine du texte interprétable par l’utilisateur avec des informations supplémentaires spécialisées. À cause de la grande variété d’outils disponibles, les fichiers XML sont très utilisés pour échanger des informations entre des applications. 263 Index Index 2:3:2:3 pulldown Voir également 3:2 pulldown 2:3:3:2 pulldown 27 2:3 pulldown. Voir 3:2 pulldown 3:2 pulldown description 23 exactitude de la cut list 166 images « A » 25 suppression des trames supplémentaires avec la fonctionnalité Reverse Telecine 25 35 mm à 3 perforations 235 A affiche 105, 123, 124 Apple Store 13 ardoise 32, 237, 239 Assistance AppleCare 252 audio Voir également EDL audio, synchronisation audio/ vidéo ajustement de la vitesse 145 capture 114, 241 Cinema Tools 9 enregistrement au format double 32 enregistreurs 30, 32, 114 exportation d’une liste EDL 31, 193–196, 241 exportation d’un fichier OMF 31, 192, 241 finition 241, 243 mixage audio final 31 montage dans Final Cut Pro 9, 31 montage traditionnel 238 observations à propos de l’exportation 192–193 problèmes de vitesse 193 synchronisation avec la vidéo. Voir synchro audio/ vidéo timecode 30, 32, 194 traitement final dans Final Cut Pro 31 audio double système 32 avertissement d’utilisations multiples 171, 249 B balayage progressif 26, 209 bande magnétique, pistes audio de travail 238 bande vidéo création pour le monteur négatif 34, 242 exportation des séquences à 24 ips sur 192 problèmes lors du montage à 24 ips 34 vidéo NTSC 34 vidéo PAL 34 base d’informations techniques AppleCare 249 base de données. Voir base de données Cinema Tools base de données Cinema Tools Voir également enregistrements de la base de données champs Scene et Take 92 changement de nom 84 connexion des plans sources à la 45, 121–126 création 37–41, 74–115, 240–241 création à l’aide d’une liste télécinéma ou d’un fichier ALE 71 création à partir d’une autre base de données Cinema Tools 90 création à partir d’une liste de capture par lot Final Cut Pro 71, 89–90 création à partir d’une liste télécinéma ou d’un fichier ALE 85–89 création d’un enregistrement 92 création de la cut list 240 création sans liste télécinéma ou fichier ALE 72 créer avec Final Cut Pro 75–77 déconnexion de plans de la 124–125, 125–126 description 38, 69, 240 données de la liste télécinéma/réglages par défaut 74 entrée manuelle de fiche 40 fonctionnement 38 lien entre scènes, plans et prises 91, 97 listes de capture par lot et 241 listes télécinéma 39, 71, 85–89 modification d’informations 104–107 modification des identifiants de bande ou de bobine 107 modification des réglages par défaut du projet 106 ouverture 80264 Index ouverture d’enregistrements 80 recherche d’enregistrements 80, 81–84 recherche d’informations dans 77 reconnexion des plans à la 126–128 saisie d’informations 85–104 saisie d’informations à l’aide de la fonction Identify 102–104 saisie d’informations via la fenêtre Detail View 94 sauvegarde 84 sélection d’une nouvelle affiche de plan 105 sélection d’une vitesse télécinéma (TK Speed) 80 sélection d’un format de film 78 sélection d’un timecode audio 79 sélection d’un timecode vidéo (Video TC Rate) 78 sélection des réglages par défaut 77–80 structure élémentaire 70 suppression d’un enregistrement 105 synchroniser avec Final Cut Pro 155–156 transferts camera-roll 39, 73 transferts scene-and-take et 39 utilisation 69, 73, 74 vérification et correction des codes de bordure et du timecode 108–110 verrouillage 84 base temps exactitude de la cut list 25 exactitude de la cut list et 34 réglage dans Final Cut Pro 34, 129 base temps de montage conformation de plans 46 bouton Connect Clip/Open Clip 101 C capture perte d’images et 112 plans individuels 121 préparation de la capture de plans sources 111– 121 capture par lot 22, 42, 43, 71, 241 XML 116 chaînes de film 20 champ Cam Roll 98 champ Daily Roll 98 champ Key 98 champ Lab Roll 98 champ Scene 92, 93, 97 champ Sound Roll 101 champ Sound Timecode 101 champ Take 92, 97 champ Video Duration 101 champ Video Reel 100 champ Video Timecode 100 Cinema Tools création d’une cut list et 45, 245–247 description 7–9 étapes fondamentales du flux de production 37– 47 exemples de flux de production 47–52 interface utilisateur 53–68 clap 32, 237, 239 claquette 32, 237, 239 code book (livre de codes) 240 code de bordure 233 Voir également numéros de bord, codification manuelle le déterminer avec la fonction Identify 102–104 vérification 176 vérification et correction 108–110 code de bordure latent. Voir code de bordure code habituel de postproduction 69 codification Acmade. Voir codification manuelle codification manuelle 235–236 Voir égalementcode de bordure commande Connect Clips 123 commande Export 202–203 commande Reconnect Clips 127–128 compression 42 configurations simplifiées 151 conformation de vitesse vidéo 29, 131 Voir également fonction Conform conformation du négatif original 238 contrôle de périphérique 22, 42–43, 115–116, 241 conversion du film en vidéo. Voir transfert du film sur bande vidéo copie d’étalonnage 239, 243 copie d’exploitation 239, 243 copie de travail 19, 20, 21, 237, 238 conformation à la cut list 242 listes des modifications et 47 montage 238 cut list 9, 22, 38, 242 avertissement en cas d’utilisations multiples 171 base temps et 25, 34 couche de premier plan 169 description 169 exactitude 34, 100, 166 fichiers temporaires 251 informations sur les effets et 161–163 méthode de création basée sur les plans 246 méthode de création basée sur le timecode 73, 95, 169, 245–246, 247 réglages nécessaires dans la fenêtre Detail View 95 D dépannage 249–252 contacter l’assistance AppleCare 252 double système audio. Voir audio double systèmeIndex 265 E Edit Decision List. Voir listes EDL audio, listes EDL EDL 214 Voir également EDL audio conversion NTSC en 24 ips 216–217 exportation de listes 24 ips 216 importation à 24 ips 214 importation NTSC 214 effets 160–163, 241 enregistrement de base de donnée création 92 enregistrements de base de données création d’une fiche par bobine caméra 73 saisie d’informations via la fenêtre Detail View 94 vérification et correction des valeurs de code de bordure et de timecode 108–110 enregistrements de la base de données conditions pour listes de capture par lot 118, 119 connexion des plans sources aux 121–126 création à partir d’une autre base de données Cinema Tools 90 modification de tous les identifiants de bande ou de bobine 107 navigation 80 ouverture 80 recherche 80–84, 170 reconnexion des plans aux 126–128 règles élémentaires pour la connexion des plans 122 saisie d’informations à l’aide de la fonction Identify 102–104 structure élémentaire 70 suppression 105 utilisations 73 enregistreurs audio 30, 32, 114 exportation sur bande vidéo 192 F fenêtre Clip introduction et déconnexion des plans dans la 125–126 ouverture 59 paramètres de la 60 sous-fenêtre Analysis 84 sous-fenêtre Identify 104 fenêtre d’affichage 9 description 236 Offline RT 112 original propre 20 utilisation de la fonction Identify sur les bandes vidéo dépourvues de 102 fenêtre Detail View affichage des enregistrements de la base de données 80 connexion et déconnexion de clips dans la 124– 125 données scènes et plans 97 identifiants 93 navigation dans les enregistrements 81 ouverture 55 ouverture d’un enregistrement dans la 58 reconnexion de plans individuels à l’aide de la 127 réglages 95–101 réglages nécessaires à la création d’une cut list ou d’une liste de modification 95 réglages requis pour exporter une liste EDL audio 95 saisie d’informations dans des enregistrements de base de données 94 sélection d’une nouvelle affiche de plan 105 suppression d’un enregistrement à l’aide de la 105 fenêtre List View 56–58 ouverture des enregistrements de la base de données 80 fenêtre Welcome 53 fiches de la base de données Voir également base de données Cinema Tools création à partir d’une liste de capture par lot Final Cut Pro 89–90 entrée manuelle 40 informations entrées 38 réglages par défaut 75–80 fiches de référence création à partir d’une liste télécinéma ou d’un fichier ALE 85–89 fichiers AIFF (Audio Interchange File Format) 193 fichiers ALE avantages 71 champs gérés par Cinema Tools 205 création d’une base de données Cinema Tools avec 71 exportation 206 importation 206 utilisation 204–206 fichiers Avid Log Exchange. Voir fichiers ALE fichiers de séquence QuickTime 45 fichiers FLEx 71 fichiers Open Media Framework. Voir fichiers OMF film 16 mm 18, 232 16 mm-20 18 35 mm 18, 232 35 mm à 4 perforations 232 35mm à 4 perforations 18 à propos de l’audio 30–33 avant de filmer 18 code de bordure 233 codification manuelle et 235–236266 Index combinaison des formats 18 formats 232 formats pris en charge par Cinema Tools 18, 232 inversé 99 montage numérique 8–9, 239–243 montage traditionnel 237–239 notions élémentaires 231–243 numéros de bord et 234–235 perforations 232 Super 16 232 transfert sur bande vidéo 19–29, 240 utilisation d’un clap avec timecode 32 vitesse 237 vitesse de défilement 23, 237 film 16 mm 18, 232, 234 film 35 mm 18, 232, 233, 234, 235 Final Cut Pro affichage d’informations relatives au film dans 154–159 commandes de Cinema Tools dans 47 configurations simplifiées pour les utilisateurs de Cinema Tools 151 conformation de 25 ips à 24 ips 132, 153 créer une base de données 75–77 exportation de fichiers OMF 31, 192, 241 exportation de listes EDL audio 31 importer une liste télécinéma 87 mémoire allouée 252 montage de vidéo 24P avec 211–228 ouvrir des plans dans Cinema Tools 159 perte d’images et 112 réglage de la base temps 25, 34 synchroniser avec Cinema Tools 75, 155–156 traitement audio final dans 31 utilisation comme système de montage offline de vidéo 24P 214–217 utilisation comme système de montage online de vidéo 24P 213–214 utilisation comme système de montage online et offline de vidéo 24P 211–212 utiliser le télécinéma inversé 140 FireWire site web 13 fonction Batch Reverse Telecine 141 utiliser une seconde fois 145 fonction Conform 45, 241 conformation de plans individuels 132 conformation de plans par lot 132–133 dans Final Cut Pro 132, 153 vidéo 24P et 215–216 fonction de Télécinéma inversé 133, 241 perte d’images et 112, 139, 251 fonction Identify 102–104 bande vidéo sans fenêtre d’affichage 102 lien code de bordure/timecode 108, 109 vérification et correction des codes de bordure et du timecode 108–110 fonction Reverse Telecine 145 conseils d’utilisation 134 dans Final Cut Pro 140 informations de trame 135–136 utilisation sur plusieurs plans à la fois (télécinéma inversé par lot) 141, ??–145 utilisation sur un seul plan 136–140 vidéo 24P et 215–216 format de film menu local de la fenêtre Detail View 99 sélection d’un format par défaut 78 found set 58, 80 G genlock 113–114 I identifiant de plans 93 identifiant de prises 93, 97 identifiant de scène 93, 97 identifiants de bande 107 identifiants de bobine 107 images 23, 29 comment éviter les pertes 112 pertes 109 images « A » description 25 modèle cinq images 25 images « A » localisation 142 timecode « non-drop frame » 25, 28 Ink, champ 99 interpositifs 162 L La 45 lien code de bordure/timecode continu/discontinu 72–73 transferts camera-roll 72–73 liste de capture par lot 115, 118–121 XML 119–120 liste de coupes non-concordance des numéros de bord 250–251 liste de modification réglages nécessaires dans la fenêtr 95–?? réglages nécessaires dans la fenêtre Deta ??–95 liste de modifications méthode de création basée sur le timecode 95 liste des doublons 46, 165, 171 liste des effets de filtre 173 liste des effets de mouvement description 173 numéros de bord et 173Index 267 liste des effets de transition 172 liste des éléments manquants 38, 46 description 169–170 traitement 170 liste des modifications 47 description 182–183 exportation 183–186 exportation depuis Cinema Tools 189 gestion des effets 184 quand l’utiliser 182 réglages de la zone de dialogue 187–188 sauvegarde de fichiers de programme 175 utilisation pour l’équilibrage des bobines 186 liste des scènes 47, 173 liste des scènes optiques 173 liste optique 47, 171 liste Pull 47, 173 listes de capture par lot XML 116 listes de film 167, 242 Consultez également les noms de listes spécifiques À propos du format PDF 168 À propos du format XML 168 code de bordure et 176 création à l’aide de la commande Export de Cinema Tools 202–203 création à partir d’une liste EDL externe 200–204 création dans d’autres applications de montage vidéo 199–204 description 167–173 exporter à partir de Final Cut Pro 174–176 fichiers temporaires 251 méthode de création basée sur le timecode 73 réglages PDF 179 sélectionner le format 168 listes de film PDF à propos des 168 chargement d’un fichier de réglages 181 enregistrement d’un fichier de réglages 181 présentation personnalisée 180 réglages 179 réglages communs avec XML 176–179 listes de film XML À propos des 168 réglages communs avec PDF 176–179 listes des effets 171 listes EDL correction d’erreurs 203 format d’enregistrement 204 gérées par Cinema Tools 200–201 modifications dans TextEdit 204 noms de bande et 200–201 normes vidéo 201 traitement dans Cinema Tools 203 utilisation pour la création de listes de film 200– 204 vitesse de défilement 201 listes EDL audio 74, 79 exportation 31, 193–196 exportation à partir de Cinema Tools 198 réglages requis dans la fenêtre Detail View 95 utilisation des pistes et 198 utiliser pour le son à deux systèmes 24p 227 listes télécinéma cut lists et 39 transferts scene-and-take et 39 liste télécinéma 20 avantages 71 création d’une base de données Cinema Tools avec 71 cut lists et 39 données utilisées dans la base de données 74 exportation de listes EDL audio 33 extensions de fichier 85 gérée par Cinema Tools 85 importer avec Cinema Tools 86 importer avec Final Cut Pro 87 transferts camera-roll et 39 M Mac OS version de 252 mémoire allouée à Final Cut Pro 252 méthode 24 & 1 26, 166 méthode 24 @ 25 26 méthode de pulldown 24 @ 25 26 méthode film-numérique-film 160 méthode pulldown 24 @ 25 166 montage numérique 8 avant de commencer 17–18 Cinema Tools et 8, 9 étapes de base 239–243 Final Cut Pro et le 9 préparation des plans sources 129–149 monteur négatif 238, 242 N négatif. Voir négatif original de la caméra négatif original 237, 238, 240, 242 numéros de bord Cinema Tools et les 233 description 234 différence entre valeurs de la liste de coupes et valeurs des plans numériques 250–251 fenêtre d’affichage 236 film 16 mm et 234 film 35 mm et 234, 235 liste des effets de mouvement et 173 Offline RT 112 recherche 81 vérification 41, 236268 Index O Offline RT 112 OMF files 31, 192, 241 opération de télécinéma inversé par lot 141 préparation 141 P parsing error 202, 203 perte d’images comment éviter 112 fonction de Télécinéma inversé et 112, 251 pistes audio de travail 238 plans. Voir plans sources plans autonomes 149 plans référencés 149 plans sources accès aux informations 84 attribution de noms aux plans de capture par lot 117 autonomes 149 base temps et 34 capture. Voir le processus de capture ce qu’il faut savoir sur la capture individuelle 121 changement de la fréquence d’images 46 changement de nom 84 conformation 45–46, 131, 133 connexion à la base de données 45, 121–126 déconnexion de la base de données 124–126 détection des usages multiples 165 division ou suppression de sections avant le montage 147–149 préparation de la capture 111–121 préparation pour le montage numérique 129– 149 problèmes liés au déplacement et au changement de nom dans le Finder 122 reconnexion à la base de données 126–128 référencés 149 règles élémentaires pour leur connexion à la base de données 122 reverse telecine et 45 sélection d’une nouvelle affiche 105 suppression 149 positif 19, 237 priorité de trame 136 procédé télécinéma inversé effets sur le timecode 28, 29 processus de capture capture de plans manuelle 42 compression et 42 contrôle de périphérique et 42–43 transferts camera-roll et 43 transferts scene-and-take et 43 processus de télécinéma inversé par lots télécinéma inversé par lots automatisé 223–225 utilisation avec la vidéo 24P 223 pulldown 2:2:2:4 226 pulldown 2:3:2:3 description 218 suppression avec Cinema Tools 221 pulldown 2:3:3:2 avantages 219 description 219 suppression avec Cinema Tools 221 suppression avec Final Cut Pro 220 pulldown 3:2 suppressions des champs supplémentaires avec la fonction Reverse Telecine 133 R rushes, création d’une base de données 74 S sites web Apple Store 13 assistance AppleCare 252 FireWire 13 sites web Apple 13 sites web Apple 12–13 son. Voir audio son double système 210, 227 timecode pour 194 sound TC Rate (vitesse du timecode son) 95 menu local de la fenêtre Detail View 101 sous-fenêtre Analysis 84 sous-fenêtre Identify 104 Station de travail audio DAW (Digital Audio Workstation) 241 synchro audio/vidéo 32–33 enregistreurs audio 30, 32 infos générales 32 méthode 24@25 26 transferts camera-roll et 22, 33 transferts scene-and-take 22 transferts télécinéma 30, 33 vidéo NTSC et 33 vidéo PAL et 33 synchronisation audio/vidéo 145, 240 synchronisation de la base de données avec Final Cut Pro 75, 155 système de montage non linéaire 8 T télécinéma 19, 240 télécinéma inversé pulldown 3:2 et 133 vérification des résultats 140 timecode 27–29 24P 217 audio 28, 30, 32Index 269 calibrage du décalage 114 capture exacte 113–114 conformation et 29 conseils généraux 27 contrôle de périphérique série 113–114 différences entre la fenêtre d’affichage et les valeurs de Final Cut Pro 28 drop frame 28, 30 free run 27 genlock et 113–114 géré par Cinema Tools 28 géré par Final Cut Pro 28 inexactitudes dans Final Cut Pro 110, 113–114 le déterminer avec la fonction Identify 102–104 non-drop frame 28 NTSC 28–29 PAL 28 poignées de pre-roll et post-roll 27 record run 27 ruptures 27 télécinéma inversé et 29 timecode non-drop frame 30 vérification de l’exactitude à l’aide de FireWire 41 vérification et correction à l’aide de la fonction Identify 108–110 timecode « non-drop frame » images « A » 25, 28 timecode drop frame 28, 30 timecode non-drop frame 28, 30 tirage optique 160, 162–163 tirage par contact 160, 163, 165 TK Speed (vitesse du film du télécinéma) menu local de la fenêtre Detail View 99 sélection d’un réglage par défaut 79 trames 23, 26, 29 fonction Reverse Telecine et 135–136 transfert du film sur bande vidéo 19–29 enregistrement d’une image projetée à l’aide d’un caméscope 21 lecture du film à 30 ips 25 méthode 24&1 26 méthode 24@25 26 méthode 3:2 pull-down 23–25 méthode de pulldown 24 @ 25 26 options pour la vidéo NTSC 23–25 options pour la vidéo PAL 25–26 transferts camera-roll 21, 22 transferts scene-and-take 21, 22 utilisation d’une chaîne de film 20 utilisation d’un télécinéma 19 vidéo 24P 26 transferts camera-roll capture de plans et 43 cut lists et 39 division d’un grand plan en plusieurs plans de petite taille 22 exemples de flux de production 50–52 inconvénients 22 listes télécinéma et 39 questions de synchronisation audio 22, 33 structure de la base de données 70 transferts de pellicule création de base de données 73 transferts de pellicules de caméra lien code de bordure/timecode continu/ discontinu 72–73 transferts scene-and-take avantages 22 capture de plans et 43 cut lists et 39 exemples de flux de production 49–50 listes télécinémas et 39 questions de synchronisation audio 22 structure de la base de données 70 transferts télécinéma camera-roll 21, 22 fenêtre d’affichage 19 Final Cut Pro et 34–35 scene-and-take 21, 22 sortie vidéo 19, 240 synchro audio/vidéo et 19, 30, 33, 240 vidéo 24P 26 vitesses gérées par Cinema Tools 237 transitions 160–163 trous d’entraînement. Voir perforations U usages multiples des plans sources 165, 249 V vidéo capture 41–44, 241 concordance avec la base temps de Final Cut Pro 34, 46, 129, 241 vidéo 23,98 ips ajout d’un pulldown pour une sortie FireWire NTSC 227 conversion en NTSC 225 vidéo 24P ajout et suppression de pulldown 218–227 à propos des proportions 217 Cinema Tools et 10 conversion de listes EDL NTSC à 24 ips 216–217 conversion en NTSC 215 conversion en PAL 216 description 10, 209 exportation de listes EDL 24 ips 216 Final Cut Pro et 10, 27 fonction Conform et 215–216 fonction Reverse Telecine et 215–216 importation de listes EDL 24 ips 214270 Index importation de listes EDL NTSC 214 listes EDL audio et 227 montage 11 montage avec Final Cut Pro 211–228 montage d’images provenant d’un film 210 timecode utilisé 217 transferts télécinéma et 10, 26 utilisation de Final Cut Pro comme système de montage offline 214–217 utilisation de Final Cut Pro comme système de montage online 213–214 utilisation de Final Cut Pro comme système de montage online et offline 211–212 vérification des discontinuités de cadence 222 vitesse 10, 23 vitesse sur systèmes NTSC 27 vidéo convertie à la baisse 211 vidéo de résolution standard 217 vidéo haute résolution 10 Voir également vidéo 24P vidéo HD. Voir vidéo haute résolution vidéo NTSC 3:2 pull-down et 23–25 conversion en 23,98 ips 225 conversion en 24P 215 fréquence de trame 23 listes EDL 201 problèmes de synchronisation audio 33 sortie sur bande 34 timecode 28–29 transfert du film sur 23–25 utilisation 23–25 vitesse 23 vidéo PAL conversion à partir du format vidéo 24P 216 problèmes de synchronisation audio 33, 34 sortie sur bande 34 timecode 28 transfert du film sur 25–26 utilisation 25–26 vitesse 23, 25 vidéo SD. Voir vidéo de résolution standard Video TC Rate (vitesse du timecode vidéo) menu local de la fenêtre Detail View 101 vitesse du timecode audio sélection d’un réglage par défaut 79 vitesse du timecode vidéo sélection d’un réglage par défaut 78 vitesses Consultez également vidéo 24P, vidéo PAL, vidéo NTSC film 23 infos générales 23–29 vidéo NTSC 23 vidéo PAL 25 vitesses de défilement concordance avec la base temps de Final Cut Pro 34, 129 vitesse télécinéma choisir une valeur par défaut 79 Z zone de dialogue Batch Reverse Telecine réglages de la version automatisée 223 réglages détaillés 143–144 zone de dialogue Change Reel 63 zone de dialogue Conform Clip 62 zone de dialogue d’exportation de listes de film réglages communs 176–179 zone de dialogue Database Properties 63, 77 zone de dialogue Export Audio 196–197 zone de dialogue Export Audio EDL 67–68 zone de dialogue Export Change List 66–67, 187 zone de dialogue Export Film Lists 64–65, 174 zone de dialogue Export XML Film Lists 65, 175 s’ouvre à partir de Cinema Tools 65 s’ouvre à partir de Final Cut Pro 65 zone de dialogue Find 58 recherche d’enregistrements de la base de données 81–84 zone de dialogue New Database 54, 74 réglages 77–80 zone de dialogue Reverse Telecine 61–62 réglages de la version automatisée 221–222 réglages détaillés 137–139 version automatisée 62 iMac G5 Guide de l’utilisateur Comprend des informations sur la configuration, l’expansion et le dépannage de votre ordinateur iMac G5 F3027Q45C\D.book Page 1 Thursday, April 7, 2005 3:18 PMK Apple Computer, Inc. © 2005 Apple Computer Inc. Tous droits réservés. Ce manuel est protégé par la loi du 11 mars 1957 sur la propriété littéraire et artistique, complétée par la loi du 3 juillet 1985 et par toutes les conventions internationales applicables aux droits d’auteurs. En vertu de ces lois et conventions, aucune reproduction totale ni partielle de ce manuel n’est autorisée, sauf consentement écrit préalable d’Apple. Le logo Apple est une marque d’Apple Computer Inc., déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Option + 1) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tout a été mis en œuvre pour que les informations présentées dans ce manuel soient exactes. Apple n’est pas responsable des erreurs de reproduction ou d’impression. Apple 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, le logo Apple, AirPort, Final Cut Pro, FireWire, iCal, iLife, iMac, iMovie, iPod, iTunes, Mac, le logo Mac, Mac OS et Macintosh sont des marques d’Apple Computer, Inc. déposées aux États-Unis et dans d’autres pays. AirPort Express, Finder, iDVD, iPhoto, iSight, Safari, SuperDrive et Tiger sont des marques d’Apple Computer, Inc. AppleCare et Apple Store sont des marques de service d’Apple Computer, Inc. déposées aux États-Unis et dans d’autres pays. .Mac est une marque de service d’Apple Computer, Inc. La marque et les logos Bluetooth sont la propriété de Bluetooth SIG, Inc. et sont utilisés sous licence par Apple Computer, Inc. ENERGY STAR® est une marque déposée aux États-Unis. Les autres noms de produits et de sociétés sont la propriété de leurs détenteurs respectifs. Les produits commercialisés par des entreprises tierces ne sont mentionnés que pour information, sans aucune intention de préconisation ni de recommandation. Apple décline toute responsabilité quant à l’utilisation et au fonctionnement de ces produits. Fabriqué sous licence de Dolby Laboratories. “Dolby”, “Pro Logic” et le logo double-D sont des marques déposées de Dolby Laboratories. Travaux confidentiels inédits. © 1992–1997 Dolby Laboratories, Inc. Tous droits réservés. Le produit décrit dans le présent manuel intègre des technologies de protection de droits d’auteur ellesmêmes protégées par divers brevets américains ainsi que d’autres droits de propriété intellectuelle appartenant à Macrovision Corporation et à d’autres détenteurs. L’utilisation de ces technologies de protection des droits d’auteurs doit être autorisée par Macrovision Corporation et est destinée à un cadre privé ou de visualisation restreinte, sauf consentement de Macrovision Corporation. Tout démontage ou ingénierie inverse est interdit. Réclamations concernant l’appareillage aux États-Unis. Brevets n° 4,631,603, 4,577,216, 4,819,098 et 4,907,093 sous licence à des fins de visualisation limitée uniquement. Publié simultanément aux États-Unis et au Canada. F3027Q45C\D.book Page 2 Thursday, April 7, 2005 3:18 PM 3 1 Table des matières Chapitre 1 5 Premiers contacts 8 Et ensuite ? 9 Procédure au terme de l’utilisation de votre iMac G5 Chapitre 2 11 Découverte de votre iMac G5 12 iMac G5 – Vue avant 14 iMac G5 – Vue arrière 16 À propos de Mac OS X 17 Personnalisation du bureau et réglage des préférences 18 Connexion à une imprimante 19 Lecture d’un CD et connexion d’un casque d’écoute 19 Mise à jour constante de vos logiciels 19 Connexion d’une caméra ou d’autres périphériques FireWire 20 Connexion à un réseau 20 Utilisation d’Internet 20 Transfert de fichiers vers un autre ordinateur 21 Lorsqu’une application ne répond pas 22 Obtention de réponses grâce à l’Aide Mac 22 Utilisation des applications Chapitre 3 23 Utilisation de votre ordinateur 24 USB (Universal Serial Bus) 26 FireWire 28 Réseau sans fil AirPort Extreme 29 Technologie sans fil Bluetooth 32 Ethernet (10/100/1000Base-T) 33 Support audio 34 Gestion de vidéo externe (VGA, Composite et S-Vidéo) 36 Utilisation de votre lecteur optique 39 Commandes du clavier 40 Protection de votre ordinateur Chapitre 4 41 Extension des capacités de votre ordinateur 41 Ajout de mémoire F3027Q45C\D.book Page 3 Thursday, April 7, 2005 3:18 PM4 Table des matières 48 Remplacement de la pile de secours interne Chapitre 5 53 Dépannage 53 Problèmes vous empêchant d’utiliser votre ordinateur 55 Réinstallation des logiciels fournis avec votre ordinateur 56 Autres problèmes 58 Localisation du numéro de série de votre produit 58 Utilisation de Apple Hardware Test Annexe A 59 Caractéristiques Annexe B 61 Consignes d’entretien, d’utilisation et de sécurité 61 Nettoyage de votre iMac G5 61 Transport de votre iMac G5 62 Consignes de sécurité pour la configuration et l’utilisation de votre ordinateur 63 Connecteurs et ports 63 Prévention des dommages auditifs 64 Ergonomie 65 Apple et l’environnement Annexe C 67 Connexion à Internet 69 Fiche technique Assistant réglages 71 Configuration manuelle de votre connexion à Internet 71 Connexion commutée 75 Connexions à Internet par ligne DSL, modem câble ou réseau LAN 80 Connexion sans fil AirPort 83 Dépannage de votre connexion 85 Communications Regulation Information F3027Q45C\D.book Page 4 Thursday, April 7, 2005 3:18 PM1 5 1 Premiers contacts Votre ordinateur iMac G5 a été conçu pour être configuré rapidement et être utilisé immédiatement. Si vous n’avez jamais utilisé d’iMac G5 ou n’êtes pas familiarisé avec les ordinateurs Macintosh, vous trouverez dans ce chapitre des instructions pour débuter. Si vous êtes un utilisateur expérimenté, peut-être êtes-vous déjà en mesure d’utiliser votre nouvel ordinateur. Veillez néanmoins à consulter les informations du chapitre 2, “Découverte de votre iMac G5”, pour découvrir les nouvelles fonctionnalités de cet iMac G5. Câble CA Câble téléphonique Clavier Souris F3027Q45C\D.book Page 5 Thursday, April 7, 2005 3:18 PM6 Chapitre 1 Premiers contacts Suivez les instructions des deux pages suivantes pour configurer votre iMac G5. Étape 1 : Branchez le câble d’alimentation. Étape 2 : Pour accéder à Internet, branchez un câble Ethernet ou un câble téléphonique. W G F3027Q45C\D.book Page 6 Thursday, April 7, 2005 3:18 PMChapitre 1 Premiers contacts 7 Étape 3 : Branchez les câbles du clavier et de la souris. Étape 4 : Appuyez sur le bouton d’alimentation (®) pour mettre l’ordinateur sous tension. d ® F3027Q45C\D.book Page 7 Thursday, April 7, 2005 3:18 PM8 Chapitre 1 Premiers contacts Utilisation d’un clavier et d’une souris sans fil Si vous avez fait l’acquisition d’un clavier Apple Wireless Keyboard et d’une souris Apple Wireless Mouse avec votre iMac G5, consultez les instructions fournies avec ces périphériques pour les configurer avec votre ordinateur. Et ensuite ? Grâce à ces étapes, votre iMac G5 est désormais opérationnel. La première fois que vous démarrez votre ordinateur, l’Assistant réglages se met en route. L’Assistant réglages vous aide à saisir les informations relatives à Internet et à votre courrier électronique ainsi qu’à configurer un utilisateur sur votre ordinateur. Si vous possédez déjà un ordinateur Mac, l’Assistant réglages peut également vous aider à transférer automatiquement des fichiers, des applications et d’autres informations de votre ancien Mac vers votre nouvel iMac G5. Transfert d’informations vers votre iMac G5 Vous pouvez utiliser l’Assistant réglages pour transférer automatiquement des informations d’un autre Mac vers votre nouvel iMac G5. Pour transférer des informations, assurez-vous des points suivants :  Votre autre ordinateur Mac doit disposer d’un port FireWire intégré et prendre en charge le mode disque cible FireWire.  L’autre ordinateur Mac dont vous disposez doit Mac OS X 10.1 ou ultérieur installé.  Il vous faut un câble FireWire pour relier les deux ordinateurs. L’Assistant réglages vous guide tout au long du processus de transfert d’informations ; il vous suffit de suivre les instructions à l’écran. Le transfert d’informations vers votre iMac G5 n’affecte pas les informations se trouvant sur votre autre Mac. Avec l’Assistant réglages, vous pouvez transférer :  les comptes d’utilisateur, y compris les préférences et le courrier électronique ;  les réglages de réseau, pour que votre nouvel ordinateur soit automatiquement configuré avec les mêmes réglages de réseau que votre autre Mac ;  le dossier Applications, pour que les applications que vous utilisez sur votre autre Mac se trouvent à présent sur votre nouvel iMac G5 (certaines des applications transférées devront peut-être être réinstallées) ;  des fichiers et dossiers stockés sur votre disque dur. Si vous n’utilisez pas l’Assistant réglages pour transférer des informations lorsque vous démarrez votre iMac G5 pour la première fois, vous pouvez effectuer ce transfert plus tard à l’aide de l’Assistant migration. Pour cela, ouvrez le dossier Applications, ouvrez le dossier Utilitaires, puis double-cliquez sur l’icône Assistant migration. F3027Q45C\D.book Page 8 Thursday, April 7, 2005 3:18 PMChapitre 1 Premiers contacts 9 Remarque : si vous effectuez votre transfert d’informations à l’aide de l’Assistant migration, veillez à ce que FileVault soit désactivé sur votre ancien ordinateur. Pour désactiver FileVault, sélectionnez le menu Pomme (?) > Préférences Système, cliquez sur Sécurité, puis suivez les instructions qui s’affichent à l’écran. Configuration de votre iMac G5 pour Internet Si vous n’avez pas transféré vos réglages de réseau, l’Assistant réglages peut également vous guider tout au long de la configuration de votre ordinateur en vue de la connexion à Internet. Pour les particuliers, l’accès à Internet requiert généralement l’ouverture d’un compte auprès d’un fournisseur d’accès à Internet (FAI) (payant dans certains cas). Si vous disposez déjà d’un compte Internet, consultez l’annexe C, “Connexion à Internet”, à la page 67 pour savoir quelles sont les informations à saisir. Informations supplémentaires Pour obtenir davantage d’informations, consultez les sections suivantes : Procédure au terme de l’utilisation de votre iMac G5 Lorsque vous avez terminé de travailler avec votre iMac G5, suspendez l’activité de votre ordinateur ou éteignez-le. Suspendre l’activité de votre iMac G5 afin d’économiser de l’énergie Si vous envisagez de ne pas utiliser votre iMac G5 pendant une période inférieure à quelques jours, suspendez-en l’activité. Lorsque l’activité de l’ordinateur est suspendue, son écran s’éteint et une petite lumière blanche située dans l’angle inférieur droit de l’écran clignote. Vous pouvez le réactiver rapidement sans passer par la procédure de démarrage. Pour en savoir plus sur... Consultez... L’extinction ou la suspension d’activité de votre ordinateur “Procédure au terme de l’utilisation de votre iMac G5” ci-dessous. L’utilisation des différentes parties de votre iMac G5 et la réalisation de certaines tâches courantes le chapitre 2, “Découverte de votre iMac G5”. La recherche d’informations supplémentaires disponibles dans l’aide à l’écran “Obtention de réponses grâce à l’Aide Mac” à la page 22. L’utilisation d’une fonctionnalité spécifique de l’iMac G5 ou la connexion d’un périphérique numérique tel qu’un iPod le chapitre 3, “Utilisation de votre ordinateur”. L’installation de mémoire le chapitre 4, “Extension des capacités de votre ordinateur”. Le dépannage de votre iMac G5 en cas de problème le chapitre 5, “Dépannage”. F3027Q45C\D.book Page 9 Thursday, April 7, 2005 3:18 PM10 Chapitre 1 Premiers contacts Pour suspendre rapidement l’activité de votre ordinateur, procédez de l’une des façons suivantes :  Choisissez Pomme (?) > Suspendre l’activité.  Appuyez sur le bouton d’alimentation situé à l’arrière de l’ordinateur.  Choisissez Pomme (?) > Préférences Système, cliquez sur Économiseur d’énergie et indiquez un délai pour suspendre l’activité. Pour réactiver votre ordinateur, appuyez sur une touche quelconque du clavier. À la réactivation de l’ordinateur, vos applications, documents et réglages d’ordinateur réapparaissent exactement tels que vous les aviez laissés. Éteindre votre iMac G5 Si vous ne comptez pas utiliser votre iMac G5 pendant plusieurs jours, éteignez-le. m Choisissez Pomme (?) > Éteindre. Avertissement : éteignez votre iMac G5 avant de le déplacer. Tout déplacement de votre ordinateur lorsque le disque dur est en train de tourner risque d’endommager ce dernier et d’entraîner une perte de données ou l’impossibilité de démarrer à partir du disque dur. F3027Q45C\D.book Page 10 Thursday, April 7, 2005 3:18 PM2 11 2 Découverte de votre iMac G5 Dans ce chapitre, vous trouverez des informations élémentaires à propos de votre iMac G5. La lecture de ce chapitre vous permettra d’avoir une vue d’ensemble sur les différents éléments de votre ordinateur et Mac OS X, et des informations sommaires sur les tâches basiques telles que personnaliser l’apparence du bureau, se connecter à une imprimante, lire un CD, connecter un appareil photo numérique, utiliser Internet, obtenir des réponses lorsque vous avez besoin d’aide, etc. Pour obtenir les informations les plus récentes Apple publiant fréquemment des nouvelles versions et mises à jour de ses logiciels système, il est possible que les images de ce manuel soient légèrement différentes de ce que vous voyez à l’écran. Le site Web d’Apple, à l’adresse www.apple.com, vous donne accès aux informations, téléchargements gratuits et catalogues en ligne des logiciels et matériaux Apple les plus récents destinés à votre iMac. Vous trouverez également les manuels de nombreux produits Apple, ainsi que l’assistance technique pour tous les produits Apple, sur le site Web de services et d’assistance www.apple.com/fr/support. F3027Q45C\D.book Page 11 Thursday, April 7, 2005 3:18 PM12 Chapitre 2 Découverte de votre iMac G5 iMac G5 – Vue avant Ports USB Haut-parleur intégré Capteur de lumière intégré Haut-parleur intégré Micro intégré Lecteur de disque optique à chargement par fente Touche d’éjection de disque Boutons de réglage du volume Clavier Apple Keyboard Souris Apple Mouse Voyant lumineux d’alimentation d C - F3027Q45C\D.book Page 12 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 13 Lecteur de disque optique à chargement frontal Votre ordinateur possède une unité combinée dite “Combo” DVD-ROM/CD-RW ou bien un SuperDrive DVD+R DL/DVD±RW/CD-RW. Tous ces lecteurs peuvent lire les CD-ROM, les CD de photos, les disques audio ordinaires et autres types de supports. Le lecteur Combo peut également lire les DVD et les DVD vidéo, graver de la musique, des documents et autres fichiers numériques sur des disques CD-R et CD-RW. De plus, le lecteur SuperDrive vous permet de lire et graver des DVD-R, DVD-RW, DVD+R, DVD+RW et des DVD+R double couche (DL). Témoin lumineux d’alimentation Un témoin blanc indique que l’ordinateur est en veille. Lorsque votre iMac G5 est allumé, ce voyant est éteint. Micro intégré Enregistrez des sons directement sur votre iMac G5 ou parlez avec des amis en direct sur Internet avec l’application intégrée iChat AV. Haut-parleurs intégrés Écoutez de la musique, le son de vos films, jeux et fichiers multimédia. - Boutons de réglage du volume Ces boutons permettent d’augmenter ou de baisser le volume du son provenant des haut-parleurs intégrés et du port de sortie audio. C Touche d’éjection de disque Maintenez cette touche enfoncée pour éjecter un CD ou un DVD. Il est également possible d’éjecter un disque en faisant glisser son icône dans la Corbeille. Souris Apple Mouse Utilisez la souris optique de précision sans tapis de souris sur la plupart des surfaces. d Le clavier Apple Keyboard est doté de deux ports USB (Universal Serial Bus) 1.1 Branchez des périphériques USB 1.1 à faible consommation, tels qu’une souris, un appareil photo numérique ou une manette de jeu, au clavier de votre ordinateur iMac G5. Connectez votre souris Apple Mouse à l’un des ports USB du clavier (trois ports USB 2.0 haute vitesse se trouvent également à l’arrière de votre ordinateur). Capteur de lumière intégré Votre ordinateur est équipé d’un système qui capte la lumière ambiante et ajuste automatiquement la luminosité du témoin lumineux d’alimentation en fonction de la lumière disponible lorsque l’ordinateur est en veille. F3027Q45C\D.book Page 13 Thursday, April 7, 2005 3:18 PM14 Chapitre 2 Découverte de votre iMac G5 iMac G5 – Vue arrière Port de sortie vidéo Port de sortie casque/ sortie audio optique Port d’entrée audio Ports USB (3) Ports FireWire (2) Port Modem Port Ethernet (10/100/1000Base-T) Bouton d’alimentation Port d’alimentation Logement de sécurité digital ® , f £ d H W G F3027Q45C\D.book Page 14 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 15 , Port d’entrée audio Ce port permet l’entrée audio d’un microphone ou de tout autre appareil audio connecté à votre iMac G5. f Port de sortie casque/sortie audio optique Ce port permet de connecter des écouteurs ou tout autre périphérique de sortie audio. Il permet également de brancher votre iMac G5 à un récepteur, à un système home cinéma ou à tout autre équipement numérique audio à l’aide d’un câble audio optique muni d’une mini-prise. £ Port de sortie vidéo La carte VGA Apple facultative (disponible sur www.apple.com/francestore) vous permet de connecter à votre ordinateur un moniteur externe ou un projecteur utilisant un port VGA. L’adaptateur vidéo Apple (disponible sur www.apple.com/francestore) vous permet de connecter un téléviseur, un magnétoscope ou autre appareil vidéo doté d’un connecteur vidéo S-vidéo ou composite. d Trois ports USB (Universal Serial Bus) 2.0 Ces ports vous permettent de raccorder des imprimantes, des lecteurs Zip ou autres, des appareils photo numériques, des manettes de jeu, etc. Vous pouvez brancher des appareils USB 1.1 et des appareils USB 2.0 à haute vitesse. H Deux ports FireWire 400 Ces ports permettent de connecter des périphériques à haute vitesse tels qu’un iPod, des caméras vidéo numériques et des unités de stockage externes. W Port modem (selon le modèle) Il permet de connecter une ligne téléphonique standard directement au modem interne 56K v.92. G Port Ethernet (10/100/1000Base-T) Connectez-vous à un réseau Ethernet 10/100/1000 Base-T à grande vitesse ou à un modem câble ou DSL, ou bien connectez-vous à un autre ordinateur et transférez les fichiers. Le port Ethernet détecte automatiquement les autres périphériques Ethernet. Pour établir des connexions à d’autres périphériques Ethernet, il est inutile d’utiliser un câble croisé Ethernet. ® Bouton d’alimentation Il permet d’allumer votre iMac G5 ou de suspendre son activité. Maintenez ce bouton enfoncé pour réinitialiser l’ordinateur lors des procédures de dépannage. = Port secteur Branchez-y le câble d’alimentation de l’ordinateur. Logement de sécurité Fixez un verrou et un câble antivol (disponibles sur le site www.apple.com/francestore). Accès mémoire (à l’intérieur) Votre iMac G5 contient au moins 512 mégaoctets (Mo) de mémoire DDR-SDRAM (Double Data Rate Synchronous Dynamic Random Access) PC 3200 à 400 MHz . Vous pouvez ajouter de la mémoire à votre iMac G5 afin d’obtenir jusqu’à 2 Go. Pour plus d’informations et d’instructions sur l’installation de mémoire, consultez la section “Ajout de mémoire” à la page 41. Z AirPort Extreme Connectez-vous à un réseau sans fil grâce au module AirPort Extreme installé sur votre ordinateur ? Technologie sans fil Bluetooth® Connectez-vous sans fil aux périphériques utilisant la technologie Bluetooth, tels que téléphones portables, assistants personnels (PDA) et imprimantes, ainsi qu’au clavier sans fil Apple Wireless Keyboard et à la souris sans fil Apple Wireless Mouse (le clavier et la souris Apple Wireless Keyboard and Mouse sont en vente sur le site www.apple.com/francestore). F3027Q45C\D.book Page 15 Thursday, April 7, 2005 3:18 PM16 Chapitre 2 Découverte de votre iMac G5 À propos de Mac OS X Votre ordinateur est livré avec Mac OS X. Doté d’une interface utilisateur élégante et de capacités graphiques ultramodernes, ce système d’exploitation offre une plus grande stabilité et de meilleures performances du système. Pour en savoir plus sur Mac OS X et les applications iLife primées installées sur votre ordinateur, consultez le livret Bienvenue sur Tiger inclus avec votre iMac G5. Vous pouvez également ouvrir l’Aide Mac et parcourir les informations qu’elle contient. Vous trouverez un grand volume d’informations pour les utilisateurs novices et expérimentés, et pour ceux qui passent au Mac. Si vous rencontrez des problèmes lors de l’utilisation de Mac OS X, reportez-vous aux informations de dépannage au dos de ce manuel ou allez dans la barre des menus en haut de l’écran et sélectionnez Aide > Aide Mac. Pour avoir des informations sur la compatibilité des applications logicielles avec Mac OS X, ou pour en savoir plus sur Mac OS X, visitez le site Web d’Apple : www.apple.com/fr/macosx. Remarque : si vous voulez utiliser les applications Mac OS 9 avec votre ordinateur, vous devez installer Mac OS 9 (voir “Installation de Mac OS 9” à la page 56). Mac OS 9 ne peut pas être installé comme système d’exploitation principal sur votre iMac G5 et il n’est pas possible de démarrer l’ordinateur sous Mac OS 9. F3027Q45C\D.book Page 16 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 17 Personnalisation du bureau et réglage des préférences Au moyen des Préférences Système, vous pouvez donner à votre bureau l’apparence souhaitée sans perdre de temps. Choisissez Pomme (?) > Préférences Système dans la barre des menus. N’hésitez pas à changer et essayer ce qui suit :  Bureau et économiseur d’écran : Sélectionnez cette sous-fenêtre de préférences pour changer la couleur et le motif du bureau ou pour la remplacer par la photo ou l’image de votre choix. Vous pouvez également choisir un effet d’écran accrocheur qui apparaîtra lorsque l’ordinateur reste inactif.  Dock : Sélectionnez cette sous-fenêtre de préférences pour changer l’apparence, l’emplacement et le comportement de votre Dock.  Apparence : Sélectionnez cette sous-fenêtre de préférences pour changer entre autres les couleurs des boutons, menus, fenêtres et la couleur de contraste. Tout en vous familiarisant avec votre ordinateur, découvrez progressivement les autres Préférences Système. Il s’agit du centre de contrôle de la plupart des réglages de votre iMac G5. Pour plus d’informations, sélectionnez Aide > Aide Mac et recherchez “Préfé- rences Système” ou la sous-fenêtre spécifique que vous souhaitez modifier. F3027Q45C\D.book Page 17 Thursday, April 7, 2005 3:18 PM18 Chapitre 2 Découverte de votre iMac G5 Connexion à une imprimante Lorsque vous branchez une imprimante sur le port USB ou FireWire, votre iMac G5 peut la détecter automatiquement et l’ajouter à la liste des imprimantes utilisables. Il se peut que vous deviez configurer les imprimantes connectées à un réseau avant de pouvoir les utiliser. Si vous avez une borne d’accès AirPort Extreme, vous pouvez y raccorder une imprimante USB (au lieu de la raccorder à votre ordinateur) et imprimer sans fil. Pour configurer une imprimante : 1 Ouvrez Préférences Système et cliquez sur l’icône Imprimer et faxer. 2 Cliquez sur Impression puis sur le bouton Ajouter (+) pour ajouter une imprimante. 3 Sélectionnez l’imprimante que vous souhaitez ajouter. 4 Utilisez les boutons Ajouter (+) et Supprimer (–) pour choisir les imprimantes que vous voulez voir apparaître dans la Liste des imprimantes. Remarque : si vous vous connectez à une imprimante via un réseau, il vous faudra peut-être savoir le nom de réseau ou l’adresse de l’imprimante pour la sélectionner. Contactez votre administrateur système. Contrôle de l’impression Lorsque vous avez envoyé un document à l’impression, vous pouvez contrôler l’impression, l’arrêter ou la mettre en attente temporairement. Pour contrôler l’impression : m Cliquez sur l’icône de l’imprimante dans le Dock pour ouvrir la fenêtre Liste des imprimantes. Vous voyez alors la liste des travaux d’impression et la file d’attente sur lesquelles vous pouvez intervenir. F3027Q45C\D.book Page 18 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 19 Plus d’informations Pour plus d’informations, ouvrez l’Aide Mac (voir la page 22) et recherchez “impression”. Pour réaliser une installation spécifique ou connaître les instructions de configuration, vous pouvez également vous reporter au manuel fourni avec votre imprimante. Lecture d’un CD et connexion d’un casque d’écoute Si vous souhaitez écouter de la musique pendant que vous travaillez sur votre iMac G5, insérez un CD dans le lecteur optique. iTunes, un lecteur de musique convivial, s’ouvre automatiquement. Pour une écoute privée, branchez des écouteurs dotés d’une prise mini-jack au port de sortie casque/sortie audio optique (f) de votre iMac G5. Pour en savoir plus sur iTunes : m Ouvrez iTunes et choisissez Aide > Aide iTunes et Music Store. Pour en savoir plus sur votre lecteur optique, consultez la section “Utilisation de votre lecteur optique” à la page 36. Mise à jour constante de vos logiciels Vous pouvez vous connecter à Internet et télécharger et installer automatiquement les dernières versions de logiciels, gestionnaires et autres améliorations fournies par Apple. Une fois connecté à Internet, l’application Mise à jour de logiciels recherche dans les serveurs d’Apple les mises à jour disponibles pour votre ordinateur. Vous pouvez configurer votre Mac afin qu’il recherche régulièrement dans le serveur Apple des mises à jour de logiciels, puis qu’il les télécharge et les installe sur votre ordinateur. Pour rechercher des logiciels mis à jour : 1 Choisissez Pomme (?) > Mise à jour de logiciels. La fenêtre Mise à jour de logiciels s’ouvre. Les mises à jour disponibles apparaissent dans une liste. 2 Cochez les cases situées en regard des éléments à installer, puis cliquez sur Installer. 3 Saisissez un nom et un mot de passe d’administrateur (utilisés lors de la configuration initiale de votre ordinateur). Une fois les mises à jour terminées, l’application Mise à jour de logiciels recherche à nouveau des mises à jour. En effet, certaines mises à jour requièrent l’installation des mises à jour précédentes. Pour plus d’informations, effectuez une recherche sur “Mise à jour de logiciels” dans l’Aide Mac OS (voir la page 22). Connexion d’une caméra ou d’autres périphériques FireWire Si vous avez un iPod, une caméra iSight, un caméscope numérique FireWire ou autre périphérique équipé d’un connecteur FireWire, vous pouvez les connecter à votre iMac G5. Suivez les instructions d’installation fournies avec votre appareil. Pour plus d’informations à propos de FireWire, consultez “FireWire” à la page 26. F3027Q45C\D.book Page 19 Thursday, April 7, 2005 3:18 PM20 Chapitre 2 Découverte de votre iMac G5 Connexion à un réseau Si vous souhaitez connecter votre iMac G5 à un réseau Ethernet, à un modem câble ou DSL ou à un réseau sans fil, consultez “Ethernet (10/100/1000Base-T)” à la page 32 et “Réseau sans fil AirPort Extreme” à la page 28 pour plus d’informations sur la configuration d’une connexion Ethernet ou AirPort. Vous pouvez également consulter l’Aide Mac (voir la page 22) et y rechercher “Ethernet” ou “AirPort”. Utilisation d’Internet Lors du réglage initial de votre iMac G5, des instructions vous ont été données sur la manière de vous connecter à Internet. Pour utiliser une connexion de type différent, telle que par modem DSL ou câble, réseau local (LAN) Ethernet ou réseau AirPort Extreme, vous trouverez plus d’informations dans l’annexe C, “Connexion à Internet”, à la page 67. Transfert de fichiers vers un autre ordinateur Plusieurs solutions vous sont offertes pour transférer des fichiers ou des documents de ou vers votre iMac G5.  Vous pouvez facilement transférer des fichiers à l’aide de l’Assistant réglages. Pour plus d’informations, consultez la section “Transfert d’informations vers votre iMac G5” à la page 8.  Vous pouvez transférer des fichiers via Internet en utilisant .Mac ou d’autres comptes Internet. Pour plus d’informations, rendez-vous sur le site www.mac.com.  Si votre ordinateur est connecté à un réseau Ethernet, vous pouvez transférer des fichiers vers un autre ordinateur en réseau. Pour accéder à un autre serveur ou ordinateur, ouvrez une fenêtre du Finder et cliquez sur Réseau. Si vous connaissez le nom ou l’adresse réseau de l’ordinateur, choisissez Aller > Se connecter au serveur dans la barre des menus du Finder.  Vous pouvez créer un réseau Ethernet de petite taille en reliant votre iMac G5 au port Ethernet d’un autre ordinateur à l’aide d’un câble Ethernet. Pour plus d’informations, ouvrez l’aide Mac OS et recherchez “Connexion de deux ordinateurs”.  Vous pouvez également vous connecter à un autre Mac au moyen d’un câble FireWire. Votre iMac G5 apparaît comme un lecteur de disque sur l’autre ordinateur. Vous pouvez alors transférer les fichiers. Pour plus d’informations sur l’utilisation de FireWire pour le transfert de fichiers, consultez la section “Mode disque cible FireWire” à la page 27.  Vous pouvez vous connecter à un réseau sans fil AirPort pour transférer des fichiers. Pour plus d’informations, consultez la section “Réseau sans fil AirPort Extreme” à la page 28. Pour plus d’informations sur le transfert de fichiers et de documents, ouvrez l’Aide Mac (voir la page 22) et recherchez “Création d’un petit réseau”. F3027Q45C\D.book Page 20 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 21 Lorsqu’une application ne répond pas Même si c’est assez rare, il se peut qu’une application se fige à l’écran. Mac OS X permet de quitter une application qui ne répond plus sans redémarrer votre ordinateur, ce qui permet d’enregistrer le travail effectué dans d’autres applications ouvertes. Pour forcer une application à quitter : 1 Appuyez sur Commande (x) + Option + Échap ou choisissez Forcer à quitter dans le menu Pomme (?). La zone de dialogue Forcer à quitter des applications apparaît avec l’application sélectionnée. 2 Cliquez sur Forcer à quitter. L’application quitte, en laissant toutes les autres applications ouvertes. Si besoin est, vous pouvez forcer la fermeture de l’environnement Classic, ce qui ferme alors toutes les applications Mac OS 9. Vous pouvez également redémarrer le Finder à partir de cette boîte de dialogue. Si vous rencontrez d’autres difficultés, consultez le chapitre 5, “Dépannage”, à la page 53. F3027Q45C\D.book Page 21 Thursday, April 7, 2005 3:18 PM22 Chapitre 2 Découverte de votre iMac G5 Obtention de réponses grâce à l’Aide Mac Vous pouvez trouver des réponses à la plupart de vos questions concernant l’utilisation de votre ordinateur et de Mac OS X dans l’Aide Mac. Pour utiliser l’Aide Mac : 1 Cliquez sur l’icône du Finder dans le Dock. 2 Sélectionnez Aide > Aide Mac (cliquez sur le menu Aide et sélectionnez Aide Mac). 3 Tapez une question dans le champ “Posez une question”, puis appuyez sur la touche Retour du clavier. 4 Double-cliquez sur l’un des éléments apparaissant dans la liste des rubriques d’aide. Utilisation des applications Votre iMac G5 est fourni avec des logiciels, dont la suite iLife, qui vous permettront d’envoyer des messages électroniques, de naviguer sur Internet, de discuter en ligne, d’organiser vos morceaux de musique et vos photos numériques, de créer des vidéos et bien plus encore. Pour plus d’informations sur l’une de ces applications, ouvrez cette dernière puis l’Aide Mac correspondante. F3027Q45C\D.book Page 22 Thursday, April 7, 2005 3:18 PM3 23 3 Utilisation de votre ordinateur Votre iMac G5 comporte de nombreuses fonctionnalités et capacités d’extension intégrées permettant de le personnaliser selon vos besoins. Voici quelques-unes des fonctionnalités et capacités de votre ordinateur :  Des ports USB (Universal Serial Bus) 2.0 à haute vitesse pour la connexion de matériel supplémentaire, tel qu’une imprimante, un scanneur, une manette de jeu, un clavier, un appareil photo numérique et un lecteur de disquettes.  Des ports FireWire 400 pour la connexion de périphériques à haute vitesse, tels que l’iPod, la caméra iSight, des caméras vidéo numériques et des disques durs externes.  La technologie Bluetooth pour se connecter sans fil à des périphériques numériques.  Les toutes dernières technologies de communication, telles qu’un modem 56K v.92 (sur certains modèles), une carte Ethernet 10/100/1000 Base-T et une connexion de réseau sans fil AirPort Extreme.  Port combiné sortie casque/sortie audio optique, pour connecter des écouteurs ou un équipement audio numérique.  La sortie VGA et l’adaptateur VGA (disponibles sur www.apple.com/francestore) vous permettent de connecter votre iMac G5 à un moniteur externe ou à un appareil de projection. Utilisez le port de sortie vidéo de votre ordinateur iMac G5 et l’adaptateur vidéo Apple (disponible sur www.apple.com/francestore) pour afficher l’écran de votre ordinateur sur n’importe quel téléviseur gérant le format composite ou S-vidéo. Pour en savoir plus sur les capacités de votre iMac G5, commencez par lire ce chapitre. Vous trouverez des informations supplémentaires dans l’Aide Mac (voir la page 22) et sur le site Web Service & Support d’Apple à l’adresse www.apple.com/fr/support. F3027Q45C\D.book Page 23 Thursday, April 7, 2005 3:18 PM24 Chapitre 3 Utilisation de votre ordinateur USB (Universal Serial Bus) Votre iMac G5 est muni de cinq ports USB (d) (trois ports à haute vitesse USB 2.0 sur l’ordinateur et deux ports USB 1.1 sur le clavier) que vous pouvez utiliser pour connecter de nombreux types de périphériques tels que les imprimantes, scanners, appareils photo numériques, manettes de jeu, claviers et lecteurs de disquette. La technologie USB facilite la connexion de périphériques. Dans la plupart des cas, vous pouvez connecter et déconnecter un périphérique USB pendant que l’ordinateur fonctionne. Vous pouvez utiliser les périphériques dès leur branchement, Utilisation de périphériques USB Pour utiliser un périphérique USB avec votre ordinateur, il suffit de connecter le périphérique à l’ordinateur. L’ordinateur charge le logiciel adéquat chaque fois que vous connectez un nouveau périphérique. Les ports USB 2.0 situés à l’arrière de l’ordinateur vous permettent de brancher des périphériques USB 1.1 et USB 2.0 à haute vitesse. Les périphériques USB 1.1 ne bénéficieront pas du taux de transfert plus rapide de l’USB 2.0. De même, vous pouvez brancher des périphériques USB 2.0 sur les ports USB 1.1 du clavier, mais ils fonctionneront peut-être à des vitesses moindres. Remarque : Apple fournit d’origine des logiciels compatibles avec de nombreux périphériques USB. Si votre iMac G5 ne trouve pas le logiciel adéquat pour un périphérique USB connecté, vous pouvez installer le logiciel fourni avec ce périphérique ou consulter le site Web du fabricant pour connaître les dernières versions. Ports USB d d d F3027Q45C\D.book Page 24 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 25 Utilisation simultanée de plusieurs périphériques USB Si tous vos ports USB sont occupés et que vous souhaitez connecter davantage de périphériques USB, vous pouvez vous procurer un concentrateur USB. Ce dernier se connecte à un port USB disponible de votre ordinateur et vous permet de disposer de ports USB supplémentaires (en général quatre ou sept). La plupart des concentrateurs USB disposent d’un adaptateur secteur et doivent être branchés sur une prise électrique. Informations supplémentaires sur la technologie USB Des informations supplémentaires sur USB sont disponibles dans l’Aide Mac (consultez la page 22). Choisissez Aide > Aide Mac et recherchez “USB”. Vous trouverez d’autres informations sur le site Web USB d’Apple, à l’adresse www.apple.com/fr/usb. Pour obtenir des informations sur les périphériques USB disponibles pour votre ordinateur, consultez le Guide des produits Macintosh à l’adresse www.apple.com/fr/guide. Concentrateur USB F3027Q45C\D.book Page 25 Thursday, April 7, 2005 3:18 PM26 Chapitre 3 Utilisation de votre ordinateur FireWire Votre ordinateur est muni de deux ports FireWire 400 (H). FireWire facilite la connexion et déconnexion des périphériques haute vitesse, tels que l’iPod, la caméra iSight, les caméras vidéo numériques, les imprimantes, les scanneurs et les disques durs. Vous pouvez connecter et déconnecter des périphériques FireWire sans redémarrer votre ordinateur. La liste ci-dessous répertorie certaines des opérations possibles avec FireWire :  Connecter un iPod et transférer des milliers de chansons provenant d’iTunes ou synchroniser vos adresses et les données de votre agenda à l’aide d’iSync.  Connecter une caméra iSight Apple et utiliser l’application iChat AV fournie pour participer à une vidéoconférence avec vos amis ou votre famille via une connexion Internet à haut débit.  Connecter une caméra vidéo numérique pour capturer, transférer et faire des montages vidéo de grande qualité directement sur votre ordinateur au moyen de logiciels de montage vidéo tels qu’iMovie (fourni avec votre ordinateur), Final Cut Express ou Final Cut Pro.  Connecter un disque dur FireWire externe sur le port FireWire et l’utiliser pour sauvegarder des données ou transférer des fichiers. Une icône de disque dur FireWire s’affiche sur le bureau dès que vous connectez le disque dur à votre iMac G5.  Démarrer à partir d’un disque dur externe FireWire. Connectez un disque FireWire externe (équipé d’un système d’exploitation valide), ouvrez la sous-fenêtre Démarrage des Préférences Système, et cliquez sur le disque FireWire. Redémarrez votre ordinateur. Ports FireWire H H F3027Q45C\D.book Page 26 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 27 Utilisation de périphériques FireWire Pour utiliser un périphérique FireWire avec votre ordinateur, il suffit de connecter ce périphérique à l’ordinateur. Apple fournit d’origine des logiciels compatibles avec de nombreux périphériques FireWire. Si votre iMac G5 ne trouve pas le logiciel adéquat pour un périphérique FireWire connecté, vous pouvez installer le logiciel fourni avec ce périphérique ou consulter le site Web du fabricant pour obtenir les dernières versions. Remarque : le port FireWire est conçu pour alimenter les périphériques FireWire (8 watts maximum). Vous pouvez connecter plusieurs périphériques entre eux et relier en chaîne les périphériques (“guirlande”) au port FireWire de votre ordinateur. Dans la plupart des cas, l’ordinateur ne doit pas alimenter plus de deux périphériques. Si vous connectez plus de deux périphériques, les autres périphériques de la guirlande doivent être alimentés au travers d’adaptateurs électriques séparés. Connecter plus de deux périphériques FireWire alimentés par l’ordinateur peut provoquer des problèmes. En cas de problème, éteignez l’ordinateur, déconnectez les périphériques FireWire, puis redémarrez l’ordinateur. Mode disque cible FireWire Si vous souhaitez transférer des fichiers de votre iMac G5 vers un autre ordinateur équipé de la technologie FireWire ou êtes confronté à un problème empêchant le démarrage de votre ordinateur, utilisez le mode disque cible FireWire pour vous connecter à un autre ordinateur. Pour connecter votre iMac G5 en mode disque cible FireWire, procédez de la manière suivante : 1 Assurez-vous que votre iMac G5 est éteint. 2 Utilisez un câble FireWire muni d’un connecteur standard à 6 broches à chaque extrémité pour connecter votre iMac G5 à un autre ordinateur équipé de FireWire. 3 Démarrez votre iMac G5 et appuyez immédiatement sur la touche T en la maintenant enfoncée. Le logo FireWire s’affiche sur l’écran de votre iMac G5. L’écran de l’autre ordinateur affiche l’icône du disque dur interne de votre iMac G5 et l’icône d’un CD ou d’un DVD inséré dans le lecteur optique de votre iMac G5. 4 Faites glisser l’icône du disque dur de l’iMac G5 et l’icône du CD ou DVD dans la Corbeille lorsque vous avez terminé le transfert de fichiers. 5 Appuyez sur le bouton d’alimentation du de l’iMac G5 pour l’éteindre. 6 Débranchez le câble FireWire. Informations supplémentaires sur la technologie FireWire Des informations supplémentaires sur FireWire sont disponibles dans l’Aide Mac (consultez la page 22). Choisissez Aide > Aide Mac, puis recherchez “FireWire”. Vous trouverez d’autres informations sur le site Web FireWire d’Apple, à l’adresse www.apple.com/fr/firewire. F3027Q45C\D.book Page 27 Thursday, April 7, 2005 3:18 PM28 Chapitre 3 Utilisation de votre ordinateur Réseau sans fil AirPort Extreme La technologie AirPort Extreme est déjà installée sur votre iMac G5. AirPort permet d’accéder sans fil à Internet en toute simplicité et sans vous ruiner n’importe où, que ce soit chez vous, au bureau ou dans un établissement scolaire. Au lieu de faire appel à des câbles classiques, AirPort utilise la technologie de réseau local (LAN) sans fil permettant une communication sans fil entre plusieurs ordinateurs. Un réseau sans fil vous permet d’établir un accès à Internet, de transférer des fichiers, de jouer à plusieurs, etc. Remarque : vous aurez également besoin d’une borne d’accès AirPort et d’un accès à Internet (ce service peut être payant). Certains fournisseurs d’accès à Internet ne sont pas encore compatibles avec AirPort. La portée varie en fonction des conditions d’emplacement. Fonctionnement de l’accès sans fil à Internet via AirPort Le système AirPort permet d’établir une connexion sans fil avec un appareil appelé borne d’accès qui dispose, lui, d’une connexion physique à Internet. La technologie AirPort fonctionne comme un téléphone sans fil. Grâce à la technologie AirPort Extreme, votre ordinateur établit une connexion sans fil à une borne d’accès, ellemême connectée à Internet via une ligne téléphonique ou un modem DSL ou câble. Connexion à Internet Sortie CA Antennes AirPort Modem câble ou DSL Borne d’accès AirPort Express F3027Q45C\D.book Page 28 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 29 Informations complémentaires à propos d’AirPort Pour acheter une borne d’accès AirPort, contactez votre fournisseur agréé Apple ou rendez-vous sur le site Web Apple Store, à l’adresse www.apple.com/francestore. Des informations supplémentaires sur AirPort sont disponibles dans l’Aide AirPort. Sélectionnez Aide > Aide Mac, puis Centre d’aide > Aide AirPort. Vous pouvez également trouver des informations sur le site Web AirPort d’Apple à l’adresse www.apple.com/fr/airport. Technologie sans fil Bluetooth La technologie Bluetooth est déjà installée sur votre iMac G5. Cette dernière vous permet de créer des connexions sans fil de faible portée entre des ordinateurs de bureaux et portables, des assistants personnels, des téléphones portables, des téléphones appareils photo, des imprimantes, des appareils photo numériques et des périphériques d’entrée sans fil tels que le clavier Apple Wireless Keyboard ou la souris Apple Wireless Mouse (disponibles à la vente sur le site www.apple.com/francestore). La technologie sans fil Bluetooth permet d’éliminer les câbles reliant normalement les périphériques. Les périphériques prenant en charge Bluetooth peuvent se connecter l’un à l’autre sans besoin de liaison physique, dans la mesure où ils sont séparés d’une distance égale ou inférieure à 10 mètres. Avec la technologie sans fil Bluetooth, vous pouvez :  Utiliser votre iMac G5 pour communiquer avec un téléphone mobile prenant en charge la technologie Bluetooth. Votre téléphone peut servir de modem pour vous connecter à un fournisseur de services sans fil, à un débit de 56 kilobits par seconde (Kbps) suffisant pour vous connecter à Internet.  Échanger des fichiers entre ordinateurs et périphériques prenant en charge Bluetooth, même entre Mac et PC. Apple recommande l’utilisation du réseau sans fil AirPort Extreme pour le transfert de tous vos fichiers à l’exception des plus petits.  Synchroniser des données entre votre ordinateur et un assistant personnel compatible Bluetooth. À l’aide d’iSync, vous pouvez exécuter une opération HotSync sans fil ou transmettre votre carte de visite ou encore des événements de calendrier directement sur le PDA d’un collègue.  Utiliser un clavier ou une souris sans fil Bluetooth.  Imprimer vers une imprimante Bluetooth.  Utiliser un casque d’écoute Bluetooth. F3027Q45C\D.book Page 29 Thursday, April 7, 2005 3:18 PM30 Chapitre 3 Utilisation de votre ordinateur Configuration d’un périphérique Bluetooth : Avant de pouvoir utiliser votre téléphone mobile pour accéder à Internet ou échanger des informations de contact, partager des fichiers avec d’autres périphériques, ou encore utilisez un clavier ou une souris Bluetooth, vous devez configurer le périphérique pour qu’il fonctionne avec votre ordinateur. Une fois le périphérique configuré, il est “jumelé” avec votre ordinateur et apparaît dans la sous-fenêtre Périphériques des Préférences Bluetooth. Vous n’avez à jumeler l’ordinateur et le périphérique qu’une seule fois et les deux appareils restent alors jumelés jusqu’à ce que vous en décidiez autrement. Pour configurer un périphérique Bluetooth : 1 vous pouvez également choisir “Configurer l’appareil Bluetooth” dans le menu d’état Bluetooth (?) de la barre des menus. 2 Suivez les instructions affichées à l’écran pour le type de périphérique que vous souhaitez configurer. Important : si le menu d’état Bluetooth (?) ne se trouve pas dans la barre des menus, ouvrez les Préférences Système et cliquez sur Bluetooth. Cliquez sur Réglages, puis sélectionnez “Afficher l’état Bluetooth dans la barre des menus”. Pour supprimer un jumelage avec un autre périphérique : 1 Ouvrez Préférences Système, puis cliquez sur Bluetooth. 2 Cliquez sur Périphériques et choisissez le périphérique dans la liste. 3 Cliquez alors sur Supprimer le jumelage. F3027Q45C\D.book Page 30 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 31 Configuration de l’échange de fichiers Bluetooth Vous pouvez contrôler la manière dont l’ordinateur gère les fichiers échangés entre appareils Bluetooth. Vous pouvez choisir d’accepter ou de refuser les fichiers envoyés à votre ordinateur, dans quel dossier placer les fichiers reçus et acceptés, les dossiers de votre ordinateur que les autres appareils Bluetooth peuvent consulter et les applications à utiliser pour exploiter les fichiers acceptés. Pour configurer un échange de fichiers Bluetooth : 1 Ouvrez Préférences Système, puis cliquez sur Bluetooth. 2 Cliquez sur Partage. 3 Cochez la case Activé pour l’Échange de fichiers Bluetooth, puis utilisez les menus locaux pour paramétrer les réglages. Envoi d’un fichier à un appareil Bluetooth Votre ordinateur peut envoyer des fichiers vers d’autres appareils Bluetooth situés dans la zone de couverture de votre ordinateur. Si votre ordinateur n’est pas jumelé avec l’appareil, il se peut que vous deviez vous authentifier auprès de ce dernier avant de pouvoir envoyer le fichier. Si vous avez déjà jumelé l’ordinateur à l’appareil, vous ne devriez pas avoir à vous authentifier. Pour envoyer un fichier à un appareil Bluetooth : 1 Choisissez Envoyer un fichier dans le menu d’état Bluetooth de la barre des menus. 2 Sélectionnez le fichier que vous souhaitez envoyer puis cliquez sur Envoyer. 3 Choisissez un appareil dans la liste Appareil, puis cliquez sur Envoyer. Si l’appareil ne se trouve pas dans la liste, cliquez sur Rechercher. Une fois l’appareil retrouvé, vous pouvez l’ajouter à votre liste de favoris. Pour plus d’informations sur la technologie sans fil Bluetooth Pour accéder à l’aide Bluetooth, ouvrez l’applications Échange de fichiers Bluetooth (dans le dossier Utilitaires du dossier Applications) et sélectionnez Aide > Aide Bluetooth. Vous trouverez d’autres informations sur le site Web d’Apple, à l’adresse www.apple.com/fr/bluetooth. F3027Q45C\D.book Page 31 Thursday, April 7, 2005 3:18 PM32 Chapitre 3 Utilisation de votre ordinateur Ethernet (10/100/1000Base-T) Votre ordinateur est doté de la technologie de mise en réseau Ethernet 10/100/1000 mégabits par seconde (Mbps) Base-T (paire torsadée), qui permet de vous connecter à un réseau ou à un modem câble ou DSL. La connexion à un réseau vous donne accès à d’autres ordinateurs et vous permet de stocker et de récupérer des informations, d’utiliser les imprimantes d’un réseau, des modems et une messagerie électronique ou de vous connecter à Internet. Vous pouvez également partager des fichiers entre deux ordinateurs ou établir un petit réseau. Le port Ethernet de votre iMac G5 détecte automatiquement les autres périphériques Ethernet. Pour établir des connexions à d’autres périphériques Ethernet, il est inutile d’utiliser un câble croisé.  Utilisez un câble Ethernet de catégorie 3 (Cat 3) à quatre paires pour vous connecter à un réseau Ethernet 10 Base-T.  Utilisez un câble Ethernet de catégorie 5 (Cat 5) à deux paires pour vous connecter à un réseau Ethernet 10 Base-T, 100 Base-T ou 1000 Base-T. Informations supplémentaires sur l’utilisation d’Ethernet Des informations supplémentaires, expliquant notamment comment établir un réseau Ethernet et transférer des fichiers via Ethernet, sont disponibles dans l’Aide Mac (reportez-vous à la page 22). Choisissez Aide > Aide Mac, puis recherchez “Ethernet” ou “réseau”. Pour obtenir des informations sur les produits réseau que vous pouvez utiliser avec votre iMac G5, consultez le guide des produits Macintosh à l’adresse www.apple.com/fr/guide. Port Ethernet (10/100/1000Base-T) G F3027Q45C\D.book Page 32 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 33 Support audio Votre iMac G5 est doté d’un dispositif audio complet, notamment un port combinant une sortie casque/sortie audio optique permettant de brancher des écouteurs ou un équipement audio numérique, ainsi qu’un port d’entrée audio analogique. Port de sortie casque/sortie audio optique Pour écouter de la musique sans déranger les personnes autour de vous, branchez une paire d’écouteurs sur le port combiné de sortie casque/sortie audio optique (f). Vous pouvez également connecter votre iMac G5 à un récepteur AV à l’aide d’un câble audio optique doté d’une mini-prise pour établir un système de home cinéma basé sur votre iMac G5. Port de sortie casque/ sortie audio optique fdigital F3027Q45C\D.book Page 33 Thursday, April 7, 2005 3:18 PM34 Chapitre 3 Utilisation de votre ordinateur Port d’entrée audio Au dos de l’ordinateur, le port d’entrée audio analogique (,) permet de connecter un microphone externe sous tension ou d’autres équipements audio pour importer de l’audio. Pour sélectionner le périphérique audio d’entrée ou de sortie à employer, utilisez la sous-fenêtre Son des Préférences Système. Informations supplémentaires sur l’utilisation de l’audio L’Aide Mac contient des informations supplémentaires sur l’utilisation de l’audio (voir la page 22). Choisissez Aide > Aide Mac, puis recherchez “audio” ou “musique.” Pour obtenir des informations sur les produits audio et de musique que vous pouvez utiliser avec votre iMac G5, consultez le guide des produits Macintosh à l’adresse www.apple.com/fr/guide. Gestion de vidéo externe (VGA, Composite et S-Vidéo) Votre ordinateur dispose d’un port de sortie vidéo qui vous permet de le connecter à un moniteur (écran) externe ou à un projecteur VGA à l’aide de l’adaptateur VGA (disponible sur www.apple.com/francestore). Vous pouvez également afficher ou enregistrer des images en connectant un téléviseur, un projecteur vidéo ou un magnétoscope à l’aide de l’adaptateur vidéo Apple (disponible sur www.apple.com/francestore). Port d’entrée audio , F3027Q45C\D.book Page 34 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 35 Remarque : l’adaptateur vidéo d’Apple n’est pas compatible avec certains modèles antérieurs d’iMac. Lorsque votre iMac G5 est connecté à un moniteur externe ou à un téléviseur, la même image apparaît sur son écran et sur le moniteur externe (mode appelé recopie vidéo). Remarque : en raison des limitations d’affichage de la plupart des téléviseurs, la qualité des images affichées sur un téléviseur sera inférieure à celle des images affichées par l’écran intégré ou un moniteur externe. Connexion d’un écran externe ou d’un projecteur Pour connecter un écran externe ou un projecteur à votre ordinateur à l’aide d’une connexion VGA : 1 Allumez l’écran externe ou le projecteur. 2 Connectez l’adaptateur VGA Apple au port VGA du moniteur externe ou du projecteur. 3 Connectez l’adaptateur de moniteur VGA d’Apple à votre iMac G5. Votre iMac G5 détecte automatiquement l’écran externe. Important : pour être sûr que votre iMac G5 détecte automatiquement le moniteur externe ou le projecteur, veillez à d’abord brancher l’adaptateur VGA à ce moniteur externe ou projecteur. 4 Utilisez la sous-fenêtre Moniteurs des Préférences Système pour régler la résolution du moniteur externe ou du projecteur. Port de sortie vidéo £ F3027Q45C\D.book Page 35 Thursday, April 7, 2005 3:18 PM36 Chapitre 3 Utilisation de votre ordinateur Connexion d’un téléviseur, d’un magnétoscope ou de tout autre appareil vidéo Pour connecter un téléviseur, un magnétoscope ou tout autre appareil vidéo à votre iMac G5 : 1 Connectez l’extrémité munie d’une seule fiche de l’adaptateur vidéo d’Apple au port de sortie vidéo de votre iMac G5. 2 Connectez l’autre extrémité de l’adaptateur au port vidéo composite ou S-vidéo du téléviseur ou du magnétoscope. 3 Allumez l’appareil. 4 Pour régler l’apparence des images affichées à l’écran, ouvrez la sous-fenêtre Moniteurs des Préférences Système. L’image apparaît alors à la fois sur l’iMac G5 et sur le téléviseur. Informations supplémentaires sur l’utilisation d’un moniteur externe ou d’un téléviseur Vous pourrez trouver des informations supplémentaires sur la configuration et l’utilisation d’un moniteur externe dans l’Aide Mac. Choisissez Aide > Aide Mac, puis recherchez “moniteur”. Utilisation de votre lecteur optique Votre lecteur optique permet d’installer ou d’exécuter des applications à partir de CD et de DVD. Vous pouvez écouter de la musique à partir d’un CD audio et regarder des films sur DVD. Vous pouvez également graver des CD de musique lisibles sur la plupart des lecteurs de CD et enregistrer des documents et autres fichiers numériques sur des CD-R et CD-RW. Important : le lecteur optique de votre iMac G5 est compatible avec les disques circulaires standard de 12 cm. Les disques d’une autre forme ou d’un diamètre inférieur à 12 cm ne sont pas compatibles. Les disques non circulaires ou plus petits risquent de se coincer dans le lecteur. En cas de disque coincé, reportez-vous aux informations de dépannage à la page 57. Si votre iMac G5 possède un lecteur SuperDrive, vous pouvez également graver des vidéos familiales en réalisant des DVD vidéo qui pourront être lus sur la plupart des lecteurs de DVD de salon, ou bien enregistrer des documents et autres fichiers numériques sur des disques DVD-R, DVD-RW, DVD+R, DVD+RW et DVD+R Double couche (DL) vierges, en utilisant le Finder ou iDVD. Vous pouvez placer près de deux fois plus de données (8,54 Go) sur un disque DVD+R DL (double couche). F3027Q45C\D.book Page 36 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 37 Remarque : si vous possédez des logiciels anciens sur disquette, demandez à l’éditeur s’ils sont disponibles sur CD ou téléchargeables en ligne ou achetez un lecteur de disquette externe USB pour votre iMac G5 auprès d’un distributeur Apple ou sur le site Apple Store (www.apple.com/francestore). Insertion d’un CD ou DVD Pour installer ou utiliser des logiciels à partir d’un disque CD-ROM ou DVD-ROM, procédez comme suit : 1 Insérez le disque dans le lecteur optique, en plaçant l’étiquette vers vous. 2 Dès que son icône apparaît sur le bureau, le disque peut être utilisé. Remarque : certains disques DVD sont à double face. Éjection d’un disque Pour éjecter un disque, procédez comme suit :  Glissez l’icône du disque dans la Corbeille.  Maintenez enfoncée la touche d’éjection de disque (C) sur le clavier jusqu’à ce que le disque soit éjecté. Si vous ne parvenez pas à éjecter le disque, fermez toutes les applications susceptibles d’utiliser le disque et réessayez. Si cela ne donne pas de résultats, redémarrez l’ordinateur tout en maintenant le bouton de la souris enfoncé. F3027Q45C\D.book Page 37 Thursday, April 7, 2005 3:18 PM38 Chapitre 3 Utilisation de votre ordinateur Lecture de DVD Insérez le DVD que vous voulez lire. L’application Lecteur DVD s’ouvre automatiquement et lance la lecture du disque. Si vous avez connecté l’iMac G5 à un téléviseur pour regarder vos DVD sur l’écran du téléviseur, sélectionnez 720 x 480 NTSC (aux États-Unis) ou 720 x 576 PAL (en Europe et dans d’autres régions) dans la sous-fenêtre Moniteurs des Préférences Système. Il est très facile de connecter votre iMac G5 à une chaîne stéréo. Utilisez un câble audio optique muni d’un connecteur mini-prise (en vente sur www.apple.com/francestore) pour relier le port de sortie combiné casque/sortie audio optique (f) de votre iMac G5 au port d’entrée audio optique de votre récepteur stéréo. Enregistrement de disques CD-R et CD-RW Vous pouvez enregistrer des disques CD-R ou CD-RW directement à partir de votre bibliothèque iTunes. Pour enregistrer de la musique sur un CD-R ou CD-RW via iTunes : 1 Cliquez sur l’icône d’iTunes dans le Dock. 2 Sélectionnez la liste de lecture à enregistrer. 3 Insérez un disque vierge CD-R ou CD-RW. (Pour une compatibilité optimale avec les lecteurs CD, utilisez un CD-R). 4 En haut de la fenêtre iTunes, cliquez sur l’option Graver le CD. Pour enregistrer vos fichiers et dossiers sur un CD-R ou CD-RW à l’aide du Finder : 1 Insérez un disque vierge dans le lecteur optique. 2 Dans la zone de dialogue qui apparaît, attribuez un nom au disque. Une icône correspondant au CD apparaît sur le bureau. 3 Glissez des fichiers et dossiers sur l’icône du disque. 4 Choisissez Fichier > Graver le disque ou sélectionnez le disque, puis glissez-le sur l’icône “Graver le disque“ située dans le Dock. Pour plus d’informations  Pour obtenir des informations sur l’enregistrement de fichiers de musique sur un CD-R à l’aide d’iTunes, ouvrez iTunes et choisissez Aide > Aide iTunes et Music Store.  Pour obtenir des instructions sur l’utilisation de l’application Lecteur DVD, ouvrez Lecteur DVD et choisissez Aide > Aide Lecteur DVD. F3027Q45C\D.book Page 38 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 39 Enregistrement d’informations sur un DVD Si votre iMac G5 est équipé d’un lecteur SuperDrive, vous pouvez graver vos vidéos numériques familiales sur DVD+R DL (double couche), DVD±RW ou DVD±R. Vous pouvez également enregistrer d’autres types de données numériques (vous pouvez sauvegarder vos fichiers par exemple). Pour graver des données sur un DVD-R à l’aide du Finder : 1 Insérez un DVD+R DL (double couche), un DVD±RW ou un DVD±R vierge dans le lecteur. 2 Dans la zone de dialogue qui apparaît, attribuez un nom au disque et sélectionnez le format souhaité. Une icône représentant le DVD apparaît sur le bureau. 3 Double-cliquez sur l’icône du DVD, puis glissez-y des fichiers et des dossiers. 4 Choisissez Fichier > Graver le disque ou sélectionnez le disque, puis glissez-le sur l’icône “Graver le disque“ située dans le Dock. Vous pouvez également utiliser iDVD pour créer vos propres DVD personnalisés, les graver sur DVD vierge et les lire ensuite sur la plupart des lecteurs de DVD standard. Pour plus d’informations sur l’utilisation d’iDVD, ouvrez iDVD et choisissez Aide > Aide iDVD. Commandes du clavier Les commandes clavier vous permettent de régler rapidement le volume ou d’éjecter un CD ou un DVD. Pour augmenter le contraste de l’écran, appuyez sur la touche F15 de votre clavier. Pour diminuer le contraste, appuyez sur la touche F14. Avec Exposé, vous pouvez facilement gérer les fenêtres sur l’écran. Pour voir toutes les fenêtres ouvertes d’un seul coup d’œil, appuyez sur F9. Pour voir toutes les fenêtres ouvertes dans l’application active, appuyez sur F10. Pour masquer toutes les fenêtres ouvertes pour pouvoir visualiser le bureau, appuyez sur F11. Diminution du volume Augmentation du volume Touche de mode silencieux Touche d’éjection de disque F3027Q45C\D.book Page 39 Thursday, April 7, 2005 3:18 PM40 Chapitre 3 Utilisation de votre ordinateur Protection de votre ordinateur Insérez un câble de verrouillage (disponible sur www.apple.com/francestore) dans le logement de sécurité intégré pour attacher votre iMac G5 à un objet fixe. Des informations supplémentaires sur les fonctionnalités logicielles de sécurité de votre iMac G5, y compris les mots de passe d’utilisateurs multiples et le cryptage des fichiers, sont disponibles dans l’Aide Mac (voir la page 22). Choisissez Aide > Aide Mac, puis recherchez “sécurité” ou “utilisateurs multiples”. Logement de sécurité F3027Q45C\D.book Page 40 Thursday, April 7, 2005 3:18 PM4 41 4 Extension des capacités de votre ordinateur Ce chapitre fournit des informations et des instructions pour l’extension des capacités de votre ordinateur. Vous y trouverez des instructions sur les opérations suivantes :  “Ajout de mémoire” à la page 41.  “Remplacement de la pile de secours interne” à la page 48. Ajout de mémoire Votre iMac G5 contient au moins 512 mégaoctets (Mo) de mémoire DDR-SDRAM (Double Data Rate Synchronous Dynamic Random Access). Votre iMac G5 dispose par ailleurs de deux logements de mémoire, dont l’un est généralement libre en vue d’éventuelles extensions. Il est compatible avec les modules de mémoire répondant aux spécifications suivantes :  compatibilité PC-3200 (également appelé DDR-400) ;  DDR-SDRAM (Double Data Rate-Synchronous Dynamic Random Access Memory) ;  sans tampon et non enregistrée. La quantité maximale de mémoire pouvant être contenue par votre iMac G5 est de 2 gigaoctets (Go), via l’insertion de modules de mémoire de 1 Go dans chaque logement. Utilisez Informations Système pour déterminer la quantité de mémoire installée sur votre iMac G5. Pour accéder à Informations Système, choisissez Pomme (?) > À propos de ce Mac dans la barre des menus, puis cliquez sur Plus d’infos. Avertissement : tout dommage causé à votre matériel en tentant d’installer vous-même de la mémoire n’est pas couvert par la garantie limitée de votre ordinateur. F3027Q45C\D.book Page 41 Thursday, April 7, 2005 3:18 PM42 Chapitre 4 Extension des capacités de votre ordinateur Pour installer un module de mémoire : 1 Éteignez votre ordinateur en choisissant menu Pomme (?) > Éteindre. Débranchez tous les câbles de l’ordinateur, y compris le câble d’alimentation. 2 Placez un linge ou un chiffon propre et doux sur le bureau ou la table. Tout en tenant l’ordinateur par les côtés, posez-le lentement à plat afin de faire reposer l’écran contre la surface de la table et de tourner le dessous de l’ordinateur vers vous. 3 Soulevez le socle et utilisez un tournevis cruciforme n°1 pour desserrer les trois vis imperdables situées sur le dessous de l’ordinateur, en tournant dans le sens contraire des aiguilles d’une montre. · Avertissement : le capteur de lumière intégré se situe sur la gauche de la vis du milieu, comme indiqué sur l’illustration. Ne confondez pas le capteur de lumière avec une vis. L’introduction d’un tournevis ou de tout autre objet pointu dans le capteur pourrait endommager votre ordinateur. Socle Tournevis cruciforme Dévissez ces 3 vis Vis Capteur de lumière intégré F3027Q45C\D.book Page 42 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 43 4 Tout en tenant le socle métallique, faites pivoter le couvercle arrière vers le haut pour le soulever de l’ordinateur. Le couvercle arrière attaché au socle doit venir facilement. Si ce n’est pas le cas, assurez-vous que les vis sont entièrement dévissées dans le sens contraire des aiguilles d’une montre, en veillant à ne pas forcer. 5 Pour protéger l’ordinateur contre toute décharge d’électricité statique, reliez-vous à la terre en touchant la surface métallique à l’intérieur de l’ordinateur. Avertissement : déchargez-vous toujours de l’électricité statique que vous êtes susceptible d’avoir accumulé avant de toucher ou d’installer tout composant à l’intérieur de l’ordinateur. Pour éviter de générer de l’électricité statique, ne vous déplacez pas dans la pièce avant d’avoir achevé l’installation de la mémoire et d’avoir refermé l’ordinateur. F3027Q45C\D.book Page 43 Thursday, April 7, 2005 3:18 PM44 Chapitre 4 Extension des capacités de votre ordinateur 6 Insérez le module de mémoire en angle droit dans son logement et appuyez doucement dessus pour le fixer. Le module ne s’insère dans le logement que dans un seul sens. Veillez à aligner les encoches du module avec celles à l’intérieur du logement. 4 1 2 3 iMac 17 pouces iMac 20 pouces F3027Q45C\D.book Page 44 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 45 7 Tout en tenant le couvercle arrière par le socle, basculez-le légèrement afin d’aligner les languettes de son bord supérieur avec les fentes du bord supérieur de l’ordinateur. Faites pivoter le couvercle arrière vers le bas et appuyez doucement jusqu’à ce qu’il s’ajuste parfaitement sur l’ordinateur. F3027Q45C\D.book Page 45 Thursday, April 7, 2005 3:18 PM46 Chapitre 4 Extension des capacités de votre ordinateur 8 Resserrez les trois vis imperdables en les vissant dans le sens des aiguilles d’une montre. Veillez à ne pas trop les serrer pour ne pas en abîmer la tête. 9 En tenant l’ordinateur par les côtés, tournez-le doucement afin de le remettre à l’endroit. Rebranchez ensuite les câbles et le cordon d’alimentation que vous avez débranchés de l’ordinateur. 10 Allumez l’ordinateur en appuyant sur le bouton d’alimentation situé à l’arrière. · Avertissement : le capteur de lumière intégré se situe sur la gauche de la vis du milieu, comme indiqué sur l’illustration. Ne confondez pas le capteur de lumière avec une vis. L’introduction d’un tournevis ou de tout autre objet pointu dans le capteur pourrait endommager votre ordinateur. Avertissement : faire fonctionner l’ordinateur lorsqu’il est ouvert ou que certains de ses composants ont été enlevés peut s’avérer dangereux ou l’endommager. Socle Tournevis cruciforme Vissez ces 3 vis Vis Capteur de lumière intégré F3027Q45C\D.book Page 46 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 47 Vérification de la reconnaissance de la nouvelle mémoire par votre ordinateur Après l’installation de mémoire supplémentaire dans votre iMac G5, vérifiez que l’ordinateur reconnaît bien cette nouvelle mémoire. Procédez de la manière suivante : 1 Démarrez votre ordinateur. 2 Lorsque vous voyez apparaître le bureau Mac OS, choisissez menu Pomme (?) > À propos de ce Mac. Ce total inclut la quantité de mémoire installée d’origine plus la quantité que vous avez ajoutée. Pour une répartition plus détaillée de la quantité de mémoire installée dans votre ordinateur, ouvrez Informations Système en cliquant sur Plus d’infos. Si votre ordinateur ne reconnaît pas la mémoire ou ne démarre pas correctement, éteignez-le et vérifiez de nouveau les instructions pour vous assurer que la mémoire installée est bien compatible avec cet iMac G5 et qu’elle est correctement installée. Si les problèmes persistent, retirez la mémoire et consultez les informations d’assistance technique fournies avec la mémoire ou contactez le fournisseur de la mémoire. Mémoire totale installée dans votre iMac G5 F3027Q45C\D.book Page 47 Thursday, April 7, 2005 3:18 PM48 Chapitre 4 Extension des capacités de votre ordinateur Remplacement de la pile de secours interne La pile de secours intégrée à votre iMac G5 permet de conserver certains réglages, comme l’heure et la date, quand l’ordinateur est éteint. Si vous avez des problèmes pour démarrer votre ordinateur ou que des réglages changent au démarrage, il se peut que vous deviez changer la pile de secours interne. Remarque : si votre ordinateur est branché sur un bloc multiprise, Apple vous recommande de laisser ce bloc allumé pour préserver la longévité de votre pile. Pour remplacer une pile de secours interne dans votre iMac G5 : 1 Éteignez votre ordinateur en choisissant menu Pomme (?) > Éteindre. Débranchez tous les câbles de l’ordinateur, y compris le câble d’alimentation. 2 Placez un linge ou un chiffon propre et doux sur le bureau ou la table. Tout en tenant l’ordinateur par les côtés, posez-le lentement à plat afin de faire reposer l’écran contre la surface de la table et de tourner le dessous de l’ordinateur vers vous. 3 Soulevez le socle et utilisez un tournevis cruciforme n°1 pour desserrer les trois vis imperdables situées sur le dessous de l’ordinateur, en tournant dans le sens contraire des aiguilles d’une montre. · Avertissement : le capteur de lumière intégré se situe sur la gauche de la vis du milieu, comme indiqué sur l’illustration. Ne confondez pas le capteur de lumière avec une vis. L’introduction d’un tournevis ou de tout autre objet pointu dans le capteur pourrait endommager votre ordinateur. Socle Tournevis cruciforme Dévissez ces 3 vis Vis Capteur de lumière intégré F3027Q45C\D.book Page 48 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 49 4 Tout en tenant le socle métallique, faites pivoter le couvercle arrière vers le haut pour le soulever de l’ordinateur. Le couvercle arrière attaché au socle doit venir facilement. Si ce n’est pas le cas, assurez-vous que les vis sont entièrement dévissées dans le sens contraire des aiguilles d’une montre. 5 Pour protéger l’ordinateur contre toute décharge d’électricité statique, reliez-vous à la terre en touchant la surface métallique à l’intérieur de l’ordinateur. Avertissement : déchargez-vous toujours de l’électricité statique que vous êtes susceptible d’avoir accumulé avant de toucher ou d’installer tout composant à l’intérieur de l’ordinateur. Pour éviter de générer de l’électricité statique, ne vous déplacez pas dans la pièce avant d’avoir achevé l’installation et d’avoir refermé l’ordinateur. F3027Q45C\D.book Page 49 Thursday, April 7, 2005 3:18 PM50 Chapitre 4 Extension des capacités de votre ordinateur 6 Pour retirer l’ancienne pile, placez un ongle dans l’encoche, soulevez la pile et glissez-la en dehors de la languette métallique. 7 Repérez le côté positif (+) de la nouvelle pile. Glissez la pile sous la languette métallique de façon à ce qu’elle touche le côté positif. Avertissement : l’installation incorrecte de la pile peut provoquer une explosion. Assurez-vous de respecter la position des pôles. Utilisez uniquement une pile de type identique ou une pile équivalente recommandée par le fabricant de la pile d’origine. 4 1 2 3 Languette métallique Insérez la nouvelle pile Encoche Ôtez l’ancienne pile F3027Q45C\D.book Page 50 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 51 8 Tout en tenant le couvercle arrière par le socle, basculez-le légèrement afin d’aligner les languettes de son bord supérieur avec les fentes du bord supérieur de l’ordinateur. Faites pivoter le couvercle arrière vers le bas et appuyez doucement jusqu’à ce qu’il s’ajuste parfaitement sur l’ordinateur. F3027Q45C\D.book Page 51 Thursday, April 7, 2005 3:18 PM52 Chapitre 4 Extension des capacités de votre ordinateur 9 Resserrez les trois vis imperdables en les vissant dans le sens des aiguilles d’une montre. Veillez à ne pas trop les serrer pour ne pas en abîmer la tête. 10 En tenant l’ordinateur par les côtés, tournez-le doucement afin de le remettre à l’endroit. Rebranchez ensuite les câbles et le cordon d’alimentation que vous avez débranchés de l’ordinateur. 11 Allumez l’ordinateur en appuyant sur le bouton d’alimentation situé à l’arrière. Remarque : le remplacement de la pile peut provoquer le rétablissement des valeurs par défaut de certains réglages tels que la date et l’heure. Vous devrez peut-être également restaurer les réglages de modem dans les applications de communication que vous utilisez. Débarrassez-vous de l’ancienne pile selon les instructions de la section “Disposal and Recycling Information” à la page 86. · Avertissement : le capteur de lumière intégré se situe sur la gauche de la vis du milieu, comme indiqué sur l’illustration. Ne confondez pas le capteur de lumière avec une vis. L’introduction d’un tournevis ou de tout autre objet pointu dans le capteur pourrait endommager votre ordinateur. Avertissement : faire fonctionner l’ordinateur lorsqu’il est ouvert ou que certains de ses composants ont été enlevés peut s’avérer dangereux ou l’endommager. Socle Tournevis cruciforme Vissez ces 3 vis Vis Capteur de lumière intégré F3027Q45C\D.book Page 52 Thursday, April 7, 2005 3:18 PM5 53 5 Dépannage Il se peut que vous rencontriez à titre exceptionnel des problèmes en utilisant votre iMac G5. Dans ce chapitre, vous trouverez des suggestions pour résoudre ces problèmes. Ce chapitre apporte des solutions aux problèmes qui vous empêchent de travailler avec votre ordinateur, tels que le blocage du système ou de l’ordinateur. Vous trouverez d’autres informations de dépannage dans l’Aide Mac (voir la page 22) et sur le site Web Service & Support d’Apple à l’adresse www.apple.com/fr/support. Lorsque vous rencontrez un problème avec votre ordinateur, sachez qu’il existe généralement une solution simple et rapide. Dans un tel cas, essayez de noter les opérations que vous avez effectuées avant que le problème ne survienne. Ce récapitulatif permet de restreindre les causes possibles du problème et de trouver la solution. Les éléments à noter comprennent :  Les applications que vous étiez en train d’utiliser quand le problème est apparu. Les problèmes qui n’apparaissent qu’avec une application spécifique peuvent indiquer que cette application n’est pas compatible avec la version de Mac OS installée sur votre ordinateur.  Tout logiciel installé récemment. Certaines applications installent des extensions qui peuvent ne pas être compatibles avec l’environnement Classic.  Tout nouveau composant matériel connecté ou installé (mémoire supplémentaire ou périphérique, par exemple). Problèmes vous empêchant d’utiliser votre ordinateur Si l’ordinateur ne répond pas ou que le pointeur se fige  Assurez-vous tout d’abord que la souris et le clavier sont connectés. Débranchez puis rebranchez les connecteurs et vérifiez qu’ils sont correctement mis en place. Si vous avez un clavier ou une souris sans fil, vérifiez que les piles sont en état de marche. F3027Q45C\D.book Page 53 Thursday, April 7, 2005 3:18 PM54 Chapitre 5 Dépannage  Si cela ne donne pas de résultats, essayez de forcer la fermeture des applications posant problème. Maintenez les touches Option et Commande (x) enfoncées, puis appuyez sur Échap. Si une zone de dialogue apparaît, sélectionnez-y l’application et cliquez sur Forcer à quitter. Ensuite, enregistrez le travail de toute application ouverte, puis redémarrez l’ordinateur afin de vous assurer que le problème est entièrement réglé.  Si vous ne parvenez pas à forcer la fermeture de l’application, maintenez le bouton d’alimentation (®) situé à l’arrière de l’ordinateur enfoncé pour l’éteindre.  Si cela reste sans effets, débranchez le câble d’alimentation de l’ordinateur. Rebranchez-le, puis appuyez sur le bouton d’alimentation (®) de l’ordinateur pour le rallumer. Si le problème survient fréquemment lorsque vous utilisez une application particulière, consultez le fabricant de cette dernière pour vérifier si elle est compatible avec votre ordinateur. Pour l’assistance et les informations de contact relatives aux logiciels fournis avec votre ordinateur, rendez-vous sur www.apple.com/guide. Si le problème se reproduit fréquemment, réinstallez éventuellement votre logiciel système (voir “Réinstallation des logiciels fournis avec votre ordinateur” à la page 55). Si l’ordinateur se bloque lors du démarrage ou si un point d’interrogation clignote à l’écran  Patientez quelques secondes. Si l’ordinateur ne démarre pas après un certain temps, éteignez-le en maintenant le bouton d’alimentation (®) enfoncé pendant 5 secondes, jusqu’à ce qu’il s’éteigne complètement. Maintenez ensuite la touche Option enfoncée, puis appuyez de nouveau sur le bouton d’alimentation (®) pour démarrer votre ordinateur. Lorsque votre ordinateur démarre, cliquez sur l’icône du disque dur, puis sur la flèche droite.  Une fois que l’ordinateur a démarré, ouvrez Préférences Système et cliquez sur Démarrage. Sélectionnez un dossier Système Mac OS X.  Si le problème se reproduit fréquemment, réinstallez éventuellement votre logiciel système (voir “Réinstallation des logiciels fournis avec votre ordinateur” à la page 55). Si l’ordinateur ne s’allume pas ou ne démarre pas  Assurez-vous que le câble d’alimentation est connecté à l’ordinateur et branché sur une prise électrique en état de marche.  Si le problème persiste, appuyez sur le bouton d’alimentation (®) et maintenez enfoncées les touches Commande (x), Option, P et R jusqu’à entendre une seconde fois le signal de démarrage.  Si vous avez récemment ajouté de la mémoire, assurez-vous qu’elle est correctement installée et compatible avec votre ordinateur. Vérifiez si son retrait permet à l’ordinateur de démarrer (voir la page 41). F3027Q45C\D.book Page 54 Thursday, April 7, 2005 3:18 PMChapitre 5 Dépannage 55  Si cela reste sans effet, débranchez le câble d’alimentation et attendez au moins 30 secondes. Rebranchez-le, puis appuyez de nouveau sur le bouton d’alimentation (®) de l’ordinateur pour le rallumer.  Si vous ne réussissez toujours pas à démarrer, consultez les informations sur les options de services et d’assistance fournies avec votre iMac G5 pour savoir comment contacter Apple. Réinstallation des logiciels fournis avec votre ordinateur Les disques d’installation de logiciels fournis avec votre ordinateur permettent de réinstaller Mac OS X et les applications livrées avec votre ordinateur, et d’installer Mac OS 9. Important : Apple vous recommande de sauvegarder les données de votre disque dur avant de procéder à la restauration du logiciel. Apple décline toute responsabilité en cas de perte de données. Installation de Mac OS X Pour installer Mac OS X : 1 Sauvegardez vos fichiers importants si cela est possible. 2 Insérez le “Mac OS X Install Disk 1” livré avec votre ordinateur. 3 Double-cliquez sur “Install Mac OS X and Bundled Software”. 4 Suivez les instructions à l’écran. 5 Après avoir sélectionné le disque de destination pour l’installation, suivez les instructions à l’écran. Il se peut que votre ordinateur redémarre et vous demande d’insérer le prochain disque d’installation de Mac OS X. Important : nous vous conseillons de sauvegarder vos fichiers importants avant d’installer Mac OS X et les autres applications car l’option “Effacer et installer” efface votre disque de destination. Installation des applications Pour installer les applications fournies avec votre ordinateur, veuillez procéder comme suit. Mac OS X doit déjà être installé sur votre ordinateur. Pour installer Mac OS X : 1 Sauvegardez vos fichiers importants si cela est possible. 2 Insérez le “Mac OS X Install Disk 1” livré avec votre ordinateur. 3 Double-cliquez sur “Install Bundled Software Only.” 4 Suivez les instructions à l’écran. 5 Après avoir sélectionné le disque de destination pour l’installation, suivez les instructions à l’écran. F3027Q45C\D.book Page 55 Thursday, April 7, 2005 3:18 PM56 Chapitre 5 Dépannage Remarque : pour installer iCal, iChat AV, iSync, iTunes et Safari, suivez les instructions “Installation de Mac OS X” en page précédente. Installation de Mac OS 9 À la livraison de votre iMac G5, Mac OS 9 n’est pas installé. Pour utiliser les applications Mac OS 9 avec votre ordinateur, vous devez installer Mac OS X à partir du disque d’installation 2 de Mac OS X. Pour installer Mac OS 9 : 1 Sauvegardez vos fichiers importants si cela est possible. 2 Insérez le “Mac OS X Install Disk 2” livré avec votre ordinateur. 3 Double-cliquez sur “Install Mac OS 9 System Support”. 4 Suivez les instructions à l’écran. 5 Après avoir sélectionné le disque de destination pour l’installation, suivez les instructions à l’écran. Autres problèmes En cas de problème avec une application  Pour les problèmes liés aux logiciels provenant d’éditeurs tiers, contactez l’éditeur concerné. Les éditeurs de logiciels proposent souvent des mises à jour de leurs produits sur leurs sites Web. Vous pouvez utiliser la sous-fenêtre Mise à jour de logiciels des Préférences Système pour configurer votre iMac G5 afin qu’il recherche et installe automatiquement les derniers logiciels Apple. Pour plus d’informations, choisissez Aide > Aide Mac, puis recherchez “mise à jour de logiciels”. En cas de problèmes avec les communications sans fil AirPort  Vérifiez que vous avez correctement configuré le logiciel en respectant les instructions fournies avec la borne d’accès AirPort Extreme ou AirPort Express.  Vérifiez que l’ordinateur ou le réseau auquel vous souhaitez vous connecter est activé et dispose d’un point d’accès sans fil.  Assurez-vous que l’autre ordinateur ou le point d’accès au réseau se trouve dans la zone de couverture de l’antenne de votre ordinateur. Des appareils électroniques ou des structures métalliques se trouvant à proximité peuvent interférer avec les communications sans fil et réduire la portée de votre antenne. Vous pouvez éventuellement améliorer la réception en réorientant l’ordinateur.  Vérifiez la puissance du signal AirPort. L’icône d’état AirPort de la barre des menus affiche jusqu’à quatre barres.  Des problèmes de fonctionnement de réseau peuvent survenir si votre borne d’accès est fréquemment utilisée à proximité d’un four micro-ondes, d’un téléphone sans fil ou autres sources d’interférences. Pour minimiser les interférences, placez votre borne d’accès loin de ces appareils. F3027Q45C\D.book Page 56 Thursday, April 7, 2005 3:18 PMChapitre 5 Dépannage 57  Pour plus d’informations sur l’utilisation et le dépannage de AirPort, sélectionnez Aide > Aide Mac, puis choisissez Centre d’aide > Aide AirPort. En cas de problèmes avec l’éjection d’un disque  Quittez toutes les applications susceptibles de solliciter le disque et appuyez sur la touche d’éjection de disque (C) de votre clavier.  Si cela ne fonctionne pas, ouvrez une fenêtre du Finder et cliquez sur l’icône d’éjection à côté de celle de disque dans la barre latérale ou faites glisser l’icône du disque du bureau jusqu’à la Corbeille.  Si cela ne donne pas de résultats, redémarrez l’ordinateur tout en maintenant le bouton de la souris enfoncé. En cas de problèmes de connexion à Internet  Assurez-vous que votre ligne téléphonique ou que votre câble réseau est connecté et qu’il fonctionne correctement.  Si vous utilisez une connexion Internet par appel commuté, vérifiez que votre câble téléphonique est relié au port modem (représenté par le symbole W) et non au port Ethernet (symbole G).  Consultez “Connexion à Internet” à la page 67 pour en savoir plus sur la configuration de votre ordinateur en vue de la connexion à Internet. Vous y découvrirez comment localiser vos réglages Internet ainsi que les coordonnées de votre fournisseur d’accès à Internet (si vous vous êtes servi de l’Assistant réglages pour établir votre compte Internet).  Consultez “Dépannage de votre connexion” à la page 83 en cas de problème de connexion à Internet. En cas de problèmes de fonctionnement de votre ordinateur ou de Mac OS  Si les réponses à vos questions ne figurent pas dans ce manuel, recherchez des instructions et des informations de dépannage dans l’Aide Mac. Dans le Finder, choisissez Aide > Aide Mac.  Pour obtenir les dernières informations de dépannage et des mises à jour de logiciels, consultez le site Web d’assistance Apple, à l’adresse www.apple.com/fr/support. Si vos réglages de date et heure disparaissent régulièrement  La pile de secours interne de votre ordinateur a peut-être besoin d’être remplacée. Pour toute information supplémentaire, consultez la section “Remplacement de la pile de secours interne” à la page 48. F3027Q45C\D.book Page 57 Thursday, April 7, 2005 3:18 PM58 Chapitre 5 Dépannage Localisation du numéro de série de votre produit Le numéro de série de votre iMac G5 est apposé sous son socle. Vous le trouverez également dans les Informations Système. Pour y accéder, choisissez Pomme (?) > À propos de ce Mac dans la barre de menus, puis cliquez sur Plus d’infos. Cliquez sur le triangle Matériel pour afficher le numéro de série. Utilisation de Apple Hardware Test Apple Hardware Test vous aide à déterminer s’il existe un problème matériel sur votre ordinateur. Pour utiliser Apple Hardware Test : 1 Déconnectez tous les périphériques de votre ordinateur sauf le clavier et la souris. Si un câble Ethernet est connecté, déconnectez-le. 2 Insérez le “Mac OS X Install Disk 1” livré avec votre ordinateur. 3 Puis redémarrez votre ordinateur en maintenant la touche Option enfoncée lors du démarrage. 4 Cliquez sur Apple Hardware Test lorsque la liste des volumes de démarrage disponibles apparaît. 5 Cliquez sur la flèche droite. 6 Lorsque l’écran principal Apple Hardware Test apparaît (environ 45 secondes plus tard), suivez les instructions affichées à l’écran. 7 En cas de détection d’un problème, Apple Hardware Test affiche un code d’erreur. Notez le code d’erreur avant d’entreprendre les démarches d’assistance. Si Apple Hardware Test ne détecte pas de panne matérielle, il est probable que le problème soit lié aux logiciels. Pour en savoir plus sur Apple Hardware Test, consultez le fichier Ouvrez-moi d’Apple Hardware Test situé sur le “Mac OS X Install Disk 1”. F3027Q45C\D.book Page 58 Thursday, April 7, 2005 3:18 PM 59 A Annexe A Caractéristiques Vous pouvez utiliser Informations Système pour trouver des informations détaillées sur votre iMac G5, telles que la quantité de mémoire intégrée, la taille du disque dur, les périphériques connectés et le numéro de série du produit. Pour accéder aux Informations Système, choisissez Pomme (?) > À propos de ce Mac dans la barre de menus, puis cliquez sur Plus d’infos. Pour plus d’informations, vous pouvez consulter les sites Internet www.apple.com/fr/iMac et www.apple.com/fr/support. Dans la fenêtre apparaissant, cliquez sur les triangles pour afficher ou cacher le contenu des différentes catégories. F3027Q45C\D.book Page 59 Thursday, April 7, 2005 3:18 PMF3027Q45C\D.book Page 60 Thursday, April 7, 2005 3:18 PM 61 B Annexe B Consignes d’entretien, d’utilisation et de sécurité Afin d’assurer votre propre sécurité et de préserver votre matériel, veillez à observer les consignes exposées dans cette annexe pour le nettoyage et la manipulation de votre ordinateur, ainsi que l’aménagement d’un espace de travail confortable. Nettoyage de votre iMac G5 Respectez les règles suivantes lors du nettoyage de votre ordinateur et de ses accessoires : • Éteignez votre iMac G5 et débranchez tous les câbles. • Pour nettoyer le boîtier de l’ordinateur, utilisez un chiffon doux, humide et non pelucheux. Évitez les infiltrations d’humidité par quelque ouverture que ce soit. Ne vaporisez jamais de liquide directement sur l’ordinateur. • N’utilisez ni aérosols, ni dissolvant, ni abrasifs. Nettoyage de l’écran de votre iMac G5 Pour nettoyer l’écran de votre iMac G5, procédez comme suit : • Éteignez votre iMac G5 et débranchez tous les câbles. • Humidifiez, à l’eau seulement, un chiffon propre, doux et non pelucheux et essuyez l’écran. Ne vaporisez jamais de liquide directement sur l’écran. Transport de votre iMac G5 Avant de soulever ou de repositionner votre ordinateur, vous devez débrancher tous les câbles et les prises qui y sont connectés. Pour soulever ou déplacer l’ordinateur, tenez-le par les côtés. F3027Q45C\D.book Page 61 Thursday, April 7, 2005 3:18 PM62 Annexe B Consignes d’entretien, d’utilisation et de sécurité Consignes de sécurité pour la configuration et l’utilisation de votre ordinateur Pour votre propre sécurité et celle de votre matériel, respectez toujours les consignes suivantes. Débranchez le câble d’alimentation (en tirant sur la fiche plutôt que sur le câble) et le câble téléphonique si l’un des cas suivants se présente : • Vous souhaitez retirer un composant quelconque. • Le câble ou la fiche d’alimentation est usé(e) ou endommagé(e). • Vous avez renversé quelque chose dans le boîtier de l’ordinateur. • Votre ordinateur est exposé à la pluie ou à une humidité excessive. • Votre ordinateur est tombé ou son boîtier a été endommagé de quelque autre façon. • Votre ordinateur doit être inspecté ou réparé. • Vous devez nettoyer le boîtier (pour ce faire, suivez à la lettre les instructions fournies précédemment). Important : la seule manière de couper complètement l’alimentation de l’ordinateur consiste à débrancher le câble d’alimentation et le câble téléphonique. Assurez-vous qu’au moins une extrémité du câble d’alimentation se trouve à portée de main afin de pouvoir débrancher l’ordinateur si nécessaire. Observez toujours les consignes ci-dessous : • Évitez de placer votre ordinateur à proximité d’un évier, d’un lavabo, d’une baignoire, d’une douche, etc. • Protégez votre ordinateur de l’humidité et des intempéries (neige, pluie...). • Lisez soigneusement les instructions d’installation avant de brancher votre ordinateur sur une prise murale. • Gardez ces instructions dans un endroit facile d’accès pour vous et pour les utilisateurs éventuels. • Suivez toutes les instructions et mises en garde concernant votre système. Avertissement : votre cordon d’alimentation CA est livré avec une fiche de terre à trois broches (fiche équipée d’une troisième broche de mise à la terre). Cette fiche ne peut être branchée que sur une prise CA reliée à la terre. Si vous ne pouvez pas brancher la fiche parce que la prise n’est pas reliée à la terre, contactez un électricien agréé pour qu’il remplace cette dernière par une prise reliée à la terre. Ne dérogez en aucun cas à cette consigne. F3027Q45C\D.book Page 62 Thursday, April 7, 2005 3:18 PMAnnexe B Consignes d’entretien, d’utilisation et de sécurité 63 Important : le matériel électrique peut s’avérer dangereux s’il n’est pas utilisé correctement. L’utilisation de ce produit ou de tout produit similaire doit toujours être supervisée par un adulte. Ne permettez pas aux enfants de toucher les composants internes de tout appareil électrique, ni de manipuler des câbles électriques. Connecteurs et ports Ne forcez jamais un connecteur dans un port. Si vous ne parvenez pas à brancher le connecteur sur le port sans forcer, c’est qu’ils ne sont pas adaptés. Assurez-vous que le connecteur est adapté au port et que vous l’avez positionné correctement par rapport à ce dernier. Prévention des dommages auditifs Avertissement : n’introduisez jamais d’objets d’aucune sorte dans les ouvertures du boîtier. Cela peut être dangereux et provoquer un incendie ou un choc électrique. Avertissement : l’utilisation d’écouteurs ou de casques d’écoute réglés sur un niveau de volume trop élevé peut entraîner une perte durable de l’acuité auditive. Il est possible de supporter petit à petit des volumes sonores de plus en plus élevés qui peuvent sembler normaux à la longue, mais qui risquent néanmoins d’endommager votre ouïe. Réglez le volume de votre iMac G5 à un niveau normal avant que le problème ne survienne. En cas de bourdonnements dans les oreilles, baissez le volume ou cessez d’utiliser les écouteurs ou le casque d’écoute avec votre iMac G5. F3027Q45C\D.book Page 63 Thursday, April 7, 2005 3:18 PM64 Annexe B Consignes d’entretien, d’utilisation et de sécurité Ergonomie Siège Optez pour un siège de bureau réglable et offrant un dossier et une assise confortables. Réglez la hauteur du siège de sorte que vos cuisses reposent à l’horizontale et vos pieds à plat sur le sol. Le dossier du siège doit soutenir votre région lombaire, c’est-à-dire la partie inférieure de votre dos. Suivez les instructions du fabricant de sorte que le réglage du dossier soit parfaitement adapté à votre morphologie. Au besoin, relevez le siège de manière à ce que vos avant-bras et vos mains soient placés correctement par rapport au clavier. Si, dans ce cas, vos pieds ne reposent plus à plat sur le sol, utilisez un repose-pied inclinable et réglable en hauteur. Vous pouvez également abaisser le niveau du plan de travail pour éviter l’emploi d’un repose-pied. Une troisième solution consiste à utiliser un bureau dont le poste de saisie est situé plus bas que le plan de travail. Écran Placez le moniteur de manière à ce que le haut de l’écran soit légèrement en dessous du niveau de vos yeux quand vous êtes assis au clavier. Il vous appartient de juger de la meilleure distance entre vos yeux et l’écran. Elle se situe en général entre 45 et 70 cm. Orientez l’écran de manière à ce qu’il reflète le moins possible la lumière provenant de l’éclairage et des fenêtres. Souris Veillez à ce que la souris se trouve à hauteur du clavier. Ménagez un espace suffisant pour la manipuler avec aisance.. Cuisses légèrement inclinées Épaules détendues Écran positionné de façon à éviter tout reflet éblouissant Avant-bras et mains en ligne droite Avant-bras légèrement inclinés Bas du dos soutenu Pieds fixes au sol ou sur un repose-pied Haut de l'écran au niveau des yeux ou juste en dessous (Il se peut que vous deviez ajuster la hauteur de votre écran en élevant ou en rabaissant votre plan de travail.) Côté inférieur au plan de travail dégagé 45–70 cm F3027Q45C\D.book Page 64 Thursday, April 7, 2005 3:18 PMAnnexe B Consignes d’entretien, d’utilisation et de sécurité 65 Clavier Veillez à maintenir vos épaules relâchées lorsque vous utilisez le clavier. Le bras et l’avant-bras doivent former un angle droit, la main étant placée dans le prolongement du poignet. Adoptez une frappe légère avec les mains et les doigts détendus. Évitez de replier les pouces à l’intérieur des paumes. Modifiez fréquemment la position de vos mains pour éviter la fatigue. Après un effort continu et intensif, certains utilisateurs ressentent des douleurs aux mains, aux poignets ou aux bras. Si ces douleurs persistent, consultez un spécialiste. Pour plus d’informations Rendez-vous sur le site Web www.apple.com/about/ergonomics. Apple et l’environnement Apple Computer, Inc. reconnaît sa responsabilité en matière de réduction de l’impact de ses produits et de ses activités sur l’environnement. Pour plus d’informations Rendez-vous sur le site www.apple.com/environment/summary.html. F3027Q45C\D.book Page 65 Thursday, April 7, 2005 3:18 PMF3027Q45C\D.book Page 66 Thursday, April 7, 2005 3:18 PM 67 C Annexe C Connexion à Internet Votre ordinateur vous permet de naviguer sur le Web, d’échanger du courrier électronique avec vos amis et votre famille ou de dialoguer en temps réel via Internet. Suivez les instructions de ce guide détaillé pour vous connecter à Internet. Lors du premier démarrage de Mac OS X, l’Assistant réglages vous aide à saisir vos informations de configuration Internet. Si vous n’avez pas utilisé l’Assistant réglages pour configurer votre connexion à Internet, vous pouvez l’utiliser maintenant. Ouvrez Préférences Système, puis cliquez sur Réseau. Cliquez sur le bouton “Assistez-moi” pour ouvrir l’Assistant réglages de réseau. Si vous ne souhaitez pas utiliser cet Assistant, vous pouvez réaliser votre connexion manuellement à l’aide des informations données dans cette annexe. Il existe quatre types de connexion à Internet : • Connexion par ligne téléphonique : l’ordinateur est relié à une prise téléphonique murale via un câble téléphonique (pour les ordinateurs comprenant un modem). • Connexion à haut débit via un modem câble ou DSL : l’ordinateur est relié via un câble Ethernet à un modem spécial fourni par un FAI. • Connexion sans fil AirPort Extreme : l’ordinateur est connecté sans fil à Internet via une borne d’accès Airport Extreme ou AirPort Express. • Réseau local (LAN) : l’ordinateur est connecté à un réseau local via un câble Ethernet. C’est le type de connexion habituellement utilisé dans les entreprises. Avant de vous connecter à Internet : 1 Procurez-vous un compte auprès d’un FAI si vous n’en possédez pas encore. Vous pouvez consulter votre annuaire téléphonique pour trouver un fournisseur d’accès à Internet. Consultez les rubriques “accès Internet”, “services Internet” ou “en ligne”. Remarque : si vous choisissez America Online, sautez l’étape Réglages Internet de l’Assistant réglages. Vous devez utiliser le programme d’installation d’AOL. Ouvrez ce programme, puis suivez les instructions à l’écran pour configurer AOL. F3027Q45C\D.book Page 67 Thursday, April 7, 2005 3:18 PM68 Annexe C Connexion à Internet 2 Procurez-vous les informations de connexion auprès de votre FAI ou de votre administrateur réseau. Consultez la section “Fiche technique Assistant réglages” à la page 69 pour savoir quelles sont les informations dont vous avez besoin pour chaque type de connexion. Dans certains cas, si un autre ordinateur se trouvant au même emplacement est déjà connecté à Internet, vous pouvez probablement utiliser ses réglages. Pour accéder aux réglages sur un ordinateur Mac OS X : • Ouvrez la sous-fenêtre Réseau des Préférences Système. • Dans le menu local Afficher, sélectionnez votre mode de connexion. • Copiez les informations concernant votre connexion. Pour accéder aux réglages sur un ordinateur Mac OS 9 : • Ouvrez le tableau de bord TCP/IP. • Rechercher le mode de connexion dans le menu local “Connexion”. • Recherchez la configuration dans le menu local Configurer. • Notez l’adresse IP, le masque de sous-réseau et l’adresse du routeur figurant dans les champs correspondants. Pour accéder aux réglages sur un PC Windows : Les informations de connexion d’un PC Windows se trouvent à deux endroits. • Pour trouver l’adresse IP et le masque de sous-réseau, ouvrez le tableau de bord “Connexions réseau et Internet”. • Pour accéder aux informations relatives aux comptes d’utilisateurs, ouvrez le tableau de bord Comptes d’utilisateurs. Vous pouvez écrire ces informations directement sur les pages suivantes, puis les saisir dans l’Assistant réglages. 3 Si vous utilisez un modem téléphonique, branchez un câble téléphonique (inclus avec la plupart des ordinateurs Macintosh) sur le port modem de votre ordinateur et sur une prise téléphonique murale. Si vous disposez d’un modem DSL ou câble, connectez-le à votre ordinateur en suivant les instructions incluses. 4 Allumez votre ordinateur et saisissez les informations dans l’Assistant réglages pour configurer votre connexion à Internet. Remarque : si vous avez déjà démarré votre ordinateur et configuré votre connexion à Internet sans utiliser l’Assistant réglages, sélectionnez Pomme (?) > Préférences Système et cliquez sur Réseau. Puis cliquez sur “Assistez-moi”. L’Assistant réglages s’ouvre. F3027Q45C\D.book Page 68 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 69 Fiche technique Assistant réglages Vous pouvez noter sur ces pages les informations obtenues auprès de votre Fournisseur d’Accès à Internet (FAI), de votre administrateur réseau ou de votre autre ordinateur, puis les saisir dans l’Assistant réglages de réseau. Sélectionnez la méthode utilisée par votre ordinateur pour se connecter à Internet. Pour configurer une connexion par ligne commutée, entrez les informations suivantes : Pour configurer une connexion par modem câble ou DSL, ou via un réseau local : 1 Choisissez votre type de connexion. Renseignez-vous auprès de votre FAI. Modem téléphonique Modem câble Modem DSL Réseau local (Ethernet) Sans fil Nom d’utilisateur Mot de passe Numéro de téléphone FAI Préfixe pour obtenir la ligne externe Manuellement Utilisation de DHCP avec une adresse manuelle Via DHCP Via BootP PPP F3027Q45C\D.book Page 69 Thursday, April 7, 2005 3:18 PM70 Annexe C Connexion à Internet 2 Saisissez les informations fournies par votre FAI : Si vous avez sélectionné “Manuellement” ou “Utilisation de DHCP avec une adresse manuelle”*, saisissez les informations suivantes : * Si vous avez sélectionné “Utilisation de DHCP avec une adresse manuelle”, il n’est pas nécessaire de saisir un masque de réseau ou une adresse de routeur. Si vous avez sélectionné “Via DHCP”, saisissez : Remarque : le numéro de client DHCP est facultatif et il est possible qu’il ne soit pas nécessaire. Demandez conseil à votre FAI. Si vous avez sélectionné “PPP (pour les connexions PPPoE)”, saisissez : Adresse IP Masque de sous-réseau Adresse du routeur Numéro de client DHCP Fournisseur d’accès (facultatif) Nom de service PPPoE (facultatif) Nom de compte Mot de passe F3027Q45C\D.book Page 70 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 71 Les informations ci-après sont facultatives. Demandez à votre FAI s’il est nécessaire de les saisir. Configuration manuelle de votre connexion à Internet Lorsque vous avez accompli, à l’aide de l’Assistant réglages, les instructions des pages précédentes, vous avez terminé la configuration de votre connexion à Internet. Si vous ne souhaitez pas utiliser l’Assistant réglages ou si vous souhaitez simplement modifier des parties spécifiques de votre configuration Internet, suivez les instructions suivantes pour configurer manuellement votre connexion. Pour saisir vos informations manuellement, suivez les étapes correspondant à votre mode de connexion. • Modem téléphonique avec connexion PPP (Point-to-Point Protocol) (reportez-vous à la page 71) • Connexion par modem câble, ligne DSL ou réseau LAN avec les configurations suivantes : • Manuelle (reportez-vous à la page 76) • DHCP (reportez-vous à la page 77) • PPPoE (reportez-vous à la page 78) • Connexion sans fil AirPort (reportez-vous à la page 80) Connexion commutée Le modem téléphonique constitue la manière la plus courante de se connecter à Internet. Votre modem utilise une méthode appelée PPP (Point-to-Point Protocol) pour se connecter à un FAI. Assurez-vous que votre modem est branché sur une ligne téléphonique et que vous disposez des informations fournies par votre FAI (reportez-vous à la page 69). Hôtes DNS (facultatif pour DHCP & BootP) Nom de domaine (facultatif) Serveur proxy (facultatif) F3027Q45C\D.book Page 71 Thursday, April 7, 2005 3:18 PM72 Annexe C Connexion à Internet Pour configurer les préférences Réseau pour le port modem interne : 1 Choisissez Pomme (?) > Préférences Système dans la barre des menus. 2 Cliquez sur Réseau. 3 Choisissez Configuration des ports réseau dans le menu local Afficher, puis cochez la case Activé à côté de Modem interne. 4 Faites glisser Modem interne en haut de la liste Configurations de port pour en faire l’interface réseau préférée ou principale. 5 Choisissez Modem interne dans le menu local Afficher et cliquez sur PPP. F3027Q45C\D.book Page 72 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 73 6 Saisissez les informations fournies par votre FAI, puis cliquez sur Appliquer. Pour tester votre configuration Internet : 1 Ouvrez l’application Connexion à Internet (dans le dossier Applications). 2 Cliquez sur l’icône Modem interne si nécessaire. 3 Tapez le numéro de téléphone de connexion de votre FAI, votre nom de compte et votre mot de passe, si nécessaire. 4 Cliquez sur Se connecter. L’application Connexion à Internet compose le numéro de votre FAI et établit une connexion. F3027Q45C\D.book Page 73 Thursday, April 7, 2005 3:18 PM74 Annexe C Connexion à Internet Pour vous connecter automatiquement au démarrage d’une application Internet, telle qu’un navigateur Web ou une application de courrier électronique : 1 Cliquez sur Options PPP (dans la sous-fenêtre PPP des préférences Réseau). 2 Cochez la case “Se connecter automatiquement si nécessaire”. 3 Cliquez sur OK, puis sur Appliquer. F3027Q45C\D.book Page 74 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 75 Connexions à Internet par ligne DSL, modem câble ou réseau LAN Si vous vous connectez à Internet soit à l’aide d’un modem DSL ou câble, soit via un réseau LAN Ethernet, demandez à votre FAI ou à votre administrateur réseau comment vous devriez configurer votre connexion à Internet : • Manuellement : avec une configuration manuelle, votre FAI ou votre administrateur réseau vous communique une adresse IP statique et d’autres informations à saisir dans les préférences Réseau. • Utilisation du protocole DHCP (Dynamic Host Configuration Protocol) : avec une configuration DHCP, le serveur DHCP saisit automatiquement les informations à votre place. • Utilisation du protocole PPPoE (Point-to-Point Protocol over Ethernet) : si vous utilisez un modem DSL et que vous avez besoin d’un nom d’utilisateur et d’un mot de passe pour vous connecter à Internet, vous devrez éventuellement configurer votre réseau pour qu’il utilise le protocole PPPoE. Lors de la configuration de votre réseau, veillez à garder les informations fournies par votre FAI à portée de main (reportez-vous à la page 69). Pour configurer les préférences Réseau pour le port Ethernet intégré : 1 Choisissez Pomme (?) > Préférences Système dans la barre des menus. 2 Cliquez sur Réseau. 3 Dans le menu local Afficher, sélectionnez Configurations de ports réseau. 4 Cochez la case Activé à côté d’Ethernet intégré. F3027Q45C\D.book Page 75 Thursday, April 7, 2005 3:18 PM76 Annexe C Connexion à Internet 5 Faites glisser Ethernet intégré en haut de la liste Configurations de port pour en faire l’interface réseau préférée ou principale. Suivez ensuite les instructions de configuration manuelle de votre réseau, via DHCP ou PPPoE, selon les recommandations de votre FAI ou de votre administrateur réseau. Configuration manuelle Ayez à portée de main votre adresse IP statique, l’adresse du routeur et le masque de sous-réseau fournis par votre FAI (reportez-vous à la page 69). Pour effectuer une configuration manuelle : 1 Dans préférence Réseau, sélectionnez Ethernet intégré dans le menu local Afficher. 2 Cliquez sur TCP/IP, si nécessaire. 3 Dans le menu local Configurer IPv4, choisissez Manuellement. 4 Remplissez le reste des champs. 5 Cliquez sur Appliquer. Votre connexion est prête dès que vous avez configuré votre réseau. Ouvrez votre navigateur Web (ou une autre application TCP/IP) afin de tester votre connexion à Internet. F3027Q45C\D.book Page 76 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 77 Configuration DHCP Après avoir choisi une configuration DHCP, le serveur DHCP fournit automatiquement vos informations de réseau. Pour effectuer une configuration DHCP : 1 Dans préférence Réseau, sélectionnez Ethernet intégré dans le menu local Afficher. 2 Cliquez sur TCP/IP, si nécessaire. 3 Choisissez Via DHCP dans le menu local Configurer IPv4. 4 Cliquez sur Appliquer. Ouvrez votre navigateur Web (ou une autre application TCP/IP) afin de tester votre connexion à Internet. Remarque : sauf instructions contraires de votre FAI, ignorez les champs Client DHCP et Domaines de recherche. F3027Q45C\D.book Page 77 Thursday, April 7, 2005 3:18 PM78 Annexe C Connexion à Internet Configuration PPPoE Certains FAI recourant à la technologie DSL utilisent le protocole PPPoE (Point-to-Point Protocol over Ethernet)). Si vous utilisez un modem DSL et que vous avez besoin d’un nom d’utilisateur et d’un mot de passe pour vous connecter à Internet, contactez votre FAI pour savoir si vous devez vous connecter via PPPoE. Pour configurer une connexion PPPoE : Pour configurer votre réseau, ayez à portée de main votre nom d’utilisateur, votre mot de passe et, si cela est nécessaire, l’adresse du serveur de noms de domaine (DNS) fournis par votre FAI (reportez-vous à la page 69). 1 Dans préférence Réseau, sélectionnez Ethernet intégré dans le menu local Afficher. 2 Cliquez sur PPPoE et sélectionnez “Se connecter via PPPoE”. 3 Remplissez le reste des champs. Si vous souhaitez que tous les utilisateurs de votre ordinateur utilisent la même méthode de connexion, sélectionnez “Enregistrer le mot de passe”. F3027Q45C\D.book Page 78 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 79 Remarque : pour vous connecter automatiquement au démarrage d’une application TCP/IP, par exemple un navigateur Web ou une application de courrier électronique, cliquez sur Options PPPoE, sélectionnez “Se connecter automatiquement si nécessaire”, puis cliquez sur OK. 4 Cliquez sur TCP/IP et sélectionnez Via PPP ou Manuellement dans le menu local Configurer IPv4, selon les instructions de votre FAI. Si votre FAI vous a communiqué une adresse IP statique, choisissez Manuellement et tapez l’adresse dans le champ Adresse IP. F3027Q45C\D.book Page 79 Thursday, April 7, 2005 3:18 PM80 Annexe C Connexion à Internet 5 Saisissez les adresses des serveurs de noms de domaine (DNS) dans le champ Serveurs DNS. 6 Cliquez sur Appliquer. Votre connexion à Internet est prête dès que vous avez configuré votre réseau. Vous pouvez alors ouvrir votre navigateur Web ou une autre application TCP/IP afin de tester votre connexion. Important : si vous n’avez pas sélectionné l’option de connexion automatique, vous devez ouvrir l’application Connexion à Internet, choisir la configuration adéquate, puis cliquer sur Se connecter. Pour plus d’informations, choisissez Aide > Aide Connexion à Internet dans la barre des menus située en haut de l’écran. Connexion sans fil AirPort Si une carte AirPort Extreme est installée sur votre iMac G5, vous pouvez configurer votre réseau AirPort et votre connexion à Internet à l’aide de l’Assistant réglages AirPort qui se trouve dans le dossier Applications/Utilitaires. L’assistant vous aide à configurer votre borne d’accès AirPort et à régler votre ordinateur pour qu’il utilise AirPort. Pour en savoir plus sur votre borne d’accès AirPort, consultez le guide fourni avec le matériel. Si votre borne d’accès AirPort est déjà configurée, votre carte AirPort Extreme peut dans la plupart des cas y accéder immédiatement. F3027Q45C\D.book Page 80 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 81 Pour vérifier si vous avez accès à un réseau AirPort : m Cliquez sur l’icône d’état AirPort dans la barre des menus et choisissez un réseau AirPort dans la liste. Si aucun réseau AirPort n’y figure, vous pouvez utiliser l’Assistant réglages AirPort pour vérifier ou modifier vos réglages ou bien les changer via la sous-fenêtre “Réseau des Préférences Système”. Configuration manuelle d’une connexion AirPort Demandez les informations suivantes à votre administrateur système si vous prévoyez d’effectuer une connexion manuelle. Si vous vous connectez via DHCP, la plupart de ces informations sont automatiquement transmises à votre ordinateur via le réseau. Consultez votre administrateur de système pour obtenir les renseignements nécessaires. • Adresses des serveurs de noms de domaine (DNS), si nécessaire • Configuration d’adresse IP manuelle ou via DHCP • Adresse IP • Adresse du routeur • Masque de sous-réseau • Mot de passe, si nécessaire Assurez-vous ensuite que les options de connexion AirPort sont activées dans les préférences Réseau. Pour configurer les Préférences réseau pour une connexion AirPort : 1 Choisissez Pomme (?) > Préférences Système dans la barre des menus. 2 Cliquez sur Réseau. 3 Dans le menu local Afficher, sélectionnez “Configurations de ports réseau”. F3027Q45C\D.book Page 81 Thursday, April 7, 2005 3:18 PM82 Annexe C Connexion à Internet 4 Cochez la case Activé à côté d’AirPort. Suivez ensuite les instructions fournies par votre FAI ou votre administrateur réseau pour configurer votre réseau manuellement ou via DHCP. Si vous configurez vousmême votre réseau, il est peut-être plus simple d’utiliser DHCP car le serveur attribue automatiquement les adresses IP. 5 Choisissez AirPort dans le menu local Afficher. 6 Cliquez sur TCP/IP, si nécessaire. 7 Dans le menu local Configurer IPv4, choisissez Manuellement ou Via DHCP. F3027Q45C\D.book Page 82 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 83 • Si vous choisissez Manuellement, saisissez les autres informations dans les champs correspondants. • Si vous choisissez Via DHCP, il est inutile de saisir d’autres informations, sauf instructions contraires de votre administrateur de système. 8 Cliquez sur AirPort et sélectionnez les options requises pour vous connecter à un réseau AirPort Extreme après le redémarrage ou lors de la réactivation de l’ordinateur après une suspension d’activité. 9 Cliquez sur Appliquer. Une fois les réglages AirPort configurés, vous êtes prêt à vous connecter. Pour tester votre connexion AirPort : m Cliquez sur l’icône d’état AirPort dans la barre des menus et choisissez Activer AirPort. Tout réseau AirPort Extreme situé dans la zone de couverture doit apparaître dans le menu. Dépannage de votre connexion Connexion à Internet par modem câble, DSL et réseau LAN SI vous n’arrivez pas à vous connecter à Internet avec votre AirPort, votre interface Ethernet intégrée ou votre modem interne, vous pouvez recourir au Diagnostic réseau pour obtenir un état sur vos problèmes de connexion. Dans la sous-fenêtre Réseau des Préférences Système, cliquez sur Assistant, puis sur Diagnostic pour ouvrir le Diagnostic réseau puis suivez les instructions. Si Diagnostic réseau n’est pas en mesure de résoudre le problème, celui-ci se situe peut-être au niveau du fournisseur d’accès à Internet (FAI) auquel vous essayez de vous connecter, du périphérique externe utilisé pour la connexion au FAI ou du serveur auquel vous essayez d’accéder. Vous pouvez également tenter de suivre les étapes suivantes : Vérifiez les câbles et les sources d’alimentation Assurez-vous que tous les câbles du modem sont correctement branchés, y compris le câble d’alimentation du modem, le câble reliant le modem à l’ordinateur et le câble raccordant le modem à la prise murale. Vérifiez les câbles et l’alimentation des routeurs et des concentrateurs Ethernet. Allumez et éteignez le modem puis réinitialisez-le Éteignez le modem câble ou DSL, puis rallumez-le après quelques minutes. Certains FAI conseillent de débrancher le câble d’alimentation du modem. Si votre modem dispose d’un bouton de réinitialisation, vous pouvez l’actionner avant ou après avoir éteint puis rallumé le modem. F3027Q45C\D.book Page 83 Thursday, April 7, 2005 3:18 PM84 Annexe C Connexion à Internet Connexions PPPoE Si vous ne parvenez pas à vous connecter à votre fournisseur d’accès Internet via PPPoE, vérifiez d’abord les câbles et l’alimentation, éteignez et rallumez le modem, puis réinitialisez-le. Vérifiez les réglages des Préférences Système : 1 Choisissez Pomme (?) > Préférences Système. 2 Cliquez sur Réseau. 3 Dans le menu local Afficher, sélectionnez “Configurations de ports réseau”. 4 Sélectionnez Ethernet intégré, puis faites glisser cette configuration en haut de la liste des configurations de ports. 5 Dans le menu local Afficher, sélectionnez Ethernet intégré. 6 Cliquez sur PPPoE. 7 Sélectionnez “Se connecter via PPPoE”. 8 Vérifiez le champ Nom de compte pour vous assurer d’avoir tapé les informations correctes fournies par votre FAI. 9 Si vous avez choisi d’enregistrer votre mot de passe, tapez-le à nouveau afin d’être sûr qu’il est correct. 10 Cliquez sur TCP/IP. Assurez-vous d’avoir saisi dans cette sous-fenêtre les informations correctes fournies par votre FAI. 11 Cliquez sur Appliquer. Connexions au réseau Si vous disposez de plusieurs ordinateurs tentant de partager une connexion à Internet, assurez-vous que votre réseau est correctement configuré. Vous devez savoir si votre FAI fournit une seule ou plusieurs adresses IP, autrement dit, une pour chaque ordinateur. Si une seule adresse IP est utilisée, vous devez disposer d’un routeur capable de partager la connexion (on parle alors de conversion d’adresse réseau (NAT) ou de “masquage d’adresse IP”). Pour obtenir des informations sur la configuration, consultez la documentation fournie avec votre routeur ou contactez la personne qui a configuré votre réseau. La borne d’accès AirPort Extreme peut être utilisée pour que plusieurs ordinateurs partagent une adresse IP. Pour plus d’informations sur l’utilisation de la borne d’accès AirPort Extreme, consultez l’aide à l’écran ou rendez-vous sur le site Web AirPort, à l’adresse www.apple.com/fr/airport. Si ces instructions s’avèrent insuffisantes pour résoudre les problèmes rencontrés, contactez votre FAI. F3027Q45C\D.book Page 84 Thursday, April 7, 2005 3:18 PM 85 Communications Regulation Information FCC Compliance Statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. See instructions if interference to radio or television reception is suspected. Radio and Television Interference This computer equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures:  Turn the television or radio antenna until the interference stops.  Move the computer to one side or the other of the television or radio.  Move the computer farther away from the television or radio.  Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple-authorized service provider or Apple. See the service and support information that came with your Apple product. Or, consult an experienced radio/television technician for additional suggestions. Changes or modifications to this product not authorized by Apple Computer, Inc., could void the EMC compliance and negate your authority to operate the product. This product has demonstrated EMC compliance under conditions that included the use of compliant peripheral devices and shielded cables between system components. It is important that you use compliant peripheral devices and shielded cables (including Ethernet network cables) between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. Responsible party (contact for FCC matters only): Apple Computer, Inc. Product Compliance, 1 Infinite Loop M/S 26-A, Cupertino, CA 95014-2084, 408-974-2000. Bluetooth Information FCC Bluetooth Wireless Compliance The antenna used with this transmitter must not be colocated or operated in conjunction with any other antenna or transmitter subject to the conditions of the FCC Grant. Bluetooth Industry Canada Statement This Class B device meets all requirements of the Canadian interference-causing equipment regulations. Cet appareil numérique de la Class B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. Bluetooth Europe–EU Declaration of Conformity This wireless device complies with the specifications EN 300 328, EN 301-489, and EN 60950 following the provisions of the R&TTE Directive. Industry Canada Statement Complies with the Canadian ICES-003 Class B specifications. Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada. VCCI Class B Statement Communauté Européenne Ce produit est conforme aux directives européennes 72/23/CEE, 89/336/CEE et 99/5/CE. F3027Q45C\D.book Page 85 Thursday, April 7, 2005 3:18 PM86 Laser Information Do not attempt to disassemble the cabinet containing the laser. The laser beam used in this product is harmful to the eyes. The use of optical instruments, such as magnifying lenses, with this product increases the potential hazard to your eyes. For your safety, have this equipment serviced only by an Apple Authorized Service Provider. Because of the optical disc drive in your computer, your computer is a Class 1 laser product. The Class 1 label, located in a user-accessible area, indicates that the drive meets minimum safety requirements. A service warning label is located in a serviceaccessible area. The labels on your product may differ slightly from the ones shown here. Exposure to Radio Frequency Energy The radiated output power of the AirPort Extreme Card in this device is far below the FCC radio frequency exposure limits for uncontrolled equipment. This device should be operated with a minimum distance of at least 20 cm between the AirPort Extreme Card antennas (see page 28) and a person's body and must not be co-located or operated with any other antenna or transmitter. Souris à diode électroluminescente (DEL) de Catégorie 1 La souris optique Apple est un produit à DEL de Catégorie 1 répondant aux normes IEC 60825-1 A1 A2. Ce produit est conforme aux exigences des directives européennes 72/23/CEE et 89/336/CEE. It also complies with the Canadian ICES-003 Class B Specification. Taiwan Statement Korea Statement Avertissement relatif aux activités à haut risque Cet ordinateur n’est pas conçu pour être utilisé dans des installations nucléaires, pour la navigation ou la communication aérienne, pour le contrôle du trafic aérien, ni dans aucune autre situation où une panne du système informatique pourrait entraîner la mort, des blessures ou de graves dommages écologiques. ENERGY STAR® Compliance As an ENERGY STAR® partner, Apple has determined that standard configurations of this product meet the ENERGY STAR guidelines for energy efficiency. The ENERGY STAR program is a partnership with office product equipment manufacturers to promote energy-efficiency. Reducing energy consumption of office products saves money and reduces pollution by eliminating wasted energy. Disposal and Recycling Information The backlight lamp in this product contains mercury. Dispose according to local, state, and federal laws. For information about Apple’s recycling program, go to www.apple.com/environment/summary.html Élimination de la pile Les piles usagées doivent être recyclées ou traitées conformément aux normes d’environnement locales. Nederlands: Gebruikte batterijen kunnen worden ingeleverd bij de chemokar of in een speciale batterijcontainer voor klein chemisch afval (kca) worden gedeponeerd. Deutschland: Das Gerät enthält Batterien. Diese gehören nicht in den Hausmüll. Sie können verbrauchte Batterien beim Handel oder bei den Kommunen unentgeltlich abgeben. Um Kurzschlüsse zu vermeiden, kleben Sie die Pole der Batterien vorsorglich mit einem Klebestreifen ab. Taiwan: Warning: Making adjustments or performing procedures other than those specified in your equipment’s manual may result in hazardous radiation exposure. Class 1 label Service warning label F3027Q45C\D.book Page 86 Thursday, April 7, 2005 3:18 PM 87 Informations relatives au téléphone et au modem Apple 56K Informez votre opérateur téléphonique Certains opérateurs téléphoniques exigent que vous informiez votre agence locale lorsque vous raccordez un modem à leur réseau. Information You Need in the United States The internal modem complies with Part 68 of the FCC rules. On the back of this equipment is a label that contains, among other information, the FCC registration number and ringer equivalence number (REN). If requested, provide this information to your telephone company.  Ringer equivalence number (REN): 0.1B The REN is useful to determine the quantity of devices you may connect to your telephone lines and still have all those devices ring when your telephone number is called. In most, but not all areas, the sum of the RENs of all devices connected to one line should not exceed five (5.0). To be certain of the number of devices you may connect to your line, as determined by the REN, you should contact your local telephone company to determine the maximum REN for your calling area.  Telephone jack type: USOC, RJ-11 An FCC-compliant telephone cord and modular plug are provided with this equipment. This equipment is designed to be connected to the telephone network or premises wiring using a compatible modular jack that complies with Part 68 rules. See the installation instructions for details. Telephone Line Problems If your telephone doesn’t work, there may be a problem with your telephone line. Disconnect the modem to see if the problem goes away. If it doesn’t, report the problem either to your local telephone company or to your company’s telecommunications people. If disconnecting the modem eliminates the problem, the modem itself may need service. See the service and support information that came with your Apple product for instructions on how to contact Apple or an Apple-authorized service provider for assistance. If you do not disconnect your modem when it is adversely affecting the telephone line, the telephone company has the right to disconnect your service temporarily until you correct the problem. The telephone company will notify you as soon as possible. Also, you will be informed of your right to file a complaint with the FCC. The telephone company may make changes in its facilities, equipment, operations, or procedures that could affect the operation of your equipment. If this happens, the telephone company will provide advance notice in order for you to make the necessary modifications to maintain uninterrupted service. The internal modem will not work with party lines, cannot be connected to a coin-operated telephone, and may not work with a private branch exchange (PBX). Telephone Consumer Protection Act The Telephone Consumer Protection Act of 1991 makes it unlawful for any person to use a computer or other electronic device to send any message via a telephone fax machine unless such message clearly contains, in a margin at the top or bottom of each transmitted page or on the first page of the transmission, the date and time it was sent and an identification of the business or other entity, or individual sending the message and the telephone number of the sending machine of such business, entity, or individual. Information You Need in Canada The Industry Canada (IC) label identifies certified equipment. This certification means that the equipment meets certain telecommunications network protective, operational, and safety requirements. The Department does not guarantee the equipment will operate to a user’s satisfaction. Before installing this equipment, make sure that you are permitted to connect to the facilities of the local telecommunications company. Be sure you use an acceptable method of connection to install the equipment. In some cases, you may extend the company’s internal wiring for single-line individual service by means of a certified telephone extension cord. Be aware, however, that compliance with these conditions may not prevent degradation of service in some situations. Repairs to certified equipment should be made by an authorized Canadian maintenance facility designated by the supplier. Any equipment malfunctions or repairs or alterations that you make to this equipment may cause the telecommunications company to request that you disconnect the equipment. F3027Q45C\D.book Page 87 Thursday, April 7, 2005 3:18 PM88 In Canada, contact Apple at: 7495 Birchmount Road, Markham, Ontario, L3R 5G2, 800-263-3394 Users should not attempt to make such connections themselves, but should contact the appropriate electric inspection authority or electrician.  Load number: 0.1 The load number (LN) assigned to each terminal device denotes the percentage of the total load to be connected to the telephone loop that is used by the device, to prevent overloading. The termination of a loop may consist of any combination of devices, subject only to the requirement that the sum of the load numbers of all devices does not exceed 100.  Telephone jack type: CA-11 Informations Destinées aux Utilisateurs Canadiens L’étiquette d’Industrie Canada identifie un matériel homologué. Cette étiquette certifie que le matériel est conforme à certaines normes de protection, d’exploitation et de sécurité des réseaux de télécommunications. Le Ministère n’assure toutefois pas que le matériel fonctionnera à la satisfaction de l’utilisateur. Avant d’installer ce matériel, l’utilisateur doit s’assurer qu’il est permis de la raccorder au réseau de l’enterprise locale de télécommunication. Le matériel doit également être installé en suivant une méthode acceptée de raccordement. Dans certains cas, le câblage appartenant à l’enterprise utilisé pour un service individuel à ligne unique peut être prolongé au moyen d’un dispositif homologué de raccordement (cordon prolongateur téléphonique). L’abonné ne doit pas oublier qu’il est possible que la conformité aux conditions énoncées ci-dessus n’empêche pas la dégradation du service dans certaines situations. De fait, les enterprises de télécommunication ne permettent pas que l’on raccorde un matériel aux prises d’abonnés, sauf dans les cas précis prévus par les terifs particuliers de ces enterprises. Les réparations de matériel homologué doivent être effectuées par un centre d’entretien canadien autorisé désigné par la fournisseur. La compagnie de télécommunications peut demander à l’utilisateur de débrancher un appareil suite à des réparations ou à des modifications effectuées par l’utilisateur ou en raison d’un mauvais fonctionnement. Veuillez contacter Apple pour des informations supplémentaires: Apple Canada, Inc. 7495 Birchmount Road Markham, Ontario Canada L3R 5G2 Service à la clientèle d’Apple Canada: 800-263-3394 L’utilisateur ne doit pas tenter de faire ces raccordements lui-même; il doit avoir recours à une service d’inspection des installations électriques ou à un électricien, selon le cas.  Numéro de charge: 0.1 L’indice de charge (IC) assigné à chaque dispositif terminal indique, pour éviter toute surcharge, le pourcentage de la charge totale qui sera raccordée à un circuit téléphonique bouclé utilisé par ce dispositif. La terminaison du circuit bouclé peut être constituée de n’importe quelle combinaison de dispositifs pourvu que la somme des indices de charge de l’ensemble des dispositifs ne dépasse pas 100.  Type de prise téléphonique: CA-11 Information You Need in the United Kingdom This terminal equipment is intended for direct connection to the analogue Public Switched Telecommunications Network and is approved for use within the United Kingdom with the following features:  Modem facility  Autocalling facility  Autoanswer facility  DTMF signaling Operation in the absence of proceed indication or upon detection of proceed indication This product is in conformity with relevant regulatory standards following the provisions of European Council Directives 73/23/EEC (Low Voltage Directive) and 89/336/EEC amended by 92/31/EEC (EMC Directive). Informationen fur Deutschland Diese Modem-Karte ist als Endeinrichtung vorgesehen und muss an ein TAE mit F-Kodierung angeschlossen werden. Diese Endeinrichtung ist in Konformität gemäss Niederspannungsrichtlinie 73 / 23 / EWG sowie EMC-Richtlinien 89 / 336 / EWG und 92 / 31 / EWG. Warning: Users should ensure for their own protection that the electrical ground connections of the power utility, telephone lines, and internal metallic water pipe system, if present, are connected together. This precaution may be particularly important in rural areas. Avertissement : Pour sa propre protection, l’utilisateur doit s’assurer que tout les fils de mise à la terre du secteur, des lignes téléphoniques et les canalisations d’eau métalliques, s’il y en a, soient raccordés ensemble. Cette précaution est particulièrement importante dans les régions rurales. F3027Q45C\D.book Page 88 Thursday, April 7, 2005 3:18 PM 89 Informations pour la France Ce matériel est conforme aux normes applicables de sécurité éléctrique d’après la directive 73 / 23 / CEE et aux normes applicables de comptabilité éléctromagnétique d’après la directive 89 / 336 / CEE, modifié par la directive 92 / 31 / CEE. Information You Need in Australia All telecommunications devices are required to be labelled as complying to the Australian telecommunications standards, ensuring the health and safety of the operator and the integrity of the Australian telecommunications network. To provide compliance with the Australian Communications Authority’s technical standards, please ensure that the following AT commands are maintained:  ATB0 (ITU/CCITT operation)  AT&G0 (no guard tone)  AT&P1 (33/66 pulse dial make/break ratio)  ATS0 = 0 or ATS0 = 1 (no answer or answer greater than one ring)  ATS6 = 95 (DTMF period between 70–255 ms)  ATS11 = 95 (DTMF period between 70–255 ms) For calls that are automatically generated, a total of three call attempts are allowed to a telephone number, with a minimum period between calls of 2 seconds. If the call does not connect after three attempts, 30 minutes must expire before automatic redialing may be initiated. Failure to set the modem (and any associated communications software) to the above settings may result in the modem being non-compliant with Australian telecommunications standards. Under these circumstances a user could be subject to significant penalties under the Telecommunications Act 1997. This modem must be properly secured in order for you to use it. Telecommunications network voltages exist inside the computer and the telecommunications line connection must be removed before opening the computer. Information You Need in New Zealand This modem is fully approved to operate on the New Zealand telecommunications network under Telepermit number PTC 211/04/002. All telecommunications devices are required to hold a Telepermit and be labelled accordingly with the approved Telepermit number to comply with the New Zealand telecommunications standards, ensuring the health and safety of the operator and the integrity of the New Zealand telecommunications network. To ensure compliance, all calls that are automatically generated should not make more than 10 call attempts to the same number within any 30 minute period with a minimum period between calls of 30 seconds. Failure to adhere to these standards may result in the modem being non-compliant with New Zealand Telecom standards. Under these circumstances a user could be subject to significant penalties. Important: The grant of a Telepermit for any item of terminal equipment indicates that only Telecom has accepted that the item complies with minimum conditions for connection to its network. It indicates no endorsement of the product by Telecom, nor does it provide any sort of warranty. Above all, it provides no assurance that any item will work correctly in all respects with another item of Telepermitted equipment of a different make or model, nor does it imply that any product is compatible with all of Telecom’s network services. F3027Q45C\D.book Page 89 Thursday, April 7, 2005 3:18 PMF3027Q45C\D.book Page 90 Thursday, April 7, 2005 3:18 PM Final Cut Server Manuel de l’utilisateurK Apple Inc. Copyright © 2008 Apple, Inc. Tous droits réservés. Vos droits sur ce logiciel sont régis par la licence d’utilisation qui l’accompagne. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel Final Cut Server peut reproduire cet exemplaire pour en apprendre le fonctionnement. En revanche, il est interdit de reproduire ou de transmettre cette publication, même partiellement, à des fins commerciales telles que la vente de copies ou la prestation de services d’assistance payants. Le logo Apple est une marque d’Apple Inc., déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Option-1) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tous les efforts nécessaires ont été mis en œuvre pour que les informations contenues dans ce manuel soient les plus exactes possibles. Apple n’est pas responsable des erreurs survenues lors de l’impression ou de la copie. Remarque : étant donné qu’Apple publie fréquemment des nouvelles versions et des mises à jour du logiciel système, des applications et des sites Internet, certaines images de ce manuel peuvent légèrement différer de celles qui s’affichent à l’écran. Apple Inc. 1 Infinite Loop Cupertino, CA 95014–2084 408-996-1010 www.apple.com Apple, le logo Apple, DVD Studio Pro, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, iDVD, Keynote, Mac, Macintosh, Mac OS, Pages, QuickTime, Soundtrack et Xsan sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Finder et Leopard sont des marques d’Apple Inc. AppleCare est une marque de service d’Apple Inc. déposée aux États-Unis et dans d’autres pays. Java et toutes les marques et logos basés sur Java sont des marques ou des marques déposées de Sun Microsystems, Inc. aux États-Unis et dans d’autres pays. Les autres noms de produits et de sociétés mentionnés dans ce document sont des marques appartenant à leurs détenteurs respectifs. Toute mention de produits de tierce partie n’est qu’à titre informatif et ne constitue ni une approbation, ni une recommandation. Apple se dégage de toute responsabilité en ce qui concerne les performances ou l’usage de ces produits. Ducati et le logo Ducati sont des marques déposées de Ducati Motor Holding SpA. Utilisées avec l’autorisation. Photos de production du film “Koffee House Mayhem” utilisées avec l’aimable autorisation de Jean-Paul Bonjour. “Koffee House Mayhem” © 2004 Jean-Paul Bonjour. Tous droits réservés. http://www.jbonjour.com Photos de production du film « Les Poupets » utilisées avec l’aimable autorisation de Jean-Paul Bonjour. « Les Poupets » © 2006 Jean-Paul Bonjour. Tous droits réservés. http://www.jbonjour.com 3 1 Table des matières Préface 7 Bienvenue dans Final Cut Server 7 À propos de Final Cut Server 9 Ressources à propos de Final Cut Server 11 Contact de l’assistance AppleCare Chapitre 1 13 À propos de Final Cut Server 14 Flux de travaux du client Final Cut Server 15 Installation du client Final Cut Server 15 Fenêtre principale de Final Cut Server 19 Affichages des sous-fenêtres Assets et Productions 21 Options de recherche et recherches enregistrées 23 Fenêtre Asset Info 24 Fenêtre Final Cut Pro Project Info 24 Fenêtre Final Cut Studio Project Info 25 Fenêtre Production Info 26 Fenêtre Annotations 27 Fenêtre Downloads & Uploads 27 Fenêtre Search All Jobs 28 Fenêtre Search Devices 29 Fenêtre Preferences 30 Utilisation des menus contextuels dans Final Cut Server 30 Utilisation des raccourcis clavier dans Final Cut Server Chapitre 2 31 Téléchargement de fichiers vers Final Cut Server 31 À propos de la création de ressources Final Cut Server 32 Types de fichiers pouvant être téléchargés vers Final Cut Server 32 À propos des métadonnées et des ensembles de métadonnées 33 Stratégies de téléchargement de fichiers de données et de projets 34 Téléchargement de fichiers de données 39 Téléchargement de projets Final Cut Pro 43 Téléchargement de projets Final Cut Studio4 Table des matières Chapitre 3 53 Organisation et recherche dans le catalogue Final Cut Server 53 Vue d’ensemble du catalogue de ressources Final Cut Server 59 Organisation des ressources à l’aide de productions 64 Utilisation de métadonnées pour organiser et rechercher des ressources 66 Recherche dans Final Cut Server 74 Affichage des résultats d’une recherche 75 Suivi de l’état d’une ressource ou d’une production à l’aide de métadonnées 77 Ajout et modification des métadonnées de ressources 78 Recherche de périphériques et de tâches Chapitre 4 83 Utilisation de Final Cut Server 84 Actions du client Final Cut Server 85 À propos de la fenêtre Asset Info 89 Affichage d’une ressource 91 Ajout de versions pour une ressource média ou de projet 94 Verrouillage et déverrouillage d’une ressource 99 Écriture d’annotations sur une ressource vidéo 103 Duplication d’une ressource 104 Utilisation de la fonction Edit-in-place 104 Monitoring des tâches 107 Définition des préférences du client Final Cut Server Chapitre 5 109 Utilisation des ressources média 109 À propos de la mise en cache 111 Extraction, modification et réintégration d’une ressource média 113 Préparation de ressources média en vue d’une utilisation sur un ordinateur non connecté au réseau Final Cut Server 117 Exportation de ressources média Chapitre 6 119 Utilisation des projets Final Cut Pro 120 À propos des projets Final Cut Pro 121 Utilisation conjointe de Final Cut Pro et de Final Cut Server 123 Déplacement de projets Final Cut Pro entre Final Cut Server et Final Cut Pro 124 Extraction d’un projet Final Cut Pro 126 Modification d’un projet extrait dans Final Cut Pro 127 Réintégration d’un projet Final Cut Pro 129 Création de copies de travail pour les ressources de projet Final Cut Pro 130 Utilisation de projets Final Cut Pro en-dehors du réseau Final Cut Server 133 Exportation d’un projet Final Cut ProTable des matières 5 Chapitre 7 135 Utilisation de projets Final Cut Studio 135 À propos de la modification de ressources de projet Final Cut Studio 136 Extraction, modification et réintégration de ressources regroupées 138 Extraction, modification et réintégration de projets Final Cut Studio et de leurs fichiers de données 143 Exportation d’une ressource de projet et de ses données Chapitre 8 147 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 147 Utilisation de métadonnées Status pour le suivi des ressources et productions 152 À propos de la fonction Review and Approve 153 Utilisation de la fonction Review and Approve Chapitre 9 159 Exportation, archivage et suppression des ressources et des projets terminés 159 Sortie d’un projet final 162 Archivage et restauration de ressources média 164 Suppression de ressources Final Cut Server Glossaire 167 Index 171 7 Préface Bienvenue dans Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos de Final Cut Server (p. 7)  Ressources à propos de Final Cut Server (p. 9)  Contact de l’assistance AppleCare (p. 11) Final Cut Server est un logiciel puissant de gestion de ressources média et d’automatisation de flux de travaux. Final Cut Server peut gérer vos ressources et affiner les processus du flux de travaux de votre organisation, vous libérant ainsi des tâches répétitives de gestion de données et de projets. Il peut être personnalisé par votre administrateur Final Cut Server pour automatiser des opérations courantes. Que vous dirigiez un petit studio de production ou que vous apparteniez à un groupe de travail plus étendu, Final Cut Server peut rationaliser le flux de travaux de votre organisation. À propos de Final Cut Server Final Cut Server fonctionne de façon similaire à d’autres réseaux d’ordinateurs client-serveur. Un ordinateur client envoie une demande aux ordinateurs serveur. Sur réception de la demande, l’ordinateur serveur effectue une tâche pour traiter la demande, puis il renvoie les résultats (ou un message indiquant que la tâche est terminée) à l’ordinateur client. Les tâches possibles permettent de télécharger, copier, transcoder et cataloguer les fichiers de données, ainsi que de les suivre de différentes façons. Les données peuvent être stockées sur les disques internes et externes de l’ordinateur serveur, ainsi que sur de nombreux périphériques de réseau pris en charge. Les installations plus étendues peuvent utiliser un réseau de stockage SAN (storage area network) Apple Xsan pour le stockage de ressources et de productions. Le client Final Cut Server se trouve au centre de ce manuel de l’utilisateur. Le client Final Cut Server est un logiciel communiquant avec le serveur Final Cut Server. Le client vous permet, avec de nombreux autres utilisateurs, d’accéder aux ressources partagées réparties sur le système de votre organisation. Dans votre client Final Cut Server, vous pouvez consulter rapidement le catalogue de ressources de votre organisation et transférer des fichiers de données entre votre ordinateur local et les périphériques sur lesquels les ressources sont stockées. Vous pouvez exécuter le client Final Cut Server sous les systèmes d’exploitation Mac OS X 10.4 et Windows XP ou Windows Vista. 8 Préface Bienvenue dans Final Cut Server Le client Final Cut Server fournit de nombreuses fonctionnalités pour vous aider à gérer vos données. Ces fonctionnalités utilisent toutes des ressources Final Cut Server. Lorsque vous téléchargez un fichier de données ou de projet vers Final Cut Server, une ressource est créée pour lui. Cette ressource contient des métadonnées, le fichier d’origine (appelé fichier de représentation principale) et des copies proxy du fichier de représentation principale utilisées dans Final Cut Server. Final Cut Server peut vous aider à effectuer les opérations suivantes :  Retrouver les ressources dont vous avez besoin. Alors que le nombre de ressources augmente dans votre catalogue Final Cut Server, il devient de plus en plus important de créer et de gérer des recherches. Final Cut Server propose de multiples façons de rechercher et d’organiser des ressources dans le catalogue Final Cut Server de votre organisation.  Accéder immédiatement aux données. Final Cut Server permet un accès immédiat aux données à partir du logiciel client Final Cut Server. Vous pouvez facilement obtenir des informations et afficher une ressource média à partir du logiciel client. Si vous souhaitez modifier la ressource média, vous pouvez extraire une copie gérée par Final Cut Server vers votre ordinateur local, la modifier, puis la réintégrer dans Final Cut Server. Comme Final Cut Server gère le fichier extrait, les nouvelles modifications sont suivies par Final Cut Server.  Suivre l’état des données. Final Cut Server propose des champs de métadonnées et des recherches enregistrées pour vous aider à suivre la progression des ressources dans le flux de travaux de votre organisation. Votre administrateur Final Cut Server peut personnaliser davantage les champs de métadonnées afin d’améliorer l’efficacité du suivi des ressources pour votre organisation.  Effectuer de puissantes conversions de données. Final Cut Server utilise Compressor, une puissante application de transcodage intégrée à Final Cut Studio, pour convertir les données d’un format vidéo à un autre lors du téléchargement, de l’exportation et de la copie de fichiers de données.  Travailler en étant déconnecté du réseau Final Cut Server. Vous pouvez extraire des fichiers de projets et de données gérés par Final Cut Server, puis les modifier sans être connecté au réseau Final Cut Server. Lorsque vous vous connectez ultérieurement au réseau Final Cut Server, vous pouvez réintégrer les fichiers modifiés dans Final Cut Server. Lorsque vous réintégrez les fichiers, les ressources qui suivent les fichiers sont mises à jour avec les nouveaux fichiers. Ce manuel de l’utilisateur décrit ce que le client Final Cut Server apporte à ses utilisateurs. Pour en savoir plus sur l’administration et la personnalisation de Final Cut Server, lisez le Guide de configuration et d’administration de Final Cut Server, un document écrit pour les administrateurs système de Final Cut Server.Préface Bienvenue dans Final Cut Server 9 Ressources à propos de Final Cut Server Vous pouvez consulter diverses ressources pour en savoir plus sur le système Final Cut Server. Documentation imprimée Final Cut Server Ce guide fait partie de deux documents imprimés inclus avec Final Cut Server.  Manuel de l’utilisateur de Final Cut Server : ce manuel de l’utilisateur décrit comment employer le client Final Cut Server pour l’utilisation quotidienne du système, comme le parcours de ressources, la gestion des tâches et la gestion des productions.  Guide de configuration et d’administration de Final Cut Server : ce guide décrit comment installer, configurer et administrer la plupart des composants du système Final Cut Server. Il ne décrit pas l’utilisation quotidienne du système, comme le parcours de ressources et la gestion des tâches, des productions et des ordres qui est présentée dans le Manuel de l’utilisateur de Final Cut Server. Manuel à l’écran Final Cut Server Une version à l’écran du Manuel de l’utilisateur de Final Cut Server est mise à disposition de tous les utilisateurs à partir du menu Aide du client. Le contenu des versions à l’écran de cette documentation est identique à celui de la version imprimée. Toutefois, la version à l’écran est améliorée par des liens hypertexte complets et par de nombreuses fonctionnalités qui facilitent et accélèrent la recherche d’informations :  La page d’accès fournit un accès rapide à diverses fonctionnalités, notamment l’index et d’autres documents et sites web utiles.  Une liste de signets complète vous permet de choisir rapidement ce que vous souhaitez consulter et d’y accéder dès que vous cliquez sur le lien. Outre ces outils de navigation, le document à l’écran vous propose d’autres moyens de retrouver des informations rapidement :  Toutes les références contenues dans le texte sont reliées. Vous pouvez cliquer sur toute référence et passer directement à l’emplacement référencé. Vous pouvez ensuite utiliser le bouton Preview Back pour revenir à l’emplacement où vous vous trouviez avant de cliquer sur la référence.  La table des matières et l’index sont également reliés. Si vous cliquez sur une entrée dans l’une de ces rubriques, vous passez directement à cette rubrique dans le document.  Vous pouvez rechercher des mots ou des expressions spécifiques dans le texte.10 Préface Bienvenue dans Final Cut Server Sites web Apple Vous pouvez consulter des sites web Apple variés pour obtenir des informations supplémentaires. Site web Final Cut Server Visitez ce site pour obtenir des informations et des mises à jour générales, ainsi que les nouvelles les plus récentes sur Final Cut Server. Pour accéder au site web Final Cut Server, rendez-vous à l’adresse :  http://www.apple.com/fr/finalcutserver Le web comporte également divers forums de discussion et des ressources à but pédagogique relatifs à Final Cut Server. Site web de service et d’assistance d’Apple Rendez-vous sur ce site pour obtenir des mises à jour logicielles et des réponses aux questions les plus fréquentes pour tous les produits Apple, y compris Final Cut Server. Vous y trouverez également des spécifications de produits, de la documentation de référence et des articles techniques sur les produits Apple et de tiers. Pour accéder à la page web de service et d’assistance Apple, rendez-vous à l’adresse :  http://www.apple.com/fr/support Pour accéder à la page d’assistance Final Cut Server rendez-vous à l’adresse :  http://www.apple.com/fr/support/finalcutserver Pour accéder aux pages de discussion Apple, rendez-vous à l’adresse :  http://discussions.info.apple.comPréface Bienvenue dans Final Cut Server 11 Contact de l’assistance AppleCare Des informations sur les options d’assistance proposées par Apple sont fournies avec Final Cut Server. Plusieurs niveaux d’assistance sont disponibles. Quel que soit votre problème, nous vous conseillons de conserver près de vous les informations suivantes lorsque vous contactez Apple pour de l’assistance. Plus vous disposez d’informations à fournir aux agents d’assistance Apple, plus le problème sera résolu rapidement.  Numéro d’identifiant d’assistance Final Cut Server présent au recto de la feuille du numéro de série fournie avec Final Cut Server. Remarque : le numéro d’identifiant d’assistance à 11 chiffres est différent du numéro de série du produit utilisé pour installer Final Cut Server.  Version de Leopard ou de Leopard Server que vous avez installée. Pour obtenir cette version, choisissez le menu Pomme > À propos de ce Mac.  Version de Final Cut Server que vous avez installée et au sujet de laquelle vous souhaitez poser une question. Pour obtenir la version de Final Cut Server sur votre ordinateur, choisissez Final Cut Server > À propos de Final Cut Server.  Modèle d’ordinateur utilisé.  Quantité de RAM installée sur votre ordinateur. Pour déterminer cette quantité, choisissez le menu Pomme > À propos de ce Mac.  Autres matériels tiers installés sur votre ordinateur ou reliés à celui-ci et nom de leur fabricant. N’oubliez pas les disques durs, les cartes graphiques, etc. Pour accéder à la page d’assistance de Final Cut Server, rendez-vous à l’adresse :  http://www.apple.com/fr/support/finalcutserver Un élément est également présent dans le menu Aide de chaque client Final Cut Server vous permettant d’accéder directement au site web d’AppleCare. Pour accéder au site web d’AppleCare depuis un client Final Cut Server : m Choisissez Aide > Assistance Final Cut Server.1 13 1 À propos de Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  Flux de travaux du client Final Cut Server (p. 14)  Installation du client Final Cut Server (p. 15)  Fenêtre principale de Final Cut Server (p. 15)  Affichages des sous-fenêtres Assets et Productions (p. 19)  Options de recherche et recherches enregistrées (p. 21)  Fenêtre Asset Info (p. 23)  Fenêtre Final Cut Pro Project Info (p. 24)  Fenêtre Final Cut Studio Project Info (p. 24)  Fenêtre Production Info (p. 25)  Fenêtre Annotations (p. 26)  Fenêtre Downloads & Uploads (p. 27)  Fenêtre Search All Jobs (p. 27)  Fenêtre Search Devices (p. 28)  Fenêtre Preferences (p. 29)  Utilisation des menus contextuels dans Final Cut Server (p. 30)  Utilisation des raccourcis clavier dans Final Cut Server (p. 30) Ce chapitre propose une présentation générale du client Final Cut Server, en fournissant notamment des informations sur le flux de travaux Final Cut Server, la procédure d’installation du client Final Cut Server et une description de l’interface utilisateur Final Cut Server. Ce chapitre vous servira de guide lors de votre apprentissage du fonctionnement de Final Cut Server. Vous trouverez également dans les chapitres suivants plus d’informations sur les fonctions abordées dans le présent chapitre. 14 Chapitre 1 À propos de Final Cut Server Flux de travaux du client Final Cut Server Final Cut Server facilite, pour les utilisateurs, la recherche, l’accès et le suivi des fichiers de données et de projet, ainsi que le transcodage des données et l’extraction et la réintégration des ressources pour modification. Tandis que la plupart des organisations effectuent les tâches à leur manière, un flux de travaux Final Cut Server type se compose de quatre étapes. Étape 1 : Organisation des données existantes et téléchargement des nouvelles données Le projet sur lequel vous travaillez utilise peut-être des données déjà téléchargées dans Final Cut Server ou requiert l’utilisation de nouvelles données. Ces données peuvent être téléchargées via une analyse automatisée, mise en place par votre administrateur, ou manuellement, par n’importe quel membre de votre organisation. Étape 2 : Modification des données et du projet Cette étape de modification effectuée au sein de votre organisation peut inclure la création et la modification d’un projet Final Cut Pro, la création et la révision d’une illustration, d’incrustations graphiques ou d’effets de mouvement ou d’autres flux de travaux utilisés par votre organisation pour créer des projets de révision client. La partie finale de cette étape implique le regroupement de tous les éléments finis en une copie de révision du projet. Étape 3 : Révision et validation du projet Cette étape peut exiger que vos collègues ou clients ouvrent une session Final Cut Server et visualisent le projet ou envoient des copies du projet pour révision. Si votre administrateur Final Cut Server a configuré votre système pour qu’il envoie automatiquement des courriers électroniques de révision et de validation, cette opération a lieu lors de la présente étape. Étape 4 : Sortie et archivage des données et du projet finaux Cette étape inclut la création de copies de sauvegarde des ressources et l’archivage des ressources finales dans Final Cut Server. Final Cut Server peut être personnalisé afin de répondre aux besoins spécifiques des flux de travaux de votre organisation. Pour en savoir plus, contactez votre administrateur Final Cut Server.Chapitre 1 À propos de Final Cut Server 15 Installation du client Final Cut Server Votre administrateur Final Cut Server vous fournit une URL à partie de laquelle vous pouvez télécharger une copie du client Final Cut Server sur votre ordinateur. Votre administrateur vous fournit également un nom d’utilisateur et un mot de passe pour le client Final Cut Server. Après avoir téléchargé le client Final Cut Server, une fenêtre d’ouverture de session s’affiche. Vous pouvez alors vous connecter à Final Cut Server à l’aide du nom d’utilisateur et du mot de passe fournis par votre administrateur Final Cut Server. Pour vous déconnecter de Final Cut Server, sélectionnez Log Out dans le menu local Server ou cliquez sur le bouton Close dans la fenêtre principale de Final Cut Server. Lorsque le client Final Cut Server est installé sur votre ordinateur, vous pouvez l’ouvrir en double-cliquant sur l’icône d’application qui s’affiche à l’emplacement d’installation. Fenêtre principale de Final Cut Server Une fois la session Final Cut Server ouverte, vous voyez s’afficher la sous-fenêtre Assets de la fenêtre principale de Final Cut Server. Cette sous-fenêtre peut être vide ou contenir les données analysées par votre administrateur Final Cut Server ou téléchargées par d’autres utilisateurs Final Cut Server.16 Chapitre 1 À propos de Final Cut Server Remarque : les captures d’écran présentées dans ce manuel concernent un système Final Cut Server type, configuré avec les réglages par défaut. Il est possible que votre administrateur Final Cut Server ait configuré des trames de métadonnées et des types de données différents, et donc que votre système ne soit pas identique à celui présenté dans ces pages. Les sous-fenêtres Assets et Productions correspondent aux deux vues disponibles pour la fenêtre principale de Final Cut Server. Une ressource est un élément utilisé par Final Cut Server pour effectuer le suivi de chaque fichier téléchargé sur le serveur ou analysé. La sous-fenêtre Assets affiche toutes les ressources gérées par Final Cut Server. Les productions sont des éléments utilisés pour regrouper les ressources. La sous-fenêtre Productions affiche toutes les productions créées par vous-même ou par d’autres utilisateurs de votre système Final Cut Server. Pour basculer entre les sous-fenêtres Assets et Productions, cliquez sur Assets ou sur Productions en haut à gauche de la fenêtre principale de Final Cut Server. Menu local Help. Cliquez sur ce bouton pour afficher ou masquer la sous-fenêtre Information. Cliquez sur ce bouton pour ouvrir la fenêtre Downloads & Uploads. Menu local Server. Menu local Window. Les sous-fenêtres Assets et Productions possè- dent toutes deux une barre d’outils.Chapitre 1 À propos de Final Cut Server 17 Sous-fenêtre Assets Lorsque vous cliquez sur Assets, toutes les ressources existantes de Final Cut Server s’affichent dans le volet principal de la fenêtre. Vous pouvez parcourir les ressources en cliquant sur les commandes de page, en haut à droite de la sous-fenêtre Assets. La barre d’outils comprend les boutons Lock, Check Out et « New Production from Selection ». Ces boutons deviennent actifs lorsque vous sélectionnez une ressource. Pour en savoir plus sur les ressources média, consultez le chapitre 5, « Utilisation des ressources média », à la page 109. Pour en savoir plus sur les ressources de projet Final Cut Pro, consultez le chapitre 6, « Utilisation des projets Final Cut Pro », à la page 119. Pour en savoir plus sur les ressources de projet Final Cut Studio, consultez le chapitre 7, « Utilisation de projets Final Cut Studio », à la page 135. Cliquez sur Assets pour afficher la sous-fenêtre Assets. Emplacement d’affichage des ressources. Bouton Lock. La sous-fenêtre Information affiche des informations sur les tâches en cours. Bouton Check Out. Bouton New Production from Selection. Parcourez les différentes pages de ressources à l’aide de ces commandes.18 Chapitre 1 À propos de Final Cut Server Sous-fenêtre Productions Le contenu de la sous-fenêtre Productions varie en fonction de la sous-fenêtre Assets. Sa barre d’outils contient un bouton New Production. Pour en savoir plus sur les productions, consultez « Organisation des ressources à l’aide de productions » à la page 59. Cliquez sur Productions pour afficher la sousfenêtre Productions. Emplacement d’affichage des productions. La barre d’outils Production contient un bouton New Production.Chapitre 1 À propos de Final Cut Server 19 Affichages des sous-fenêtres Assets et Productions Les sous-fenêtres Assets et Productions peuvent s’afficher aussi bien sous forme de listes que de vignettes. Vous pouvez changer le mode d’affichage en cliquant sur le bouton List view ou le bouton Thumbnail View. Thumbnail View Ce mode affiche une image miniature (vignette) pour chaque ressource. Il peut s’agir d’une image provenant d’un fichier vidéo téléchargé, d’un fichier image ou graphique téléchargé ou d’une icône représentant le type de ressource ou l’application dans laquelle la ressource a été créée. La présentation par vignettes est utile lorsque vous souhaitez parcourir les ressources ou les productions dans un format compact, sans autres informations. Bouton List View. Bouton Thumbnail View. L’affichage Thumbnail View est sélectionné. Cette ressource vidéo est représentée par une vignette. Cette ressource de projet Final Cut Pro est représentée par une icône Final Cut Pro.20 Chapitre 1 À propos de Final Cut Server List View La présentation par liste affiche le titre de la ressource et les autres métadonnées sous forme de colonnes. Cet affichage est utile lorsque vous souhaitez afficher les informations relatives à la ressource ou à la production ou les trier sur la base d’un champ spécifique. Final Cut Server marque les ressources et les productions à l’aide d’icônes qui permettent de les identifier. Dans la vue des vignettes, les icônes s’affichent sur l’icône de la ressource ou de la production, juste au-dessus de l’icône ou de la vignette. Dans la présentation par liste, les icônes s’affichent à gauche de la colonne Title et dans la colonne State. Voici quelques icônes pouvant être associées aux ressources et aux productions : List View sélectionnée Icône Description Ressource de projet Final Cut Pro Ressource média (vidéo) Ressource média (graphisme ou image) Ressource média (audio) Ressource (générique) ou ressource regroupée Ressource extraite, par vousChapitre 1 À propos de Final Cut Server 21 Pour en savoir plus sur ces icônes, consultez le chapitre relatif au type de ressource ou à l’état décrit par l’icône. Options de recherche et recherches enregistrées Une zone de recherche est disponible en haut des sous-fenêtres Assets et Productions. Vous pouvez vous en servir pour rechercher une ressource/une production spécifique ou pour limiter le nombre de ressources ou de productions affichées. Ressource extraite, par un autre utilisateur Ressource verrouillée, par vous Ressource verrouillée, par un autre utilisateur Ressource archivée (jaune) ; indique que vous pouvez restaurer cette ressource à partir de son archive Ressource archivée (blanc) ; indique que vous n’êtes pas autorisé à restaurer cette ressource à partir de son archive Élément de projet Final Cut Pro non relié Représentation principale manquante, pour cette ressource, sur ce périphérique Cache Final Cut Server obsolète Icône Description Fermez le triangle d’affichage pour afficher uniquement les réglages de recherche simple.22 Chapitre 1 À propos de Final Cut Server Les options de recherche avancée s’affichent lorsque vous cliquez sur le triangle d’affichage. Les sous-fenêtres Assets et Productions disposent d’options de recherche avancée différentes. Si vous utilisez une même recherche régulièrement, vous pouvez l’enregistrer afin de ne pas avoir à la configurer à chaque fois. Final Cut Pro propose plusieurs recherches enregistrées par défaut, appelées Smart Searches, qui figurent dans la colonne à gauche de la fenêtre principale de Final Cut Server. Pour en savoir plus sur la recherche, consultez le chapitre 3, « Organisation et recherche dans le catalogue Final Cut Server », à la page 53. Ouvrez le triangle d’affichage pour afficher les réglages de recherche avancée. Les Smart Searches de production et de ressource sont enregistrées ici.Chapitre 1 À propos de Final Cut Server 23 Fenêtre Asset Info Cette fenêtre contient de nombreuses informations sur la ressource sélectionnée. Lorsque vous double-cliquez sur une ressource figurant dans la sous-fenêtre Assets ou dans une production (ou lorsque vous cliquez sur la ressource en maintenant la touche Contrôle enfoncée, puis sélectionnez Get Info dans le menu contextuel de la ressource), la fenêtre d’information de cette ressource s’affiche. Le volet gauche de la fenêtre d’information contient la vignette de la ressource et ses métadonnées générales. Le volet droit est divisé en plusieurs sections, qui contiennent chacune un type d’information spécifique. Vous pouvez afficher les informations de chaque sousfenêtre en cliquant sur le bouton correspondant.  Sous-fenêtre Metadata : cette sous-fenêtre contient les métadonnées du fichier de représentation principale (fichier initialement téléchargé dans Final Cut Server) et les métadonnées de la ressource.  Sous-fenêtre Resources : cette sous-fenêtre contient des informations sur les fichiers proxy et de représentation principale générés pour la ressource. Elle indique également où la ressource est actuellement utilisée.  Sous-fenêtre Versions : cette sous-fenêtre contient des informations sur les différentes versions, ou copies de travail, enregistrées pour une ressource.  Sous-fenêtre Locks : cette sous-fenêtre indique les verrous appliqués à la ressource.  Sous-fenêtre Review & Approve : cette sous-fenêtre indique l’état de la ressource et sert à la fonction de notification par courrier. Pour en savoir plus sur les sous-fenêtres Metadata, Resources, Versions et Locks, consultez « À propos de la fenêtre Asset Info » à la page 85. Pour en savoir plus sur la sous-fenêtre Review & Approve, consultez « À propos de la fonction Review and Approve » à la page 152. Vignette et métadonnées générales de la ressource. Cliquez sur le bouton Metadata pour afficher la sous-fenêtre Metadata. Sous-fenêtre Metadata.24 Chapitre 1 À propos de Final Cut Server Fenêtre Final Cut Pro Project Info Vous pouvez afficher la fenêtre d’information d’un projet Final Cut Pro en double-cliquant sur la ressource de projet Final Cut Pro (ou en cliquant sur la ressource tout en maintenant la touche Contrôle enfoncée, puis en sélectionnant Get Info dans le menu contextuel). Lorsque vous téléchargez un projet Final Cut Pro dans Final Cut Server, une ressource est créée pour le fichier de projet. Outre les sous-fenêtres présentes dans la fenêtre d’information d’une ressource, la fenêtre d’information d’une ressource de projet Final Cut Pro contient également la sous-fenêtre Elements. Celle-ci contient les ressources média utilisées dans le fichier de projet Final Cut Pro. Pour en savoir plus sur les ressources de projet Final Cut Pro, consultez le chapitre 6, « Utilisation des projets Final Cut Pro », à la page 119. Fenêtre Final Cut Studio Project Info Vous pouvez afficher la fenêtre d’information d’une ressource de projet Motion, Soundtrack Pro ou DVD Studio Pro en double-cliquant sur la ressource de projet Final Cut Pro (ou en cliquant sur la ressource tout en maintenant la touche Contrôle enfoncée, puis en sélectionnant Get Info dans le menu contextuel). Lorsque vous téléchargez les fichiers d’un projet Final Cut Studio dans Final Cut Server, la ressource créée pour le projet Final Cut Studio représente uniquement le fichier de projet. Contrairement aux ressources de projet Final Cut Pro, la ressource de projet Final Cut Studio ne contient pas une liste des données associées au projet. La sous-fenêtre Elements indique les données utilisées dans le cadre du projet Final Cut Pro. Cliquez sur Elements pour afficher la sous-fenêtre Elements.Chapitre 1 À propos de Final Cut Server 25 La fenêtre d’information d’une ressource de projet Final Cut Studio contient les sous-fenêtres Metadata, Resources, Versions, Locks et Review & Approve. Vous pouvez afficher les informations de chaque sous-fenêtre en cliquant sur le bouton correspondant. Pour en savoir plus sur les ressources de projet Final Cut Studio, consultez le chapitre 7, « Utilisation de projets Final Cut Studio », à la page 135. Fenêtre Production Info Dans Final Cut Server, vous pouvez utiliser des productions pour regrouper des ressources connexes. Si vous ouvrez la sous-fenêtre Productions en cliquant en haut à gauche de la fenêtre principale Final Cut Server, puis si vous double-cliquez sur l’une des productions (ou si vous cliquez sur la production tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Get Info dans le menu contextuel), la fenêtre d’information de cette production s’affiche. La sous-fenêtre Assets affiche toutes les ressources contenues dans la production ; la sous-fenêtre Metadata contient les métadonnées de la production. Pour en savoir plus sur les productions, consultez « Organisation des ressources à l’aide de productions » à la page 59. Vous pouvez cliquer sur l’un de ces boutons, au choix, pour afficher plus d’informations sur la production. Chacune de ces ressources fait partie de la production.26 Chapitre 1 À propos de Final Cut Server Fenêtre Annotations Vous pouvez créer des commentaires pour une ressource vidéo à l’aide de la fenêtre Annotations. Ces commentaires étant conservés avec la ressource vidéo dans Final Cut Server, les annotations sont utiles lors des révisions en interne ou des communications avec d’autres utilisateurs Final Cut Server. Pour afficher la fenêtre Annotations, ouvrez la fenêtre d’information de la ressource vidéo souhaitée, puis cliquez sur le bouton Annotations. Cliquez sur le bouton Annotations, dans la sous-fenêtre d’information d’une ressource vidéo, pour afficher la fenêtre Annotations. Vous pouvez afficher un aperçu du plan ici. Vous pouvez ajouter du texte dans le champ Annotation. Les annotations ajoutées à une ressource vidéo s’affichent ici.Chapitre 1 À propos de Final Cut Server 27 Fenêtre Downloads & Uploads Cette fenêtre vous aide à surveiller l’état des fichiers téléchargés à partir de ou vers Final Cut Server. Vous pouvez ouvrir la fenêtre Downloads & Uploads en cliquant sur le bouton Downloads and Uploads dans la fenêtre principale de Final Cut Server (ou en sélectionnant Downloads & Uploads dans le menu local Fenêtres). Pour en savoir plus sur la fenêtre Downloads & Uploads, consultez « Fenêtre Downloads & Uploads » à la page 105. Fenêtre Search All Jobs La fenêtre Search All Jobs s’ouvre à partir du menu local Server (situé en haut à gauche de la fenêtre principale de Final Cut Server). Elle contient une liste des tâches récentes lancées par tous les utilisateurs Final Cut Server. Pour en savoir plus sur la fenêtre Search All Jobs, consultez « Searching Devices » à la page 80. La fenêtre Search All Jobs contient une liste des tâches les plus récentes lancées par tous les utilisateurs Final Cut Server.28 Chapitre 1 À propos de Final Cut Server Fenêtre Search Devices La fenêtre Search Devices s’ouvre à partir du menu local Server de la fenêtre principale de Final Cut Server. Elle vous permet de rechercher directement un périphérique, d’afficher toutes les ressources (fichiers téléchargés dans Final Cut Server), ainsi que les autres fichiers, qui n’ont pas été téléchargés dans Final Cut Server et sont stockés sur le périphérique. Pour en savoir plus sur la fenêtre Search Devices, consultez « Recherche de périphériques » à la page 78. Avertissement : utilisez la fenêtre Search Devices avec précaution. Les périphériques peuvent contenir des fichiers figurant ou non dans le catalogue Final Cut Server. La manipulation de ces fichiers via la fenêtre Search Devices pourrait entraîner la duplication de ressources dans votre système serveur Final Cut Server ou la suppression de toutes les copies d’un fichier sur le périphérique. Chapitre 1 À propos de Final Cut Server 29 Fenêtre Preferences Votre administrateur Final Cut Server est chargé de la configuration de la plupart des préfé- rences d’utilisation de votre client Final Cut Server. Toutefois, il existe quelques réglages que vous pouvez définir vous-même pour votre client Final Cut Server. Ceux-ci incluent les pré- férences d’affichage des recherches, l’emplacement et la taille du cache Final Cut Server et l’emplacement d’enregistrement des copies d’alias pour les fichiers de données préparés. Vous pouvez ouvrir la fenêtre Preferences en sélectionnant Preferences dans le menu local Server. Pour en savoir plus sur les préférences de votre client Final Cut Server, consultez « Définition des préférences du client Final Cut Server » à la page 107.30 Chapitre 1 À propos de Final Cut Server Utilisation des menus contextuels dans Final Cut Server Vous pouvez effectuer de nombreuses opérations dans Final Cut Server en utilisant les éléments des menus contextuels. Pour afficher un menu contextuel, cliquez sur une ressource, un projet Final Cut Pro ou une autre section Final Cut Server, tout en maintenant la touche Contrôle enfoncée. Les utilisateurs Mac se servant d’une souris standard (plusieurs boutons) peuvent également cliquer avec le bouton droit sur l’élément pour afficher son menu contextuel. Remarque : si vous utilisez Windows, pensez que le clic droit de la souris dans un système Windows est l’équivalent du Contrôle + Clic sous Mac. Pour afficher un menu contextuel sous Windows, cliquez avec le bouton droit de la souris sur l’élément souhaité. Utilisation des raccourcis clavier dans Final Cut Server La plupart des raccourcis clavier standard Mac OS X sont disponibles dans Final Cut Server. D’autres raccourcis clavier, spécifiques à l’application, sont également disponibles dans la fenêtre Annotations de Final Cut Server. Menu contextuel d’une ressource2 31 2 Téléchargement de fichiers vers Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos de la création de ressources Final Cut Server (p. 31)  Types de fichiers pouvant être téléchargés vers Final Cut Server (p. 32)  À propos des métadonnées et des ensembles de métadonnées (p. 32)  Stratégies de téléchargement de fichiers de données et de projets (p. 33)  Téléchargement de fichiers de données (p. 34)  Téléchargement de projets Final Cut Pro (p. 39)  Téléchargement de projets Final Cut Studio (p. 43) Avant de pouvoir gérer et suivre vos fichiers dans Final Cut Server, vous devez d’abord les télécharger. Ce chapitre décrit comment télécharger trois types de fichiers différents vers Final Cut Server : les fichiers de données, les fichiers de projet Final Cut Pro, ainsi que les projets Final Cut Studio et leurs fichiers de données reliées. À propos de la création de ressources Final Cut Server La première étape dans la création d’un catalogue de ressources Final Cut Server consiste à télécharger des données vers Final Cut Server. Vous pouvez télécharger manuellement des fichiers de données, des projets Final Cut Pro et d’autres fichiers de projet Final Cut Studio vers Final Cut Server. En outre, votre administrateur Final Cut Server peut configurer des processus automatisés pour permettre le téléchargement automatique des fichiers. Même si votre administrateur Final Cut Server a créé des flux de travaux de téléchargement automatisé, vous serez souvent amené à télécharger manuellement des fichiers vers Final Cut Server. Lorsqu’un fichier est téléchargé vers Final Cut Server, une ressource est créée. Celle-ci est utilisée par Final Cut Server pour suivre le fichier de données ou de projet que vous avez téléchargé. La ressource contient le fichier d’origine et les métadonnées de ce fichier. Selon le type de fichier téléchargé, la ressource peut également contenir plusieurs fichiers proxy, notamment un proxy de plan (pour les fichiers vidéo), un proxy de vignette et un proxy d’affiche (pour tous les fichiers de données). Vous trouverez plus d’informations sur les fichiers proxy plus loin dans ce chapitre.32 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Les ressources média, les ressources de projet Final Cut Pro et les ressources de projet Final Cut Studio (Motion, Soundtrack Pro et DVD Studio Pro) étant gérées différemment dans Final Cut Server, l’utilisation de chaque type de ressource est expliquée tout au long de ce manuel. Types de fichiers pouvant être téléchargés vers Final Cut Server Final Cut Server peut gérer plusieurs types de fichiers, notamment : À propos des métadonnées et des ensembles de métadonnées Les métadonnées constituent une partie importante des ressources et productions incluses dans le catalogue Final Cut Server. Étant donné que vous recherchez des métadonnées de ressources et de productions, il est important d’ajouter autant de métadonnées que possible lorsque vous téléchargez le fichier d’origine. Lorsque vous téléchargez un fichier de données ou de projet, toutes les métadonnées prises en charge contenues dans le fichier sont téléchargées avec celui-ci et appliquées comme métadonnées du fichier dans Final Cut Server. La fenêtre Upload vous invite également à fournir un ensemble de métadonnées. Un ensemble de métadonnées est une collection de groupes et de champs de métadonnées. L’ensemble de métadonnées que vous choisissez pour la ressource détermine les métadonnées pouvant être ajoutées à la ressource. Remarque : les métadonnées courantes, notamment XMP et QuickTime, sont prises en charge par Final Cut Server. Si vous avez des questions spécifiques aux métadonnées prises en charge par Final Cut Server, contactez votre administrateur Final Cut Server. Catégorie de données Types de fichiers pris en charge Vidéo Projets Final Cut Pro (.fcp) et autres formats de fichiers vidéo disponibles pour la sortie à partir de Final Cut Pro et de Compressor, notamment .mov et .mpeg Vous pouvez également télécharger les séquences de référence QuickTime. Audio Fichiers Soundtrack Pro (.stap et.stmp) et autres fichiers audio, notamment .aif, .ac3, fichiers audio sans compression, .mp3, .mp4, .m4a et .wav Graphismes Motion Projets Motion (.motn) DVD Fichiers de projet DVD Studio Pro (.dspproj), projets iDVD (.dvdproj) Images fixes et graphismes Fichiers Photoshop (.psd) et autres fichiers graphiques et images, notamment .tif, .jpeg, .png, .bmp et .gif Fichiers texte Fichiers pages (.pages), fichiers Keynote (.key) et autres fichiers de document, notamment .doc, .txt et .pdf Chapitre 2 Téléchargement de fichiers vers Final Cut Server 33 Final Cut Server est fourni avec des ensembles de métadonnées par défaut pour décrire vos ressources. Si les ensembles de métadonnées par défaut ne répondent pas aux besoins du flux de travaux de votre organisation, votre administrateur Final Cut Server peut ajouter des champs de métadonnées à des ensembles existants ou créer des ensembles de métadonnées entièrement nouveaux. Important : si votre administrateur Final Cut Server a modifié les ensembles de métadonnées par défaut ou s’il en a créé de nouveaux, les ensembles de métadonnées listés dans votre copie de Final Cut Server n’auront pas la même apparence que la liste présentée ici. Lorsque vous utilisez Final Cut Server, vous pouvez vous servir des métadonnées contenues dans une ressource pour rechercher, trier et identifier des ressources et productions dans Final Cut Server, ainsi que pour suivre les informations au sein de votre groupe de travail. Après le téléchargement d’un fichier, vous et d’autres personnes pouvez à tout moment ajouter et modifier manuellement les métadonnées décrivant la ressource. Pour en savoir plus sur l’utilisation des métadonnées dans Final Cut Server, consultez « Utilisation de métadonnées pour organiser et rechercher des ressources » à la page 64. Stratégies de téléchargement de fichiers de données et de projets Votre administrateur Final Cut Server peut avoir configuré des analyses qui téléchargent automatiquement les fichiers vers Final Cut Server. Pour télécharger manuellement des fichiers de données et de projet, vous avez le choix entre deux méthodes :  Vous pouvez faire glisser les fichiers de votre système ou d’un périphérique connecté vers Final Cut Server. Choisissez cette méthode lorsque vous souhaitez ajouter seulement quelques données à votre catalogue de ressources.  Vous pouvez ouvrir la fenêtre Upload à partir du menu local Server dans la fenêtre principale de Final Cut Server, naviguer jusqu’à un dossier de fichiers de données, puis sélectionner les fichiers à télécharger. Choisissez cette méthode si vous téléchargez plusieurs fichiers de données. Important : il est recommandé d’inclure les extensions de fichiers sur tous les fichiers téléchargés vers Final Cut Server.34 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Dans la fenêtre Upload qui s’affiche, vous avez le choix entre plusieurs options. Vous pouvez sélectionner un ensemble de métadonnées pour la nouvelle ressource. Ajoutez également plusieurs types de métadonnées au fichier lors du téléchargement. Il est aussi possible de choisir de convertir le fichier téléchargé vers un autre codec (à l’aide des réglages de transcodage pour les fichiers vidéo et audio à partir de Compressor) pendant le téléchargement et de regrouper la ressource dans une production. Lorsque vous téléchargez un fichier, le nom du fichier est saisi, par défaut, dans le champ Title de la fenêtre Upload. Vous pouvez choisir de saisir un nouveau nom dans le champ Title. Toutefois, il est important de comprendre que le champ Title est exclusivement utilisé dans Final Cut Server. Le titre de la ressource n’apparaît pas dans les métadonnées de la ressource si vous exportez une copie de cette ressource. Important : si vous exportez des fichiers de projet ou de données volumineux, désactivez la fonction de suspension d’activité de votre ordinateur. Si l’ordinateur sur lequel le client Final Cut Server est exécuté passe en mode de suspension d’activité pendant un téléchargement, celui-ci est annulé. Téléchargement de fichiers de données Lorsque vous téléchargez un fichier de données ou de projet vers Final Cut Server, la ressource créée contient le fichier de données d’origine, que Final Cut Server appelle représentation principale. Au moment du téléchargement, Final Cut Server crée des fichiers proxy pour certains types de ressources média. Les fichiers Proxy sont des copies de la représentation principale utilisées pour certaines opérations dans Final Cut Server. À propos du téléchargement de séquences de référence QuickTime Une séquence de référence QuickTime peut contenir une liste de références à des séquences dont les débits des données sont différents, ce qui permet à une application de choisir la séquence ayant la meilleure apparence et pouvant être correctement lue lors de son téléchargement sur Internet, en fonction de la vitesse de connexion de l’utilisateur. Lorsque vous téléchargez une séquence de référence QuickTime, une zone de dialogue apparaît pour vous informer que la séquence dispose d’un ou de plusieurs fichiers d’alias externes et vous demander si vous souhaitez aplatir le fichier avant de le télécharger. L’aplatissement du fichier permet de créer un nouveau fichier contenant toutes les données qui se trouvaient précédemment dans le ou les fichiers d’alias externes. Il est recommandé de choisir d’aplatir toute séquence de référence QuickTime que vous téléchargez vers Final Cut Server.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 35 Si le fichier téléchargé est un fichier graphique ou un fichier vidéo, Final Cut Server crée deux fichiers de graphismes proxy : un fichier d’affiche et un fichier de vignette. Ces deux fichiers sont utilisés pour représenter les données de la ressource au sein de Final Cut Server. Si le fichier téléchargé est une ressource vidéo, Final Cut Server crée également un fichier proxy de plan. Le fichier proxy de plan est créé grâce au transcodage du fichier de repré- sentation principale en un codec de plus faible résolution. Le proxy de plan est utilisé pour l’affichage du fichier dans Final Cut Server. Voici un exemple. Lorsque vous téléchargez un plan vidéo HD sans compression vers Final Cut Server, une ressource Final Cut Server est créée. Cette ressource contient le fichier d’origine (la représentation principale). Le fichier d’origine est également transcodé afin de permettre la création du fichier proxy de plan. Des images JPEG sont créées pour être utilisées comme fichiers proxy de vignette et d’affiche pour la ressource. Fichier multimédia Ressource multimédia Proxy de plan Vignette Métadonnées Affiche Représentation principale Mise à jour du clip vidéo sur Final Cut Server36 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Une fois le téléchargement terminé, vous pouvez afficher une liste des fichiers proxy créés pour la ressource dans la sous-fenêtre Resources de la fenêtre d’information de la ressource. Vous pouvez télécharger un ou plusieurs fichiers de données vers Final Cut Server. Lorsque vous téléchargez plusieurs fichiers de données, n’oubliez pas que tous les réglages que vous définissez dans la fenêtre Multiple Upload, notamment les métadonnées, s’appliquent à tous les fichiers téléchargés. Par exemple, si vous spécifiez un format de transcodage, tous les fichiers téléchargés sont transcodés. Important : il est recommandé d’inclure les extensions de fichiers sur tous les fichiers téléchargés vers Final Cut Server Pour télécharger un ou plusieurs fichiers de données : 1 Effectuez l’une des opérations suivantes :  Faites glisser le ou les fichiers de données à télécharger à partir du Finder, du bureau ou d’un volume connecté vers la colonne située sur la gauche de la fenêtre principale de Final Cut Server, la sous-fenêtre Assets ou une production.  Choisissez Upload File dans le menu local Server, sélectionnez le ou les fichiers de données dans l’explorateur de fichiers qui apparaît, puis cliquez sur Télécharger. Vous pouvez voir les fichiers proxy créés pour la ressource dans la sous-fenêtre Resources de la fenê- tre d’information de la ressource. Menu local ServerChapitre 2 Téléchargement de fichiers vers Final Cut Server 37 Selon le nombre de fichiers que vous avez téléchargés, la fenêtre Upload ou la fenêtre Multiple Upload apparaît. Les fenêtres Upload et Multiple Upload sont très similaires. Dans la fenêtre Upload, vous pouvez saisir un nom de fichier pour la ressource (celui-ci est saisi automatiquement). Dans la fenêtre Multiple Upload, le champ Filename est masqué et le nom du fichier est automatiquement attribué à chaque ressource téléchargée. Remarque : une fois le téléchargement effectué, vous pouvez à tout moment modifier le titre d’une ressource dans la sous-fenêtre Metadata de la fenêtre d’information de la ressource. 2 Certaines des informations et métadonnées contenues dans la fenêtre Upload ou dans la fenêtre Upload Multiple sont automatiquement saisies. Vous pouvez modifier l’ensemble de métadonnées dans le menu local Metadata Set et ajouter des métadonnées aux nouvelles ressources. La fenêtre Upload comprend un champ Filename modifiable. Choisissez un ensemble de métadonnées diffé- rent dans le menu local. Vous pouvez saisir des métadonnées dans n’importe quel champ modifiable. Après avoir choisi un ensemble de métadonnées, divers groupes de métadonnées apparaissent.38 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Important : si vous téléchargez un fichier auquel vous avez précédemment ajouté des métadonnées à l’aide des champs d’annotation par défaut QuickTime, vous devez choisir l’ensemble de métadonnées Média pour la ressource. Ainsi, les métadonnées attribuées au fichier dans QuickTime apparaissent dans Final Cut Server, dans le groupe de métadonnées QuickTime de l’ensemble de métadonnées Média. Si vous appliquez n’importe quel autre ensemble de métadonnées à la ressource, les métadonnées QuickTime n’apparaissent pas dans la ressource Final Cut Server. N’oubliez pas que toutes les métadonnées que vous appliquez à un téléchargement multiple seront associées à chacune des ressources créées. 3 Si nécessaire, choisissez un nouveau périphérique de destination dans le menu local Destination. Vous spécifiez ainsi le périphérique sur lequel le fichier sera stocké. Si vous avez des questions sur le périphérique à utiliser, contactez votre administrateur Final Cut Server. Remarque : Media et Library sont les principaux périphériques de Final Cut Server. Demandez à votre administrateur Final Cut Server quels autres périphériques configurés sont adaptés au stockage de fichiers de données. 4 Si vous souhaitez regrouper la ou les ressources média dans une production, cliquez sur Choose à droite du champ Associate with Production et spécifiez une production. Pour en savoir plus sur les productions, consultez « Organisation des ressources à l’aide de productions » à la page 59. 5 Si vous souhaitez convertir le ou les fichiers de données d’origine vers un codec différent, cliquez sur le bouton Choose, puis sélectionnez un nouveau réglage de transcodage dans la fenêtre qui apparaît. 6 Cliquez sur Begin Upload pour créer des ressources à partir du ou des fichiers de données. Menu local Destination. Pour transcoder les fichiers de données, cliquez sur Choose et sélectionnez un codec. Lorsque vous êtes prêt à télécharger les fichiers, cliquez sur Begin Upload. Pour regrouper les ressources dans une production, cliquez sur Choose et sélectionnez une production.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 39 Le téléchargement commence. La progression du téléchargement s’affiche au-dessus de la sous-fenêtre Information dans le coin inférieur gauche de la fenêtre principale de Final Cut Server. 7 Pour surveiller la progression du téléchargement des fichiers, cliquez sur le bouton Downloads and Uploads afin d’afficher la fenêtre Downloads & Uploads. 8 Une fois le fichier téléchargé, cliquez sur la Smart Search « Assets created by me » pour afficher la ou les nouvelles ressources que vous venez de télécharger. Téléchargement de projets Final Cut Pro Les ressources de projet Final Cut Pro ont une structure différente de celle des ressources média. Lorsque vous téléchargez un projet Final Cut Pro vers Final Cut Server, le fichier de projet Final Cut Pro est la représentation principale de la ressource. Final Cut Server détecte les fichiers vidéo et d’autres fichiers de données reliées au projet Final Cut Pro et il télécharge chacun des fichiers de données en tant que ressource média unique. Final Cut Server liste ensuite chacun des fichiers de données reliées au projet en tant qu’élément de projet Final Cut Pro. Remarque : si votre administrateur Final Cut Server a activé la création d’un fichier Edit Proxy, un Edit Proxy sera également créé pour chaque fichier vidéo relié au projet Final Cut Pro. Cet Edit Proxy est utilisé pour extraire des projets Final Cut Pro afin de les modifier. Pour en savoir plus sur la fonction Edit Proxy, contactez votre administrateur Final Cut Server. L’indicateur Jobs in Progress indique le nombre de tâches en cours d’exécution. Cliquez sur ce bouton pour ouvrir la fenêtre Downloads & Uploads. Cliquez sur « Assets created by me » pour afficher la ressource créée.40 Chapitre 2 Téléchargement de fichiers vers Final Cut Server L’illustration ci-dessous montre un projet Final Cut Pro au moment du téléchargement. Vous remarquerez que la liste des éléments se trouve à l’intérieur de la ressource mais que les ressources média référencées par la liste des éléments sont indépendantes. Vous pouvez voir chacune des ressources média en double-cliquant sur l’élément dans la sous-fenêtre Elements. La fenêtre d’information de la ressource média s’ouvre alors. Après le téléchargement d’un projet Final Cut Pro, vous pouvez obtenir des informations sur les fichiers de données reliées au projet dans la sous-fenêtre Elements de la fenêtre d’information de la ressource du projet Final Cut Pro. Projet Final Cut Pro Ressource du projet Mise à jour du projet Final Cut Pro sur Final Cut Server Liste d’éléments multimédia liés .mov .jpeg .aif .mov .jpeg .aif Clip Proxy Les données reliées apparaissent dans la sous-fenêtre Elements de la fenêtre d’information de la ressource.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 41 Vous pouvez également regarder dans la sous-fenêtre Resources de la fenêtre d’information d’une ressource média pour voir si elle est reliée à un projet Final Cut Pro. Important : il est recommandé d’inclure les extensions de fichiers sur tous les fichiers téléchargés vers Final Cut Server Pour télécharger un fichier de projet Final Cut Pro : 1 Effectuez l’une des opérations ci-dessous :  Faites glisser le fichier de projet Final Cut Pro vers la colonne située sur la gauche de la fenêtre principale de Final Cut Server, vers la sous-fenêtre Assets ou vers une production dans la sous-fenêtre Productions.  Choisissez Upload File dans le menu local Server (le menu local dans la fenêtre principale de Final Cut Server qui apparaît lorsque vous cliquez sur le bouton Server), sélectionnez le fichier de projet Final Cut Pro dans l’explorateur de fichiers qui s’affiche, puis cliquez sur Télécharger. Un exemple de cette ressource média est utilisé dans le projet Final Cut Pro intitulé « 3133_Motorbikes ». La production « Motorbikes1 » inclut ce fichier de données.42 Chapitre 2 Téléchargement de fichiers vers Final Cut Server La fenêtre « Upload Final Cut Pro Project » apparaît. 2 Certaines des informations contenues dans la fenêtre « Link Final Cut Pro Upload » sont saisies automatiquement. Vous pouvez modifier l’ensemble de métadonnées et ajouter n’importe quelle métadonnée pour le nouveau projet Final Cut Pro et les données reliées. Important : toutes les métadonnées que vous saisissez pour la ressource de projet seront appliquées à la ressource du nouveau projet et à chaque ressource créée pour les fichiers de données reliées. 3 Si nécessaire, choisissez un nouveau périphérique de destination dans le menu local Destination. Vous spécifiez ainsi le périphérique sur lequel le fichier sera stocké. Si vous avez des questions sur le périphérique à utiliser, contactez votre administrateur Final Cut Server. Remarque : Media et Library sont les principaux périphériques de Final Cut Server. Demandez à votre administrateur Final Cut Server quels autres périphériques configurés sont adaptés au stockage de fichiers de données.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 43 4 Si vous souhaitez regrouper la ressource de projet Final Cut Pro dans une production, cliquez sur Choose à droite du champ Associate with Production et spécifiez une production. Pour en savoir plus sur les productions, notamment sur la création d’une nouvelle production, consultez « Organisation des ressources à l’aide de productions » à la page 59. 5 Cliquez sur Upload. Le téléchargement commence. La progression du téléchargement s’affiche au-dessus de la sous-fenêtre Information dans le coin inférieur gauche de la fenêtre principale de Final Cut Server. 6 Pour surveiller la progression du téléchargement des fichiers, cliquez sur le bouton Downloads and Uploads afin d’afficher la fenêtre Downloads & Uploads. 7 Une fois le fichier téléchargé, cliquez sur la Smart Search « Assets created by me » pour afficher la ou les nouvelles ressources que vous venez de télécharger. Téléchargement de projets Final Cut Studio Les ressources de projet Final Cut Pro sont uniques dans le sens où la relation entre un projet Final Cut Pro et ses fichiers de données reliées est gérée par Final Cut Server. Les fichiers de projet Final Cut Studio peuvent également être téléchargés en tant que ressources et suivis par Final Cut Server, mais les références entre le fichier de projet et les fichiers de données ne sont pas automatiquement gérées par Final Cut Server. Il est recommandé de télécharger un dossier contenant le fichier de projet Final Cut Studio et tous les fichiers de données reliées au projet vers Final Cut Server. Important : iI est possible de télécharger uniquement un fichier de projet Motion, Soundtrack Pro ou DVD Studio Pro vers Final Cut Server. Lorsque vous téléchargez uniquement le fichier de projet, une ressource est créée pour le fichier de projet seulement. Contrairement à un fichier de projet Final Cut Pro, le fichier de projet Final Cut Studio n’inclut pas de liste d’éléments. Plutôt que de télécharger un fichier de projet unique, il est recommandé de télécharger un dossier contenant le fichier de projet Motion, Soundtrack Pro ou DVD Studio Pro et tous les fichiers de données reliées au fichier de projet vers Final Cut Server. Lorsque vous téléchargez un dossier contenant le fichier de projet Motion, Soundtrack Pro ou DVD Studio Pro et tous les fichiers de données reliées au fichier de projet, une zone de dialogue apparaît pour vous demander si vous souhaitez télécharger le dossier et les fichiers qu’il contient en tant que ressource regroupée ou en tant que ressources individuelles. 44 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Si vous sélectionnez Create Bundle Asset, le fichier de projet et chacun des fichiers de données sont téléchargés en tant que ressource regroupée. Le téléchargement du dossier en tant que ressource regroupée garantit que lorsque vous extrayez ou exportez la ressource regroupée, tous les fichiers de données intégrés au projet sont toujours là. La ressource regroupée peut être extraite, modifiée et réintégrée. Elle peut également être exportée. Toutefois, lorsque vous téléchargez un dossier de fichiers en tant que ressource regroupée, les fichiers qu’elle contient ne sont pas disponibles en tant que ressources séparées dans Final Cut Server. Si vous sélectionnez Create Individual Assets, le fichier de projet et chacun de ses fichiers de données reliées sont téléchargés vers Final Cut Server en tant que ressources uniques. Final Cut Server ne gérant pas les références entre le projet et les fichiers de données, il est conseillé de regrouper la ressource de projet et les ressources média dans leur propre production et d’ajouter des métadonnées uniques à la ressource de projet et aux ressources média. Vous pouvez effectuer ces deux opérations dans la fenêtre Upload qui s’affiche après avoir sélectionné Create Individual Assets. Même si le téléchargement d’un dossier de fichiers en tant que ressources individuelles nécessite une certaine planification, cette opération est utile. En effet, chacun des fichiers du dossier est téléchargé en tant que ressource individuelle et vous pouvez y accéder à partir de Final Cut Server. Important : il est recommandé d’inclure les extensions de fichiers sur tous les fichiers téléchargés vers Final Cut Server Téléchargement d’un projet Final Cut Studio et de ses fichiers de données en tant que ressource regroupée Le téléchargement d’un projet Final Cut Studio et de ses fichiers de données en tant que ressource regroupée entraîne la création d’une ressource unique dans Final Cut Server. Cette ressource regroupée est simple d’utilisation : une fois la ressource regroupée extraite ou exportée, le dossier devient visible et vous pouvez ouvrir le fichier de projet qu’il contient dans l’application Final Cut Studio appropriée. Si les données étaient reliées au fichier de projet lorsque le dossier a été téléchargé vers Final Cut Server, toutes les données du fichier sont connectées et il est prêt à être utilisé lorsqu’il s’ouvre.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 45 L’illustration ci-dessous montre un projet Final Cut Studio téléchargé en tant que ressource regroupée. Celle-ci apparaît dans Final Cut Studio en tant que ressource générique unique, sans indication sur son fichier de projet ou ses fichiers de données reliées. Si vous téléchargez un projet Final Cut Studio et ses fichiers de données en tant que ressource regroupée, les données et fichiers de projet ne peuvent pas être affichés à partir de Final Cut Server. Pour accéder aux ressources média, vous devez extraire la ressource regroupée et accéder aux fichiers de données à partir du dossier. Important : si un projet Final Cut Studio et ses fichiers de données sont téléchargés en tant que ressource regroupée vers un périphérique que votre administrateur Final Cut Server a automatisé pour rechercher de nouvelles ressources, les fichiers de la ressource regroupée sont analysés et de nouvelles ressources sont créées pour chaque fichier de la ressource regroupée. Si vous téléchargez un projet Final Cut Studio et ses fichiers de ressources en tant que ressource regroupée et remarquez ensuite que de nouvelles ressources ont été créées pour les fichiers de la ressource, contactez votre administrateur Final Cut Server. Lot de ressources Dossier Projet Motofloue.motn Route_3232.mov Musique_3225.aif Motard_322.jpg Arbre_5344.jpg Motos.aif Mise à jour du dossier sur Final Cut Server46 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Pour télécharger un fichier de projet Final Cut Studio et ses fichiers de données en tant que ressource regroupée : 1 Dans l’application Final Cut Studio, enregistrez le projet et choisissez de rassembler les données. Dans Motion et Soundtrack Pro, vous pouvez, pour ce faire, sélectionner File > Save sous et choisir de rassembler les données dans la fenêtre Save as. Dans DVD Studio Pro, vous devez placer manuellement le projet et les fichiers de données dans un dossier. Remarque : pour obtenir des informations spécifiques sur l’utilisation de ces applications, consultez le manuel de l’utilisateur de l’application. Important : lorsque vous téléchargez un fichier de projet DVD Studio Pro et ses fichiers de données reliées, il est inutile de télécharger les fichiers .par. Lorsque vous extrayez et ouvrez le projet dans DVD Studio Pro, les fichiers .par sont automatiquement recréés. Le fichier de projet et ses fichiers de données sont enregistrés dans un dossier à l’emplacement que vous avez indiqué. 2 Dans Final Cut Server, créez une nouvelle production pour le projet et ses ressources en procédant comme suit : a Ouvrez la sous-fenêtre Productions en cliquant sur Productions dans la colonne située sur la gauche de la fenêtre principale de Final Cut Server. b Cliquez sur le bouton New Production dans la barre d’outils. c Choisissez un ensemble de métadonnées pour la nouvelle production dans le menu local Metadata Set. d Selon le type de production que vous choisissez, un certain nombre de champs de métadonnées de production apparaissent. Saisissez dans ces champs un titre et d’autres métadonnées uniques pour le projet. Les champs portant un astérisque (*) sont obligatoires. e Cliquez sur Save changes pour enregistrer la nouvelle production. 3 Faites glisser le dossier contenant le fichier de projet et ses données reliées du Finder vers la nouvelle production, dans la sous-fenêtre Productions de Final Cut Server. Projet Motion Fichiers de données d’un projet MotionChapitre 2 Téléchargement de fichiers vers Final Cut Server 47 4 Une zone de dialogue apparaît, vous demandant si vous souhaitez télécharger le dossier en tant que ressource regroupée ou en tant que ressource individuelle. Cliquez sur Create Bundle Asset. La fenêtre Link Upload apparaît. Notez que le champ Associate with Production affiche la production dans laquelle vous avez fait glisser le dossier. 5 Choisissez un ensemble de métadonnées pour la ressource dans le menu local Metadata Set et ajoutez des métadonnées à un ou plusieurs champs, en les définissant comme ressource regroupée. 6 Si nécessaire, choisissez un nouveau périphérique de destination dans le menu local Destination. Vous spécifiez ainsi le périphérique sur lequel le fichier sera stocké. Si vous avez des questions sur le périphérique à utiliser, contactez votre administrateur Final Cut Server. Remarque : Media et Library sont les principaux périphériques de Final Cut Server. Demandez à votre administrateur Final Cut Server quels autres périphériques configurés sont adaptés au stockage de fichiers de données. 7 Cliquez sur le bouton Upload pour créer la ressource. Le fichier est téléchargé et la ressource regroupée créée. Ajoutez des métadonnées pour définir le type de projet téléchargé. Le nom de la production dans laquelle vous avez fait glisser le dossier apparaît ici.48 Chapitre 2 Téléchargement de fichiers vers Final Cut Server 8 Une fois la ressource regroupée créée, sélectionnez la sous-fenêtre Productions, puis la production que vous avez créée et cliquez sur le bouton Search pour afficher la nouvelle ressource dans Final Cut Server. Si vous avez besoin d’identifier la ressource regroupée ultérieurement, vous pouvez ouvrir la fenêtre d’information de la ressource et afficher les métadonnées que vous avez ajoutées lors du téléchargement. Téléchargement d’un projet Final Cut Studio et de ses fichiers de données en tant que ressources individuelles Le téléchargement d’un projet Motion, Soundtrack Pro ou DVD Studio Pro et de ses fichiers de données en tant que ressources individuelles entraîne la création d’une ressource pour chaque fichier du dossier. Si le téléchargement du fichier de projet est similaire à celui du fichier de projet Final Cut Pro, une différence significative existe toutefois : contrairement à une ressource de projet Final Cut Pro, les fichiers de données du projet ne sont pas réfé- rencés vers le fichier de projet. Pour que le projet et ses données restent ensemble, vous pouvez ajouter aux ressources des métadonnées uniques, par exemple le nom du projet ou d’autres étiquettes utiles. Pour stocker ensemble et de manière pratique votre projet et les ressources média, vous pouvez télécharger les fichiers vers une nouvelle production ou vers une production existante. La ressource regroupée dispose d’une icône de document générique. Utilisez les métadonnées que vous avez ajoutées lors du téléchargement pour identifier la ressource regroupée.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 49 L’illustration ci-dessous montre un projet Final Cut Studio et ses données téléchargées en tant que ressources individuelles dans une production Final Cut Server. Important : il est recommandé de télécharger un fichier de projet Final Cut Studio et ses fichiers de données dans une production commune. Il est également recommandé d’ajouter des métadonnées uniques à la ressource de projet et à chacune de ses ressources média. Ces métadonnées doivent être utilisées uniquement sur la ressource de projet, les ressources média et la production. L’ajout de métadonnées uniques et la création d’une production vous offrent deux méthodes de connexion de la ressource de projet et de ses ressources média. Pour télécharger un fichier de projet Final Cut Studio ou autre et ses fichiers de données en tant que ressources individuelles : 1 Dans l’application Final Cut Studio, enregistrez le projet et choisissez de rassembler les données. Dans Motion et Soundtrack Pro, vous pouvez, pour ce faire, sélectionner Fichier > Enregistrer sous et choisir de rassembler les données dans la fenêtre Enregistrer sous. Dans DVD Studio Pro, vous devez placer manuellement le projet et les fichiers de données dans un dossier. Remarque : pour obtenir des informations spécifiques sur l’utilisation de ces applications, consultez le manuel de l’utilisateur de l’application. Important : lorsque vous téléchargez un fichier de projet DVD Studio Pro et ses fichiers de données reliées, il est inutile de télécharger les fichiers .par. Lorsque vous extrayez et ouvrez le projet dans DVD Studio Pro, les fichiers .par sont automatiquement recréés. Le fichier de projet et ses données sont enregistrés dans un dossier à l’emplacement que vous avez indiqué. Mise à jour du projet Final Cut Studio sur Final Cut Server Remarque : chacun des éléments de la production est une ressource. Production Final Cut Server Folder Project .mov .jpeg .aif Proxy de plan Motofloue.motn Route_3232.mov Musique_3225.aif Motard_322.jpg Arbre_5344.jpg Motos.aif50 Chapitre 2 Téléchargement de fichiers vers Final Cut Server 2 Dans Final Cut Server, créez une nouvelle production pour le projet et ses ressources en procédant comme suit : a Ouvrez la sous-fenêtre Productions en cliquant sur Productions dans la colonne située sur la gauche de la fenêtre principale de Final Cut Server. b Cliquez sur le bouton New Production dans la barre d’outils. c Choisissez un ensemble de métadonnées pour la nouvelle production dans le menu local Metadata Set. d Selon le type de production que vous choisissez, un certain nombre de champs de métadonnées de production apparaissent. Saisissez dans ces champs un titre et d’autres métadonnées uniques pour le projet. Les champs portant un astérisque (*) sont obligatoires. e Cliquez sur Save Changes pour enregistrer la nouvelle production. 3 Faites glisser le dossier contenant le fichier de projet et ses données reliées du Finder vers la nouvelle production, dans la sous-fenêtre Productions de Final Cut Server. 4 Une zone de dialogue apparaît, vous demandant si vous souhaitez télécharger le dossier en tant que ressource regroupée ou en tant que ressource individuelle. Cliquez sur Create Individual Assets. 5 Une zone de dialogue apparaît pour vous informer que Final Cut Server ne peut pas gérer les références pouvant exister dans le fichier de projet que vous téléchargez. Cliquez sur Continue. La fenêtre Multiple Link Upload apparaît. Notez que le champ Associate with Production affiche la production dans laquelle vous avez fait glisser le dossier. 6 Choisissez un ensemble de métadonnées pour les ressources dans le menu local Metadata Set. Ajoutez aux fichiers téléchargés des métadonnées uniques. L’ajout de métadonnées reliées au projet vous aide à suivre les ressources reliées à la ressource de projet. Ajoutez des métadonnées pour différencier les fichiers téléchargés. Le nom de la production dans laquelle vous avez fait glisser le dossier apparaît ici.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 51 7 Si nécessaire, choisissez un nouveau périphérique de destination dans le menu local Destination. Vous spécifiez ainsi le périphérique sur lequel le fichier sera stocké. Si vous avez des questions sur le périphérique à utiliser, contactez votre administrateur Final Cut Server. Remarque : Media et Library sont les principaux périphériques de Final Cut Server. Demandez à votre administrateur Final Cut Server quels autres périphériques configurés sont adaptés au stockage de fichiers de données. 8 Cliquez sur le bouton Begin Upload afin de créer des ressources pour le fichier de projet et ses fichiers de données reliées. Les fichiers sont téléchargés. La progression du téléchargement s’affiche au-dessus de la sous-fenêtre Information dans le coin inférieur gauche de la fenêtre principale de Final Cut Server. Pour surveiller la progression du téléchargement des fichiers, cliquez sur le bouton Downloads and Uploads pour afficher la fenêtre Downloads & Uploads. 9 Une fois les fichiers téléchargés, sélectionnez la sous-fenêtre Productions, cliquez sur le bouton Search, puis double-cliquez sur la production afin d’afficher les nouvelles ressources. Le fichier de projet Final Cut Studio et chacun de ses fichiers de données ont été téléchargés comme des ressources. Les ressources apparaissent également dans la sous-fenêtre Assets de la fenêtre principale de Final Cut Server. Chacune des ressources individuelles apparaît dans la production.3 53 3 Organisation et recherche dans le catalogue Final Cut Server Ce chapitre couvre les éléments suivants :  Vue d’ensemble du catalogue de ressources Final Cut Server (p. 53)  Organisation des ressources à l’aide de productions (p. 59)  Utilisation de métadonnées pour organiser et rechercher des ressources (p. 64)  Recherche dans Final Cut Server (p. 66)  Affichage des résultats d’une recherche (p. 74)  Suivi de l’état d’une ressource ou d’une production à l’aide de métadonnées (p. 75)  Ajout et modification des métadonnées de ressources (p. 77)  Recherche de périphériques et de tâches (p. 78) Lorsque vous téléchargez des ressources, elles sont ajoutées à votre catalogue Final Cut Server, qui consiste en une collection de ressources téléchargées par vous et par d’autres utilisateurs de Final Cut Server. Alors que le nombre de ressources augmente dans votre catalogue, il devient de plus en plus important de créer et de gérer les recherches. Ce chapitre présente différentes utilisations de Final Cut Server pour organiser vos ressources et les rechercher. Vue d’ensemble du catalogue de ressources Final Cut Server Avant de pouvoir organiser ou rechercher des ressources dans le catalogue Final Cut Server, vous devez comprendre comment afficher les sous-fenêtres Assets et Productions. La sous-fenêtre Assets affiche toutes les ressources téléchargées vers Final Cut Server. Vous pouvez afficher toutes les ressources de votre système Final Cut Server en cliquant sur Search dans la fenêtre principale de Final Cut Server.54 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server De même, la sous-fenêtre Productions affiche toutes les productions créées dans votre système Final Cut Server. Les productions sont utilisées pour organiser les ressources ; par exemple, si vous téléchargez un fichier de projet Soundtrack Pro et tous les fichiers audio utilisés dans ce projet, vous pouvez créer une production pour conserver cette ressource de projet et ses ressources média. Les productions sont également utilisées pour grouper des projets associés, comme les projets en cours d’un client particulier. Vous pouvez afficher toutes les productions présentes dans votre catalogue Final Cut Server en cliquant sur Productions dans la colonne située à gauche de la fenêtre principale de Final Cut Server. Vous pouvez réduire le nombre de ressources ou de productions qui apparaissent pour chaque recherche. La recherche la plus simple que vous pouvez effectuer consiste à saisir un terme à rechercher dans le champ de recherche, puis à cliquer sur le bouton Search. Vous pouvez également effectuer une recherche avancée, qui vous permet de rechercher un terme dans un champ de métadonnées particulier. Pour en savoir plus sur la recherche, consultez « Recherche dans Final Cut Server » à la page 66. Si vous souhaitez conserver une recherche, vous pouvez l’enregistrer. Les recherches enregistrées sont appelées des Smart Searches. Elles sont stockées dans la colonne située à gauche de la fenêtre principale de Final Cut Server. Pour en savoir plus sur les Smart Searches, consultez « Création d’une Smart Search » à la page 72. Votre administrateur Final Cut Server peut personnaliser les champs de métadonnées de recherche avancée dans votre système Final Cut Server. Pour en savoir plus, contactez votre administrateur Final Cut Server. Cliquez sur Assets ou sur Productions pour choisir le type d’éléments à afficher. Le fait de cliquer sur une Smart Search choisit également le type d’éléments à afficher.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 55 Icônes de ressources Les ressources peuvent être marquées par des icônes qui les identifient. Ces icônes peuvent indiquer qu’une ressource est extraite, verrouillée et archivée ; elles identifient également le type de la ressource (par exemple fichier audio et fichier vidéo) et si les données d’une ressource de projet sont non reliées. Ces icônes sont utiles pour en savoir plus sur la ressource sans avoir à ouvrir sa fenêtre d’information. Pour obtenir la liste complète des icônes qui peuvent marquer une ressource, consultez le tableau des icônes de ressources dans « Affichages des sous-fenêtres Assets et Productions » à la page 19. Types de ressources Les ressources peuvent être réparties parmi trois catégories principales : les ressources média, les ressources de projet Final Cut Pro et les ressources de projet Final Cut Studio ou d’autres projets. Les ressources média sont créées lorsque des fichiers audio, vidéo, graphiques ou d’autres données sont téléchargés vers Final Cut Server. Les ressources de projet Final Cut Pro sont créées lorsque des projets Final Cut Pro sont téléchargés vers Final Cut Server. La fenêtre d’information des ressources de projet Final Cut Pro contient une sous-fenêtre Elements qui répertorie les ressources média utilisées par le fichier de projets Final Cut Pro. Les ressources de projet Final Cut Studio sont créées lorsque les fichiers de projet Motion, Soundtrack Pro et DVD Studio Pro sont téléchargés vers Final Cut Server. Contrairement aux ressources de projet Final Cut Pro, ces fichiers de projet exigent que vous organisiez manuellement les ressources média reliées du projet. (Notez qu’un projet Final Cut Studio et ses données peuvent être téléchargés sous forme de ressource regroupée ou de ressources individuelles.) Pour en savoir plus sur les ressources que vous pouvez télécharger vers Final Cut Server, consultez le chapitre 2, « Téléchargement de fichiers vers Final Cut Server », à la page 31.56 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server De nombreuses ressources affichent sur leur vignette une icône (vidéo, audio ou graphique, par exemple) ou un symbole d’application (fichiers de projet Final Cut Studio, par exemple). Ressource de projet Motion Ressource image Ressource vidéo Ressource audio Ressource Final Cut ProChapitre 3 Organisation et recherche dans le catalogue Final Cut Server 57 Vous pouvez également obtenir des informations sur une ressource au moyen de son type mime. Le type mime décrit le type d’informations contenues dans le fichier de représentation principale ou l’application dans laquelle le fichier de représentation principale a été créé. Vous pouvez rechercher un type mime donné ; si vous utilisez souvent cette recherche, vous pouvez l’enregistrer sous forme de Smart Search. Pour en savoir plus, consultez « Recherche dans Final Cut Server » à la page 66. Le type mime de cette ressource image est affiché ici. Le type mime de cette ressource de projet Final Cut Pro est affiché ici.58 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server À propos de la fenêtre Asset Info Chaque ressource du catalogue Final Cut Server comporte une fenêtre fournissant des informations détaillées sur la ressource. Les informations affichées dans une fenêtre d’information de ressource sont déterminées par le type de la ressource. Chaque fenêtre d’information de ressource contient des sousfenêtres d’information sur la ressource. Vous pouvez également effectuer de nombreuses commandes à partir du menu local Action de la fenêtre d’information de ressource. Pour ouvrir la fenêtre d’information d’une ressource, procédez de l’une des manières suivantes : m Double-cliquez sur la ressource dans la sous-fenêtre Assets ou dans une production. m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Get Info dans le menu contextuel. Menu local Action Cliquez sur ces boutons pour afficher plus d’informations sur la ressource. Fenêtre d’information de ressource vidéoChapitre 3 Organisation et recherche dans le catalogue Final Cut Server 59 Outre les informations affichées dans les fenêtres d’information des autres ressources, une fenêtre d’information de ressource de projet Final Cut Pro affiche tous les éléments utilisés dans le projet Final Cut Pro. Organisation des ressources à l’aide de productions Les productions sont utilisées pour grouper des ressources et des projets Final Cut Pro associés. Vous pouvez créer des productions pour conserver toute combinaison de ressources et de projets ayant une signification dans votre flux de travaux. Remarque : une ressource peut être associée à une ou plusieurs productions. Fenêtre d’information de ressource de projet Final Cut Pro La sous-fenêtre Elements affiche toutes les données reliées du projet. Cliquez sur un bouton pour afficher plus d’informations sur la production. Chacune de ces ressources est contenue dans la production.60 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Pour créer une production : 1 Effectuez l’une des opérations suivantes :  Dans la sous-fenêtre Productions, cliquez sur le bouton New Production dans la barre d’outils. Une nouvelle production, vide, est créée.  Dans la sous-fenêtre Assets, sélectionnez une ou plusieurs ressources, puis cliquez sur le bouton « New Production from Selection » dans la barre d’outils. Une nouvelle production est créée, contenant les ressources sélectionnées. La fenêtre Production apparaît. 2 Dans le menu local Metadata Set, choisissez un ensemble de métadonnées pour la production. Cliquez sur le bouton New Production pour créer une nouvelle production. Le bouton New Production from Selection est disponible une fois que vous avez sélectionné une ou plusieurs ressources. Choisissez un ensemble de métadonnées.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 61 3 Selon les métadonnées choisies, plusieurs champs de métadonnées apparaissent. Saisissez dans ces champs des informations sur la production, notamment un titre et un état de priorité. Remarque : les champs marqués d’un astérisque (*) doivent être remplis. 4 Cliquez sur Save Changes. La fenêtre Production se ferme. Une fois que vous avez créé une production, celle-ci apparaît dans la sous-fenêtre Productions. Pour afficher la production que vous venez de créer : 1 Cliquez sur la Smart Search « Productions created by me » pour afficher la production que vous venez de créer. Un ensemble de métadonnées peut contenir plusieurs groupes de métadonnées. Nouvelle production Cliquez sur la Smart Search « Productions created by me » pour afficher la nouvelle production.62 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 2 Double-cliquez sur la production pour en afficher les détails. Vous pouvez ajouter une ressource à la production, depuis Final Cut Server ou lorsque vous téléchargez de nouveaux fichiers vers Final Cut Server. Pour ajouter une ressource à une fenêtre de production existante : m Faites glisser la ressource depuis la sous-fenêtre Assets vers la fenêtre de production ouverte. Pour ajouter une ressource média ou de projet à une production existante lors du téléchargement, procédez de l’une des manières suivantes : m Faites glisser la ressource média ou de projet directement du Finder vers une production. m Choisissez Upload File dans le menu local Server (le menu local dans la fenêtre principale de Final Cut Server qui apparaît lorsque vous cliquez sur le bouton Server), puis spécifiez une production à associer aux ressources dans la fenêtre Upload ou Multiple Upload. Lorsque le téléchargement est terminé, les ressources apparaissent dans la production que vous avez spécifiée. Veillez à cliquer sur le bouton Search, après avoir ajouté la ressource à la production, afin de réactualiser la sous-fenêtre Productions. Vous pouvez y faire glisser des ressources pour les ajouter à la nouvelle production. Cliquez sur Metadata pour afficher les métadonnées de la production.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 63 Une fois que vous avez ajouté une ressource à une production, Final Cut Server effectue le suivi de la ressource en tant que ressource reliée. Vous pouvez afficher les productions auxquelles une ressource est reliée en ouvrant la fenêtre d’information de la ressource et en cliquant sur Resources. La liste de productions auxquelles la ressource est reliée s’affiche en bas à droite de la fenêtre d’information de la ressource. Pour retirer une ressource d’une production : 1 Ouvrez la fenêtre d’information sur la production. 2 Sélectionnez la ressource que vous souhaitez retirer de la production. 3 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisissez Remove from Production dans le menu contextuel. La ressource est retirée de la production. Cette ressource est reliée à deux productions. Cliquez sur Resources dans la fenê- tre d’information de la ressource. Choisissez Remove from Production dans le menu contextuel.64 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Pour supprimer une production : m Dans la sous-fenêtre Productions, cliquez, tout en maintenant la touche Contrôle enfoncée, sur la production que vous souhaitez supprimer, puis choisissez Delete dans le menu contextuel. La production est supprimée. Remarque : seule la production est supprimée. Si la production contenait des ressources, aucune ressource n’est supprimée dans la sous-fenêtre Assets. Veillez à cliquer sur le bouton Search après avoir supprimé la production afin de réactualiser la sous-fenêtre Productions. Utilisation de métadonnées pour organiser et rechercher des ressources Vous pouvez utiliser toutes les métadonnées de fichier reconnues par Final Cut Server pour organiser et rechercher des ressources. Vous pouvez également ajouter des métadonnées à propos de la ressource dans l’ensemble de métadonnées de cette dernière. Par exemple, vous pouvez créer un mot-clé, puis créer une recherche enregistrée dans Final Cut Server pour les ressources qui contiennent ce mot-clé. À propos des métadonnées de fichiers et de ressources Lorsque vous importez une ressource, elle comporte diverses métadonnées. Les métadonnées spécifiques apportées par un fichier dans Final Cut Server dépendent du type du fichier où se trouve la ressource et de l’application ou des applications avec lesquelles la ressource a été créée et modifiée. Certains types de ressources comportent des métadonnées standard, comme les métadonnées XMP ou EXIF. Après le téléchargement, les métadonnées peuvent être ajoutées à une ressource existante. Par exemple, des mots-clés peuvent être ajoutés pour identifier le projet ou la production dont la ressource fait partie. Toutes les métadonnées d’une ressource, pour le fichier et pour la ressource, sont affichées dans une fenêtre d’information de ressource. Cela comprend les métadonnées importées avec le fichier lors du téléchargement et les métadonnées ajoutées dans Final Cut Server. Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 65 Pour afficher les métadonnées d’une ressource : 1 Effectuez l’une des opérations suivantes :  Double-cliquez sur la ressource.  Cliquez sur la ressource, tout en maintenant la touche Contrôle enfoncée, puis choisissez Get Info dans le menu contextuel. 2 Cliquez sur le bouton Metadata. À propos des ensembles de métadonnées Final Cut Server comporte plusieurs ensembles de métadonnées. Les ensembles de métadonnées trient les nombreux champs de métadonnées contenus dans une ressource, y compris les métadonnées de projet et d’état de la ressource. Vous pouvez utiliser les diverses métadonnées d’un ensemble de métadonnées pour rechercher des ressources dans Final Cut Server, les trier et les identifier. Chaque ensemble de métadonnées dans Final Cut Server contient des champs de métadonnées spécifiques. Lors du téléchargement, les métadonnées de fichiers lisibles par Final Cut Server sont copiées et entrées dans tout champ de métadonnées correspondant dans l’ensemble de métadonnées que vous avez choisi pour la ressource. Il est important de comprendre que les ensembles de métadonnées ne contiennent pas toutes les métadonnées qu’un fichier de données peut comporter. Les métadonnées affichées dans la ressource sont influencées par deux facteurs : l’ensemble de métadonnées choisi pour la ressource, lors du téléchargement, et la méthode utilisée pour ajouter les métadonnées au fichier. Une ressource peut donc contenir des métadonnées qui ne sont pas affichées dans l’ensemble de métadonnées ou dans Final Cut Server. Si vous avez besoin d’ajouter à Final Cut Server des métadonnées qui ne sont pas actuellement importées par le téléchargement d’un fichier, contactez votre administrateur Final Cut Server. Une combinaison de métadonnées de fichiers et de ressources est affichée ici. Métadonnées de fichiers (utilisez la barre de défilement pour en voir davantage). Métadonnées de ressources. Dans la fenêtre d’information de la ressource, cliquez sur Metadata. Cette ressource comporte trois groupes de métadonnées.66 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Remarque : si vous avez ajouté des métadonnées à un fichier QuickTime au moyen des zones d’annotation QuickTime par défaut, ces métadonnées apparaissent dans le groupe de métadonnées QuickTime de l’ensemble de métadonnées Média. Vous devez attribuer l’ensemble de métadonnées de la ressource à Media pour afficher les informations d’annotation QuickTime ; si vous appliquez tout autre ensemble de métadonnées, les métadonnées QuickTime ne sont pas visibles dans la ressource Final Cut Server. Recherche dans Final Cut Server Vous pouvez effectuer des recherches dans les sous-fenêtres Assets et Productions de Final Cut Server. Vous pouvez également rechercher les périphériques disponibles et les tâches effectuées par Final Cut Server. Après avoir configuré une recherche, vous pouvez l’enregistrer et y accéder en un clic de souris. Remarque : une fois que vous avez saisi un terme de recherche, le champ de recherche conserve le dernier terme saisi. Il vous est donc facile de répéter la recherche que vous venez de saisir. Recherche simple Pour effectuer une recherche simple dans les sous-fenêtres Assets ou Productions de Final Cut Server, choisissez un type de recherche et saisissez un terme. Final Cut Server recherche ce terme dans chaque champ de métadonnées de chaque ressource ou production. La recherche n’est pas sensible au caractère. Dans le champ Simple Search, vous pouvez choisir deux types de recherche simple :  Choisissez Contains pour rechercher le terme que vous avez saisi dans un seul champ de métadonnée. Par exemple, si vous entrez le terme se, Final Cut Server recherche tous les termes comportant les caractères se, comme serein, dispose et dense, dans un seul champ de métadonnées.  Choisissez Matches Word pour rechercher un mot particulier dans chaque champ de métadonnées disponible. Les recherches Matches Word sont basées sur la recherche de radical, une procédure qui identifie la racine du mot, modifiée par les exigences grammaticales de l’anglais. Par exemple, la racine de work, works, worked, et working est work. Si vous saisissez le terme de recherche working, Final Cut Server tronque le terme à work, puis renvoie toutes les ressources contenant un terme de racine work dans les champs de métadonnées de la ressource. Remarque : lors d’une recherche de radical, les mots courants comme the, a, and et but sont ignorés. Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 67 Vous pouvez rendre des recherches simples plus précises à l’aide d’un délimiteur de recherche. Pour effectuer une recherche simple : 1 Dans la sous-fenêtre Assets ou Production, choisissez un type de recherche (Contains ou Matches Word) dans le menu local Search. 2 Saisissez un ou plusieurs termes dans le champ de recherche. Par exemple, si vous souhaitez rechercher un type mime donné, saisissez le type mime complet dans le champ de recherche. 3 Cliquez sur le bouton Search. Délimiteur de recherche Exemple Renvoie Termes de recherche multiples ouragan vent eau Ressources comportant les termes ouragan, vent et eau Termes de recherche entre guillemets « Ouragan Alma » Ressources contenant l’expression de recherche complète Ouragan Alma Terme de recherche négatif (-) « Ouragan -Alma » Ressources contenant le terme Ouragan (et sans le terme Alma) Cliquez ensuite sur Search. Choisissez un type de recherche dans le menu local. Saisissez un terme de recherche.68 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Chaque ressource contenant dans ses métadonnées le terme que vous avez saisi est renvoyée. Les résultats de la recherche sont affichés ici. Utilisez les boutons View, les menus locaux Sort et les boutons de navigation de page pour mieux trier les résultats de la recherche.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 69 Recherche avancée Lorsque vous cliquez pour ouvrir le triangle d’affichage de la recherche, les champs de recherche avancée s’affichent. Ces champs vous permettent de rechercher dans des champs de métadonnées spécifiques le ou les termes que vous saisissez. Les sous-fenêtres Assets et Productions comportent des champs de recherche avancée différents. Le menu local situé en regard de chaque champ de métadonnées fournit un filtre de recherche approprié. Un filtre de recherche trie les résultats de la recherche selon le critère du filtre. Champs de recherche avancée de la sous-fenêtre Assets. Champs de recherche avancée de la sous-fenêtre Productions.70 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Pour effectuer une recherche avancée : 1 Dans la sous-fenêtre Assets ou Productions, cliquez sur le triangle d’affichage pour afficher les termes de recherche avancée. 2 Saisissez un ou plusieurs termes ou valeurs de recherche dans le ou les champs de métadonnées dans lesquels vous souhaitez rechercher. 3 Cliquez sur le bouton Search. Les résultats de votre recherche sont affichés dans la partie principale de la fenêtre. Ouvrez le triangle d’affichage pour afficher les réglages de recherche avancée.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 71 Critères de filtre de texte Les critères de filtre de texte sont utilisés pour rechercher dans les champs de métadonnées Title, Filename, Location, Stored On, etc. Vous pouvez utiliser les filtres suivants pour rechercher dans ces champs de métadonnées : Critère de filtre de date Les critères de filtre de date sont utilisés pour rechercher dans les champs de métadonnées Creation Date, File Creation Date, Deadline et d’autres champs de métadonnées relatifs aux dates. Notez que le filtrage de date est relatif à l’heure à laquelle vous l’avez utilisé ; si vous créez une Smart Search en utilisant un filtre de date, la date de création de la Smart Search est retenue. Vous pouvez utiliser les filtres suivants pour rechercher dans ces champs de métadonnées : Filtre Définition All Renvoie tous les termes. Equals Renvoie uniquement le texte saisi. Not Equals Renvoie les ressources qui ne contiennent pas le texte saisi. Contains Renvoie toutes les ressources qui contiennent le texte saisi. Begins with Renvoie les ressources qui commencent par le texte saisi. Ends with Renvoie les ressources qui se terminent par le texte saisi. Matches Word Renvoie le mot entier. Any Of Renvoie au moins l’un des mots saisis dans le champ. Filtre Définition All Renvoie tous les nombres. Last 2 hours Renvoie toutes les ressources téléchargées ou modifiées dans les deux heures suivant la dernière recherche. Last 24 hours Renvoie toutes les ressources téléchargées ou modifiées dans les 24 heures suivant la dernière recherche. Last 7 days Renvoie toutes les ressources téléchargées ou modifiées dans les sept jours suivant la dernière recherche. Last 31 days Renvoie toutes les ressources téléchargées ou modifiées dans les 31 jours suivant la dernière recherche. Before Renvoie toutes les ressources modifiées avant la date saisie. After Renvoie toutes les ressources modifiées après la date saisie.72 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Création d’une Smart Search Si vous souhaitez enregistrer une recherche simple ou avancée que vous avez configurée, vous pouvez créer une Smart Search. Les Smart Searches sont utiles car vous pouvez les réutiliser. Remarque : une Smart Search est enregistrée uniquement pour l’utilisateur qui l’a créée. Elle n’est pas enregistrée pour les clients d’autres utilisateurs ou de l’administrateur Final Cut Server. Pour créer une Smart Search : 1 Après avoir configuré une recherche, cliquez sur le bouton « Save as Smart Search » dans l’angle inférieur droit de la fenêtre principale de Final Cut Server. La Smart Search apparaît dans la liste des Smart Searches dans la colonne située à gauche de la fenêtre. Elle s’intitule « Untitled » et elle est sélectionnée. 2 Saisissez le nom de la Smart Search, puis appuyez sur Retour. Une fois que vous avez cliqué sur « Save as Smart Search », une nouvelle Smart Search apparaît. La nouvelle Smart Search est ajoutée à la liste des Smart Searches par ordre alphabétique.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 73 Le nom de la recherche est enregistré dans Final Cut Server. Pour rechercher dans la sous-fenêtre Assets ou Productions à l’aide d’une Smart Search : m Cliquez sur une Smart Search dans la liste de la colonne située à gauche de la fenêtre principale de Final Cut Server. Les résultats de la recherche apparaissent dans la partie principale de la fenêtre. Une fois que vous avez créé une Smart Search, vous ne pouvez plus la modifier. Vous pouvez cependant supprimer une Smart Search à tout instant. Pour supprimer une Smart Search : m Cliquez sur la Smart Search tout en maintenant la touche Contrôle enfoncée, puis choisissez Delete dans le menu contextuel. La Smart Search est supprimée. Smart Searches de ressources Smart Searches de productions74 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Affichage des résultats d’une recherche Dans les sous-fenêtres Assets et Productions, vous pouvez afficher les résultats de votre recherche sous forme de vignettes ou de listes et modifier l’ordre d’affichage des éléments au moyen des boutons et des contrôles de la barre d’outils. Pour modifier l’affichage de votre sous-fenêtre Assets ou Productions (filtré ou non) : m Cliquez sur le bouton Thumbnail View ou le bouton List View. Pour modifier l’ordre d’affichage des éléments dans la sous-fenêtre Assets ou Productions : m Choisissez une option de tri dans le menu local Sort selon. Pour parcourir les pages des résultats de la recherche : m Utilisez les boutons de navigation de page pour passer à la page précédente ou suivante ou pour choisir d’afficher une autre page. Remarque : par défaut, 25 éléments sont affichés par page. Vous pouvez modifier ce nombre dans la fenêtre Preferences. Choisissez l’affichage Thumbnail View ou List View. Choisissez une option de tri dans ce menu local. Choisissez un ordre de tri (ascendant ou descendant). Parcourez les pages des résultats de la recherche. Choisissez une page spécifique de résultats de recherche.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 75 Suivi de l’état d’une ressource ou d’une production à l’aide de métadonnées Final Cut Server comporte plusieurs Smart Searches et ensembles de métadonnées par défaut, que vous pouvez utiliser pour déterminer l’état d’une ressource. L’ensemble de métadonnées Status, par exemple, a été conçu pour vous aider à suivre l’état des ressources et des productions dans Final Cut Server. Les ressources et les productions disposent d’un ensemble de champs de métadonnées Status légèrement différent. Pour en savoir plus sur le suivi de l’état des ressources et des productions, consultez « Utilisation de métadonnées Status pour le suivi des ressources et productions » à la page 147. Important : votre administrateur Final Cut Server peut avoir modifié les métadonnées Status ou d’autres métadonnées disponibles pour les ressources ou les productions, afin de répondre aux besoins du flux de travaux de votre organisation. Si vous avez des questions sur les métadonnées disponibles pour une ressource, contactez votre administrateur Final Cut Server. À mesure de la progression de votre travail, vous pouvez rechercher des ressources se trouvant dans une phase particulière de votre flux de travaux, en recherchant leurs métadonnées d’état ou d’autres métadonnées. Final Cut Server comporte plusieurs Smart Searches préconfigurées qui vous permettent de rechercher facilement les ressources modifiées récemment ou celles marquées Ready for Review dans le champ de métadonnées Status. Cliquez sur cette Smart Search pour afficher toutes les ressources dont l’état est défini sur Ready for Review.76 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Vous pouvez configurer votre propre recherche au moyen des options de recherche avancées. Par exemple, vous pouvez rechercher toutes les ressources dont le champ de métadonnées Status est défini sur In progress. Après avoir défini une recherche, vous pouvez l’enregistrer sous forme de Smart Search. La zone des ressources est mise en surbrillance pour indiquer que la configuration de recherche ne correspond pas à une Smart Search. Définissez le champ Status sur In progress pour rechercher ces ressources. Cliquez sur ce bouton pour enregistrer le réglage actuel de la recherche sous forme de Smart Search.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 77 Ajout et modification des métadonnées de ressources À mesure de la progression d’une ressource dans le flux de travaux de votre organisation, vous souhaitez peut-être ajouter ou modifier les métadonnées associées à cette ressource. Par exemple, lorsqu’une ressource a été modifiée et qu’elle est prête à être révisée par un client, vous pouvez définir son champ de métadonnées Status sur Ready for Review. Pour ajouter des métadonnées associées à une ressource ou pour les modifier : 1 Double-cliquez sur la ressource dans la sous-fenêtre Assets ou dans une production. 2 Dans la fenêtre d’information de la ressource, cliquez sur Metadata. 3 Choisissez un groupe de métadonnées à afficher. 4 Saisissez de nouveaux détails dans l’un des champs de métadonnées ou faites vos choix dans le menu local. 5 Lorsque vous avez terminé de modifier les métadonnées, cliquez sur Save Changes. Les modifications que vous avez apportées sont enregistrées. Veillez à cliquer sur le bouton Search après avoir mis à jour les métadonnées de ressources afin de réactualiser la sous-fenêtre Assets. Cliquez sur Metadata pour afficher les métadonnées de la ressource ou de la production. Cliquez sur un groupe de métadonnées à afficher. Lorsque vous avez apporté les modifications nécessaires, cliquez sur Enregistrer les modifications.78 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Recherche de périphériques et de tâches Deux fonctions de recherche avancée, Search Devices et Search All Jobs, sont disponibles dans le client Final Cut Server. Selon vos autorisations, ces recherches peuvent être disponibles ou non pour vous. Si vous avez des questions sur l’opportunité d’utiliser ces recherches, contactez votre administrateur Final Cut Server. Recherche de périphériques Si votre administrateur Final Cut Server vous y a autorisé, vous pouvez rechercher un fichier sur tout périphérique connecté à Final Cut Server. Cela vous permet d’examiner le contenu d’un périphérique, y compris les éléments qui n’ont pas été ajoutés au catalogue Final Cut Server. Les périphériques auxquels vous avez accès, en tant qu’utilisateur client, sont déterminés par votre administrateur Final Cut Server. Envisagez de consulter votre administrateur Final Cut Server avant de rechercher ou d’utiliser un fichier présent sur un périphérique. Pour rechercher dans un périphérique : 1 Choisissez Search Devices dans le menu local Server. Avertissement : utilisez la fenêtre Search Devices avec précaution. Lorsque vous recherchez dans un périphérique, vous recherchez des fichiers et non des ressources Final Cut Server. Les périphériques peuvent contenir des fichiers ajoutés ou non au catalogue Final Cut Server. À partir de la fenêtre Search Devices, vous pouvez ajouter un fichier de données à votre catalogue Final Cut Server et copier, supprimer et télécharger le fichier vers votre système local ; ces actions peuvent produire de multiples copies d’une ressource dans votre système serveur Final Cut Server ou supprimer toutes les copies d’un fichier sur un périphérique. Cliquez sur le bouton Server. Choisissez Search Devices dans le menu local.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 79 2 Dans la fenêtre Search Devices qui s’affiche, choisissez le périphérique où effectuer la recherche dans le menu local Device. 3 Cliquez sur le bouton Search pour rechercher à partir de la racine du périphérique. Vous pouvez également cliquer sur le bouton Choose pour ouvrir une zone de dialogue vous permettant de préciser un dossier dans lequel effectuer la recherche. 4 Si vous souhaitez restreindre la recherche, saisissez un terme dans le champ de recherche ou cliquez sur le triangle d’affichage de la recherche pour afficher des options de recherche avancée. Important : veillez à entrer des mots entiers dans le champ de recherche. Contrairement au champ de recherche de la fenêtre principale de Final Cut Server, le champ de recherche de Search Devices ne renvoie pas de mots entiers si vous recherchez une partie de mot. Par exemple si vous souhaitez rechercher toutes les ressources contenant le mot image, vous devez rechercher le mot entier. Si vous recherchez uniquement ima, seules les ressources comportant les caractères ima sont trouvées et le mot image n’est pas trouvé. 5 Cliquez sur le bouton Search. Une fois que vous avez sélectionné un ou plusieurs éléments, vous pouvez choisir d’effectuer les actions suivantes en cliquant, tout en maintenant la touche Contrôle enfoncée, sur le nom du fichier dans la liste des résultats de la recherche, puis en choisissant l’une de ces options dans le menu contextuel :  Catalog asset : ajoute le fichier au catalogue Final Cut Server.  Get Info : affiche une fenêtre d’information qui résume les informations et les métadonnées du fichier.  View : affiche le fichier dans l’application appropriée (souvent l’emplacement où le fichier a été créé).  Export : exporte le fichier.  Duplicate : duplique le fichier.  Delete : supprime le fichier du périphérique.80 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Searching Devices Final Cut Server utilise des tâches pour effectuer des actions telles que le téléchargement et le transcodage de fichiers. À l’aide de la fenêtre Search All Jobs, vous pouvez rechercher une tâche donnée s’exécutant ou ayant été exécutée sous Final Cut Server. À propos des tâches Final Cut Server utilise des tâches pour certaines opérations. Le nombre de tâches qui s’exécutent dépend du type d’action effectué. Voici quelques exemples de tâches :  La copie d’un fichier d’un emplacement à un autre exécute une tâche.  La création d’une nouvelle ressource exécute des tâches pour effectuer la copie initiale, puis pour créer la ressource.  L’analyse d’une ressource utilise plusieurs tâches pour créer les fichiers de proxy de la ressource. Chaque tâche crée plusieurs entrées d’historique pour chaque étape de l’opération. Si vous souhaitez contrôler les tâches Final Cut Server en cours d’exécution, vous pouvez ouvrir la fenêtre Jobs. Vous pouvez y rechercher une tâche spécifique, puis afficher ses détails. Pour rechercher une ou plusieurs tâches spécifiques : 1 Choisissez Search All Jobs dans le menu local Server (le menu local de la fenêtre principale de Final Cut Server qui apparaît lorsque vous cliquez sur le bouton Server). Choisissez Search All Jobs dans le menu local. Cliquez sur le bouton Server.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 81 La fenêtre Search All Jobs apparaît. 2 Saisissez vos critères de recherche de l’une des manières suivantes :  Saisissez un mot ou une valeur dans le champ de recherche.  Cliquez sur le triangle d’affichage de la recherche pour afficher les options de recherche avancée. Choisissez un délimiteur dans le menu local, puis saisissez une valeur dans un ou plusieurs champs de recherche. 3 Lorsque vous avez saisi vos critères de recherche de tâches, cliquez sur le bouton Search. Les tâches qui correspondent à vos critères de recherche apparaissent dans la partie principale de la fenêtre. N’oubliez pas que les résultats de vos recherches peuvent couvrir plusieurs pages ; vous pouvez naviguer dans les résultats au moyen des commandes de page situés à droite de la fenêtre. 4 83 4 Utilisation de Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  Actions du client Final Cut Server (p. 84)  À propos de la fenêtre Asset Info (p. 85)  Affichage d’une ressource (p. 89)  Ajout de versions pour une ressource média ou de projet (p. 91)  Verrouillage et déverrouillage d’une ressource (p. 94)  Écriture d’annotations sur une ressource vidéo (p. 99)  Duplication d’une ressource (p. 103)  Utilisation de la fonction Edit-in-place (p. 104)  Monitoring des tâches (p. 104)  Définition des préférences du client Final Cut Server (p. 107) Ce chapitre explique comment utiliser tous les types de ressources dans le client Final Cut Server. Il explique comment interpréter les informations contenues dans la fenêtre d’information d’une ressource média ou d’un projet. Il inclut également des descriptions de toutes les actions disponibles dans Final Cut Server.84 Chapitre 4 Utilisation de Final Cut Server Actions du client Final Cut Server Cette rubrique offre une vue d’ensemble des actions que vous pouvez effectuer à partir de la barre d’outils, des menus contextuels et d’autres emplacements dans le client Final Cut Server. Ce tableau décrit les différentes actions que vous pouvez effectuer dans Final Cut Server : Action Description Get Info Fournit des informations et des métadonnées pour la ressource sélectionnée. Pour en savoir plus, consultez « À propos de la fenêtre Asset Info » à la page 85. View Affiche la ressource dans un visualiseur multimédia approprié ; l’application d’affichage pourrait être QuickTime Player, Preview ou une autre application média. Pour en savoir plus sur l’affichage d’une ressource, consultez « Affichage d’une ressource » à la page 89. Add to Cache Ajoute une copie de la ressource sur le cache de l’ordinateur local. C’est la première étape de plusieurs opérations dans Final Cut Server. Pour en savoir plus, consultez « À propos de la mise en cache » à la page 109. Check In/Check Out/Cancel Check Out Extraire la ressource vous permet de modifier la représentation principale suivie par la ressource et empêche cette dernière d’être modifiée par tous les autres utilisateurs. Pour en savoir plus sur l’extraction d’une ressource média, consultez « Extraction, modification et réintégration d’une ressource média » à la page 111. Pour en savoir plus sur l’extraction d’un projet Final Cut Pro, consultez « Extraction d’un projet Final Cut Pro » à la page 124. Pour en savoir plus sur l’extraction d’une ressource de projet Final Cut Studio ou sur l’extraction d’une ressource regroupée, consultez le chapitre 7, « Utilisation de projets Final Cut Studio », à la page 135. Prepare for Disconnected Use Crée des copies d’alias des ressources média. Vous pouvez utiliser cette action pour créer des copies de ressources vidéo, puis utiliser ces ressources pour créer un nouveau projet Final Cut Pro tandis que vous êtes déconnecté du réseau Final Cut Server. Pour toute information complémentaire sur l’utilisation d’un projet Final Cut Pro existant lorsque vous n’êtes pas connecté au réseau Final Cut Server, consultez « Utilisation de projets Final Cut Pro endehors du réseau Final Cut Server » à la page 130. Chapitre 4 Utilisation de Final Cut Server 85 À propos de la fenêtre Asset Info Lorsque vous double-cliquez sur une ressource dans la sous-fenêtre Assets ou depuis le contenu une production, la fenêtre d’information de la ressource apparaît. Final Cut Server utilise les informations contenues dans la fenêtre d’information pour suivre et gérer la ressource. Lock/Unlock Empêche les autres utilisateurs de modifier le fichier contenu dans la ressource. Pour en savoir plus sur le verrouillage, consultez « Verrouillage et déverrouillage d’une ressource » à la page 94. Archive to/Restore L’archivage d’une ressource crée une copie de la ressource pouvant être restaurée. Pour en savoir plus sur l’archivage, consultez « Archivage et restauration de ressources média » à la page 162. New Production from Selection Crée une nouvelle production pour la ou les ressources sélectionnées. Pour en savoir plus, consultez « Organisation des ressources à l’aide de productions » à la page 59. Duplicate Crée une copie d’une ressource. Pour en savoir plus, consultez « Duplication d’une ressource » à la page 103. Export Crée une copie de la ressource sur le système de fichiers local ou sur un volume externe. Pour en savoir plus, consultez « Sortie d’un projet final » à la page 159. Delete Supprime la ressource, son fichier de représentation principale et tous ses fichiers proxy du catalogue Final Cut Server. Pour en savoir plus, consultez « Suppression de ressources Final Cut Server » à la page 164. Action Description Les icônes affichées dans la sous-fenêtre Assets apparaissent également dans la fenêtre d’information de la ressource individuelle. Cliquer sur n’importe lequel de ces boutons affiche des informations spé- cifiques sur la ressource.86 Chapitre 4 Utilisation de Final Cut Server À propos des fenêtres Media Asset Les fenêtres d’information de la ressource média contiennent des sous-fenêtres destinées aux informations relatives aux métadonnées, aux ressources, aux versions, aux verrous, ainsi qu’à la fonction Review and Approve.  Sous-fenêtre Metadata : cette sous-fenêtre affiche les métadonnées pour la ressource et son fichier de représentation principale. Vous pouvez mettre à jour n’importe quel champ de cette sous-fenêtre en saisissant du texte ou une valeur, puis en cliquant sur le bouton Save Changes.  Sous-fenêtre Resources : cette sous-fenêtre affiche les informations sur les fichiers de représentation principale et les fichiers proxy créés pour la ressource. Elle affiche également d’autres emplacements où la ressource est utilisée et d’autres ressources auxquelles celle-ci est reliée. Chapitre 4 Utilisation de Final Cut Server 87  Sous-fenêtre Versions : cette sous-fenêtre affiche différentes versions créées pour la ressource. Pour en savoir plus sur la création de versions, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91.  Sous-fenêtre Locks : cette sous-fenêtre affiche les informations sur tout verrou sur la ressource. Pour en savoir plus sur les verrous, consultez « Verrouillage et déverrouillage d’une ressource » à la page 94.88 Chapitre 4 Utilisation de Final Cut Server  Sous-fenêtre Review and Approve : si votre administrateur Final Cut Server a configuré la fonction Review and Approve, la sous-fenêtre Review & Approve est utilisée pour l’envoi de courriers de notification de révision. Votre administrateur Final Cut Server doit configurer cette fonction pour qu’elle fonctionne correctement. Pour en savoir plus sur la fonction Review and Approve, consultez « À propos de la fonction Review and Approve » à la page 152. La fenêtre d’information d’une ressource média contient également un bouton Refresh, que vous pouvez utiliser pour mettre à jour la fenêtre d’information de la ressource, ainsi qu’un menu local Action, qui contient les actions les plus courantes. La fenêtre d’information d’une ressource vidéo contient également un bouton Annotations, qui ouvre la fenê- tre Annotations. Les ressources vidéo disposent d’un bouton Annotations. Menu local Action Bouton RefreshChapitre 4 Utilisation de Final Cut Server 89 À propos des fenêtres d’information du projet Final Cut Pro Une fenêtre d’information pour les projets Final Cut Pro diffère légèrement des fenêtres pour les autres types de ressources. Son menu local Action ne dispose pas de tous les éléments du menu local Action pour les autres types de ressources car certaines actions ne peuvent pas être effectuées sur une ressource Final Cut Pro. Elle contient également une sous-fenêtre supplémentaire, la sous-fenêtre Elements. Les éléments du projet Final Cut Pro sont des représentations des plans utilisés dans le projet Final Cut Pro. Final Cut Server crée les éléments à partir des ressources média créées lorsque le projet Final Cut Pro est téléchargé du Final Cut Server. Pour en savoir plus sur les éléments, consultez « Téléchargement de projets Final Cut Pro » à la page 39. Affichage d’une ressource Vous pouvez afficher plusieurs ressources vidéo, audio et image. Pour les ressources vidéo et image, vous pouvez choisir d’afficher les données d’origine du fichier ou l’un des nombreux fichiers proxy. Une fois que vous avez choisi un type de fichiers à afficher, il s’ouvre dans QuickTime Player ou dans une autre application appropriée (il peut s’agir de l’application dans laquelle le fichier a été créé). Remarque : n’oubliez pas que Final Cut Server ne peut pas prévisualiser les ressources regroupées, Final Cut Pro ou d’autres fichiers du projet. La sous-fenêtre Elements affiche les éléments qui font partie du projet Final Cut Pro. Fenêtre d’information de la ressource du projet Final Cut Pro.90 Chapitre 4 Utilisation de Final Cut Server Pour afficher une ressource, procédez de l’une des manières suivantes : m Cliquez sur l’icône média dans la vignette de la ressource. m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez View et un format d’affichage dans le menu contextuel. La ressource sélectionnée apparaît dans une application d’affichage appropriée. Le plan vidéo illustré dans cet exemple apparaît dans QuickTime Player. Lorsque vous affichez une image, l’image en taille réelle apparaît. Toutes les informations et les métadonnées d’un fichier de données et de sa ressource sont affichées dans la fenêtre d’information de la ressource. Cliquez sur l’icône d’une ressource pour l’afficher.Chapitre 4 Utilisation de Final Cut Server 91 Ajout de versions pour une ressource média ou de projet Final Cut Server peut suivre une ressource lorsque vous la modifiez, fournissant une version pour chaque modification apportée à la représentation principale de chaque fichier. Si votre administrateur Final Cut Server a activé le contrôle de versions de ressource au cours du processus d’installation, il est possible que votre système soit déjà en train de créer des versions pour les ressources à mesure que vous les extrayez, puis les réintégrez. Vous pouvez voir si le contrôle de versions est activé pour une ressource en affichant la sous-fenêtre Versions dans la fenêtre d’information de la ressource. Lorsque la fonction de contrôle de versions est activée, vous pouvez afficher les versions d’une ressource dans la fenêtre d’information d’une ressource. Lorsque vous réintégrez une version mise à jour de la ressource, la version précédente apparaît dans la liste des versions. Final Cut Server numérote les versions dans leur ordre de création ; par conséquent, la version présentant le numéro le plus élevé est la version la plus récente de la ressource. Remarque : la version actuelle de la ressource n’apparaît pas dans la liste. Seule la version antérieure apparaît. Important : lorsque la fonction de contrôle de versions est activée pour une ressource, Final Cut Server crée une copie de chaque version qui est réintégrée. Avant d’activer Final Cut Server pour le suivi des versions d’une ressource, vérifiez que vous disposez de l’espace disque suffisant. Si vous avez des questions sur l’activation de la fonction de contrôle de versions pour une ressource particulière, contactez votre administrateur Final Cut Server. La case de la version est cochée, ce qui indique que le contrôle de versions est activé pour cette ressource. Trois versions existent pour cette ressource.92 Chapitre 4 Utilisation de Final Cut Server Pour vérifier que le contrôle de versions est activé pour une ressource : 1 Double-cliquez sur la ressource. 2 Cliquez sur le bouton Versions. 3 Si la case « Store and track versions of this asset » n’est pas cochée, faites-le. Pour extraire et modifier la ressource : 1 Sélectionnez la ressource, puis procédez de l’une des manières suivantes :  Cliquez sur le bouton Check Out de la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 2 Dans la fenêtre Check Out qui apparaît, saisissez un emplacement d’extraction, puis cliquez sur Check Out. 3 Modifiez la ressource. 4 Une fois la modification terminée, enregistrez la ressource. Pour réintégrer la ressource modifiée en tant que nouvelle version : 1 Sélectionnez la ressource, puis procédez de l’une des manières suivantes :  Cliquez sur le bouton Check In de la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. 2 Si vous le souhaitez, vous pouvez ajouter un commentaire dans le champ Version Comment de la fenêtre Check In qui apparaît. Cochez la case Versions pour pouvoir créer des versions pour cette ressource. Cliquez sur Versions pour activer les versions pour cette ressource. Chapitre 4 Utilisation de Final Cut Server 93 3 Cliquez sur le bouton Check In. Lorsque vous réintégrez une version mise à jour de la ressource, la version précédente apparaît dans la liste des versions. Important : vous ne verrez pas le commentaire que vous venez d’ajouter à la version réintégrée étant donné qu’il s’agit de la version actuelle et que la sous-fenêtre Versions affiche uniquement les versions antérieures. Lorsque vous cliquez sur une version tout en maintenant la touche Contrôle enfoncée dans la sous-fenêtre Versions, le menu contextuel qui apparaît inclut :  Get Info : sélectionnez cette option pour afficher les informations relatives à la version.  View : sélectionnez cette option pour afficher la version dans un visualiseur approprié.  New Asset from Version : cliquez sur cette option pour créer une nouvelle ressource à partir de la version ou pour copier la version sélectionnée d’une ressource sur un autre périphérique.  Revert to this Version : cliquez sur cette option pour supprimer les ressources créées après la version sélectionnée. Lorsque vous revenez à une version précédente, la version actuelle est remplacée par la version sélectionnée. Votre administrateur Final Cut Server a configuré la fonction de contrôle de versions pour répondre aux besoins de votre organisation. Pour obtenir plus d’informations sur d’autres manières de configurer le contrôle de versions, contactez votre administrateur Final Cut Server. Cliquez sur une version tout en maintenant la touche Contrôle enfoncée pour ouvrir un menu contextuel.94 Chapitre 4 Utilisation de Final Cut Server Verrouillage et déverrouillage d’une ressource Dans Final Cut Server, les verrous servent à protéger le fichier de représentation principale, les fichiers proxy et les métadonnées dans la ressource. Il existe plusieurs types de verrous. Le verrou User est le plus évident car c’est le seul verrou que vous appliquez manuellement. Le verrou User est appliqué à une ressource depuis la barre d’outils ou depuis le menu contextuel de la ressource. Vous pouvez savoir qu’une ressource est verrouillée lorsque vous voyez l’icône locked by me ou locked by other sur la vignette d’une ressource. Les verrous d’extraction et de référence ne sont pas appliqués manuellement. Ils sont appliqués lorsque vous extrayez une ressource du projet Final Cut Pro. Les rubriques suivantes décrivent les types de verrous que vous rencontrez dans Final Cut Server. L’icône de verrou jaune indique que vous avez verrouillé la ressource. Sélectionnez une ressource, puis cliquez sur le bouton Lock pour verrouiller ou déverrouiller une ressource. Une icône de verrou blanc indique qu’une autre personne a verrouillé une ressource.Chapitre 4 Utilisation de Final Cut Server 95 Verrou User Vous-même ou un autre utilisateur pouvez mettre un verrou User sur une ressource en cliquant sur le bouton Lock de la barre d’outils ou en choisissant Lock dans le menu contextuel de la ressource. Lorsqu’un verrou User est appliqué à une ressource, une icône de verrou (« locked by me » ou « locked by other ») apparaît sur la vignette de la ressource. En outre, le verrou qui était appliqué est noté en tant que verrou User dans la sous-fenêtre Locks de la fenêtre d’information de la ressource. Lorsque vous verrouillez la ressource, la représentation principale du fichier ne peut pas être modifiée, extraite, supprimée ou archivée par un autre utilisateur. Important : un verrou User ne vous empêche pas, vous ou un autre utilisateur, de modifier les métadonnées et les fichiers proxy de la ressource. Remarque : lorsque vous verrouillez une ressource, vous êtes la seule personne à pouvoir l’extraire correctement. Si une ressource est à la fois verrouillée manuellement et extraite, elle est verrouillée avec un verrou d’extraction et un verrou User. Si une autre personne que celle qui a verrouillé la ressource tente de l’extraire, l’extraction échoue. Verrou Checkout Un verrou d’extraction est appliqué lorsqu’une ressource est extraite par vous ou par un autre utilisateur. Lorsqu’une ressource est extraite, aucune partie de la ressource, notamment la représentation principale du fichier, les fichiers proxy ou les métadonnées, ne peut être modifiée ; de plus, la ressource ne peut pas être modifiée, extraite, supprimée ou archivée. La sous-fenêtre Locks affiche les détails du verrou. Le type de verrou montre qu’il s’agit d’un verrou d’extraction.96 Chapitre 4 Utilisation de Final Cut Server Pour en savoir plus sur l’extraction d’une ressource média, consultez « Extraction, modification et réintégration d’une ressource média » à la page 111. Pour en savoir plus sur l’extraction d’un projet Final Cut Pro, consultez « Extraction d’un projet Final Cut Pro » à la page 124. Consultez également Verrou de référence, ci-après. Pour en savoir plus sur l’extraction d’une ressource du projet Final Cut Studio, consultez le chapitre 7, « Utilisation de projets Final Cut Studio », à la page 135. Verrou de référence Lorsqu’une ressource du projet Final Cut Pro est extraite, la ressource du projet est verrouillée à l’aide d’un verrou Checkout. Outre le verrou Checkout, chacune des ressources média reliées au projet est verrouillée à l’aide d’un verrou de référence. Les verrous de réfé- rence ne sont pas indiqués sur la vignette de la ressource média ; vous pouvez uniquement trouver une preuve de verrou de référence dans la sous-fenêtre Locks de la fenêtre d’information de la ressource. Important : un verrou de référence n’empêche pas la modification des métadonnées du projet Final Cut Pro ou d’une ressource média par vous-même ou par un autre utilisateur ; il n’empêche pas non plus l’utilisation d’une ressource média dans un autre projet Final Cut Pro. Verrouillage et déverrouillage de ressources à l’aide d’un verrou User Cette rubrique explique comment verrouiller et déverrouiller une ressource à l’aide du verrou User. Seule la personne qui a verrouillé la ressource et votre administrateur Final Cut Server peuvent déverrouiller une ressource verrouillée. Si vous devez accéder à une ressource verrouillée, parlez-en à la personne qui l’a verrouillée ou à votre administrateur Final Cut Server. Le type de verrou montre qu’il s’agit d’un verrou de référence. Notez que rien n’indique que cette ressource est verrouillée.Chapitre 4 Utilisation de Final Cut Server 97 Pour appliquer un verrou User à une ressource, procédez de l’une des manières suivantes : m Sélectionnez la ressource dans la sous-fenêtre Assets, puis cliquez sur le bouton Lock de la barre d’outils. m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisissez Lock dans le menu contextuel. Une fois la ressource verrouillée, une icône de verrou apparaît sur la ressource, indiquant qu’elle est verrouillée. Dans d’autres clients Final Cut Server, l’icône de verrou est différente, indiquant qu’un autre utilisateur a verrouillé la ressource. Si vous préférez, vous pouvez cliquer sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisir Lock dans le menu contextuel. Sélectionnez la ressource, puis cliquez sur le bouton Lock. Le verrou jaune indique que vous avez verrouillé la ressource. Le verrou blanc indique qu’un autre utilisateur a verrouillé la ressource.98 Chapitre 4 Utilisation de Final Cut Server Pour déverrouiller une ressource que vous avez verrouillée, procédez de l’une des manières suivantes : m Sélectionnez la ressource dans la sous-fenêtre Assets, puis cliquez sur le bouton Unlock de la barre d’outils. m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisissez Unlock dans le menu contextuel. L’icône disparaît et la ressource est déverrouillée. Si une ressource est verrouillée par un autre utilisateur, vous pouvez ouvrir la fenêtre d’information de cette ressource et afficher la sous-fenêtre Locks pour savoir quel utilisateur l’a verrouillée. Sélectionnez la ressource, puis cliquez sur le bouton Unlock. Si vous préférez, vous pouvez cliquer sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisir Unlock dans le menu contextuel. Le champ Locked By affiche qui a verrouillé la ressource. Cette icône indique que cette ressource est verrouillée par une autre personne.Chapitre 4 Utilisation de Final Cut Server 99 Écriture d’annotations sur une ressource vidéo Vous pouvez ajouter des annotations à une ressource vidéo. Dans la fenêtre Annotations, vous pouvez afficher un plan vidéo, puis ajouter du texte à différents endroits du plan vidéo. Les annotations restant avec la ressource du plan dans Final Cut Server, elles sont utiles pour prendre des notes pour vous-même ou pour d’autres personnes de votre groupe de travail. Vous pouvez facilement afficher ces annotations dans Final Cut Server. Elles restent avec la ressource jusqu’à ce que vous les effaciez manuellement. Pour annoter une ressource vidéo : 1 Localisez la ressource vidéo que vous souhaitez annoter dans la sous-fenêtre Assets, dans une production ou dans la sous-fenêtre Elements de la ressource du projet Final Cut Pro. 2 Double-cliquez sur la ressource du plan pour afficher la fenêtre d’information de la ressource. 3 Cliquez sur le bouton Annotate dans la fenêtre d’information de la ressource. Fenêtre du visualiseur. Ajoutez des annotations ici. Annotations saisies. Cliquez sur le bouton Annotate de la fenêtre d’information d’une ressource vidéo.100 Chapitre 4 Utilisation de Final Cut Server La fenêtre Annotations apparaît. Vous devez marquer un point d’entrée ou un point de sortie pour chaque annotation. 4 Positionnez la tête de lecture au niveau du point d’entrée, en la faisant glisser ou en utilisant les commandes de navigation. Cliquez ensuite sur le bouton Mark In ou appuyez sur I sur votre clavier. Vous pouvez définir un point de sortie en suivant la même procédure. Important : les commandes du clavier ne sont pas disponibles lorsque le champ Annotation est actif. Cela vous permet de saisir des annotations dans le champ. Cliquez sur ce bouton pour ouvrir la fenêtre d’information de la ressource. Faites glisser ce curseur pour localiser des images de vidéos. Cliquez sur les boutons Mark In et Mark Out (ou appuyez sur la touche I ou O de votre clavier) pour marquer des points d’entrée et de sortie. Utilisez ces commandes pour lire et parcourir la vidéo.Chapitre 4 Utilisation de Final Cut Server 101 5 Saisissez un commentaire dans le champ Annotation, sous la fenêtre du visualiseur. 6 Pour ajouter l’annotation à la liste des annotations à droite, cliquez sur le bouton Add Annotation. L’annotation est ajoutée à la liste. Pour remplacer le texte d’une annotation existante : 1 Cliquez sur le bouton In Point ou le bouton Out Point dans la liste des annotations. 2 Dans le champ de texte Annotation, saisissez le nouveau texte pour l’annotation. 3 Cliquez sur Add Annotation. 4 Une zone de dialogue apparaît, vous demandant si vous souhaitez remplacer l’annotation. Cliquez sur Yes. L’annotation est remplacée. Cliquez sur le bouton Add Annotation pour enregistrer l’annotation. Annotation. Points d’entrée et de sortie associés à l’annotation. L’annotation que vous venez d’ajouter apparaît dans cette liste. Bouton In Point. Bouton Out Point.102 Chapitre 4 Utilisation de Final Cut Server Pour supprimer une ou plusieurs annotations sélectionnées de la liste des annotations : 1 Sélectionnez une ou plusieurs annotations que vous souhaitez supprimer. 2 Cliquez sur l’annotation tout en maintenant la touche Contrôle enfoncée, puis choisissez Delete Selected dans le menu contextuel. La ou les annotations sélectionnées sont supprimées. Pour supprimer toutes les annotations sur une ressource : 1 Sélectionnez toute annotation que vous souhaitez supprimer. 2 Cliquez sur l’annotation tout en maintenant la touche Contrôle enfoncée, puis choisissez Delete All dans le menu contextuel. 3 Une zone de dialogue apparaît, vous demandant de confirmer que vous souhaitez supprimer les annotations. Cliquez sur Yes. Toutes les annotations sont supprimées. Vous pouvez également cliquer sur le bouton Delete pour supprimer une seule annotation. Cliquez sur une annotation tout en maintenant la touche Contrôle enfoncée pour ouvrir ce menu contextuel.Chapitre 4 Utilisation de Final Cut Server 103 Duplication d’une ressource Choisir de dupliquer une ressource crée une copie de la ressource dans Final Cut Server. Si vous souhaitez créer deux itérations distinctes d’une ressource média ou de projet, vous pouvez facilement le faire en dupliquant la ressource. Pour dupliquer une ressource : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisissez Duplicate dans le menu contextuel. La fenêtre Duplicate apparaît. 2 Sélectionnez un périphérique de destination dans le menu local Destination. Si vous souhaitez placer le fichier dupliqué au sein de la structure de fichiers du périphérique, cliquez sur le bouton Choose et naviguez jusqu’à l’emplacement approprié de l’explorateur de fichiers. Le chemin d’accès au fichier de destination apparaît dans le champ Destination. 3 Si vous souhaitez associer la nouvelle ressource à une production, cliquez sur le bouton Choose à la droite de Production, sélectionnez une production, puis cliquez sur Open. La production sélectionnée apparaît dans le champ Associate with Production. 4 Si vous souhaitez transcoder la ressource, modifier l’ensemble de métadonnées ou ajouter des métadonnées à la ressource, cliquez sur le triangle d’affichage Advanced Options et procédez aux modifications nécessaires. 5 Cliquez sur le bouton Duplicate pour dupliquer le fichier et créer une nouvelle ressource.104 Chapitre 4 Utilisation de Final Cut Server Utilisation de la fonction Edit-in-place Votre administrateur Final Cut Server peut configurer la fonction Edit-in-place et créer des copies des ressources pour la modification directe sur un serveur Xsan ou sur d’autres emplacements de stockage partagés. Lorsque la fonction Edit-in-place est configurée, vous n’avez plus besoin de télécharger, de mettre en cache ou d’extraire la ressource ; à la place, vous pouvez faire glisser votre ressource directement depuis le catalogue de ressources vers une application pour la modification. Important : la fonction Edit-in-place doit être configurée par votre administrateur Final Cut Server. Contactez votre administrateur pour savoir si la fonction Edit-in-place est configurée avant d’essayer de l’utiliser. Monitoring des tâches Les fichiers sont constamment en cours de téléchargement par Final Cut Server. L’indicateur de progression des tâches, la fenêtre Downloads & Uploads et la fenêtre Search All Jobs affichent des informations sur la progression des fichiers en cours de téléchargement à partir de ou vers Final Cut Server. Indicateur Jobs in Progress L’indicateur Jobs in Progress apparaît dans le coin inférieur gauche de la fenêtre principale Final Cut Server lorsque les fichiers sont téléchargés. Il ressemble à un engrenage en rotation et indique qu’un certain nombre de tâches sont en cours. Indicateur Jobs in Progress. Cliquez sur ce bouton pour afficher la fenêtre Downloads & Uploads.Chapitre 4 Utilisation de Final Cut Server 105 Fenêtre Downloads & Uploads Pour en savoir plus sur les fichiers en cours de téléchargement, vous pouvez ouvrir la fenê- tre Downloads & Uploads, qui affiche les fichiers spécifiques en cours de téléchargement, ainsi que les informations relatives à leur état propre. Remarque : la fenêtre Downloads & Uploads n’affiche pas de détails sur les fichiers qui sont transcodés pour la création de fichiers proxy. Vous pouvez voir les détails relatifs au transcodage de ces fichiers dans la fenêtre Search All Jobs. Pour ouvrir la fenêtre Downloads & Uploads : m Cliquez sur le bouton Downloads et Uploads dans le coin inférieur gauche de la fenêtre principale Final Cut Server. Remarque : en cas d’échec d’un téléchargement, une icône d’erreur apparaît dans la fenêtre Downloads & Uploads. Vous devez effacer les tâches répertoriées dans cette fenêtre pour faire disparaître cette icône. Pour effacer les tâches répertoriées dans la fenêtre Downloads & Uploads : m Cliquez dans le coin inférieur gauche de la fenêtre Downloads & Uploads. Fenêtre Search All Jobs Vous pouvez obtenir des informations détaillées sur chacun des fichiers en cours de téléchargement dans la fenêtre Search All Jobs. À la différence de la fenêtre Downloads & Uploads, la fenêtre Search All Jobs contient un historique détaillé des tâches exécutées par Final Cut Server. Les tâches sont affichées pour la copie d’un fichier d’un emplacement vers un autre, le téléchargement de fichiers, la création de fichiers proxy de la nouvelle ressource, etc. Chaque tâche crée également plusieurs entrées d’historique pour chaque étape de l’opération. Pour limiter les tâches affichées dans la fenêtre Jobs, vous pouvez effectuer une recherche dans la fenêtre Jobs. Ouvrez le triangle d’affichage pour afficher les fichiers faisant partie d’une tâche.106 Chapitre 4 Utilisation de Final Cut Server Pour rechercher une ou plusieurs tâches spécifiques : 1 Choisissez Search All Jobs dans le menu local Server. La fenêtre Search All Jobs apparaît. 2 Saisissez vos critères de recherche en procédant de l’une des manières suivantes :  Saisissez un mot ou une valeur dans le champ de recherche et limitez la recherche aux fichiers contenant le terme de recherche dans leur titre à l’aide de l’option Contains (more results) ou aux fichiers correspondant exactement au terme de recherche à l’aide de l’option Matches Word (faster).  Cliquez sur le triangle d’affichage de recherche pour afficher les options de recherche avancée. Choisissez un limiteur dans le menu local et saisissez une valeur dans un ou plusieurs champs de recherche. 3 Lorsque vous avez saisi les critères de recherche des tâches, cliquez sur le bouton Search. Les tâches correspondant à vos critères de recherche sont répertoriées dans la fenêtre Search All Jobs. N’oubliez pas que vos résultats de recherche peuvent s’étendre sur plusieurs pages ; vous pouvez parcourir les résultats de recherche à l’aide des commandes de page, tout à droite. Choisissez Search All Jobs dans le menu local. Cliquez sur le bouton Server. Cliquez sur ce bouton pour voir les options de recherche avancée. Saisissez un terme de recherche.Chapitre 4 Utilisation de Final Cut Server 107 Définition des préférences du client Final Cut Server Votre administrateur Final Cut Server est responsable de la configuration de la plupart des préférences qui vous affectent lors de l’utilisation de votre client Final Cut Server. Toutefois, vous avez la possibilité de modifier quelques réglages dans votre copie de client uniquement. Pour configurer les réglages des préférences utilisateur, procédez de l’une des manières suivantes : m Choisissez Final Cut Server > Preferences. m Choisissez Preferences dans le menu local Server (le menu local de la fenêtre principale Final Cut Server qui apparaît lorsque vous cliquez sur le bouton Server). Pour apporter des modifications dans la fenêtre Preferences : m Saisissez un nombre ou un chemin d’accès au fichier (en cliquant sur le bouton Choose, puis en spécifiant un chemin d’accès au fichier) dans le champ que vous souhaitez modifier, puis cliquez sur le bouton Apply Changes. À propos des préférences de recherche Les préférences de recherche contrôlent le nombre de résultats trouvés par Final Cut Server et le nombre d’éléments affichés par page. Cela peut être utile si vous avez un écran large ou petit. Les préférences de recherche incluent :  Maximum # of Search Results : saisissez une valeur représentant le nombre maximal d’éléments qui apparaissent après une recherche.  Items Per Page : les résultats de recherche sont divisés en pages pour que l’affichage soit plus efficace. Vous pouvez entrer une valeur qui définit le nombre d’éléments apparaissant sur chaque page.  Remember the last search : cochez cette case pour que Final Cut Server mémorise et exécute, lors de la prochaine connexion, la dernière recherche que vous avez effectuée. Vous pouvez modifier l’affichage des résultats de recherche dans votre client. Vous pouvez définir l’emplacement et la taille de votre mémoire cache. 108 Chapitre 4 Utilisation de Final Cut Server À propos des préférences du cache Le cache est l’emplacement où sont téléchargées vos copies locales des fichiers de données. Il n’est pas recommandé que les utilisateurs affichent ou déplacent des fichiers qui se trouvent dans le cache. Exportez plutôt des copies de fichiers que vous souhaitez utiliser vers votre bureau ou vers un autre emplacement pratique. Toutefois, vous pouvez décider de l’emplacement de votre cache. Dans la fenêtre Preferences, vous pouvez modifier l’emplacement et la taille du cache. Vous pouvez également l’effacer rapidement dans la fenêtre Preferences. Les préférences de cache incluent :  Emplacement du cache : cliquez sur le bouton Choose pour choisir un emplacement à utiliser pour le stockage de vos caches. Les emplacements par défaut sont /utilisateur/ Bibliothèque/Caches/ lorsque vous exécutez le client sur un ordinateur Macintosh et le répertoire /username/AppData/ sur un ordinateur Windows. Important : la modification de l’emplacement du cache se traduit par le fait que tous les caches actuels deviennent indisponibles. Si vous modifiez l’emplacement du cache, vous devez ajouter manuellement les ressources dont vous avez besoin sur le nouvel emplacement du cache.  Maximum Cache Size : saisissez une valeur pour définir une taille de cache maximale.  Clear Cache : cliquez sur le bouton Clear Cache pour supprimer les fichiers dans l’emplacement du cache.  Saved aliases for prepared media files : cliquez sur le bouton Choose pour choisir un emplacement à utiliser pour le stockage des alias sur les fichiers cache. Cet emplacement est utilisé lorsque vous choisissez l’option Prepare for Disconnected Use pour les ressources. Remarque : si votre cache local dépasse la limite définie dans la fenêtre Preferences, un message d’erreur apparaît, vous conseillant de supprimer le cache, d’annuler l’action ou de la poursuivre. Il est recommandé de choisir de supprimer votre cache. À propos du champ Saved Aliases for Prepared Media Files Préparer des ressources média pour une utilisation déconnectée vous permet de créer des copies d’alias d’un fichier de données qui est stocké dans votre cache Final Cut Server sur un ordinateur portable. Vous pouvez utiliser les fichiers d’alias pour créer un nouveau projet Final Cut Pro lorsque vous êtes déconnecté du réseau Final Cut Server. Vous pouvez définir l’emplacement où Final Cut Server enregistre les copies d’alias des fichiers de données préparés dans la fenêtre Preferences. Pour en savoir plus sur la préparation de ressources média pour une utilisation déconnectée, consultez « Préparation de ressources média en vue d’une utilisation sur un ordinateur non connecté au réseau Final Cut Server » à la page 113.5 109 5 Utilisation des ressources média Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos de la mise en cache (p. 109)  Extraction, modification et réintégration d’une ressource média (p. 111)  Préparation de ressources média en vue d’une utilisation sur un ordinateur non connecté au réseau Final Cut Server (p. 113)  Exportation de ressources média (p. 117) Ce chapitre explique comment modifier les ressources média, notamment les plans vidéo et les graphismes, dans des applications autres que Final Cut Server. Vous pouvez modifier la copie gérée d’une ressource média en extrayant cette ressource, puis en modifiant le fichier extrait et en le réintégrant lorsque vous avez terminé les modifications. Un flux de travaux séparé est fourni pour préparer les fichiers de données qui seront utilisés dans le nouveau projet Final Cut Pro que vous créez lorsque vous n’êtes pas connecté au réseau Final Cut Server. Vous pouvez également copier ou exporter la copie non gérée d’une ressource média à partir de Final Cut Server. À propos de la mise en cache Mettre en cache une ressource signifie la télécharger dans le cache Final Cut Server de votre ordinateur local. Lorsque vous avez mis en cache une ressource média, vous pouvez l’extraire et travailler sur cette copie gérée dans une autre application, en faire glisser une copie à partir de Final Cut Server ou en exporter une copie et créer une copie non gérée. Vous pouvez déterminer qu’une ressource est en cache par la couleur de sa vignette, qui devient gris clair. Remarque : si votre système Final Cut Server est connecté à un périphérique de réseau de stockage (SAN) Xsan Apple et que la fonction edit-in-place est activée, vos ressources sont toujours mises en cache et prêtes à être utilisées. Pour en savoir plus, contactez votre administrateur Final Cut Server.110 Chapitre 5 Utilisation des ressources média Final Cut Server affiche une invite lorsque vous devez mettre en cache une ressource ; pour effectuer cette opération, il vous suffit donc souvent de cliquer sur le bouton Add to Cache qui s’affiche dans la zone de dialogue d’invite. Cependant, vous pouvez également ajouter manuellement une ressource à votre cache Final Cut Server. Pour ajouter une ressource à votre cache : m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Add to Cache dans le menu contextuel. Lorsqu’une ressource est mise en cache, son arrière-plan change de couleur et devient gris clair. Dans certaines situations, un fichier stocké dans votre cache Final Cut Server peut arriver à expiration. Dans un tel cas, une icône apparaît sur la ressource, indiquant que le fichier mis en cache pour cette ressource a expiré. 4_2, dont l’arrière plan est d’un gris plus clair, est mise en cache. Cette icône indique que le fichier mis en cache pour cette ressource a expiré.Chapitre 5 Utilisation des ressources média 111 Pour corriger un fichier expiré : m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Remove from Cache dans le menu contextuel. Cette icône disparaît, indiquant que le fichier expiré a été retiré de votre cache Final Cut Server. Vous pouvez modifier plusieurs réglages pour votre cache Final Cut Server dans les préfé- rences Final Cut Server. Pour en savoir plus, consultez « À propos des préférences du cache » à la page 108. Important : Final Cut Server gère les fichiers situés dans le cache de votre ordinateur local. Dans la plupart des cas, vous n’avez pas besoin de travailler manuellement dans le cache de votre ordinateur. Si vous souhaitez modifier votre cache, contactez votre administrateur Final Cut Server. Extraction, modification et réintégration d’une ressource média Une ressource média est très simple à utiliser, car elle ne représente qu’un simple fichier de données. Pour modifier une ressource média, vous pouvez l’extraire, la modifier, puis la réintégrer dans Final Cut Server. Une ressource média peut également être exportée, modifiée, puis téléchargée dans Final Cut Server en tant que nouvelle ressource ; cependant, lorsque vous exportez une ressource média, celle-ci n’est plus gérée par Final Cut Server. Si vous appliquez des modifications au fichier de données et souhaitez que Final Cut Server en assure de nouveau la gestion, vous devez créer une nouvelle ressource pour le fichier, en le réinté- grant dans Final Cut Server. Bien qu’une ressource média représente un simple fichier de données, elle est rarement utilisée seule. Les ressources média peuvent être référencées en tant qu’éléments d’une ressource de projet Final Cut Pro ou référencées dans d’autres ressources de projet Final Cut Studio. Lorsque vous modifiez une ressource, il peut vous arriver de modifier par inadvertance la manière dont la ressource apparaît dans différentes ressources de projet. Il est donc préférable de toujours consulter la sous-fenêtre Resources d’une ressource média, afin de vérifier les projets auxquels cette ressource est associée. Si vous savez que vos modifications affecteront tous les projets auxquels la ressource est associée, appliquez ces modifications sans vous poser de questions. Si vous ne reconnaissez pas les ressources associées indiquées dans la sous-fenêtre Resources, envisagez plutôt d’exporter la ressource, puis de la télécharger en tant que nouvelle ressource média et de remplacer manuellement cette ressource dans les projets concernés. Cette opération est peut être un peu plus longue, mais elle vous évitera, à vous et à vos collègues, des heures de travail par la suite pour réparer les dégâts causés. N’oubliez pas que, lorsqu’une ressource média est extraite, cette ressource ne peut pas être modifiée, extraite, supprimée ou archivée par un autre utilisateur. 112 Chapitre 5 Utilisation des ressources média Pour extraire une ressource média, la modifier et réintégrer le fichier de données dans Final Cut Server : 1 Recherchez la ressource média que vous souhaitez extraire. 2 Procédez de l’une des manières suivantes :  Sélectionnez la ressource, puis cliquez sur le bouton Check Out dans la barre d’outils.  Cliquez sur la ressource média tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 3 Dans la fenêtre Check Out qui s’affiche, sélectionnez l’emplacement d’enregistrement du fichier de données extrait. 4 Cliquez sur le bouton Check Out. 5 Pour ouvrir le fichier dans son application d’origine, procédez de l’une des manières suivantes :  Faites glisser le fichier de Final Cut Server vers l’icône de l’application, sur votre Dock.  Faites glisser le fichier de son emplacement d’extraction jusqu’à l’icône de l’application d’origine, sur votre Dock.  Ouvrez le fichier dans son application d’origine, en sélectionnant File > Open. 6 Modifiez le fichier. 7 Enregistrez le nouveau fichier à l’emplacement d’extraction. Important : si vous enregistrez le fichier ailleurs qu’à son emplacement d’extraction initial, Final Cut Server ne pourra pas en assurer la gestion. Cliquez sur le bouton Check Out.Chapitre 5 Utilisation des ressources média 113 8 Dans Final Cut Server, réintégrez le fichier en procédant de l’une des manières suivantes :  Sélectionnez la ressource extraite, puis cliquez sur le bouton Check In dans la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. Si la fonction de contrôle de version est désactivée, la ressource est réintégrée. 9 Si cette fonction est activée, une fenêtre Check In s’affiche. Le cas échéant, saisissez un commentaire pour la version et cliquez sur Check In. Pour en savoir plus sur le contrôle de version, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91. La ressource média mise à jour est réintégrée dans Final Cut Server et l’icône d’extraction disparaît de la vignette de la ressource. Préparation de ressources média en vue d’une utilisation sur un ordinateur non connecté au réseau Final Cut Server Vous aurez parfois besoin de sélectionner des ressources média pouvant être utilisées dans un nouveau projet Final Cut Pro créé alors que vous n’êtes pas connecté au réseau Final Cut Server. Préparer des ressources média pour une utilisation hors connexion vous permet de créer des copies d’alias d’un fichier de données stocké dans le cache Final Cut Server de votre ordinateur local. Ensuite, lorsque vous n’êtes plus connecté au réseau Final Cut Server, vous pouvez ajouter ces fichiers de données à un nouveau projet Final Cut Pro. Lorsque vous vous reconnectez au réseau Final Cut Server, il vous suffit de télécharger le nouveau projet Final Cut Pro dans Final Cut Server. Ceci crée une nouvelle ressource pour le projet Final Cut Pro, mais, comme les ressources média existent déjà dans Final Cut Server, les données ne sont pas téléchargées. Important : vous pouvez préparer les fichiers pour une utilisation hors connexion uniquement si votre ordinateur portable dispose d’un cache Final Cut Server local. Vous ne pouvez pas préparer les fichiers pour une utilisation hors connexion et les placer sur un disque externe.114 Chapitre 5 Utilisation des ressources média Pour préparer des ressources média à une utilisation hors connexion : 1 Sélectionnez Preferences dans le menu local Server (menu local de la fenêtre principale de Final Cut Server, qui apparaît lorsque vous cliquez sur le bouton Server). 2 Dans la fenêtre Preferences de Final Cut Server, vérifiez l’emplacement prévu pour les fichiers d’alias. Si vous souhaitez changer d’emplacement, cliquez sur Choose et saisissez le nouvel emplacement sur votre ordinateur local ; terminez en cliquant sur Apply Changes pour enregistrer le nouvel emplacement. 3 Dans la sous-fenêtre Assets, sélectionnez les ressources média que vous souhaitez préparer pour une utilisation hors connexion.  Pour sélectionner une série d’éléments, cliquez sur un élément, maintenez la touche Maj enfoncée, puis cliquez sur le dernier élément de la série.  Pour sélectionner plusieurs éléments individuels, maintenez la touche Commande enfoncée et cliquez sur les éléments souhaités, même s’ils ne sont pas l’un à côté de l’autre. 4 Cliquez sur l’une des ressources sélectionnées tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Prepare for Disconnected Use dans le menu contextuel. Cliquez sur le bouton Choose. Les copies d’alias des fichiers de données sont placées à l’endroit spécifié dans ce champ. Sélectionnez « Prepare for Disconnected Use ».Chapitre 5 Utilisation des ressources média 115 Les fichiers sont copiés dans le cache Final Cut Server et les copies d’alias des fichiers sont placées à l’endroit spécifié dans le champ « Saved aliases for prepared media files » de la fenêtre Preferences. Pour créer un projet Final Cut Pro à l’aide des fichiers préparés pour une utilisation hors connexion : 1 Créez un nouveau projet dans Final Cut Pro. 2 Faites glisser les fichiers d’alias vers le nouveau projet. Important : vérifiez le chemin d’accès aux fichiers de données pour l’emplacement « Prepared for Disconnected Use ». Ne déplacez pas les alias et ne changez pas le nom des fichiers. Vous pouvez également ajouter des fichiers de données non gérés par Final Cut Server au nouveau projet Final Cut Pro. Lorsque vous téléchargez le nouveau projet Final Cut Pro dans Final Cut Server, ces nouveaux fichiers sont téléchargés en tant que nouvelles ressources média. 3 Modifiez le projet. 4 Lorsque vous avez terminé, enregistrez le projet. La dernière étape de cette procédure consiste à télécharger le nouveau projet Final Cut Pro dans Final Cut Server. Lorsque vous téléchargez le projet, les ressources média que vous avez préparées pour une utilisation hors connexion sont mises à jour, si nécessaire, dans Final Cut Server ; le nouveau projet Final Cut Pro est téléchargé en tant que nouvelle ressource et les éventuels nouveaux fichiers de données sont téléchargés dans Final Cut Server en tant que nouvelles ressources média.116 Chapitre 5 Utilisation des ressources média Pour télécharger le nouveau projet Final Cut Pro dans Final Cut Server : 1 Procédez de l’une des manières suivantes :  Faites glisser le fichier de projet Final Cut Pro depuis Finder jusqu’à la colonne de gauche de la fenêtre principale de Final Cut Server, la sous-fenêtre Assets ou une production.  Sélectionnez Upload File dans le menu local Server (menu local de la fenêtre principale de Final Cut Server, qui s’affiche lorsque vous cliquez sur le bouton Server), sélectionnez le fichier de projet Final Cut Pro dans l’explorateur de fichiers, puis cliquez sur Upload. La fenêtre Upload de Final Cut Pro s’affiche. 2 Certaines informations contenues dans la fenêtre Upload de Final Cut Pro sont saisies automatiquement. Si nécessaire, vous pouvez modifier l’ensemble de métadonnées ou ajouter des métadonnées pour le nouveau projet Final Cut Pro et les données associées. Cliquez ici pour parcourir les catégories de métadonnées situées à gauche et afficher toutes les trames de métadonnées disponibles. 3 Si vous souhaitez intégrer la ressource de projet Final Cut Pro à une production, cliquez sur Choose, à droite du champ Associate with Production, et spécifiez la production souhaitée. Pour en savoir plus sur les productions, consultez « Organisation des ressources à l’aide de productions » à la page 59. 4 Cliquez sur Upload. Le fichier est téléchargé et une nouvelle ressource est créée. La progression du télé- chargement s’affiche au-dessus de la sous-fenêtre Information, en bas à gauche de la fenêtre principale de Final Cut Server. 5 Si vous souhaitez surveiller la progression du téléchargement des fichiers, cliquez sur le bouton Downloads and Uploads pour afficher la fenêtre Downloads & Uploads. Lorsque le fichier est téléchargé, sélectionnez la sous-fenêtre Assets et cliquez sur le bouton Search pour afficher la nouvelle ressource ou les ressources créées à partir du fichier de projet Final Cut Pro, ainsi que tous les nouveaux fichiers de données.Chapitre 5 Utilisation des ressources média 117 Exportation de ressources média La fonction d’exportation est utile lorsque vous souhaitez créer une copie des fichiers de données, à des fins de modification, ou créer une copie de sauvegarde. Vous pouvez exporter une copie de ressources média, même si la ressource a été verrouillée ou extraite par un autre utilisateur. Important : lorsque vous avez exporté une ressource média, le fichier exporté n’est plus géré par Final Cut Server. Si vous souhaitez créer une copie gérée de la ressource, pouvant être réintégrée et suivie par Final Cut Server, vous devez extraire la ressource. Pour exporter une ou plusieurs ressources média : 1 Sélectionnez une ou plusieurs ressources, cliquez sur une ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Export ou Multiple Export s’affiche. 2 Dans cette fenêtre, choisissez l’emplacement d’enregistrement des fichiers de données, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans l’explorateur de fichiers. 3 Si vous le souhaitez, sélectionnez un réglage de transcodage. 4 Si vous exportez un fichier unique, vous pouvez également en changer le nom. 5 Cliquez sur le bouton Start. Le fichier de données est exporté à l’emplacement que vous avez spécifié dans la fenêtre Export. 6 119 6 Utilisation des projets Final Cut Pro Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos des projets Final Cut Pro (p. 120)  Utilisation conjointe de Final Cut Pro et de Final Cut Server (p. 121)  Déplacement de projets Final Cut Pro entre Final Cut Server et Final Cut Pro (p. 123)  Extraction d’un projet Final Cut Pro (p. 124)  Modification d’un projet extrait dans Final Cut Pro (p. 126)  Réintégration d’un projet Final Cut Pro (p. 127)  Création de copies de travail pour les ressources de projet Final Cut Pro (p. 129)  Utilisation de projets Final Cut Pro en-dehors du réseau Final Cut Server (p. 130)  Exportation d’un projet Final Cut Pro (p. 133) Ce chapitre explique comment utiliser des projets Final Cut Pro. Vous pouvez notamment modifier des projets Final Cut Pro en extrayant la ressource du projet, en modifiant le fichier extrait dans Final Cut Pro et en réintégrant le fichier modifié dans Final Cut Server. Un flux de travaux distinct est fourni pour la modification d’une copie de projet Final Cut Pro gérée par Final Cut Server, lorsque vous n’êtes pas connecté au réseau Final Cut Server. Vous pouvez également exporter une copie de projet Final Cut Pro à partir de Final Cut Server.120 Chapitre 6 Utilisation des projets Final Cut Pro À propos des projets Final Cut Pro Lorsque vous téléchargez un projet Final Cut Pro dans Final Cut Server, le projet Final Cut Pro est téléchargé sous forme de ressource et chaque fichier de données relié à la ressource de projet Final Cut Pro est également téléchargé sous forme de ressource média indépendante, appelée élément de ce projet. Final Cut Server utilise les éléments pour assurer le suivi des ressources média reliées. Les éléments sont répertoriés dans la sous-fenêtre Elements de la ressource de projet. Une ressource de projet Final Cut Pro est toujours reliée à une ou plusieurs séquences Final Cut Pro, ainsi qu’aux données utilisées dans le cadre du projet. La relation d’élé- ment permet à plusieurs ressources de projet Final Cut Pro de référencer les mêmes ressources média. Pour afficher la ressource d’un élément : m Cliquez sur l’élément tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Show Master Asset dans le menu contextuel. La ressource référencée par l’élément s’ouvre. Afficher la ressource d’un élément peut être utile pour assurer le suivi des ressources source de cet élément. Chaque élément réfé- rence une ressource individuelle. Cliquez sur un élément en maintenant la touche Contrôle enfoncée pour ouvrir la fenêtre d’information de la ressource média. Cliquez sur Elements dans la fenêtre d’information d’une ressource de projet Final Cut Pro.Chapitre 6 Utilisation des projets Final Cut Pro 121 Utilisation conjointe de Final Cut Pro et de Final Cut Server Il existe plusieurs manières de travailler sur un projet Final Cut Pro :  Vous pouvez extraire le projet Final Cut Pro. L’extraction d’un projet Final Cut Pro est la méthode la plus efficace, car les projets et ressources média extraits sont gérés par Final Cut Server. Une fois que vous avez modifié le projet, vous pouvez le réinté- grer, mettant ainsi le projet à jour dans Final Cut Server. Vous avez également la possibilité d’activer la fonction de contrôle de versions, qui enregistre automatiquement les versions réintégrées du projet.  Vous pouvez exporter le projet Final Cut Pro. Cette opération est intéressante si vous avez besoin d’utiliser ou de partager une copie non gérée de votre projet Final Cut Pro. Cependant, il est important de noter que les projets Final Cut Pro exportés ne sont pas gérés par Final Cut Server. Si vous choisissez de mettre à jour un projet Final Cut Pro préalablement exporté à partir de Final Cut Server, vous devrez télécharger la version mise à jour en tant que nouvelle ressource Final Cut Server finale. Que vous téléchargiez un nouveau projet Final Cut Pro dans Final Cut Server ou que vous réintégriez une ressource de projet Final Cut Pro existante dans Final Cut Server, il est important de bien comprendre ce qui suit :  Final Cut Server ne prend pas en charge les hiérarchies de dossier dans le chutier Final Cut Pro. Les éléments que vous avez organisés dans le chutier Final Cut Pro apparaîtront donc sous une structure linéaire dans Final Cut Server.  Final Cut Server ne reconnaît pas les marqueurs définis dans Final Cut Pro. Les marqueurs et les commentaires de marqueur créés dans Final Cut Pro ne peuvent pas être affichés dans Final Cut Server. Cependant, lorsque vous extrayez ou exportez un projet Final Cut Pro à partir de Final Cut Server, les marqueurs et leur texte apparaissent de nouveau dans Final Cut Pro.  N’oubliez pas d’enregistrer les fichiers du projet extrait. Enregistrez les fichiers régulièrement et uniquement à l’emplacement d’extraction Final Cut Server. Ne déplacez pas ces fichiers de leur emplacement d’extraction.  N’oubliez pas que les projets exportés à partir de Final Cut Server ne sont plus gérés par Final Cut Server. Vous ne pouvez donc pas mettre à jour une ressource de projet Final Cut Pro existante dans Final Cut Server, à moins que vous ayez extrait, modifié et réintégré cette ressource. Si vous avez modifié un projet Final Cut Pro exporté ou dupliqué, celui-ci n’est plus géré par Final Cut Server. 122 Chapitre 6 Utilisation des projets Final Cut Pro Résolution de problèmes de données offline Après avoir téléchargé ou réintégré un projet Final Cut Pro, vous vous apercevrez peut-être qu’un ou plusieurs fichiers de données du projet ne sont plus en ligne. Vous le saurez car une icône Offline apparaît sur la ressource. Final Cut Server ne peut pas modifier les liens de données d’un projet Final Cut Pro. Lorsque Final Cut Server gère un projet Final Cut Pro, les données peuvent passer offline car la ressource du projet a été mal téléchargée ou parce que les fichiers de données sont passés offline lors de la modification du projet dans Final Cut Pro et que le téléchargement s’est fait avec les données offline. Si les données du projet ont fait l’objet d’un lien incorrect lors du téléchargement ou de la réintégration et si elles sont passées offline lors du téléchargement dans Final Cut Server, vous devez extraire le projet, recréer le lien pour les données, puis réintégrer le projet dans Final Cut Server. Si les données du projet ne sont pas reliées dans Final Cut Pro, tentez de créer un nouveau lien dans Final Cut Pro. Cette icône indique qu’un ou plusieurs fichiers de données du projet sont offline.Chapitre 6 Utilisation des projets Final Cut Pro 123 Déplacement de projets Final Cut Pro entre Final Cut Server et Final Cut Pro Après avoir téléchargé un projet Final Cut Pro, il est facile de réviser et de mettre à jour le projet original. Il vous suffit pour cela d’extraire le projet, de le modifier dans Final Cut Pro, de l’enregistrer, puis de le réintégrer. Lors de la réintégration, la ressource de projet Final Cut Server est mise à jour dans Final Cut Server. Important : votre administrateur Final Cut Server peut créer une copie de la ressource afin de la modifier directement sur un serveur Xsan ; ceci évite les opérations de télé- chargement, de cache et d’extraction de la ressource. En effet vous pouvez, à la place, faire glisser votre ressource directement de la sous-fenêtre Assets vers une application, pour modification. Pour ce faire, votre administrateur Final Cut Server doit configurer la fonction edit-in-place Demandez à votre administrateur Final Cut Server si cette fonction a été configurée pour votre système Final Cut Server. Vous pouvez enregistrer une version des ressources de projet précédentes en activant la fonction de contrôle de versions. Lorsque cette fonction est activée, vous pouvez enregistrer une copie chaque fois qu’une nouvelle version de la ressource est réintégrée. Pour en savoir plus sur le contrôle de versions, consultez la rubrique « Ajout de versions pour une ressource média ou de projet » à la page 91. N’oubliez pas que l’extraction du projet Final Cut Pro est la seule méthode existante pour assurer la maintenance de la ressource de projet. Si vous exportez une copie de la ressource Final Cut Pro ou si vous faites simplement glisser la ressource jusqu’à votre bureau, vous ne faites que créer une copie non gérée du projet Final Cut Pro, dont Final Cut Server n’assurera pas le suivi. Si vous apportez des modifications à un projet Final Cut Pro non géré, vous devrez le télécharger dans Final Cut Server en tant que nouvelle ressource.124 Chapitre 6 Utilisation des projets Final Cut Pro Extraction d’un projet Final Cut Pro L’opération d’extraction d’un projet Final Cut Pro crée une copie non gérée du projet, à l’emplacement que vous avez spécifié. Lorsque vous extrayez un projet Final Cut Pro, la représentation principale de la ressource de projet est verrouillée et ne peut pas être modifiée par d’autres utilisateurs. En outre, chaque ressource média utilisée dans le projet est également verrouillée pour référence et ne peut pas être modifiée par un autre utilisateur. Si la fonction Edit Proxy a été activée par votre administrateur Final Cut Server, vous avez la possibilité d’extraire les données d’origine ou le proxy de modification qui a été créé. L’utilisation des données d’origine permet d’obtenir la représentation principale de la ressource vidéo ; l’utilisation d’un proxy de modification permet d’obtenir le fichier de proxy de la ressource vidéo. Important : la fonction Edit Proxy peut être activée par votre administrateur Final Cut Server. Si cette fonction est désactivée, vous ne pourrez qu’extraire les données d’origine. Vous avez également la possibilité de créer une copie des données reliées d’un projet au moment de l’extraction. Toutes les données reliées étant copiées dans le cache de Final Cut Server, sur l’ordinateur, au moment de l’extraction, le seul moment où il est nécessaire d’inclure les données reliées est lors de l’extraction d’un projet sur un disque externe. Pour en savoir plus, consultez « Utilisation de projets Final Cut Pro endehors du réseau Final Cut Server » à la page 130.Chapitre 6 Utilisation des projets Final Cut Pro 125 Pour extraire un projet Final Cut Pro : 1 Dans la sous-fenêtre Assets ou dans une production, procédez de l’une des manières suivantes :  Sélectionnez le projet Final Cut Pro que vous souhaitez extraire, puis cliquez sur le bouton Check Out de la barre d’outils.  Tout en maintenant la touche Contrôle enfoncée, cliquez sur le projet Final Cut Pro que vous souhaitez extraire, puis sélectionnez Check Out dans le menu contextuel. La fenêtre Check Out Final Cut Pro s’affiche. 2 Dans la fenêtre Check Out du projet Final Cut Pro, sélectionnez un emplacement d’enregistrement pour le projet Final Cut Pro extrait, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans le navigateur de fichiers. Remarque : pour effectuer un suivi efficace des projets extraits, vous pouvez créer un dossier « Projets Final Cut Server extraits », ou un dossier similaire, sur le bureau ou à l’emplacement de votre choix. Sélectionnez la ressource Final Cut Pro et cliquez sur le bouton Check Out. Vous pouvez également sélectionner la ressource, puis choisir Check Out dans le menu contextuel. p Cliquez sur Choose pour spécifier un emplacement d’extracCliquez sur Check Out.126 Chapitre 6 Utilisation des projets Final Cut Pro 3 Si la fonction Edit Proxy n’est pas activée, les données d’origine seront utilisées par défaut. Si cette fonction est activée, sélectionnez Original Media ou Edit Proxy, dans le menu local Use. Ceci permet de définir le type de données utilisé lors de la modification de votre projet. Remarque : cochez la case Keep Media with Project uniquement si vous prévoyez de modifier le projet lorsque votre ordinateur ne sera pas connecté au réseau Final Cut Server. Pour en savoir plus, consultez « Utilisation de projets Final Cut Pro en-dehors du réseau Final Cut Server » à la page 130. 4 Cliquez sur le bouton Check Out. La ressource de projet Final Cut Pro est marquée de l’icône d’extraction, dans Final Cut Server. Une copie du projet est téléchargée à l’emplacement d’extraction préalablement spécifié. Toutes les données reliées au projet extrait sont ajoutées au cache Final Cut Server. Lorsque le projet est ouvert dans Final Cut Pro, les données en cache localement sont utilisées pour effectuer une reconnexion automatique au projet extrait. Vous pouvez suivre la progression de l’opération d’extraction via l’indicateur Jobs in Progress. Pour obtenir davantage d’informations, ouvrez la fenêtre Downloads & Uploads. Modification d’un projet extrait dans Final Cut Pro Une fois que vous avez extrait un projet Final Cut Pro, vous pouvez le modifier dans Final Cut Pro. Lorsque vous ouvrez un fichier appartenant à un projet que vous venez d’extraire dans Final Cut Pro, ce fichier de projet s’ouvre normalement en présentant tous ses liens de données intacts. Pour ouvrir un projet extrait dans Final Cut Pro : m Faites glisser le projet entre son emplacement d’extraction et l’icône Final Cut Pro du Dock. Le projet s’ouvre dans Final Cut Pro. Vous pouvez à présent le modifier comme vous le souhaitez. Remarque : normalement, vous n’avez pas à relier manuellement les fichiers de données du projet. Si cette opération est nécessaire, cela signifie certainement que le projet a été téléchargé dans Final Cut Server avec des données non reliées.Chapitre 6 Utilisation des projets Final Cut Pro 127 Pour enregistrer un projet Final Cut Pro extrait : m Enregistrez le projet à l’emplacement spécifié lors de l’extraction. Important : l’enregistrement doit se faire exactement au même endroit que l’extraction. Si vous n’enregistrez pas votre projet Final Cut Pro avant de le réintégrer, toutes vos modifications seront perdues. À propos de l’utilisation du Gestionnaire de données avec un projet extrait Divers problèmes de gestion des données peuvent surgir si vous utilisez le Gestionnaire de données Final Cut Pro pour organiser un projet géré par Final Cut Server. Vous pouvez vous servir du Gestionnaire de données pour organiser les données d’un projet, mais avant de le télécharger dans Final Cut Server. Il n’est pas recommandé d’utiliser le Gestionnaire de données lorsque le projet est géré par Final Cut Server. Réintégration d’un projet Final Cut Pro Lorsque vous réintégrez un projet Final Cut Pro dans Final Cut Server, le nouveau projet remplace l’ancien projet extrait. Toutes les données reliées (y compris les données inutilisées stockées dans un chutier ou un dossier) sont mises à jour et les éventuelles nouvelles données ajoutées sont téléchargées dans Final Cut Server. Si vous utilisez la fonction de contrôle de versions avec un projet Final Cut Pro, l’ancien projet extrait est enregistré en tant que copie de travail de la ressource de projet. Si vous n’utilisez pas cette fonction, l´ancienne ressource de projet est écrasée. La réintégration d’un projet supprime à la fois le verrou d’extraction appliqué à la ressource de projet Final Cut Pro et les verrous de référence appliqués aux ressources média.128 Chapitre 6 Utilisation des projets Final Cut Pro Pour réintégrer un projet dans Final Cut Server : 1 Dans la sous-fenêtre Assets ou dans une production, procédez de l’une des manières suivantes :  Sélectionnez la ressource souhaitée, puis cliquez sur le bouton Check In dans la barre d’outils.  Cliquez sur le projet tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. Lorsque vous réintégrez le projet, une fenêtre Check In s’affiche. 2 Si la fonction de contrôle de versions est activée, vous pouvez saisir des commentaires dans le champ Version Comments. 3 Si vous avez ajouté de nouveaux fichiers de données au projet Final Cut Pro, vous pouvez choisir un ensemble de métadonnées pour la nouvelle ressource média et ajouter ces métadonnées à n’importe quelle trame disponible. 4 Lorsque vous êtes prêt à réintégrer le projet, cliquez sur le bouton Check In. Sélectionnez la ressource Final Cut Pro et cliquez sur le bouton Check In. Vous pouvez également sélectionner la ressource, puis choisir Check In dans le menu contextuel. Si la fonction de contrôle de versions est activée, le champ Version Comments apparaît. Saisissez les métadonnées appropriées. Cliquez sur Check In.Chapitre 6 Utilisation des projets Final Cut Pro 129 Final Cut Server télécharge le nouveau projet modifié, ainsi que toutes les nouvelles données reliées au projet. Si la fonction de contrôle de versions est activée pour la ressource de projet, l’ancien projet est enregistré en tant que copie de travail ; si la fonction n’est pas activée, l’ancien projet est écrasé. Création de copies de travail pour les ressources de projet Final Cut Pro Final Cut Server peut assurer le suivi des fichiers de projet Final Cut Pro à mesure que vous les modifiez, en créant une copie de travail pour chaque nouvelle version modifiée du projet réintégrée dans Final Cut Server. Si votre administrateur Final Cut Server a activé la fonction de contrôle de versions pour la ressource, durant l’installation, le système crée peut-être déjà de nouvelles copies de travail pour chaque ressource modifiée. Important : lorsque la fonction de contrôle de versions est activée pour une ressource, Final Cut Server crée une copie de chaque version réintégrée. Avant d’activer le suivi des versions d’une ressource dans Final Cut Server, vérifiez que la capacité de votre disque est suffisante. Si vous avez des questions sur la pertinence de l’activation de la fonction de contrôle de versions, pour une ressource spécifique, contactez votre administrateur Final Cut Server. Pour créer une version d’une ressource de projet Final Cut Pro : 1 Vérifiez que la fonction de contrôle de versions est activée pour la ressource de projet Final Cut Pro concernée, en observant la procédure suivante : a Double-cliquez sur la ressource de projet pour afficher la fenêtre d’information correspondante. b Cliquez sur le bouton Versions. c Si la case « Store and track versions of this asset » n’est pas sélectionnée, cochez-la. 2 Extrayez le projet Final Cut Pro en procédant de l’une des manières suivantes :  Cliquez sur le bouton Check Out dans la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 3 Dans la fenêtre Check Out qui s’affiche, spécifiez un emplacement d’extraction et cliquez sur Check Out.130 Chapitre 6 Utilisation des projets Final Cut Pro 4 Modifiez le projet Final Cut Pro à votre convenance. 5 Lorsque vous avez terminé, enregistrez le projet. 6 Réintégrez le projet Final Cut Pro en procédant de l’une des manières suivantes :  Cliquez sur le bouton Check In dans la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 7 Ajoutez un commentaire dans la fenêtre qui s’affiche. 8 Cliquez sur le bouton Check In. Lorsque vous réintégrez une version de ressource modifiée, la version précédente apparaît dans la sous-fenêtre Versions de la fenêtre d’information de la ressource. Utilisation de projets Final Cut Pro en-dehors du réseau Final Cut Server Vous pouvez facilement utiliser des projets extraits lorsque votre ordinateur est déconnecté du réseau Final Cut Server. Lorsque vous extrayez un projet, vous pouvez choisir l’emplacement d’extraction pour ce projet. Vous pouvez également spécifier si vous souhaitez ou non inclure une copie des ressources média reliées, dans cet emplacement d’extraction. Saisissez ici vos commentaires sur cette version. Cochez cette case pour inclure une copie des fichiers de données reliés dans l’emplacement d’extraction.Chapitre 6 Utilisation des projets Final Cut Pro 131 La manière dont vous utilisez ces options dépend du périphérique sur lequel vous effectuez l’extraction. Vous pouvez extraire un projet sur un système connecté à Final Cut Server, par exemple un ordinateur portable, ou sur un disque externe. Si vous effectuez l’extraction sur un ordinateur connecté au réseau Final Cut Server (par exemple un ordinateur portable que vous utilisez aussi bien chez vous qu’au bureau), vous n’avez pas besoin d’inclure les données reliées lors de l’extraction. En effet, ces fichiers de données sont stockés dans le cache Final Cut Server, sur l’ordinateur. Le projet Final Cut Pro extrait fera référence aux fichiers de données stockés sur votre ordinateur local, ce même ordinateur que vous emportez à votre domicile pour effectuer des modifications. Une fois le projet extrait, vous pouvez donc emmener votre ordinateur avec vous et modifier le projet extrait alors que vous n’êtes pas connecté au réseau Final Cut Server. Lorsque vous retournez au bureau le jour suivant, il vous suffit d’ouvrir une session Final Cut Server et de réintégrer le projet modifié. Si vous extrayez le projet sur un disque externe, vous devez inclure les données reliées lors de l’extraction. Pour ce faire, cochez la case Keep Media with Project dans la fenêtre Check Out. Le cache Final Cut Server est stocké sur votre ordinateur local, donc un projet extrait sur un disque externe ne pourra pas accéder aux fichiers de données utilisés avec le projet Final Cut Pro. Pour pouvoir accéder à ces fichiers, vous devez les inclure dans l’opération d’extraction. Pour extraire un projet Final Cut Pro sur un ordinateur portable, à des fins de modification, sans être connecté au réseau Final Cut Server : 1 Ouvrez une session Final Cut Server avec l’ordinateur sur lequel vous souhaitez extraire le projet. 2 Dans Final Cut Server, recherchez la ressource de projet Final Cut Pro que vous souhaitez extraire. 3 Procédez de l’une des manières suivantes :  Sélectionnez le projet Final Cut Pro souhaité, puis cliquez sur le bouton Check Out dans la barre d’outils.  Cliquez sur ce projet Final Cut Pro tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 4 Dans la fenêtre Check Out de Final Cut Pro, choisissez l’emplacement d’extraction et enregistrez le projet Final Cut Pro extrait en cliquant sur le bouton Choose, puis en recherchant l’emplacement souhaité dans le navigateur de fichiers. Remarque : pour effectuer un suivi efficace des projets extraits, vous pouvez créer un dossier « Projets Final Cut Server extraits », ou un dossier similaire, sur le bureau ou à l’emplacement de votre choix. 132 Chapitre 6 Utilisation des projets Final Cut Pro 5 Cliquez sur le bouton Check Out. La ressource de projet Final Cut Pro est marquée de l’icône d’extraction, dans Final Cut Server. Le projet et ses fichiers de données sont téléchargés à l’emplacement de cache Final Cut Server et un alias de la copie mise en cache du projet Final Cut Pro est créé à l’emplacement que vous avez spécifié dans la fenêtre Check Out Final Cut Pro Project. Vous pouvez suivre la progression de l’extraction via l’indicateur Jobs in Progress. Le symbole d’engrenage en rotation indique que Final Cut Server télécharge actuellement les fichiers extraits ; le chiffre affiché indique le nombre de fichiers téléchargés. Pour en savoir plus, ouvrez la fenêtre Downloads & Uploads, qui indique précisément les fichiers téléchargés et contient des informations sur l’état de chacun d’eux. Pour extraire un projet Final Cut Pro sur un disque externe qui sera branché sur un ordinateur non connecté au réseau Final Cut Server : 1 Localisez le projet Final Cut Pro que vous souhaitez extraire. 2 Procédez de l’une des manières suivantes :  Sélectionnez le projet Final Cut Pro souhaité, puis cliquez sur le bouton Check Out dans la barre d’outils.  Cliquez sur ce projet Final Cut Pro tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 3 Dans la fenêtre Check Out de Final Cut Pro, recherchez le disque externe que vous utiliserez pour le transfert du projet Final Cut Pro en cliquant sur le bouton Choose, puis en recherchant l’emplacement correspondant dans le navigateur de fichiers. Remarque : pour effectuer un suivi plus efficace des projets extraits, vous pouvez créer un dossier « Projets Final Cut Server extraits » ou similaire. 4 Si la fonction Edit Proxy n’est pas activée, les données d’origine seront utilisées par défaut. Si cette fonction est activée, sélectionnez Original Media ou Edit Proxy, dans le menu local Use. Ceci permet de définir le type de données utilisé lors de la modification de votre projet. 5 Cochez la case Keep Media with Project. Important : si vous ne cochez pas cette case lors de l’extraction d’un projet sur un disque externe, vous ne pourrez plus accéder aux fichiers de données par la suite. Vérifiez que la case Keep Media with Project est cochée.Chapitre 6 Utilisation des projets Final Cut Pro 133 6 Cliquez sur Check Out. La ressource de projet Final Cut Pro est marquée de l’icône d’extraction, dans Final Cut Server. Le projet et ses fichiers de données sont extraits sur le disque externe, à l’emplacement que vous avez spécifié dans la fenêtre Check Out. Exportation d’un projet Final Cut Pro Vous pouvez exporter une copie de projet Final Cut Pro à des fins de modification, même si ce projet a été verrouillé ou extrait par un autre utilisateur. Lorsque vous effectuez une exportation sans transcodage, vous obtenez une simple copie du projet et de ses données, prête à être modifiée. Important : les fichiers de projet exportés ne peuvent pas être réintégrés ou référencés de quelque autre manière que ce soit dans la ressource de projet Final Cut Pro originale. Si vous souhaitez effectuer le suivi d’un projet Final Cut Pro exporté dans Final Cut Server, vous devez d’abord le télécharger en tant que nouvelle ressource. Pour exporter une copie de projet Final Cut Pro : 1 Cliquez sur la ressource de projet Final Cut Pro tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. 2 Dans la fenêtre Export de Final Cut Pro, sélectionnez l’emplacement souhaité pour l’enregistrement du fichier de projet Final Cut Pro exporté et ses données. Pour ce faire, cliquez sur le bouton Choose et recherchez l’emplacement souhaité dans le navigateur de fichiers. Remarque : pour effectuer un suivi efficace des projets exportés, vous pouvez créer un dossier « Projets Final Cut Server exportés », ou similaire, sur le bureau ou à l’emplacement de votre choix. 3 Si vous souhaitez créer une copie locale des données du projet, sélectionnez Original Media ou Edit Proxy dans le menu local Use.134 Chapitre 6 Utilisation des projets Final Cut Pro 4 Cochez la case Keep Media with Project. Vous obtenez ainsi une copie locale des fichiers de données. 5 Cliquez sur le bouton Export. Une copie du fichier de projet et de ses fichiers de données est exportée à l’emplacement que vous avez spécifié dans la fenêtre Export de Final Cut Pro. Important : n’oubliez pas que vous ne pouvez pas réintégrer un fichier de projet Final Cut Pro exporté dans Final Cut Server. Si vous souhaitez effectuer le suivi de cette copie exportée dans Final Cut Server, vous devez tout d’abord télécharger le fichier de projet en tant que nouvelle ressource. Cochez la case Keep Media with Project.7 135 7 Utilisation de projets Final Cut Studio Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos de la modification de ressources de projet Final Cut Studio (p. 135)  Extraction, modification et réintégration de ressources regroupées (p. 136)  Extraction, modification et réintégration de projets Final Cut Studio et de leurs fichiers de données (p. 138)  Exportation d’une ressource de projet et de ses données (p. 143) Ce chapitre est similaire au chapitre 6, « Utilisation des projets Final Cut Pro », car il explique comment exécuter les opérations présentées dans le Chapitre 6 pour les projets Motion, Soundtrack Pro et DVD Studio Pro et leurs fichiers de données reliées qui sont gérés par Final Cut Server. Toutefois, l’utilisation de ressources média et de projet Final Cut Studio nécessite des stratégies autres que l’utilisation de ressources de projet Final Cut Pro. Assurez-vous de lire les deux chapitres afin de vous familiariser avec les différentes utilisations des ressources de projet Final Cut Pro et Final Cut Studio et leurs fichiers de données reliées. À propos de la modification de ressources de projet Final Cut Studio Final Cut Server peut gérer les ressources des projets Soundtrack Pro, Motion et DVD Studio Pro et leurs fichiers de données reliées. À la différence des ressources de projet Final Cut Pro, les ressources de projet Final Cut Studio ne contiennent pas d’éléments qui représentent les fichiers de données reliées du projet. Par conséquent, les fichiers de données qui sont référencés par une ressource de projet Final Cut Studio doivent être explicitement suivis par les utilisateurs Final Cut Server. Final Cut Server offre deux méthodes de gestion des projets Final Cut Studio et de leurs fichiers de données reliées.136 Chapitre 7 Utilisation de projets Final Cut Studio Lorsque vous téléchargez un dossier contenant le fichier de projet et les fichiers de données, Final Cut Server affiche une zone de dialogue vous demandant si vous souhaitez télécharger le dossier en tant que ressource regroupée ou en tant que ressources individuelles. Ce chapitre explique comment extraire et exporter des projets Final Cut Studio qui ont été téléchargés à l’aide de l’une de ces options. La manière d’extraire un projet Final Cut Studio dépend de la manière dont vous l’avez téléchargé. Si vous avez téléchargé le projet et ses fichiers de données reliées en tant que ressource regroupée, vous pouvez extraire la ressource regroupée de la même manière que vous extrairiez une ressource média. Si vous avez téléchargé le fichier de projet et ses fichiers de données reliées en tant que ressources individuelles, vous devez extraire séparément la ressource de projet et chacune des ressources média. Extraction, modification et réintégration de ressources regroupées Lorsque vous extrayez une ressource regroupée, le fichier de projet et ses fichiers de données reliées sont tous contenus dans le dossier qui apparaît à l’emplacement d’extraction. Vous pouvez extraire la ressource regroupée vers n’importe quel emplacement et avoir accès au projet et aux fichiers de données que vous soyez connecté ou non à Final Cut Server. N’oubliez pas que lorsque vous extrayez une ressource, elle est verrouillée à l’aide d’un verrou d’extraction et que la représentation principale de la ressource ne peut pas être modifiée ; toutefois, les métadonnées de la ressource peuvent être modifiées par n’importe quel utilisateur. Pour extraire une ressource regroupée, modifiez-la et réintégrez-la : 1 Effectuez l’une des opérations ci-dessous :  Sélectionnez la ressource Final Cut Studio que vous souhaitez extraire dans la sous-fenêtre Assets ou dans une production, puis cliquez sur le bouton Check Out de la barre d’outils.  Cliquez sur la ressource média tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel.Chapitre 7 Utilisation de projets Final Cut Studio 137 2 Dans la fenêtre Check Out qui apparaît, choisissez un emplacement pour enregistrer la ressource regroupée extraite en navigant jusqu’à l’emplacement souhaité. 3 Cliquez sur le bouton Check Out. Le dossier de fichiers contenu dans la ressource regroupée apparaît dans l’emplacement spécifié. 4 Pour ouvrir le fichier de projet dans son application d’origine, procédez de l’une des manières suivantes :  Faites glisser le fichier de projet de l’emplacement d’extraction vers l’icône de l’application d’origine dans votre Dock.  Ouvrez l’application d’origine, choisissez Fichier > Ouvrir, puis naviguez jusqu’au fichier de projet. 5 Modifiez le fichier. 6 Enregistrez le nouveau fichier dans l’emplacement d’extraction. Important : l’enregistrement dans tout emplacement autre que l’emplacement d’origine empêche Final Cut Server de gérer le fichier. 7 Dans Final Cut Server, réintégrez le dossier en sélectionnant la ressource regroupée extraite dans la sous-fenêtre Assets ou dans une production et procédez de l’une des manières suivantes :  Sélectionnez la ressource regroupée extraite, puis cliquez sur le bouton Check In.  Cliquez sur la ressource regroupée extraite tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. Naviguez jusqu’à l’emplacement où vous souhaitez enregistrer la ressource regroupée extraite.138 Chapitre 7 Utilisation de projets Final Cut Studio 8 Si le contrôle de versions n’est pas activé pour la ressource regroupée, elle est réintégrée. Si le contrôle de versions est activé pour la ressource regroupée, une fenêtre Check In apparaît. Si nécessaire, saisissez un commentaire de version, puis cliquez sur Check In. Pour en savoir plus sur le contrôle de versions, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91. Le dossier mis à jour est réintégré dans Final Cut Server. Extraction, modification et réintégration de projets Final Cut Studio et de leurs fichiers de données Si vous avez téléchargé un projet et ses fichiers de données reliées en tant que ressources individuelles, vous devez extraire séparément la ressource de projet et chacune des ressources média. Si la ressource de projet Final Cut Studio et ses fichiers de données reliées ont été placés dans une production Final Cut Server et ont reçu des métadonnées uniques lors du téléchargement, la recherche et le téléchargement du projet Final Cut Studio et de ses données sont aisés. Vous pouvez ouvrir la production ou rechercher le mot-clé du projet pour trouver le projet et ses ressources média. Vous pouvez ensuite extraire le projet et chacune de ses ressources média. Si le téléchargement du projet Final Cut Server n’a pas été explicitement organisé avec une production ou un mot-clé, vous devrez peut-être le télécharger, l’ouvrir dans son application d’origine, puis rechercher manuellement les données requises pour ce projet. Vous pouvez ensuite télécharger chaque donnée et modifier le projet. Lorsque vous réintégrez le projet, vous pouvez l’organiser dans une production et appliquer un mot-clé de projet. N’oubliez pas que lorsque vous extrayez une ressource, elle est verrouillée à l’aide d’un verrou d’extraction et que la représentation principale de la ressource ne peut pas être modifiée ; toutefois, les métadonnées de la ressource peuvent être modifiées par n’importe quel utilisateur.Chapitre 7 Utilisation de projets Final Cut Studio 139 Extraction d’une ressource de projet Final Cut Studio et de ses fichiers de données reliées Avant de pouvoir ouvrir correctement un projet, vous devez extraire ou exporter des copies des ressources média du projet. L’extraction d’une ressource est le seul moyen pour créer une copie gérée de la ressource que vous pouvez réintégrer dans Final Cut Server. Extrayez la ressource de projet à l’aide des étapes ci-dessous, puis extrayez chacune des ressources média. Après avoir extrait tous les fichiers de données, vous pouvez ouvrir le fichier de projet, reconnecter les fichiers de données et commencer la modification. Pour extraire une ressource média ou une ressource de projet Final Cut Studio : 1 Effectuez l’une des opérations ci-dessous :  Sélectionnez la ressource de projet dans la sous-fenêtre Assets ou dans une production, puis cliquez sur le bouton Check Out de la barre d’outils.  Cliquez sur la ressource de projet tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 2 Dans la fenêtre Check Out, choisissez un emplacement pour y enregistrer le projet extrait en navigant jusqu’à l’emplacement souhaité. Remarque : pour faciliter la reconnexion des données du projet, enregistrez le fichier de projet et tous ses fichiers de données reliées dans le même emplacement. Vous pouvez créer un dossier « Projets Final Cut Server extraits » ou similaire sur le bureau ou dans un autre emplacement pratique. 3 Cliquez sur le bouton Check Out. Le projet est extrait vers l’emplacement que vous avez spécifié. Après avoir extrait toutes les ressources média, vous pouvez ouvrir le fichier de projet, reconnecter les fichiers de données et commencer la modification. Si vous ne pensez pas modifier les fichiers de données, vous pouvez les exporter. Comme il est possible d’exporter plusieurs fichiers, c’est le choix le plus rapide. Pour obtenir des instructions relatives à l’exportation de fichiers de données, consultez « Exportation d’une ressource de projet et de ses données » à la page 143.140 Chapitre 7 Utilisation de projets Final Cut Studio Modification d’un fichier de projet dans son application d’origine Après l’extraction de la ressource de projet et l’extraction ou l’exportation des ressources média du projet, vous pouvez ouvrir le fichier de projet dans son application d’origine. Pour ouvrir un fichier de projet dans son application d’origine, procédez de l’une des manières suivantes : m Faites glisser le projet de l’emplacement dans lequel vous l’avez extrait vers l’icône de l’application appropriée dans votre Dock. m Ouvrez l’application d’origine, choisissez Fichier > Ouvrir, puis naviguez jusqu’au fichier de projet. Une fois le projet ouvert dans son application d’origine, vous pouvez le modifier. Assurezvous d’enregistrer régulièrement vos modifications. Il est possible que vous deviez relier votre fichier de projet à ses fichiers de données. Si vous obtenez un message de donnée offline ou à relier, vous saurez que le projet doit être relié. Pour en savoir plus sur la manière de relier des fichiers de projet, consultez la documentation fournie avec l’application. Reconnexion d’un projet Motion à ses fichiers de données Lorsque vous ouvrez un fichier de projet pour la première fois avec des données qui ne sont pas disponibles, une zone de dialogue apparaît, répertoriant tous les fichiers de données impossibles à trouver. Vous pouvez afficher une zone de dialogue pour naviguer directement jusqu’aux fichiers sans avoir à effectuer de recherche. Pour reconnecter des fichiers de données Motion : 1 Dans la zone de dialogue répertoriant tous les fichiers de données impossibles à trouver, cliquez sur Relier. 2 Dans la zone de dialogue qui apparaît, naviguez jusqu’à l’emplacement de chaque fichier, puis cliquez sur Open. La donnée est reconnectée. Pour en savoir plus sur la reconnexion de projets Motion, consultez la documentation fournie avec l’application. Reconnexion d’un projet Soundtrack Pro à ses fichiers de données Lorsque vous ouvrez un projet multipiste Soundtrack Pro, l’application vérifie si les fichiers de données utilisés par le projet se trouvent dans le même emplacement que lors de la dernière ouverture du projet. Si les fichiers de données ne se trouvent pas dans l’emplacement prévu, Soundtrack Pro affiche une zone de dialogue Can’t Find File offrant trois choix :  Tout ignorer : ouvre le projet sans reconnecter aucun fichier manquant.  Ignorer le fichier : ouvre le projet sans reconnecter le fichier manquant.  Rechercher l’emplacement : présente une zone de dialogue qui vous permet de localiser le fichier manquant et de le reconnecter au projet.Chapitre 7 Utilisation de projets Final Cut Studio 141 Pour reconnecter les fichiers de données Soundtrack Pro à l’aide de l’option Localiser : 1 Dans la zone de dialogue Can’t Find File, cliquez sur Rechercher l’emplacement. 2 La fenêtre qui apparaît affiche le nom de fichier qui doit être reconnecté en tant que titre de la fenêtre. Dans l’explorateur de fichiers qui s’affiche dans la fenêtre, naviguez jusqu’à l’emplacement du fichier. 3 Lorsque vous avez identifié l’emplacement du fichier, cliquez sur Open. Le fichier est reconnecté. Si vous choisissez d’ouvrir le projet dans Soundtrack Pro sans reconnecter ses fichiers, vous pouvez reconnecter des fichiers audio individuels à partir de l’onglet Timeline ou Chutier et reconnecter un fichier vidéo dans la piste vidéo de la Timeline. Pour reconnecter un fichier audio ou vidéo dans Soundtrack Pro : 1 Cliquez sur le plan tout en maintenant la touche Contrôle enfoncée dans la Timeline ou la piste vidéo, puis choisissez Reconnecter [nom de fichier] dans le menu contextuel. 2 Dans la zone de dialogue qui apparaît, localisez le fichier que vous souhaitez reconnecter. 3 Cliquez sur Open pour reconnecter le fichier. Pour en savoir plus sur la reconnexion de projets Soundtrack Pro, consultez le Manuel de l’utilisateur de Soundtrack Pro. Reconnexion d’un projet DVD Studio Pro à ses fichiers de données Si le fichier de projet et tous ses fichiers de données se trouvent dans le même dossier, les projets DVD Studio Pro n’ont pas besoin d’être reconnectés. Toutefois, si vous ouvrez un projet et que DVD Studio Pro ne peut pas localiser une ressource dans son emplacement d’origine, une fenêtre Fichiers manquants apparaît. Pour localiser une ressource manquante lors de l’ouverture d’un projet DVD Studio Pro : 1 Sélectionnez la ressource dans la fenêtre Fichiers manquants. 2 Effectuez l’une des opérations suivantes :  Cliquez sur Localiser et utilisez la fenêtre qui apparaît pour rechercher la ressource.  Si la ressource est un fichier QuickTime et que sa version encodée au format MPEG-2 ou AIFF est disponible, vous pouvez cliquer sur « Remplacer par le fichier encodé ». Pour en savoir plus sur la reconnexion de projets DVD Studio Pro, consultez le Manuel de l’utilisateur de DVD Studio Pro. 142 Chapitre 7 Utilisation de projets Final Cut Studio Réintégration du projet et de ses fichiers de données reliées dans Final Cut Server Une fois le fichier de projet modifié, vous devez le réintégrer, avec ses fichiers de données reliées, dans Final Cut Server. Chaque ressource doit être réintégrée séparément. Remarque : si vous avez ajouté toute nouvelle ressource à un projet, vous devez la télécharger séparément. Pour en savoir plus, consultez « Téléchargement de projets Final Cut Studio » à la page 43. Pour réintégrer une ressource de projet : 1 Dans l’application d’origine du projet, enregistrez le projet dans l’emplacement d’extraction. 2 Dans l’application Final Cut Studio, enregistrez le projet et choisissez de collecter les données. Dans Motion et Soundtrack Pro, vous pouvez le faire en choisissant Fichier > Enregistrer sous, puis en choisissant de collecter les données dans la fenêtre Enregistrer sous. Dans DVD Studio Pro, vous devez placer manuellement le projet et les fichiers de données dans un dossier. Remarque : pour obtenir des informations spécifiques concernant l’utilisation de ces applications, consultez la documentation fournie avec l’application. Important : lors du téléchargement d’un fichier de projet DVD Studio Pro et de ses fichiers de données reliées, il est inutile de télécharger les fichiers .par. Lorsque vous extrayez et que vous ouvrez le projet dans DVD Studio Pro, les fichiers .par sont automatiquement recréés. 3 Dans Final Cut Server, réintégrez le fichier de projet en procédant de l’une des manières suivantes :  Sélectionnez la ressource de projet extraite dans la sous-fenêtre Assets ou dans une production, puis cliquez sur le bouton Check In de la barre d’outils.  Cliquez sur le projet tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. 4 Si le contrôle de versions n’est pas activé pour la ressource, elle est réintégrée. Si le contrôle de versions est activé pour la ressource, une fenêtre Check In apparaît. Si nécessaire, saisissez un commentaire de version, puis cliquez sur Check In. Pour en savoir plus sur le contrôle de versions, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91. Le fichier de projet Final Cut Studio est réintégré dans Final Cut Server.Chapitre 7 Utilisation de projets Final Cut Studio 143 Pour réintégrer une ressource média : 1 Dans Final Cut Server, réintégrez le fichier en procédant de l’une des manières suivantes :  Sélectionnez la ressource média extraite dans la sous-fenêtre Assets ou dans une production, puis cliquez sur le bouton Check In de la barre d’outils.  Cliquez sur la ressource média extraite tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. 2 Si le contrôle de versions n’est pas activé pour la ressource, elle est réintégrée. Si le contrôle de versions est activé pour la ressource, une fenêtre Check In apparaît. Si nécessaire, saisissez un commentaire de version, puis cliquez sur Check In. Pour en savoir plus sur le contrôle de versions, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91. La ressource média mise à jour est réintégrée dans Final Cut Server. Exportation d’une ressource de projet et de ses données Vous pouvez toujours exporter une copie d’une ressource de projet Final Cut Studio et de ses fichiers de données téléchargés en tant que ressource regroupée ou une ressource de projet et ses ressources média téléchargées en tant que ressources individuelles, même si les ressources média ou de projet sont verrouillées ou extraites par un autre utilisateur. Toutefois, il est important de noter que les fichiers de données ou de projet exportés ne peuvent pas être réintégrés ni référencés d’une manière ou d’une autre vers les ressources média ou de projet d’origine. Si vous avez téléchargé le projet d’origine et ses fichiers de données en tant que ressource regroupée, vous pouvez exporter la ressource regroupée en une étape. Si vous avez télé- chargé le projet d’origine et ses fichiers de données en tant que ressources individuelles, vous devez exporter la ressource de projet, puis exporter toutes les ressources média. L’exportation de ressources média prend moins de temps que leur extraction, car vous pouvez exporter plusieurs ressources depuis Final Cut Server.144 Chapitre 7 Utilisation de projets Final Cut Studio Pour exporter une copie d’une ressource regroupée : 1 Cliquez sur la ressource regroupée tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Save apparaît. 2 Dans la fenêtre Save, choisissez une destination pour y enregistrer la ressource regroupée exportée, en cliquant sur le bouton Choose et en identifiant un emplacement dans l’explorateur de fichiers. 3 Ne choisissez pas de réglage de transcodage pour la ressource regroupée. 4 Cliquez sur le bouton Export. Une copie du dossier contenu dans la ressource regroupée est exportée vers l’emplacement spécifié dans la fenêtre Export. Chapitre 7 Utilisation de projets Final Cut Studio 145 Pour exporter une ressource de projet Final Cut Studio et des ressources média reliées téléchargées en tant que ressources individuelles : 1 Sélectionnez la ressource de projet et les ressources média. Si les ressources média et de projet ont été créées selon la méthode recommandée, les ressources doivent être regroupées dans une production Final Cut Server et avoir des métadonnées uniques aux ressources média et de projet. Pour en savoir plus sur la méthode recommandée pour le téléchargement d’un projet Final Cut Studio et de ses fichiers de données en tant que ressources individuelles, consultez « Téléchargement de projets Final Cut Studio » à la page 43. Remarque : en activant la présentation par liste dans la sous-fenêtre Productions, vous pouvez plus facilement cliquer sur une liste de ressources en appuyant sur la touche Maj. 2 Cliquez sur l’une des ressources sélectionnées en maintenant la touche Contrôle enfoncée, puis choisissez Export dans le menu contextuel. La fenêtre Multiple Export apparaît. 3 Dans la fenêtre Multiple Export, choisissez une destination pour y enregistrer les ressources média en cliquant sur le bouton Choose et en identifiant un emplacement dans l’explorateur de fichiers. Remarque : pour éviter de perdre le suivi des projets exportés, vous pouvez créer un dossier pour le projet et ses données sur le bureau ou dans un autre emplacement pratique. 4 Ne choisissez pas de réglage de transcodage. 5 Cliquez sur le bouton Start. Chacune des ressources sélectionnées est exportée vers l’emplacement que vous avez spécifié dans la fenêtre Multiple Export. 8 147 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  Utilisation de métadonnées Status pour le suivi des ressources et productions (p. 147)  À propos de la fonction Review and Approve (p. 152)  Utilisation de la fonction Review and Approve (p. 153) Ce chapitre explique comment utiliser le champ de métadonnées Status pour faciliter le suivi des ressources de votre flux de travaux Final Cut Server. Si votre organisation met diligemment à jour le champ de métadonnées Status sur chacune de ses ressources et productions, vous pouvez aisément rechercher chaque ressource et production se trouvant dans les différentes étapes du flux de travaux. Ce chapitre traite également de l’utilisation de courriers électroniques pour prévenir lorsqu’un champ de métadonnées Status est défini sur Ready For Review. Utilisation de métadonnées Status pour le suivi des ressources et productions Le champ de métadonnées Status est conçu pour indiquer l’endroit où se trouve une ressource dans le flux de travaux Final Cut Server. L’état de la ressource de ce projet Final Cut Pro est défini sur In Progress.148 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Au fur et à mesure de la progression de votre travail, vous pouvez effectuer des recherches pour localiser des ressources se trouvant dans une phase donnée du flux de travaux. Final Cut Server est fourni avec plusieurs Smart Searches préconfigurées, qui vous permettent de rechercher facilement les ressources récemment modifiées ou celles dont le champ de métadonnées Status est défini sur Ready for Review. Cliquez sur cette Smart Search pour afficher toutes les ressources dont l’état est défini sur Ready for Review. Smart Search modifie le réglage Status dans la recherche avancée. Cliquez sur cette Smart Search pour afficher toutes les ressources que vous avez extraites. Smart Search modifie le réglage Checked Out By dans la recherche avancée.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 149 Vous pouvez configurer votre propre recherche à l’aide des options de recherche avancée. Par exemple, vous pouvez rechercher des ressources dont le champ de métadonnées Status est défini sur In Progress. Après avoir configuré une recherche, vous pouvez l’enregistrer en tant que Smart Search. Cela vous permet d’accéder à la recherche en cliquant simplement dessus dans la liste des Smart Searches. Cliquez sur ce bouton pour enregistrer le réglage de recherche actuel en tant que Smart Search. Pour ce faire, définissez le champ Status sur In Progress. Si vous cliquez sur le bouton Save as Smart Search, vous ajoutez une nouvelle Smart Search, à laquelle vous pouvez ensuite attribuer un nom.150 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Application de métadonnées Status à une ressource ou une production Lorsque vous téléchargez le fichier ou après la création de la ressource ou de la production, vous pouvez appliquer des métadonnées d’état ou d’autres métadonnées. Important : lorsque vous appliquez des métadonnées à une ressource ou une production, elles ne sont pas appliquées à d’autres ressources associées. Par exemple, si vous modifiez l’état d’un projet Final Cut Pro, l’état de chacune des ressources média reliées ne change pas. Pour modifier les métadonnées Status d’une ressource ou d’une production : 1 Dans la sous-fenêtre Assets ou Productions, double-cliquez sur la ressource ou la production pour afficher sa fenêtre d’information. 2 Cliquez sur Metadata pour afficher la sous-fenêtre Metadata . 3 Cliquez sur Asset pour afficher le groupe de métadonnées Asset. En fonction de l’ensemble de métadonnées qui s’applique à la ressource ou à la production, plusieurs groupes de métadonnées s’affichent. Cliquez sur Metadata pour afficher les ensembles de métadonnées de la ressource et leurs champs. Cliquez sur Asset pour afficher le groupe de métadonnées Asset.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 151 4 Choisissez le réglage Status approprié dans le menu local Status. 5 Cliquez sur le bouton Save Changes. Les métadonnées sont modifiées. Recherche de ressources ou de productions à l’aide de métadonnées Status Après avoir défini l’état d’une ressource ou d’une production, vous pouvez rechercher des métadonnées d’état pour trouver toutes les ressources ou productions contenant un réglage de métadonnées Status donné. Pour rechercher des ressources ou productions par état : 1 Dans la sous-fenêtre Assets ou Productions, cliquez sur le triangle d’affichage de recherche pour afficher les options de recherche avancée. 2 Choisissez un réglage de métadonnées Status à rechercher dans le menu local Status. 3 Cliquez sur le bouton Search. Les résultats de la recherche s’affichent dans la partie principale de la fenêtre. Choisissez un réglage d’état dans le menu local Status. Cliquez sur Save Changes. Cliquez sur le triangle d’affichage pour afficher les réglages de recherche avancée. Une fois les réglages de recherche configurés, cliquez sur le bouton Search. Choisissez un réglage Status à rechercher.152 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Utilisation de Smart Searches pour localiser des éléments Ready for Review Final Cut Server est fourni avec une Smart Search configurée pour rechercher des ressources et productions dont le champ de métadonnées Status est défini sur Ready for Review. Pour rechercher des ressources ou productions dont le champ de métadonnées Status est défini sur Ready for Review : m Cliquez sur Assets ready for review ou sur Productions ready for review dans la liste des Smart Searches. À propos de la fonction Review and Approve La fonction Review and Approve est utilisée conjointement avec le champ de métadonnées Status. Lorsqu’une ressource est prête à être révisée, vous pouvez aisément définir le champ de métadonnées Status de la ressource sur Ready for Review, ajouter des commentaires de forme et envoyer un courrier de notification aux réviseurs requis à partir du client Final Cut Server. À l’aide des informations contenues dans le courrier électronique, les réviseurs peuvent rechercher, afficher, annoter et approuver des ressources sans avoir à télécharger des fichiers volumineux. Smart Searches pour la sous-fenêtre Assets. Smart Searches pour la sous-fenêtre Productions. Choix de métadonnées Status pour une ressource.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 153 Important : votre administrateur Final Cut Server doit configurer cette fonction avant que celle-ci puisse être utilisée comme décrit dans cette rubrique. Utilisation de la fonction Review and Approve Lorsque que votre administrateur Final Cut Server a installé Final Cut Server, il a configuré la fonction Review and Approve pour répondre aux besoins de votre organisation. Les options que l’administrateur a pu configurer consistent, entre autres, à écrire le texte du courrier électronique et à faire en sorte que les commentaires de l’éditeur (saisis dans la sous-fenêtre Review & Approve) et d’autres métadonnées apparaissent dans le corps du courrier de notification. L’administrateur choisit également l’une des trois méthodes permettant de spécifier qui est défini comme réviseur requis et qui reçoit par conséquent les courriers électroniques Review and Approve. Les courriers électroniques peuvent être adressés à une liste de destinataires définie par l’administrateur, à des adresses saisies manuellement par l’utilisateur dans le champ Required reviewers ou à ces deux catégories. Remarque : ces exemples vous présentent des méthodes de saisie manuelle des adresses électroniques. Selon la façon dont votre système Final Cut Server a été configuré, votre administrateur peut créer un menu local à utiliser pour attribuer des adresses électroniques. Pour en savoir plus, contactez votre administrateur Final Cut Server. Important : il est difficile, pour un utilisateur client Final Cut Server, de déterminer si la fonction Review and Approve a été configurée et si oui, de distinguer laquelle de ces trois approches est utilisée par votre système Final Cut Server. Votre administrateur Final Cut Server doit être votre premier interlocuteur pour toute question sur l’utilisation de la fonction Review and Approve dans votre système Final Cut Server. Cliquez sur Review & Approve pour saisir des commentaires et des adresses électroniques. Selon la manière dont votre administrateur a configuré la fonction Review and Approve, vous pouvez saisir des commentaires et des adresses électroniques ici. Vous pouvez définir l’état dans la sous-fenêtre Metadata ou Review & Approve.154 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Envoi de courriers électroniques pour la révision aux réviseurs définis par l’administrateur Dans cette configuration, l’administrateur Final Cut Server saisit manuellement l’adresse électronique de chaque réviseur requis lors de la configuration. Ainsi, l’utilisateur de Final Cut Server ne voit pas la liste des réviseurs requis et ne peut pas saisir manuellement les adresses électroniques dans le champ Required reviewers de la sous-fenêtre Review & Approve. Lorsque les adresses électroniques ont été saisies manuellement par l’administrateur, les notifications par courrier sont automatiquement envoyées dès que le champ de métadonnées Status est défini sur Ready for Review (et dès que la ressource est modifiée lorsqu’elle est définie sur Ready for Review). Cette configuration est plus adaptée si vous savez que le même ensemble de réviseurs doit recevoir des notifications par courrier Review and Approve pour toutes les ressources. Par ailleurs, avec cette configuration, vous n’avez pas besoin de saisir les adresses électroniques des réviseurs requis. Si vous le faites, ces adresses sont ignorées. Pour envoyer des notifications par courrier Review and Approve à un ensemble de réviseurs définis : 1 Localisez la ressource ou le projet à envoyer à la révision dans la sous-fenêtre Assets ou Productions, puis double-cliquez sur la ressource ou le projet pour afficher sa fenêtre d’information. 2 Dans la fenêtre d’information de la ressource ou du projet, ouvrez la sous-fenêtre Review & Approve. Ouvrez la sous-fenêtre Review & Approve.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 155 3 Si vous souhaitez ajouter des notes au courrier électronique, vous pouvez les saisir dans le champ Editor’s comments. 4 Lorsque vous êtes prêt à envoyer la notification par courrier aux réviseurs requis, définissez le champ de métadonnées Status sur Ready for Review. Remarque : ce champ est disponible à la fois dans la sous-fenêtre Metadata et dans la sous-fenêtre Review & Approve. 5 Cliquez sur le bouton Save Changes en bas de la sous-fenêtre Review & Approve. Cela envoie le courrier de notification. Remarque : votre administrateur Final Cut Server contrôle qui peut recevoir des courriers électroniques au sein du système Final Cut Server. Pour ajouter des adresses électroniques à Final Cut Server, contactez votre administrateur. Saisie manuelle des adresses électroniques des réviseurs Dans cette configuration, l’utilisateur de Final Cut Server doit saisir manuellement l’adresse électronique complète de chaque réviseur requis. Une fois les adresses électroniques saisies, l’enregistrement des modifications entraîne l’envoi du courrier électronique Review & Approve. Le courrier électronique est envoyé uniquement lorsque les modifications sont enregistrées. Cette configuration permet à l’utilisateur de choisir les destinataires du courrier électronique et la fréquence d’envoi des courriers électroniques de révision. Elle est toutefois moins automatisée, ce qui accroît le travail de l’utilisateur. Saisissez des commentaires dans le champ Editor’s comments. Lorsque vous êtes prêt à envoyer la notification par courrier, cliquez sur Save Changes.156 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Pour définir manuellement les destinataires des notifications par courrier Review and Approve : 1 Localisez la ressource ou le projet à envoyer à la révision et double-cliquez dessus pour afficher sa fenêtre d’information. 2 Dans la fenêtre d’information de la ressource ou du projet, ouvrez la sous-fenêtre Review & Approve. 3 Si vous souhaitez ajouter des notes au courrier électronique, vous pouvez les saisir dans le champ Editor’s comments. 4 Saisissez l’adresse électronique complète de chacun des réviseurs requis pour cette ressource dans le champ Required reviewers. 5 Lorsque vous êtes prêt à envoyer les notifications par courrier aux réviseurs requis, définissez l’état du champ de métadonnées sur Ready for Review. Remarque : ce champ est disponible à la fois dans la sous-fenêtre Metadata et dans la sous-fenêtre Review & Approve. 6 Cliquez sur le bouton Save Changes en bas à droite de la sous-fenêtre Review & Approve. Le courrier de notification est envoyé à chacune des adresses saisies dans le champ Required reviewers. Saisissez l’adresse électronique complète de chacun des réviseurs. Lorsque vous êtes prêt à envoyer la notification par courrier, cliquez sur Save Changes.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 157 Utilisation de réviseurs définis par l’administrateur et de réviseurs dont l’adresse électronique est saisie manuellement Une approche hybride permet à la fois à l’administrateur Final Cut Server de saisir une liste statique de réviseurs requis et à l’utilisateur de saisir manuellement des adresses électroniques supplémentaires dans le champ Required reviewers. L’administrateur et l’utilisateur peuvent ainsi tous deux définir les destinataires des courriers de notification. Pour définir manuellement les destinataires des notifications par courrier Review and Approve : 1 Localisez la ressource ou le projet à envoyer à la révision et double-cliquez dessus pour afficher sa fenêtre d’information. 2 Dans la fenêtre d’information de la ressource ou du projet, ouvrez la sous-fenêtre Review & Approve. 3 Si vous souhaitez ajouter des notes au courrier électronique, saisissez-les dans le champ Editor’s comments. 4 Saisissez une adresse électronique complète pour chacun des réviseurs requis. Les adresses que vous saisissez sont ajoutées à la liste des réviseurs configurée par votre administrateur Final Cut Server. Important : n’oubliez pas que votre administrateur Final Cut Server a également défini une liste de réviseurs qui recevront chaque courrier électronique envoyé à partir de la sous-fenêtre Review & Approve. Veillez à ne pas envoyer de courriers électroniques en double aux réviseurs en ajoutant manuellement leur adresse dans la sous-fenêtre Review & Approve. Saisissez une adresse électronique complète pour chacun des réviseurs requis. Lorsque vous êtes prêt à envoyer la notification par courrier, cliquez sur Save Changes.158 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 5 Lorsque vous êtes prêt à envoyer les notifications par courrier aux réviseurs requis, définissez l’état du champ de métadonnées sur Ready for Review. Remarque : ce champ est disponible à la fois dans la sous-fenêtre Metadata et dans la sous-fenêtre Review & Approve. 6 Cliquez sur le bouton Save Changes en bas à droite de la sous-fenêtre Review & Approve. Le courrier de notification est envoyé à chacune des adresses saisie dans le champ Required reviewers et à chacun des réviseurs requis saisis par défaut par votre administrateur Final Cut Server.9 159 9 Exportation, archivage et suppression des ressources et des projets terminés Les rubriques suivantes seront abordées au cours de ce chapitre :  Sortie d’un projet final (p. 159)  Archivage et restauration de ressources média (p. 162)  Suppression de ressources Final Cut Server (p. 164) Ce chapitre décrit les étapes finales de l’utilisation d’une ressource : sortie d’une copie finale et création de copies de sauvegarde pour la ressource. Il explique également comment supprimer des ressources et des productions dans Final Cut Server. Sortie d’un projet final Vous pouvez utiliser la commande Export afin de créer une sortie des ressources média et de projet. Vous pouvez exporter les ressources sur un disque externe ou tout autre périphérique de sauvegarde ou les exporter sur votre système local, puis déplacer les fichiers souhaités à l’aide de Finder. Si vous exportez une ressource média, vous avez la possibilité de transcoder cette ressource durant l’exportation. Toutefois, le transcodage des ressources de projet et des ressources regroupées Final Cut Studio n’est pas recommandé. La méthode d’exportation de votre ressource média ou de projet finale dépend du type de ressource. Ce chapitre présente les étapes d’exportation d’un projet Final Cut Pro ou d’une ressource de projet Final Cut Studio ou autre, ainsi que des ressources média, d’un fichier de données et de la ressource regroupée associés. Important : lorsque vous exportez une ressource à partir de Final Cut Server, Final Cut Server n’en assure plus le suivi.160 Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés Exportation d’une ressource média L’exportation d’une ressource média individuelle est très simple. Pour exporter une ressource média individuelle : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Export s’affiche. 2 Dans cette fenêtre, choisissez l’endroit où vous souhaitez enregistrer la ressource média, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans le navigateur de fichiers. 3 Si nécessaire, sélectionnez un réglage de transcodage. 4 Cliquez sur le bouton Export. La ressource média est exportée à l’emplacement spécifié dans la fenêtre Export. Cliquez sur Export. Cliquez sur le bouton Choose pour changer l’emplacement d’exportation. Si nécessaire, sélectionnez un réglage de transcodage.Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés 161 Exportation d’un projet Final Cut Pro et des ressources média associées Vous pouvez exporter une ressource de projet Final Cut Pro et toutes ses ressources média lors d’une même opération. Pour exporter une copie d’un projet Final Cut Pro et les ressources média associées : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Export s’ouvre dans Final Cut Pro. 2 Dans cette fenêtre Final Cut Pro, sélectionnez l’emplacement souhaité pour l’enregistrement du fichier de projet Final Cut Pro exporté et ses ressources média. Pour ce faire, cliquez sur le bouton Choose et recherchez l’emplacement souhaité dans le navigateur de fichiers. 3 Si la fonction Edit Proxy n’est pas activée, les données d’origine seront utilisées par défaut. Si cette fonction est activée, sélectionnez Original Media ou Edit Proxy, dans le menu local Use. Ceci permet de définir le type de données exportées. 4 Cochez la case Keep Media with Project pour inclure les fichiers de données dans l’exportation. Important : si vous ne sélectionnez pas cette option, seule la ressource de projet Final Cut Pro sera exportée. 5 Cliquez sur le bouton Export. Une copie du projet est exportée à l’emplacement que vous avez spécifié dans la fenêtre Export de Final Cut Pro. Remarque : une fois l’exportation terminée, le suivi du projet et des fichiers de données n’est plus assuré par Final Cut Server. Exportation d’une ressource regroupée Final Cut Studio Lorsque vous avez téléchargé le fichier de projet Final Cut Studio et ses fichiers de données, vous avez choisi de télécharger une ressource regroupée (fichier de projet et fichiers de données) ou le fichier de projet et chacun de ses fichiers de données sous forme de ressources indépendantes. Si vous avez téléchargé une ressource regroupée, vous pouvez à nouveau l’exporter en une seule opération très simple. Pour exporter une ressource regroupée : 1 Cliquez sur la ressource regroupée tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Export s’affiche. 2 Dans cette fenêtre, choisissez l’endroit où vous souhaitez enregistrer la ressource regroupée, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans le navigateur de fichiers.162 Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés 3 Cliquez sur le bouton Export. Le dossier contenu dans la ressource regroupée est exporté à l’emplacement que vous avez spécifié dans la fenêtre Export. Exportation d’un projet Final Cut Studio et de ressources média individuelles Si vous avez téléchargé une ressource de projet Final Cut Studio et ses ressources média en tant que ressources individuelles, vous devez exporter la ressource de projet, puis toutes les ressources média séparément. Pour exporter une copie d’une ressource de projet Final Cut Studio et les ressources média associées : 1 Sélectionnez la ressource de projet Final Cut Studio et toutes les ressources média associées. Remarque : pour sélectionner plus facilement une liste de ressources média (Maj + Clic), passez en vue Liste dans la sous-fenêtre Productions. 2 Cliquez sur l’une des ressources sélectionnées en maintenant la touche Contrôle enfoncée, puis choisissez Export dans le menu contextuel. La fenêtre Multiple Export s’affiche. 3 Dans cette fenêtre, choisissez l’endroit où vous souhaitez enregistrer les fichiers de données, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans le navigateur de fichiers. Remarque : pour effectuer un suivi efficace des projets exportés, vous pouvez créer un dossier spécifique au projet et à ses ressources média, sur le bureau ou à l’emplacement de votre choix. 4 Ne sélectionnez aucun réglage de transcodage. 5 Cliquez sur le bouton Start. Tous les fichiers de données sélectionnés sont exportés à l’emplacement que vous avez spécifié dans la fenêtre Multiple Export. Archivage et restauration de ressources média Vous pouvez déplacer la représentation principale d’une ressource média sur le périphérique d’archivage installé par votre administrateur Final Cut Server. Étant donné que seule la représentation principale est déplacée, la ressource figure toujours dans le catalogue Final Cut Server ; vous pouvez ainsi toujours la localiser et effectuer des recherches dans ses métadonnées. Cette procédure permet de conserver en lieu sûr le fichier de la repré- sentation principale, qui ne peut alors être ni téléchargé, ni modifié.Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés 163 Si vous essayez d’archiver une ressource média alors que celle-ci est en cours d’utilisation par une ressource de projet, une zone de dialogue s’affiche, vous demandant si vous souhaitez poursuivre l’opération d’archivage. Si vous choisissez de continuer, la ressource média ne sera plus disponible pour le projet. Si vous avez des questions concernant l’archivage, contactez votre administrateur Final Cut Server. Pour archiver une ressource : m Cliquez sur la ressource média tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Archive to et choisissez un périphérique d’archivage dans le menu contextuel. La ressource média est archivée et l’icône d’archive apparaît sur sa vignette.164 Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés Pour restaurer une ressource média et retirer du périphérique d’archivage la représentation principale de cette ressource : m Cliquez sur la ressource archivée tout en maintenant la touche Contrôle enfoncée, puis choisissez Restore dans le menu contextuel. L’icône d’archive disparaît, indiquant que la représentation principale de la ressource a été retirée du périphérique d’archivage. La ressource média est de nouveau disponible et peut être utilisée. Suppression de ressources Final Cut Server Lorsque vous supprimez une ressource dans Final Cut Server, vous supprimez le fichier de représentation principale de cette ressource, les fichiers proxy créés pour cette ressource et toutes les métadonnées qui lui sont associées. Une ressource peut parfois être associée à plusieurs projets ou ressources Final Cut Pro ; toute opération de suppression doit donc faire l’objet de précautions. Ne supprimez des ressources Final Cut Server que si vous êtes certain qu’elles ne servent plus à personne. Vous pouvez afficher les ressources média ou de projet auxquelles une ressource donnée est associée dans la sous-fenêtre Resources de la fenêtre d’information de cette ressource. La procédure ci-dessous indique comment supprimer une ressource média, une ressource regroupée ou une ressource de projet Final Cut Pro. Les autres ressources utilisant cette ressource sont répertoriées dans la liste Instances.Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés 165 Pour supprimer une ressource média ou regroupée du catalogue Final Cut Server : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Delete dans le menu contextuel. 2 Dans la zone de dialogue qui s’affiche, cliquez sur Delete. La ressource est supprimée du catalogue Final Cut Server. Pour supprimer une ressource de projet Final Cut Pro du catalogue Final Cut Server : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Delete dans le menu contextuel. Une zone de dialogue vous indiquant les ressources et les fichiers qui seront supprimés s’affiche. 2 Lisez attentivement ce message et confirmez que vous souhaitez bien supprimer tous les fichiers et ressources associés à la ressource de projet Final Cut Pro. 3 Lorsque vous êtes prêt, cliquez sur Delete. La ressource Final Cut Pro et toutes ses ressources associées sont supprimées du catalogue Final Cut Server. 167 Glossaire Glossaire affiche Une affiche est un fichier proxy JPEG généré à partir du fichier de représentation principale d’une ressource média, lors du téléchargement. Consultez proxy. archive Lorsque vous avez terminé un projet ou une production, vous pouvez utiliser la fonction d’archive pour déplacer les ressources, de leur périphérique de stockage actuel vers un périphérique d’archivage, par exemple un disque FireWire, un disque de plus grande capacité, mais plus lent, ou un autre volume où l’espace disque ne manque pas. Les ressources figureront toujours dans le catalogue Final Cut Server, dans un état inactif. Elles peuvent être restaurées à tout moment en cas de besoin. automatisation Final Cut Server prend en charge une grande variété de fonctions d’automatisation, ce qui permet de configurer Final Cut Server pour effectuer de nombreuses tâches automatiquement. cache Si vous souhaitez utiliser une ressource du catalogue Final Cut Server sur un ordinateur client, celui-ci doit disposer d’une copie locale de la ressource. Final Cut Server possède une zone de cache sur l’ordinateur client, dont il se sert pour stocker les copies locales des ressources. Vous pouvez choisir l’emplacement et la taille de ce cache dans la fenêtre Preferences du client. catalogue Le catalogue est un ensemble de ressources gérées par Final Cut Server. client L’interaction entre l’utilisateur et le catalogue Final Cut Server se fait à l’aide d’un client Final Cut Server. Les clients Final Cut Server sont des applications Java pouvant être exécutées sur les ordinateurs fonctionnant sous le système d’exploitation Mac OS X, Windows XP ou Windows Vista. données préparées Dans Final Cut Server, vous pouvez préparer des fichiers de données que vous utiliserez ultérieurement dans un nouveau projet Final Cut Pro. Lorsque vous sélectionnez un ou plusieurs fichiers de données, puis choisissez « Prepare for Disconnected Use », des copies d’alias des fichiers placés dans le cache sont créées à l’emplacement spécifié. Par la suite, lorsque votre ordinateur se retrouve déconnecté de Final Cut Server, vous pouvez utiliser les fichiers de données préparés pour créer un nouveau projet Final Cut Pro.168 Glossaire Edit Proxy Lors du téléchargement, un fichier Edit Proxy peut être créé pour les fichiers vidéo téléchargés sur Final Cut Server dans le cadre d’un projet Final Cut Pro. Les fichiers Edit Proxy sont utilisés lors de l’extraction d’un projet Final Cut Pro. Notez que les fichiers Edit Proxy ne sont pas créés automatiquement ; l’administrateur Final Cut Server doit d’abord activer la fonction Edit Proxy pour pouvoir générer ce type de fichier. Consultez proxy. edit-in-place Généralement, lorsque vous souhaitez utiliser une ressource du catalogue Final Cut Server sur un ordinateur client, celui-ci doit disposer d’une copie locale de la ressource. Il existe toutefois une exception, lorsque le périphérique qui contient la ressource est configuré comme périphérique « edit-in-place » et qu’il est monté en tant que volume sur l’ordinateur client. L’exemple le plus courant de cette situation est le système Xsan, qui prend en charge une bande passante de données suffisamment élevée pour pouvoir transférer les données vidéo en temps réel. Consultez Xsan. élément Les ressources de projet Final Cut Pro contiennent une liste de ressources média qui sont reliées, ou associées, au fichier de projet Final Cut Pro. Les éléments de projet Final Cut Pro peuvent inclure les fichiers de données et les séquences Final Cut Pro. ensemble de métadonnées Final Cut Server organise les métadonnées en ensembles. Ces ensembles contiennent des groupes de métadonnées, qui eux-mêmes contiennent des trames de métadonnées. fichier d’alias Un fichier d’alias est un petit fichier qui représente un autre fichier. Dans Final Cut Server, vous pouvez préparer des fichiers de données que vous utiliserez ultérieurement dans un nouveau projet Final Cut Pro. Lorsque vous sélectionnez un ou plusieurs fichiers de données et choisissez « Prepare for Disconnected Use », des copies d’alias des fichiers placés dans le cache sont créées à l’emplacement spécifié. fichier géré Lorsque vous extrayez une ressource, Final Cut Server crée une copie gérée du fichier. Ce fichier géré peut être modifié, puis réintégré pour mettre à jour la ressource d’origine. Consultez fichier non géré. fichier non géré Lorsque vous copiez ou exportez un fichier, Final Cut Server crée une copie non gérée de ce fichier. Ce fichier non géré peut être modifié, puis réintégré pour mettre à jour la ressource d’origine. Si vous souhaitez effectuer le suivi d’un fichier non géré dans Final Cut Server, vous devez d’abord le télécharger et créer une nouvelle ressource. Consultez fichier géré. métadonnées Les métadonnées sont des informations relatives à un fichier. Dans Final Cut Server, les métadonnées servent à décrire le fichier de représentation principale de la ressource, ainsi que la ressource elle-même. périphérique Les périphériques sont des emplacements de stockage. Il peut s’agir de dossiers sur un volume local de serveur, de volumes en réseau ou encore de dossiers de volume Xsan.Glossaire 169 production Pour faciliter l’organisation des ressources dans votre catalogue Final Cut Server, vous pouvez créer des productions. Chaque production peut contenir une ou plusieurs ressources. En outre, une ressource peut appartenir à plusieurs productions. Par exemple, vous pouvez créer une production contenant tous les fichiers d’un client et une autre contenant uniquement les fichiers de ce client utilisés dans le cadre d’un épisode ou d’une publicité spécifique. projet Dans la création d’un projet, plusieurs applications Final Cut Studio utilisent des fichiers de projet, qui eux-mêmes utilisent un ou plusieurs fichiers de données associés. Final Cut Server assure le suivi des fichiers de projet à l’aide de ressources de projet. proxy Les images et les fichiers vidéo peuvent être très volumineux, ce qui rend leur manipulation difficile. Final Cut Server crée automatiquement des fichiers proxy lors du processus d’analyse, lorsque vous ajoutez des ressources à son catalogue. Ces fichiers proxy peuvent être utilisés à la place des véritables fichiers, dans les opérations de modification et de révision. Consultez proxy de plan, Edit Proxy, affiche, vignette. Proxy de plan Lors du téléchargement, Final Cut Server crée automatiquement un fichier de proxy de plan basse résolution pour les ressources vidéo. Le proxy de plan est utilisé à la place du véritable fichier vidéo, lors de la visualisation de la ressource dans Final Cut Server. Consultez proxy. réglages de transcodage Final Cut Server utilise les réglages de transcodage pour convertir une ressource média, en passant de son codec actuel à un autre. La plupart du temps, vous utilisez les réglages de transcodage pour convertir une ressource en une autre, plus petite et plus facile à lire. Les réglages de transcodage pour les ressources vidéo et audio proviennent de Compressor (installé sur le serveur). Les réglages de transcodage pour les images sont internes à Final Cut Server. représentation principale Fichier de données original téléchargé dans Final Cut Server. ressource Final Cut Server crée une ressource pour chaque fichier de données ou de projet téléchargé. Une ressource contient le fichier de représentation principale (fichier téléchargé) et, parfois, un ou plusieurs fichiers de proxy. ressource regroupée Dans Final Cut Server, vous pouvez télécharger un dossier de fichiers sous forme de ressource regroupée. Cette ressource regroupée contient tous les fichiers du dossier, ainsi que les fichiers auxquels il est impossible d’accéder depuis Final Cut Server. Les ressources regroupées servent au suivi des ressources de projet Soundtrack Pro, Motion et DVD Studio Pro, ainsi que des fichiers de données associés. tâches Terme désignant toute action exécutée par Final Cut Server sur une ressource. Ces actions incluent le téléchargement, la copie et le transcodage d’une ressource.170 Glossaire transcodage L’opération de transcodage permet de convertir une ressource média en passant d’un codec à un autre. Final Cut Server utilise les codecs vidéo et audio fournis par Compressor. Consultez réglages de transcodage. version Final Cut Server peut être configuré de manière à conserver les versions précédentes d’une sélection de ressources, ce qui rend possible la restauration d’une version anté- rieure, si nécessaire. Si vous extrayez une ressource à partir du catalogue Final Cut Server, puis la modifiez et la réintégrez, Final Cut Server copie tout d’abord la version actuelle sur le périphérique où elle se situe, puis copie la nouvelle version à l’endroit où la version actuelle se trouvait. vignette Dans la fenêtre principale de Final Cut Server, vous pouvez afficher les ressources ou les productions dans une vue Liste ou Vignette. Dans la vue Vignette, chaque ressource est représentée par une image miniature. Cette image provient du fichier proxy de vignette de la ressource (fichier proxy JPEG généré à partir du fichier de représentation principale de la ressource média, lors du téléchargement). Consultez proxy. Xsan Un réseau de stockage (SAN) Xsan Apple est un périphérique qui offre un accès rapide aux fichiers de données. Les périphériques Xsan prennent en charge la fonction edit-in-place lorsque vous vous connectez via un réseau Fibre Channel. Consultez edit-in-place. 171 Index Index A affichage des ressources 89 affiche 35 aide, utilisation à l’écran 9 annotations ajout 99 à propos 99–102 fenêtre 26 remplacement du texte 101 suppression 102 archivage des ressources 162 Assets, sous-fenêtre configuration de l’affichage 19 icônes 20 introduction 17 assistance AppleCare 11 automatisations 167 C cache 108 ajout d’une ressource 110 à propos 109–111 expiré 111 client. Consultez client Final Cut Server client Final Cut Server installation 15 tableau des actions 84 clients, à propos 7 courrier électronique, Review and Approve, fonction 152–158 D déconnexion de Final Cut Server projets Final Cut Pro 130–133 ressources média 113–116 déverrouillage des ressources 94–98 dossiers téléchargement du contenu en tant que ressources 44 téléchargement en tant que ressources regroupées 44 Downloads & Uploads, fenêtre introduction 27 duplication d’une ressource 103 E edit-in-place 104, 168 mise en cache 109 projets Final Cut Pro et 123 elements sous-fenêtre Elements 40 éléments à propos 40 ensembles de métadonnées présentation 32 exportation groupe Final Cut Studio 161 projet et ressources Final Cut Pro 133, 161 projet et ressources Final Cut Studio 162 projets Final Cut Studio 143–145 ressources finales et projets 159 ressources média 117, 160 extraction et réintégration 111–113 projets Final Cut Pro 124–129 ressources 111–113 F fenêtre d’information production 25 projet Final Cut Pro 24 projet Final Cut Studio 24 ressource 23 fenêtre d’information de la ressource Action, menu local 58 détails 85–88 fenêtre d’information 88 ouverture 58 sous-fenêtre Assets 86 sous-fenêtre Locks 87 sous-fenêtre Metadata 86, 87, 88 sous-fenêtre Review & Approve 88 sous-fenêtre Versions 87 fenêtre d’information du projet Final Cut Pro à propos 89 sous-fenêtre Elements 40172 Index fenêtre Downloads & Uploads effacement 105 ouverture 105 utilisation 105 fenêtre Link Upload 47 fenêtre Multiple Link Upload 50 fenêtre Multiple Upload 37 fenêtre Preferences ouverture 107 préférences de cache 108 préférences de recherche 107 utilisation 107–108 fenêtre Search All Jobs utilisation 80–81, 105 fenêtre Search Devices à propos de son contenu 78 astuces de recherche 79 utilisation 78–79 fenêtre Upload 37 fichier géré 168 fichier non géré 168 fichier proxy de plan 35 fichiers d’alias 114, 168 fichiers de données préparés 167 fichiers du proxy de modification extraction de projets Final Cut Pro 124 fichiers Edit Proxy à propos 168 extraction d’un projet Final Cut Pro 39 fichiers proxy 34, 169 affiche 35 Edit Proxy 39 proxy de plan 35 vignette 35 Final Cut Pro Check In, fenêtre 128 Check Out, fenêtre 125 utilisation avec Final Cut Server 121–122 Final Cut Pro, projets exportation 133, 161 Final Cut Server aide 9 documentation imprimée 9 edit-in-place 104 flux de travaux 14 installation du client 15 interface utilisateur 15–30 manuels de l’utilisateur à l’écran 9 ordinateur dont l’activité est suspendue 34 préférences 107–108 présentation 7–8 sites web 10 utilisation avec Final Cut Pro 121–122 vue d’ensemble des opérations 8 vue d’ensemble du catalogue 53–59 G Gestionnaire de données 127 groupes projets Final Cut Studio, exportation 161 I interface utilisateur fenêtre Annotations, introduction 26 fenêtre Downloads & Uploads, introduction 27 fenêtre Preferences, introduction 29 fenêtre principale 15 fenêtres d’information 23–25 fenêtre Search All Jobs, introduction 27 fenêtre Search Devices, introduction 28 icônes de ressource 20 introduction 15–30 introduction aux menus contextuels 30 K Keep Media with Project, case à cocher 131 M Menu local Action 58 menus contextuels introduction 30 versions 93 métadonnées affichage 65 à propos 65 fichier et ressource 64 métadonnées d’état 75, 147–149 métadonnées d’état, application 150 modification sur des ressources 77 présentation 32 utilisation 64–66 P périphériques edit-in-place 104 Library 38 Media 38 Preferences, fenêtre emplacement du fichier d’alias, réglage 114 introduction 29 présentation par liste 20 productions affichage 61 ajout de ressources 62 ajout de ressources durant un téléchargement 62 création 60 métadonnées d’état 75 métadonnées d’état, application 150 métadonnées d’état, utilisation pour la recherche 151 organisation des ressources 59–64Index 173 retrait de ressources 63 suppression 64 téléchargement de projets Final Cut Studio vers 49 Productions, sous-fenêtre configuration de l’affichage 19 icônes 20 introduction 18 projets DVD Studio Pro à propos des fichiers .par 46 reconnexion de fichiers de données 141 téléchargement d’un dossier avec des ressources 43 projets Final Cut Pro à propos 120 conservation des données du projet 126, 131 création à partir de ressources préparées pour une utilisation hors connexion 115 edit-in-place 123 éléments 40 extraction 124–129 extraction sur un disque externe 132 extraction sur un ordinateur portable déconnecté 131 fichiers du proxy de modification 124 Gestionnaire de données, utilisation 127 intégration et extraction de Final Cut Server 123 modification d’un projet extrait 126 problèmes connus 121 réintégration 127 résolution de problèmes de données offline 122 suppression de Final Cut Server 165 téléchargement 39–43 utilisation sans connexion à Final Cut Server 130– 133 versions 123, 129 projets Final Cut Studio à propos de la modification 135 exportation 143–145 exportation des ressources 162 exportation en groupes 161 extraction avec des données reliées 139 modification dans l’application d’origine 140 réintégration des fichiers de données reliées 142 réintégration et extraction en tant que fichiers individuels 138–143 réintégration et extraction en tant que ressources regroupées 136 téléchargement 43–51 téléchargement vers des productions 49 projets Motion reconnexion de fichiers de données 140 téléchargement d’un dossier avec des ressources 43 projets Soundtrack Pro reconnexion de fichiers de données 140 téléchargement d’un dossier avec des ressources 43 Q QuickTime métadonnées 38 séquences de référence 34 R raccourcis clavier, à propos 30 recherche affichage des résultats 74 avancée 69–71 introduction 21 pages de résultats 74 préférences 107 simple 66–68 Smart Search 72–73, 152 utilisation de la fenêtre Search All Jobs 80–81 utilisation de la fenêtre Search Devices 78–79 utilisation de métadonnées d’état 151 réintégration et extraction projets Final Cut Studio en tant que fichiers individuels 138–143 ressources regroupées de projet Final Cut Studio 136 représentation principale 34 réseau de stockage (SAN) et mise en cache 109 ressources activation du contrôle de versions 92 affichage 89 ajout au cache 110 ajout à une production durant un téléchargement 62 ajout d’annotations 99 archivage 162 disque externe 113 duplication 103 exportation 117 extensions de fichiers 33 extraction 92 fichiers d’alias 114 fichiers pouvant être téléchargés 32 fichiers proxy 34 métadonnées 64 métadonnées d’état 75 métadonnées d’état, application 150 métadonnées d’état, utilisation pour la recherche 151 mise en cache 109–111 modification des métadonnées 77 organisation à l’aide de productions 59–64 préparation pour une utilisation hors connexion 113–116 présentation 31174 Index réintégration avec des commentaires de version 92 représentation principale 34 restauration 162 retrait d’une production 63 stratégies de téléchargement 33 suppression de Final Cut Server 164 téléchargement 34–39 type mime 57 types 55 verrouillage et déverrouillage 94–98 versions 91–93 vue d’ensemble du catalogue 53–59 ressources regroupées et automatisations 45 réintégration et extraction, projets Final Cut Studio 136 téléchargement d’un projet Final Cut Studio en tant que 44–48 téléchargement de projets en tant que 44 restauration des ressources 162 Review and Approve, fonction 152–158 réviseurs définis par l’administrateur 154 réviseurs définis par l’administrateur et réviseurs saisis manuellement 157 saisie manuelle des réviseurs 155 utilisation 153 S Search All Jobs, fenêtre introduction 27 Search Devices, fenêtre introduction 28 serveurs, à propos 7 Sites web 10 Sites web Apple 10 Smart Search création 72–73 et utilisateurs 72 localisation d’éléments Ready for Review 152 suppression 73 utilisation 73 T tâches à propos 80 fenêtre Search All Jobs 105 indicateur Jobs in Progress 104 monitoring 104–106 téléchargement ajout de ressources à une production 62 dossiers 43 fichiers de données 34–39 fichiers pouvant être téléchargés 32 ordinateur dont l’activité est suspendue et 34 projet Final Cut Studio en tant que ressource regroupée 44–48 projet Final Cut Studio en tant que ressources individuelles 48–51 projets Final Cut Pro 39–43 projets Final Cut Studio 43–51 séquences de référence QuickTime 34 stratégies 33 transcodage 170 travailler hors connexion avec Final Cut Server ressources média 113–116 type mime 57 U utilisation sans connexion à Final Cut Server projets Final Cut Pro 130–133 V verrouillage des ressources 94–98 verrous extraction 95 référence 96 verrouillage et déverrouillage du verrou Utilisateur 96–98 versions 91–93 activation du contrôle de versions pour une ressource 92 ajout de commentaires 92 espace disque 91 options de menu contextuel 93 projets Final Cut Pro 123, 129 rétablissement 93 sous-fenêtre Versions 91 vignettes 35 affichage 19 vue d’ensemble du catalogue 53–59 X Xsan mise en cache 109 projets Final Cut Pro 123 Time Capsule Guide de configuration3 Table des matières 5 Chapitre 1 : Premiers contacts 7 À propos de votre Time Capsule 8 À propos du logiciel AirPort 9 Ce qu’il vous faut pour commencer 11 Le voyant d’état de Time Capsule 13 Chapitre 2 : Configuration de Time Capsule 14 Utilisation de Time Capsule pour créer un réseau sans fil 17 Utilisation de l’Utilitaire AirPort 19 Création d’un nouveau réseau sans fil 20 Configuration et partage de l’accès à Internet 21 Réglage des options avancées 23 Autorisation de l’accès des clients sans fil à votre réseau sans saisie de mot de passe 24 Utilisation de Time Machine avec votre Time Capsule 27 Chapitre 3 : Astuces et dépannage 27 Si vous ne pouvez pas vous connecter à Internet 27 Si vous avez oublié le mot de passe du réseau ou celui de Time Capsule 29 Si votre Time Capsule ne répond pas 30 Si le voyant d’état de votre Time Capsule devient orange et se met à clignoter4 Table des matières 31 Si votre imprimante ne répond pas 32 Mise à jour du logiciel AirPort 33 À propos de l’emplacement de Time Capsule 34 Éléments pouvant provoquer des interférences avec AirPort 35 Chapitre 4 : En savoir plus, service après-vente et support 37 Annexe : Caractéristiques techniques et normes de sécurité de Time Capsule 41 Regulatory Compliance Information1 5 1 Premiers contacts Nous vous félicitons pour l’achat de Time Capsule. Lisez ce guide pour commencer. La nouvelle Time Capsule vous offre la simplicité d’une sauvegarde automatisée pour votre réseau Wi-Fi. Utilisée dans Mac OS X 10.5.2 Leopard ou ultérieur, l’application Time Machine facilite et automatise la réalisation de copies de sauvegarde du contenu de tous les ordinateurs du réseau sur une seule Time Capsule. Time Capsule est aussi une borne d’accès AirPort Extreme complète offrant une mise en réseau sans fil à double bande simultanée. Lorsque vous la configurez, votre Time Capsule crée deux réseaux Wi-Fi haut débit :  un réseau 2,4 gigahertz (GHz) pour les appareils 802.11b, 802.11g et 802.11n, tels que les iPhone, iPod Touch et ordinateurs plus anciens,  un réseau 5 GHz pour les appareils 802.11n et 802.11a, tels que les ordinateurs récents et Apple TV. Les périphériques sans fil se connectent au réseau qui leur fournit les meilleures performances et la meilleure compatibilité et la Time Capsule partage votre connexion Internet haut débit avec les ordinateurs et périphériques de votre réseau.6 Chapitre 1 Premiers contacts Avec votre Time Capsule, vous pouvez :  Utiliser l’application Time Machine dans Mac OS X 10.5.2 (ou ultérieur) pour effectuer une copie de sauvegarde du contenu de tous les ordinateurs de votre réseau sans fil ainsi que des ordinateurs connectés à votre Time Capsule via Ethernet. Remarque : la première copie de sauvegarde avec Time Capsule et Time Machine peut prendre une nuit, voire plus, suivant la quantité de données à sauvegarder. Pour accélérer le processus, utilisez un câble Ethernet pour brancher l’ordinateur au port de réseau local (LAN) sur votre Time Capsule. Pour en savoir plus sur l’utilisation de Time Machine, voir « Utilisation de Time Machine avec votre Time Capsule » à la page 24.  Créer un réseau domestique sans fil protégé par mot de passe, vous connecter à Internet et partager la connexion avec d’autres ordinateurs et périphériques Wi-Fi tels qu’iPhone, iPod Touch et Apple TV. Vous pouvez aussi partager des fichiers entre des ordinateurs connectés au réseau.  Créer un réseau d’invités avec ou sans protection par mot de passe pour fournir un accès aux périphériques sans fil tels que les ordinateurs, iPhone, iPod Touch et Apple TV, via Internet uniquement.  Connecter votre Time Capsule à votre réseau Ethernet. Les ordinateurs Macintosh ou Windows XP ou Windows Vista sans fil peuvent alors accéder à un réseau complet sans connexion câblée.  Connecter une imprimante USB prise en charge à votre Time Capsule. Les ordinateurs compatibles sur le réseau AirPort, qu’ils soient avec ou sans fil, peuvent alors imprimer sur cette imprimante.Chapitre 1 Premiers contacts 7  Connecter un disque dur USB supplémentaire à votre Time Capsule. Les ordinateurs compatibles sur le réseau AirPort, qu’ils soient avec ou sans fil, peuvent accéder aux informations du disque dur.  Connecter un concentrateur USB à votre Time Capsule avant de connecter plusieurs périphériques USB tels que des imprimantes ou des disques durs. Tous les ordinateurs du réseau ont accès à ces périphériques. Important : installez l’Utilitaire AirPort 5.4 à partir du CD fourni avec votre Time Capsule ou téléchargez-le à l’aide de la Mise à jour de logiciels. Les versions antérieures de l’Assistant réglages AirPort et de l’Utilitaire Admin AirPort ne sont pas compatibles avec Time Capsule. À propos de votre Time Capsule Votre Time Capsule est équipée de cinq ports à l’arrière :  Un port WAN Gigabit Ethernet 10/100/1000Base-T qui sert à brancher un modem câble ou DSL ou à se connecter à un réseau Ethernet existant.  Trois ports LAN Gigabit Ethernet 10/100/1000Base-T qui servent à brancher des périphériques Ethernet, par exemple des imprimantes ou des ordinateurs, ou à se connecter à un réseau Ethernet. 8 Chapitre 1 Premiers contacts  Un port USB qui sert à brancher une imprimante USB, un disque dur ou un concentrateur pour périphériques compatibles. Le bouton de réinitialisation situé à côté du port sert à dépanner votre Time Capsule. Le voyant d’état situé à l’avant affiche l’état actuel. À propos du logiciel AirPort Time Capsule fonctionne avec l’Utilitaire AirPort inclus sur le CD de Time Capsule. Installez l’Utilitaire AirPort et suivez les instructions des pages suivantes pour configurer votre Time Capsule et votre réseau sans fil AirPort. Voyant d’état Port WAN Internet Port d’alimentation Câble d’alimentation Bouton de réinitialisation Port USB Ports Ethernet Logement de sécurité Voyant d’activité EthernetChapitre 1 Premiers contacts 9 Remarque : vous devez utiliser l’Utilitaire AirPort 5.4 pour configurer votre Time Capsule. Cette version de Time Capsule n’est pas compatible avec les versions antérieures du logiciel AirPort. Ce qu’il vous faut pour commencer Pour utiliser votre Time Capsule, il vous faut un ordinateur sans fil conforme aux normes IEEE 802.11a, 802.11b ou 802.11g ou à une ébauche de spécification 802.11n de l’IEEE. Pour pouvoir configurer Time Capsule, votre ordinateur doit respecter la configuration requise ci-dessous. Remarque : pour pouvoir utiliser votre Time Capsule avec Time Machine sous Mac OS X Leopard, vous devez disposer de Mac OS X 10.5.2 ou ultérieur. Utilitaire AirPort Utilisez l’Utilitaire AirPort pour configurer votre Time Capsule afin de créer un réseau sans fil, de vous connecter à Internet et de partager des imprimantes ou des disques durs USB compatibles. Vous pouvez également connecter votre Time Capsule à un réseau sans fil AirPort Extreme existant. L’Utilitaire AirPort est également un outil sophistiqué permettant de configurer et de gérer Time Capsule, AirPort Extreme et les bornes d’accès AirPort Express. Utilisez-le pour définir manuellement les réglages de réseau, de routage et de sécurité, ainsi que d’autres options avancées. Z Menu d’état AirPort Le menu d’état AirPort situé dans la barre des menus vous permet de passer instantanément d’un réseau AirPort à l’autre, de contrôler la qualité du signal du réseau sélectionné, de créer un réseau « ordinateur à ordinateur » et d’activer ou de désactiver AirPort. Le menu d’état est disponible sur les ordinateurs utilisant Mac OS X. 10 Chapitre 1 Premiers contacts Pour configurer votre Time Capsule via un Mac, vous devez disposer des éléments suivants :  Un ordinateur Macintosh avec une carte AirPort ou AirPort Extreme pour le configurer sans fil ou un ordinateur Macintosh connecté à Time Capsule avec un câble Ethernet pour le configurer avec Ethernet.  Mac OS X 10.4 ou ultérieur.  Utilitaire AirPort 5.4 ou ultérieur. Pour configurer Time Capsule via un PC sous Windows, vous devez disposer des éléments suivants :  Un ordinateur Windows disposant d’une vitesse de processeur de 300 MHz ou supé- rieur ainsi que d’une carte sans fil compatible 802.11a, 802.11b ou 802.11g ou d’une carte sans fil conforme à une ébauche de spécifications 802.11n de l’IEEE.  Windows XP Edition Familiale ou Professionnel (Service Pack 2) ou Windows Vista.  Utilitaire AirPort 5.4 ou ultérieur. Branchement de votre Time Capsule Avant de brancher votre Time Capsule, connectez d’abord les câbles qui conviennent aux ports que vous souhaitez utiliser :  Connectez le câble Ethernet connecté à votre modem DSL ou câble (en cas de connexion à Internet) au port Ethernet WAN(<).  Connectez un câble USB connecté au port USB (d) de votre Time Capsule à une imprimante USB compatible (si vous imprimez sur une imprimante USB), un disque dur ou un concentrateur.Chapitre 1 Premiers contacts 11  Connectez un câble Ethernet de n’importe quel périphérique Ethernet aux ports LAN Ethernet (G). Une fois connectés les câbles des périphériques que vous souhaitez utiliser, connectez la prise de courant au port secteur et branchez Time Capsule sur une prise électrique. Il n’y a pas d’interrupteur d’alimentation. Important : utilisez uniquement la prise fournie avec votre Time Capsule. Lorsque vous branchez votre Time Capsule à une prise électrique, le voyant d’état clignote en vert pendant une seconde puis en orange lorsque votre Time Capsule démarre. Une fois votre Time Capsule démarrée, le voyant d’état clignote en orange jusqu’à ce que les réglages corrects aient été mis à jour sur votre Time Capsule. Le voyant d’état devient vert et cesse de clignoter une fois votre Time Capsule correctement configurée et connectée à Internet ou à un réseau. Lorsque des câbles Ethernet sont branchés sur les ports Ethernet, les voyants situés audessus de ces derniers sont verts et ne clignotent pas. Le voyant d’état de Time Capsule Le tableau suivant répertorie les divers comportements des voyants d’état de Time Capsule et donne leur signification. Voyant État/Description Éteint Votre Time Capsule est débranchée. Orange Votre Time Capsule n’a pas terminé sa séquence de démarrage.12 Chapitre 1 Premiers contacts Étape suivante Après avoir branché votre Time Capsule, utilisez l’Utilitaire AirPort pour la configurer afin qu’elle puisse être compatible avec votre connexion Internet, une imprimante USB, un disque dur ou un réseau existant. L’Utilitaire AirPort est situé dans le sous-dossier Utilitaires du dossier Applications sur un ordinateur exécutant Mac OS X et dans Démarrer > Tous les programmes > AirPort sur un ordinateur exécutant Windows XP ou Windows Vista. Orange clignotant Votre Time Capsule ne peut pas établir de connexion avec le réseau ou Internet ou bien il rencontre un problème. Assurezvous d’avoir installé l’Utilitaire AirPort et utilisez-le pour obtenir des informations sur le clignotement orange du voyant d’état. Reportez-vous à la rubrique « Si le voyant d’état de votre Time Capsule devient orange et se met à clignoter » à la page 30. Vert fixe Votre Time Capsule est allumée et fonctionne normalement. En sélectionnant « Clignotement en cas d’activité » dans le menu local Voyant d’état qui se trouve dans la sous-fenêtre de la borne d’accès de l’utilitaire AirPort via le menu de configuration, le voyant d’état vert clignote pour indiquer que l’activité est normale. Orange et vert clignotant Il peut y avoir un problème pour démarrer. Votre Time Capsule va redémarrer et essayer à nouveau. Bleu fixe Votre Time Capsule est prête à autoriser l’accès au réseau à un client sans fil. Voir « Autorisation de l’accès des clients sans fil à votre réseau sans saisie de mot de passe » à la page 23. Voyant État/Description2 13 2 Configuration de Time Capsule Ce chapitre fournit des informations et des instructions pour la connexion de votre Time Capsule à Internet et sa configuration à l’aide de l’Utilitaire AirPort pour créer ou se relier à un réseau sans fil. Ce chapitre décrit la procédure de connexion de votre Time Capsule à Internet, l’utilisation de l’Assistant réglages dans l’Utilitaire AirPort pour configurer votre réseau ainsi que d’autres fonctionnalités de votre Time Capsule. Pour en savoir plus sur la mise en réseau sans fil et sur les fonctionnalités avancées de l’Utilitaire AirPort, consultez le document « Création de réseaux AirPort 802.11n (Mac OS X v10.5 + Windows) » sur le CD AirPort ou à l’adresse www.apple.com/fr/support/airport. Après l’installation de l’Utilitaire AirPort depuis le CD fourni avec votre Time Capsule, vous pouvez réaliser la majeure partie de la configuration de votre réseau et de vos tâches de configuration grâce à l’Assistant réglages de l’Utilitaire AirPort. Pour régler des options avancées, choisissez Configuration manuelle dans le menu Borne d’accès de l’Utilitaire AirPort. Voir « Réglage des options avancées » à la page 21.14 Chapitre 2 Configuration de Time Capsule Utilisation de Time Capsule pour créer un réseau sans fil Lorsque vous configurez votre Time Capsule pour fournir un accès réseau et Internet, les ordinateurs et périphériques suivants peuvent accéder au réseau AirPort sans fil pour partager des fichiers, jouer à des jeux et utiliser des applications Internet telles que les navigateurs web et les applications de courrier électronique :  ordinateurs Macintosh équipés de cartes AirPort ou AirPort Extreme,  ordinateurs équipés de la technologie sans fil 802.11a, 802.11b, 802.11g et projet de spécification IEEE 802.11n,  autres périphériques Wi-Fi. Les ordinateurs connectés à Time Capsule via Ethernet peuvent également accéder au réseau pour partager des fichiers et se connecter à Internet. Si vous utilisez Mac OS X 10.5.2 ou ultérieur, vous pouvez configurer Time Machine pour sauvegarder sur Time Capsule le contenu de tous les ordinateurs se trouvant sur le réseau. Pour en savoir plus, consultez la rubrique « Utilisation de Time Machine avec votre Time Capsule » à la page 24. Lorsque vous branchez une imprimante USB compatible sur votre Time Capsule, tous les ordinateurs pris en charge sur le réseau (avec ou sans fil) peuvent l’utiliser.Chapitre 2 Configuration de Time Capsule 15 Utilisation de Time Capsule pour créer un réseau sans fil Configuration : 1 Connectez votre modem DSL ou câble à Time Capsule via le port WAN Ethernet (<). 2 Si vous envisagez de partager une imprimante USB sur le réseau, connectez-la au port USB de Time Capsule (d) ou au concentrateur USB à l’aide d’un câble USB. Vers Internet Modem DSL ou câble < Port WAN Internet Imprimante partagée Time Capsule aux ports USB 2,4 ou 5 GHz 2,4 GHz 2,4 ou 5 GHz16 Chapitre 2 Configuration de Time Capsule 3 Ouvrez l’Utilitaire AirPort (situé dans le sous-dossier Utilitaires du dossier Applications sur un ordinateur exécutant Mac OS X et dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows), sélectionnez votre Time Capsule et cliquez sur Continuer. 4 Suivez les instructions à l’écran pour créer un réseau. Pour imprimer à partir d’un ordinateur exécutant Mac OS X v10.5 : 1 Sélectionnez le menu Pomme > Préférences Système et cliquez sur Imprimantes et fax. 2 Cliquez sur Ajouter (+) et sélectionnez votre imprimante dans la liste. 3 Cliquez sur le bouton Ajouter. Si votre imprimante ne figure pas dans la liste, recherchez-la à l’aide des boutons de la barre d’outils. Pour imprimer à partir d’un ordinateur exécutant Mac OS X 10.3 ou 10.4 : 1 Ouvrez la Configuration d’imprimante (située dans le sous-dossier Utilitaires du dossier Applications). 2 Sélectionnez l’imprimante dans la liste. Si l’imprimante ne figure pas sur la liste, cliquez sur Ajouter, puis choisissez Bonjour dans le menu local avant de sélectionner l’imprimante dans la liste. Pour imprimer à partir d’un ordinateur exécutant Windows XP ou Windows Vista : 1 Installez Bonjour pour Windows depuis le CD fourni avec Time Capsule. 2 Suivez les instructions à l’écran pour connecter l’ordinateur à votre imprimante. Les ordinateurs utilisant AirPort ou une carte ou un adaptateur sans fil compatible peuvent se connecter à Internet via Time Capsule. Les ordinateurs branchés sur les ports Ethernet de Time Capsule peuvent également accéder au réseau et se connecter à Internet.Chapitre 2 Configuration de Time Capsule 17 Les ordinateurs sans fil et ceux branchés sur les ports Ethernet ont aussi la possibilité de communiquer les uns avec les autres via Time Capsule. Utilisation de l’Utilitaire AirPort Pour installer et configurer votre Time Capsule, utilisez l’Assistant réglages de l’Utilitaire AirPort. L’Utilitaire AirPort est automatiquement installé sur votre ordinateur en même temps que le logiciel du CD Time Capsule. Sur un ordinateur Mac OS X 10.4 ou ultérieur : 1 Ouvrez l’Utilitaire AirPort, situé dans le sous-dossier Utilitaires du dossier Applications. 2 Sélectionnez votre Time Capsule et cliquez sur Continuer. Si la Time Capsule ne figure pas dans cette liste, cliquez sur Chercher à nouveau pour rechercher les périphériques sans fil disponibles, puis sélectionnez votre Time Capsule dans la liste. 3 Suivez les instructions à l’écran pour configurer votre Time Capsule et votre réseau sans fil. Sur un ordinateur Windows XP (Service Pack 2) ou Windows Vista : 1 Ouvrez l’Utilitaire AirPort situé dans Démarrer > Tous les programmes > AirPort. 2 Sélectionnez votre Time Capsule et cliquez sur Continuer.18 Chapitre 2 Configuration de Time Capsule 3 Suivez les instructions à l’écran pour configurer votre Time Capsule et votre réseau sans fil. L’assistant de réglage de l’utilitaire AirPort vous pose une série de questions concernant le type de réseau que vous souhaitez utiliser et les services que vous souhaitez configurer . Si vous utilisez Time Capsule pour vous connecter à Internet, vous devez disposer d’un compte haut débit (modem DSL ou câble) et d’un fournisseur d’accès à Internet (FAI) ou d’une connexion utilisant un réseau Ethernet existant. Si vous avez reçu des informations particulières de votre FAI (une adresse IP statique ou l’identifiant du client DHCP), il vous faudra peut-être les saisir dans l’Utilitaire AirPort. Regroupez toutes ces informations avant de configurer votre Time Capsule et gardez-les à portée de main.Chapitre 2 Configuration de Time Capsule 19 Création d’un nouveau réseau sans fil Vous pouvez utiliser l’Assistant réglages de l’Utilitaire AirPort pour créer un réseau sans fil. L’Assistant réglages vous guide tout au long des étapes nécessaires pour nommer votre réseau, le protéger avec un mot de passe et configurer d’autres options. Si vous souhaitez partager une imprimante ou un disque dur USB sur votre réseau : 1 Reliez l’imprimante ou le disque dur au port USB de Time Capsule (d). 2 Ouvrez l’Utilitaire AirPort, situé dans le sous-dossier Utilitaires du dossier Applications sur un Mac et dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP. 3 Sélectionnez votre Time Capsule et cliquez sur Continuer. Si la Time Capsule ne figure pas dans cette liste, cliquez sur Chercher à nouveau pour rechercher les périphériques sans fil disponibles, puis sélectionnez votre Time Capsule dans la liste. 4 Suivez les instructions à l’écran pour créer un réseau.20 Chapitre 2 Configuration de Time Capsule Configuration et partage de l’accès à Internet Si vous prévoyez de partager votre connexion Internet avec les ordinateurs du réseau configurés pour la communication sans fil ou les ordinateurs connectés aux ports Ethernet, vous devez configurer votre Time Capsule en tant que borne d’accès AirPort. Une fois que votre Time Capsule est configurée, les ordinateurs peuvent accéder à Internet par le biais du réseau AirPort. Votre Time Capsule se connecte à Internet et transmet des informations aux ordinateurs via le réseau sans fil. Avant d’utiliser l’Utilitaire AirPort pour configurer votre Time Capsule , branchez votre modem DSL ou câble sur le port WAN Ethernet de Time Capsule (<). Si vous connectez votre Time Capsule à un réseau Ethernet ayant accès à Internet, connectez-le au réseau Ethernet. Utilisez l’Assistant réglages de l’Utilitaire AirPort pour saisir les réglages de votre FAI et configurer le mode de partage de ces réglages entre Time Capsule et d’autres ordinateurs. 1 Ouvrez l’Utilitaire AirPort, situé dans le sous-dossier Utilitaires du dossier Applications sur un ordinateur exécutant Mac OS X et dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP. 2 Sélectionnez votre Time Capsule et cliquez sur Continuer. Si vous apportez des modifications à une Time Capsule déjà configurée, vous pouvez être amené à vous connecter au réseau créé avant d’apporter les modifications à Time Capsule.Chapitre 2 Configuration de Time Capsule 21 Pour sélectionner le réseau sans fil que vous souhaitez modifier sur un Macintosh, utilisez le menu d’état d’AirPort dans la barre des menus. Sur un ordinateur fonctionnant sous Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que le nom de votre réseau AirPort (SSID) s’affiche. Sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 3 Suivez les instructions à l’écran pour configurer votre Time Capsule et y partager l’accès à Internet. Utilitaire AirPort permet de configurer rapidement et facilement votre Time Capsule et le réseau. Pour configurer d’autres options pour votre réseau, notamment pour restreindre l’accès à votre réseau ou pour définir des options DHCP avancées, sélectionnez Configuration manuelle dans le menu Utilitaire AirPort. Réglage des options avancées Utilisez Utilitaire AirPort pour configurer votre Time Capsule manuellement pour définir des options avancées de Time Capsule, notamment les options de sécurité, les réseaux fermés, la durée de bail DHCP, le contrôle d’accès, les contrôles d’alimentation, les comptes utilisateur, etc. Pour régler les options avancées : 1 Ouvrez l’Utilitaire AirPort, situé dans le sous-dossier Utilitaires du dossier Applications sur un Mac et dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP.22 Chapitre 2 Configuration de Time Capsule 2 Si plusieurs périphériques sans fil figurent dans la liste, sélectionnez celui que vous souhaitez configurer. Si la Time Capsule ne figure pas dans cette liste, cliquez sur Chercher à nouveau pour rechercher les périphériques sans fil disponibles, puis sélectionnez votre Time Capsule dans la liste. Si vous apportez des modifications à une Time Capsule déjà configurée, vous pouvez être amené à vous connecter au réseau créé avant d’apporter les modifications à Time Capsule. Pour sélectionner le réseau sans fil que vous souhaitez modifier sur un Macintosh, utilisez le menu d’état d’AirPort dans la barre des menus. Sur un ordinateur fonctionnant sous Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que le nom de votre réseau AirPort (SSID) s’affiche. Sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 3 Choisissez Configuration manuelle dans le menu Borne d’accès. Si le système vous demande un mot de passe, saisissez-le. Pour en savoir plus sur les fonctions de configuration manuelle dans l’Utilitaire AirPort, consultez la section « Création de réseaux AirPort grâce à l’Utilitaire AirPort (Mac OS X v10.5 + Windows) » à l’adresse www.apple.com/fr/support/airport.Chapitre 2 Configuration de Time Capsule 23 Autorisation de l’accès des clients sans fil à votre réseau sans saisie de mot de passe Si votre réseau est protégé par un mot de passe avec WPA Personnel ou WPA/WPA2 Personnel, vous pouvez donner accès à votre réseau à des clients sans fil sans que ceux-ci aient à saisir le mot de passe du réseau. Lorsque vous autorisez un client à accéder à votre réseau, le nom et l’adresse MAC sans fil (ou identifiant AirPort) du client sont conservés dans la liste de contrôle d’accès de l’Utilitaire AirPort jusqu’à ce que vous le retiriez de la liste. Vous pouvez également autoriser l’accès pour 24 heures, délai au bout duquel le client ne pourra plus accéder à votre réseau. Lorsque vous autorisez l’accès à votre réseau sans fil à un client, celui-ci n’a pas à saisir le mot de passe du réseau. Pour autoriser un client à accéder au réseau sans saisir le mot de passe du réseau : 1 Ouvrez l’Utilitaire AirPort, sélectionnez votre Time Capsule et choisissez Configuration manuelle dans le menu Borne d’accès. Saisissez un mot de passe si nécessaire. 2 Choisissez « Ajouter des clients sans fil » dans le menu Borne d’accès. 3 Sélectionnez le mode d’accès du client au réseau :  Sélectionnez PIN pour saisir le numéro à 8 chiffres fourni par le client demandant à accéder au réseau.  Sélectionnez « Première tentative » pour autoriser l’accès au premier client essayant d’entrer sur le réseau. Le voyant est bleu pendant que Time Capsule attend qu’un client rejoigne le réseau.24 Chapitre 2 Configuration de Time Capsule Sélectionnez « Limiter l’accès du client à 24 heures » si vous voulez seulement autoriser l’accès à votre réseau pendant une journée. Si vous ne sélectionnez pas cette option, le client aura accès à votre réseau jusqu’à ce que vous supprimiez son nom de la liste. Utilisation de Time Machine avec votre Time Capsule L’application Time Machine de Mac OS X Leopard permet de sauvegarder tout le contenu de votre ordinateur, notamment les photos, la musique, les films et les documents. Après avoir configuré Time Machine, il sauvegarde automatiquement et régulièrement le contenu de votre ordinateur. Si vous utilisez Mac OS X 10.5.2 ou ultérieur, la première fois que vous vous connectez à Time Capsule, Time Machine vous demande si vous souhaitez l’utiliser pour sauvegarder vos fichiers. Cliquez sur « Utiliser un disque de sauvegarde » et Time Machine s’occupe du reste. La sous-fenêtre Time Machine des Préférences Système sous Mac OS X Leopard permet de définir les sauvegardes automatiques, de changer de disque de sauvegarde ou d’ajuster d’autres réglages. Pour configurer Time Machine sur un ordinateur fonctionnant sous Mac OS X Leopard : 1 Sélectionnez le menu Pomme > Préférences Système et cliquez sur Time Machine. 2 Placez le curseur sur Activé. 3 Cliquez sur Changer de disque. 4 Sélectionnez votre Time Capsule et cliquez sur Sélectionner.Chapitre 2 Configuration de Time Capsule 25 La première copie de sauvegarde avec Time Capsule et Time Machine peut prendre une nuit ou plus, suivant la quantité de données à sauvegarder. Pour accélérer le processus de sauvegarde initial, connectez votre Time Capsule à votre ordinateur via Ethernet. Lors des sauvegardes suivantes, Time Machine effectue uniquement une copie de sauvegarde des fichiers qui ont été modifiés depuis la sauvegarde précédente, ce qui réduit la durée de l’opération. Time Capsule est une excellente solution de sauvegarde sans fil pour les ordinateurs portables. Sachant que la première copie de sauvegarde peut nécessiter un certain temps, branchez votre portable sur un adaptateur secteur afin de préserver la batterie et d’éviter l’interruption de la sauvegarde. De plus, afin d’optimiser les performances de connexion sans fil, placez votre ordinateur portable dans la même pièce que votre Time Capsule. Si vous éteignez votre Mac ou le mettez en veille pendant la réalisation d’une copie de sauvegarde, Time Machine arrête la sauvegarde et la reprend à partir du point où elle était parvenue une fois que le Mac redémarre. Pour en savoir plus sur Time Machine, sélectionnez Aide > Aide Mac dans le menu Finder depuis un ordinateur fonctionnant sous Mac OS X Leopard et tapez Time Machine dans le champ de recherche.3 27 3 Astuces et dépannage Vous pouvez rapidement résoudre la plupart des problèmes pouvant survenir avec Time Capsule en suivant les conseils donnés dans ce chapitre. Si vous ne pouvez pas vous connecter à Internet  Essayez de vous connecter à Internet directement à partir de votre ordinateur. Si vous ne parvenez pas à vous connecter, vérifiez que vos réglages réseaux sont corrects. S’ils semblent corrects et que le problème persiste, contactez votre fournisseur d’accès à Internet.  Veillez à vous connecter au bon réseau sans fil. Si vous avez oublié le mot de passe du réseau ou celui de Time Capsule Vous pouvez effacer le mot de passe du réseau d’AirPort ou de Time Capsule en réinitialisant Time Capsule. Pour réinitialiser le mot de passe de Time Capsule : 1 À l’aide d’un objet pointu (un stylo à bille, par exemple) maintenez le bouton de réinitialisation enfoncé pendant une seconde. 28 Chapitre 3 Astuces et dépannage Important : si vous maintenez ce bouton enfoncé pendant plus d’une seconde, il est possible que vous perdiez les réglages de votre réseau. 2 Sélectionnez votre réseau AirPort.  Sur un ordinateur Macintosh, utilisez le menu d’état d’AirPort, dans la barre des menus, pour sélectionner le réseau créé par Time Capsule (le nom du réseau reste inchangé).  Sur un ordinateur Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que vous voyiez apparaître le nom de votre réseau AirPort (SSID). Sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 3 Ouvrez l’Utilitaire AirPort (dans le sous-dossier Utilitaires du dossier Applications sur un Mac ou dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP). 4 Sélectionnez votre Time Capsule et choisissez Configuration manuelle dans le menu Borne d’accès. 5 Cliquez sur AirPort dans la barre d’outils, puis sur Borne d’accès. 6 Attribuez un nouveau mot de passe à votre Time Capsule. 7 Cliquez sur Sans fil et choisissez une méthode de cryptage dans le menu local Sécurité sans fil afin d’activer le cryptage et la protection du mot de passe pour votre réseau AirPort. Si vous activez le cryptage, tapez un nouveau mot de passe pour votre réseau AirPort. 8 Cliquez sur Mettre à jour pour redémarrer Time Capsule et charger les nouveaux réglages.Chapitre 3 Astuces et dépannage 29 Si votre Time Capsule ne répond pas Débranchez-la puis rebranchez-la à nouveau. Si votre Time Capsule ne répond plus du tout, vous devrez peut-être rétablir les réglages d’origine par défaut. Important : le fait de réinitialiser votre Time Capsule aux réglages par défaut efface tous les réglages actuels et rétablit les réglages fournis avec votre Time Capsule. Pour rétablir les réglages d’origine de Time Capsule : m Utilisez un objet pointu (un stylo à bille, par exemple) pour appuyer sur le bouton de réinitialisation jusqu’à ce que le voyant d’état clignote rapidement (pendant environ 5 secondes). Votre Time Capsule se réinitialise et utilise les réglages suivants :  Votre Time Capsule reçoit son adresse IP via DHCP.  Le nom du réseau redevient « Réseau Apple XXXXXX » (les XXXXXX représentant les six derniers chiffres de l’identifiant AirPort).  Le mot de passe Time Capsule redevient public. Si Time Capsule ne répond toujours pas, procédez ainsi : 1 Déconnectez votre Time Capsule. 2 Utilisez un objet pointu pour maintenir enfoncé le bouton de réinitialisation tout en connectant votre Time Capsule.30 Chapitre 3 Astuces et dépannage Si le voyant d’état de votre Time Capsule devient orange et se met à clignoter Il est possible que le câble Ethernet ne soit pas correctement branché, que Time Capsule se trouve hors du rayon de détection du réseau AirPort ou qu’il y ait un problème avec votre fournisseur d’accès à Internet. Si vous êtes connecté à Internet avec un modem câble ou DSL, le modem n’est peut-être plus connecté au réseau ou à Internet. Même si le modem semble fonctionner correctement, débranchez le modem, attendez quelques secondes puis rebranchez-le. Assurez-vous que Time Capsule est directement branchée sur le modem via Ethernet avant de rebrancher le modem. Pour en savoir plus sur l’origine du clignotement du voyant, ouvrez l’Utilitaire AirPort, sélectionnez votre Time Capsule et choisissez Configuration manuelle dans le menu Borne d’accès. Cliquez sur « État de la borne d’accès » pour afficher les informations concernant le clignotement du voyant. Vous pouvez également cocher la case « Contrôler les problèmes de la borne d’accès » dans les Préférences AirPort. Si la borne d’accès présente des problèmes, l’Utilitaire AirPort s’ouvre et vous aide à résoudre les problèmes.Chapitre 3 Astuces et dépannage 31 Si votre imprimante ne répond pas Si vous avez connecté une imprimante au port USB de votre Time Capsule et que les ordinateurs du réseau AirPort ne peuvent pas imprimer, procédez comme suit : 1 Assurez-vous que l’imprimante est branchée et allumée. 2 Assurez-vous que les câbles sont bien reliés à l’imprimante et au port USB de Time Capsule. 3 Assurez-vous que l’imprimante est sélectionnée dans la fenêtre Liste d’imprimantes des ordinateurs clients. Sur un ordinateur Macintosh exécutant Mac OS X 10.5 ou ultérieur :  Sélectionnez le menu Pomme > Préférences Système et cliquez sur Imprimantes et fax.  Cliquez sur Ajouter (+) et sélectionnez votre imprimante dans la liste, puis cliquez sur Ajouter (+). Sur un ordinateur Macintosh exécutant Mac OS X 10.2.7 ou ultérieur :  Ouvrez la Configuration d’imprimante, située dans le sous-dossier Utilitaires du dossier Applications.  Si l’imprimante n’est pas dans la liste, cliquez sur Ajouter.  Choisissez Bonjour dans le menu local, sélectionnez l’imprimante et cliquez sur Ajouter (+).32 Chapitre 3 Astuces et dépannage Sur un ordinateur fonctionnant sous XP :  Ouvrez le Panneau de configuration depuis le menu Démarrer, puis double-cliquez sur Imprimantes et télécopieurs.  Sélectionnez l’imprimante. Si l’imprimante ne figure pas dans la liste, cliquez sur Ajouter une imprimante puis suivez les instructions à l’écran. 4 Éteignez l’imprimante, patientez quelques secondes puis rallumez-la. Mise à jour du logiciel AirPort Apple met régulièrement à jour le logiciel AirPort. Il est recommandé de mettre à jour votre Time Capsule et d’utiliser le logiciel le plus récent. Vous pouvez cocher la case « Rechercher des mises à jour à l’ouverture d’Utilitaire AirPort » ou « Rechercher automatiquement les mises à jour » dans les Préférences AirPort. Si vous sélectionnez « Rechercher automatiquement les mises à jour », choisissez une fréquence pour la recherche des mises à jour, comme toutes les semaines par exemple, à partir du menu local.Chapitre 3 Astuces et dépannage 33 À propos de l’emplacement de Time Capsule En suivant les recommandations suivantes, vous permettrez à votre Time Capsule d’atteindre une portée sans fil maximale et une couverture réseau optimale.  Placez votre Time Capsule dans un endroit dégagé avec peu d’obstacles (meubles volumineux ou murs). Essayez de la tenir éloignée des surfaces métalliques.  Si vous placez votre Time Capsule derrière un meuble, laissez au moins trois centimè- tres entre la borne Time Capsule et le bord du meuble.  Évitez de placer votre Time Capsule dans une zone entourée de surfaces métalliques (sur trois côtés ou plus).  Si vous placez votre Time Capsule à proximité d’autres appareils électriques tels qu’une chaîne stéréo, évitez d’entourer complètement votre Time Capsule de câbles d’alimentation, audio ou vidéo. Positionnez votre Time Capsule de façon à ce que les câbles passent d’un seul côté. Laissez autant d’espace que possible entre votre Time Capsule et les câbles.  Faites en sorte d’installer votre Time Capsule à au moins 7,6 mètres d’un four à micro-ondes, d’un téléphone sans fil de 2,4 ou 5 gigahertz (GHz) ou d’autres sources d’interférence.  Ne placez pas d’autres objets (livres, papiers, animaux domestiques, etc.) sur la Time Capsule car ils risqueraient d’interférer avec son refroidissement.34 Chapitre 3 Astuces et dépannage Éléments pouvant provoquer des interférences avec AirPort Plus la source d’interférences est éloignée, plus le risque de problème est faible. Les points suivants peuvent interférer avec l’AirPort :  Les fours à micro-ondes.  Les pertes de fréquence radio DSS (Direct Satellite Service).  Le câble coaxial d’origine fourni avec certains types d’antennes paraboliques. Contactez le fabricant du produit pour obtenir des câbles plus récents.  Certains dispositifs électriques tels que les lignes électriques, les voies ferrées électrifiées et les centrales électriques.  Les téléphones sans fil qui fonctionnent sur la fréquence porteuse de 2,4 ou 5 GHz. Si vous rencontrez des problèmes avec votre téléphone ou avec la communication avec AirPort, changez le canal utilisé par votre borne d’accès ou par Time Capsule ou celui utilisé par votre téléphone.  Des bornes d’accès adjacentes qui utilisent des canaux voisins. Ainsi, si une borne d’accès A est réglée sur le canal 1, la borne d’accès B doit être réglée sur le canal 6 ou 11.4 35 4 En savoir plus, service après-vente et support Pour obtenir plus d’informations sur l’utilisation de Time Capsule, rendez-vous sur le web et utilisez l’aide à l’écran. Ressources en ligne Pour obtenir les toutes dernières informations sur Time Capsule, rendez-vous à l’adresse www.apple.com/fr/airport. Pour enregistrer votre Time Capsule (si vous ne l’avez pas déjà fait lors de l’installation du logiciel à partir du CD de Time Capsule), rendez-vous sur le site www.apple.com/fr/register. Pour en savoir plus sur l’assistance AirPort, consulter les forums contenant des informations et des commentaires spécifiques sur le produit et pour télécharger les dernières mises à jour des logiciels Apple, rendez-vous sur le site www.apple.com/fr/support/airport. Pour l’assistance en dehors des États-Unis, rendez-vous sur le site www.apple.com/fr/support et choisissez le pays concerné.36 Chapitre 4 En savoir plus, service après-vente et support Aide en ligne Pour en savoir plus sur l’utilisation de l’Utilitaire AirPort avec votre Time Capsule, ouvrez l’Utilitaire AirPort et choisissez Aide > Aide Utilitaire AirPort. Obtention d’un service de garantie Si votre Time Capsule est endommagé ou ne fonctionne pas correctement, suivez les conseils de cette brochure, de l’aide à l’écran et des ressources en ligne. Si votre Time Capsule ne fonctionne toujours pas, rendez-vous sur www.apple.com/fr/support pour réaliser une demande de réparation. Emplacement du numéro de série de votre Time Capsule Le numéro de série se trouve sous la Time Capsule.37 Annexe Caractéristiques techniques et normes de sécurité de Time Capsule Spécifications de Time Capsule  Bande de fréquence : 2,4 et 5 GHz  Alimentation de la sortie radio : Ju squ’à 23 dBm (nominal)  Normes : norme 802.11 DSSS 1 et 2 Mbps, spécifications 802.11a, 802.11b et 802.11g, et projet de spécification 802.11n Interfaces  1 port WAN Gigabit Ethernet 10/100/1000Base-T à connecteur RJ-45 (<)  3 ports LAN Gigabit Ethernet 10/100/1000Base-T à connecteur RJ-45 (G)  Bus universel en série (USB d) 2.0  AirPort Extreme sans fil 802.11 a/b/g/n Conditions ambiantes  Température de fonctionnement : de 0° à 35° C  Température de stockage : de -25° à 60° C  Humidité relative (en fonctionnement) : de 20 % à 80 %  Humidité relative (en stockage) : de 10 % à 90 % (sans condensation)38 Annexe Caractéristiques techniques et normes de sécurité de Time Capsule Taille et poids  Longueur : 197,0 mm  Largeur : 197,0 mm  Hauteur : 36,33 mm  Poids : 1,6 kg Adresses MAC (Media Access Control) matérielles Trois adresses matérielles pour Time Capsule sont imprimées sur le fond du boîtier :  L’identifiant AirPort : Les deux adresses utilisées pour identifier Time Capsule sur un réseau sans fil.  Le numéro Ethernet : il peut être nécessaire de fournir cette adresse à votre fournisseur d’accès à Internet afin de connecter votre Time Capsule à Internet. Utilisation de votre Time Capsule en toute sécurité  La seule façon d’éteindre complètement Time Capsule est de la débrancher de sa source d’alimentation.  Pour connecter ou déconnecter Time Capsule, veillez à tenir la prise par ses côtés. Éloignez vos doigts de la partie métallique de la prise.  Vous ne devez pas ouvrir votre Time Capsule sans raison, même si elle est débranchée. Si vous devez faire réparer votre Time Capsule, consultez la rubrique « En savoir plus, service après-vente et support » à la page 35.  Ne forcez jamais un connecteur dans un port. Si vous avez du mal à connecter le connecteur et le port, ceux-ci ne sont probablement pas compatibles. Assurez-vous que le connecteur est compatible avec le port et que vous avez correctement inséré le connecteur dans celui-ci.Annexe Caractéristiques techniques et normes de sécurité de Time Capsule 39 À propos des températures d’exploitation et de stockage  Pendant que vous utilisez votre Time Capsule, il est normal que le boîtier chauffe. Le boîtier de Time Capsule agit comme une surface de refroidissement qui transfère la chaleur de l’intérieur de l’unité vers l’air extérieur, plus frais. Évitez les endroits humides  Maintenez votre Time Capsule à distance de tout liquide, par exemple une boisson, un évier ou un lavabo, une baignoire, une cabine de douche, etc.  Protégez votre Time Capsule de la lumière directe du soleil ainsi que de la pluie et de l’humidité.  Prenez garde à ne pas renverser de nourriture ou de liquide sur votre Time Capsule. Si c’est le cas, débranchez-le avant de nettoyer.  N’utilisez pas votre Time Capsule à l’extérieur. Time Capsule doit être utilisée à l’intérieur. AVERTISSEMENT : pour réduire le risque d’électrocution ou de blessure, n’utilisez pas votre Time Capsule dans des emplacements mouillés ou humides ni à proximité de ceux-ci.40 Annexe Caractéristiques techniques et normes de sécurité de Time Capsule N’effectuez pas vous-même les réparations À propos de la manipulation Votre Time Capsule peut être endommagée suite à une manipulation ou à un stockage inapproprié. Veillez à ne pas faire tomber votre Time Capsule lorsque vous la transportez. AVERTISSEMENT : n’essayez pas d’ouvrir votre Time Capsule ou de la démonter. Vous risqueriez de vous électrocuter et d’annuler la garantie. Aucune pièce réparable par l’utilisateur ne se trouve à l’intérieur.41 Regulatory Compliance Information Wireless Radio Use This device is restricted to indoor use due to its operation in the 5.15 to 5.25 GHz frequency range to reduce the potential for harmful interference to cochannel Mobile Satellite systems. Cet appareil doit être utilisé à l’intérieur. Exposure to Radio Frequency Energy The radiated output power of this device is well below the FCC and EU radio frequency exposure limits. However, this device should be operated with a minimum distance of at least 20 cm between its antennas and a person’s body and the antennas used with this transmitter must not be colocated or operated in conjunction with any other antenna or transmitter subject to the conditions of the FCC Grant. FCC Declaration of Conformity This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. See instructions if interference to radio or television reception is suspected. Radio and Television Interference This computer equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures:  Turn the television or radio antenna until the interference stops.  Move the computer to one side or the other of the television or radio.  Move the computer farther away from the television or radio.  Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple Authorized Service Provider or Apple. See the service and support information that came with your Apple product. Or, consult an experienced radio/television technician for additional suggestions. Important: Changes or modifications to this product not authorized by Apple Inc. could void the EMC compliance and negate your authority to operate the product.42 This product was tested for FCC compliance under conditions that included the use of Apple peripheral devices and Apple shielded cables and connectors between system components. It is important that you use Apple peripheral devices and shielded cables and connectors between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. You can obtain Apple peripheral devices and the proper shielded cables and connectors through an Apple-authorized dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. Responsible party (contact for FCC matters only) Apple Inc., Corporate Compliance, 1 Infinite Loop M/S 26-A, Cupertino, CA 95014-2084 Industry Canada Statement This Class B device meets all requirements of the Canadian interference-causing equipment regulations. Cet appareil numérique de la Class B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. VCCI Class B Statement Europe — Déclaration de conformité EU Pour obtenir plus d’informations, rendez-vous sur www.apple.com/euro/compliance. Union européenne— Information concernant l’élimination des déchets Ce symbole signifie que conformément aux lois et réglementations en vigueur, vous devez éliminer votre produit indépendamment des déchets ménagers. Une fois ce produit arrivé en fin de vie, amenez-le au point de collecte désigné par les autorités locales. Certains points de collecte sont gratuits. La collecte et le recyclage séparés de votre produit lors de l’élimination permettent de conserver les ressources naturelles et de garantir un recyclage du produit qui protège la santé de l’Homme et l’environnement. Informations relatives à l’élimination et au recyclage Ce produit est équipé d’une batterie interne. Veuillez vous en débarrasser conformément aux lois et directives environnementales locales. Pour en savoir plus sur le programme de recyclage d’Apple, rendez-vous à l’adresse www.apple.com/fr/environment. California: The coin cell battery in your product contains perchlorates. Special handling and disposal may apply. Refer to www.dtsc.ca.gov/hazardouswaste/perchlorate. Deutschland: Dieses Gerät enthält Batterien. Bitte nicht in den Hausmüll werfen. Entsorgen Sie dieses Gerätes am Ende seines Lebenszyklus entsprechend der maßgeblichen gesetzlichen Regelungen. Nederlands: Gebruikte batterijen kunnen worden ingeleverd bij de chemokar of in een speciale batterijcontainer voor klein chemisch afval (kca) worden gedeponeerd.Taiwan: Singapore Wireless Certification Taiwan Warning Statements Korea Warning Statements © 2009 Apple Inc. Tous droits réservés. Apple, le logo Apple, AirPort, AirPort Express, AirPort Extreme, Apple TV, Bonjour, iPod, Leopard, Macintosh, Mac OS et Time Capsule sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Finder, iPhone et Time Machine sont des marques d’Apple Inc. Les autres noms de produits et de sociétés mentionnés ici peuvent être des marques de leurs détenteurs respectifs. F019-1384-A AirPort Express Guide de configuration3 Table des matières 4 Premiers contacts 9 Branchement de l’AirPort Express 12 Utilisation de la borne AirPort Express 13 Utilisation de l’AirPort Express avec votre connexion Internet à large bande 14 Utilisation de l’AirPort Express avec AirTunes pour lire des morceaux de musique d’iTunes sur votre chaîne stéréo 21 Utilisation de l’AirPort Express pour le partage d’une imprimante USB 23 Extension de la portée d’un réseau AirPort Extreme ou AirPort Express existant 26 Configuration de l’AirPort Express 32 Réglage des options avancées 33 AirPort Express en déplacement 35 Astuces et dépannage 42 En savoir plus, service après-vente et support 44 Caractéristiques de l’AirPort Express4 1 Premiers contacts Félicitations pour l’achat de votre AirPort Express. Lisez ce guide pour commencer à l’utiliser. Vous pouvez utiliser l’AirPort Express pour partager votre accès à Internet à large bande avec des ordinateurs sans fil sur votre réseau, écouter de la musique iTunes sur votre chaîne stéréo et bien plus encore. Votre AirPort Express est livrée avec AirTunes, un logiciel permettant de lire des morceaux de musique d’iTunes à travers des haut-parleurs distants. Grâce à la borne AirPort Express, vous pouvez :  Créer un réseau sans fil à votre domicile, puis vous connecter à Internet et partager la connexion avec simultanément jusqu’à 10 ordinateurs. Tous les membres d’une famille peuvent, de cette manière, se connecter en même temps à Internet.  Connecter l’AirPort Express à votre chaîne stéréo ou à vos haut-parleurs sous tension et utiliser AirTunes pour lire vos morceaux de musique d’iTunes sur votre chaîne à partir d’un ordinateur Macintosh équipé d’une carte AirPort ou AirPort Extreme, ou d’un ordinateur sans fil compatible sous Windows XP ou 2000.Premiers contacts 5  Configurer une connexion sans fil vers votre réseau Ethernet. Les ordinateurs Macintosh équipés d’une carte AirPort et AirPort Extreme ou les ordinateurs Windows XP ou 2000 ont alors accès à l’ensemble du réseau sans être reliés par un câble.  Étendre la portée de votre réseau en ajoutant l’AirPort Express à votre réseau sans fil AirPort Extreme ou AirPort Express existant (ce que l’on appelle un système de distribution sans fil, ou WDS).  Connecter une imprimante USB à votre AirPort Express. Tous les ordinateurs compatibles du réseau AirPort, qu’ils soient avec ou sans fil, peuvent imprimer sur cette imprimante.  Créer des profils personnalisés afin de pouvoir stocker les réglages de cinq emplacements différents. Emportez AirPort Express partout et connectez-vous rapidement aux réseaux large bande, comme ceux que l’on trouve parfois dans les chambres d’hôtel. 6 Premiers contacts À propos de l’AirPort Express L’AirPort Express possède trois ports, situés sur la partie inférieure :  un port Ethernet (G) pour connecter un modem DSL ou câble, ou pour se connecter à un réseau Ethernet existant ;  un mini-jack audio stéréo numérique analogique et optique (-) pour connecter l’AirPort Express à une chaîne stéréo ou à des haut-parleurs ;  un port USB (d) pour brancher une imprimante compatible à AirPort Express. À côté des ports se trouve un bouton de réinitialisation, utilisé pour le dépannage de votre AirPort Express. Sur le côté de la borne AirPort Express, le voyant d’état affiche l’état actuel. Voyant d’état Bouton de réinitialisation Port de sortie (mini-jack audio numérique optique et analogique) Port Ethernet Port USB Adaptateur pour prise CAPremiers contacts 7 À propos du logiciel AirPort L’AirPort Express utilise le logiciel AirPort livré sur le CD de l’AirPort Express. Assistant réglages AirPort L’Assistant réglages AirPort vous aide à configurer votre AirPort Express pour la connexion à Internet, la lecture de musique d’iTunes sur votre chaîne stéréo ou sur vos haut-parleurs sous tension et le partage d’une imprimante. Vous pouvez également créer une passerelle de votre AirPort Express à votre réseau sans fil AirPort Extreme ou AirPort Express existant pour étendre la portée de votre réseau grâce à WDS. Utilitaire Admin AirPort L’Utilitaire Admin AirPort est un outil sophistiqué permettant de configurer et de gérer les bornes d’accès AirPort Extreme et AirPort Express. Employez l’Utilitaire Admin AirPort pour définir les réglages de réseau, de routage et de sécurité, ainsi que d’autres options avancées. Z Menu d’état d’AirPort de la barre des menus Le menu d’état d’AirPort vous permet de passer instantanément d’un réseau AirPort à l’autre, de contrôler la qualité du signal du réseau sélectionné, de créer un réseau “ordinateur à ordinateur” et d’activer ou de désactiver AirPort. Le menu d’état est disponible sur les ordinateurs utilisant Mac OS X. 8 Premiers contacts Ce qu’il vous faut pour commencer Pour configurer l’AirPort Express à l’aide d’un Macintosh, vous devez disposer des éléments suivants :  un ordinateur Macintosh avec une carte AirPort ou AirPort Extreme installée ;  Mac OS X 10.3 ou ultérieur ;  iTunes 4.7 (inclus sur le CD d’AirPort Express) ou ultérieur. Pour configurer l’AirPort Express à l’aide d’un PC Windows, vous devez disposer des éléments suivants :  un PC Windows doté d’une vitesse de processeur de 300 MHz ou supérieure ;  Windows XP Édition Familiale ou Professionnel (Service Pack 2) ;  Windows 2000 ;  iTunes 4.7 pour Windows (inclus sur le CD de l’AirPort Express) ou ultérieur. Vous devez disposer d’iTunes 4.6 ou ultérieur pour la lecture audio depuis votre ordinateur sur une chaîne stéréo connectée à la borne AirPort Express. Pour être certain de posséder la dernière version d’iTunes, rendez-vous sur le site www.apple.com/fr/itunes. Vous pouvez utiliser la borne AirPort Express avec n’importe quel ordinateur utilisant une technologie sans fil conforme à la norme IEEE 802.11b ou 802.11g. Pour pouvoir configurer l’AirPort Express, votre ordinateur doit répondre à toutes les conditions mentionnées ci-dessus.Premiers contacts 9 Branchement de l’AirPort Express Avant de brancher votre AirPort Express, branchez tout d’abord les câbles appropriés dans les ports que vous souhaitez utiliser, notamment le câble Ethernet connecté à votre modem DSL ou câble (si vous souhaitez vous connecter à Internet), le câble audio connecté à votre chaîne stéréo (si vous souhaitez utiliser AirTunes pour écouter de la musique grâce à iTunes) et un câble USB connecté à une imprimante USB compatible (si vous souhaitez utiliser une imprimante USB). Après avoir branché les câbles de tous les périphériques que vous prévoyez d’utiliser, branchez si besoin un adaptateur pour prise CA. Branchez l’AirPort Express à une prise murale. Il n’y a pas d’interrupteur. Adaptateur pour prise CA10 Premiers contacts Lorsque vous branchez l’AirPort Express à une prise murale, le voyant d’état vert clignote et devient de couleur ambre pendant le démarrage. Une fois que le démarrage est complètement terminé, le voyant d’état reste vert mais ne clignote plus. Voyants d’état de la borne AirPort Express Le tableau ci-dessous répertorie les séquences des voyants lumineux de l’AirPort Express et explique ce qu’ils indiquent. Voyant État/Description Éteint L’AirPort Express est débranchée. Vert clignotant L’AirPort Express est en train de démarrer. Remarque : en sélectionnant Clignotement en cas d’activité dans le menu local Voyant d’état qui se trouve dans la sous-fenêtre de la borne d’accès de l’utilitaire AirPort Admin, le voyant d’état vert clignote pour indiquer que l’activité est normale. Vert fixe L’AirPort Express est allumée et fonctionne correctement. Si vous choisissez Clignotement en cas d’activité dans le menu local Voyant d’état qui se trouve dans la sous-fenêtre de la borne d’accès de l’utilitaire AirPort Admin, le voyant d’état vert clignote pour indiquer que l’activité est normale. Ambre clignotant La borne AirPort Express ne peut pas établir la connexion avec le réseau ou Internet. Reportez-vous à la section “Le voyant d’état de votre AirPort Express est de couleur ambre et il clignote” à la page 38. Ambre L’AirPort Express termine sa séquence de démarrage. Clignotement ambre et vert Il peut y avoir un problème pour démarrer. L’AirPort Express va redémarrer. Réessayez ensuite.Premiers contacts 11 Étape suivante Après avoir branché AirPort Express, vous devez utiliser l’Assistant réglages AirPort pour le configurer afin de pouvoir l’utiliser avec votre connexion à Internet, votre chaîne stéréo, une imprimante USB ou un réseau existant. L’Utilitaire Assistant réglages AirPort se trouve dans Applications/Utilitaires sur un Macintosh, et dans Démarrer > Tous les programmes > AirPort sur un ordinateur Windows XP ou Windows 2000. Reportez-vous à la section “Utilisation de la borne AirPort Express” à la page 12 pour obtenir des exemples de toutes les possibilités d’utilisation de l’AirPort Express et des informations sur la configuration. Consultez ensuite la rubrique “Configuration de l’AirPort Express” à la page 26 pour en savoir plus sur le processus de configuration.12 2 Utilisation de la borne AirPort Express Dans ce chapitre, vous trouverez des explications sur les différentes façons d’utiliser l’AirPort Express. Ce chapitre contient des exemples des réglages à effectuer en fonction de la façon dont vous souhaitez utiliser l’AirPort Express. Il vous donne également une brève explication de ce qu’il faut faire pour pouvoir utiliser rapidement votre réseau AirPort Express.Utilisation de la borne AirPort Express 13 Utilisation de l’AirPort Express avec votre connexion Internet à large bande Lorsque vous configurez l’AirPort Express pour accéder à Internet et au réseau, les ordinateurs Macintosh équipés des cartes AirPort et AirPort Extreme et les ordinateurs équipés de la technologie sans fil 802.11b et 802.11g peuvent accéder au réseau sans fil AirPort pour partager des fichiers, jouer en réseau et utiliser des applications Internet telles que des navigateurs Web et des applications de messagerie électronique. Schéma des connexions Modem DSL ou câble Port Ethernet Vers Internet G14 Utilisation de la borne AirPort Express Configuration 1 Branchez votre modem DSL ou câble à votre AirPort Express en utilisant le port Ethernet (G). 2 Utilisez l’Assistant réglages AirPort pour créer un nouveau réseau. (Reportez-vous à la section “Configuration de l’AirPort Express” à la page 26.) Les ordinateurs utilisant AirPort et ceux utilisant d’autres cartes ou adaptateurs sans fil se connectent à Internet via la borne AirPort Express. Les ordinateurs sans fil communiquent entre eux via l’AirPort Express. Utilisation de l’AirPort Express avec AirTunes pour lire des morceaux de musique d’iTunes sur votre chaîne stéréo Vous pouvez brancher votre AirPort Express à votre chaîne stéréo par un câble mini numérique à fibres optiques vers Toslink, un câble mini stéréo vers double RCA ou un câble mini stéréo vers mini stéréo (selon le type du connecteur de votre chaîne) et utiliser AirTunes pour écouter sans fil de la musique grâce à iTunes.Utilisation de la borne AirPort Express 15 Schéma des connexions Port d’entrée audio numérique optique o ou Câble numérique à fibres optiques Toslink vers mini-jack ou Câble mini-jack stéréo vers RCA Chaîne stéréo Ordinateur équipé d’iTunes Port de sortie Ports d’entrée audio gauche et droit de type RCA16 Utilisation de la borne AirPort Express Configuration 1 Branchez votre AirPort Express à vos enceintes domestiques stéréo ou à vos enceintes alimentées par amplifiés grâce à un câble numérique à fibres optiques, un câble analogique mini stéréo vers double RCA ou un câble mini stéréo vers mini stéréo (selon le type du connecteur de votre chaîne), branché sur la prise mini stéréo (-). Remarque : vous ne pouvez pas utiliser des haut-parleurs USB amplifiés avec l’AirPort Express. 2 Utilisez l’Assistant réglages AirPort pour créer un nouveau réseau (pour en savoir plus, reportez-vous à la page 26). 3 Ouvrez iTunes sur votre ordinateur et choisissez votre chaîne stéréo ou vos haut-parleurs dans le menu local des haut-parleurs situé en bas à droite de la fenêtre d’iTunes. Les ordinateurs sans fil se trouvant dans le rayon de détection de l’AirPort Express peuvent, sans fil, y diffuser de la musique à l’aide d’iTunes 4.6 ou ultérieur. Un seul ordinateur à la fois peut diffuser de la musique sur l’AirPort Express. Vous ne pouvez pas diffuser de la musique vers plus d’un AirPort Express à la fois. Remarque : ne connectez pas l’AirPort Express à la prise phono de votre stéréo. Utilisation de la borne AirPort Express 17 Utilisation de l’AirPort Express sur un réseau sans fil existant pour diffuser de la musique sur votre chaîne stéréo Vous avez également la possibilité de connecter l’AirPort Express à un réseau sans fil et d’utiliser AirTunes pour diffuser de la musique sur votre chaîne stéréo depuis iTunes. En connectant AirPort Express à votre réseau existant, vous pouvez placer AirPort Express dans une autre pièce, dans la portée de votre réseau. Schéma des connexions Modem DSL ou câble Vers Internet Chaîne stéréo Port de sortie Borne d’accès AirPort Extreme Vers port Ethernet18 Utilisation de la borne AirPort Express Pour accéder au réseau sans fil, utilisez le menu d’état d’AirPort dans la barre des menus de votre Mac. Sur un ordinateur Windows 2000 ou Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que vous voyiez apparaître le nom de votre réseau AirPort (SSID) et sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. Il existe d’autres façons de connecter votre AirPort Express à votre chaîne stéréo. Si votre ordinateur est doté d’une carte AirPort Extreme ou d’une carte sans fil compatible pour Windows XP ou Windows 2000, vous pouvez utiliser AirTunes pour écouter de la musique issue d’iTunes sur une chaîne stéréo branchée à votre AirPort Express. Modem DSL ou câble Vers Internet Chaîne stéréo Port de sortieUtilisation de la borne AirPort Express 19 Vous pouvez également connecter votre AirPort Express à Internet et fournir ainsi un accès à Internet aux ordinateurs qui se joignent au réseau. Connectez votre AirPort Express à votre chaîne stéréo afin que les ordinateurs du réseau dotés d’une carte AirPort Extreme ou dotés de cartes 802.11g compatibles puissent utiliser iTunes pour diffuser de la musique sur la chaîne stéréo. Modem DSL ou câble Vers Internet Chaîne stéréo Port Ethernet Port de sortie20 Utilisation de la borne AirPort Express Câbles audio et câble d’alimentation facultatifs Vous pouvez vous procurer le kit de connexion stéréo facultatif de l’AirPort Express contenant des câbles Monster pour connecter votre AirPort Express à votre chaîne stéréo ou à vos haut-parleurs. Ce kit comprend des connecteurs analogiques mini-jack stéréo vers double RCA, un câble numérique à fibres optiques Toslink et un câble d’alimentation.  Connectez le câble analogique à votre chaîne stéréo si celle-ci utilise des câbles analogiques standard.  Connectez le câble numérique à fibres optiques si votre chaîne stéréo possède un port numérique Toslink.  Connectez le câble d’alimentation si vous configurez votre AirPort Express à distance d’une prise de courant. Câble mini-jack stéréo vers RCA Câble numérique à fibres optiques Toslink vers mini-jack Câble d’alimentationUtilisation de la borne AirPort Express 21 Utilisation de l’AirPort Express pour le partage d’une imprimante USB Lorsque vous branchez une imprimante USB à votre AirPort Express, tous les ordinateurs du réseau sans fil peuvent l’utiliser. Schéma des connexions Configuration 1 Reliez l’imprimante au port USB (d) de la borne AirPort Express à l’aide d’un câble USB. Port USB Imprimante partagée22 Utilisation de la borne AirPort Express 2 Utilisez l’Assistant réglages AirPort pour créer un réseau ou rejoignez un réseau sans fil existant. Pour partager l’imprimante, les ordinateurs sans fil doivent utiliser Mac OS X 10.2.7 ou ultérieur, ou bien Windows 2000 ou Windows XP (Service Pack 2). Pour utiliser l’imprimante depuis un ordinateur Mac OS X : 1 Ouvrez l’utilitaire Configuration d’imprimante (situé dans Applications/Utilitaires). 2 Sélectionnez l’imprimante dans la liste. Si l’imprimante ne figure pas sur la liste, cliquez sur Ajouter, puis choisissez Bonjour dans le menu local avant de sélectionner l’imprimante dans la liste. Pour utiliser l’imprimante depuis un ordinateur Windows : 1 Ouvrez le Panneau de configuration depuis le menu Démarrer, puis double-cliquez sur Imprimantes et télécopieurs. 2 Cliquez sur Ajouter une imprimante et suivez les instructions à l’écran. 3 Sélectionnez “Imprimante locale connectée à cet ordinateur” et désélectionnez “Détection et installation automatique de l’imprimante Plug-and-Play”. 4 Dans la fenêtre “Sélectionner un port d’imprimante”, cliquez sur “Créer un nouveau port”, puis choisissez Standard TCP/IP Port dans le menu local. 5 Cliquez sur Suivant et suivez les instructions à l’écran. 6 Dans le champ Nom d’imprimante ou adresse IP, tapez 10.0.1.1. Le nom de port généré est “IP_10.0.1.1”. Remarque : si vous avez modifié l’adresse IP de votre AirPort Express, utilisez cette nouvelle adresse au lieu de taper 10.0.1.1. Le port prendra le nom de l’adresse que vous saisissez. 7 Sélectionnez Standard dans la zone Type de périphérique, puis choisissez votre imprimante dans la liste.Utilisation de la borne AirPort Express 23 Extension de la portée d’un réseau AirPort Extreme ou AirPort Express existant Vous avez la possibilité de connecter une borne AirPort Express supplémentaire pour étendre la portée de votre réseau AirPort Extreme ou AirPort Express existant. L’ajout d’une borne d’accès ou de l’AirPort Express à un réseau existant crée un système de distribution sans fil WDS. Si le réseau AirPort est connecté à Internet, les ordinateurs peuvent alors se connecter au réseau AirPort et partager la connexion Internet. Schéma des connexions Salle de séjour Salle à manger Salon Vers Internet Borne d’accès AirPort Extreme Modem DSL ou cable24 Utilisation de la borne AirPort Express Configuration 1 Vous devez posséder un réseau AirPort créé par une borne d’accès AirPort Extreme ou un AirPort Express. Pour pouvoir partager l’accès à Internet, le réseau doit être au préalable connecté à Internet. La borne d’accès connectée est appelée borne d’accès principale et partage sa connexion à Internet avec votre AirPort Express. 2 Utilisez l’Assistant réglages AirPort pour étendre la portée de votre réseau. (Reportez-vous à la section “Configuration de l’AirPort Express” à la page 26.) Les deux bornes d’accès utilisent la technologie sans fil pour partager la connexion Internet avec les ordinateurs clients, ou la technologie Ethernet si les ordinateurs clients sont reliés par Ethernet.Utilisation de la borne AirPort Express 25 Utilisation d’AirPort Express avec votre réseau AirPort Extreme L’illustration ci-dessous montre un réseau sans fil regroupant tous les exemples précédemment cités. Configuration  Utilisez l’Assistant réglages AirPort pour créer un nouveau réseau, accéder à un réseau AirPort Extreme ou AirPort Express et profiter de toutes les fonctions de l’Airport Express. Modem DSL Vers port de sortie Vers port USB ou câble Vers Internet Vers port Ethernet Salle de séjour Salon Borne d’accès AirPort Extreme26 3 Configuration de l’AirPort Express Ce chapitre contient des informations et des instructions sur l’utilisation du logiciel de l’AirPort Express pour configurer votre AirPort Express. Utilisez les schémas du chapitre précédent pour vous aider à décider de l’endroit où vous souhaitez utiliser votre AirPort Express, et des fonctionnalités que vous souhaitez configurer sur votre réseau AirPort. Utilisez ensuite les instructions de ce chapitre pour configurer facilement l’AirPort Express et votre réseau AirPort. Le logiciel de l’AirPort Express vous permet de :  Configurer un nouveau réseau que des ordinateurs sans fil peuvent utiliser pour communiquer entre eux. Si vous configurez votre AirPort Express comme une borne d’accès et la connectez à Internet, des ordinateurs sans fil pourront également partager la connexion Internet.  Connecter votre AirPort Express à votre réseau sans fil existant (ou bien créez-en un), utiliser AirTunes pour écouter de la musique d’iTunes sur votre chaîne stéréo ou vos haut-parleurs amplifiés ainsi que partager une imprimante USB.Configuration de l’AirPort Express 27  Connecter votre AirPort Express à votre réseau AirPort Extreme ou l’AirPort Express existant et étendre la portée de ce réseau en utilisant l’AirPort Express comme un pont sans fil. Cette méthode est appelée système de distribution sans fil (WDS). Vous pouvez utiliser AirTunes pour écouter des morceaux de musique d’iTunes et partager une imprimante USB quel que soit le type de réseau que vous configurez, qu’il s’agisse d’un nouveau réseau ou d’un accès à un réseau existant. Si vous possédez plusieurs bornes AirPort Express, vous pouvez par exemple en brancher une à la chaîne stéréo de votre salon et une autre aux haut-parleurs amplifiés de votre bureau. À l’aide d’AirTunes, vous pouvez diffuser votre musique d’iTunes sur l’une ou l’autre borne AirPort Express, selon la pièce de la maison dans laquelle vous vous trouvez. Choisissez pour cela le nom de la borne AirPort Express que vous souhaitez utiliser dans le menu local des haut-parleurs d’iTunes. Ce chapitre explique comment utiliser l’Assistant réglages AirPort pour configurer votre réseau et d’autres fonctionnalités de votre AirPort Express. Pour en savoir plus sur la mise en réseau sans fil et sur les fonctionnalités avancées d’AirPort, consultez les documents “Création de réseaux AirPort” ou “Réseaux AirPort pour Windows”, situés sur le CD de l’AirPort Express et sur le site www.apple.com/fr/airportextreme. Vous pouvez effectuer la plupart des opérations d’installation et de configuration de votre réseau à l’aide de l’Assistant réglages AirPort. Pour configurer des options avancées, il vous faudra utiliser l’Utilitaire Admin AirPort. Voir “Réglage des options avancées” à la page 32.28 Configuration de l’AirPort Express Utilisation de l’Assistant réglages AirPort Pour configurer votre AirPort Express afin qu’elle utilise AirPort pour l’accès à Internet et la mise en réseau sans fil, utilisez l’Assistant réglages AirPort. L’assistant est automatiquement installé, à partir du CD AirPort Express, sur votre ordinateur en même temps que le logiciel. Sur un ordinateur Macintosh Mac OS X 10.3 ou ultérieur : m Ouvrez l’Assistant réglages AirPort, situé dans Applications/Utilitaires, et suivez les instructions à l’écran. Sur un ordinateur Windows XP (Service Pack 2) ou Windows 2000 : m Ouvrez l’Assistant réglages AirPort, situé dans Démarrer > Tous les programmes > AirPort. Vous devrez répondre à une série de questions concernant le type de réseau que vous souhaitez utiliser et les services que vous souhaitez configurer. L’Assistant réglages AirPort vous aide à saisir les réglages adaptés au réseau que vous configurez.Configuration de l’AirPort Express 29 Si vous utilisez la borne AirPort Express pour vous connecter à Internet, vous devez disposer d’un compte à large bande (modem DSL ou câble) auprès d’un fournisseur d’accès à Internet. Ce service est éventuellement payant. Si vous avez reçu des informations particulières de votre FAI (telles qu’une adresse IP statique ou l’identifiant du client DHCP), il vous faudra les saisir dans l’Assistant réglages AirPort. Regroupez toutes ces informations avant de configurer votre AirPort Express. Création d’un nouveau réseau sans fil Vous pouvez utiliser l’Assistant réglages AirPort pour créer un réseau sans fil. L’Assistant réglages AirPort vous guidera tout au long des étapes nécessaires pour nommer votre réseau, protéger votre réseau avec un mot de passe et configurer d’autres options. Si vous prévoyez d’utiliser AirTunes pour écouter des morceaux de musique d’iTunes sur votre chaîne stéréo, connectez un câble numérique à fibres optiques Toslink ou un câble mini-jack stéréo vers double RCA au port de sortie de la borne AirPort Express (-) et à votre chaîne stéréo. Si vous prévoyez de partager une imprimante USB sur votre réseau, connectez l’imprimante au port USB (d) de la borne AirPort Express. Après avoir connecté le câble audio et le câble de l’imprimante USB : m Ouvrez l’Assistant réglages AirPort se trouvant dans Applications/Utilitaires sur Macintosh ou dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP ou Windows 2000. Suivez les instructions à l’écran pour créer un réseau.30 Configuration de l’AirPort Express Configuration et partage de l’accès à Internet Si vous prévoyez de partager votre connexion Internet avec les ordinateurs du réseau configurés pour la communication sans fil, vous devez configurer votre AirPort Express en tant que borne d’accès AirPort. Une fois qu’elle est configurée, les ordinateurs peuvent accéder à Internet via le réseau AirPort. La borne d’accès se connecte à Internet et transmet les informations aux ordinateurs via le réseau AirPort. Avant d’utiliser l’Assistant réglages AirPort pour configurer votre borne d’accès, branchez votre modem câble ou DSL au port Ethernet (G) d’AirPort Express. Si vous vous connectez à Internet via un réseau Ethernet existant, vous pouvez alors connecter l’AirPort Express au réseau Ethernet. Si vous prévoyez d’utiliser AirTunes pour écouter des morceaux de musique d’iTunes sur votre chaîne stéréo, connectez un câble audio au mini-jack audio numérique optique et analogique (-) et à votre chaîne stéréo. Utilisez l’Assistant réglages AirPort pour saisir les réglages de votre FAI et configurer le mode de partage de ces réglages entre l’AirPort Express et les autres ordinateurs. m Ouvrez l’Assistant réglages AirPort se trouvant dans Applications/Utilitaires sur Macintosh ou dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP ou Windows 2000. Suivez les instructions à l’écran pour configurer et partager l’accès Internet sur votre AirPort Express.Configuration de l’AirPort Express 31 Connexion à un réseau sans fil existant Vous pouvez utiliser l’Assistant réglages AirPort pour accéder à un réseau sans fil existant. Lorsque vous connectez la borne AirPort Express à votre chaîne stéréo, les ordinateurs de votre réseau sans fil peuvent alors utiliser AirTunes pour écouter des morceaux de musique d’iTunes sur la chaîne stéréo. Lorsque vous connectez une imprimante USB à votre AirPort Express, tous les ordinateurs du réseau peuvent l’utiliser. Avant d’utiliser l’Assistant réglages AirPort, vérifiez que le câble audio est bien branché à votre chaîne stéréo et que le câble USB est relié à votre imprimante. m Ouvrez l’Assistant réglages AirPort se trouvant dans Applications/Utilitaires sur Macintosh ou dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP ou Windows 2000. Suivez les instructions à l’écran pour configurer et connecter votre AirPort Express à votre réseau sans fil. Extension de la portée d’un réseau AirPort Extreme ou AirPort Express existant Vous pouvez étendre la portée d’un réseau sans fil AirPort Express ou AirPort Extreme en le configurant comme membre d’un WDS. Les ordinateurs sans fil pourront alors se connecter au réseau et partager la connexion Internet et des fichiers ou jouer en réseau. Si vous connectez l’AirPort Express à votre chaîne stéréo, les ordinateurs de votre réseau sans fil peuvent alors utiliser AirTunes pour écouter des morceaux de musique d’iTunes sur la chaîne stéréo. Lorsque vous connectez une imprimante USB à votre AirPort Express, tous les ordinateurs du réseau peuvent l’utiliser. m Ouvrez l’Assistant AirPort Express et suivez les instructions à l’écran pour étendre la portée de votre réseau AirPort Extreme ou AirPort Express. Remarque : l’extension de la portée d’un réseau avec WDS peut réduire les performances globales du réseau.32 Configuration de l’AirPort Express Réglage des options avancées Pour régler les options avancées, utilisez l’Utilitaire Admin AirPort. Vous pouvez utiliser l’Utilitaire Admin AirPort pour configurer les réglages avancés de la borne d’accès, tels que les options de sécurité avancées, les réseaux fermés, la durée de bail DHCP, le contrôle d’accès, la confidentialité WAN, les réglages de puissance, le changement de nom de l’imprimante USB, le mappage de port et plus encore. Pour régler les options avancées : 1 Sélectionnez le réseau sans fil que vous souhaitez modifier. Sur un Mac, utilisez le menu d’état d’AirPort dans la barre des menus. Sur un ordinateur Windows 2000 ou Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que vous voyiez apparaître le nom de votre réseau AirPort (SSID) et sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 2 Ouvrez l’Utilitaire Admin AirPort que vous trouverez dans Applications/Utilitaires sur un Macintosh, et dans Démarrer > Programmes > AirPort sur un ordinateur Windows XP ou Windows 2000. 3 Si plusieurs bornes d’accès figurent dans la liste, sélectionnez celle que vous souhaitez configurer. Si la borne que vous souhaitez configurer ne figure pas dans cette liste, cliquez sur Rescanner pour parcourir les bornes d’accès disponibles, puis sélectionnez la borne d’accès voulue. 4 Si le système vous demande un mot de passe, saisissez-le, puis cliquez sur Configurer. Pour en savoir plus sur l’Utilitaire Admin AirPort, consultez les documents “Création de réseaux AirPort” ou “Réseaux AirPort pour Windows”, situés sur votre CD AirPort Express et sur le site www.apple.com/fr/airport.33 4 AirPort Express en déplacement AirPort Express peut stocker des réglages pour différents emplacements afin que vous puissiez facilement le déplacer d’un endroit à l’autre. L’AirPort Express peut stocker jusqu’à cinq configurations différentes, appelées profils. Un profil contient les réglages de votre AirPort Express, tels que le nom et le mot de passe du haut-parleur iTunes, ainsi que des informations sur le réseau, telles que le nom et le mot de passe réseau. Les profils sont utiles si vous déplacez votre AirPort Express d’un endroit à un autre. Par exemple, vous pouvez configurer un profil pour votre AirPort Express à votre domicile, où vous utilisez AirTunes pour diffuser de la musique sur votre chaîne stéréo à partir d’iTunes et vous connecter à Internet via le protocole PPPoe. Vous pouvez également configurer un autre profil pour utiliser AirPort Express à l’hôtel, où vous vous connectez à Internet via le protocole DHCP. Utilisez l’Utilitaire Admin AirPort dans Applications/Utilitaires sur Mac, et dans Démarrer > Programmes > AirPort sur un ordinateur Windows XP ou Windows 2000, pour créer, modifier, renommer et effacer des profils. 34 AirPort Express en déplacement Pour créer un profil : 1 Ouvrez l’Utilitaire Admin AirPort, sélectionnez votre AirPort Express dans la liste et cliquez sur Configurer. 2 Cliquez sur l’icône Profils dans la barre d’outils. 3 Cliquez sur Ajouter pour créer un nouveau profil, donnez-lui un nom, puis cliquez sur OK. 4 Définissez les options, telles que le nom du réseau, le nom du haut-parleur distant, les mots de passe et le mode de connexion à Internet. 5 Une fois le réglage des options terminé, cliquez sur Mettre à jour. Pour modifier un profil existant : 1 Ouvrez l’Utilitaire Admin AirPort, sélectionnez votre AirPort Express dans la liste et cliquez sur Configurer. 2 Cliquez sur l’icône Profils dans la barre d’outils. 3 Sélectionnez un profil dans la liste et cliquez sur OK. 4 Modifiez les options du profil. Une fois les options modifiées, cliquez sur Mettre à jour pour enregistrer le profil et le rendre actif sur votre AirPort Express.35 5 Astuces et dépannage Vous pouvez rapidement résoudre la plupart des problèmes liés à AirPort Express en suivant les conseils donnés dans ce chapitre. Le logiciel d’AirPort Express ne peut pas détecter le matériel AirPort approprié Assurez-vous que l’ordinateur que vous utilisez est équipé d’une carte AirPort ou d’une carte AirPort Extreme. Si vous avez installé la carte récemment, éteignez votre ordinateur et vérifiez que la carte est installée correctement. Vérifiez que l’antenne AirPort est connectée fermement à la carte (vous devez entendre un clic lorsque vous la connectez). Vérifiez que la carte est fermement insérée dans le connecteur du logement de la carte AirPort. Si vous utilisez un ordinateur Windows 2000 ou Windows XP, assurez-vous que l’adaptateur ou la carte sans fil est installé correctement. Reportez-vous à la documentation livrée avec votre ordinateur pour vérifier la connexion. Si vous utilisez un ordinateur fonctionnant sous Windows XP, assurez-vous que vous disposez bien du Service Pack 2.36 Astuces et dépannage Impossible de diffuser de la musique sur votre chaîne stéréo à partir d’iTunes Vérifiez qu’AirPort Express est branchée sur une prise de courant, qu’elle se trouve dans le rayon de détection de votre ordinateur et que les câbles appropriés sont bien connectés. Il vous faudra pour cela accéder au réseau AirPort Express. Veillez à sélectionner votre AirPort Express dans le menu local des haut-parleurs d’iTunes. Vérifiez que vous utilisez iTunes 4.6 ou ultérieur. Impossible d’entendre la musique Si un morceau est en cours de lecture (la barre de progression en haut de la fenêtre iTunes avance) mais que vous n’entendez rien, vérifiez les points suivants :  Si vous essayez d’écouter de la musique avec des haut-parleurs connectés à une AirPort Express et que vous avez coché la case “Désactiver le contrôle de volume pour les haut-parleurs distants” dans la sous-fenêtre Audio des Préférences iTunes, vérifiez que vos haut-parleurs distants sont sélectionnés dans le menu local en bas de la fenêtre iTunes et que le contrôle du volume des haut-parleurs distants n’est pas au minimum. Vous avez oublié votre mot de passe réseau ou AirPort Express Vous pouvez effacer le mot de passe du réseau AirPort ou d’AirPort Express en réinitialisant AirPort Express. Pour cela, procédez comme suit : 1 Utilisez l’extrémité d’un trombone déplié pour appuyer sur le bouton de réinitialisation et le maintenir enfoncé pendant une seconde. Astuces et dépannage 37 2 Sélectionnez votre réseau AirPort.  Sur un Macintosh, utilisez le menu d’état d’AirPort dans la barre des menus pour sélectionner le réseau créé par l’AirPort Express (le nom du réseau reste inchangé).  Sur un ordinateur Windows 2000 ou Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que vous voyiez apparaître le nom de votre réseau AirPort (SSID) et sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 3 Ouvrez l’Utilitaire Admin AirPort (que vous trouverez dans Applications/Utilitaires sur un Macintosh, et dans Démarrer > Programmes > AirPort sur un ordinateur Windows XP ou Windows 2000). 4 Sélectionnez votre AirPort Express et cliquez sur Configurer. 5 Dans la zone de dialogue qui s’affiche, effectuez les changements suivants :  Réinitialisez le mot de passe AirPort Express.  Sélectionnez le cryptage pour activer la protection par mot passe de votre réseau AirPort. Si vous activez le cryptage, tapez un nouveau mot de passe pour votre réseau AirPort. 6 Cliquez sur OK. AirPort Express redémarre pour charger les nouveaux réglages. Votre AirPort Express ne répond pas Essayez de la débrancher puis de la rebrancher sur une prise électrique. Si votre AirPort Express ne répond plus du tout, vous devrez peut-être rétablir les réglages d’origine par défaut. Cette opération efface tous les réglages que vous avez effectués et rétablit ceux d’origine. 38 Astuces et dépannage Le voyant d’état de votre AirPort Express est de couleur ambre et il clignote Le câble Ethernet n’est peut-être pas connecté correctement ; l’AirPort Express est peut-être hors du rayon de détection du réseau AirPort, ou bien il se peut qu’il y ait un problème avec votre fournisseur d’accès Internet. Si vous êtes connecté à Internet avec un modem câble ou DSL, le modem n’est peut-être plus connecté au réseau ou à Internet. Même si le modem semble fonctionner correctement, débranchez le modem, attendez quelques secondes puis rebranchez-le. Assurez-vous que l’AirPort Express est directement connecté au modem via Ethernet avant de rebrancher le modem. Si votre AirPort Express est configuré comme membre d’un WDS, le lien WDS est peut-être interrompu. Remarque : si l’AirPort Express est configuré comme un client sans fil et que le réseau auquel il se joint est protégé par une liste de contrôle d’accès, l’AirPort Express doit faire partie de cette liste pour pouvoir se connecter au réseau. Pour revenir aux réglages d’origine de l’AirPort Express : m Utilisez le bout d’un trombone déplié pour pouvoir appuyer et maintenir enfoncé le bouton de réinitialisation jusqu’à ce que le voyant d’état clignote rapidement (pendant environ 5 secondes). AirPort Express redémarre avec les réglages suivants :  L’AirPort Express reçoit son adresse IP via DHCP.  Le nom du réseau redevient Réseau Apple XXXXXX (où X est une lettre ou un chiffre).  Le mot de passe AirPort Express redevient public. Si vous avez utilisé l’Utilitaire Admin AirPort pour créer des profils pour votre AirPort Express, ces profils sont conservés lorsque vous réinitialisez AirPort Express.Astuces et dépannage 39 Si vous souhaitez revenir aux réglages d’origine de l’AirPort Express et supprimer des profils que vous aviez configurés : 1 Débranchez l’AirPort Express. 2 Utilisez l’extrémité d’un trombone déplié pour maintenir le bouton de réinitialisation enfoncé pendant que vous branchez l’AirPort Express. Votre imprimante ne répond pas Si vous avez connecté une imprimante au port USB de l’AirPort Express et que les ordinateurs du réseau AirPort ne peuvent pas imprimer, procédez comme suit : 1 Assurez-vous que l’imprimante est branchée et allumée. 2 Assurez-vous que les câbles sont bien connectés à l’imprimante et au port USB de l’AirPort Express. 3 Assurez-vous que l’imprimante est bien sélectionnée dans la fenêtre Liste d’imprimantes des ordinateurs clients. Pour ce faire, sur un ordinateur Mac OS X 10.3 ou ultérieur :  Ouvrez l’utilitaire Réglages imprimante, dans Applications/Utilitaires.  Si l’imprimante n’est pas dans la liste, cliquez sur Ajouter.  Sélectionnez Bonjour dans le menu local.  Sélectionnez l’imprimante et cliquez sur Ajouter. Pour sélectionner votre imprimante sur un ordinateur Windows XP ou Windows 2000 :  Ouvrez le Panneau de configuration depuis le menu Démarrer, puis double-cliquez sur Imprimantes et télécopieurs.  Sélectionnez l’imprimante. Si l’imprimante ne figure pas dans la liste, cliquez sur Ajouter une imprimante puis suivez les instructions à l’écran.40 Astuces et dépannage 4 Éteignez l’imprimante, attendez quelques secondes puis rallumez-la. Pour en savoir plus sur la configuration d’une imprimante sur un ordinateur Windows, consultez “Pour utiliser l’imprimante depuis un ordinateur Windows :” à la page 22. Vous souhaitez mettre à jour votre logiciel AirPort Apple met régulièrement à jour le logiciel AirPort afin d’en améliorer les performances et d’ajouter de nouvelles fonctionnalités. Il est recommandé de mettre à jour votre AirPort Express pour utiliser le logiciel le plus récent. Pour télécharger la dernière version du logiciel AirPort Express, rendez-vous sur le site www.apple.com/fr/airport. Considérations sur le placement de l’AirPort Express Les recommandations suivantes peuvent permettre à votre AirPort Express d’atteindre une portée sans fil maximale et une couverture réseau optimale.  Placez votre AirPort Express dans un endroit dégagé avec peu d’obstacles tels que des meubles imposants ou des murs. Essayez de la tenir éloignée des surfaces métalliques.  Si vous placez votre AirPort Express derrière un meuble, laissez au moins trois centimètres entre la borne AirPort Express et le bord du meuble.  Évitez de placer votre AirPort Express dans des zones entourées de surfaces métalliques sur trois côtés ou plus.  Si vous placez votre AirPort Express à proximité d’autres appareils électriques tels que la chaîne stéréo, évitez d’entourer complètement l’AirPort Express de câbles d’alimentation, audio ou vidéo. Positionnez votre AirPort Express de façon que les câbles passent d’un seul côté. Laissez autant d’espace que possible entre l’AirPort Express et les câbles.  Si vous placez votre AirPort Express derrière votre équipement stéréo, placez-la sur le côté. Évitez de la centrer derrière la chaîne stéréo.Astuces et dépannage 41  Essayez de placer votre AirPort Express à 7,5 mètres au moins d’un four à micro-ondes, d’un téléphone sans fil de 2,4 GHz, ou d’autres sources d’interférences. Éléments pouvant provoquer des interférences avec Airport Plus la source d’interférences est éloignée, plus le risque de problème est faible. Les éléments suivants peuvent provoquer des interférences avec Airport :  Les fours à micro-ondes.  Les pertes de fréquence radio DSS (Direct Satellite Service).  Le câble coaxial d’origine fourni avec certains types d’antennes paraboliques. Contactez le fabricant du produit pour obtenir des câbles plus récents.  Certains dispositifs électriques tels que les lignes électriques, les voies ferrées électrifiées et les centrales électriques.  Les téléphones sans fil qui fonctionnent sur la fréquence porteuse de 2,4 gigahertz (GHz). Si vous rencontrez des problèmes avec votre téléphone ou avec la communication avec AirPort, changez le canal utilisé par votre borne d’accès ou par l’AirPort Express ou bien celui utilisé par votre téléphone.  Des bornes d’accès adjacentes qui utilisent des canaux voisins. Ainsi, si une borne d’accès A est réglée sur le canal 1, la borne B doit être réglée sur le canal 4 ou supérieur.42 6 En savoir plus, service aprèsvente et support Vous trouverez davantage d’informations sur l’utilisation de la borne AirPort Express sur votre disque dur, sur le Web et dans l’aide en ligne. Ressources en ligne Pour obtenir les toutes dernières informations sur la borne AirPort Express, rendez-vous sur le site www.apple.com/fr/airport. Pour enregistrer l’AirPort Express (si vous ne l’avez pas déjà fait lors de l’installation du logiciel à partir du CD de l’AirPort Express), rendez-vous sur le site www.apple.com/register. Pour plus d’informations sur le service après-vente et le support d’AirPort, des forums avec des informations et des retours sur différents produits, et les versions les plus récentes des logiciels Apple à télécharger, rendez-vous sur le site www.apple.com/fr/support/airport. Pour le support en dehors des États-Unis, rendez-vous sur le site www.apple.com/fr/support et choisissez votre pays dans le menu local.En savoir plus, service après-vente et support 43 Aide en ligne m Pour en savoir plus sur l’utilisation d’AirPort, ouvrez l’Utilitaire Admin AirPort et choisissez Aide > Aide AirPort. Obtention d’un service de garantie Si le produit est endommagé ou ne fonctionne pas correctement, suivez les conseils de cette brochure, de l’aide à l’écran et des ressources en ligne. Si l’unité ne fonctionne toujours pas, rendez-vous sur le site www.apple.com/fr/support pour obtenir des instructions sur l’obtention d’un service de garantie. Où trouver le numéro de série de votre AirPort Express Le numéro de série est imprimé à l’arrière de votre AirPort Express. 44 7 Caractéristiques de l’AirPort Express Caractéristiques de l’AirPort  Vitesse de transfert des données sans fil : jusqu’à 54 mégabits par seconde (Mbps)  Portée : jusqu’à 45 mètres en utilisation normale (selon l’environnement)  Bande de fréquence : 2,4 gigahertz (GHz)  Alimentation de la sortie radio : 15 dBm (nominale)  Normes : 802.11 DSSS 1 et 2 Mbps standard, 802.11b et caractéristique 802.11g Interfaces  Connecteur LAN Ethernet RJ-45 pour la mise en réseau 10/100Base-T intégrée (G)  Impression USB (Universal Serial Bus) (d)  Mini-jack optique analogique/numérique de 3,5 mm  AirPort Extreme Conditions ambiantes  Température de fonctionnement : de 0° à 35° C (32° à 95° F)  Température de stockage : de -25° à 60° C (-13° à 140° F)  Humidité relative (en fonctionnement) : de 20 % à 80 %  Humidité relative (en stockage) : de 10 % à 90 % (sans condensation)Caractéristiques de l’AirPort Express 45  Altitude de fonctionnement : de 0 à 3 048 m (de 0 à 10 000 pieds)  Altitude maximale de stockage : 4 572 m (15 000 pieds) Taille et poids  Hauteur : 94 mm  Largeur : 75 mm  Épaisseur : 28,5 mm  Poids : 188 grammes Adresses matérielles Deux adresses matérielles pour l’AirPort sont imprimées sur le côté du boîtier :  L’identifiant AirPort : adresse utilisée pour identifier l’AirPort Express sur un réseau sans fil.  Le numéro Ethernet : également appelé adresse MAC. Il vous faudra peut-être communiquer cette adresse à votre FAI pour connecter la borne AirPort Express à Internet. Utilisation d’AirPort Express  La seule façon d’éteindre complètement votre AirPort Express est de la débrancher de sa source d’alimentation.  Lorsque vous branchez ou débranchez votre AirPort Express, tenez-la toujours par les côtés. Éloignez vos doigts de la partie métallique de la prise.  Votre AirPort Express est un composant haute tension et ne doit en aucun cas être ouverte, même lorsqu’elle est débranchée. Si votre AirPort Express doit être réparée, consultez la rubrique “En savoir plus, service après-vente et support” à la page 42. 46 Caractéristiques de l’AirPort Express  N’insérez jamais de force un connecteur dans les ports. Si le connecteur ne s’emboîte pas facilement dans le port, c’est probablement qu’ils ne sont pas compatibles. Vérifiez que le connecteur est adapté au port et qu’il est correctement positionné par rapport à celui-ci.  Si vous utilisez le câble d’alimentation facultatif, évitez de laisser pendre la borne AirPort Express en la tenant par le câble. À propos des températures d’exploitation et de stockage  Pendant que vous utilisez votre AirPort Express, il est normal que le boîtier chauffe. Le boîtier de l’AirPort Express agit comme une surface de refroidissement qui transfère la chaleur de l’intérieur de l’unité vers l’air extérieur plus frais. Évitez les endroits humides  Tenez l’AirPort Express à l’écart des sources de liquides, telles que les boissons, les lavabos, les baignoires, les cabines de douche, etc.  Protégez la borne AirPort Express de la lumière directe du soleil ou de la pluie ou d’autre source d’humidité.  Prenez garde à ne pas renverser de nourriture ou de liquide sur votre AirPort Express. Si tel est le cas, débranchez l’AirPort Express avant de nettoyer. Si c’est un liquide qui a été renversé, il faudra peut-être envoyer l’appareil à Apple pour réparation. Reportez-vous à la section “En savoir plus, service après-vente et support” à la page 42. Avertissement : pour réduire le risque d’électrocution ou de blessure, n’utilisez pas votre AirPort Express dans des emplacements mouillés ou humides ni à proximité de ceux-ci.Caractéristiques de l’AirPort Express 47 N’effectuez pas vous-même les réparations À propos de la manipulation Votre AirPort Express peut être endommagée à la suite d’une manipulation ou d’un stockage inapproprié. Prenez garde à ne pas laisser tomber votre AirPort Express en la transportant. Avertissement : n’essayez pas d’ouvrir ou de démonter votre AirPort Express. Vous risqueriez de vous électrocuter et d’annuler la garantie. Aucune pièce réparable par l’utilisateur ne se trouve à l’intérieur.48 Communications Regulation Information FCC Declaration of Conformity This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. See instructions if interference to radio or television reception is suspected. Radio and Television Interference This computer equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures:  Turn the television or radio antenna until the interference stops.  Move the computer to one side or the other of the television or radio.  Move the computer farther away from the television or radio.  Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple Authorized Service Provider or Apple. See the service and support information that came with your Apple product. Or, consult an experienced radio/television technician for additional suggestions. Important: Changes or modifications to this product not authorized by Apple Computer, Inc. could void the EMC compliance and negate your authority to operate the product. This product was tested for FCC compliance under conditions that included the use of Apple peripheral devices and Apple shielded cables and connectors between system components. It is important that you use Apple peripheral devices and shielded cables and connectors between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. You can obtain Apple peripheral devices and the proper shielded cables and connectors through an Apple-authorized dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. Responsible party (contact for FCC matters only): Apple Computer, Inc., Product Compliance, 1 Infinite Loop M/S 26-A, Cupertino, CA 95014-2084, 408-974-2000. Industry Canada Statement This Class B device meets all requirements of the Canadian interference-causing equipment regulations. Cet appareil numérique “Class B” respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. VCCI Class B Statement Europe : déclaration de conformité EU Conforme aux directives européennes 72/23/EEC, 89/336/1999/5 Pour obtenir plus d’informations, rendez-vous sur www.apple.com/euro/compliance. Union Européenne : informations sur l’élimination Ce symbole signifie que vous devez vous débarasser de votre produit sans le mélanger avec les ordures ménagères, selon les normes et la législation de votre pays. Lorsque ce produit n’est plus utilisable, portez-le dans un centre de traitement des déchets agréé par les autorités locales. Certains centres acceptent les produits gratuitement. Le traitement et le recyclage séparé de votre produit lors de son élimination aideront à préserver les ressources naturelles et à protéger l’environnement et la santé des êtres humains. © 2005 Apple Computer, Inc. Tous droits réservés. Apple, le logo Apple, AirPort, iTunes, Mac, Macintosh et Mac OS sont des marques d’Apple Computer, Inc. déposées aux États-Unis et dans d’autres pays. AirPort Express, AirTunes et Bonjour sont des marques d’Apple Computer Inc. www.apple.com/fr/airport www.apple.com/fr/support/airport F019-0415 Color Manuel de l'utilisateurK Apple Inc. © 2007 Apple Computer, Inc. Tous droits réservés. Vos droits sur le logiciel sont définis par le contrat de licence l’accompagnant. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel Final Cut Studio a le droit de reproduire la présente publication à des fins d’apprentissage dudit logiciel. Il est interdit de reproduire ou de transmettre tout ou partie de la présente publication à des fins commerciales, par exemple pour vendre des copies de ladite publication ou fournir un service d’assistance payant. Le logo Apple est une marque d’Apple Inc. déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Option + 1) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tous les efforts possibles ont été faits pour assurer l’exactitude des informations qui figurent dans ce manuel. Apple n’est pas responsable des erreurs d’écriture ou d’impression. Remarque : étant donné qu’Apple commercialise fré- quemment de nouvelles versions et mises à jour de son logiciel système, de ses applications et de ses sites Internet, les illustrations du présent ouvrage peuvent différer légèrement de ce qui s’affiche sur votre écran. Apple Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, le logo Apple, DVD Studio Pro, Final Cut, Final Cut Pro, FireWire, LiveType, Mac, Macintosh, Mac OS, QuickTime et Shake sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Cinema Tools et Finder sont des marques d’Apple Inc. Les autres noms de sociétés ou de produits mentionnés ici sont des marques de leurs détenteurs respectifs. L’évocation de produits tiers est faite à titre informatif uniquement et ne constitue ni une approbation ni une recommandation. Apple décline toute responsabilité concernant les performances et l’utilisation de ces produits. 3 1 Table des matières Préface 9 Color Documentation et ressources 9 Nature de Color ? 10 Utilisation de la documentation de Color 11 Sites web Color 11 Site web de service et d’assistance Apple Chapitre 1 13 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 13 Définition de l’étalonnage 17 Quand se déroule le processus d’étalonnage ? 24 Étalonnage dans Color 26 Normes d’encodage des images 31 Concepts de base liés aux couleurs et à l’imagerie Chapitre 2 39 Flux de production de l’étalonnage 40 Aperçu du flux de production Color 42 Limitations de Color 44 Flux de production pour la finalisation de la vidéo à l’aide de Final Cut Pro 53 Importation de projets à partir d’autres applications de montage vidéo 57 Utilisation de Color dans un flux de production intermédiaire numérique 66 Utilisation des listes de montage, du timecode et des numéros d’images pour la conformation des projets Chapitre 3 69 Utilisation de l’interface Color 70 Configuration d’une surface de contrôle 70 Utilisation des contrôles d’écran 75 Navigateurs et chutiers pour organiser les fichiers 82 Utilisation de Color avec un ou deux écrans Chapitre 4 83 Importation et gestion de projets et de données 84 Création et ouverture de projets 85 Enregistrement de projets et d’archives 89 Transfert de projets entre Final Cut Pro et Color 94 Reconformation de projets 95 Importation de listes de montage (EDL)4 Table des matières 97 Exportation de listes EDL 98 Rétablissement du lien avec les données QuickTime 99 Importation de données directement dans le plan de montage 99 Formats de données compatibles 104 Conversion de séquences d’images Cineon et DPX au format QuickTime 105 Importation des corrections de couleurs 106 Exportation d’images JPEG Chapitre 5 107 Setup (Configuration) 108 Le navigateur de fichiers 109 Le navigateur de plans 115 Chutier des jeux d’étalonnage 115 Onglet Project Settings 121 Onglet Messages 122 Onglet User Preferences Chapitre 6 133 Contrôle 133 Fenêtre Scopes 135 Contrôle de la sortie vidéo de diffusion 138 Utilisation des tables de conversion d’affichage 143 Contrôle du magasin d’images fixes (Still Store) Chapitre 7 145 Lecture, navigation et modification du plan de montage 146 Principaux éléments de l’interface utilisateur du plan de montage (Timeline) 148 Personnalisation de l’interface du plan de montage 149 Utilisation des pistes 151 Sélection du plan actuel 151 Lecture dans le plan de montage 154 Navigation à l’intérieur du plan de montage 156 Sélection de plans dans le plan de montage 157 Utilisation des jeux d’étalonnage dans le plan de montage 158 Onglets de réglages 160 Contrôles et procédures de montage Chapitre 8 167 Vidéoscopes 168 Quels sont les vidéoscopes disponibles ? 171 Options des vidéoscopes 173 Analyse d’images par le biais de vidéoscopes Chapitre 9 191 Primary In 192 Objectifs de l’utilisation du studio Primary In 195 Utilisation des commandes de contraste Primary 197 Réglage du contraste dans les zones d’ombres, de tons intermédiaires et de hautes lumièresTable des matières 5 209 Utilisation des commandes Color Balance 213 Description détaillée des corrections des ombres, des tons intermédiaires et des hautes lumières 220 Commandes Curves 233 Onglet Basic 237 Onglet Advanced 239 Auto Balance Chapitre 10 241 Secondaries 242 Fonctions du studio Secondaries 243 Premiers pas 244 Choix de la région à corriger à l’aide des qualificateurs HSL 252 Onglet Previews 254 Isolement d’une zone à l’aide des commandes de vignette 261 Ajustement des parties interne et externe de la sélection 263 Utilisation des courbes secondaires 268 Commandes de réinitialisation Chapitre 11 269 Color FX 270 L’interface Color FX 270 Utilisation de Color FX 272 Création et connexion de nœuds 274 Ajustement des paramètres des nœuds 276 Omission de nœuds 276 Création d’effets dans le studio Color FX 282 Utilisation de Color FX avec des plans entrelacés 283 Enregistrement des effets préférés dans le chutier Color FX 284 Guide de référence des nœuds Chapitre 12 295 Primary Out 296 Utilisation du studio Primary Out 296 Apport de corrections supplémentaires à l’aide du studio Primary In 297 Présentation du processus de traitement de l’image 298 Utilisation des commandes de plafonnement Chapitre 13 299 Gestion des corrections et des jeux d’étalonnage 300 Différence entre les corrections et les jeux d’étalonnage 300 Enregistrement et utilisation de corrections et de jeux d’étalonnage 305 Application de corrections et de jeux d’étalonnage enregistrés à des plans 306 Gestion des jeux d’étalonnage dans la Timeline 309 Utilisation des boutons « Copy to » dans les studios Primary 311 Utilisation des commandes Copy Grade et Paste Grade 312 Définition d’un jeu d’étalonnage parfait dans la Timeline 312 Désactivation de tous les jeux d’étalonnage6 Table des matières 313 Gestion des jeux d’étalonnage dans le navigateur de plans 320 Utilisation de tous les studios Primary, Secondary et Color FX pour gérer les corrections de chaque plan Chapitre 14 323 Images clés 323 Objectifs de l’animation d’un effet avec des images clés 324 Fonctionnement de l’animation avec des images clés dans les différents studios 326 Utilisation d’images clés dans la Timeline 329 Interpolation d’images clés Chapitre 15 331 Studio Geometry 332 Navigation dans l’aperçu d’image 332 Onglet Panscan 337 Onglet Shapes 345 Onglet Tracking Chapitre 16 355 Magasin d’images fixes (Still Store) 356 Enregistrement d’images dans le Still Store 357 Enregistrement des images du Still Store dans de sous-répertoires 358 Retrait d’images du Still Store 358 Rappel d’images du Still Store 359 Personnalisation de la vue du Still Store 359 Contrôles du chutier Still Store Chapitre 17 361 File d’attente de rendu 361 À propos du rendu dans Color 362 Quels effets sont rendus par Color ? 363 L’interface de la file d’attente de rendu 365 Mode de rendu des plans dans votre projet 367 Rendu de plusieurs jeux d’étalonnage pour chaque plan 368 Commande Gather Rendered Media Annexe A 371 Étalonnage de votre moniteur 371 À propos de la mire 371 Étalonnage des moniteurs avec la mire Annexe B 375 Raccourcis clavier 375 Raccourcis clavier relatifs aux projets 376 Changement de studio et de fenêtre 376 Lecture et navigation 377 Raccourcis liés aux jeux d’étalonnage 377 Raccourcis clavier relatifs à la Timeline 378 Raccourcis clavier de montage 378 Raccourcis clavier relatifs aux images clésTable des matières 7 378 Raccourcis relatifs au navigateur de plans 379 Raccourci disponible dans le studio Geometry 379 Raccourcis relatifs au magasin d’images fixes 379 Raccourcis relatifs à la file d’attente de rendu Annexe C 381 Configuration d’une surface de contrôle 382 Surfaces de contrôle JLCooper MCS-3000, MCS-Spectrum, MCS-3400 et MCS-3800 387 Surface de contrôle Tangent Devices CP100 389 Surface de contrôle Tangent Devices de la gamme CP200 394 Personnalisation de la sensibilité des surfaces de contrôle Index 395 9 Préface Documentation et ressources de Color Bienvenue dans le monde de l’étalonnage professionnel de film et de vidéo à l’aide de Color. Nature de Color ? Color a été conçu dès le départ comme un environnement d’étalonnage (ou de « correction de couleurs ») riche en fonctionnalités, à même de s’intégrer de façon idéale dans une large gamme de flux de post-production, que votre projet relève de la définition standard, de la haute définition ou de l’intermédiaire numérique 2K. Si vous avez déjà monté un programme à l’aide de Final Cut Pro, il est extrêmement simple de l’envoyer à Color pour étalonnage, puis de le renvoyer à Final Cut Pro pour la sortie finale. Mais il est également tout à fait faisable de reconformer des projets dont les sources sont des listes de points de montage (listes EDL, Editing Decision List) issues d’autres environnements de montage. Color dispose de tous les outils dont les professionnels de la couleur ont besoin, à savoir :  Étalonnage primaire par balance des couleurs et action sur le contraste au travers des ombres, des tons intermédiaires et des hautes lumières  Utilisation de courbes pour ajustement fin des canaux de luminance et de chrominance  Jusqu’à huit opérations d’étalonnage secondaire par plan, avec qualificateurs HSL, vignettes, formes utilisateur et réglage séparé des parties interne et externe de chaque cache secondaire  Effets Color FX à nœuds arborescents pour la création d’effets de couleur personnalisés  Effets de panoramique Panscan  Suivi d’animation permettant d’animer vignettes, formes utilisateur et d’autres effets  Application de contraintes légales de diffusion pour garantir le respect de la réglementation  Prise en charge de surfaces de contrôle propres à l’étalonnage  Et de nombreuses autres fonctionnalités10 Préface Documentation et ressources de Color Tous ces outils sont répartis dans huit « studios » de l’interface utilisateur de Color, qui sont présentés dans l’ordre correspondant à la façon de travailler de la plupart des coloristes. Vous pourrez utiliser Color pour étalonner, équilibrer et « habiller » d’effet stylisés chaque plan de votre programme, dans le cadre de la dernière étape de votre flux de post-production. Vous pourrez ainsi donner donnerez ainsi à vos programmes un aspect finalisé et professionnel qui n’était jusqu’ici accessible qu’au travers de maté- riels très coûteux. Utilisation de la documentation de Color La documentation fournie avec Color se compose d’un Guide de configuration imprimé et d’un manuel de l’utilisateur électronique. Guide de configuration de Color Le Guide de configuration de Color contient des extraits du manuel de l’utilisateur électronique, qui vous feront comprendre de quelle façon Color s’intègre à différents flux de post-production et qui vous aideront à configurer les paramètres de projet et les préfé- rences utilisateur de Color en fonction de vos besoins. Si vous venez d’installer Color et si vous voulez savoir comment configurer votre système pour l’utiliser de façon efficace, commencez par lire ce guide. Color Manuel de l’utilisateur à l’écran Le manuel de l’utilisateur de Color, accessible via le menu Aide, contient toutes les informations utiles sur le logiciel. Il est destiné aux utilisateurs de tous niveaux.  Les monteurs et spécialistes d’autres aspects de la post-production qui n’ont pas d’expérience du processus d’étalonnage pourront, grâce à ces informations, mettre le pied à l’étrier et consulter des explications détaillées sur le fonctionnement et la justification de toutes les commandes.  Les coloristes venant à Color en ayant déjà l’expérience d’autres environnements d’étalonnage peuvent sauter les premiers chapitres pour aller directement aux informations détaillées sur le fonctionnement de Color et sur chaque paramètre accessible dans chaque studio de l’interface utilisateur de Color. Remarque : le manuel de l’utilisateur à l’écran reprend toutes les informations fournies dans le Guide de configuration de Color, sous une forme permettant toutes les recherches et avec des illustrations en couleur. Guides d’initiation Vous disposez aussi d’une collection de guides d’initiation sur DVD-ROM qui vous permettront d’être rapidement opérationnel dans votre utilisation de Color. Ces guides d’initiation vous initient à chaque grande zone de l’interface utilisateur et constituent un bon moyen d’avoir une vue d’ensemble de toutes les fonctions avant de vous plonger dans le manuel de l’utilisateur.Préface Documentation et ressources de Color 11 Sites web Color Les sites web ci-après proposent des informations générales, des mises à jour et des informations techniques sur Color, ainsi que les nouvelles, ressources et supports de formation les plus récents. Pour en savoir plus sur Color, consultez le site suivant :  http://www.apple.com/fr/finalcutstudio/color Pour en savoir plus sur le programme Apple Pro Training, consultez le site (en anglais) :  http://www.apple.com/fr/software/pro/training Pour nous faire parvenir vos commentaires sur Color, consultez la page suivante :  http://www.apple.com/fr/feedback/color.html Site web de service et d’assistance Apple Le site web de service et d’assistance Apple propose des mises à jour de logiciels et des réponses aux questions le plus fréquemment posées sur tous les produits Apple, y compris Color. Sur ce site, vous aurez aussi accès aux caractéristiques techniques complètes des produits, aux documentations de référence et à des articles techniques sur les produits Apple :  http://www.apple.com/fr/support Pour une assistance propre à Color, consultez la page suivante :  http://www.apple.com/fr/support/color1 13 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Pour mieux vous familiariser avec le fonctionnement du logiciel Color, il est important de cerner le processus d’étalonnage (ou correction de couleurs) global et la façon dont les images sont travaillées en postproduction, dans le cours des flux de travaux appliqués aux films et vidéos SD et HD. Si vous êtes nouveau dans l’étalonnage, la première partie de ce chapitre va vous fournir des informations générales sur les flux d’étalonnage pour vous aider à mieux comprendre le mode d’exécution de Color. La deuxième partie explique les concepts clés de couleur et d’imagerie qui sont importants pour le fonctionnement de l’interface Color. Les rubriques suivantes seront abordées au cours de ce chapitre :  Définition de l’étalonnage (p. 13)  Quand se déroule le processus d’étalonnage ? (p. 17)  Étalonnage dans Color (p. 24)  Normes d’encodage des images (p. 26)  Concepts de base liés aux couleurs et à l’imagerie (p. 31) Définition de l’étalonnage Dans tout travail de postproduction, l’étalonnage constitue généralement l’une des dernières étapes de finalisation d’un programme monté. Le logiciel Color a été créé pour vous permettre de contrôler précisément l’apparence de chaque plan de votre projet. Il fournit en effet des outils flexibles et un espace de travail performant servant au réglage du contraste, de la couleur et de la géométrie de chaque plan de votre programme.14 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Objectifs de l’étalonnage Lorsque vous étalonnez un programme donné, vous êtes amené à effectuer une grande partie, voire la totalité, des tâches décrites dans cette section. Color fournit un ensemble de fonctions extrêmement complètes vous permettant d’accomplir toutes ces opérations et bien d’autres encore. Chaqun sait que la quantité de travail consacrée à une session d’étalonnage est généralement limitée par le temps et, pour vous permettre d’aller aussi loin que possible dans ce processus, l’interface d’étalonnage dédiée de Color permet un travail rapide et efficace. Concepts de base Tout contenu (ou « programme ») requiert que vous exécutiez au moins les opérations pré- sentées ci-dessous. Avec de l’entraînement, vous pourrez accomplir la plupart d’entre elles au moyen des principaux outils d’étalonnage (pour en savoir plus, consultez le chapitre 1, « Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) », à la page 13).  S’assurer que les éléments clés de votre programme ont l’apparence souhaitée : chaque scène de votre programme possède des éléments clés auxquels le spectateur prête une attention toute particulière. Dans une vidéo narrative ou documentaire, l’attention va vraisemblablement se porter sur les individus présents dans chaque plan. Dans une publicité, l’élément clé sera sans aucun doute le produit (par exemple, l’étiquette figurant sur une bouteille ou la couleur d’une voiture). Quels que soient ces éléments clés, il est très possible que vous-même ou votre public ayez certaines attentes quand à leur apparence et c’est à vous de faire en sorte que les couleurs du programme correspondent à celles du plan d’origine. Lorsque vous utilisez des plans de personnes, un des principes de base de l’étalonnage est de veiller à ce que leur teint dans le programme ait le même aspect (ou une meilleure apparence) que dans la réalité. Quel que soit l’ethnie ou le teint, les couleurs de peau des êtres humains mesurées objectivement avec un oscilloscope vectoriel sont plus ou moins comprises dans la même plage (même si la saturation et la luminosité varient). Color fournit les outils permettant d’apporter toutes les retouches nécessaires pour que les couleurs de peau des personnages de votre montage final aient l’aspect souhaité.  Corriger les erreurs de balance des couleurs et d’exposition : tout d’abord, l’exposition ou la balance des couleurs des images obtenues numériquement (qu’elles soient tournées sur une caméra vidéo analogique ou numérique, ou bien encore transfé- rées à partir d’une pellicule) n’est souvent pas optimale. Par exemple, un grand nombre de caméscopes et de caméras de cinéma numériques enregistrent délibérément les noirs ne correspondant pas tout à fait à un taux de 0 pour cent de façon à éviter d’écraser inutilement des données de façon intempestive. Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 15 En outre, des accidents peuvent se produire lors de n’importe quel tournage. Par exemple, la balance des couleurs du film utilisé par l’équipe de tournage n’était peut-être pas adaptée aux conditions de tournage ou un membre de l’équipe a peut-être oublié de régler la balance des blancs de la caméra vidéo avant de filmer un entretien dans un bureau éclairé par des lumières fluorescentes, ce qui produit des images aux teintes verdâtres. Color permet de corriger facilement ces types d’erreurs.  Harmoniser tous les plans d’une scène : la plupart des programmes montés incorporent des données provenant de sources diverses, dont le tournage a eu lieu en diffé- rents endroits et sur plusieurs jours, semaines ou mois de production. Même avec une excellente équipe de cadreurs et d’éclairagistes, il est très possible que des diffé- rences de couleurs et d’exposition se produisent, et ce parfois entre des plans d’une même scène. Une fois ces plans montés, ces changements de couleurs et d’éclairage risquent de faire ressortir certains plans par rapport aux autres, ce qui donne un aspect peu harmonieux au montage. Grâce à un étalonnage soigné, tous les plans d’une même scène peuvent être harmonisés pour sembler se dérouler au même moment et au même endroit, avec un éclairage identique. Ce processus est couramment appelé étalonnage de scène à scène.  Créer un contraste : l’étalonnage peut également servir à créer un contraste entre deux scènes pour obtenir un effet plus frappant. Imaginez l’enchaînement d’une scène tournée dans la jungle luxuriante dans les tons de vert avec une autre scène filmée dans un désert aride, riche en rouges et en jaunes. Grâce à l’étalonnage, vous pouvez accentuer ces différences de façon subtile.  Créer une ambiance : le processus d’étalonnage ne se limite pas uniquement à l’harmonisation des données vidéo de votre œuvre selon un modèle objectif d’exposition. Tout comme le son, la couleur, lorsqu’elle est maniée avec subtilité, est une propriété qui procure une intéressante marge de contrôle supplémentaire sur votre programme. Grâce à l’étalonnage, vous pouvez décider d’attribuer à votre vidéo des couleurs riches et saturées ou, à l’inverse, plus discrètes. Vos plans peuvent prendre un aspect plus chaleureux si vous poussez leurs tonalités vers les rouges ou, au contraire, plus froid si vous privilégiez les bleus. Vous pouvez extraire les détails des ombres ou les écraser de façon à augmenter le contraste de l’image et lui donner une apparence plus nette. Ces modifications subtiles influent sur la façon dont les spectateurs per- çoivent une scène et peuvent changer l’atmosphère d’un programme. Après avoir choisi l’apparence souhaitée pour votre œuvre, ou pour une scène isolée, vous pouvez recourir à l’étalonnage pour vous assurer que tous les plans des scènes appropriées sont harmonisés afin de s’enchaîner avec cohérence.16 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs)  Se conformer aux recommandations pour assurer la légalité des diffusions : si un programme est destiné à la télédiffusion, une série de recommandations de contrôle qualité vous est généralement fournie, indiquant les limites « légales » définies pour le niveau de noir minimum et le niveau de blanc maximum, ainsi que les valeurs minimales et maximales fixées pour la saturation chromatique et les images RVB composites. Il est important de se conformer à ces recommandations pour s’assurer que le programme peut être diffusé, car les valeurs « illégales » peuvent causer des problèmes lors de l’encodage du programme pour la transmission. Étant donné que les normes de contrôle qualité varient, il est essentiel de prendre connaissance au préalable des recommandations applicables. Color dispose de réglages de seuil de diffusion intégrés (parfois désignés sous le terme de légaliseur) qui empêchent automatiquement le dépassement des limites fixées pour les niveaux vidéo. Pour en savoir plus, consultez la section « Réglages de seuils de diffusion (Broadcast Safe) » à la page 119. Tâches détaillées Si vous disposez du temps nécessaire, les outils Color vous permettent de régler plus précisément l’apparence de votre programme :  Réglage séparé d’éléments spécifiques : il est parfois nécessaire de cibler de façon sélective une plage étroite de couleurs dans le but de ne corriger ou remplacer que la série correspondante de valeurs de couleur. Il peut s’agir, par exemple, de transformer une voiture rouge en voiture bleue ou de neutraliser un peu un vêtement de couleur trop vive. Ces tâches composent ce qu’on appelle étalonnage secondaire et Color met à votre disposition de nombreux outils qui vous permettent de les mener à bien. Pour en savoir plus, consultez la section chapitre 10, « Secondaries », à la page 241.  Procéder à des réglages numériques de l’éclairage : parfois, les réglages de l’éclairage qui paraissaient appropriés lors du tournage ne s’avèrent pas aussi performants lors du processus de postproduction. Les changements intervenant dans la vision du réalisateur, les modifications apportées aux tons de la scène montée ou les suggestions émises par le directeur de la photographie lors de la postproduction peuvent nécessiter l’ajustement de l’éclairage d’une scène au-delà des simples réglages du contraste global de l’image. Color fournit des options puissantes de masquage définissable par l’utilisateur qui, conjointement avec des options d’étalonnage secondaires, permettent d’isoler plusieurs régions d’une image et d’affiner l’éclairage. Ce processus est parfois appelé rectification numérique de l’éclairage. Pour en savoir plus, consultez le chapitre 10, « Secondaries », à la page 241 et la section « Onglet Shapes » à la page 337.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 17  Création d’effets spéciaux : une scène requiert parfois des effets plus extrêmes, comme la manipulation intensive des couleurs et de l’exposition pour l’obtention d’un effet de « nuit américaine », de façon à créer un état étrange pour une séquence de retour en arrière ou d’hallucination ou simplement une ambiance bizarre pour un clip vidéo. Le « studio » Color FX du logiciel Color vous offre une palette d’outils organisée de façon arborescente et extensible, qui permet de créer efficacement des images composites en profondeur, conjointement avec les autres outils principaux et secondaires à votre disposition. Pour en savoir plus, consultez la section chapitre 11, « Color FX », à la page 269. Si ces tâches semblent exiger beaucoup de travail, ce n’est pas une impression, c’est vraiment le cas. Heureusement, l’interface Color vous aide à assurer l’organisation de ces tâches. Quand se déroule le processus d’étalonnage ? La fidélité des couleurs d’un programme ne doit pas être négligée jusqu’à l’étape d’étalonnage du processus de postproduction. Dans l’idéal, chaque projet débute avec une philosophie de gestion des couleurs qui est appliquée durant le tournage, maintenue pendant les diverses phases de transfert et de montage survenant au cours de la postproduction et se termine par la phase d’étalonnage finale mise en œuvre dans Color. Cette section explique la façon dont les images de vidéo et de film sont habituellement traitées lors du processus de postproduction. Début de la gestion des couleurs lors du tournage Qu’un programme soit créé à l’aide d’images numériques de vidéo ou de film, ou bien encore de toute autre application d’imagerie numérique haute résolution, il est important de noter que le processus de détermination de l’apparence générale d’un programme commence lorsque chaque scène est éclairée et tournée lors de la production. Pour optimiser le contrôle et la flexibilité de vos plans en phase de postproduction, l’idéal serait de travailler avec des séquences tournées en fonction de l’objectif final. L’étalonnage en phase de postproduction ne peut pas remplacer un bon éclairage. Le processus d’étalonnage peut être considéré comme le prolongement et l’amélioration de la vision de départ du producteur, du réalisateur et du directeur de la photo. Souvent, le directeur de la photographie participe directement au processus d’étalonnage pour s’assurer de l’obtention du résultat recherché. Dans d’autres cas, c’est le réalisateur ou le producteur qui peut changer d’avis quant à l’apparence finale souhaitée. L’étalonnage permet alors de modifier l’apparence globale (en rendant, par exemple, plus chaleureuses des images tournées initialement pour donner un résultat froid). Bien que Color offre un niveau de contrôle exceptionnel sur vos données, il est néanmoins essentiel d’avoir comme base de travail des images correctement exposées.18 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) En outre, les choix effectués au cours de la postproduction et du tournage, et notamment le format de vidéo ou de film et les réglages de caméra utilisés, peuvent avoir une incidence considérable sur la latitude dont on dispose lors du processus d’étalonnage final. Étalonnage initial lors du transfert du film Lorsqu’un projet a été tourné sur pellicule, les négatifs de la caméra doivent d’abord être transférés vers le format de bande vidéo ou de vidéo numérique choisi avant les phases de montage et de postproduction numérique à l’aide d’un équipement de télécinéma ou de cinéma numérique. Un système de télécinéma est une machine permettant de transférer un film sur bande vidéo alors qu’un équipement de cinéma numérique est configuré pour transférer les films directement vers un format numérique, c’est-à-dire généralement vers une séquence d’images. Habituellement, le coloriste exécutant la session de transfert de film procède à un étalonnage pour s’assurer que le monteur dispose de l’image la plus appropriée pour son travail. Les objectifs de l’étalonnage à ce stade dépendent généralement de la longueur du projet et du flux de postproduction qui a été choisi.  Pour les projets courts, les publicités et toutes les vidéos de courte durée, un étalonnage détaillé peut être appliqué immédiatement. Le coloriste commencera par calibrer le propre correcteur colorimétrique du télécinéma afin d’équilibrer correctement les blancs, les noirs et les couleurs. Ensuite, en accord avec le directeur de la photographie, le réalisateur ou le producteur, il travaillera plan par plan pour déterminer l’apparence de chaque plan par rapport aux besoins du projet. Le monteur disposera ainsi d’images déjà corrigées.  Les projets, tels que les films long métrage et les programmes télévisés de longue durée, ne bénéficieront probablement pas d’emblée d’une phase d’étalonnage. Les séquences qui sont transmises via le télécinéma seront équilibrées pour obtenir une exposition et des couleurs relativement satisfaisantes, l’objectif étant uniquement de fournir une image de bonne qualité au monteur. Un étalonnage détaillé est ensuite effectué à un autre stade. Négatif de la caméra Télécinéma Bandes vidéoChapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 19  Les projets de toute longueur qui sont traités en postproduction sous forme d’intermé- diaire numérique sont transférés avec une phase d’étalonnage conçue pour conserver une quantité maximale de données d’image. Étant donné qu’un deuxième (et dernier) étalonnage numérique est prévu à la fin du processus de postproduction, il est essentiel que les données d’image soient de bonne qualité et conservent un maximum de détails des tons clairs et des tons foncés. Il faut noter que le but étant de préserver les données d’image et non pas de créer l’apparence finale du programme, l’image de qualité optimale utilisée pour l’étalonnage ne sera peut-être pas celle qui est visuellement la plus attractive. Toutefois, l’étalonnage est effectué lors du transfert initial au moyen du télécinéma ou du système de cinéma numérique. Une fois cette opération terminée, les images sont traitées par les processus habituels de postproduction, dans le cadre de la gestion éditoriale hors ligne et en ligne. Étalonnage de film et de vidéo Color a été conçu pour s’intégrer à des flux de traitement intermédiaires numériques de vidéo et de film. Étant donné que toutes les images doivent d’abord être transférées vers un format de séquence d’images ou QuickTime pour être importées dans Color, les images de vidéo et de film sont corrigées au moyen des mêmes outils et méthodes. Trois attributs principaux, qui ont tous été déterminés lorsque les images ont été initialement capturée ou transférées avant l’importation dans Color, ont une incidence sur la qualité des données utilisées dans un programme :  Le type et le niveau de compression appliqué aux données  La profondeur de bits à laquelle l’encodage est effectué  Le rapport de sous-échantillonnage chromatique utilisé Pour l’étalonnage, la compression spatiale et temporelle doit être limitée, car les artefacts de compression peuvent compromettre la qualité de vos réglages. Par ailleurs, il est généralement préférable d’utiliser des données dont la profondeur de bits est élevée (voir la section « Profondeur de bits » à la page 30). Point essentiel à noter : des rapports de sous-échantillonnage chromatique élevés, tels que 4 :4 :4 ou 4 :2 :2, sont recommandés pour optimiser la qualité et la flexibilité de vos corrections. Rien ne vous empêche de travailler avec des images sous-échantillonnées à 4 :1 :1 ou 4 :2 :0, mais vous constaterez peut-être que les réglages de contraste extrêmes et les sélections secondaires homogènes sont plus difficiles à effectuer avec des espaces colorimétriques hautement compressés. Pour en savoir plus, consultez la section « Sous-échantillonnage chromatique » à la page 27.20 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Méthodes traditionnelles d’étalonnage final Une fois le montage terminé et l’image verrouillée, l’étalonnage (appelé étalonnage colorimétrique dans le monde cinématographique) commence. Ce processus était habituellement accompli via une session de calibrage des couleurs pour un film ou d’étalonnage bande à bande pour une vidéo. Calibrage des couleurs d’un film Les programmes dont la finalisation et l’étalonnage ont été réalisés sur pellicule sont habituellement soumis à un processus de mise en conformité des négatifs avant le calibrage des couleurs. Une fois le processus éditorial terminé, le négatif original de la caméra est mis en conformité avec la copie de travail ou le passage vidéo du programme monté à l’aide d’une liste de conformation ou liste des épreuves (si le programme a été monté avec Final Cut Pro, cette liste peut être obtenu au moyen de l’application Cinema Tools). Cette liste répertorie chacun des plans utilisés dans le programme monté et montre comment ces derniers s’intègrent les uns aux autres. Ce processus est long et minutieux. Il faut savoir par ailleurs que la correction des erreurs commises pendant la coupe du négatif est très onéreuse. Une fois que le négatif de la caméra a été mis en conformité et les différents plans ont été physiquement collés les uns aux autres sur les rouleaux A et B en alternance, le calibrage de couleurs peut lui être appliqué par le biais d’une imprimante optique conçue pour ce processus. Ces machines envoient une lumière filtrée à travers les négatifs originaux de façon à exposer une copie positive intermédiaire, créant ainsi une seule bobine de film qui correspond à la copie étalonnée. Le processus permettant de contrôler chaque plan et de corriger la couleur scène par scène est réalisé à l’aide de trois commandes permettant d’ajuster séparément la proportion de lumière rouge, verte et bleue à laquelle le film est exposé, grâce à une série de filtres et d’obturateurs optiques. Chacun des cadrans rouge, vert et bleu est réglé par incréments discrets, appelés points d’impression (chaque point étant une fraction d’ouverture de diaphragme, qui correspond à l’échelle utilisée pour mesurer l’exposition d’une pellicule). En général, une plage totale de 50 points est utilisée, dans laquelle le point 25 représente l’état neutre d’origine de ce canal de couleur. Le fait d’augmenter ou de réduire la valeur des trois canaux de couleur en même temps assombrit ou éclaircit l’image, tandis que l’application de réglages disproportionnés aux trois canaux modifie la balance des couleurs de l’image en fonction des ajustements.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 21 Les réglages de la machine utilisés pour chaque plan peuvent être enregistrés (en une seule fois, au moyen de la technologie des bandes papier) et rappelés à tout moment, pour faciliter les opérations de recalibrage et de réglage ultérieures, le processus d’impression étant automatisé une fois le calibrage manuel terminé. Une fois la copie intermédiaire exposée, il est possible de la développer et de projeter les résultats finaux. Bien que ce système d’étalonnage puisse paraître peu pratique comparativement aux outils numériques actuels utilisés pour la manipulation des images, il représente un moyen d’étalonnage extrêmement efficace pour les utilisateurs qui le maîtrisent. Remarque : Color inclut des options de réglage des points d’impression destinées aux coloristes qui sont familiarisés avec cette méthode d’étalonnage. Pour en savoir plus, consultez la section « Onglet Advanced » à la page 237. Étalonnage bande à bande Pour les projets tournés sur bande vidéo (et ceux tournés sur pellicule qui n’autorisent pas une deuxième phase de télécinéma), le processus d’étalonnage s’intègre au flux de travaux en ligne/hors ligne vidéo traditionnel. Une fois le montage verrouillé, la bande maître finale est assemblée, soit par une remise en conformité sur le système initialement utilisé pour le montage hors ligne, soit par l’intégration de la liste EDL et des bandes source d’origine dans une suite en ligne compatible avec les formats des bandes source. Si l’assemblage en ligne a lieu dans une suite en ligne haut de gamme, l’étalonnage peut être effectué lors de l’assemblage de la bande maître ou après l’assemblage en soumettant la bande maître à une session d’étalonnage. Négatif de la caméra Conformation du négatif Calibrage optique des couleurs Impression du film final Bandes vidéo Télécinéma Montage off line Bande du master final Série de bandes22 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Remarque : si la bande maître finale est étalonnée, le coloriste doit effectuer avec soin un fondu et un balayage sur les opérations d’étalonnage en fonction des fondus et balayages vidéo du programme. Dans les deux cas, le signal vidéo est traité par du matériel et des logiciels d’étalonnage vidéo dédiés et le coloriste utilise le timecode principal de la bande afin de configurer et de conserver les réglages d’étalonnage pour chaque plan de chaque scène. Tandis que l’étalonnage vidéo s’appuyait au départ sur des options aussi simples que celles utilisées par les coloristes de film, l’évolution de la suite d’étalonnage en ligne a intégré de nombreux outils supplémentaires dans le processus, parmi lesquels des corrections séparées pour les zones tonales discrètes, un étalonnage secondaire de sujets spécifiques au moyen d’options d’incrustation et de réglage de formes, ainsi que bien d’autres options créatives dont les coloristes de film ne disposaient pas auparavant. Étalonnage au moyen d’une deuxième phase de télécinéma Les programmes tournés sur pellicule qui sont destinés à la masterisation vidéo (par exemple, pour une série télévisée à épisodes) peuvent être renvoyés dans la suite de télécinéma pour leur étalonnage final. Une fois le montage terminé et l’image verrouillée, une liste de conformation ou liste des épreuves (semblable à celle utilisée pour la conformité des négatifs) correspondant à la liste EDL du programme monté est créée. Grâce à la liste de conformation, le responsable de la postproduction tire uniquement le négatif effectivement utilisé pour le montage. Étant donné que cela ne représente qu’une minorité des séquences initialement tournées, le coloriste dispose maintenant de plus de temps (selon le budget alloué au projet, bien entendu) pour effectuer un étalonnage plus détaillé sur les séquences sélectionnées qui vont être assemblées pour constituer le programme vidéo final lors de cette phase de télécinéma finale. Même si ce processus semble redondant, le fait d’effectuer directement l’étalonnage à partir du négatif présente plusieurs avantages distincts. La pellicule possédant plus de nuances que la vidéo entre le noir et le blanc, un coloriste qui s’appuie sur le procédé de télécinéma dispose d’un choix plus large en termes de couleur et d’exposition que s’il travaillait uniquement à partir d’une vidéo. En outre, l’équipement d’étalonnage disponible pour le coloriste de télécinéma a évolué pour correspondre (et parfois être identique) aux outils à la disposition des coloristes de vidéo en ligne, lui permettant en outre de travailler directement sur les images non compressées qui sont fournies par le télécinéma.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 23 Une fois le second étalonnage terminé, les passages retenus sont à nouveau assemblés pour correspondre au montage d’origine et le projet est matricé sur bande. Même si vous n’avez pas l’intention d’étalonner votre programme dans la suite de télécinéma, vous pouvez envisager de retransférer des plans spécifiques pour effectuer des modifications qui sont plus faciles à exécuter ou de meilleure qualité si elles sont apportées directement à partir du négatif original de la caméra. Par exemple, après avoir identifié les plans à retransférer dans votre séquence Final Cut Pro, vous pouvez utiliser l’application Cinema Tools pour créer une liste de passages choisis (par exemple, uniquement pour les plans que vous souhaitez élargir optiquement), de façon à accélérer le processus de transfert. Négatif de la caméra Télécinéma peu coûteux à lumière unique Multimédia off line Reconformation du master final Montage off line Télécinéma à la meilleure lumière Autre avantages des transferts télécinéma Outre l’étalonnage, un coloriste travaillant avec un télécinéma dispose de plusieurs options pour les problèmes éventuels rencontrés lors du montage.  En utilisant un télécinéma pour extraire l’image du négatif, le coloriste peut repositionner l’image afin d’intégrer les parties qui se trouvent hors de la zone d’action sécurisée vidéo.  Grâce au procédé de télécinéma, l’image peut également être agrandie optiquement, éventuellement jusqu’à 50 %, sans déformation visible.  La possibilité de recadrer les plans au télécinéma permet au réalisateur ou au producteur d’apporter des modifications significatives à une scène, de transformer un plan moyen en gros plan pour conférer un effet dramatique ou de déplacer l’image entière vers le haut afin de rogner un micro ayant été malencontreusement placé dans le champ.24 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Étalonnage dans Color Vous avez découvert comment l’étalonnage est effectué dans d’autres environnements de postproduction. Cette section décrit comment Color s’intègre à un processus de postproduction standard de film ou de vidéo. Color met à votre disposition sur votre bureau un grand nombre d’outils d’étalonnage avancés qui étaient auparavant disponibles dans les suites d’étalonnage bande à bande et télécinéma haut de gamme. En outre, Color offre dans le studio Color FX des outils supplémentaires qui sont plus couramment présents dans des applications de compositing dédiées et vous permettent de contrôler encore plus en détail les images de votre programme (pour en savoir plus, consultez le chapitre 11, « Color FX », à la page 269). Le logiciel Color a été conçu comme un environnement d’étalonnage de film ou de vidéo. Indépendant de la résolution, il prend en charge aussi bien les vidéos de définition standard que les numérisations de films en 2K. Il supporte également plusieurs formats de données et est compatible avec des données d’image utilisant divers formats de séquences d’images et les codecs QuickTime. Color a aussi été conçu pour être incorporé à un flux de travaux intermédiaire numérique. Un intermédiaire numérique correspond à une version numérique haute qualité de votre programme qui peut être montée, étalonnée et manipulée numériquement d’une autre façon à l’aide de matériel informatique et de logiciels, et non pas de magnétophones ou d’imprimantes optiques. Les monteurs, les spécialistes des effets visuels et les coloristes qui procèdent à la finalisation des programmes vidéo sans utiliser de bande travaillent depuis des années avec des intermédiaires numériques, mais le terme décrit généralement le processus consistant à balayer numériquement des images de film, dans le but d’effectuer toutes les opérations liées à la mise en conformité du montage, aux effets et à l’étalonnage de façon numérique. Les données d’image numériques sont ensuite imprimées directement sur la pellicule ou compilées sous forme de fichier pour la projection numérique. La finalisation numérique des programmes de film ou de vidéo libère les coloristes des restrictions imposées par les mécanismes de transport sur pellicule ou sur bande, accé- lérant ainsi leur travail en leur permettant de naviguer dans un projet aussi rapidement que s’ils se trouvaient dans une application de montage non linéaire. En outre, le fait de travailler avec les données d’image numériques fournit une marge de sécurité en éliminant le risque de détérioration du négatif ou d’altération des bandes source.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 25 Quand se déroule le processus d’étalonnage dans Color ? L’étalonnage à l’aide de Color est généralement effectué à la fin (ou vers la fin) du montage en ligne ou de la mise en conformité du projet, souvent en même temps que le mixage audio final. Même s’il est toujours préférable d’attendre que l’image soit verrouillée, cela n’est pas essentiel car Color fournit des outils permettant de synchroniser des projets qui sont en cours de montage via des fichiers XML ou des listes EDL. Color a été conçu pour fonctionner conjointement avec des applications de montage telles que Final Cut Pro, qui prend en charge les données d’entrée, le montage et les données de sortie, tandis que Color vous permet de vous concentrer sur l’étalonnage et les effets connexes. Importation de projets et de données dans Color Pour travailler sur un programme dans Color, vous devez disposer de deux séries de fichiers :  Le fichier de projet monté (ou les fichiers, si le programme couvre plusieurs bobines) dans un format pouvant être importé dans Color. Les formats compatibles incluent les fichiers EDL et les fichiers XML Final Cut Pro de presque tout environnement de montage. Les données de séquences Final Cut Pro peuvent également être envoyées à Color directement si vous avez installé Final Cut Pro sur le même ordinateur, à l’aide de la commande « Send to Color ».  Vous devez également disposer de versions numériques haute qualité des données source originales, dans un format de séquence d’image ou compatible QuickTime. La flexibilité des formats de projets et de données signifie que Color peut être incorporé dans une grande variété de flux de postproduction. Pour obtenir une présentation de différents flux d’étalonnage disponibles avec Color, consultez le chapitre 2, « Flux de production de l’étalonnage », à la page 39. Quelles images sont utilisées par Color ? Color fonctionne avec des plans de film ou de vidéo, comme des fichiers QuickTime ou des séquences d’images, à divers taux de compression et résolutions. Cela signifie que vous avez la possibilité de travailler aussi bien sur des plans QuickTime DV-25 hautement compressés que sur des séquences d’images .tif 2K non compressées, en montage 8 ou 10 bits (linéaire ou chronologique), quelles que soient les données fournies par vos clients.26 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Exportation de projets à partir de Color Comme indiqué ci-dessus, Color ne gère pas seul la capture ou la sortie sur bande des données vidéo. Une fois que l’étalonnage de votre projet dans Color est terminé, vous devez procéder au rendu de chaque plan du projet sur disque sous la forme d’une autre série de fichiers de données étalonnés, puis renvoyer votre projet Color dans Final Cut Pro ou le transférer dans un autre équipement pour la mise sur bande ou la sortie sur film. Pour en savoir plus, consultez la section chapitre 17, « File d’attente de rendu », à la page 361. Normes d’encodage des images Cette section fournit des informations importantes sur les normes d’encodage des images prises en charge par Color. Les données d’image que vous allez étalonner sont en général encodées au format RVB ou Y´CB CR (désigné parfois par le signe plus simple de YUV). Color est extrêmement flexible et accepte les données d’image de tout type. Modèle à couleurs additives RVB Dans le modèle à couleurs additives RVB, trois canaux de couleur sont utilisés pour enregistrer les valeurs de rouge, de vert et de bleu en différentes quantités et représenter chaque couleur disponible pouvant être reproduite. Le réglage de la balance relative des valeurs dans ces canaux de couleur permet d’ajuster la couleur représentée. Lorsque les trois valeurs sont égales, vous obtenez un ton neutre, allant du noir au blanc, en passant par le gris. Plus généralement, vous noterez que ces rapports sont exprimés sous forme de pourcentages numériques dans l’oscilloscope des parades ou l’histogramme de Color. Par exemple, si les trois canaux de couleur correspondent à 0 pour cent, le pixel est noir. Ou si les trois canaux de couleur sont à 50 pour cent, le pixel est gris neutre. Si les trois canaux de couleur ont la valeur 100 pour cent (valeur maximale), le pixel est blanc. Bien que quelques codecs QuickTime de haute qualité encodent les données vidéo à l’aide du modèle RVB (Animation est l’un des plus couramment utilisés), les images encodées selon ce modèle sont généralement enregistrées sous forme de séquences d’images non compressées.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 27 Modèle de couleurs Y’CB CR Les données vidéo sont généralement enregistrées à l’aide du modèle de couleurs Y´CB CR . Le codage de couleurs Y´CB CR utilise également trois canaux ou composantes. Une image est divisée en une composante luminance (luminance d’une image dont la valeur gamma a été modifiée) et deux composantesdifférence de couleurs qui encodent la chromie (chrominance). Ces trois composantes forment l’image que vous voyez lors de la lecture de votre vidéo.  La composante Y´ représente la partie en noir et blanc de la gamme de tons d’une image. L’œil ayant une sensibilité différente aux parties rouges, vertes et bleues du spectre, la « clarté » de l’image que la composante Y´ reproduit résulte d’un rapport pondéré entre les canaux de couleur R, V et B (auxquels la correction gamma a été appliquée). Considérée de façon isolée, la composante Y’ est l’image monochrome.  Les deux composantes traitant la différence de couleurs, CB et CR , sont utilisées pour encoder les informations de couleur de façon à ce que les trois canaux de couleur des données d’image soient réduits à deux canaux. Quelques calculs mathématiques permettent de tirer parti du fait que la composante Y’ enregistre également les informations de vert de l’image. L’opération utilisée pour obtenir chaque composante de couleur est en fait CB = B’ – Y’, tandis que CR = R’ – Y’. Remarque : ce modèle a été initialement créé pour rendre les anciennes télévisions en noir et blanc compatibles avec les méthodes de transmission plus récentes des télévisions en couleurs. Sous-échantillonnage chromatique Dans une vidéo encodée au format Y´CB CR , les canaux de couleur sont généralement échantillonnés avec un rapport inférieur à celui employé pour le canal de luminance. L’œil humain étant plus sensible aux différences de luminosité que de couleur, cette caractéristique a été utilisée pour réduire les besoins en termes de taux de transfert des données vidéo (ou débit) sans perte perceptible au niveau de l’image. Le rapport d’échantillonnage entre les canaux Y´, CB et CR est représenté sous la forme d’une suite de trois valeurs. Les rapports de sous-échantillonnage chromatique courants sont les suivants :  La vidéo à sous-échantillonnage chromatique 4 :4 :4 encode la couleur sans aucune compression, avec le plus haut niveau de qualité possible, car les canaux de différence de couleurs sont échantillonnés avec le même rapport que le canal de luminance. Les données d’image sous-échantillonnées au format 4 :4 :4 sont généralement obtenues au moyen d’un équipement de télécinéma ou de cinéma numérique dans un format de masterisation vidéo ou de séquence d’images capable de les contenir. Les images encodées au format RVB sont toujours échantillonnées en 4 :4 :4.28 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Peu de formats d’acquisition vidéo permettent l’enregistrement des données vidéo au format 4 :4 :4, mais parmi ceux-ci, citons le système HDCAM SR et certaines camé- ras de cinéma numériques, telles que la caméra Viper FilmStream de Thomson et le système de caméra numérique de Genesis.  4 :2 :2 est un rapport de sous-échantillonnage chromatique couramment utilisé pour les formats vidéo de haute qualité, parmi lesquels Beta SP, Digital Betacam, Beta SX, IMX, DVCPRO 50, DVCPRO HD et HDCAM.  4 :1 :1 est habituellement employé pour les formats vidéo destinés aux consommateurs et aux professionnels, et notamment DVCPRO 25 (NTSC et PAL), DV et DVCam (NTSC).  4 :2 :0 est un autre rapport de sous-échantillonnage orienté consommateur, qui est utilisé par les formats DV et DVCAM (PAL), HDV, XDCAM HD et MPEG-2. Remarque : comme leur nom le laisse entendre, les formats Apple sans compression 8 bits 4:2:2, Apple sans compression 10 bits 4:2:2, Apple ProRes 422 (SQ) et Apple ProRes 422 (HQ) font tous appel à un sous-échantillonnage de chromie 4:2:2. Il est important de connaître les avantages des rapports de sous-échantillonnage chromatique plus élevés dans le processus d’étalonnage. Lorsque vous êtes en position de spécifier le format de transfert qui s’appliquera à un projet fini, veillez à demander le format de la plus haute qualité que puisse gérer votre système (pour en savoir plus sur les codecs de haute qualité de finalisation, consultez « Flux de production impliquant une bande » à la page 45). Comme vous pouvez l’imaginer, il vaut mieux disposer de davantage d’informations de couleur lors de l’étalonnage. Ainsi, lorsque vous apportez des corrections de contraste importantes à de la vidéo sous-échantillonnée au format 4:1:1 ou 4:2:0, le grain du film ou le bruit de la vidéo s’en trouvent multipliés. C’est notamment le cas lorsqu’on est en présence d’une séquence sous-exposée. Vous aurez l’occasion de vous rendre compte qu’en effectuant les mêmes modification sur de la vidéo sous-échantillonnée à 4:2:2, vous obtiendrez beaucoup moins de grain et de bruit. un contraste plus marqué, associé à moins de bruit, cela donne une image globale plus riche. De plus, on fait couramment appel à des opérations de sélection sur chrominance pour isoler des parties spécifiques de l’image pour correction. Pour cela, on utilisera les qualificateurs HSL du studio Secondaries. Ces opérations de sélection de régions génèrent des bords plus lisses et moins « bruyants » lorsque vous travaillez sur de la vidéo sous- échantillonnée à 4:2:2. La compression de chrominance utilisée dans les formats de sous-échantillonnage 4:1:1 et 4:2:0 entraîne un effet d’escalier lors de l’isolation de la composante chromie, ce qui affecte les caches créés à l’aide des qualificateurs HSL.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 29 Toutefois, il faut garder à l’esprit qu’il reste tout à fait possible de corriger de façon importante de la vidéo très compressée. En surveillant l’évolution du bruit de l’image lorsque vous montez le contraste d’une séquence sous-exposée, vous pouvez concentrer vos corrections sur les zones de l’image où le bruit est le moins élevé. Lorsque vous effectuez des opérations d’étalonnage secondaire ciblées sur des parties spécifiques de l’image, vous constaterez qu’il faut en général passer un peu plus de temps à effectuer des incrustations lissées. Mais avec un peu de patience et d’attention, vous pouvez tout de même obtenir de bons résultats. Film, vidéo et sous-échantillonnage chromatique En général, les images de film sont transférées avec le maximum de données d’image possible, en particulier lorsqu’elles sont transmises sous forme de séquence d’images sans aucune compression (4 :4 :4) dans le cadre d’un flux de travaux intermédiaire numérique soigneusement géré. C’est une des raisons qui expliquent la qualité supé- rieure du flux de travaux. Par ailleurs, les données vidéo standard et haute définition sont généralement enregistrées avec des rapports de sous-échantillonnage chromatique moins élevés (4 :2 :2 est couramment utilisé même avec des formats vidéo de qualité supérieure, tandis que 4 :1 :1 et 4 :2 :0 sont habituellement employés avec les formats destinés aux professionnels) et des taux de compression supérieurs, tout cela dépendant intégralement des formats d’enregistrement et de capture vidéo utilisés. Étant donné que le format vidéo sélectionné détermine la qualité de la compression lors du tournage, vous n’avez pas la possibilité de remédier à la perte des données d’image, si ce n’est de tirer parti au maximum des moyens dont vous disposez. Cela étant dit, vous pouvez avec un peu d’application étalonner presque n’importe quel format d’image vidéo compressée ou de séquence d’images avec d’excellents résultats et Color vous donne la possibilité de travailler avec de nombreux formats sources hautement compressés, parmi lesquels DV, HDV et DVCPRO HD.30 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Profondeur de bits La profondeur de bits des données source avec lesquelles vous travaillez est un autre facteur pouvant influer sur la qualité des images vidéo et de vos réglages d’image. Avec les données encodées aux formats RVB et Y´CB CR , plus la profondeur de bits est élevée, plus il y a de données d’image et plus l’image et vos corrections seront homogènes. La profondeur de bits de vos données source dépend largement de leur mode d’acquisition initial. La plupart des données que vous recevrez correspondront à l’une des profondeurs de bits suivantes, qui sont toutes prises en charge par Color :  8-bit : la plupart des formats vidéo numériques grand public et professionnels standard et haute définition capturent les données d’image sur 8 bits (y compris DV et DVCPRO-25, DVCPRO 50, HDV, DVCPRO HD, HDCAM, etc.).  10-bit : de nombreuses interfaces de capture vidéo permettent la capture sans compression de données vidéo analogiques et numériques à une résolution de 10 bits.  10 bits logarithmiques : en enregistrant les données sous forme logarithmique, plutôt que linéaire, il est possible de faire correspondre un rapport de contraste plus grand (comme celui d’un film) avec un espace de données de 10 bits. Les fichiers d’historique 10 bits sont souvent enregistrés à partir des balayages de l’équipement de cinéma numérique à l’aide des formats de séquence d’images Cineon et DPX.  16-bit : 16 bits de données linéaires sont nécessaires pour obtenir le même rapport de contraste qu’en mode 10 bits logarithmiques. Les ordinateurs traitant plus facilement les données linéaires, cela représente un autre espace de données disponible dans certains formats d’image. Des profondeurs de bits plus élevées produisent plus de données d’images en utilisant une plage de valeurs plus grande pour représenter la gamme tonale disponible. Cela est évident lorsqu’on examine les plages numériques employées par les deux profondeurs de bits les plus couramment associées à la vidéo.  Les images 8 bits utilisent une plage complète de valeurs, de 0 à 255, pour enregistrer chaque canal de couleur (la vidéo Y´CB CR emploie une plage plus étroite de 16 à 235 pour prendre en charge le super noir et le super blanc). 255, ce n’est pas un nombre de valeurs important et au final, il est possible que des effets d’escalier soit légèrement visibles dans les zones de l’image contenant des dégradés très progressifs (par exemple les cieux).  De leur côté, les images 10 bits utilisent une plage complète de 0 à 1023 pour enregistrer chaque canal de couleur (là encore, la vidéo Y´CB CR emploie une plage plus étroite de 64 à 940 pour prendre en charge le super noir et le super blanc). La plage numérique quatre fois plus large autorise des dégradés plus homogènes et élimine virtuellement les artefacts liés à la profondeur de bits.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 31 Même si vous n’êtes pas toujours en mesure de régler la profondeur de bits de vos données source, vous pouvez contrôler celle à laquelle vous travaillez dans Color indépendamment. Cela signifie que vous pouvez travailler à une profondeur de bits supérieure à celle des données source pour optimiser la qualité de vos corrections. En particulier, de nombreux effets et corrections secondaires ont une bien meilleure apparence lorsque Color est réglé pour que la fonction de rendu s’exécute à des profondeurs de bits plus élevées. Pour en savoir plus, consultez la section « Réglages relatifs à la lecture, au traitement et à la sortie » à la page 126. Concepts de base liés aux couleurs et à l’imagerie L’étalonnage implique le réglage du contraste d’une image, de même que de sa couleur (en exerçant un contrôle séparé sur la teinte et la saturation). Cette section explique ces concepts d’imagerie importants pour que vous puissiez mieux comprendre comment les outils Color vous permettent de modifier l’image. Contraste Les réglages de contraste sont les plus fondamentaux et correspondent généralement aux premiers ajustements effectués. Le contraste est une façon de décrire la tonalité d’une image. Si vous éliminez toutes les couleurs d’une image, de façon à la réduire à une série de nuances de gris, le contraste se traduit par la distribution des tons sombres, moyens et clairs dans l’image. Le contrôle du contraste implique le réglage de trois aspects de la tonalité d’une image :  Le point noir est le pixel le plus sombre de l’image.  Le point blanc est le pixel le plus clair de l’image.  Les tons intermédiaires correspondent à la distribution de toutes les valeurs tonales existant entre les points noir et blanc. Blanc Noir Gris32 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Le rapport de contraste est la différence entre les valeurs tonales les plus sombres et les plus claires de l’image. En général, il est préférable d’utiliser un rapport de contraste élevé augmentant la différence entre ces valeurs. Si vous ne recherchez pas spécifiquement à obtenir une image à faible contraste, sachez que les rapports de contraste élevés permettent généralement de produire des images plus claires et plus nettes. Les deux images ci-après, avec leurs histogrammes de distributions des ombres, des tons intermédiaires et des hautes lumières (de gauche à droite), illustrent cela. En outre, le fait de maximiser le rapport de contraste d’une image facilite les autres opé- rations d’étalonnage en distribuant de façon plus homogène la couleur de l’image dans les trois zones tonales réglées au moyen des trois options de réglage de la balance des couleurs des studios Primary In, Secondaries et Primary Out. Cela permet d’apporter plus aisément des corrections individuelles aux ombres, aux tons intermédiaires et aux hautes lumières. Pour en savoir plus sur le réglage du contraste d’une image, consultez la section « Utilisation des commandes de contraste Primary » à la page 195.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 33 Luminance La luminance (qui correspond en termes techniques au paramètre de luminance avec correction gamma) décrit l’exposition (luminosité) d’un plan vidéo, depuis le noir absolu, jusqu’au blanc le plus éclatant en passant par toute la distribution des tonalités de gris. La luminance peut être séparée de la couleur d’une image. En fait, si vous désaturez complètement une image, l’image à niveaux de gris restante est la luminance. La luminance est mesurée par Color sous la forme d’un pourcentage numérique compris entre 0 et 100, 0 correspondant au noir absolu et 100 au blanc absolu. Color prend également en charge les niveaux de super blanc (de 101 à 109 pour cent), s’ils existent dans votre plan. Bien que les niveaux de super blanc ne soient pas considérés comme adaptés à la télédiffusion, de nombreuses caméras enregistrent quand même à ces niveaux. Remarque : les niveaux de super blanc sont limités par le filtre Broadcast Safe s’il est activé avec ses réglages par défaut, de sorte que les pixels de l’image ayant une luminance supérieure à 100 pour cent seront ramenés à 100 pour cent. Qu’est-ce que le palier du noir ? Les coloristes débutants confondent parfois le niveau de noir de la vidéo numérique avec le palier du noir (Setup). Le palier du noir correspond au niveau de noir d’un signal vidéo analogique et concerne uniquement la vidéo analogique. Si vous exportez sur une bande analogique à l’aide d’une interface vidéo analogique de tierce partie, nous vous conseillons de vous reporter à la documentation fournie avec l’interface pour savoir comment configurer cette dernière pour la norme nord-américaine relative au palier du noir (7.5 IRE) ou la norme japonaise (0 IRE). La plupart des fournisseurs d’interfaces vidéo analogiques incluent un tableau de contrôle logiciel qui vous permet de sélectionner le niveau de noir à appliquer. Ils désignent cette fonction sous l’appellation « 7.5 Setup » ou « 0 Setup », ou dans certains cas, « NTSC » ou « NTSC-J ». Les données vidéo envoyées numériquement via SDI n’ont pas de palier du noir. Le niveau de noir Y´CB CR reste simplement à la valeur numérique appropriée correspondant à la profondeur de bits du signal vidéo (représentée par 0 pour cent sur un vidéoscope). Noir 0% de luminosité 100% 109% Blanc Ultra-blanc34 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Gamma Gamma fait référence à deux concepts différents. Pour un signal vidéo, le terme « gamma » désigne la représentation non linéaire de la luminance dans une image affichée sur un moniteur de diffusion ou d’ordinateur. La réponse de l’œil à la lumière n’étant pas linéaire (voir la section « Modèle de couleurs Y’CB CR » à la page 27), le fait d’appliquer un réglage gamma pendant l’enregistrement d’une image maximise les détails enregistrés perceptibles dans les signaux vidéo avec une bande passante limitée. Lors de la lecture, un téléviseur ou un moniteur applique une fonction gamma inversée pour rétablir l’état « original » de l’image. Il faut éviter d’effectuer des corrections gamma imprévues avant d’envoyer des données de Final Cut Pro à Color. il est important de garder trace des corrections gamma qui sont effectuées lors de l’exportation et de l’importation de plans dans Final Cut Pro dans le cours du processus de montage, de sorte que toutes les corrections soient consignées et évitées lors de l’aller-retour entre Final Cut Pro et Color. Pour en savoir plus sur les traitements gamma dans Final Cut Pro, consultez le Manuel de l’utilisateur de Final Cut Pro. Le terme « gamma » sert également à décrire un réglage non linéaire appliqué à la distribution des tons intermédiaires dans une image. Par exemple, un réglage gamma ne modifie pas le point noir et le point blanc d’une image, mais éclaircit ou assombrit les tons intermédiaires en fonction du type d’ajustement effectué. Pour en savoir plus sur les réglages gamma et l’ajustement des tons intermédiaires, reportez-vous au chapitre 9, « Primary In », à la page 191. Chromie (chrominance) La chromie (également appelée chrominance) décrit les canaux de couleur de vos plans, depuis l’absence de couleur jusqu’au niveau maximum de couleur pouvant être représenté. Des valeurs chromatiques spécifiques peuvent être décrites à l’aide des deux propriétés suivantes : teinte et saturation. Hue La teinte désigne la couleur elle-même, qu’il s’agisse de rouge, de vert ou de jaune. La teinte est mesurée comme un angle sur une roue de couleurs.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 35 Saturation La saturation décrit l’intensité de la couleur (par exemple, rouge clair ou rouge pâle). Une image totalement désaturée ne comporte aucune couleur et se compose de nuances de gris. La saturation se mesure également sur une roue de couleurs, selon la distance entre le centre et le bord. Vous remarquerez que la roue de couleurs est un mélange des trois couleurs primaires (rouge, vert et bleu) qui forment la vidéo. Entre ces trois couleurs viennent s’insérer les couleurs secondaires (jaune, cyan et magenta) qui sont des mélanges à proportions identiques de couleurs primaires. Relations entre les couleurs La compréhension des interactions de la roue de couleurs va vous aider à identifier comment les options de Color affectent réellement les couleurs d’une image. Couleurs primaires Dans tout modèle de couleurs additives, les couleurs primaires sont le rouge, le vert et le bleu. Il s’agit des trois couleurs les plus pures pouvant être représentées par le réglage d’un canal de couleur sur 100 pour cent et des deux autres canaux de couleur sur 0 pour cent. Couleurs secondaires L’ajout de deux des couleurs primaires produit une couleur secondaire. En d’autres termes, vous pouvez créer une couleur secondaire en réglant deux des canaux de couleur sur 100 pour cent et le troisième sur 0 pour cent.  Rouge + vert = jaune  Vert + bleu = cyan  Bleu + rouge = magenta Autre équation du modèle à couleurs additives :  Rouge + vert + bleu = blanc36 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Toutes ces combinaisons sont illustrées par les trois cercles colorés ci-dessous. Aux zones d’intersection de deux couleurs primaires, la couleur secondaire apparaît, et à l’intersection des trois couleurs, c’est le blanc qui apparaît. Couleurs complémentaires Deux couleurs placées à 180 degrés l’une de l’autre sur la roue sont appelées couleurs complémentaires. L’ajout de deux couleurs complémentaires de même saturation neutralise les couleurs, produisant des nuances de gris. c’est ce que l’on constate sur les deux roues de couleurs qui se chevauchent de l’illustration ci-dessous. Là où le rouge et le cyan se chevauchent, les deux couleurs sont neutralisées. Il est essentiel de comprendre la relation des couleurs avec leurs couleurs complémentaires pour savoir comment éliminer ou introduire des dominantes de couleur dans une image à l’aide des options d’étalonnage des couleurs primaires et secondaires de Color.Ainsi, pour éliminer un reflet bleuté dans les hautes lumières d’une lumière du jour non corrigée, on ajoute un peu d’orange pour neutraliser un peu toutes ces couleurs. Ces principes sont décrits de façon plus détaillées au chapitre 9, « Primary In », à la page 191.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 37 Le modèle de couleurs HSL Le modèle de couleurs HSL est une autre méthode de représentation de la couleur, qui est généralement utilisée au niveau des options de l’interface utilisateur vous permettant de choisir ou de régler les couleurs. HSL signifie « Hue, Saturation and Lightness » (ou en français « Teinte, Saturation et Luminosité ou Luminance »). Ce modèle permet de visualiser les relations entre la luminance, la teinte et la saturation. Le modèle de « l’espace colorimétrique » HSL peut être illustré graphiquement sous la forme d’un cône à trois dimensions. La teinte est représentée par un angle à la base du cône, comme illustré ci-dessous, tandis que la saturation est représentée par la distance entre le centre et le bord du cône, le centre étant complètement désaturé et le bord étant saturé à une intensité maximale. La luminosité d’une couleur peut alors être représentée par la distance entre la base et le sommet du cône. Color offre en fait un vidéoscope à trois dimensions permettant d’afficher les couleurs d’une image dans un espace HSL extrudé, à des fins d’analyse d’image. Pour en savoir plus, consultez la section « Vidéoscope d’espace colorimétrique 3D » à la page 185.2 39 2 Flux de production de l’étalonnage Pour tirer le meilleur parti de Color, il est nécessaire de gérer soigneusement le flux de production. Ce chapitre explique brièvement comment Color s’intègre à votre flux de postproduction. Color a été conçu pour travailler de concert avec des applications de montage telles que Final Cut Pro grâce à la prise en charge des données multimédias QuickTime et XML ou avec d’autres environnements de montage grâce à la prise en charge des listes de points de montage (EDL, Edit Decision List) et des séquence d’images. Alors que d’autres dispositifs se chargent de la capture de l’entrée vidéo et film et de son montage, Color offre un environnement dédié permettant de se concentrer sur l’étalonnage (ou « correction de couleurs ») et sur les effets connexes. Ce chapitre donne un rapide aperçu de la façon dont vous pouvez guider votre projet d’un bout à l’autre d’un flux de production dans lequel Color est utilisé pour la correction des couleurs. Il fournit des informations sur les flux de production pour la vidéo professionnelle haute définition et de définition standard et sur les flux de production intermédiaires numériques au format 2K. Les rubriques suivantes seront abordées au cours de ce chapitre :  Aperçu du flux de production Color (p. 40)  Limitations de Color (p. 42)  Flux de production pour la finalisation de la vidéo à l’aide de Final Cut Pro (p. 44)  Importation de projets à partir d’autres applications de montage vidéo (p. 53)  Utilisation de Color dans un flux de production intermédiaire numérique (p. 57)  Utilisation des listes de montage, du timecode et des numéros d’images pour la conformation des projets (p. 66)40 Chapitre 2 Flux de production de l’étalonnage Aperçu du flux de production Color Les contrôles Color se répartissent sur huit studios qui disposent chacun de leur propre onglet et correspondent à des étapes différentes d’un flux de production de correction de couleurs typique. Chaque studio que vous sélectionnez remappe les boutons, les cadrans et les boules de commande de votre palette de commande (si vous en avez une) de sorte qu’ils correspondent aux contrôles de ce studio. Chaque studio rassemble en un seul écran tous les contrôles relatifs à une étape particulière du processus de correction de couleurs. L’ordre dans lequel les studios sont organisés correspond à celui d’un flux de production de correction de couleurs typique. Vous pouvez ainsi utiliser successivement les contrôles des onglets Primary (primaires), Secondary (secondaires), Color FX (effets de couleur), Primary Out (primaires sur sortie) et finalement Geometry (géométrie) au cours de votre travail sur chaque plan du projet.  Setup : le studio Setup (configuration) est le point de départ de tous les projets. C’est l’endroit dans lequel vous importez et gérez les plans de votre programme et où se trouvent la zone d’étalonnage, les réglages du projet et les préférences de l’application. Dans la zone des réglages du projet qui se trouve dans le studio Setup, les coloristes vidéo trouveront les contrôles de seuils de diffusion (Broadcast Safe) leur permettant d’appliquer des restrictions de gamme de couleurs à l’ensemble du programme.  Primary In : les corrections de couleurs primaires ont eu une incidence sur l’ensemble de l’image. C’est donc dans ce studio que vous effectuez les réglages généraux de la couleur et du contraste de chaque plan. Les contrôles des courbes et de la balance de couleurs permettent d’ajuster les couleurs dans les ombres, les tons intermédiaires et les tons clairs de l’image. Les contrôles de prélèvement, de gamma et de gain permettent d’ajuster le contraste de façon précise afin de modifier la luminosité de différentes parties de l’image. Ce studio comprend aussi des contrôles pour la saturation de l’ensemble de l’image, celle des tons clairs et celle des ombres, ainsi que des contrôles pour la valeur de tirage (ou lumière de tirage) que les coloristes peuvent utiliser pour étalonner un film.  Secondaries : les corrections de couleurs secondaires sont des ajustements ciblés réalisés sur certaines parties spécifiques de l’image. Ce studio propose de nombreuses méthodes pour isoler, ou qualifier, les parties de l’image que vous souhaitez corriger. Il comprend des contrôles permettant d’isoler une partie de l’image à l’aide de masques de formes différentes. D’autres contrôles vous offrent la possibilité d’isoler certaines parties de l’image à l’aide d’un masque d’effets chromatiques permettant de spécifier la teinte, la saturation et la luminance. Il est possible de soumettre chaque plan à huit types de corrections secondaires. En outre, des courbes secondaires spécifiques permettent de régler la teinte, la saturation et la luminance à l’intérieur de segments particuliers du spectre.Chapitre 2 Flux de production de l’étalonnage 41  Color FX : le studio Color FX vous permet de créer vos propres effets personnalisés grâce à une interface arborescente à « nœuds » dont ne disposent généralement que les applications de compositing haut de gamme telles que Shake. Chacun de ces nœuds destinés aux effets peut être lié aux autres en des milliers de combinaisons pour créer rapidement de nombreux types différents d’effets de couleur. Ils est possible d’enregistrer les effets personnalisés dans la zone d’étalonnage Color FX en vue d’une utilisation ultérieure. Vous pourrez ainsi appliquer le même type d’effets de couleur à vos futurs projets.  Primary Out : le studio Primary Out est identique au studio Primary In si ce n’est que ses corrections de couleurs s’appliquent aux plans après le traitement de ces derniers par tous les autres studios d’étalonnage de couleurs. Ceci vous permet de traiter vos images a posteriori, une fois que toutes les autres corrections ont été effectuées.  Geometry : le studio Geometry permet de recadrer, faire pivoter, retourner et renverser les plans selon les besoins. Il fournit également des outils permettant de créer des masques personnalisés et d’effectuer des analyses du suivi de l’animation et de gérer ces dernières. L’utilisation du studio Geometry dépend du flux de production :  Dans le cas des projets convertis en boucle à partir de Final Cut Pro, les transformations relevant du studio Geometry ne sont pas rendues par Color lors de la sortie des données du projet étalonné. Au lieu de cela, toutes les transformations géomé- triques effectuées dans Color sont converties en réglages d’animation Final Cut Pro lorsque le projet est renvoyé à Final Cut Pro. Si vous le souhaitez, vous pourrez personnaliser davantage ces effets dans Final Cut Pro avant le rendu et la sortie.  Dans le cas des projets intermédiaires numériques au format 2K, les transformations effectuées dans le studio Geometry sont traitées par Color lors du rendu des données de sortie. Remarque : lorsque vous envoyez un projet de Final Cut Pro à Color, les effets de l’onglet Motion (animation) compatibles sont convertis en réglages de studio Geometry, ce qui vous permet d’afficher un aperçu et d’ajuster ces transformations lors de la correction des couleurs. Pour en savoir plus, consultez le chapitre 15, « Studio Geometry », à la page 331.  Still Store : ce studio permet d’enregistrer des images de n’importe quel plan figurant dans le plan de montage et de créer ainsi, à partir de votre programme, une bibliothèque d’images fixes de référence que vous pourrez ensuite consulter pour faire une comparaison avec d’autres plans sur lesquels vous essayez d’apporter le même type de corrections. Vous pouvez à tout moment charger en mémoire une image du magasin d’images fixes (Still Store), puis basculer entre celle-ci et celle sur laquelle se trouve actuellement la tête de lecture à l’aide des contrôles du menu Still Store. Le magasin d’images fixes comprend aussi des contrôles permettant de créer et de personnaliser des écrans multiples (split-screen) dont vous pouvez vous servir pour équilibrer un plan par rapport à un autre. Toutes les comparaisons Still Store sont envoyées aux sorties preview et moniteur broadcast.42 Chapitre 2 Flux de production de l’étalonnage  Render Queue : lorsque vous avez terminé d’étalonner votre programme dans Color, vous utilisez la file d’attente de rendu (Render Queue) pour gérer le rendu des plans de votre projet. Limitations de Color Color a été conçu pour fonctionner de concert avec des applications de montage telles que Final Cut Pro, qui se charge de l’entrée, du montage et de la sortie alors que Color vous permet de vous concentrer sur la correction des couleurs et sur les effets connexes. Toutefois, malgré ses nombreuses fonctionnalités, Color ne permet pas de réaliser certaines tâches particulières :  Enregistrement : Color ne permet pas de numériser ou de capturer des images vidéo ou film. Ceci signifie que vous devez importer dans Color des projets et des données créés avec une autre application.  Montage : Color n’est pas une application de montage. Les outils de montage mis à votre disposition sont principalement destinés aux coloristes qui travaillent sur des flux de production au format 2K dans lesquels le projet Color constitue la version finale qui deviendra le master numérique. Par défaut, les pistes des fichiers du projet XML importé sont verrouillées pour éviter l’introduction d’erreurs lors de montages ultérieurs une fois le projet renvoyé à Final Cut Pro. Afin de tenir compte des modifications apportées lors du montage, des outils de reconformation sont prévus pour synchroniser une liste de montage ou une séquence Final Cut Pro avec la version du projet en cours d’étalonnage dans Color. Pour en savoir plus, consultez la section « Reconformation de projets » à la page 94.  Filtres : il n’est pas possible d’obtenir un rendu ou un aperçu des filtres FXScript ou FXPlug de Final Cut Pro dans Color. Toutefois, ces filtres se trouvent toujours dans votre projet, et ils apparaîtront à nouveau une fois le projet renvoyé à Final Cut Pro. Remarque : en règle générale, il n’est pas recommandé de laisser les filtres de correction de couleurs dans votre projet Final Cut Pro lorsque vous l’envoyez à Color. Même s’ils n’ont aucune effet lorsque vous travaillez avec Color, leur réapparition soudaine lorsque le projet est renvoyé à Final Cut Pro peut donner lieu à des résultats inattendu.  Transitions : Color conserve les donnés de transition que peuvent éventuellement contenir une liste de montage ou un fichier XML importés, mais ne lit pas les transitions lors des aperçus. Leur rendu dépend de la façon dont le projet est traité :  Dans le cas des projets convertis en boucle à partir de Final Cut Pro, les transitions ne sont pas rendues dans Color lors de la sortie. Au lieu de cela, après le renvoi du projet, Final Cut Pro est chargé de rendre ces effets.  Dans le cas des intermédiaires numériques en 2K, toutes les transitions vidéo sont ignorées.  Superpositions : les plans superposés apparaissent dans le plan de montage, mais les opérations de compositing impliquant l’opacité ne sont ni affichées ni rendues.Chapitre 2 Flux de production de l’étalonnage 43  Effets de vitesse : Color ne fournit aucune interface pour l’ajout d’effets de vitesse et laisse cette tâche à l’application de montage dans laquelle le projet a été créé à l’origine. Il est possible de voir les effets de vitesse linéaire et de vitesse variable que contient déjà votre projet, tels que ceux qui ont été ajoutés dans Final Cut Pro lors de la lecture des aperçus, mais ils ne sont pas rendus dans Color lors de la sortie. On compte en effet sur Final Cut Pro pour rendre ces effets dans le cas des flux de production avec conversion en boucle.  Générateurs Final Cut Pro et plans de projets Motion ou LiveType : les générateurs Final Cut Pro, les projets Motion et les projets LiveType sont totalement ignorés par Color. La façon dont vous traitez ce type d’effets dépend également de votre flux de production :  Si vous convertissez un projet en boucle entre Final Cut Pro et Color et souhaitez étalonner ces effets dans Color, vous devriez rendre ces effets en tant que fichiers vidéo QuickTime (.mov) autonomes. Insérez ensuite ces nouveaux fichiers vidéo dans votre séquence pour remplacer les plans correspondant aux effets originaux avant d’envoyer votre projet à Color.  Si le projet est converti en boucle entre Final Cut Pro et Color et si ces effets ne nécessitent aucun étalonnage, il n’est pas nécessaire de faire quoi que ce soit. Même si ces effets ne s’affichent pas dans Color, ils conservent leur position dans le plan de montage, de sorte qu’ils réapparaîtront dans Final Cut Pro lorsque vous y renverrez le projet. Les titres sont un bon exemple d’effets qui, en général, n’ont pas besoin d’être étalonnés.  Si vous travaillez sur un projet intermédiaire numérique au format 2K, vous devrez vous servir d’une application de compositing telle que Shake ou Motion pour composer tous les effets qui utilisent les données de la séquence d’images. Important : lorsque vous envoyez des images faisant partie de vos données multimé- dias à une application de compositing, il est crucial de ne pas modifier leur numéro dans les noms de fichiers de la nouvelle séquence d’images que vous générez. Le numéro d’image de chaque fichier image permet de connaître sa position dans le plan de montage du programme. Tous les effets créés au cours d’un flux de production intermé- diaire numérique au format 2K exigent donc une gestion méticuleuse des fichiers.  Plans Freeze Frame et fichiers d’images fixes : les images fixes utilisées dans les projets Final Cut Pro, y compris les images .tiff, .jpg, ou les plans Freeze Frame d’arrêt sur image créés par Final Cut Pro, sont également ignorées par Color. Si vous souhaitez étalonner des images fixes dans Color, vous devez les rendre en tant que séquences QuickTime (fichiers .mov) autonomes, puis les réinsérer dans votre séquence Final Cut Pro pour remplacer le plan original avant d’envoyer le projet à Color.44 Chapitre 2 Flux de production de l’étalonnage  Sortie vidéo ou film : bien que Color fournisse une sortie normalisée de la lecture de votre projet à des fins de visionnage, celle-ci n’est pas destinée à être utilisée comme sortie sur bande de votre programme. Ceci signifie que lorsque vous avez terminé de corriger les couleurs de votre projet dans Color, la sortie rendue doit être envoyée à Final Cut Pro où la sortie sur bande sera créée ou à un autre environnement si une sortie sur film est requise. Flux de production pour la finalisation de la vidéo à l’aide de Final Cut Pro Si un programme a été monté avec Final Cut Pro, son envoi à Color est relativement simple. Une fois le montage du programme effectué dans Final Cut Pro, si cela est nécessaire, vous devez reconformer le programme de façon à pouvoir utiliser les données source originales à leur plus haute qualité possible. Ceci fait, vous pouvez envoyer les données et les fichiers du projet à Color pour y corriger leurs couleurs. Lorsque la correction de couleurs sera terminée, vous devrez rendre le résultat puis renvoyer le projet à Final Cut Pro afin de créer la sortie finale, soit sur bande, soit sous la forme d’un fichier QuickTime. La façon exacte dont vous conformez vos données source dans Final Cut Pro dépend du type de données utilisées. Sortie du master final XML XML Nouveaux multimédia Color corrigées Multimédia online Correction de Color Rendu Effets de fin et sortie Color Final Cut Pro Multimédia source Final Cut Pro Montage Transfert vers Color Transfert vers Final Cut Pro Multimédia DonnéesChapitre 2 Flux de production de l’étalonnage 45 Flux de production impliquant une bande Dans le cas d’un flux de production off line / on line traditionnel impliquant une bande, le processus est simple. Les bandes sont capturées avec Final Cut Pro, éventuellement à une résolution off line de moindre qualité afin de faciliter le montage initial puisque, dans ce cas, les données utilisées requièrent moins d’espace disque et sont plus faciles à traiter étant donné qu’elles permettent l’utilisation d’une plus grande gamme d’ordinateurs. Une fois le montage off line terminé, les données utilisées par le programme monté doivent être recapturées à partir des bandes source à la qualité maximale. Les données on line qui en résultent seront celles qui seront utilisées pour la conversion en boucle entre Final Cut Pro et Color. La procédure ci-dessous décompose ce processus de façon plus explicite. Sortie du master final XML XML Nouveaux multimédia Color corrigées Multimédia online Correction de Color Rendu Effets de fin et sortie Color Final Cut Pro Final Cut Pro Montage offline Transfert vers Color Transfert vers Final Cut Pro Multimédia source Multimédia Données Doublons offline Reconformation online46 Chapitre 2 Flux de production de l’étalonnage Étape 1 : Capturez les données source à une résolution off line ou on line La façon dont vous abordez la capture de vos données avant le montage dépend de leur format. Les formats avec compression, tels que DV, DVCPRO-50, DVCPRO HD et HDV, peuvent être capturés à leur plus haute qualité sans besoin d’énormes ressources de stockage. Dans ce cas, le fait de capturer les données et d’effectuer leur montage en utilisant la résolution et le codec natifs permet d’éliminer l’étape ultérieure de la recapture de ces données (parfois appelée conformation) qui prend du temps. La recapture à une résolution plus basse ou à l’aide d’un codec de plus forte compression peut s’avérer intéressante pour les formats vidéo sans compression ou les projets qui comptent un très grand nombre de bobines de données source. Elle permet en effet non seulement d’économiser de l’espace disque mais aussi d’effectuer le montage sur des équipements moins coûteux. Vous devrez ultérieurement recapturer les données avant la correction des couleurs. Étape 2 : Effectuez le montage du programme dans Final Cut Pro Effectuez le montage du programme dans Final Cut Pro comme vous le feriez pour n’importe quel autre projet. Si vous comptez utiliser un grand nombre d’effets dans votre programme lors du montage, familiarisez-vous avec les thèmes couverts dans la section « Limitations de Color » à la page 42. Étape 3 : Au besoin, recapturez les données source à une résolution on line Si, à l’origine, vos données source ont été capturées à un format off line, vous devrez recapturer les données utilisées dans votre projet à la plus haute qualité disponible possible avant de les envoyer à Color.  Si vos données ont été initialement enregistrées à un format comprimé (par exemple, DV, DVCPRO-50, DVCPRO HD ou HDV), vous pouvez vous contenter de les recapturer avec la résolution et le codec source d´’origine. En effet, Color est capable de traiter les données comprimées et de convertir automatiquement les données d’image à une profondeur de bits sans compression plus élevée pour une meilleure qualité d’image lors du monitoring et du rendu.  Si vous capturez des données à un format vidéo de plus haute définition (par exemple Betacam SP, Digital Betacam, HDCAM et HDCAM SR) et si vous recherchez une qualité élevée mais devez recourir à la compression pour économiser votre espace disque et favoriser les performances, vous pouvez effectuer la nouvelle capture à l’aide du codec Apple ProRes 422 ou du codec de qualité plus élevée Apple ProRes 422 (HQ).  Si vous capturez des données à un format vidéo de haute définition et si vous voulez disposer de la plus haute qualité vidéo sans compression, sans considération pour les questions d’espace disque, effectuez la nouvelle capture de vos données au format Apple sans compression 8 bits 4:2:2 ou Apple sans compression 10 bits 4:2:2.Chapitre 2 Flux de production de l’étalonnage 47 Il se peut également qu’avant la recapture, vous souhaitiez profiter de l’occasion pour supprimer les données non utilisées à l’aide du Gestionnaire de données de Final Cut Pro afin d’économiser de l’espace disque, notamment si vous recapturez des données sans compression. Pour plus d’informations, consultez la documentation Final Cut Pro. Remarque : certains codecs, tels que HDV, peuvent solliciter le processeur plus que d’autres. Dans un tel cas, la capture ou la recompression des données à l’aide d’un codec sollicitant moins le processeur, par exemple Apple ProRes 422 ou Apple ProRes 422 (HQ), améliore les performances de l’application Color, tout en fournissant une qualité élevée et en occupant un espace de stockage mesuré. Étape 4 : Effectuez un pré-rendu de toute image fixe ou de tout effet à étalonner dans Color Color ne peut pas afficher ni traiter les images fixes, certains réglages d’animation, les filtres FXScript ou FxPlug, les générateurs Final Cut Pro (y compris les titres), les fichiers de projet Motion ou les fichiers de projet LiveType. Si vous souhaitez étalonner des plans qui contiennent certains de ces effets avec Color, vous devez les rendre en tant que séquences QuickTime (fichiers .mov) autonomes dans Final Cut Pro, puis les réinsérer dans votre séquence Final Cut Pro pour remplacer les plans originaux avant d’envoyer le projet à Color. Pour en savoir plus sur les effets et les fonctionnalités qui ne sont pas compatibles avec Color, reportez-vous à la section « Limitations de Color » à la page 42. Étape 5 : Préparez votre séquence Final Cut Pro Pour préparer votre séquence montée pour un flux de production efficace dans Color, suivez la procédure décrite dans la section « Avant d’exporter votre projet Final Cut Pro » à la page 89. Étape 6 : Envoyez la séquence à Color ou exportez un fichier XML Lorsque vous avez terminé la préparation de votre séquence montée, vous pouvez l’envoyer à Color de deux façons différentes.  Si Color est installé sur le même ordinateur que Final Cut Pro, vous pouvez vous servir de la commande « Envoyer à Color » pour envoyer l’intégralité d’une séquence montée à Color et créer ainsi automatiquement un nouveau fichier de projet.  Si vous envoyez le projet à une autre installation, il se peut que vous souhaitiez exporter la séquence montée en tant que fichier XML de sorte que le destinataire puisse l’importer dans Color. Dans ce cas, vous devriez également vous servir du Gestionnaire de données de Final Cut Pro pour copier les données du projet sur un disque dur portable de sorte que la livraison soit plus facile.48 Chapitre 2 Flux de production de l’étalonnage Étape 7 : Étalonnez votre programme avec Color Utilisez Color pour étalonner votre programme. Lorsque vous travaillez sur un projet converti en boucle à partir de Final Cut Pro, il est crucial d’éviter le déverrouillage des pistes ou un nouveau montage des plans dans le plan de montage. Ceci pourrait en effet vous empêcher de renvoyer le projet à Final Cut Pro. Si le client nécessite un nouveau montage alors que le processus d’étalonnage a déjà commencé, vous devriez effectuer ce montage dans Final Cut Pro, puis exporter une version XML de la séquence mise à jour que vous pouvez ensuite utiliser pour actualiser rapidement le projet Color en cours à l’aide de la commande Reconform. Pour en savoir plus, consultez la section « Reconformation de projets » à la page 94. Étape 8 : Rendez les nouvelles données source, puis envoyez le projet mis à jour à Final Cut Pro Une fois l’étalonnage terminé, vous utiliserez la file d’attente de rendu (Render Queue) de Color pour rendre tous les plans du projet sous la forme d’un nouvel ensemble distinct de fichiers de données étalonnées. Ceci fait, vous devrez envoyer le projet mis à jour à Final Cut Pro à l’aide de l’une des deux méthodes suivantes :  Si Color est installé sur le même ordinateur que Final Cut Pro, vous pouvez vous servir de la commande Send to Final Cut Pro.  Si vous renvoyez le projet étalonné à l’installation d’origine, vous devez exporter le projet Color sous la forme d’un fichier XML de sorte qu’il puisse ensuite être importé dans Final Cut Pro. Important : certains réglages de l’onglet Project Settings du studio Setup ont une incidence sur la façon dont les données rendues par Colorsont rendues dans Final Cut Pro. Ces réglages sont Deinterlace Renders, QuickTime Export Codec, Broadcast Safe et Handles. Assurez-vous de vérifier ces réglages et les autres avant de rendre la sortie finale. Étape 9 : Ajustez les transitions, les superpositions et les titres dans Final Cut Pro Pour produire la sortie de votre projet, vous devez réimporter les données du projet XML dans Final Cut Pro. Cette opération est automatique si vous utilisez la commande Send to Final Cut Pro. À ce stade, vous pouvez ajouter ou ajuster les autres effets que vous aviez appliqués précédemment dans Final Cut Pro avant de créer le master final du programme. Il se peut alors que vous souhaitiez tenir compte d’un certain nombre de considérations lors de la préparation du programme, notamment les suivantes :  Avez-vous d’un master « sans texte » du programme ou d’un master dans lequel les titres sont rendus en même temps que l’image ?  Y-a-t-il encore des plans correspondant à des effets qui doivent être importés et dont les couleurs doivent être corrigées dans Final Cut Pro ?Chapitre 2 Flux de production de l’étalonnage 49 Étape 10 : Enregistrez la sortie du master vidéo final sur bande ou créez le rendu du master sous la forme d’un fichier QuickTime Une fois tous les derniers ajustements effectués dans Final Cut Pro, vous pouvez créer la version finale de votre programme à l’aide des commandes Print to Video, Edit to Tape ou Export QuickTime Movie. Reconformation des données on line dans un flux de production de vidéo numérique sans bande Si un programme exploite un format vidéo sans bande, les étapes du processus sont similaires à celles décrites précédemment. Toutefois, elles peuvent concerner plusieurs jeux de fichiers QuickTime : les données originales à résolution on line, et peut-être un second jeu de fichiers de données converties à une résolution off line plus basse pour faciliter les opérations de montage. Après le montage off line, la conformation on line suppose un rétablissement du lien aux données source originales avant la conversion en boucle entre Final Cut Pro et Color. Vous trouverez ci-dessous une explication plus détaillée de la procédure de ce flux de production permettant de passer du format off line au format on line. Sortie du master final XML XML Nouveaux multimédia Color corrigées Multimédia online Correction de Color Rendu Effets de fin et sortie Color Final Cut Pro Final Cut Pro Montage offline Transfert vers Color Transfert vers Final Cut Pro Multimédia Donées Reconformation online Multimédia source Doublons offline50 Chapitre 2 Flux de production de l’étalonnage Étape 1 : Filmez et sauvegardez toutes les données source Filmez le projet en l’enregistrant au format sans bande que vous avez choisi. Lors du tournage, veillez à faire des copies de sauvegarde de toutes vos données et à les conserver au cas où un problème surviendrait avec le dispositif de stockage principal. Étape 2 : Créez des doubles à une résolution off line et archivez les données à la résolution originale Au besoin, faites une copie des données source à une résolution off line en utilisant le format le plus approprié à votre système. Ensuite, archivez les données source originales de telle sorte que rien ne puisse leur arriver. Important : lors de la création des doubles off line des données sans bande, il est crucial de dupliquer et de respecter le timecode et les noms de fichiers originaux utilisés lors de la création des fichiers source. Dans le cas contraire, vous ne serez pas en mesure de rétablir aisément le lien aux fichiers source originaux en haute résolution une fois le montage off line terminé. Étape 3 : Effectuez le montage du programme dans Final Cut Pro Effectuez le montage du programme dans Final Cut Pro comme vous le feriez pour n’importe quel autre projet. Si vous comptez utiliser un grand nombre d’effets dans votre programme lors du montage, familiarisez-vous avec les thèmes couverts dans la section « Limitations de Color » à la page 42. Étape 4 : Rétablissez le lien entre votre séquence montée et les données source originales Une fois le montage off line terminé, vous devrez rétablir les données source originales de qualité on line et rétablir le lien entre votre projet et les fichiers en haute résolution. Étape 5 : Effectuez un pré-rendu des effets, envoyez la séquence à Color et procé- dez à son étalonnage À ce stade, le flux de production est identique à celui qui est décrit dans l’étape 7 de la section « Flux de production impliquant une bande » à la page 45.Chapitre 2 Flux de production de l’étalonnage 51 Reconformation des données on line dans un flux de production de vidéo numérique avec télécinéma Si vous travaillez sur un projet tourné sur pellicule mais qui sera masterisé sur vidéo, il doit être transféré du film sur une bande à l’aide d’un télécinéma (numérisation) avant sa capture et son montage dans Final Cut Pro. Ensuite, le reste du montage off line et on line est le même que pour tout autre format reposant sur l’utilisation d’une bande. Vous trouverez ci-dessous une explication plus détaillée de la procédure de ce flux de production permettant de passer du format off line au format on line. XML Multimédia online Final Color Cut Pro Transfert vers Color Négatif de la caméra Multimédia vidéo transférés Télécinéma Montages offline et online Sortie du master final XML Nouveaux multimédia Color corrigées Effets de fin et sortie Final Cut Pro Transfert vers Final Cut Pro Correction Rendu de Color Multimédia Données52 Chapitre 2 Flux de production de l’étalonnage Étape 1 : Tournez votre film Filmez le projet tout comme vous le feriez pour n’importe quel autre projet enregistré sur pellicule. Étape 2 : Numérisez les rushes à l’aide d’un télécinéma Une fois le tournage du film terminé, développez les rushes et passez-les au télécinéma pour les numériser à un format vidéo approprié à votre flux de production.  Certains producteurs préfèrent faire des économies dès le départ en effectuant un transfert « à lumière unique » de toutes les images vers un format vidéo off line bon marché destiné au montage off line initial (un transfert à lumière unique désigne le transfert de scènes entières avec un seul réglage de correction de couleurs). Ceci peut se traduire par une réduction des coûts et un gain de temps au début, mais un deuxième télécinéma peut être requis pour retransférer uniquement les images utilisées au cours du montage à une qualité supérieure sur le plan visuel.  D’autres producteurs choisissent de transférer tous les rushes (ou tout du moins les prises de vue sélectionnées par le réalisateur) en recourant à un transfert « à la meilleure lumière » dans lequel chacun des réglages de correction de couleurs est ajusté individuellement pour chaque plan à numériser, ce qui permet d’optimiser la couleur et l’exposition au cas par cas. Les images sont transférées à un format vidéo de haute qualité capable de conserver la plus grande quantité possible de données d’images. Cette option peut s’avérer beaucoup plus chère dans un premier temps, mais elle permet de faire des économies par la suite puisqu’il n’est pas nécessaire d’effectuer un deuxième télécinéma. Étape 3 : Capturez les données source à une résolution off line ou on line La méthode utilisée pour la capture des données avant le montage dépend du flux de production. Si vous avez numérisé des données de qualité off line avec un télécinéma, vous pouvez vous contenter de les capturer à l’aide d’un codec de qualité off line. En revanche, si vous avez numérisé des données de qualité on line avec un télécinéma, vous pouvez soit suivre un flux de production impliquant une conversion « off line / on line », soit capturer les données à l’aide d’un codec on line, puis travailler sur votre programme en qualité on line jusqu’à la fin. Étape 4 : Effectuez le montage du programme dans Final Cut Pro Effectuez le montage du programme dans Final Cut Pro comme vous le feriez pour n’importe quel autre projet. Si vous comptez utiliser un grand nombre d’effets dans votre programme lors du montage, familiarisez-vous avec les thèmes couverts dans la section « Limitations de Color » à la page 42.Chapitre 2 Flux de production de l’étalonnage 53 Étape 5 : Recapturez ou retransférez les données à une résolution on line (si nécessaire) La méthode utilisée pour la conformation du projet off line en données de qualité on line dépend de la façon dont vous avez effectué le transfert initial sur vidéo.  Si à l’origine vous avez converti vos images à un format vidéo on line à l’aide d’un télé- cinéma de haute qualité, mais qu’ensuite vous avez capturé vos données source à un format off line pour le montage, vous devrez recapturer les données à partir des bandes source originales issues du télécinéma au format QuickTime sans compression de la plus haute qualité possible que votre ordinateur peut prendre en charge (par exemple, Apple ProRes 422 ou Apple sans compression), puis il vous faudra rétablir le lien entre les nouvelles données et votre projet.  Si en revanche vous avez utilisé un télécinéma peu coûteux à lumière unique pour convertir vos images à un format vidéo off line, vous devrez effectuer à nouveau une numérisation avec un autre télécinéma pour transférer uniquement les données que vous avez utilisées dans le programme à un format de haute qualité. Cinema Tools permet de générer une liste d’épreuves dont vous pouvez ensuite vous servir pour retransférer méticuleusement les images nécessaires à un format vidéo de qualité on line. Vous devrez ensuite recapturer les nouvelles données on line issues de ce transfert au format QuickTime sans compression de la plus haute qualité possible que votre ordinateur peut prendre en charge. Important : ne vous servez pas du Gestionnaire de données pour renommer ou supprimer les données non utilisées de votre projet lorsque vous travaillez sur des données off line correspondant au négatif de la caméra. En effet, vous n’auriez plus la possibilité de créer des listes d’épreuves précises dans Cinema Tools. Étape 6 : Effectuez un pré-rendu des effets, envoyez la séquence à Color et procé- dez à son étalonnage À ce stade, le flux de production est identique à celui qui est décrit dans l’étape 7 de la section « Flux de production impliquant une bande » à la page 45. Importation de projets à partir d’autres applications de montage vidéo Color peut également importer des projets d’autres environnements de montage par le biais des listes de montage (EDL, Edit Decision Lists). Une liste de montage est une liste d’événements qui répertorie toutes les coupes et les transitions dont le programme est composé. Une fois que vous avez importé votre fichier de projet dans Color et copié les données du programme sur un dispositif de stockage offrant des performances appropriées, vous pouvez lier les plans qui se trouvent dans le plan de montage de Color avec les données qui leur correspondent.54 Chapitre 2 Flux de production de l’étalonnage Importation des listes de montage dans le cas d’une conversion en boucle entre Final Cut Pro et Color Si une liste de montage correspondant au programme monté et une boîte de données source vous ont été fournies, vous pouvez importer la liste de montage dans Final Cut Pro pour capturer les données du projet et préparer ce dernier en vue de l’envoyer à Color. Outre le fait de permettre la recapture des images, Final Cut Pro est compatible avec un plus grand nombre de formats de listes de montage que Color. Par ailleurs, outre les montages vidéo, Final Cut Pro est capable de lire les montages audio et les superpositions. Remarque : Color permet d’importer directement les listes de montage mais ne peut lire que la partie vidéo des montages, dans la piste V1. Les transitions vidéo, l’audio et les surimpositions sont ignorées. Étape 1 : Importez le projet dans Final Cut Pro Importez la liste de montage du projet monté dans Final Cut Pro. Étape 2 : Capturez les données à une résolution on line Vous devez recapturer la séquence créée lors de l’importation de la liste des points de montage en recourant au format QuickTime de la plus haute qualité que puisse traiter votre ordinateur (comme Apple ProRes 422 ou Apple sans compression). Étape 3 : Effectuez un pré-rendu des effets, envoyez la séquence à Color et procé- dez à son étalonnage À ce stade, le flux de production est identique à celui qui est décrit dans l’étape 7 de la section « Flux de production impliquant une bande » à la page 45. Final Cut Pro XML Multimédia online Multimédia source et fichier EDL Color Transfert vers Color Sortie du master final XML Nouveaux multimédia Color corrigées Effets de fin et sortie Final Cut Pro Transfert vers Final Cut Pro Correction Rendu de Color Multimédia Données Importation des listes de montage pour créer un projet Nouvelle capture de multimédiaChapitre 2 Flux de production de l’étalonnage 55 Importation et marquage des masters prémontés du programme Il existe une autre façon courante d’obtenir un programme en vue de la correction de couleurs qui consiste à recevoir un master monté, soit sur bande, soit sous la forme d’une séquence QuickTime ou d’une séquence d’images, accompagné d’une liste de montage. Vous pouvez utiliser la liste de montage pour ajouter automatiquement les coupes au fichier de données du master dans Color (ce qui s’appelle « marquer » ou « encocher » les données) pour faciliter l’étalonnage individuel de chaque plan du programme. Étape 1 : Importez le projet dans Final Cut Pro Importez la liste de montage du projet monté dans Final Cut Pro. Étape 2 : Capturez le master du programme (si nécessaire) Si on vous a confié le master du programme sur bande, vous devez recapturer entièrement ledit programme en recourant au format QuickTime de la plus haute qualité que puisse traiter votre ordinateur (comme Apple ProRes 422 ou Apple sans compression). Si le master du programme vous est fourni sous la forme d’un fichier QuickTime, vous devriez également demander à la personne qui vous remet les données de vous envoyer ce fichier QuickTime à la plus haute qualité que votre ordinateur est capable de traiter. Pour que ce processus se déroule correctement, il est préférable que le timecode de la première image des données corresponde au premier timecode de la liste de montage. Étape 3 : Importez la liste de montage dans Color, puis rétablissez le lien au fichier de données du master Sélectionnez la liste de montage dans la zone de dialogue Projects qui apparaît lorsque vous ouvrez Color pour la première fois ou utilisez la commande File > Import > EDL. Lorsque la zone de dialogue EDL Import Settings apparaît, choisissez le format de la liste de montage, le projet, la liste de montage et la fréquence d’images des données source. Capture de l'intégralité du programme Final Cut Pro Multimédia online Bande Master Color Sortie du master final XML Nouveaux multimédia Color corrigées Effets de fin et sortie Final Cut Pro Transfert vers Final Cut Pro Rendu Multimédia Données Création d'un projet Color à partir d'une liste de montage (EDL) pour « encoder » le multimédia online Correction de Color56 Chapitre 2 Flux de production de l’étalonnage Pour marquer (« encocher ») correctement le fichier de données du master, vous devez vous assurer d’activer Use as Cut List, puis choisir le fichier de données du master que vous avez capturé ou que l’on vous a remis. Pour en savoir plus, consultez la section « Importation de listes de montage (EDL) » à la page 95. Étape 4 : Étalonnez votre programme avec Color Utilisez Color pour étalonner votre programme. Étape 5 : Rendez les nouvelles données source, puis envoyez le projet mis à jour à Final Cut Pro Une fois l’étalonnage terminé, vous utiliserez la file d’attente de rendu (Render Queue) de Color pour rendre tous les plans du projet sous la forme d’un nouvel ensemble distinct de fichiers de données étalonnées. Ceci fait, vous devrez envoyer le projet mis à jour à Final Cut Pro à l’aide de l’une des deux méthodes suivantes :  Si Color est installé sur le même ordinateur que Final Cut Pro, vous pouvez vous servir de la commande Send to Final Cut Pro.  Si vous renvoyez le projet étalonné à l’installation d’origine, vous devez exporter le projet Color sous la forme d’un fichier XML de sorte qu’il puisse ensuite être importé dans Final Cut Pro. Remarque : lorsque vous envoyez à Final Cut Pro un projet initialement importé dans Color, vous n’envoyez en fait que les plans qui sont disponible dans Color, qui se limitent généralement à ceux qui se trouvent sur la piste V1. En effet, Color ne prend pas en charge les pistes audio ni les effets de superposition. Étape 6 : Ajustez les transitions, les superpositions et les titres dans Final Cut Pro Pour produire la sortie de votre projet, vous devez réimporter les données du projet XML dans Final Cut Pro. Cette opération est automatique si vous utilisez la commande Send to Final Cut Pro. À ce stade, vous pouvez ajouter d’autres effets dans Final Cut Pro avant de créer le master final du programme. Étape 7 : Enregistrez la sortie du master vidéo final sur bande ou créez le rendu du master sous la forme d’un fichier QuickTime Une fois tous les derniers ajustements effectués dans Final Cut Pro, vous pouvez créer la version finale de votre programme à l’aide des commandes Print to Video, Edit to Tape ou Export QuickTime Movie.Chapitre 2 Flux de production de l’étalonnage 57 Utilisation de Color dans un flux de production intermédiaire numérique Color prend en charge l’étalonnage pour les flux de production intermédiaires numériques au format 2K. Pour parler simplement, les termes intermédiaire numérique décrivent le processus qui consiste à créer tous les effets et à corriger les couleurs sur les versions numériques en haute résolution du négatif original de la caméra. Color permet de travailler avec des séquences d’images logarithmiques 10 bits au format 2K obtenues à l’aide d’un télécinéma avec stockage sur disques durs, et ce grâce au traitement des données d’image à une qualité extrêmement haute et au rendu du résultat sous la forme d’une séquence d’images à partir de laquelle il est possible de créer une sortie sur film. Les sections ci-dessous décrivent différents flux de production au format 2K que vous pouvez suivre et vous indique comment ne pas perdre la trace de vos données d’image d’une étape à l’autre. Flux de production intermédiaire numérique sans bande impliquant des doubles numériques à une résolution on line / off line Les flux de production intermédiaires numériques les plus simples sont ceux dans lesquels vous numérisez toutes les images nécessaires pour le montage off line puis créez un double des données off line que vous utiliserez pour monter votre projet. Une fois le montage off line terminé, vous rétablissez le lien entre le programme et les images source originales au format 2K dans Color.58 Chapitre 2 Flux de production de l’étalonnage La création des données off line à partir des données numériques originales permet d’assurer la simplicité du flux de production et d’éliminer la nécessité de retransférer le film source ultérieurement. Le seul inconvénient de cette méthode est qu’elle requiert une énorme quantité d’espace de stockage, qui dépend de la longueur du projet et de son ratio de tournage. La procédure ci-dessous décompose ce processus de façon plus explicite. Color Regroupement du multimédia de rendu Conformation Correction de Color Rendu Négatif de la caméra Transferts télécinéma haute définition Séquence d'images DPX avec résolution de 2k Séquence de sortie finale Enregistreur de film Impression de film Conversion QuickTime off line Multimédia Données Final Cut Pro Montage offlineChapitre 2 Flux de production de l’étalonnage 59 Étape 1 : Tournez votre film L’idéal serait que de faire quelques essais avant la photographie principale pour voir comment le transfert du scanneur de film à Color puis à l’enregistreur de film fonctionne avec les formats de film et les pellicules que vous avez choisis. Il est toujours préférable de consulter à l’avance le laboratoire de films avec lequel vous travaillerez pour obtenir le maximum d’informations possible. Étape 2 : Numérisez l’intégralité du film pour convertir ce dernier en séquences d’images DPX de résolution 2K Selon la façon dont le tournage a été mené, vous pouvez numériser à la meilleure lumière à l’aide d’un télécinéma avec stockage sur disques durs uniquement les plans sélectionnés ou l’intégralité du négatif de la caméra, si vous pouvez vous le permettre. Les données source numériques au format 2K résultant de la numérisation devraient être enregistrées sous la forme de séquences d’images DPX ou Cineon. Pour ne pas perdre de vue la correspondance entre les images fixes originales et les fichiers QuickTime off line que vous créerez pour le montage, procédez de la façon suivante :  demandez l’enregistrement dans l’en-tête de chaque image numérisée du numéro absolu de cette image, obtenue à partir du timecode non-drop frame (qui figure dans le nom de fichier de cette image) ;  il peut aussi être utile d’organiser toutes les images numérisées dans des répertoires distincts, c’est-à-dire d’enregistrer toutes les images de chaque pellicule de négatif dans un répertoire à part (dont le nom correspondra à la pellicule en question). Étape 3 : Convertissez les séquences d’images DPX en fichiers QuickTime à une résolution off line Créez des doubles des données source à une résolution off line en utilisant le format le plus approprié à votre système de montage. Ensuite, archivez les données source originales de telle sorte que rien ne puisse leur arriver. Lorsque vous convertissez les fichiers DPX en fichiers QuickTime à une résolution off line :  le numéro de pellicule de chaque séquence d’images devrait être utilisé comme numéro de bobine pour chaque fichier .mov correspondant ;  les valeurs de timecode stockées dans l’en-tête de chaque fichier d’image devraient être utilisées comme timecode pour chaque fichier .mov correspondant. Vous pouvez vous servir de Color pour effectuer cette conversion à une plus basse résolution en créant un nouveau projet après avoir défini le type de fichier de rendu (Render File Type) à QuickTime et choisi le codec que vous souhaitez utiliser pour l’exportation dans Export Codec. Ensuite, il vous suffit de monter tous les plans que vous souhaitez convertir dans le plan de montage, de les ajouter à la file d’attente de rendu (Render Queue), puis de cliquer sur Start Render. Pour en savoir plus, consultez la section « Conversion de séquences d’images Cineon et DPX au format QuickTime » à la page 104.60 Chapitre 2 Flux de production de l’étalonnage ? Conseil : si vous pouvez convertir les données à un format comprimé haute définition, tel que Apple ProRes 422 ou Apple ProRes 422 (HQ), vous serez en mesure de monter les données off line de votre projet sur un équipement informatique peu coûteux tout en conservant la possibilité, pendant le processus de montage, de générer la sortie ou exporter le projet à une résolution suffisamment élevée permettant d’assurer la haute qualité de la projection privée du client ou de la projection publique. Étape 4 : Effectuez le montage off line dans Final Cut Pro Effectuez le montage de votre projet dans Final Cut Pro en prenant soin de ne pas modifier le timecode ou la durée des plans off line de quelque façon que ce soit. Étape 5 : Préparez votre séquence Final Cut Pro Pour préparer votre séquence montée pour un flux de production efficace dans Color, suivez la procédure décrite dans la section « Avant d’exporter votre projet Final Cut Pro » à la page 89. Étape 6 : Exportez une liste de montage Lorsque vous aurez terminé le montage, vous devez générer une liste de montage au format CMX 340, CMX 3600 ou GVG 4 Plus. Important : vous ne pouvez pas utiliser la commande Send to Color pour envoyer des projets au format 2K à Color. Étape 7 : Importez la liste de montage dans Color, puis rétablissez le lien aux données DPX originales Utilisez la commande File > Import > EDL pour importer la liste de montage. Dans la zone de dialogue Import EDL, vous spécifiez également le répertoire dans lequel se trouvent les données source originales en haute résolution de sorte que l’importation de la liste de montage et le rétablissement du lien aux données source se fassent en une seule étape. Étape 8 : Étalonnez votre programme avec Color Étalonnez votre programme avec Color comme vous le feriez pour n’importe quel autre projet. Important : lors de l’étalonnage des images d’un film numérisé, il est essentiel d’utiliser systématiquement des tables de correspondance (LUT) soigneusement profilées pour le calibrage du moniteur et d’émuler l’apparence finale qu’aura le projet une fois tiré sur film lorsque vous faites des ajustements dans Color. Pour en savoir plus, consultez la section « Utilisation des tables de conversion d’affichage » à la page 138.Chapitre 2 Flux de production de l’étalonnage 61 Étape 9 : Conformez les transitions, les effets et les titres Dans le cadre d’un flux de production 2K, vous devez aussi recourir à une application de compositing telle que Shake pour créer les transitions et les effets en couche, dont les surimpositions, les titres et les autres images composites, en utilisant les données de la séquence d’images au format 2K. Important : le numéro d’image de chaque fichier image indique la position de ce dernier dans le plan de montage du programme. C’est la raison pour laquelle il est crucial que les numéros d’images qui apparaissent dans les noms de fichiers des données nouvellement rendues soient identiques à ceux des données source originales lorsque vous envoyez des images à une application de compositing. Il est donc nécessaire de gérer les fichiers avec soin. Étape 10 : Effectuez le rendu de vos données dans une application autre que Color Une fois que vous avez terminé d’étalonner votre programme dans Color, utilisez la file d’attente de rendu (Render Queue) pour rendre les données finales. La file d’attente de rendu a été conçue pour vous permettre de rendre aisément votre projet de façon progressive. Par exemple, vous avez la possibilité de rendre tous les plans d’un programme étalonnés pendant la journée au cours de la nuit suivante de sorte que vous ne soyez pas obligé de rendre l’ensemble du projet immédiatement. Toutefois, lorsque vous travaillez sur un projet dans lequel des séquence d’images numérisées au format 2K sont utilisées, le rendu des données n’est que la première étape. La sortie rendue est enregistrée dans le répertoire de rendu spécifié de manière à faciliter la gestion et la génération d’un nouveau rendu des données pour votre projetColor, mais elle ne sera prête pour la livraison au laboratoire chargé de l’enregistrement du film qu’après la prochaine étape. Étape 11 : Utilisez la commande Gather Rendered Media pour assembler la séquence d’images finale destinée à la livraison Une fois que tous les plans de votre programme ont été rendus, vous devez utiliser la commande Gather Rendered Media command pour regrouper toutes les images qui ont été rendues, en éliminant les poignées, en copiant toutes les images utilisées par le programme dans un seul répertoire et en les renumérotant de façon à créer une séquence d’images de numérotation continue. Lorsque ceci est fait, les données rendues seront prêtes à être livrées au laboratoire chargé de l’enregistrement du film.62 Chapitre 2 Flux de production de l’étalonnage Flux de production intermédiaire numérique impliquant des données à une résolution on line / off line obtenues à l’aide d’un télécinéma Il existe une méthode plus traditionnelle pour effectuer le montage et la correction des couleurs d’un projet. Elle consiste à effectuer un montage off line avec des données obtenues après un transfert des rushes à l’aide d’un télécinéma, ce qui s’avère plus économique, puis à numériser avec un télécinéma haute définition avec stockage sur disques durs (datacine) uniquement les plans utilisés lors du montage pour créer les données on line. La procédure ci-dessous décompose ce processus de façon plus explicite. Négatif de la caméra Exportation de la liste d'épreuves Télécinéma haute définition Télécinéma Séquence d'images DPX Multimédia Ddonnées Color Regroupement du multimédia de rendu Séquence de sortie finale Enregistreur de film Impression de film Cinema Tools Création de la base de données Capture Final Cut Pro Montage offline Conformation Correction de Color RenduChapitre 2 Flux de production de l’étalonnage 63 Étape 1 : Tournez votre film L’idéal serait que de faire quelques essais avant la photographie principale pour voir comment le transfert du scanneur de film à Color puis à l’enregistreur de film fonctionne avec les formats de film et les pellicules que vous avez choisis. Il est toujours préférable de consulter à l’avance le laboratoire de films avec lequel vous travaillerez pour obtenir le maximum d’informations possible. Étape 2 : Numérisez les rushes à l’aide d’un télécinéma Une fois le tournage du film terminé, passez les rushes au télécinéma pour les numériser à un format vidéo approprié pour le montage off line. Vous déciderez si ce format vidéo destiné au montage off line doit être en haute définition ou non en fonction de la configuration du système de montage avec lequel vous travaillerez et de la quantité d’espace dont vous disposez sur le disque dur. Ce qui est plus important, c’est la fréquence d’images à laquelle vous choisissez de numériser les rushes.  Pour éliminer toute une étape de gestion de données, il est recommandé de numériser le film avec un télécinéma directement à un format vidéo dont la fréquence d’images est de 23,98 ips.  Vous pouvez aussi le numériser à un format vidéo dont la fréquence d’images est de 29,97 ips et utiliser ensuite Cinema Tools pour supprimer le 3:2 pulldown. Pour maintenir plus facilement la correspondance entre la vidéo issue du télécinéma et les images du film au format 2K qui seront numérisées ultérieurement, vous devriez spécifier que vous souhaitez ce qui suit :  le timecode enregistré sur la bande au cours de la numérisation par télécinéma à la résolution off line doit être un timecode non-drop frame ;  chaque pellicule de négatif devrait être numérisée sur une bobine différente. Ainsi, les bobines spécifiées par la liste de montage correspondront aux pellicules de négatif de la caméra à partir desquelles les plans sont numérisés.64 Chapitre 2 Flux de production de l’étalonnage Étape 3 : Utilisez Cinema Tools et Final Cut Pro pour effectuer le montage off line Comme pour tout autre montage de film, générez une Cinema Tools base de données à partir des fichiers FLEx fournis par la personne chargée du télécinéma, puis capturez les données correspondantes et montez le programme. Important : lorsque vous travaillez sur des données off line correspondant au négatif de la caméra, ne vous servez pas du Gestionnaire de données pour renommer ou supprimer les données non utilisées de votre projet. En effet, vous n’auriez plus la possibilité de créer des listes d’épreuves précises dans Cinema Tools. Étape 4 : Préparez votre séquence Final Cut Pro Pour préparer votre séquence montée pour un flux de production efficace dans Color, suivez la procédure décrite dans la section « Avant d’exporter votre projet Final Cut Pro » à la page 89. Étape 5 : Exportez une liste de montage destinée à Color et une liste d’épreuves pour le télécinéma haute définition Une fois le montage off line terminé, une liste d’épreuves est générée en vue du transfert final à une résolution 2K à l’aide d’un télécinéma haute définition, et l’intégralité du projet est exportée sous la forme d’une liste de montage destinée à être importée et conformée dans Color.  La liste d’épreuves indique les plans qui ont été utilisés dans la version finale du montage (qui est généralement formée d’une partie seulement de toutes les images initialement tournées). L’idéal serait que vous exportiez une liste d’épreuves contenant également les points d’entrée et de sortie du timecode qui correspondent à chaque plan du projet monté. De cette façon, les données du timecode peuvent être enregistrées sur chaque image numérisée lors du transfert à l’aide du télécinéma haute définition, ce qui facilite la conformation dans Color.  La liste de montage permet d’envoyer les données du montage à Color. Elle contient les données du timecode qui sont nécessaires pour conformer les images des séquences numérisées dans le bon ordre.Chapitre 2 Flux de production de l’étalonnage 65 Étape 6 : Numérisez les plans sélectionnés du négatif en séquences DPX à l’aide d’un télécinéma haute définition À l’aide de la liste d’épreuves générée par Cinema Tools, numérisez chaque plan utilisé dans le projet avec un télécinéma haute définition (datacine). Lors de ce transfert à l’aide du télécinéma haute définition, spécifiez que le timecode de chaque image du négatif doit être converti en images et utilisé pour nommer chaque fichier DPX issu de la numérisation, et qu’il doit aussi être enregistré dans l’en-tête DPX de chaque plan. Le nom des séquence d’images obtenues devrait avoir la forme suivante : bobine_numéro.0632368.dpx Chaque séquence d’images issue de la numérisation du film devrait être placée dans un répertoire de même nom que la pellicule de négatif de la caméra à partir de laquelle elle a été numérisée. Il est judicieux d’utiliser une répertoire distinct pour chaque pellicule de négatif caméra numérisée. Étape 7 : Importez la liste de montage dans Color, puis rétablissez le lien aux données DPX originales Utilisez la commande File > Import > EDL pour importer la liste de montage. Dans la zone de dialogue Import EDL, vous spécifiez également le répertoire dans lequel se trouvent les données source originales en haute résolution de sorte que l’importation de la liste de montage et le rétablissement du lien aux données source se fassent en une seule étape. Étape 8 : Étalonnez votre programme avec Color Étalonnez votre programme avec Color comme vous le feriez pour n’importe quel autre projet. Important : lors de l’étalonnage des images d’un film numérisé, il est essentiel d’utiliser systématiquement des tables de correspondance (LUT) soigneusement profilées pour le calibrage du moniteur et d’émuler l’apparence finale qu’aura le projet une fois tiré sur film lorsque vous faites des ajustements dans Color. Pour en savoir plus, consultez la section « Utilisation des tables de conversion d’affichage » à la page 138. Étape 9 : Conformez les transitions, les effets et les titres, rendez les données, puis rassemblez les données rendues À ce stade, le processus est le même que celui décrit dans la section « Flux de production intermédiaire numérique sans bande impliquant des doubles numériques à une résolution on line / off line » à la page 57.66 Chapitre 2 Flux de production de l’étalonnage Utilisation des listes de montage, du timecode et des numé- ros d’images pour la conformation des projets Si vous gérez méticuleusement vos fichiers, le timecode vous permet de ne pas perdre de vue la relation entre le négatif original de la caméra et les données numériques ou vidéo créées par transfert en vue du montage off line. Rétablissement du lien entre les images DPX/Cineon et une liste de montage dans Color Pour réussir une conformation dans Color, il est essentiel de veiller à ce que les données du timecode qui se trouvent dans la liste de montage soient mises en miroir dans les images DPX or Cineon numérisées avec lesquelles vous rétablissez le lien. Color tente de rétablir le lien aux données de la séquence d’images de plusieurs façons différentes en fonction des informations disponibles dans le fichier :  Tout d’abord, Color recherche une valeur de timecode dans l’en-tête du fichier de l’image DPX ou Cineon. Si cette valeur s’y trouve, vous pourrez utiliser la méthode la plus fiable en matière de rétablissement de lien.  Si les données d’en-tête ne contiennent aucune valeur de timecode correspondante, Color recherche alors la valeur de timecode dans le nom du fichier et essaie également de trouver le numéro de bobine correspondant dans le répertoire où se trouve ce fichier.  Si ce répertoire ne contient aucun numéro de bobine, Color tente alors de rétablir le lien de tous les plans uniquement à l’aide de leur valeur de timecode. Analyse des listes de montage pour la conformation des projets intermédiaires numériques Cette section explique comment Color établit la correspondance entre les valeurs de timecode d’une liste de montage et les numéros d’images utilisés dans l’en-tête du timecode ou dans le nom de fichier de chaque image d’une séquence. Voici un échantillon d’une ligne de liste de montage : 001 004 V C 04:34:53:04 04:35:03:04 00:59:30:00 00:59:40:00 Dans toutes les listes de montage, l’information est divisée en huit colonnes :  La première colonne correspond au numéro de la coupe. Il s’agit de la première coupe de la liste de montage, c’est pourquoi elle porte le numéro 001.  La deuxième colonne contient le numéro de bobine, à savoir 004. C’est aussi de cette façon que devrait être nommé le répertoire dans lequel se trouvent les fichiers de l’image numérisée au format 2K correspondant au plan en question.  Les deux colonnes suivantes contiennent des informations relatives au montage et aux pistes vidéo/audio. Ces informations sont utilisées par Color par ailleurs mais ne participent pas à la conformation des données.Chapitre 2 Flux de production de l’étalonnage 67 Les quatre dernières colonnes correspondent au timecode et sont formées par des paires de points d’entrée et de sortie.  La première paire de valeurs de timecode correspond aux points d’entrée et de sortie des données source originales (dans le cas d’un montage on line ordinaire, il s’agit généralement de la bande issue du télécinéma). Dans un flux de production intermé- diaire numérique, ces valeurs de timecode sont utilisées pour nommer et identifier les images numérisées résultant du télécinéma haute définition.  La deuxième paire de points d’entrée et de sortie indique la position du plan dans le programme monté. Ces valeurs de timecode sont utilisées pour insérer les données à l’endroit adéquat dans le plan de montage. Attribution de noms de fichiers aux séquences d’images pour la conformation des projets intermédiaires numériques Voici un exemple de ce que pourrait être le nom du premier fichier de séquence d’image correspondant à la coupe de la liste de montage indiquée plus haut : nom_de_fichier.0494794.dpx La première partie du nom de fichier de chaque image numérisée (c’est-à-dire les caractères correspondant aux lettres de l’alphabet) est ignorée, mais l’extension numérique qui spécifie le numéro d’image du fichier doit être égale à la conversion du timecode (non-dropframe) qui figure dans la liste de montage en numéro d’image absolu. Par exemple, une image dont le timecode non-drop NTSC est 05:51:18:28 serait munie de l’extension numérique 632368. Les extensions numériques devraient toujours être complétées de sorte qu’elles soient composées de sept chiffres ; dans l’exemple donné, un 0 serait donc ajouté au début, comme suit : nom_de_fichier.0632368.dpx Seules l’extension numérique et l’extension .dpx ou .cin sont absolument nécessaires étant donné que les caractères alphabétiques situés au début du nom du fichier sont ignorés par Color. Le nom de fichier ci-dessus pourrait, par exemple, aussi bien être le suivant : 0632368.dpx Vous pouvez aussi vous servir de la première partie du nom du fichier pour spécifier le numéro de la bobine à partir de laquelle le fichier de l’image a été créé : bobine_004.0632368.dpx3 69 3 Utilisation de l’interface Color Dans Color, vous avez le choix de travailler dans l’interface à l’écran à l’aide de votre souris ou d’utiliser une surface de contrôle dédiée plus directe, conçue pour les travaux professionnels d’étalonnage colorimétrique. Ce chapitre traite des conventions générales reprises dans l’interface Color. Il décrit l’utilisation des commandes partagées par plusieurs zones de l’interface, ainsi que les commandes spécialisées propres aux applications d’étalonnage. Les rubriques suivantes seront abordées au cours de ce chapitre :  Configuration d’une surface de contrôle (p. 70)  Utilisation des contrôles d’écran (p. 70)  Navigateurs et chutiers pour organiser les fichiers (p. 75)  Utilisation de Color avec un ou deux écrans (p. 82)70 Chapitre 3 Utilisation de l’interface Color Configuration d’une surface de contrôle Dès l’origine, Color a été développé pour prendre en charge les surfaces de contrôle tout spécialement dédiées à l’étalonnage et commercialisées par des fabricants tels que Tangent et JL Cooper Designs. En règle générale, ces surfaces de contrôle comportent trois trackballs (ou « boules de commande ») qui correspondent aux trois zones tonales en chevauchement des commandes de balance des couleurs primaires et secondaires (ombres, tons intermédiaires et hautes lumières), trois commandes rotatives (ou « roues », ou « couronnes ») pour les trois commandes de contraste (niveau de noir, gamma et point blanc), ainsi qu’un certain nombre de commandes rotatives et de boutons pour diverses fonctions complémentaires dépendant du studio que vous avez sélectionné. Vous pouvez choisir la surface de contrôle à utiliser lors du démarrage de Color ou cliquez sur « Show Control Surface Dialog » dans l’onglet User Prefs du studio Setup pour choisir à tout moment l’une des surfaces de contrôle disponibles. Pour en savoir plus sur la configuration d’une surface de contrôle, consultez l’annexe C, « Configuration d’une surface de contrôle ». Pour en savoir plus sur la configuration d’une surface de contrôle depuis Color, consultez le paragraphe « Réglages de la surface de contrôle » à la page 122. Utilisation des contrôles d’écran Même si vous ne disposez d’aucune surface de contrôle, vous pouvez utiliser toutes les fonctions de Color grâce aux contrôles d’écran. Hormis les boutons, cases à cocher et menus locaux habituels communs à la majorité des applications, Color affiche certaines commandes personnalisées décrites dans cette section. F1 F2 F3 F4 F5 F6 F7 F8 F9 MEM ALT GRACE DELETE MARK IN OUT CUE DO UNDO MORE REDO 7 4 1 00 0 2 3 - 5 6 + 8 9 PREV NEXT MODE CLEAR R3 B3 B2 R1 B1 R2 PAGE 5 PAGE 6 PAGE 8 PAGE 7 PAGE 1 PAGE 2 PAGE 4 PAGE 3 F1 M1 W1 W2 W3 W4 W5 W6 W7 JOG SHUTTLE M2 M3 1 2 3 4 5 6 7 8 BANK 1 BANK 2 HOURS MINUTES SECONDS FRAMES BANK 4 BANK 4 PAGE ASSIGN UTILITY M4 M5 TIME CODE DISPLAY F2 F3 F4 F5 F6 F7 F8Chapitre 3 Utilisation de l’interface Color 71 Utilisation de la souris Color prend en charge les souris à trois boutons qui vous permettent d’accéder rapidement aux menus contextuels et aux divers raccourcis de navigation. Color autorise également l’utilisation de la molette ou la de boule centrale de défilement des souris à trois boutons pour défiler ou comme s’il s’agissait d’un bouton. Accélération des commandes grâce à la touche Option Il est possible de multiplier par 10 la vitesse normale de nombreuses commandes en maintenant enfoncée la touche Option alors que vous faites glisser le pointeur. Onglets Les onglets servent à naviguer entre les huit différents « studios » de Color. Chacun de ces studios correspond à une partie distincte de l’interface, contenant toutes les commandes nécessaires à l’exécution d’une tâche spécifique. Si vous changez de studio, vous modifiez l’interface affichée, les raccourcis clavier disponibles et le mappage des commandes des surfaces de contrôle. Qui plus est, certains studios comportent d’autres fonctions affichées lorsque vous utilisez des ensembles d’onglets supplémentaires disponibles. Champs de texte et curseurs virtuels Dans Color, les champs modifiables peuvent contenir quatre types de données :  Timecode  Texte (noms de fichiers, chemins, etc.)  Nombres entiers (les champs affichant des nombres entiers ne prennent pas en charge les valeurs décimales ni les fractions)  Pourcentages et fractions (0,25 ou 1/873, par exemple) Vous disposez de trois méthodes pour modifier les champs de texte. Bouton de la souris Référence dans cette documentation Bouton gauche de la souris Clic Bouton central de la souris Clic avec le bouton central de la souris Bouton droit de la souris Clic avec le bouton droit de la souris (identique au clic tout en maintenant la touche Contrôle enfoncée dans le cas d’une souris à un seul bouton)72 Chapitre 3 Utilisation de l’interface Color Pour saisir du texte dans un champ à l’aide du clavier : 1 Cliquez dans le champ de texte que vous souhaitez modifier. Le texte présent dans ce champ apparaît alors en surbrillance. 2 Saisissez un nouveau texte. 3 Appuyez sur la touche retour pour confirmer votre modification. Pour modifier la valeur numérique ou le pourcentage affiché par un champ à l’aide d’un curseur virtuel : 1 Placez le pointeur sur le champ que vous souhaitez modifier. 2 Cliquez avec le bouton central de la souris, puis faites glisser le pointeur vers la gauche pour diminuer la valeur ou vers la droite pour l’augmenter. 3 Relâchez le bouton de la souris lorsque vous avez terminé votre réglage. Pour modifier la valeur numérique ou le pourcentage affiché par un champ à l’aide de la molette de défilement : 1 Placez le pointeur sur le champ que vous souhaitez modifier. 2 Sans cliquer dans le champ, faites tourner la molette ou la boule de défilement vers le haut pour augmenter la valeur ou vers le bas pour la diminuer. Pour modifier un champ à l’aide d’un menu contextuel : m Cliquez sur n’importe quel champ tout en maintenant la touche Contrôle enfoncée ou avec le bouton droit de la souris, puis choisissez l’une des options suivantes dans le menu contextuel qui apparaît :  Reset : réinitialise le champ correspondant.  Min : choisit la valeur minimale disponible pour ce champ.  Max : choisit la valeur maximale disponible pour ce champ.  Set as Default : règle ce paramètre à sa valeur par défaut. Champs de timecode Les champs de timecode affichent des informations sur la synchronisation, tels que les points d’entrée et de sortie des médias et la position de la tête de lecture. Dans Color, les valeurs temporelles peuvent prendre deux formats :  Au sein de ces champs, la plupart des valeurs temporelles sont représentées par un timecode SMPTE standard. Ce type de timecode correspond à une série de quatre paires de chiffres séparées par deux-points : hh:mm:ss:ii, où hh exprime les heures, mm les minutes, ss les seconds et ii les images.  Les valeurs temporelles présentes dans la Timeline Ruler peuvent être affichées sous forme de timecodes Non-Drop Frame, Drop Frame ou Frames. Remarque : dans un timecode Drop-Frame timecode, les secondes et les images sont séparées par un point-virgule.Chapitre 3 Utilisation de l’interface Color 73 Navigation à l’aide des timecodes Voici quelques indications pour saisir des valeurs dans les positions réservées aux heures, minutes, secondes et images des champs de timecode :  Les valeurs temporelles sont saisies de gauche à droite (comme pour programmer une durée sur un micro-ondes). Toutefois, la dernière valeur saisie est considérée comme étant le dernier chiffre de la position réservée aux images.  Appuyez sur la touche Retour afin de confirmer la valeur que vous venez de saisir pour un timecode.  Si vous entrez un nombre incomplet, la paire de chiffres la plus à droite est interprétée comme correspondant aux images. En partant de ce principe, chaque paire de chiffres la précédant (plus à gauche) sert à remplir les positions des secondes, des minutes, puis des heures. Les paires de chiffres omises sont remplacées d’office par 00. Par exemple, si vous saisissez 1419, Final Cut Pro interprète cette valeur comme 00:00:14:19.  Lorsque vous entrez un timecode dans un champ, vous n’êtes pas obligé de les séparateurs (comme les deux-points). En effet, ils sont automatiquement ajoutés entre chaque paire de chiffres.  Vous pouvez également entrer un point pour représenter deux zéros lors de la saisie de durées importantes. Par exemple, saisissez « 3. » (le chiffre 3 suivi d’un point) pour entrer le timecode 00:00:03:00. Color interprète automatiquement le point comme la valeur 00.  Pour entrer 00:03:00:00, saisissez « 3.. » (le chiffre 3 suivi de deux points). Ces points provoquent l’insertion de deux zéros dans les positions réservées aux secondes et aux images.  Saisissez « 3... » pour entrer 03:00:00:00.  Utilisez le signe plus (+) pour entrer une série de valeurs à un seul chiffre dans chaque position temporelle. Par exemple, saisissez « 1+5+8 » pour entrer le timecode 00:01:05:08.74 Chapitre 3 Utilisation de l’interface Color Commandes de couleur Les commandes de couleur sont utilisées dans plusieurs studios de Color, afin de vous permettre de sélectionner et de modifier des couleurs grâce au modèle HSL.  Si vous faites glisser le pointeur dans la roue principale des couleurs, vous réglez simultanément la teinte et la saturation de la couleur sélectionnée. La croix affichée sur la roue des couleurs indique la valeur de couleur en cours de sélection. Les autres commandes dépendent du type de commande de couleur actuellement affiché.  Faites glisser le curseur multicolore Hue vers le haut ou le bas pour ajuster la teinte.  Faites glisser le curseur unicolore Saturation vers le haut ou le bas pour respectivement augmenter ou diminuer la saturation de la teinte actuelle.  Faites glisser le curseur unicolore Brightness vers le haut ou le bas pour respectivement augmenter ou diminuer la luminosité de la couleur actuelle. Personnalisation des commandes de couleur Vous avez la possibilité de personnaliser l’angle selon lequel les couleurs apparaissent dans la roue affichée par les commandes de couleur, de telle sorte qu’il corresponde à l’interface d’autres systèmes d’étalonnage utilisés. Vous pouvez également régler la vitesse à laquelle les manettes de la surface de contrôle ajustent les commandes de couleur correspondantes dans Color. Pour en savoir plus, consultez la section « Réglages de la surface de contrôle » à la page 122.Chapitre 3 Utilisation de l’interface Color 75 Navigateurs et chutiers pour organiser les fichiers Color met à votre disposition plusieurs navigateurs et chutiers pour organiser vos plans, médias et jeux d’étalonnage partageant des commandes communes. Tous ces navigateurs et chutiers servent à gérer les fichiers sur votre disque dur, plutôt que les données stockées au sein d’un fichier de projet Color proprement dit. Par conséquent, utilisez leurs commandes pour parcourir et organiser la structure des répertoires sur votre disque dur, comme vous le feriez dans le Finder. Le navigateur de fichiers Occupant la moitié gauche du studio Setup, ce navigateur vous permet de naviguer au sein de la structure des répertoires sur les disques durs de votre ordinateur (et par extension, sur tout volume RAID, DAS et SAN actuellement monté), afin de rechercher et importer des fichiers de données QuickTime et d’image compatibles. Il est important de vous rappeler que le navigateur de fichiers n’est en aucun cas un chutier de projets. Les fichiers qu’il affiche ne sont pas associés à votre projet Color, sauf si vous les faites glisser manuellement dans la Timeline ou que vous reliez des plans d’un projet importé aux fichiers de données associés sur le disque par le biais des commandes Relink Media ou Reconnect Media. Remarque : le navigateur de fichiers affiche uniquement les répertoires et les fichiers de données compatibles avec Color. Lorsque vous sélectionnez un fichier de données dans ce navigateur, un panneau apparaît à droite pour afficher la première image de ce fichier ainsi que les informations suivantes :  Shot Name : le nom du fichier  Duration : sa durée totale  Codec : le codec utilisé pour encoder le fichier  Resolution : la taille d’image du fichier, exprimée selon sa largeur fois sa hauteur  Frame Rate : la fréquence d’images du fichier  Timecode : la valeur du timecode correspondant à la première image du fichier Situé en bas de ce panneau, un bouton Importer vous permet de modifier le plan actuellement sélectionné dans la Timeline au niveau de la position en cours de la tête de lecture. Réduction du navigateur de fichiers Si vous le souhaitez, vous pouvez réduire le navigateur de fichiers, afin que la zone des onglets située à droite occupe toute la fenêtre de Color.76 Chapitre 3 Utilisation de l’interface Color Pour masquer le navigateur de fichiers : m Placez le pointeur sur le diviseur situé à l’extrême droite du navigateur de fichiers. Une fois qu’il apparaît en surbrillance bleue, cliquez dessus une fois pour réduire le navigateur. Pour développer le navigateur de fichiers : m Placez le pointeur sur le diviseur situé à l’extrême gauche de la fenêtre du navigateur de fichiers. Une fois qu’il apparaît en surbrillance bleue, cliquez dessus une fois pour développer le navigateur. Pour en savoir plus sur le studio Setup, consultez le chapitre 5, « Setup (Configuration) », à la page 107. Le navigateur de plans Le deuxième navigateur disponible dans le studio Setup est accessible via l’onglet Shots. Ce navigateur vous affiche tous les plans utilisés dans le projet en cours sous forme de liste ou d’icônes. La présentation sous forme d’icônes vous permet de créer des groupes de plans que vous pouvez utiliser pour copier et coller des jeux d’étalonnage dans plusieurs plans à la fois. Pour en savoir plus, consultez la section « Gestion des jeux d’étalonnage dans le navigateur de plans » à la page 313.Chapitre 3 Utilisation de l’interface Color 77 Quant à la présentation sous forme de liste, elle vous permet de trier tous les plans sur la base de divers champs d’information. Pour en savoir plus sur l’utilisation du navigateur de plans, consultez « Le navigateur de plans » à la page 109. Chutier de jeux d’étalonnage Situé dans le studio Setup, le chutier de jeux d’étalonnages, vous permet d’enregistrer et d’organiser des jeux d’étalonnage regroupant des corrections primaires, secondaires et Color FX en une seule unité. Vous pouvez utiliser ce chutier pour appliquer des jeux d’étalonnage enregistrés à d’autres plans dans la Timeline. Le contenu du chutier de jeux d’étalonnages est disponible à partir de tous les projets Color ouverts alors que vous êtes connecté sous un compte utilisateur particulier. Pour en savoir plus sur l’enregistrement et l’application des jeux d’étalonnages, consultez la section « Enregistrement de jeux d’étalonnage dans le chutier des jeux » à la page 302. Chutiers de corrections Les studios Primary, Secondaries et Color FX vous permettent d’enregistrer les corrections effectuées dans leur environnement respectif sous forme de préréglages individuels que vous pouvez par la suite appliquer à des plans. Le contenu des chutiers de corrections est disponible à partir de tous les projets Color ouverts alors que vous êtes connecté sous un compte utilisateur particulier.  Primary In et Out : ces deux studios vous permettent d’enregistrer et d’organiser les corrections primaires. Elles partagent le même groupe de corrections enregistrées.  Secondaries : ce studio vous permet d’enregistrer et d’organiser les corrections secondaires  Color FX : ce studio vous permet d’enregistrer et d’organiser les corrections Color FX.78 Chapitre 3 Utilisation de l’interface Color Still Store Bien que le Still Store ne soit pas un chutier de jeux d’étalonnage ou de corrections, il est géré exactement de la même façon. Ce studio est en fait un très grand chutier conçu pour conserver les images fixes d’une multitude de plans, afin de les comparer avec d’autres plans de votre programme. Pour en savoir plus sur l’utilisation du Still Store, reportez-vous au chapitre 16, « Magasin d’images fixes (Still Store) », à la page 355. Commandes disponibles dans les navigateurs et les chutiers de jeux d’étalonnage et de corrections Tous les navigateurs et les chutiers mettent à votre disposition les commandes suivantes : Commandes d’affichage Tous les navigateurs et les chutiers disposent de commandes d’affichage qui vous permettent de choisir la présentation et l’organisation de leur contenu.  Bouton List View : affiche le contenu du répertoire en cours sous la forme d’une liste de noms de fichiers.  Bouton Icon View : affiche le contenu du répertoire en cours sous la forme d’icônes.  Curseur Icon Size : ce curseur n’apparaît que dans la présentation sous forme d’icônes. Il permet de définir la taille des icônes. Comparaison entre les jeux d’étalonnage et les corrections Il existe une distinction entre les jeux d’étalonnage et les corrections dans Color. Les corrections font référence aux modifications apportées au sein d’un seul studio. Vous avez la possibilité d’enregistrer des corrections individuelles au sein des studios Primary, Secondaries ou Color FX, puis de les appliquer séparément à des plans. Un jeu d’étalonnage peut réunir plusieurs corrections au sein de divers studios. Il s’agit de l’enregistrement groupé d’une ou plusieurs corrections primaires, secondaires et Color FX. Si vous enregistrez un groupe de corrections sous forme de jeu d’étalonnage, vous pouvez les appliquer d’un seul coup comme s’il s’agissait d’un seul préréglage.Chapitre 3 Utilisation de l’interface Color 79 Commandes de navigation au sein des répertoires Le navigateur de fichiers ainsi que les chutiers de jeux d’étalonnage et de corrections comportent également des commandes de navigation qui vous permettent d’organiser et de parcourir les jeux d’étalonnages et les corrections enregistrés sur votre disque dur.  Go Up : déplace la sélection et affiche le contenu du répertoire parent.  Go Home : accède au répertoire de départ de ce navigateur ou de ce chutier. Il ne s’agit pas de votre répertoire de départ d’utilisateur Mac OS X :  Navigateur de fichiers : le bouton Home vous permet d’accéder directement au répertoire de données actuellement sélectionné pour Color.  Primary, Secondaries, Color FX et Primary Out : le bouton Home vous permet d’accé- der directement au répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color. Chaque studio dispose de son propre sous-répertoire qui contient toutes les corrections enregistrées pour un usage ultérieur.  Still Store : le bouton Home vous permet d’accéder directement au répertoire StillStore dans la structure de répertoires du projet en cours. Commandes relatives aux fichiers La partie inférieure du navigateur de fichiers ainsi que des chutiers de jeux d’étalonnages et de corrections comporte des commandes de création et d’accès aux répertoires.  Champ File : affiche le chemin d’accès du répertoire actuellement affiché.  Menu local Directory : offre une méthode rapide pour naviguer vers le haut ou le bas de l’arborescence de répertoires actuellement affichée ou pour accéder directement au répertoire Color par défaut du studio concerné.  Bouton New Directory : vous permet de créer un nouveau répertoire dans le chemin actuellement indiqué. Vous pouvez créer autant de répertoires que vous le souhaitez pour organiser les jeux d’étalonnages et les corrections d’un studio.  Bouton Save : enregistre les réglages du jeu d’étalonnage ou de la correction appliqué au plan au niveau de la position actuelle de la tête de lecture dans le répertoire indiqué dans les champs de texte affichés au-dessus.  Bouton Load : applique le jeu d’étalonnage ou la correction sélectionné au plan situé au niveau de la position actuelle de la têtes de lecture (si aucun autre plan n’est sélectionné) ou à plusieurs plans (en ignorant dans ce cas le plan au niveau de la tête de lecture s’il n’est pas sélectionné). Comme dans tous les chutiers de Color, vous pouvez faire glisser les éléments affichés dans ce chutier et les déposer dans la Timeline.80 Chapitre 3 Utilisation de l’interface Color Méthode d’enregistrement des jeux d’étalonnage et des corrections Lorsque vous enregistrez des jeux d’étalonnage et des corrections via les chutiers correspondants dans Color, ils sont stockés dans le répertoire des préférences de Color, dans votre répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color. Les jeux d’étalonnage et corrections enregistrés dans ces chutiers sont disponibles dans tous les projets que vous ouvrez. Les corrections individuelles stockées dans les répertoires mentionnés ci-dessus sont sauvegardées sous la forme de deux fichiers : un fichier .lsi qui contient une vignette permettant d’identifier visuellement le jeu d’étalonnage et un fichier spécifique au type de correction qui définit ses réglages. Sauf modifications personnelles, ces deux fichiers portent le même nom, suivi d’un point, puis de la date (jour mois année heure.minute.secondeFuseauHoraire) et d’une extension qui permet d’identifier le type de correction qu’ils contiennent.  Nom_étalonnage.date.lsi : vignette utilisée pour symboliser cet étalonnage dans la présentation sous forme d’icônes  Nom_Jeu_étalonnage.date.pcc : fichier de correction primaire  Nom_étalonnage.date.scc : fichier de correction secondaire  Nom_Jeu_étalonnage.date.cfx : fichier de correction Color FX En réalité, un jeu d’étalonnage enregistré correspond à un groupe de fichiers qui contient tous les fichiers de correction constituant ce jeu d’étalonnage. Par exemple, un jeu d’étalonnage combinant des corrections primaires, secondaires et Color FX correspond à un répertoire portant le nom du jeu d’étalonnage, « Nom_Jeu_étalonnage.date.grd », et contenant les fichiers suivants :  Nom_Jeu_étalonnage.date.lsi  Nom_Jeu_étalonnage.date.pcc  Nom_Jeu_étalonnage.date.scc  Nom_Jeu_étalonnage.date.cfx Catégorie de corrections enregistrées Emplacement sur le disque Jeux d’étalonnages /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Color/Grades/ Corrections primaires /Utilisateurs/nom d’utilisateur/Bibliotèque/Application Support/ Color/Primary/ Corrections secondaires /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Color/Secondary/ Corrections Color FX /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Color/Effects/Chapitre 3 Utilisation de l’interface Color 81 Réorganisation des corrections et jeux d’étalonnage enregistrés dans le Finder Chaque chutier de corrections de Color est simplement le miroir du contenu du sous-répertoire correspondant, dans le répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color. Vous pouvez passer par le Finder pour réorganiser vos corrections et jeux d’étalonnage enregistrés, en créant de nouveaux sous-répertoires et en les y plaçant. Lorsque vous déplacez un jeu d’étalonnage enregistré d’un répertoire à un autre, il est important de veiller à copier sa vignette .lsi et son fichier .pcc, .scc ou .cfx (qui contient les informations réelles de ce jeu d’étalonnage). Si vous réorganisez des jeux d’étalonnage et des corrections enregistrés dans le Finder alors que Color est ouvert, vous devez actualiser manuellement le contenu des chutiers de jeux d’étalonnage et de corrections que vous avez modifiés, afin qu’ils affichent correctement leur contenu actuel. Pour mettre à jour le contenu du chutier de corrections actuellement affiché : m Cliquez sur le bouton Home. Le contenu du chutier de corrections est mis à jour pour refléter l’état actuel du Finder. Déplacement de corrections et de jeux d’étalonnage enregistrés vers d’autres ordinateurs Si vous disposez de corrections et de jeux d’étalonnage enregistrés que vous souhaitez déplacer vers des installations de Color situées sur d’autres ordinateurs, il vous suffit de copier les dossiers décrits à la page 80 sur un support de stockage mobile, puis de copier leur contenu dans les dossiers correspondants sur les nouveaux systèmes. À la prochaine ouverture de Color, les corrections et jeux d’étalonnage enregistrés apparaissent comme à l’accoutumée.82 Chapitre 3 Utilisation de l’interface Color Utilisation de Color avec un ou deux écrans Vous avez la possibilité d’utiliser Color dans des configurations avec un seul ou deux écrans. La majorité des utilisateurs optent pour le mode double affichage de Color en recourant à deux écrans, car ce mode permet de bénéficier d’une surface utile plus importante, de prévisualisations offrant une plus grande flexibilité et des instruments vidéo affichés par la fenêtre Scopes sur le deuxième écran. Vous pouvez toutefois opter pour le mode d’affichage simple de Color et exploiter toutes les fonctionnalités Color alors que vous ne disposez pas de deuxième écran. Ce mode est recommandé uniquement dans les cas où vous disposez d’un écran Cinéma de 30 pouces. Remarque : Color exige une résolution minimale de 1 680 x 1 050 aussi bien en mode double affichage que simple. Pour passer du mode d’affichage simple au mode double affichage (et inversement), effectuez l’une des opérations suivantes : m Cliquez sur Window > Single Display Mode ou Dual Display Mode. m Appuyez simultanément sur Maj + 0 pour basculer d’un mode à l’autre. Vous devez quitter Color et le relancer pour que cette modification entre en vigueur.4 83 4 Importation et gestion de projets et de données Color vous propose des outils puissants pour la gestion des projets et des données lors de votre travail. Comme il est indiqué dans le chapitre 2, « Flux de production de l’étalonnage », à la page 39, il existe trois méthodes principales pour importer un projet et ses données. Vous pouvez soit importer (ou envoyer) les données d’un projet XML depuis Final Cut Pro, soit importer une liste de points de montage (EDL, Edit Decision List) et reconnecter ses données, soit insérer manuellement les données elles-mêmes directement dans le plan de montage chronologique (Timeline). Ce chapitre décrit les commandes et les méthodes qui permettent de créer et à d’enregistrer des projets, d’importer un projet et ses données depuis d’autres applications et de gérer un projet dans Color. Les rubriques suivantes seront abordées au cours de ce chapitre :  Création et ouverture de projets (p. 84)  Enregistrement de projets et d’archives (p. 85)  Transfert de projets entre Final Cut Pro et Color (p. 89)  Reconformation de projets (p. 94)  Importation de listes de montage (EDL) (p. 95)  Exportation de listes EDL (p. 97)  Rétablissement du lien avec les données QuickTime (p. 98)  Importation de données directement dans le plan de montage (p. 99)  Formats de données compatibles (p. 99)  Conversion de séquences d’images Cineon et DPX au format QuickTime (p. 104)  Importation des corrections de couleurs (p. 105)  Exportation d’images JPEG (p. 106)84 Chapitre 4 Importation et gestion de projets et de données Création et ouverture de projets Lorsque vous exécutez Color pour la première fois, une zone de dialogue apparaît pour vous permettre d’ouvrir un projet existant ou d’en créer un nouveau. Pour créer un nouveau projet la première fois que vous ouvrez Color : 1 Ouvrez Color. 2 Lorsque la fenêtre Projects s’ouvre, choisissez un emplacement pour le projet en question. Lorsqu’elle s’ouvre, la zone de dialogue Create Project indique par défaut le répertoire par défaut des projets (Default Project Directory) que vous avez sélectionné la première fois que vous avez exécuté Color. 3 Saisissez un nom pour le projet dans le champ File, puis cliquez sur Save. Un nouveau projet est créé dans le répertoire que vous avez choisi et il s’ouvre automatiquement. Pour créer un nouveau projet à un moment autre que lors de l’ouverture de Color : 1 Au besoin, enregistrez le projet actuel. En effet, il n’est pas possible d’avoir plusieurs projets ouverts en même temps dans Color, si bien que la création d’un nouveau projet entraînera la fermeture de celui qui est ouvert. 2 Choisissez File > New (Commande + N). 3 Dans la zone de dialogue Create Project, choisissez un nom et un emplacement pour le projet, puis cliquez sur Save. Un projet vierge prêt à l’emploi s’affiche. Pour ouvrir un projet existant, effectuez l’une des opérations suivantes : m Dans le Finder, double-cliquez sur un fichier de projet Color. m Choisissez File > Open (Commande + O), sélectionnez un projet dans la fenêtre Projects, puis cliquez sur Open. Il n’est pas possible d’avoir plusieurs projets ouverts en même temps dans Color. En conséquence, l’ouverture d’un deuxième projet entraîne la fermeture de celui qui se trouve déjà ouvert.Chapitre 4 Importation et gestion de projets et de données 85 Enregistrement de projets et d’archives Le processus fondamental d’enregistrement de fichiers a été divisé en deux tâches : enregistrement des mises à jour dans le fichier de projet même et enregistrement des archives de ce dernier. L’enregistrement d’un projet s’effectue de la même façon dans Color que dans toute autre application que vous avez pu utiliser auparavant. Et comme dans toute autre application, vous devriez enregistrer presque dès le début et fréquemment au cours de votre travail. Pour enregistrer un projet : m Choisissez File > Save (Commande + S). Remarque : chaque fois que vous enregistrez un projet manuellement, une archive est également automatiquement enregistrée avec un nom de fichier formé par l’heure et la date de sa création. Pour rétablir le projet à son dernier état enregistré : m Choisissez File > Revert (Commande + R). Enregistrement et ouverture d’archives Une archive est un double comprimé du projet qui est stocké à l’intérieur même du paquet du projet. À des fins d’efficacité, le fichier d’archives est dénué de la vignette et des fichiers image du magasin d’images fixes (Still Store) dont dispose la version complète du projet, et seuls sont enregistrés l’état du fichier de projet interne, le plan de montage (Timeline), les réglages de plans, les jeux d’étalonnage, les corrections, les images clés et les réglages du Pan and Scan, qui sont faciles à comprimer et qui n’occupent que peu d’espace. Chaque fois que vous enregistrez votre projet manuellement, une archive est automatiquement créée, à laquelle un nom composé de l’heure et de la date de l’enregistrement est attribué. Si vous souhaitez enregistrer une archive de votre projet lorsque celui-ci se trouve dans un état particulier et lui attribuer un nom qui permettra de l’identifier plus facilement, vous pouvez utiliser la commande Save Archive As.86 Chapitre 4 Importation et gestion de projets et de données Pour enregistrer une archive du projet en lui attribuant un nom particulier : 1 Effectuez l’une des opérations suivantes :  Choisissez File > Save Archive As.  Appuyez sur Commande + Option + S. 2 Saisissez un nom dans le champ Archive Name, puis cliquez sur Archive. Le nombre d’archives que vous pouvez enregistrer est illimité, de sorte que la liste d’archives peut devenir assez longue. Les archives sont comprimées à la fois à l’aide de la compression .tar et de la compression .gzip (le résultat étant une archive de distribution appelée « tarball » en anglais, littéralement « boule de goudron ») afin de n’occuper que peu d’espace. Tous les fichiers d’archives d’un projet particulier sont enregistrés dans le sous-répertoire Archives à l’intérieur du paquet de ce projet. Si, par la suite, un problème quelconque survenait en ce qui concerne les réglages de votre fichier de projet ou si vous souhaitez revenir à l’état du projet tel qu’il a été archivé à un moment antérieur, vous avez la possibilité de charger l’un des fichiers d’archives. Pour ouvrir une archive : 1 Choisissez File > Load Archive (Commande + Option + O). 2 Dans la fenêtre Load Archive, sélectionnez une archive à ouvrir, puis cliquez sur Load Archive. L’ouverture d’une archive provoque l’écrasement de l’état actuel du projet qui sera remplacé par celui de l’archive chargée. Enregistrement automatique Lorsqu’il est activé, le mécanisme d’enregistrement automatique de Color a pour effet d’enregistrer le projet actuel selon une fréquence dont l’intervalle est défini par le paramètre Auto Save Time (Minutes) dans l’onglet User Prefs du studio Setup. Lorsqu’un projet est automatiquement enregistré, aucune archive n’est créée afin d’éviter que votre liste d’archives ne comporte un nombre excessif d’entrées. Par défaut, l’enregistrement automatique est activé et l’intervalle est défini à 5 minutes. Pour en savoir plus, consultez la section « Réglages d’enregistrement automatique » à la page 131.Chapitre 4 Importation et gestion de projets et de données 87 Qu’est-ce qu’un projet Color ? Les seuls plans qui se trouvent dans votre projet sont ceux qui figurent dans le plan de montage (et qui apparaissent également dans le navigateur de plans). Les projetsColor ne contiennent qu’une seule séquence de plans. En outre, les projets Color, d’un point de vue de l’organisation, ne tiennent absolument pas compte des plans qui ne se trouvent pas dans le plan de montage. Par conséquent, ils ne contiennent pas de données non utilisées.88 Chapitre 4 Importation et gestion de projets et de données Contenu des projets Color Les projets Color sont en fait des paquets. À l’intérieur de chaque paquet de projet Color se trouve une série hiérarchique de répertoires qui contiennent chacun des composants particuliers appartenant à ce projet, à savoir des fichiers XML ou des fichiers image. Il est possible d’ouvrir un paquet Color à l’aide de la commande Show Package Contents du Finder. Cette section présente la structure de répertoire et le contenu de ces paquets dans leurs grandes lignes.  Répertoire Archives : ce répertoire contient toutes les archives enregistrées du projet concerné. Chaque archive est comprimée à la fois à l’aide de la compression .tar et de la compression .gzip (le résultat étant une archive de distribution appelée « tarball » en anglais, littéralement « boule de goudron ») et est identifiée par l’extension .tgz.  Fichier .Isi : il s’agit d’un fichier image qui contient l’image sur laquelle se trouvait la tête de lecture la dernière fois que vous avez enregistré le projet.  Fichier .pdl : il s’agit du fichier de projet XML qui contient toutes les informations organisant les plans, le contrôle du temps et les jeux d’étalonnage utilisés pour le projet concerné.  Répertoire Shots : à chaque plan qui se trouve dans le plan de montage de votre projet correspond un sous-répertoire à l’intérieur de ce répertoire. Chaque sousrépertoire contient un ou plusieurs des éléments suivants :  Sous-répertoires Grade1 (à 4) : ces répertoires contiennent tous les fichiers de corrections associés au jeu en question.  Fichier NomDuPlan.lsi : ce fichier correspond à la vignette du plan affiché dans plan de montage.  Fichier NomDuPlan.si : ce fichier contient le nom du plan, le chemin d’accès aux données et les informations relatives au contrôle du temps.  Nom_Jeu_étalonnage.date.pcc : description des corrections primaires.  Nom_étalonnage.date.scc : description des corrections secondaires.  Nom_Jeu_étalonnage.date.cfx : description des corrections relatives aux effets de couleur.  Sous-répertoire PanAndScan : ce répertoire contient un fichier .kfd dans lequel sont stockées les données des images clés et un fichier .pns dans lequel se trouvent les données relatives au Pan and Scan.  Fichier shot_notes.txt : s’il existe une note pour le plan concerné, elle est enregistrée dans ce fichier.  Répertoire StillStore : ce répertoire contient toutes les images du magasin d’images fixes (Still Store) que vous avez enregistrées à l’intérieur du projet en question en tant que références. À chaque référence correspondent deux fichiers, un fichier .lsi qui constitue la vignette de l’image et un fichier .sri qui est l’image en pleine résolution (enregistrée au format d’image DPX). Important : il n’est pas recommandé de modifier le contenu des fichiers de projet Color à moins que vous ne sachiez exactement ce que vous faites. Les modifications manuelles pourraient donner lieu à des problèmes inattendus.Chapitre 4 Importation et gestion de projets et de données 89 Transfert de projets entre Final Cut Pro et Color L’une des méthodes les plus simples pour importer un projet consiste à envoyer une séquence Final Cut Pro à Color en utilisant l’un des deux flux de production XML. Cette section explique comment préparer vos projets dans Final Cut Pro et comment les envoyer au format XML. Pour obtenir des informations plus générales sur les flux de production en boucle de Final Cut Pro à Color, reportez-vous à la section « Flux de production pour la finalisation de la vidéo à l’aide de Final Cut Pro » à la page 44. Avant d’exporter votre projet Final Cut Pro Que vous travailliez sur votre propre projet ou que vous prépariez le projet d’un client pour une séance d’étalonnage Color, vous devriez consacrer un certain temps à la pré- paration de la séquence Final Cut Pro que vous allez envoyer pour garantir des résultats optimaux et le meilleur déroulement possible du flux de production. Voici quelques étapes recommandées. Déplacez les plans en cours de compositing jusque sur la piste V1 du plan de montage (Timeline) Les monteurs utilisent souvent plusieurs pistes vidéo pour assembler des scènes et tirent donc parti des règles dont dispose Final Cut Pro concernant l’ordre des pistes pour savoir quels plans sont actuellement visibles. Il est généralement beaucoup plus rapide et plus facile de naviguer et de travailler sur un projet dont tous les plans se trouvent sur une seule piste vidéo. Il est recommandé de déplacer jusque sur la piste V1 tous les plans vidéo qui ne sont pas superposés en raison d’une opération de compositing. Divisez votre projet en bobines Les projets qui comptent un grand nombre de points de montage peuvent ralentir vos performances dans Color. L’expérience montre qu’en règle générale, les projets envoyés à Color ne devraient pas comprendre plus de 200 points de montage si l’on souhaite obtenir des performances optimales. Pour maximiser les performances lors de votre travail, vous pouvez envisager de découper vos projets longs en bobines d’environ 22 minutes avant de les envoyer à Color. Cette longueur est arbitraire, mais 22 minutes, c’est la longueur standard d’une bobine de film et elle convient bien en l’espèce, sauf si votre projet comporte de nombreuses coupes, auquel cas vous pouvez envisager de le diviser en segments plus courts (certains monteurs préfèrent travailler sur des segments de 10 minutes seulement). Chaque segment devrait commencer et se terminer par un point de coupure adéquat, tel que le point d’entrée du premier plan ou le point de sortie du dernier plan d’une scène, ou encore la fin de la dernière image d’un fondu au noir. Important : veillez à ne pas omettre accidentellement des images entre deux bobines lorsque vous créez ces dernières.90 Chapitre 4 Importation et gestion de projets et de données Exportez des fichiers QuickTime autonomes des plans avec effets que vous voulez étalonner. Color ne peut ni afficher ni traiter les types de plans mentionnés ci-après.  Générateurs  Projets Motion  projets LiveType  Images figées (créées à partir d’un plan depuis Final Cut Pro)  Fichiers d’image fixe (tels que les fichiers .tiff, .jpg, ou .bmp) Si vous souhaitez étalonner ce type de plans dans Color, vous devez tout d’abord les exporter sous la forme de fichiers QuickTime autonomes, puis les monter à nouveau dans le plan de montage de votre séquence Final Cut Pro afin de remplacer les effets originaux avant d’envoyer la séquence à Color. Si aucun étalonnage de ces effets dans Color n’est nécessaire, il vous suffit alors d’envoyer le projet avec ces plans dans leur format actuel et d’ignorer tous les vides qui apparaissent dans Color à la place de ces types de plans. Même s’ils n’apparaissent pas dans Color, ces effets sont préservés dans le code XML du projet Color et ils seront à nouveau visibles lorsque vous renverrez le projet à Final Cut Pro. ? Conseil : avant d’exporter un projet depuis Final Cut Pro, vous pouvez aussi exporter une seule séquence QuickTime autonome correspondant à l’intégralité du programme, puis la réimporter dans votre projet et la superposer à tous les autres plans de votre séquence modifiée. Ensuite, lorsque vous exportez le projet vers Color, vous pouvez activer et désactiver cette version de « référence » du programme à l’aide de la visibilité des pistes chaque fois que vous souhaitez examiner les effets off line ou les corrections de couleurs créés lors du montage off line. Gérez les données de votre projet Si vous envoyez un projet Final Cut Pro à une suite Color qui se trouve dans une autre installation, il se peut que vous souhaitiez supprimer les données non utilisées pour économiser de l’espace disque (notamment si vous comptez recapturer des données sans compression) et pour regrouper toutes les données source utilisées par votre projet dans un seul répertoire afin de faciliter leur transport et le rétablissement des liens. Il s’agit là d’une mesure utile à prendre avant de recapturer vos données. Recapturez les données off line à une qualité on line Si le montage du projet a été effectué avec une résolution off line, vous devez recapturer toutes les données source à la qualité disponible la plus haute possible. Assurez-vous de choisir un codec haute qualité, c’est-à-dire soit le codec natif avec lequel les images source ont été enregistrées, soit l’un des codecs sans compression pris en charge. Pour en savoir plus sur les codecs pris en charge par Color, reportez-vous à la section « Formats de données compatibles » à la page 99.Chapitre 4 Importation et gestion de projets et de données 91 Important : si vous recapturez des plans vidéo enregistrés à l’origine à un format Y´CB CR , assurez-vous que le codec dont vous vous servez pour la recapture et les méthodes d’exportation que vous utilisez pour l’exportation ou le regroupement de vos données ne bloquent pas les composants super-blanc et haute chrominance des données originales non étalonnées. Il est généralement préférable de corriger ce type de plans dans Color plutôt que de bloquer ces niveaux à l’avance et de risquer de perdre ainsi des données d’image importantes. Utilisation de la commande Send to Color de Final Cut Pro Si Final Cut Pro et Color sont installés sur le même ordinateur, vous pouvez vous servir de la commande Send to Color de Final Cut Pro pour transférer automatiquement votre séquence à Color. Pour envoyer une séquence de Final Cut Pro à Color : 1 Ouvrez le projet dans Final Cut Pro. 2 Sélectionnez une séquence dans le Navigateur pour l’envoyer dans son intégralité. 3 Effectuez l’une des opérations suivantes :  Choisissez Fichier > Envoyer à > Color.  Cliquez sur la sélection tout en maintenant la touche Contrôle enfoncée, puis choisissez Send To > Color dans le menu contextuel. 4 Donnez un nom au projet à créer dans Color, puis cliquez sur OK. Un nouveau projet Color est automatiquement créé dans le répertoire par défaut des projets spécifié dans User Preferences. Les plans qui apparaissent dans le plan de montage devraient correspondre à la séquence Final Cut Pro originale envoyée. Importation d’un fichier XML dans Color Si vous devez faire parvenir une séquenceFinal Cut Pro et ses données à une autre installation pour qu’elle y soit étalonnée à l’aide de Color, vous pouvez aussi vous servir de la commande Export XML de Final Cut Pro pour l’exporter. Pour en savoir plus sur l’exportation de fichiers XML depuis Final Cut Pro, reportez-vous au Manuel de l’utilisateur de Final Cut Pro. Il vous suffit ensuite d’utiliser la commande Import XML de Color pour convertir le fichier XML en un projet Color. Pour aller plus vite, vous pouvez copier le fichier XML que vous souhaitez importer dans le répertoire par défaut des projets spécifié parColor.92 Chapitre 4 Importation et gestion de projets et de données Pour importer un fichier XML dans Color : 1 Effectuez l’une des opérations suivantes :  Ouvrez Color.  Choisissez File > Import > XML. 2 Dans la fenêtre Projects, choisissez un fichier XML. 3 Cliquez sur Load. Un nouveau projet Color est automatiquement créé dans le répertoire par défaut des projets spécifié dans User Preferences. Les plans qui apparaissent dans le plan de montage devraient correspondre à la séquence Final Cut Pro originale exportée. Renvoi du projet à Final Cut Pro Si vous effectuez une conversion en boucle entre Final Cut Pro et Color, vous devrez rendre les données étalonnées dans une application autre que Color (ce sujet est traité dans le chapitre 17, « File d’attente de rendu », à la page 361), puis exporter à nouveau le projet Color vers Final Cut Pro. Important : les projets qui ont recours à des séquences d’images Cineon ou DPX ne peuvent pas être renvoyés à Final Cut Pro. Pour utiliser la commande Send to Final Cut Pro de Color : 1 Examinez le plan de montage et choisissez le jeu d’étalonnage à utiliser pour chacun des plans de votre projet. Étant donné que chaque plan de votre programme peut disposer de jusqu’à quatre versions des données rendues séparément dans le répertoire de rendu, les données rendues auxquelles est lié chaque plan du fichier de projet XML exporté sont déterminées par le jeu d’étalonnage actuellement sélectionné pour le plan en question. N’effectuez pas un nouveau montage des projets XML importés dans Color Par défaut, toutes les pistes vidéo des projets XML importés sont verrouillées. Lorsque vous étalonnez un projet, il est important d’éviter de déverrouiller ces pistes ou d’apporter des modifications aux plans dans le plan de montage de Color si vous avez l’intention de renvoyer le projet à Final Cut Pro sans problème. Si des modifications sont nécessaires, effectuez un nouveau montage de la séquence originale dans Final Cut Pro, exportez un nouveau fichier XML, puis servez-vous de la commande Reconform pour mettre à jour le plan de montage de Color de sorte qu’il tienne compte des modifications.Chapitre 4 Importation et gestion de projets et de données 93 2 Choisissez Fichier > Envoyer à > Final Cut Pro. Remarque : si vous n’avez pas rendu chaque plan dans Color à ce stade, ceci vous sera signalé. Il est judicieux de cliquer sur No pour annuler l’opération et rendre tous vos plans avant de renvoyer le projet à Final Cut Pro. Une nouvelle séquence est automatiquement créée et ajoutée au projet d’origine Final Cut Pro duquel le programme est issu. Toutefois, si le projet Final Cut Pro depuis lequel le programme a été envoyé a été renommé, ou s’il a été déplacé à un autre emplacement, alors un nouveau projet Final Cut Pro est créé pour accueillir la nouvelle séquence. Dans un cas comme dans l’autre, chaque plan de la nouvelle séquence est automatiquement lié aux données étalonnées que vous avez rendues dans une application autre que Color. Exportation de fichiers XML en vue de leur importation dans Final Cut Pro Si vous exportez un projet destiné à une personne qui se trouve dans une autre installation, vous devrez exporter une version XML de votre projet Color. Pour réexporter un fichier XML vers Final Cut Pro en vue de créer un fichier de sortie final : 1 Examinez le plan de montage et choisissez le jeu d’étalonnage à utiliser pour chacun des plans de votre projet. Étant donné que chaque plan de votre programme peut disposer de jusqu’à quatre versions des données rendues séparément dans le répertoire de rendu, les données rendues auxquelles est lié chaque plan du fichier de projet XML exporté sont déterminées par le jeu d’étalonnage actuellement sélectionné pour le plan en question. 2 Choisissez File > Export > XML. 3 Lorsque la zone de dialogue Export XML Options apparaît, cliquez sur Browse. a Dans le champ File de la zone de dialogue Export XML File, saisissez un nom pour le fichier XML que vous exportez. b Choisissez un emplacement pour le fichier, puis cliquez sur Save. 4 Cliquez sur OK. Un nouveau fichier de projet XML est créé, et les plans qu’il contient sont automatiquement liés au répertoire de données spécifié dans l’onglet des réglages du projet (Project Settings) du studio Setup. Remarque : si vous n’avez pas encore exporté les données rendues de votre projet Color, le fichier XML est lié aux données du projet original.94 Chapitre 4 Importation et gestion de projets et de données Reconformation de projets Si votre projet a été importé à partir d’un fichier XML ou EDL généré par Final Cut Pro, vous avez la possibilité de reconformer automatiquement votre projet Color de sorte qu’il tienne compte de toutes les modifications apportées à la séquence Final Cut Pro originale, ce qui annule la nécessité de nombreuses heures d’un travail fastidieux. Pour reconformer un projet Color XML : 1 Exportez un fichier XML mis à jour correspondant à la séquence Final Cut Pro remontée depuis Final Cut Pro. 2 Ouvrez le projet Color que vous devez mettre à jour, puis choisissez File > Reconform. 3 Servez-vous de la zone de dialogue Reconform XML pour sélectionner le fichier XML exporté au cours de l’étape 1, puis cliquez sur Load. Une mise à jour des plans qui se trouvent dans le plan de montage devrait se produire pour refléter l’importation des modifications. Par ailleurs, l’état de chacun des plans sur lesquels l’opération de reconformation a eu une incidence est mis à jour dans la colonne Reconform du navigateur de plans. Vous pouvez aussi reconformer des projets qui ont été importés à l’origine à l’aide de listes de montage (EDL). Pour reconformer un projet Color à base de listes de points de montage : 1 Exportez un fichier EDL mis à jour correspondant à la séquence remontée depuis l’application d’origine. 2 Ouvrez le projet Color que vous devez mettre à jour, puis choisissez File > Reconform. 3 Servez-vous de la zone de dialogue Reconform pour sélectionner le fichier EDL exporté au cours de l’étape 1, puis cliquez sur Load. Tout comme dans le cas de la reconformation d’un projet XML, l’état de chacun des plans modifiés par l’opération de reconformation est mis à jour dans la colonne Reconform du navigateur de plans du studio Setup. Ceci vous permet d’identifier les plans qui peuvent nécessiter un réajustement à cause de ces modifications. Vous pouvez les trier par type afin de naviguer rapidement. Pour en savoir plus, consultez la section « En-têtes de colonnes » à la page 111.Chapitre 4 Importation et gestion de projets et de données 95 Importation de listes de montage (EDL) Vous pouvez importer une liste de montage directement dans Color. Il existe deux bonnes raisons de se servir des listes de montage plutôt que des fichiers XML :  Pour corriger les couleurs d’un fichier vidéo original : vous pouvez effectuer une correction des couleurs s’approchant d’un flux d’étalonnage de bande à bande en important un liste de montage et en vous servant de l’option Use As Cut List pour établir un lien entre celle-ci et le fichier de données original qui lui correspond (c’est-à-dire un fichier .mov QuickTime ou une séquence d’images DPX). Remarque : si vous allez procéder de la sorte, il est préférable de travailler avec des données sans compression et d’utiliser des bobines de 20 200 minutes ou moins pour éviter les éventuels goulots d’étranglement et baisses de performances résultant de la présence de plus de 200 points de montage dans le plan de montage.  Pour importer un projet numérique intermédiaire au format 2K : les listes de montage sont aussi le seul moyen d’importer un projet dans un flux de production numérique intermédiaire au format 2K lorsque vous liez le projet en question à des séquences d’images DPX résultant de la numérisation de films. Pour en savoir plus, consultez la section « Utilisation de Color dans un flux de production intermédiaire numérique » à la page 57. Color peut importer les formats de liste de montage (EDL) suivants :  Générique  CMX 340  CMX 3600  GVG 4 Plus Pour importer plus rapidement une liste de montage, vous pouvez copier tous les fichiers EDL et les coller dans le répertoire par défaut des projets spécifié par Color. Pour importer une liste de montage : 1 Effectuez l’une des opérations suivantes :  Ouvrez Color.  Choisissez Importer dans le menu Fichier, puis choisissez EDL. 2 Dans la fenêtre Projects, choisissez un fichier EDL.96 Chapitre 4 Importation et gestion de projets et de données La zone de dialogue EDL Import Settings s’ouvre avec comme destination par défaut le répertoire par défaut des projets spécifié dans l’onglet User Prefs du studio Setup. 3 Dans les listes et les menus locaux disponibles, choisissez les propriétés du projet suivantes :  EDL Format : format du fichier EDL que vous importez.  Project Frame Rate : fréquence d’images du projet Color que vous êtes sur le point de créer. Dans la plupart des cas, cette fréquence doit être la même que celle de la liste de montage que vous importez.  EDL Frame Rate : choisissez la fréquence d’images de la liste de montage que vous importez. Si la fréquence d’images de la liste de montage est de 29,97 ips mais que vous avez défini la fréquence d’images du projet (Project Frame Rate) à 24 ips, Color effectue automatiquement les conversions nécessaires pour supprimer le pulldown 3:2 des plans du projet. Remarque : ceci a l’avantage de permettre le traitement des flux de production dont la liste de montage importée a été générée grâce au montage off line d’un projet créé à partir d’une vidéo à 29,97 ips obtenue par télécinéma, mais dans lequel les séquences d’images numérisées au format 2K résultantes ont été réimportées à la fréquence d’images native du film, c’est-à-dire 24 ips.  Source Frame Rate : fréquence d’images des données source qui se trouvent sur le disque et avec lesquelles vous établissez le lien.  Use As Cut List : cette case permet de spécifier que la liste de montage devrait être utilisée comme liste de conformation pour « marquer » un fichier vidéo original auquel elle correspond.Chapitre 4 Importation et gestion de projets et de données 97  Project Resolution : résolution du projet Color que vous créez. En général, cette résolution doit être la même que celle des données source avec lesquelles vous établissez le lien.  Width : largeur de la taille d’image sélectionnée.  Height : hauteur de la taille d’image sélectionnée.  Source Directory : le répertoire spécifié ici définit le parseur de la liste de montage au chemin exact qui permet d’accéder à l’emplacement dans lequel se trouvent les fichiers numérisés DPX ou les fichiers QuickTime associés au projet. 4 Vous devez spécifier l’emplacement des données source auxquelles le projet doit être lié en procédant de l’une des manières suivantes :  Dans le champ Source Directory, saisissez le chemin d’accès au répertoire.  Cliquez sur Browse, sélectionnez un répertoire à l’aide de la zone de dialogue Source Directory, puis cliquez sur Choose. Remarque : le répertoire source que vous choisissez peut être un volume local, un réseau de stockage SAN ou un réseau local (LAN) dont les performances sont suffisantes pour satisfaire le débit des données du projet. 5 Lorsque vous avez terminé de sélectionner tous les réglages nécessaires, cliquez sur Import. Un nouveau projet est créé, et la liste de montage est convertie en une séquence de plans qui apparaissent dans le plan de montage. Ces plans devraient correspondre aux plans de montage du projet original. Exportation de listes EDL Vous pouvez exporter les listes de montage vers des applications autres que Color, ce qui peut constituer une bonne méthode pour renvoyer des projets vers d’autres applications de montage. Si vous exportez une liste de montage, ce sera l’application dans laquelle la liste de montage sera importée qui devra se charger de rétablir correctement le lien aux données rendues hors de Color. Remarque : pour faciliter le rétablissement du lien aux données, le chemin d’accès à ces dernières est écrit dans la colonne de commentaires de la liste de montage exportée. Toutefois, toutes les applications de montage ne prennent pas en charge cette convention. Pour exporter une liste de montage : 1 Choisissez File > Export > EDL. 2 Lorsque la zone de dialogue Export EDL apparaît, cliquez sur Browse. 3 Dans le champ File de la zone de dialogue Export EDL File, saisissez un nom pour la liste de montage que vous exportez, puis choisissez un emplacement pour le fichier et cliquez sur Save.98 Chapitre 4 Importation et gestion de projets et de données 4 Si vous n’avez modifié aucun des noms des plans lorsque vous avez exporté les données rendues finales pour ce projet, activez « Use Original Media Name ». 5 Cliquez sur OK. Un nouveau fichier EDL est créé et les plans qu’il contient sont liés au répertoire de données que vous avez spécifié. Rétablissement du lien avec les données QuickTime Au besoin, vous pouvez rétablir manuellement le lien des données à un projet Color. Lorsque vous utilisez la commande de rétablissement de lien (Relink), Color relie chaque plan qui se trouve dans le plan de montage au fichier de données qui lui correspond en fonction des critères suivants :  timecode initial  nom de fichier Si aucun de ces critères ne correspond, vous recevez l’avertissement suivant : Si vous cliquez sur Yes et établissez le lien avec un autre fichier, les valeurs originales de la source à l’intérieur (Source In) et de la source à l’extérieur (Source Out) de ce plan seront écrasées par celles du nouveau plan. Pour rétablir le lien de chaque plan figurant dans le plan de montage : 1 Choisissez Relier les données dans le menu Fichier. 2 Dans la zone de dialogue Choose Media Path, sélectionnez le répertoire dans lequel les données du projet sont enregistrées, puis cliquez sur Choose. Si ce répertoire contient toutes les données utilisées par le projet, le lien de chaque plan figurant dans le plan de montage est automatiquement rétabli. S’il manque toujours des fichiers de données, vous recevrez un avertissement et ces plans resteront déconnectés. Vous devrez à nouveau utiliser la commande Reconnect Media pour rétablir leurs liens. Pour rétablir le lien d’un seul plan : 1 Cliquez sur un plan se trouvant dans le plan de montage tout en maintenant la touche Contrôle enfoncée ou cliquez sur ce plan avec le bouton droit de la souris, puis, dans le menu contextuel, choisissez Relink Media. 2 Dans la zone de dialogue Select Media To Relink, choisissez un plan dont le lien doit être rétabli, puis cliquez sur Load.Chapitre 4 Importation et gestion de projets et de données 99 Si le nom et le timecode de début du fichier de données correspondent à ceux du plan qui se trouve dans le plan de montage, le lien aux données est rétabli. Importation de données directement dans le plan de montage Vous avez également la possibilité d’importer les fichiers de données directement dans le plan de montage, bien que ceci ne soit généralement utile que lors des cours de formation ou pour visionner les rushes numériques. Pour importer un plan dans le plan de montage : 1 Cliquez sur l’onglet Setup ou choisissez File > Import > Clip qui a pour effet d’ouvrir l’onglet Setup. 2 Servez vous des contrôles de navigation dans la partie supérieure gauche du Navigateur pour rechercher le répertoire contenant les données que vous souhaitez importer. 3 Cliquez sur le fichier de données que vous souhaitez importer dans le plan de montage pour le sélectionner. 4 Effectuez l’une des opérations suivantes :  Dans le Navigateur, double-cliquez sur le plan pour l’insérer dans le plan de montage à l’endroit où se trouve la tête de lecture.  Faites glisser le plan directement dans le plan de montage.  Cliquez sur le bouton Import qui se trouve en dessous de l’aperçu du plan pour insé- rer ce dernier dans le plan de montage à l’endroit où se trouve la tête de lecture. Une fois les plans placés dans le plan de montage, enregistrez votre projet. Formats de données compatibles Color est compatible avec une grande variété de fichiers QuickTime et de séquences d’images.100 Chapitre 4 Importation et gestion de projets et de données Codecs QuickTime compatibles pour l’importation La liste des codecs pris en charge par Color se limite aux codecs de qualité élevée adaptés à l’échange et au mastering de données. Ces codecs se répartissent en trois catégories :  Les codecs QuickTime qui sont pris en charge par Color lors de l’importation de projets et de données.  Un sous-ensemble des codecs qui peuvent être utilisés pour rendre votre copie finale, si vous avez sélectionné l’option Original Format dans le menu contextuel Export Codec de l’onglet Prjct Settings tab du studio Setup. L’option Original Format n’est disponible que si vous avez utilisé la commande « Send to Color » dans Final Cut Pro, ou si vous avez importé un fichier Final Cut Proqui a été exporté sous forme de fichier XML.  Par défaut, seuls quatre codecs sont disponibles dans le menu contextuel Export Codec pour convertir vos données sources à un format de qualité supérieure. Il s’agit des codecs Apple ProRes 422 et Apple ProRes 422 (HQ), et des codecs Apple sans compression 8 bits 4:2:2 et Apple sans compression 10 bits 4:2:2. Remarque : si vous avez installé une interface vidéo provenant d’AJA, vous devez voir une option supplémentaire, AJA Kona 10-bit RGB. Pris en charge à l’importation Pris en charge comme format original Pris en charge comme codec d’exportation Animation Non Non Codec intermédiaire Apple Oui Non Pixlet d’Apple Oui Non Apple ProRes 422 (HQ) Oui Oui Apple ProRes 422 (SQ) Oui Oui DVCPRO 50 - NTSC Oui Non DVCPRO 50 - PAL Oui Non DV - PAL Oui Non DV/DVCPRO - NTSC Oui Non DVCPRO - PAL Oui Non DVCPRO HD 1080i50 Oui Non DVCPRO HD 1080i60 Oui Non DVCPRO HD 1080p25 Oui Non DVCPRO HD 1080p30 Oui Non DVCPRO HD 720p50 Oui Non DVCPRO HD 720p60 Oui Non DVCPRO HD 720p Oui Non H.264 Non Non HDV 720p24 Non Non HDV 720p25 Non NonChapitre 4 Importation et gestion de projets et de données 101 Codecs QuickTime tiers compatibles pour l’importation Color prend également en charge les codecs de tiers suivants pour l’importation :  AJA Kona 10 bits Logarithmique RVB  AJA Kona 10 bits RVB Remarque : les codecs AJA Kona ne sont pas installés par QuickTime par défaut. Ils ne peuvent être obtenus qu’auprès d’AJA. HDV 720p30 Non Non HDV 1080p24 Non Non HDV 1080p25 Non Non HDV 1080p30 Non Non HDV 1080i60 Non Non HDV 1080i50 Non Non Photo - JPEG Oui Non MPEG IMX 525/60 (30 Mo/s) Non Non MPEG IMX 525/60 (40 Mo/s) Non Non MPEG IMX 525/60 (50 Mo/s) Non Non MPEG IMX 625/50 (30 Mo/s) Non Non MPEG IMX 625/50 (40 Mo/s) Non Non MPEG IMX 625/50 (50 Mo/s) Non Non Sans compression 8 bits 4:2:2 Oui Oui Sans compression 10 bits 4:2:2 Oui Oui XDCAM HD 1080i50 (35 Mbit/s VBR) Non Non XDCAM HD 1080i60 (35 Mbit/s VBR) Non Non XDCAM HD 1080p24 (35 Mbit/s VBR) Non Non XDCAM HD 1080p25 (35 Mbit/s VBR) Non Non XDCAM HD 1080p30 (35 Mbit/s VBR) Non Non Pris en charge à l’importation Pris en charge comme format original Pris en charge comme codec d’exportation102 Chapitre 4 Importation et gestion de projets et de données Codecs QuickTime compatibles pour la sortie Color sert à créer des images étalonnées de haute qualité qu’il est possible de réimporter dans Final Cut Pro pour générer une sortie sur bande, les convertir au format QuickTime ou les comprimer afin de pouvoir les utiliser dans DVD Studio Pro. C’est la raison pour laquelle la liste des codecs pris en charge pour le rendu dans des applications autres que Color est limitée aux codec haute qualité conçus pour la masterisation et l’échange des données.  Apple ProRes 422 : Codec bas débit avec compression de qualité élevée, pour la capture et la sortie. Il encode la vidéo sur 10 bits par canal avec un sous-échantillonnage de la couleur de 4:2:2. Il fonctionne à un débit binaire variable (VBR) de 35 à 50 Mbit/s, ce qui convient au mastering vidéo en définition standard. Il prend en charge n’importe quelle dimension d’image.  Apple ProRes 422 (HQ) : Version à plus haut débit du codec Apple ProRes 422. Il fonctionne à un débit binaire variable de 145 à 220 Mbit/s, ce qui convient au mastering vidéo en haute définition. Il prend en charge n’importe quelle dimension d’image.  Sans compression 8 bits 4:2:2 : Codec sans aucune compression, avec encodage sur 8 bits par canal et sous-échantillonnage de la chromie à 4:2:2. Il prend en charge n’importe quelle dimension d’image. Il convient au mastering vidéo de n’importe quel format.  Sans compression 10 bits 4:2:2 : Codec sans aucune compression, avec encodage sur 10 bits par canal et sous-échantillonnage de la chromie à 4:2:2. Il prend en charge n’importe quelle dimension d’image. Il convient au mastering vidéo de n’importe quel format. Color prend également en charge le codec de tierce partie suivant pour le rendu :  AJA Kona 10 bits RVB Remarque : les codecs AJA Kona ne sont pas installés par QuickTime par défaut. Ils ne peuvent être obtenus qu’auprès d’AJA. Vous pouvez effectuer le rendu de votre projet dans Color à l’aide d’un de ces codecs de mastering de qualité supérieure, quel que soit le codec ou le niveau de compression utilisé par les données sources. Cela vous permet de mettre en œuvre un flux de production dans le cadre duquel vous importez des données compressées dans Color, puis exportez la sortie étalonnée sous forme de données non compressées avant de renvoyer votre projet à Final Cut Pro. Vous pouvez ainsi économiser de l’espace disque et éviter la multiplication des opérations de rendu. Vous préservez, par ailleurs, la qualité des corrections effectuées à une profondeur de bits élevée lorsque vous effectuez le rendu de vos données de sortie avant de renvoyer votre projet à Final Cut Pro.Chapitre 4 Importation et gestion de projets et de données 103 Formats d’image compatibles Les formats d’image à encodage RVB suivants sont compatibles avec Color pour l’importation des séquences d’images : seuls les formats Cineon et DPX sont pris en charge pour le rendu des séquences d’images.  Cineon (importation et exportation) : format d’image de haute qualité mis au point par Kodak utilisé pour la numérisation, la manipulation et l’impression numériques des images enregistrées initialement sur film. Développé sous la forme d’un format logarithmique 10 bits pour mieux reproduire la plus grande amplitude d’exposition de la pellicule.  DPX (importation et exportation) : le format DXP (Digital Picture eXchange, Échange d’images numériques) est un dérivé du format Cineon. Il est également utilisé pour les flux de production numériques intermédiaires de haute qualité sans compression. Color prend en charge les fichiers image DPX et Cineon logarithmiques 8 bits et 10 bits.  TIFF (importation uniquement) : le format TIFF (Tagged Image File, Fichier image balisé) est un format d’image couramment utilisé sur diverses plates-formes pour les graphismes RVB. Color est compatible avec les séquences TIFF 16 bits. Choix du codec QuickTime à utiliser pour l’exportation Lorsque vous choisissez le codec à utiliser pour effectuer le rendu de la sortie finale, trois points doivent être pris en considération :  Si vous comptez générer la sortie à un format vidéo à haut débit (tel que Betacam SP, Digital Betacam, HDCAM ou HDCAM SR) et si vous recherchez la plus haute qualité vidéo possible, sans considération pour l’espace disque ou la puissance de l’ordinateur, exportez vos données à l’aide du codec Apple sans compression 10 bits 4:2:2.  Si vous comptez générer votre sortie dans un des formats vidéo mentionnés ci-dessus, mais si vous devez recourir à un format compressé pour économiser l’espace disque et favoriser les performances de votre ordinateur, vous pouvez exporter à l’aide des codecs Apple ProRes 422 (définition standard) ou Apple ProRes 422 (HQ) codec (haute définition), qui sont tous deux des codecs 10 bits et 4:2:2.  Si votre système n’est pas configuré pour générer en sortie de la vidéo à un débit aussi élevé, et si votre programme est à un format original compatible avec l’option Original Format du menu contextuel QuickTime Export Codecs de l’onglet Prjct Settings tab du studio Setup, vous pourrez effectuer le rendu avec le codec correspondant au format original de la séquence Final Cut Pro. Si le codec en question n’est pas pris en charge, le menu contextuel QuickTime Export Codecs pré- sente par défaut le codec Apple ProRes 422.104 Chapitre 4 Importation et gestion de projets et de données  JPEG (importation uniquement) : format d’image à haute compression créé par le Joint Photographic Experts Group (Groupe mixte d’experts photographiques). L’ampleur de la compression applicable peut varier. Toutefois, les rapports de compression plus élevés produisent des défauts visuels qui se manifestent sous la forme de blocs de même couleur. On se sert généralement du format JPEG pour les versions off line des séquences d’images, mais dans certains cas (lorsque la compression est minimale), il peut être utilisé dans un flux de production on line. Le format JPEG se limite à l’encodage 8 bits.  JPEG 2000 (importation uniquement) : mis au point en tant que format comprimé de haute qualité à des fins de production et d’archivage, le format JPEG 2000 recourt à la compression par ondelettes qui permet de réduire la taille de l’image tout en évitant les défauts visibles. Parmi ses avantages, on peut citer une plus haute qualité sur le plan visuel malgré des rapports de compression plus élevés, la possibilité de choisir entre des méthodes de compression avec ou sans perte de données, la prise en charge de l’encodage couleur linéaire 8 bits et 16 bits, le contrôle des erreurs et la normalisation des en-têtes de métadonnées pour les espaces colorimétriques et d’autres données. Conversion de séquences d’images Cineon et DPX au format QuickTime Vous pouvez vous servir de Color pour convertir des séquences d’images Cineon et DPX en fichiers QuickTime pour rendre plus faciles divers flux de production.  Si le point de départ de votre projet est constitué par des films numérisés en haute résolution au format 2K à l’aide d’un télécinéma avec stockage sur disques durs, vous pouvez convertir les fichiers ainsi obtenus en fichiers de données QuickTime équivalents de plus faible résolution que vous utiliserez pour le montage off line.  Si les données de votre projet sont déjà au format QuickTime mais que vous souhaitez obtenir une série de séquences d’images Cineon ou DPX, vous pouvez également effectuer cette conversion à une plus faible résolution. Lors de la conversion de séquences d’images Cineon et DPX en vidéo QuickTime haute définition ou définition standard (et vice versa), Color effectue automatiquement tous les conversions nécessaires d’espaces colorimétriques. Les données logarithmiques seront converties en données linéaires et il sera tenu compte des espaces colorimétriques Rec. 701 et 601.Chapitre 4 Importation et gestion de projets et de données 105 Pour convertir des séquences d’images Cineon ou DPX au format QuickTime : 1 Créez un projet vierge. 2 Ouvrez l’onglet Prjct Settings du studio Setup et suivez la procédure ci-dessous : a Cliquez sur Project Render Directory, choisissez un répertoire de rendu pour les données converties, puis cliquez sur Choose. b Dans le menu local Render File Type, choisissez QuickTime. c Dans le menu local Resolution Presets, choisissez une résolution. d Dans le menu local Export Codec, choisissez le codec auquel vous souhaitez convertir les séquences d’images. 3 À l’aide du Navigateur, insérez tous les plans que vous souhaitez convertir dans le plan de montage. 4 Au besoin, étalonnez les plans pour apporter toutes les corrections souhaitées aux données off line que vous générerez. Les données source issues de caméras ou de processus de transfert particuliers disposent parfois d’un ajustement spécifique de la correction des couleurs ou du contraste qui doit absolument leur être appliqué pour que leur affichage soit acceptable lors du montage. Si c’est le cas, vous pouvez vous servir d’une seule correction pour ajuster tous les plans à convertir (ce qui équivaut à un transfert avec une seule lumière). Dans d’autres cas, il sera préférable de corriger chaque plan de manière individuelle avant la conversion afin de disposer de données de la plus haute qualité possible sur le plan visuel pour le processus de montage (ce qui équivaut à un transfert avec la meilleure lumière). ? Conseil : pour appliquer rapidement une seule correction à chacun des plans qui se trouvent dans le plan de montage, étalonnez un plan représentatif dans le studio Primary In, puis cliquez sur Copy to All. 5 Ouvrez la file d’attente de rendu (Render Queue), puis cliquez sur Add All. 6 Cliquez sur Start Render. Tous les plans sont convertis et la sortie rendue est enregistrée dans le répertoire de rendu actuellement spécifié.106 Chapitre 4 Importation et gestion de projets et de données Importation des corrections de couleurs La commande Import > Color Corrections permet d’appliquer les jeux d’étalonnage et les corrections de couleurs utilisées pour les plans d’un fichier de projet à ceux d’un autre projet. Cette commande est destinée à être utilisée sur les projets Color qui reposent sur la même source. Ainsi, si vous importez une nouvelle version d’un projet sur lequel vous avez déjà travaillé, vous pouvez la mettre à jour avec tous les jeux d’étalonnage appliqués au projet précédent. Pour importer les corrections de couleurs d’un projet dans un autre : 1 Ouvrez le projet Color dans lequel vous voulez importer les corrections. 2 Choisissez File > Import > Color Corrections. 3 Dans la zone de dialogue Projects, sélectionnez le projet Color contenant les corrections que vous voulez importer, puis cliquez sur Load. Les plans du projet qui se trouve ouvert sont mis à jour avec les corrections de couleurs de l’autre fichier de projet. Exportation d’images JPEG Color offre également la possibilité d’exporter un fichier JPEG correspondant à l’image sur laquelle se trouve la tête de lecture. Pour exporter un fichier JPEG correspondant à l’image sur laquelle se trouve actuellement la tête de lecture : 1 Placez la tête de lecture sur l’image à exporter. 2 Choisissez Export > JPEG Still. 3 Saisissez un nom dans le champ File, puis sélectionnez un répertoire à l’aide de la zone de dialogue Save Still As. Remarque : cette zone de dialogue indique par défaut le sous-répertoire Still Store à l’intérieur du paquet du projet. 4 Cliquez sur Save. L’image est enregistrée au format JPEG à l’emplacement que vous avez sélectionné.5 107 5 Setup (Configuration) Avant de commencer à travailler sur votre projet, prenez quelques instants pour configurer votre environnement de travail et vos réglages de projet Color dans le studio Setup. Le studio Setup remplit de nombreuses fonctions. Il permet d’importer des fichiers de données, de trier et de gérer les jeux d’étalonnage enregistrés, d’organiser les plans utilisés dans votre programme et d’effectuer des recherches parmi ceux-ci, de choisir le rendu et les réglages de seuils de diffusion de votre projet, ou bien encore d’ajuster les préférences d’utilisateur. Les rubriques suivantes seront abordées au cours de ce chapitre :  Le navigateur de fichiers (p. 108)  Le navigateur de plans (p. 109)  Chutier des jeux d’étalonnage (p. 115)  Onglet Project Settings (p. 115)  Onglet Messages (p. 121)  Onglet User Preferences (p. 122)108 Chapitre 5 Setup (Configuration) Le navigateur de fichiers Le navigateur de fichiers (File Browser), qui occupe la moitié gauche du studio Setup, vous permet de naviguer directement dans la structure de répertoires de votre disque dur. C’est comme si vous disposiez d’un Finder miniature ici même dans le studio Setup. Il est important de ne pas oublier que le navigateur de fichiers n’est pas un chutier. Les fichiers qu’il affiche ne sont pas associés à votre projet Color aussi longtemps que vous ne les faites pas glisser manuellement dans la timeline ou que vous ne rétablissez pas le lien entre les plans d’un projet importé et les fichiers de données associés figurant sur disque au moyen des commandes Relink Media ou Reconnect Media. Par défaut, il affiche le contenu du répertoire de données par défaut au démarrage de Color.  Bouton Up Directory : permet de passer dans le répertoire parent du chemin d’accès en cours.  Bouton Home Directory : permet de passer dans le répertoire de données par défaut actuellement défini. Pour en savoir plus sur l’utilisation du navigateur de fichiers, consultez la section « Importation de données directement dans le plan de montage » à la page 99. Pour plus d’informations sur l’importation des données de projet à partir d’autres applications, consultez le chapitre 4, « Importation et gestion de projets et de données », à la page 83.Chapitre 5 Setup (Configuration) 109 Le navigateur de plans Le navigateur de plans (Shots browser) affiche chaque plan utilisé par le programme en cours qui apparaît dans la timeline. Vous pouvez employer ce chutier pour trier les plans de votre programme au moyen de différents critères, sélectionner un groupe de plans auxquels une opération doit être appliquée ou choisir un plan quel que soit l’endroit où il apparaît dans la timeline.  Bouton Icon View : cliquez sur ce bouton pour afficher sous forme d’icône la zone de plan.  Bouton List View : cliquez sur ce bouton pour afficher sous forme de liste la zone de plan.  Shots Browser : chaque plan de votre projet s’affiche dans ce navigateur, sous la forme d’une vignette ou d’une entrée (dans la vue sous forme de liste). Plan en cours et plans sélectionnés Les icônes ou les entrées du navigateur de plans ont une certaine couleur selon l’état qui leur a été affecté.  Gris foncé : le plan n’est actuellement ni affiché, ni sélectionné.  Gris clair : le plan se trouvant actuellement au niveau de la tête de lecture est considéré comme le plan en cours. Il est mis en évidence en gris dans la timeline globale et celle du navigateur de plans. Le plan en cours est celui qui est affiché et corrigé lorsque les commandes d’un studio sont réglées.  Cyan : vous pouvez sélectionner des plans autres que celui en cours. Les plans sélectionnés sont mis en évidence en cyan dans la timeline et le navigateur de plans. Pour gagner du temps, vous pouvez appliquer en même temps des jeux d’étalonnage et des corrections à plusieurs plans sélectionnés.110 Chapitre 5 Setup (Configuration) Champs Goto et Find Les champs Goto Shot et Find vous permettent d’atteindre et de rechercher des plans spécifiques de votre projet. Ces champs s’affichent dans le navigateur de plans en mode Icône ou Liste. Pour atteindre un plan spécifique : m Saisissez une valeur dans le champ Goto Shot, puis appuyez sur Entrée. La liste défile vers le bas pour afficher le plan correspondant à cette valeur et ce dernier est automatiquement sélectionné. La tête de lecture se place sur la première image du plan dans la timeline. Pour rechercher un plan spécifique : 1 Cliquez sur l’en-tête de la colonne de données dans laquelle vous souhaitez effectuer la recherche. 2 Saisissez un nom dans le champ Search. Dès que vous commencez à taper, le contenu du navigateur de plans est supprimé, à l’exception des éléments correspondant aux critères de recherche. À mesure que vous continuez la saisie, le navigateur de plans est mis à jour de façon dynamique pour afficher la liste actualisée des éléments correspondants. Remarque : toutes les recherches sont effectuées à partir du premier caractère de données de la colonne sélectionnée, de la gauche vers la droite. La fonction de recherche ne distingue pas les majuscules des minuscules. Pour afficher tous les plans après une opération de recherche : m Sélectionnez l’intégralité du texte dans la zone Find, puis appuyez sur Suppr. Tous les plans doivent réapparaître dans le navigateur de plans.Chapitre 5 Setup (Configuration) 111 En-têtes de colonnes Lorsque le navigateur de plans est en mode d’affichage Liste, jusqu’à neuf colonnes d’information sont visibles.  Number : affiche la position d’un plan dans le montage. 1 correspond au premier plan, 2 au deuxième, etc.  Shot Name : nom du plan, basé sur le nom de fichier correspondant.  Colorist : affiche le nom présent dans le champ Colorist des réglages du projet lorsque le plan a été corrigé pour la dernière fois. Cette colonne permet de garder la trace des personnes ayant travaillé sur tel ou tel plan lorsque plusieurs coloristes sont affectés à un projet.  Status : affiche l’état du rendu du plan. Vous pouvez cliquer avec le bouton droit de la souris sur cette colonne pour tout plan sélectionné et choisir un nouvel état dans le menu contextuel. Les cinq états possibles d’un plan sont les suivants :  Queued : le plan a été ajouté à la file d’attente de rendu.  Rendering : un rendu est actuellement appliqué au plan.  Rendered : le rendu a été correctement appliqué au plan.  To Do : le plan n’a pour l’instant été corrigé dans aucun studio.  Aborted : le rendu de ce plan a été arrêté.  Reconform : indique si le plan a été concerné par une opération de reconformation (remise en conformité). Vous pouvez par exemple effectuer un tri en fonction de cette colonne pour identifier et atteindre rapidement les nouveaux plans qui, ayant été ajoutés à la timeline à la suite d’une opération de reconformation, n’ont pas encore été étalonnés. Pour en savoir plus sur la reconformation d’un projet, consultez la section « Reconformation de projets » à la page 94. Les messages de reconformation possibles sont les suivants :  Shorten : le plan a été raccourci.  Content Shift : la durée et la position du plan dans la timeline sont identiques, mais son contenu a été décalé.  Moved : le plan a été déplacé dans la timeline.  Added : le plan a été ajouté au projet.  Time Spent : cette colonne apparaît uniquement lorsque le bouton Show Time figurant sous le navigateur de plans est activé. Elle indique le temps consacré à l’étalonnage de ce plan particulier. Color enregistre le temps que vous avez passé sur chacun des plans de chaque programme de façon à vous permettre de contrôler l’efficacité de votre travail.  Notes : la colonne Notes fournit une interface permettant d’enregistrer et de rappeler les notes textuelles relatives à des plans spécifiques. Les plans associés à des notes s’affichent avec une coche dans cette colonne.112 Chapitre 5 Setup (Configuration) Personnalisation du navigateur de plans Les procédures ci-dessous montrent comment vous pouvez trier et modifier le contenu du navigateur de plans. Pour trier le contenu du navigateur de plan en fonction d’une de ses colonnes : m Cliquez sur l’en-tête d’une colonne pour trier les données en fonction de cette dernière. Les plans sont triés dans l’ordre décroissant uniquement. Les nombres ont la priorité sur les lettres, tout comme les majuscules sur les minuscules. Pour redimensionner une colonne dans le navigateur de plans : m Faites glisser la bordure droite de la colonne à redimensionner. Pour afficher ou masquer la colonne Time Spent : m Cliquez sur le bouton Show Time figurant sous le navigateur de plans.Chapitre 5 Setup (Configuration) 113 Ajout de notes aux plans Color offre une interface permettant de conserver les notes des clients ou des responsables techniques concernant des plans spécifiques à mesure que vous travaillez sur un projet. Pour ajouter une note à un plan ou bien encore pour lire ou modifier une note existante : 1 Ouvrez le navigateur de plans dans le studio Setup. 2 Cliquez tout en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur la colonne Notes du navigateur de plans, puis choisissez Edit File dans le menu contextuel. Une fenêtre d’édition de texte normal s’affiche. 3 Entrez le texte de votre choix. 4 Pour enregistrer et fermer la note, effectuez une des opérations suivantes :  Appuyez sur la touche S tout en maintenant la touche Commande enfoncée et fermez la fenêtre.  Fermez la fenêtre et cliquez sur Save à partir de la feuille de dépôt. Lorsqu’une note a été ajoutée à un plan, une coche apparaît dans la colonne Notes. Pour supprimer une note d’un plan : m Cliquez tout en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur la colonne Notes du navigateur de plans, puis choisissez Delete File dans le menu contextuel. Remarque : les notes sont enregistrées dans le sous-répertoire de ce plan particulier (dans le sous-répertoire /shots/ de cet ensemble de projets). Lors de la suppression d’une note, le fichier associé est également supprimé. Sélection de plans et navigation dans la timeline à l’aide du navigateur de plans Vous pouvez utiliser le navigateur de plans pour rechercher et sélectionner efficacement des plans spécifiques (par exemple, pour appliquer simultanément un même jeu d’étalonnage à un groupe de plans). Il vous permet également d’atteindre rapidement un plan particulier dans la timeline. Ces procédures fonctionnent que le navigateur de plans soit en mode d’affichage Icône ou Liste.114 Chapitre 5 Setup (Configuration) Pour sélectionner un ou plusieurs plans, effectuez une des opérations suivantes : m Cliquez sur un plan du navigateur de plans pour le sélectionner. m Cliquez sur un groupe de plans tout en appuyant sur la touche Commande pour sélectionner un groupe de plans non contigu. m Cliquez sur un plan, puis cliquez sur un second tout en appuyant sur la touche Maj pour sélectionner un ensemble contigu de plans depuis la première sélection jusqu’à la seconde. Les plans sélectionnés s’affichent avec une incrustation de couleur cyan. Pour atteindre un plan spécifique de la timeline à l’aide du navigateur de plans : m Double-cliquez sur un plan. m Saisissez une valeur dans la zone Goto Shot. Le nouveau plan en cours s’affiche en gris dans le navigateur de plans et la tête de lecture se positionne sur la première image de ce plan dans la timeline. Ce plan peut maintenant être corrigé à l’aide de l’un des studios de Color.Chapitre 5 Setup (Configuration) 115 Chutier des jeux d’étalonnage Le chutier des jeux d’étalonnage (Grades) vous permet d’enregistrer et de gérer les jeux d’étalonnage utilisables dans vos programmes. Comme indiqué au chapitre 3, un jeu d’étalonnage peut contenir une ou plusieurs des corrections individuelles suivantes :  Primary  Secondary  Color FX  Primary Out L’application d’un jeu d’étalonnages à un ou plusieurs plans permet d’apporter simultanément de nombreuses corrections. Les jeux d’étalonnage enregistrés dans le chutier sont disponibles pour tous les projets Color ouverts alors que la connexion à ce compte d’utilisateur était établie. Ce chutier permet d’afficher les jeux d’étalonnage sous forme d’icône ou de liste. Comme les autres chutiers de Color, il offre des commandes qui permettent son organisation à l’aide de sous-répertoires et grâce auxquelles vous pouvez naviguer dans le structure de fichiers ainsi obtenue. Pour en savoir plus sur l’utilisation des commandes du chutier des jeux d’étalonnage, consultez la section « Navigateurs et chutiers pour organiser les fichiers » à la page 75. Pour en savoir plus sur l’enregistrement et l’application des jeux d’étalonnages, consultez la section « Enregistrement de jeux d’étalonnage dans le chutier des jeux » à la page 302. Onglet Project Settings Les options de l’onglet Project Settings sont enregistrées individuellement pour chaque projet. Elles vous permettent de consigner des informations supplémentaires sur le projet, ainsi que de régler son affichage et le mode de rendu de ses plans.116 Chapitre 5 Setup (Configuration) Réglages relatifs aux informations sur le projet et au répertoire de rendu Ces réglages fournissent des informations sur Color et sur votre projet. Ils vous permettent en outre de définir le répertoire dans lequel les données générées par le projet sont enregistrées.  Project Name : nom du projet. Par défaut, ce nom correspond à celui du fichier de projet figurant sur le disque, mais vous pouvez le remplacer par le nom de votre choix. Le changement du nom du projet n’affecte pas le nom du fichier de projet.  Render Directory : le répertoire de rendu est le répertoire par défaut où sont stockés les fichiers de données du projet auxquels le rendu a été appliqué. Pour en savoir plus sur le rendu des projets Color, consultez le chapitre 17, « File d’attente de rendu », à la page 361.  Bouton Project Render Directory : ce bouton vous permet de sélectionner un nouveau répertoire de rendu pour le projet au moyen de la zone de dialogue Choose Project Render Directory.  Colorist : ce champ vous permet d’enregistrer le nom du coloriste travaillant actuellement sur le projet. Cette information est utile pour savoir qui travaille sur tel ou tel projet dans des installations de postproduction à plusieurs suites ou pour déterminer quand un fichier de projet est transféré d’une installation vers une autre.  Client : ce champ vous permet d’enregistrer le nom du client auquel le projet appartient. Réglages de la résolution et du codec Ces réglages vous permettent de configurer les propriétés d’affichage et de rendu de votre projet. Ils modifient la façon dont le rendu du projet est effectué à des fins d’affichage et le moment où le rendu est appliqué à la sortie finale.  Display LUT : une table de correspondance d’affichage est un fichier contenant des informations de réglage de la couleur qui est généralement utilisé pour modifier l’image contrôlée s’affichant sur les écrans d’aperçu et de diffusion. Les tables de correspondance peuvent être générées pour calibrer votre affichage à l’aide de sondes matérielles et permettent également de le mettre en correspondance avec d’autres supports d’imagerie caractérisés, parmi lesquels les systèmes de projection numériques et les flux d’impression de film. Si vous avez chargé une table de correspondance d’affichage dans le cadre d’un flux de gestion des couleurs, ce champ vous indique le fichier de table de correspondance utilisé. Pour en savoir plus sur la gestion des tables de correspondance, consultez le chapitre 6, « Contrôle », à la page 133.  Frame Rate : ce champ affiche la fréquence d’images définie pour le projet. La fréquence d’images de votre projet est définie lors de la création de ce dernier et peut être modifiée par le biais d’un menu local à condition qu’aucun plan n’apparaisse dans la timeline. Après l’ajout d’un ou de plusieurs plans dans la timeline, la fréquence d’images du projet ne peut pas être modifiée.Chapitre 5 Setup (Configuration) 117  Menu local Resolution Presets : ce menu affiche toutes les résolutions de projet prises en charge par Color, parmi lesquelles les tailles d’image 2K, haute définition et de définition standard PAL et NTSC. Les options disponibles dans ce menu sont parfois limitées par le codec d’exportation QuickTime sélectionné. Si le codec d’exportation QuickTime sélectionné autorise les tailles d’image personnalisées, les champs de largeur et de hauteur présentés ci-dessous peuvent être modifiés. Si tel n’est pas le cas, ces champs ne sont pas modifiables. Si ces champs sont réglés sur une taille d’image définie par l’utilisateur, le menu local Resolution Presets affiche la mention « custom » (personnalisé).  Width : largeur actuellement sélectionnée pour la dimension de l’image.  Height : hauteur actuellement sélectionnée pour la dimension de l’image.  Printing Density : ce menu local apparaît uniquement lorsque le projet en cours est réglé pour utiliser les séquences d’images Cineon ou DPX. Il vous permet de choisir explicitement la plage numérique des valeurs qui sont utilisées pour traiter la couleur de façon à assurer la compatibilité avec votre flux de données (« pipeline ») de postproduction. Ces options déterminent le réglage des points noir et blanc dans les données dont le rendu est effectué par Color. Trois options sont disponibles :  Film (95 Black – 685 White : Logarithmic)  Video (65 Black – 940 White : Linear)  Linear (0 Black – 1023 White)  Render File Type : ce paramètre est automatiquement réglé en fonction du type de donnée utilisé par votre projet. Si vous envoyez un projet à partir de Final Cut Pro, il est défini sur QuickTime et ne peut pas être modifié. Si vous créez un projet Color à partir de zéro, ce menu local vous permet de choisir le format de rendu des données finales. Si vous travaillez sur des projets de film 2K utilisant des séquences d’images, vous choisirez probablement Cineon ou DPX, tandis que vous effectuerez très vraisemblablement le rendu des projets vidéo sous la forme de fichiers QuickTime.  Deinterlace Renders : lorsque cette option est activée, tous les plans affichés sur les écrans d’aperçu et de diffusion sont désentrelacés, de même que les données dont le rendu est effectué par Color.118 Chapitre 5 Setup (Configuration)  Deinterlace Previews : lorsque cette option est activée, tous les plans affichés sur les écrans d’aperçu et de diffusion sont désentrelacés, mais les données dont le rendu est effectué à partir de Color restent entrelacées.  Menu local QuickTime Export Codecs : si QuickTime est sélectionné dans le menu local Render File Type, ce menu vous permet de choisir le codec que vous allez utiliser pour effectuer le rendu des données à partir de votre projet. Si on sélectionne Original Format, le codec d’exportation est automatiquement le codec spécifié dans les réglages de la séquence Final Cut Pro d’origine (cette option n’est disponible que lorsqu’on utilise la commande « Send to Color », ou lorsqu’on importe un fichier XML exporté depuis Final Cut Pro). Le codec d’exportation QuickTime ne doit pas nécessairement correspondre au codec employé par les données source. Vous pouvez vous en servir pour convertir données à un format très peu compressé ou non compressé. Ce menu local affiche une liste limitée aux codecs QuickTime actuellement pris en charge pour le rendu des données à partir de Color. À propos du désentrelaçage Le désentrelaçage dans Color s’effectue très simplement, en faisant la moyenne des deux champs de façon à créer une image unique. L’image qui en résulte peut sembler estompée. Remarque : un paramètre de désentrelaçage est également disponible pour chaque plan de l’onglet Shot Settings en regard de la Timeline. Il vous permet de désentrelacer de façon sélective des plans individuels sans appliquer cette opération à tout le programme. Pour en savoir plus, consultez la section « Onglet Settings 2 » à la page 159. Choix du codec QuickTime à utiliser pour l’exportation Vous pouvez effectuer le rendu de votre projet dans Color à l’aide d’un de ces codecs de mastering de qualité supérieure, quel que soit le codec ou le niveau de compression utilisé par les données sources. Vous pouvez faire appel au menu local QuickTime Export Codecs pour simplifier un flux de production dans lequel vous importez des données compressées dans Color, puis exportez la sortie corrigée sous forme de données non compressées pour le renvoi du projet à Final Cut Pro. Vous pouvez ainsi économiser de l’espace disque et éviter la multiplication des opérations de rendu. Vous préservez, par ailleurs, la qualité des corrections effectuées à une profondeur de bits élevée lorsque vous effectuez le rendu de vos données de sortie avant de renvoyer votre projet à Final Cut Pro. Les codecs les plus indiqués pour le mastering sont les codecs Apple sans compression 8 bits 4:2:2, Apple sans compression 10 bits 4:2:2, Apple ProRes 422 et Apple ProRes 422 (HQ).Pour en savoir plus, consultez la section « Codecs QuickTime compatibles pour la sortie » à la page 102.Chapitre 5 Setup (Configuration) 119 Réglages de seuils de diffusion (Broadcast Safe) Ces réglages de seuils de diffusion vous permettent de configurer Color de façon à limiter les valeurs minimale et maximale de la luminance, de la chrominance et des signaux composites des plans de votre programme. Ils sont tous intégralement personnalisables en fonction de toute norme de contrôle qualité et empêchent la violation de ce type de norme.  Bouton Broadcast Safe : l’activation des réglages Broadcast Safe permet la légalisation des diffusions pour l’ensemble du projet, modifiant à la fois la façon dont le projet s’affiche sur votre écran secondaire et votre écran de diffusion et la façon dont son rendu est effectué pour la sortie finale. Ce bouton permet d’activer et de désactiver les réglages suivants :  Ceiling IRE : indique le niveau de luminance maximum autorisé, en unités IRE analogiques. Les signaux dont la luminance est supérieure à cette limite seront réglés en fonction de cette valeur maximale.  Floor IRE : indique le niveau de luminance minimum autorisé, en unités IRE analogiques. Les signaux dont la luminance est inférieure à cette limite seront réglés en fonction de cette valeur minimale.  Amplitude : cette fonction n’est pas restrictive. Elle permet au contraire d’appliquer un réglage à l’amplitude de la chrominance. La valeur par défaut 0 n’entraîne aucune modification.  Phase : vous permet d’ajuster la phase de chrominance. Si l’amplitude est réglée sur 0, aucune modification n’est effectuée.  Offset : permet d’ajuster le décalage d’un réglage de la chrominance. Si l’amplitude est réglée sur 0, aucune modification n’est effectuée.  Chroma Limit : définit la saturation maximale autorisée. La chrominance des signaux dont la saturation est supérieure à cette limite sera réglée en fonction de cette valeur maximale.  Composite Limit : définit la combinaison maximale autorisée pour la luminance et la chrominance. Les signaux dépassant cette limite seront réglés en fonction de cette valeur maximale. Les réglages de seuils de diffusion limitent la plage de données source non corrigées de votre projet et vous empêchent par ailleurs d’introduire par inadvertance des valeurs non autorisées lorsque vous effectuez des corrections. Vous pouvez limiter les niveaux de diffusion de trois façons différentes dans votre programme.120 Chapitre 5 Setup (Configuration) Activer les réglages Broadcast Safe et les maintenir activés pendant toute la durée de votre travail La façon la plus sûre de travailler (et le comportement par défaut des nouveaux projets) consiste simplement à activer les réglages Broadcast Safe lorsque vous commencez à travailler et à les maintenir activés pendant toute la phase d’étalonnage. Avec un peu de pratique, vous pourrez déterminer si un ton clair ou une ombre est trop écrasé en visualisant l’image sur le moniteur et en vérifiant si des valeurs ne sont pas accumulées en haut et en bas des graphiques affichés sur l’oscilloscope Waveform. Si l’image est coupée de façon excessive, vous pouvez effectuer une correction pour ajuster le signal. Désactiver les réglages Broadcast Safe pendant la correction, puis les activer de nouveau pour la sortie Si vous activez tout de suite les réglages Broadcast Safe, les parties non autorisées du signal sont immédiatement restreintes et il peut être difficile de déterminer exactement la quantité de données coupées. Lorsque vous étalonnez des données qui ont été enregistrées de façon homogène avec des niveaux de super blanc et une chrominance élevée, il peut être préférable de désactiver les réglages Broadcast Safe lors de la phase d’étalonnage initiale, de façon à identifier plus facilement les parties du signal hors limites et à déterminer plus judicieusement comment ce dernier doit être légalisé. Une fois la phase initiale terminée, vous pourrez réactiver les réglages Broadcast Safe pour faire obstacle aux niveaux parasites. Vous serez ainsi sûr de ne pas trop restreindre l’image. Activer le bouton Enable Clipping pour des plans individuels de votre programme Le bouton Enable Clipping de l’onglet Basic du studio Primary Out vous permet de définir des valeurs plafonds pour les canaux rouge, vert et bleu des différents plans de votre programme. Vous pouvez ainsi empêcher la présence de valeurs de diffusion non autorisées dans les plans auxquels vous appliquez des corrections Primary, Secondary ou Color FX extrêmes, sans activer les réglages Broadcast Safe pour tout le programme. Si les réglages Enable Clipping et Broadcast Safe sont tous les deux activés, la norme de niveau inférieur s’applique. Pour en savoir plus, consultez la section « Utilisation des commandes de plafonnement » à la page 298.Chapitre 5 Setup (Configuration) 121 Important : le processus de légalisation des diffusions employé par Color a pour but de conserver les détails de l’image tout en empêchant les niveaux de diffusion non autorisés. Comme dans tout système d’étalonnage, le fait de pousser les réglages au-delà d’un certain point entraîne des couleurs noires uniformément écrasées, des couleurs blanches éclatées et des zones de couleur ternes. Il convient toutefois de préciser que cette opération est souvent utilisée pour obtenir un effet stylistique. Réglages de rendu Ce réglage modifie la façon dont le rendu des données est effectué à partir de Color.  Handles : ce champ vous permet d’indiquer une durée pour les données supplémentaires à ajouter au début et à la fin de chaque fichier de données dont le rendu est effectué à partir de Color. Lorsqu’un projet est renvoyé dans Final Cut Pro, les poignées permettent aux monteurs d’effectuer de petits ajustements et de continuer à disposer de données corrigées. La valeur par défaut est 00 :00 :01 :00. Onglet Messages L’onglet Messages contient la liste courante de tous les avertissement et messages d’erreur générés par Color pendant son fonctionnement. Les messages affichés en jaune sont des avertissements. Les messages affichés en rouge indiquent qu’une erreur est survenue (par exemple, « Directory not writable trying to re-save a project »). L’onglet Messages ne comporte pas de commande. À propos des seuils de diffusion (Broadcast Safe) Lorsque vous procédez à l’étalonnage de tout programme devant être diffusé, il est important d’obtenir auprès de l’organisme de diffusion les recommandations de contrôle qualité spécifiques à votre travail. Diverses normes existent pour les niveaux maximum et minimum autorisés pour les valeurs IRE, la chrominance et l’amplitude des signaux composites, et certains organismes de diffusion sont plus conservateurs que d’autres. Les paramètres associés aux seuils de diffusion peuvent être réglés de façon à correspondre aux recommandations de contrôle qualité requises. Lorsqu’ils sont activés, ils garantissent le respect de ces normes par votre programme lors du contrôle de ce dernier et du rendu des données corrigées finales. 122 Chapitre 5 Setup (Configuration) Onglet User Preferences L’onglet User Preferences contient des réglages ayant une incidence sur le fonctionnement de Color pour tout projet ouvert. Il inclut des options permettant de personnaliser la sensibilité de la surface de contrôle, l’affichage de la timeline, le fonctionnement de la lecture, la sortie vidéo, de même que la profondeur de bits utilisée pour l’affichage et le rendu. L’état de chacun de ces réglages est automatiquement enregistré chaque fois qu’ils sont modifiés. Si nécessaire, vous pouvez restaurer leur valeur d’origine. Pour redéfinir les préférences d’utilisateur par défaut : m Cliquez sur Revert en bas de l’onglet User Preferences. Répertoires de données et de projets Les répertoires de données et de projets vous permettent de contrôler l’emplacement où les nouveaux fichiers sont enregistrés par défaut.  Default Project Dir. : répertoire par défaut où sont enregistrés tous les nouveaux projets Color. Il s’agit également du répertoire par défaut figurant dans les zones de dialogue associées aux commandes Import EDL et Import XML. Cliquez sur le bouton Browse pour choisir un nouveau répertoire.  Default Media Dir. : répertoire par défaut du navigateur de fichiers. Il s’agit également de l’emplacement de données par défaut qui est utilisé par les commandes Import EDL et Import XML. Cliquez sur le bouton Browse pour choisir un nouveau répertoire.  Default Render Dir. : répertoire par défaut des données dont le rendu est effectué par Color pour l’exportation. Cliquez sur le bouton Browse pour choisir un nouveau répertoire. Réglages de la surface de contrôle Si vous utilisez une surface de contrôle avec Color, les paramètres ci-dessous vous permettent de régler la correspondance entre le mouvement appliqué à une commande particulière et le réglage effectif qui en résulte.  Hue Wheel Angle : ce paramètre indique l’angle selon lequel les couleurs apparaissent sur la roue des couleurs des commandes de couleur de l’interface Color et l’angle correspondant selon lequel ces couleurs sont ajustées lors de l’utilisation des dispositifs de commande (boules de commande) d’une surface de contrôle. Il est personnalisable de façon à s’adapter aux exigences des coloristes familiarisés avec diffé- rents systèmes :  122 est l’angle par défaut de la couleur rouge pour les systèmes d’étalonnage DaVinci. Il correspond à l’angle d’affichage du rouge sur un vecteurscope. Il s’agit du réglage Color par défaut.Chapitre 5 Setup (Configuration) 123  0 est l’angle par défaut de la couleur rouge pour les systèmes d’étalonnage Pogle ; il correspond à l’orientation des commandes de l’ancien équipement de télécinéma Mk III.  Encoder Sensitivity : ce paramètre contrôle la vitesse à laquelle la valeur des commandes Color est modifiée suite à la rotation des potentiomètres d’une surface de contrôle.  Jog/Shuttle Sensitivity : ce paramètre contrôle la vitesse à laquelle la tête de lecture se déplace par rapport à l’amplitude de la rotation appliquée à la roue Jog/Shuttle d’une surface de contrôle.  Joyball Sensitivity : ce paramètre contrôle la vitesse de réglage des commandes de couleur Shadows, Midtones et Highlights dans les studios Primary In, Secondary et Primary Out lorsque vous utilisez les dispositifs de commande (boules de commande) d’une surface de contrôle. Le réglage par défaut 1 correspond à une vitesse très lente. Augmentez cette valeur pour effectuer plus rapidement les corrections en appliquant le même mouvement au dispositif de commande. Réglages de l’interface utilisateur Les réglages ci-dessous vous permettent de personnaliser l’interface Color.  UI Saturation : cette valeur contrôle le niveau de saturation des commandes affichées dans l’interface utilisateur Color. De nombreux coloristes la réduisent pour éliminer la fatigue visuelle et empêcher toute altération éventuelle de leur perception des couleurs lors des sessions. La saturation de l’interface utilisateur modifie également l’intensité des couleurs affichées par la fenêtre Scopes lorsque l’option Monochrome Scopes est désactivée.  Frames/Seconds/Minutes/Hours : ces boutons vous permettent de choisir le mode d’affichage de l’heure dans la réglette de la timeline. Ils n’ont pas d’incidence sur la façon dont l’heure est représentée dans les autres champs de timecode de Color.  Show Shots Name : si vous activez cette option, le nom de chaque plan s’affiche dans le plan de montage. Angle de la roue des couleurs à 122° Angle de la roue des couleurs à 0°124 Chapitre 5 Setup (Configuration)  Show Shots Number : l’activation de ce réglage permet d’afficher le numéro de chaque plan dans la timeline.  Show Shots Beauty Frame : si vous activez cette option, des vignettes à image unique apparaissent à l’intérieur de chacun des plans qui se trouvent dans le plan de montage.  Loop During Playback : l’activation de ce réglage permet la lecture en boucle depuis le point d’entrée en cours jusqu’au point de sortie de la timeline. L’effet de ce réglage sur la lecture dépend de la façon dont le mode de lecture est défini. Pour en savoir plus, consultez la section « Choix du mode de lecture » à la page 152.  Maintain Framerate : ce réglage détermine si des images sont abandonnées pour maintenir la fréquence d’images du projet lors de la lecture.  Si le réglage Maintain Framerate est activé (par défaut), la fréquence d’images du plan actuel est respectée quel que soit la charge de travail supportée par le processeur. Si le jeu d’étalonnage choisi pour le plan en cours de lecture requiert une grande quantité de ressources processeur, certaines images seront ignorées pendant la lecture afin de maintenir la fréquence d’images du projet. Dans le cas contraire, la lecture a lieu en temps réel.  Si le réglage Maintain Framerate est désactivé, chaque image est systématiquement lue. Si le niveau de lecture consomme beaucoup de ressources processeur, le processus de lecture ralentit pour éviter la perte d’images. Dans le cas contraire, la lecture peut en fait s’effectuer plus rapidement qu’en temps réel.  Synchronize Refresh (slower) : l’activation de cette option permet d’éliminer les artefacts d’actualisation vidéo de l’image contrôlée (ceux-ci peuvent se présenter sous la forme de « déchirures » de l’image vidéo). Cette option ne réduit que légèrement les performances de lecture, ce qui résulte en une pénalité d’environ 1 ips. Les paramètres ci-dessous utilisent des commandes de couleur miniatures qui fonctionnent comme celles décrites dans la section « Utilisation des commandes Color Balance » à la page 209.  Commande de couleur Grade Complete : couleur affichée dans la barre de rendu de la timeline pour les plans auxquels le rendu a été appliqué. La couleur par défaut est le vert.  Commande de couleur Grade Cued : couleur affichée dans la barre de rendu de la timeline pour les plans qui ont été ajoutés à la file d’attente de rendu, mais dont le rendu n’a pas encore été effectué. La couleur par défaut est le jaune.  Commande de couleur Grade Aborted : couleur affichée dans la barre de rendu de la timeline pour les plans dont le rendu a été arrêté. La couleur par défaut est le rouge.Chapitre 5 Setup (Configuration) 125  Monochrome Scopes : l’activation de cette option permet de tracer les graticules du vidéoscope avec une seule couleur (indiquée par l’option Scope Color ci-dessous). La plupart des coloristes préfèrent cet affichage pour éviter la fatigue visuelle. Par ailleurs, cette option supprime l’affichage en couleur du vecteurscope. Ceux qui souhaitent disposer d’un affichage en couleur dans les oscilloscopes ont également la possibilité de définir le réglage UI Saturation sur une intensité moins élevée.  Scope Color : cette commande de couleur vous permet de régler la couleur utilisée pour tracer les graticules du vidéoscope lorsque l’option Monochrome Scopes est activée.  Limit Shadow Adjustments : lorsque cette option est activée, une atténuation est appliquée à la couleur Shadows et les réglages de contraste tels que les valeurs de 0 pour cent (noir pur) reçoivent 100 pour cent de la correction, tandis que les valeurs de 100 pour cent (blanc pur) reçoivent 0 pour cent de la correction. Lorsque cette option est désactivée, les réglages de la couleur Shadows et des commandes de contraste sont appliqués de façon uniforme à toute l’image.  Show Control Surface Dialog : lorsque vous activez cette option, la zone de dialogue Control Surface Startup s’ouvre immédiatement, vous permettant de choisir une surface de contrôle compatible avec Color pour votre travail. Tant qu’elle reste activée, la zone de dialogue Control Surface Startup apparaît chaque fois que vous ouvrez Color. Si vous ne disposez d’aucune surface de contrôle, désactivez cette option. Utilisation des images de substitution Si vous travaillez sur un projet utilisant des séquences d’images Cineon ou DPX, vous pouvez faire appel à un mécanisme d’images de substitution pour améliorer l’efficacité de votre travail à des résolutions élevées. Le mécanisme des images de substitution dans Color n’est pas disponible pour les projets utilisant des données QuickTime.  Enable Proxy Support : l’activation de ce bouton permet d’utiliser des données de remplacement de résolution inférieure, appelées images de substitution, à la place des données source de votre projet. L’emploi des images de substitution augmente les performances de lecture, d’étalonnage et de rendu, même si les plans de votre projet s’affichent avec un niveau de qualité inférieure. Les images de substitution ne peuvent être utilisées qu’après avoir été générées. Pour en savoir plus sur la géné- ration des images de substitution, consultez la section « Génération et suppression d’images de substitution » à la page 126.  Render Proxy : permet de choisir une résolution d’image de substitution pour le rendu des données de sortie. Cette option peut être utile si vous souhaitez effectuer rapidement le rendu d’un ensemble de données pour tester la phase de retour d’un flux de travaux « aller-retour ». La valeur par défaut de ce menu, qui correspond à « Full Resolution », doit être conservée dans la plupart des cas.126 Chapitre 5 Setup (Configuration)  Grading Proxy : permet de choisir une résolution d’image de substitution à utiliser lors du réglage des commandes dans l’un des studios. Cette option augmente l’interactivité de l’interface utilisateur et la vitesse à laquelle l’image sur laquelle vous travaillez est mise à jour lorsque vous réglez les différentes commandes d’étalonnage. Lorsqu’un réglage est terminé, l’image s’affiche de nouveau en pleine résolution.  Playback Proxy : permet de choisir une résolution d’image de substitution à utiliser lors de la lecture, ce qui augmente la fréquence d’images tout en réduisant la qualité de l’image. Lorsque la lecture s’arrête, l’image s’affiche de nouveau en pleine résolution. Réglages relatifs à la lecture, au traitement et à la sortie Les réglages ci-dessous ont une incidence sur la qualité et la vitesse de la lecture.  Video Output : les options de ce menu local correspondent aux options de sortie vidéo disponibles pour l’interface vidéo de diffusion installée sur votre ordinateur. Choisissez Disabled pour désactiver toutes les options de sortie vidéo. Remarque : actuellement, les aperçus Digital Cinema Desktop et les sorties Apple FireWire ne sont pas disponibles pour contrôler les données de sortie provenant de Color.  Force RGB : Cette option est désactivée dans le cas des projets en définition standard. ce réglage est conçu pour être utilisé lorsque vous travaillez avec des données source Y´CB CR haute définition que vous contrôlez sur un moniteur de diffusion externe via une interface vidéo de diffusion prise en charge. Il détermine comment les données d’image RVB calculées en interne par Color sont converties en données d’image Y´CB CR pour l’affichage :  Si le réglage Force RGB est désactivé, cette conversion est effectuée par Color dans le logiciel. Ce processus consomme des ressources processeur et peut aboutir à une réduction sensible des performances en temps réel.  Si le réglage Force RGB est activé, Color envoie les données d’image RVB directement à l’interface vidéo de diffusion installée sur votre ordinateur et charge cette dernière de la conversion à l’aide du matériel dédié. Ce processus allège la charge de traitement de votre ordinateur. Il est recommandé pour optimiser les performances en temps réel. Génération et suppression d’images de substitution Pour utiliser des images de substitution pendant que vous travaillez sur votre projet, vous devez d’abord générer pour ce dernier un ensemble de données d’images de substitution dont la résolution est deux ou quatre fois inférieure.  Pour générer un ensemble de données d’images de substitution pour votre projet, choisissez File > Proxies > Generate Proxies.  Pour supprimer toutes les images de substitution générées pour un projet, choisissez File > Proxies > Delete Proxies.Chapitre 5 Setup (Configuration) 127 Lors du contrôle de données vidéo légalisées entre 0 et 100 IRE, il doit y avoir une différence minimale entre l’image affichée avec le réglage Force RGB activé et celle affichée avec ce même réglage désactivé. Important : si le réglage Force RGB est activé, les valeurs chromatiques de super blanc et hors gamme ne seront pas affichées par votre écran de diffusion et n’apparaîtront pas sur les vidéoscopes externes analysant la sortie de votre interface vidéo de diffusion. Cette restriction affecte uniquement le processus de contrôle. Le traitement interne de l’image effectué par Color conserve ces données. Par conséquent, les données d’image de super blanc seront toujours visibles sur les oscilloscopes logiciels Color lorsqu’elles existent et les niveaux chromatiques hors gamme et de super blanc non corrigés seront systématiquement conservés lorsque vous exportez des données finales. Si l’option Broadcast Safe est activée dans les réglages du projet, nous ne constaterez peut-être pas de différence dans l’affichage de ces valeurs « non autorisées », étant donné qu’elles sont limitées par Color.  Disable Vid-Out During Playback : l’activation de cette option désactive la sortie vidéo via votre interface de diffusion lors de la lecture. Lorsque la lecture est interrompue, la sortie vidéo de l’image située au niveau de la tête de lecture est quand même assurée. Cela est utile si votre projet fait appel à un nombre d’effets tel que la lecture vidéo est trop lente pour être efficace. Lorsque cette option est activée, vous pouvez effectuer des ajustements et contrôler l’image pendant que la lecture est interrompue, puis visualiser le programme en mouvement via l’écran d’aperçu, qui permet généralement une lecture plus rapide.  Update UI During Playback : l’activation de cette option permet la mise à jour dynamique des fenêtres sélectionnées de l’interface Color pendant la lecture du projet. Elle actualise les commandes et les oscilloscopes lors de la lecture d’un niveau à un autre, mais peut diminuer les performances de lecture. C’est pour cette raison qu’elle est désactivée par défaut. Deux options sont disponibles :  Update Primary Display : met à jour les principales commandes d’interface des studios Primary, Secondaries, Color FX, Primary Out et Geometry. L’activation de cette option vous permet de visualiser la modification des commandes d’un niveau à un autre et la façon dont elles s’animent dans le cas de niveaux animés avec des images clés.  Update Secondary Display : met à jour la fenêtre Scopes. Cette option permet de mettre à jour les vidéoscopes lors de la lecture. Lorsqu’elle est désactivée, la lecture de l’aperçu vidéo se poursuit, mais les vidéoscopes disparaissent.128 Chapitre 5 Setup (Configuration)  Radial HSL Interpolation : ce réglage modifie la façon dont les ajustements de couleurs animés avec des images clés sont interpolés d’une teinte à une autre.  Lorsque ce réglage est désactivé (état par défaut), les modifications de teinte associées à des images clés sont animées de façon linéaire, directement à partir d’un point de la roue des couleurs vers un autre. Cela permet d’obtenir des réglages animés très directs et limite les cycles de couleurs non souhaités. Il s’agit de la méthode utilisée par les systèmes DaVinci et Pogle pour l’animation des réglages de couleur.  L’activation de ce réglage permet d’animer les modifications de teinte associées à des images clés de façon radiale, les cycles de couleurs couvrant toutes les teintes de la roue des couleurs comprises entre la teinte en cours et la teinte cible. Vous obtenez ainsi des cycles de couleurs visibles si vous animez le remplacement d’une teinte par une autre qui n’est pas directement adjacente sur la roue des couleurs. Il s’agit de la méthode utilisée par Final Cut Pro lors de l’animation des réglages de couleur dans les filtres Color Corrector standard et à trois voies. Ajustement de la commande de couleurs avec interpolation radiale activée Ajustement de la commande de couleurs avec interpolation radiale désactivéeChapitre 5 Setup (Configuration) 129  Internal Pixel Format : l’option choisie dans ce menu local détermine la profondeur de bits utilisée parColor pour le traitement interne de la couleur, à la fois lors de la lecture en temps réel et lors de la réalisation du rendu de la sortie finale. La profondeur de bits correspond au nombre de bits par canal de couleur et décrit le nombre total de valeurs utilisées pour afficher la plage de couleurs au moyen de chaque pixel d’une image. Des profondeurs de bits plus élevées résultent en une image de qualité supé- rieure, mais requièrent davantage de ressources processeur pour la lecture et le rendu.  8-bit : profondeur de bits la plus faible à laquelle Color peut fonctionner et consommant le moins de ressources processeur.  10-bit : profondeur de bits minimale recommandée pour les projets incorporant un étalonnage secondaire et l’utilisation de vignettes, indépendamment de la source.  12-bit : profondeur de bits supérieure qui est prise en charge par certaines cartes vidéo.  16-bit : profondeur de bits de qualité optimale. Certains spécialistes jugent que le format 16 bits en linéaire fournit une qualité équivalente au format 10 bits logarithmiques pour le travail effectué sur des images issues de la numérisation d’un film.  Float : niveau optimal de qualité de traitement de l’image disponible dans Color. Ce réglage fait appel à des opérations mathématiques en virgule flottante pour enregistrer et calculer des données fractionnaires. Cela signifie que les valeurs supérieures à 1 peuvent être utilisées pour enregistrer des données qui seraient autrement arrondies vers le bas dans le cas des formats 8 bits, 10 bits, 12 bits et 16 bits donnant lieu à des opérations sur entiers uniquement. Étant donné que le réglage Float correspond à une profondeur de bits consommant beaucoup de ressources processeur, des délais de rendu plus longs sont à prévoir. Remarque : le réglage Float n’est pas disponible lorsqu’on utilise une carte graphique NVidia.130 Chapitre 5 Setup (Configuration) ? Conseil : selon les performances de votre système, il sera peut-être préférable de travailler à une profondeur de bits moins élevée pour optimiser les performances en temps réel. Vous pourrez ensuite sélectionner la profondeur de bits souhaitée avant d’effectuer le rendu de la sortie finale pour optimiser la qualité de l’image. Correspondance entre la profondeur de bits et les données de canal La plage réelle de valeurs utilisée par chaque canal pour chaque pixel à une profondeur de bits donnée se calcule en élevant le chiffre 2 à la puissance n, où n correspond à la profondeur de bits elle-même. Par exemple, la plage de valeurs utilisée pour la couleur en 8 bits correspond à 2 à la puissance 8, soit 256 valeurs par canal. La plage de valeurs correspondant à la couleur en 16 bits correspond à 2 à la puissance 10, soit 65 536 valeurs par canal. Toutefois, cette explication n’est pas suffisante. La partie de la plage numérique disponible réellement utilisée dépend de l’encodage des données d’image.  Full Range : les données d’image utilisant l’espace colorimétrique RVB encodent chaque canal de couleur en faisant appel à toute la plage numérique disponible. Cela signifie que les canaux de couleur vidéo 8 bits emploient une valeur comprise dans la plage de 0 à 255 et que les canaux 10 bits utilisent une plage de 1 à 1 023.  Studio Range : les données d’image vidéo 8 et 10 bits enregistrées au moyen de l’espace colorimétrique Y´CB CR utilisent une plage de valeurs Studio Range pour chaque canal. Cela signifie qu’un sous-ensemble de la plage réelle de valeurs disponibles est utilisé, de façon à laisser de la place pour le super noir et le super blanc requis par la norme vidéo. Par exemple, la luminance des données Y´CB CR 8 bits utilise la plage de valeurs allant de 16 à 236, de façon à ce que les plages 1 à 15 et 235 à 254 restent disponibles dans le signal. La luminance des données Y´CB CR 10 bits emploie la plage 64 à 940, laissant disponibles les plages 4 à 63 et 941 à 1019. En outre, les valeurs les plus faibles et les plus élevées sont réservées pour les données ne correspondant pas à des images, et les composants chromatiques (CB et CR ) utilisent des plages de valeurs plus étendues (16 à 240 pour la vidéo 8 bits et 64 à 960 pour la vidéo 10 bits).Chapitre 5 Setup (Configuration) 131 Réglages d’enregistrement automatique Deux réglages vous permettent d’activer ou de désactiver l’enregistrement automatique dans Color.  Auto Save Projects : cette option active l’enregistrement automatique.  Auto Save Time (Minutes) : indique le délai en minutes s’écoulant avant le prochain enregistrement du projet. Ce délai est réglé par défaut sur 5 minutes. L’option d’enregistrement automatique enregistre uniquement le projet en cours. Elle ne crée pas de copie archivée du projet. Pour en savoir plus sur la création et le rappel d’archives, consultez la section « Enregistrement de projets et d’archives » à la page 85.6 133 6 Contrôle Le matériel et les méthodes employés pour contrôler votre travail sont essentiels à la production d’un résultat précis. On n’insistera jamais assez sur l’importance d’un contrôle adéquat pour la correction des couleurs. Ce chapitre traite des options de contrôle disponibles dans Color, notamment la configuration de la fenêtre Scopes, les options relatives à la sortie vidéo de diffusion, la génération et l’utilisation de tables de conversion en vue du calibrage et de la simulation, ainsi que de la façon dont la sortie vidéo du studio Still Store est effectuée pour le contrôle et l’évaluation. Les rubriques suivantes seront abordées au cours de ce chapitre :  Fenêtre Scopes (p. 133)  Contrôle de la sortie vidéo de diffusion (p. 135)  Utilisation des tables de conversion d’affichage (p. 138)  Contrôle du magasin d’images fixes (Still Store) (p. 143) Fenêtre Scopes La façon la plus simple de contrôler votre travail dans Color est d’utiliser la fenêtre Scopes. L’interface Color est constitué de deux fenêtres, celle-ci est la seconde. Vous pouvez configurer le logiciel Color pour qu’il utilise un ou deux écrans. Si vous utilisez deux écrans, la fenêtre Scopes est visible sur le second, qu’elle occupe à part entière. Si vous n’utilisez qu’un écran, celui-ci est partagé entre la fenêtre Scopes et la fenêtre Color.134 Chapitre 6 Contrôle Pour passer du mode d’affichage simple au mode double affichage (et inversement), effectuez l’une des opérations suivantes : m Cliquez sur Window > Single Display Mode ou Dual Display Mode. m Appuyez simultanément sur Maj + 0 pour basculer d’un mode à l’autre. La fenêtre Scopes offre un écran d’aperçu de l’image sur laquelle vous travaillez et peut également afficher deux ou trois vidéoscopes supplémentaires pour faciliter l’évaluation de cette image. Écran d’aperçu L’écran d’aperçu affiche soit l’image au niveau actuel de la tête de lecture dans la timeline, telle qu’elle apparaît avec toutes les corrections apportées dans les différents studios (sauf si vous avez sélectionné Grade > Disable Grade), soit l’image Still Store actuellement activée. Quelle que soit l’image affichée dans l’écran d’aperçu, elle est reflétée dans l’écran de diffusion connecté à la sortie vidéo de votre ordinateur. L’écran d’aperçu est également affecté par les tables de conversion que vous importez dans votre projet Color. Remarque : la seule autre fois où l’image en cours n’est pas affichée, c’est lorsque l’une des autres méthodes d’affichage secondaire est activée dans l’onglet Previews du studio Secondaries. Pour en savoir plus, consultez la section « Onglet Previews » à la page 252. L’écran d’aperçu de la fenêtre Scopes peut être affiché en mode plein écran ou écran partiel. Pour basculer entre l’affichage plein écran et l’affichage partiel de l’image d’aperçu : m Double-cliquez sur l’aperçu dans la fenêtre Scopes. m Toujours dans la fenêtre Scopes, cliquez sur l’image d’aperçu tout en maintenant la touche Contrôle enfoncée ou bien cliquez sur cette image avec le bouton droit de la souris, puis sélectionnez Full Screen dans le menu contextuel.Chapitre 6 Contrôle 135 Lorsque l’écran d’aperçu est en mode plein écran, tous les vidéoscopes sont masqués. Vidéoscopes Le nombre d’oscilloscopes pouvant être affichés dépend de la disposition utilisée pour les fenêtres. Vous pouvez afficher deux vidéoscopes en mode d’affichage unique et trois en mode double affichage. Pour en savoir plus, consultez le chapitre 8, « Vidéoscopes », à la page 167. Contrôle de la sortie vidéo de diffusion Pour garantir un contrôle optimal des programmes de diffusion, Color produit des vidéos standard et haute définition à partir d’interfaces vidéo tierces prises en charge. Les pilotes installés pour l’interface déterminent les résolutions, les profondeurs de bits et les fréquences d’images disponibles pour créer une sortie sur un moniteur externe. Pour activer le contrôle vidéo externe : m Sélectionnez une option dans le menu local Video Output, depuis l’onglet User Prefs du studio Setup. Pour désactiver le contrôle vidéo externe : m Sélectionnez l’option Disabled dans le menu local Video Output. Choix de combinaisons de résolutions de programme et d’affichage Idéalement, il est préférable de contrôler un programme dans sa résolution native (en d’autres termes, dans la résolution de ses données source). Toutefois, Color s’efforce de produire des sorties vidéo quelle que soit la résolution définie dans le menu local Video Output de l’onglet User Prefs. Si la résolution définie dans le menu local Video Output est différente de celle sélectionnée via l’option Resolution Preset, Color modifie automatiquement l’échelle de l’image de façon à adapter cette dernière à la taille de l’écran. Utilisation de l’écran d’aperçu comme moniteur d’évaluation Un certain nombre de facteurs détermine si l’écran d’aperçu de la fenêtre Scopes est adapté à une utilisation en tant que moniteur d’évaluation, le plus important étant la confiance que vous accordez à la qualité de votre écran d’aperçu. Bon nombre d’utilisateurs choisissent d’utiliser l’écran d’aperçu comme moniteur d’évaluation, en particulier lors de l’étalonnage d’un film numérisé dans un flux de travaux 2K. Vous devez toutefois veiller à utiliser un moniteur capable d’afficher la gamme de contrastes et de couleurs garantissant le niveau de précision requis par les normes applicables à votre installation. De plus, la réussite dépend d’un bon calibrage du moniteur, associé à un profilage de couleur et à une simulation de la sortie de film éventuelle via la gestion des tables de conversion, traitée ultérieurement dans ce chapitre.136 Chapitre 6 Contrôle Profondeur de bits et contrôle La profondeur de bits utilisée peut avoir un impact significatif sur la qualité de l’image contrôlée. La profondeur de bits contrôlée dépend de trois facteurs :  La profondeur de bits des données source  La profondeur de bits sélectionnée dans le menu local Video Output  La profondeur de bits sélectionnée dans le menu local Internal Pixel Format La profondeur de bits des données source sur le disque est prédéterminée (en général 8 bits, 10 bits ou 10 bits log), ce qui évite de spécifier ou de sélectionner le format de tournage ou de transfert initial. Dans la mesure où une faible profondeur de bits risque d’entraîner un effet de bande et d’autres artefacts lors du processus de correction des couleurs (en particulier lorsqu’il existe des dégradés), il est souvent préférable de traiter la vidéo avec une profondeur de bits plus élevée que celle des données source originales. Cette démarche est particulièrement bénéfique si vous utilisez des vignettes et appliquez des corrections secondaires. Color traite la vidéo et produit la sortie quelle que soit la profondeur de bits sélectionnée. Néanmoins, la plupart des interfaces vidéo de diffusion ont une résolution maximale de 10 bits. Pour garantir une qualité optimale lors du contrôle, il convient de définir le réglage Internal Pixel Format sur la profondeur de bits la plus élevée avec laquelle vous souhaitez travailler, puis de s’assurer que le menu local Video Output est défini sur une option de type 10 bits. Remarque : le bruit de la vidéo et le grain de la pellicule réduisent souvent les types d’artefacts causés par les opérations de correction des couleurs à des profondeurs de bits faibles, c’est pourquoi les avantages liés à l’utilisation de profondeurs de bits plus élevées ne sont pas toujours évident à l’œil nu. Un contrôle effectué à une profondeur de bits élevée consomme une grande quantité de ressources processeur et est susceptible de réduire vos performances en temps réel. C’est pour cette raison que vous avez la possibilité de réduire la profondeur de bits lorsque vous travaillez, puis de la réaugmenter une fois que vous êtes prêt à afficher le rendu de la sortie vidéo finale du projet. Pour en savoir plus sur les options de contrôle disponibles dans l’onglet User Prefs, reportezvous à la section « Réglages relatifs à la lecture, au traitement et à la sortie » à la page 126.Chapitre 6 Contrôle 137 Méthode de sélection d’un moniteur Il est essentiel de choisir un moniteur adapté à l’évaluation critique du type d’image étalonnée. Parmi le large éventail d’écrans de qualité proposés, vous pouvez choisir entre des écrans CRT, une nouvelle génération d’écrans plats LCD et des vidéoprojecteurs haut de gamme utilisant diverses technologies. Votre choix doit être effectué de façon réfléchie, en fonction de votre budget et de vos besoins, mais les caractéristiques importantes à prendre en compte pour obtenir une bonne évaluation des couleurs sont les suivantes :  Compatibilité avec les formats vidéos à contrôler  Compatibilité avec le signal vidéo à contrôler, tel que Y’PB PR , SDI, HD-SDI ou HDMI  Niveaux de noir appropriés (c’est-à-dire que le noir uni ne doit pas ressembler à du gris)  Une large gamme de contrastes  Une luminosité adéquate  Une température de couleur définissable par l’utilisateur  Respect des normes d’espace colorimétrique Rec. 601 (SD) or 709 (HD) selon le cas  Gamma correct (également défini par la norme Rec. 709)  Commandes adaptées à un calibrage et un ajustement de qualité professionnelle Remarque : pour toutes ces raisons, les téléviseurs et écrans grand public ne sont généralement pas adaptés à un travail professionnel, même s’ils peuvent servir à prévisualiser l’aspect de votre programme sur le téléviseur de monsieur Tout le monde. Méthode de configuration de l’environnement d’affichage L’environnement dans lequel se trouve votre moniteur a lui aussi une incidence significative sur votre capacité à évaluer correctement l’image.  L’écran ne doit pas être exposé à une source de lumière directe.  L’éclairage ambiant de la pièce doit être tamisé et indirect et vous ne devez pas avoir de source de lumière directe dans votre champ de vision.  L’éclairage ambiant de la pièce doit correspondre à la température de couleur de votre moniteur (6500K en Amérique du Nord, en Amérique du Sud et en Europe, 9300K en Asie).  Vous devez disposer d’un éclairage indirect derrière le moniteur d’affichage, équivalente à 10 à 25 % de la luminosité du moniteur lorsqu’il affiche un blanc pur.  La distance de visualisation idéale pour un moniteur est d’environ cinq fois la hauteur verticale de l’écran.  La couleur de la partie de la pièce qui fait partie de votre champ de vision doit être d’un gris neutre.138 Chapitre 6 Contrôle Ces précautions permettent d’éviter la fatigue visuelle et l’utilisation involontaire de mauvaises couleurs. Elles ont également pour but d’optimiser la qualité de l’image perçue à l’écran. Calibrage régulier du moniteur Pour finir, calibrez votre moniteur à intervalles réguliers. Pour obtenir une précision maximale, certains moniteurs sont dotés d’une sonde intégrée capable de procéder à un calibrage automatique. Sinon, vous pouvez faire appel à des sondes et des logiciels de calibrage de tierce partie pour réaliser les mêmes mesures. Dans un environnement consacré exclusivement à la diffusion, vous pouvez également avoir recours aux procédures associées aux barres de couleurs standard auxquelles vous êtes habituées. Ajustement de l’interface Color par rapport à l’environnement de contrôle L’interface Color est volontairement obscurcie de façon à réduire la quantité de lumière diffusée sur votre bureau. Pour atténuer encore davantage l’interface, le réglage UI Saturation, disponible dans l’onglet User Prefs du studio Setup, vous permet de réduire la saturation de la plupart des commandes des studios Primary In, Secondaries et Primary Out, ainsi que de la couleur affichée par les vidéoscopes. Utilisation des tables de conversion d’affichage Color prend en charge l’utilisation de tables de conversion 3D pour le calibrage de votre écran, de façon à ce qu’il respecte une norme de diffusion appropriée ou à simuler les caractéristiques d’un appareil de sortie cible (par exemple, la façon dont l’image en cours de correction apparaîtra une fois imprimée sur pellicule). Color est représenté sur les écrans CRT, les écrans plats LCD, les vidéoprojecteurs et les projecteurs de cinéma à l’aide de technologies très différentes. Si vous affichez une image test identique sur deux types d’écrans (un écran de diffusion et un vidéoprojecteur, par exemple), vous pouvez être sûr que la couleur sera différente de l’un à l’autre. Cette variation ne sera probablement pas visible pour un spectateur moyen mais, en tant que coloriste, vous devez disposer d’un environnement d’affichage sans surprise qui respecte les normes requises par le format utilisé. Vous devez également faire en sorte que les changements demandés par un utilisateur qui visualise le programme sur un écran affichant des couleurs incorrectes ne soient pas impossibles à résoudre. Pour couronner le tout, il existe également des variations au sein d’une même catégorie d’appareils :  Les moniteurs CRT de chaque fabricant utilisent des couches fluorescentes différentes.  Les projecteurs numériques disponibles utilisent de nombreux types de systèmes d’imagerie.  Le film projeté est produit au moyen de diverses méthodes d’impression et pellicules.Chapitre 6 Contrôle 139 Tout cela résulte inévitablement en des variations de couleur importantes pour toute image passant d’un environnement d’affichage à un autre. L’une des solutions à ce problème est le calibrage à l’aide de tables de conversion. Définition d’une table de conversion Pour faire simple, une table de conversion est un ensemble précalculé de données qui permet d’ajuster la couleur d’une image affichée avec la gamme et la chromaticité d’un appareil A de façon à ce que cette image corresponde à ce à quoi elle ressemblerait avec la gamme et la chromaticité d’un appareil B. La gamme d’un appareil représente l’éventail complet de couleurs pouvant être affichées sur cet appareil. Certains types d’écrans sont capables d’afficher une gamme de couleurs plus vaste que d’autres. Par ailleurs, chaque norme de vidéo et de film correspond à une gamme de couleurs différente. En conséquence, les couleurs facilement représentées par un appareil d’imagerie ne le seront pas forcément par un autre appareil. Un film, par exemple, est capable de représenter bien plus de valeurs de couleurs que la norme vidéo de diffusion. La chromaticité fait référence aux valeurs exactes utilisées par un écran pour représenter chacune des trois couleurs primaires. Chaque écran utilise des valeurs primaires différentes. Celles-ci sont visibles dans un diagramme de chromaticité sur lequel les trois couleurs primaires sont placées sous forme de points, par rapport à un graphique en deux dimensions représentant la teinte et la saturation au sein du spectre visible. Étant donné que toutes les couleurs représentées par un écran spécifique sont un mélange des trois couleurs primaires, si les trois points primaires varient d’un écran à l’autre, la gamme de couleurs entière est différente. Même si le diagramme de chromaticité affiché ci-dessus est utile pour comparer des écrans sur papier, pour vraiment représenter la teinte (couleur), la saturation (intensité de la couleur) et la luminosité (luminance du noir au blanc) qui définissent une gamme complète, vous devez utiliser un espace colorimétrique 3D.140 Chapitre 6 Contrôle Lorsqu’elles sont extrudées en 3D, la gamme et la chromaticité des différents appareils créent des formes différentes. Par exemple, l’espace colorimétrique RVB standard peut être représenté par un simple cube (comme on peut le voir dans l’application ColorSync Utility) : Chaque angle du cube représente une combinaison différente des valeurs tristimulus R, V et B qui correspondent à chaque couleur. L’angle de noir équivaut à (0,0,0), l’angle de blanc opposé à (1,1,1), l’angle de bleu à (0,0,1), l’angle de rouge à (1,0,0), et ainsi de suite. Toutefois, le cube de couleur RVB reste une abstraction idéalisée. Les appareils d’affichage proprement dits présentent des formes bien différentes, définies par leur propre gamme et chromaticité. Transformer de façon précise la gamme d’un appareil pour l’adapter à celle d’un autre appareil implique littéralement de projeter cette gamme dans une représentation 3D, puis de modifier sa forme de façon mathématique jusqu’à ce qu’elle corresponde à celle de l’autre appareil. Ce processus, appelé caractérisation d’un appareil, constitue la méthode standard utilisée par le secteur de la colorimétrie. Une fois les données calculées, la méthode de transformation est stockée sous la forme d’une table de conversion 3D. Une fois que vous avez effectué la caractérisation d’un appareil et calculé la table de conversion nécessaire, vous avez fait la plus grosse partie du travail informatique. La table de conversion peut alors être utilisée dans Color pour modifier l’image de sortie sans que cela n’ait d’impact significatif sur les performances en temps réel.Chapitre 6 Contrôle 141 Cas d’utilisation d’une table de conversion Les exemples suivants illustrent des cas où il est vivement conseillé d’utiliser des tables de conversion :  Si vous mettez en correspondance plusieurs écrans d’une même installation : les tables de conversion peuvent être utiles pour calibrer plusieurs écrans de façon à ce qu’ils répondent à un standard visuel commun, garantissant ainsi qu’un programme restera inchangé s’il est déplacé dans un autre studio.  Si vous affichez une vidéo SD ou HD sur un moniteur de non-diffusion : vous pouvez utiliser une table de conversion pour émuler l’espace colorimétrique Rec. 601 (SD) or 709 (HD) et le réglage gamma adapté au standard vidéo affiché.  Si vous affichez des images de vidéo ou de film à l’aide d’un vidéoprojecteur : vous pouvez utiliser une table de conversion pour calibrer votre appareil de façon à ce qu’il corresponde, du mieux possible, à la gamme du standard de diffusion ou de film sur lequel vous travaillez.  Si vous étalonnez des images destinées à être imprimées sur pellicule : vous pouvez utiliser une table de conversion pour profiler les caractéristiques de l’appareil d’impression et de la pellicule sur laquelle vous allez imprimer les données finales, afin d’obtenir une image approximative du résultat projeté final pendant que vous travaillez. Important : les tables de conversion ne remplacent pas un affichage haute qualité. En particulier, elles n’améliorent en rien les noirs ternes, un intervalle de contrastes faibles par nature ou une gamme trop étroite. Cas où une table de conversion n’est pas utile Si vous corrigez les couleurs d’une vidéo et contrôlez celle-ci à l’aide d’un écran de diffusion correctement calibré compatible avec le standard vidéo affiché, il n’est généralement pas nécessaire d’avoir recours à une table de conversion. Génération de tables de conversion Il existe plusieurs méthodes permettant de générer une table de conversion. En créer une vous-même à l’aide d’un logiciel tiers Il existe des applications tierces capables de « collaborer » avec les sondes du moniteur pour analyser les caractéristiques d’écrans individuels, puis générer une table de conversion afin de parvenir à un rendu des couleurs le plus fidèle possible. Dans la mesure où les réglages et les caractéristiques d’un moniteur varient au fil du temps, il est recommandé d’effectuer un recalibrage régulier des écrans, toutes les semaines ou deux fois par mois. Si vous créez une table de conversion pour ajouter un autre type d’écran doté de standards de diffusion (comme un projecteur numérique), vous devrez faire appel à des logiciels supplémentaires pour modifier la table de conversion de calibrage afin qu’elle corresponde aux caractéristiques requises par l’écran cible.142 Chapitre 6 Contrôle Demander à quelqu’un d’en créer une pour vous En amont de la chaîne numérique intermédiaire des flux de travaux de film, vous pouvez collaborer avec le laboratoire qui sera chargé de l’impression sur pellicule et avec la société ayant conçu le logiciel de calibrage de votre moniteur pour créer des tables de conversion personnalisées à partir des profils des appareils enregistreurs et pellicules utilisés spécifiquement pour votre projet. Globalement, ce processus implique l’impression d’une image test sur pellicule au laboratoire, puis l’analyse de l’image obtenue en vue de générer une table de conversion cible qui, associée à la table de conversion de calibrage de votre écran (créée à l’aide d’une sonde de moniteur et d’un logiciel sur votre système), est utilisée pour générer une troisième table de conversion, celle employée par Color pour contrôler votre programme pendant que vous travaillez. Création de tables de conversion dans Color Si nécessaire, vous pouvez faire correspondre deux moniteurs à l’œil nu à l’aide des commandes du studio Primary In, puis générer une table de conversion pour émuler le résultat directement en dehors de Color. Vous pouvez également exporter une catégorie d’étalonnage sous forme d’une table de conversion d’« aspect » pour voir de quelle façon une correction spécifique va affecter une image enregistrée au format numérique alors qu’elle est filmée. Pour ce faire, l’équipe doit utiliser un moniteur de proximité capable de charger des tables de conversion au format .mga. Pour créer votre propre table de conversion : 1 Disposez l’écran d’aperçu Color et le moniteur cible de façon à ce que les deux soient visibles en même temps. 2 Chargez une image d’évaluation de bonne qualité (un graphique Macbeth, par exemple) dans la Timeline. 3 Affichez la même image sur l’écran cible à l’aide d’une deuxième source vidéo fiable. 4 Ouvrez le studio Primary In et ajustez les commandes de façon appropriée pour faire correspondre les deux images. 5 Cliquez sur Export > Display LUT. 6 Quand la zone de dialogue Save LUT As s’affiche, saisissez un nom pour la table de conversion dans le champ File, sélectionnez l’emplacement où enregistrer le fichier, puis cliquez sur Save. Par défaut, les tables de conversion sont enregistrées dans le répertoire /Utilisateurs/ nom d’utilisateur/Bibliothèque/Application Support/Color/LUTs. Important : si votre projet utilise déjà une table de conversion lorsque vous en exportez une nouvelle, la table actuellement chargée est concaténée à partir des ajustements apportés et la combinaison obtenue est exportée en tant que nouvelle table de conversion.Chapitre 6 Contrôle 143 Utilisation de tables de conversion Toutes les tables de conversion utilisées et générées par Color sont des tables 3D. Color utilise le format de table de conversion .mga (initialement développé par Pandora), qui est compatible, entre autres, avec les logiciels Rising Sun Research et Kodak. Si nécessaire, il existe également des applications capables de convertir les tables de conversion d’un format vers un autre. Les tables de conversion n’ont aucune incidence sur les performances de traitement. Pour utiliser une table de conversion : 1 Cliquez sur File > Import > Display LUT. 2 Sélectionnez un fichier de table de conversion dans la zone de dialogue Load LUT, puis cliquez sur Load. Remarque : par défaut, les tables de conversion sont enregistrées dans le répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color/LUTs. La table de conversion prend immédiatement effet, elle modifie l’image telle qu’elle apparaît sur les écrans d’aperçu et de diffusion. Une table de conversion chargée est enregistrée dans les réglages du projet jusqu’à ce que vous la supprimiez spécifiquement de ce projet. Pour ne plus utiliser une table de conversion : m Cliquez sur File > Clear Display LUT. Pour partager une table de conversion avec d’autres utilisateurs de Color, vous devez leur fournir une copie du fichier de table de conversion. Pour plus de commodité, il est préférable de placer tous les fichiers de table de conversion dans le répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color/LUTs. Contrôle du magasin d’images fixes (Still Store) Le Still Store vous permet d’enregistrer et de rappeler des images de différentes parties d’un projet, afin de les utiliser pour comparer des plans sur lesquels vous travaillez. En fait, le Still Store est une mémoire tampon d’images grâce à laquelle vous pouvez basculer entre l’image Still Store chargée et l’image actuelle au niveau de la tête de lecture. Vous pouvez soit afficher l’image entière, soit opter pour un écran divisé personnalisable par le biais duquel vous pouvez voir les deux images à la fois. Lorsque vous activez le Still Store, l’image en plein écran ou en écran divisé est envoyée à l’écran d’aperçu et à l’écran de diffusion. Pour revenir à un affichage contenant uniquement l’image située au niveau de la tête de lecture, vous devez désactiver le Still Store. Les images Still Store activées sont analysées par les vidéoscopes et affectées par les tables de conversion. Pour en savoir plus sur l’utilisation du Still Store, reportez-vous au chapitre 16, « Magasin d’images fixes (Still Store) », à la page 355.7 145 7 Lecture, navigation et modification du plan de montage Le plan de montage fournit une interface qui permet de naviguer à l’intérieur du projet, de sélectionner les plans à étalonner et de réaliser un montage limité. Le plan de montage et le navigateur de plans (qui se trouve dans le studio Setup) offrent tous deux la possibilité de visualiser les plans du projet. Toutefois, le navigateur de plans permet de trier et d’organiser les plans de façon non linéaire, alors que le plan de montage, lui, offre un affichage séquentiel correspondant à la chronologie des plans de votre programme. Dans ce chapitre, vous apprendrez à vous servir du plan de montage pour lire les plans de votre programme et naviguer à l’intérieur de ce dernier et à effectuer des montages simples. Les rubriques suivantes seront abordées au cours de ce chapitre :  Principaux éléments de l’interface utilisateur du plan de montage (Timeline) (p. 146)  Personnalisation de l’interface du plan de montage (p. 148)  Utilisation des pistes (p. 149)  Sélection du plan actuel (p. 151)  Lecture dans le plan de montage (p. 151)  Navigation à l’intérieur du plan de montage (p. 154)  Sélection de plans dans le plan de montage (p. 156)  Utilisation des jeux d’étalonnage dans le plan de montage (p. 157)  Onglets de réglages (p. 158)  Contrôles et procédures de montage (p. 160)146 Chapitre 7 Lecture, navigation et modification du plan de montage Principaux éléments de l’interface utilisateur du plan de montage (Timeline) Le plan de montage (ou « Timeline ») se divise en un certain nombre de pistes qui contiennent les plans, les jeux d’étalonnage et les images clés utilisés par votre programme.  Barre de rendu : les barres de rendu ci-dessus indiquent si un plan a été rendu (en vert) ou non (en rouge).  Règle du plan de montage : elle fournit une échelle de temps pour le plan de montage (timeline). Si vous faites glisser le curseur à l’intérieur de la règle du plan de montage, vous déplacez la tête de lecture et faites défiler le programme.  Tête de lecture : elle indique la position de l’image actuellement affichée dans le plan de montage. La position de la tête de lecture détermine également le plan sur lequel le travail est actuellement effectué.  Pistes vidéo et plans : chaque plan du programme est représenté à l’intérieur de l’une des pistes vidéo qui se trouvent juste en dessous de la règle du plan de montage. Color vous autorise à créer cinq pistes vidéo au maximum lorsque vous assemblez un projet de nouvelle création. Toutefois, si vous travaillez sur un projet importé, toutes les pistes vidéo superposées de ce dernier apparaîtront, quel que soit leur nombre. Remarque : à l’heure actuelle, Color ne prend pas en charge les opérations de compositing. Lors de la lecture, les plans superposés sont prioritaires pour l’affichage par rapport aux plans situés dans les pistes inférieures.  Poignées de redimensionnement des pistes : il est possible de réduire ou d’augmenter la taille des pistes en faisant glisser leurs poignées de redimensionnement vers le haut ou vers le bas.  Icône de verrouillage : l’icône de verrouillage indique si une piste a été verrouillée ou non.  Piste des jeux d’étalonnage : il est possible d’appliquer jusqu’à quatre jeux d’étalonnage (grades) primaires à chaque plan. Color vous autorise à passer de l’une à l’autre. Elles permettent d’obtenir un rapide aperçu des différents aspects que peut avoir un même plan en fonction des jeux d’étalonnage appliqués, sans pour autant perdre le résultat du travail effectué jusqu’alors. Les jeux d’étalonnage sont numérotés de 1 à 4.Chapitre 7 Lecture, navigation et modification du plan de montage 147 Chacun de ces quatre jeux d’étalonnage peut comprendre une ou plusieurs corrections Primary (primaires), Secondary (secondaires), Color FX (effets de couleur) et Primary Out (primaires sur sortie). Par défaut, chacun d’entre eux apparaît avec une seule barre d’étalonnage primaire, mais des barres de correction supplémentaires s’affichent plus bas si vous avez effectué des ajustements dans l’un des autres studios qui correspondent au jeu d’étalonnage en question. Chaque barre est d’une couleur différente.  Barre P(rimary) : elle indique si une correction primaire a été appliquée.  Barre S(econdary) : elle indique si une ou plusieurs corrections secondaires ont été appliquées.  Barre CFX (Color FX) : elle indique si une correction d’effet de couleur a été appliquée.  Barre PO (Primary Out) : elle indique si une correction primaire a été appliquée sur la sortie.  Zone de suivi de l’animation : si vous ajoutez un marqueur de suivi de l’animation à un plan et en faites le traitement, les points d’entrée et de sortie du marqueur de suivi apparaissent dans cette zone, avec une barre verte figurant quelle proportion du marqueur de suivi sélectionné a déjà été traitée. Si aucun suivi d’animation n’est sélectionné sous l’onglet Tracking du studio Geometry, rien ne s’affiche dans cette zone. Pour en savoir plus, consultez la section « Onglet Tracking » à la page 345.  Graphique d’image clé : cette piste contient à la fois les images clés et les courbes qui interpolent le changement de la valeur d’une image clé à une autre. Pour en savoir plus sur la conversion des corrections et des effets en images clés, reportez-vous au chapitre 14, « Images clés », à la page 323.148 Chapitre 7 Lecture, navigation et modification du plan de montage Personnalisation de l’interface du plan de montage Il existe plusieurs façons de personnaliser l’interface visuelle du plan de montage. Pour changer les unités de la réglette de la Timeline, effectuez l’une des opérations suivantes : m Cliquez sur l’onglet du studio Setup, puis sur l’onglet User Prefs. Ensuite, cliquez sur le bouton Frames (images), Seconds (secondes), Minutes ou Hours (heures) correspondant aux unités que vous souhaitez utiliser. m Appuyez sur l’une des touches suivantes :  Appuyez sur F pour modifier l’affichage de sorte qu’il indique les images.  Appuyez sur S pour modifier l’affichage de sorte qu’il indique les secondes.  Appuyez sur M pour modifier l’affichage de sorte qu’il indique les minutes.  Appuyez sur H pour modifier l’affichage de sorte qu’il indique les heures. Par ailleurs, l’onglet User Prefs du studio Setup contient d’autres options qui permettent de changer le mode d’affichage des plans dans le plan de montage. Pour personnaliser le mode d’affichage des plans dans le plan de montage : 1 Cliquez sur l’onglet du studio Setup, puis sur l’onglet User Prefs. 2 Activez ou désactivez les options suivantes :  Show Shot’s Name : si vous activez cette option, le nom de chaque plan s’affiche dans le plan de montage.  Show Shot’s Number : si vous activez cette option, le numéro de chaque plan s’affiche dans le plan de montage.  Show Shot’s Beauty Frame : si vous activez cette option, des vignettes à image unique apparaissent à l’intérieur de chacun des plans qui se trouvent dans le plan de montage. Vous pouvez aussi redimensionner les pistes du plan de montage, c’est-à-dire les agrandir ou les réduire, selon vos préférences. Il est possible de redimensionner les pistes vidéo, la piste des jeux d’étalonnage et le graphique des images clés de façon individuelle.Chapitre 7 Lecture, navigation et modification du plan de montage 149 Pour redimensionner toutes les pistes vidéo, la piste des jeux d’étalonnage ou le graphique des images clés : m Faites glisser la poignée centrale de la barre de couleur grise située au bas de n’importe laquelle des pistes du plan de montage jusqu’à ce que la hauteur de toutes les pistes soient celle que vous souhaitez. Pour redimensionner une piste particulière : m Appuyez sur la touche Maj et maintenez-la enfoncée, puis faites glisser la poignée centrale de la barre de couleur grise située au bas de la piste que vous voulez redimensionner jusqu’à ce que cette dernière ait la hauteur souhaitée. Remarque : la prochaine fois que vous redimensionnerez toutes les pistes vidéo en même temps, la taille des pistes redimensionnées individuellement sera modifiée afin de correspondre à celle qui viendra d’être ajustée. Utilisation des pistes Cette section décrit les différentes façons de changer l’état des pistes dans le plan de montage lorsque vous travaillez. Pour verrouiller ou déverrouiller une piste : m Cliquez n’importe où à l’intérieur d’une piste tout en maintenant la touche Contrôle enfoncée ou cliquez n’importe où à l’intérieur d’une piste avec le bouton droit de la souris, puis choisissez l’une des options suivantes :  Lock Track : cette option verrouille tous les plans pour empêcher leur déplacement ou leur modification.  Unlock Track : cette option autorise le déplacement et le montage des plans. Remarque : les pistes des projets XML importés sont automatiquement verrouillées. Si l’on souhaite obtenir des résultats optimaux lors d’une conversion en boucle, il est préférable de ne pas déverrouiller ces pistes. m150 Chapitre 7 Lecture, navigation et modification du plan de montage Pour afficher ou masquer les pistes : m Cliquez n’importe où à l’intérieur d’une piste tout en maintenant la touche Contrôle enfoncée ou cliquez n’importe où à l’intérieur d’une piste avec le bouton droit de la souris, puis choisissez l’une des options suivantes :  Hide Track : cette option désactive la piste en question de sorte que les plans superposés ne se voient pas et ne puissent pas être sélectionnés lors du passage de la tête de lecture.  Show Track : cette option rétablit la visibilité de la piste. Les plans superposés sont affichés en priorité par rapport aux plans situés dans les pistes inférieures et sont sélectionnés par défaut chaque fois que la piste est visible. Remarque : le réglage Reverse Track Ordering de l’onglet Prjct Settings du studio Setup détermine si les pistes et les plans superposés apparaissent au premier plan ou se situent à des niveaux inférieurs. Si vous activez l’option Reverse Track Ordering, le mode d’affichage des pistes vidéo superposées est le même que celui utilisé par Final Cut Pro. ? Conseil : avant d’exporter un projet depuis Final Cut Pro, vous pouvez exporter une séquence QuickTime autonome correspondant à l’ensemble du programme et la superposer aux autres plans de votre séquence montée. Ensuite, une fois le projet exporté dans Color, vous pouvez activer ou désactiver cette version « de référence » du programme à l’aide de la visibilité des pistes chaque fois que vous souhaitez examiner les effets ou les corrections de couleurs qui ont été créés lors du montage off line. Pour ajouter une piste : m Cliquez n’importe où à l’intérieur d’une piste tout en maintenant la touche Contrôle enfoncée ou cliquez n’importe où à l’intérieur d’une piste avec le bouton droit de la souris, puis choisissez New Track dans le menu contextuel. Pour supprimer une piste : m Cliquez n’importe où à l’intérieur d’une piste tout en maintenant la touche Contrôle enfoncée ou cliquez n’importe où à l’intérieur d’une piste avec le bouton droit de la souris, puis choisissez Remove Track dans le menu contextuel. Remarque : il n’est pas possible de supprimer la piste du bas.Chapitre 7 Lecture, navigation et modification du plan de montage 151 Sélection du plan actuel Le plan sur lequel se trouve la tête de lecture devient le plan actuel. Le plan actuel est celui qui est ajusté chaque fois que vous manipulez l’un des contrôles qui se trouvent dans les studios Primary In, Secondary, Color FX, Primary Out ou Geometry. Il ne peut y avoir qu’un seul plan actuel à la fois. Le plan actuel est le seul plan mis en surbrillance en gris clair. Lors du déplacement de la tête de lecture le long du plan de montage, les contrôles et les paramètres de tous les studios sont automatiquement mis à jour pour refléter le jeu d’étalonnage utilisé pour le plan actuel déterminé par la position de la tête de lecture. Pour qu’un plan particulier du plan de montage devienne le plan actuel, effectuez l’une des opérations suivantes : m Double-cliquez sur ce plan dans le plan de montage. m Déplacez la tête de lecture jusqu’à ce plan. Remarque : lorsque vous double-cliquez sur un plan, le plan de montage se déplace de sorte que le plan sélectionné se trouve en son centre et devienne le plan actuel. Lecture dans le plan de montage En général, la lecture dans Color sert à obtenir un aperçu des répercussions des diverses corrections sur l’apparence du plan lorsque celui-ci est animé ou à connaître l’effet de plusieurs jeux d’étalonnage appliqués à un groupe de plans lorsque ceux-ci sont lus en séquence. C’est la raison pour laquelle le fonctionnement de la lecture dans Color diffère quelque peu de celui d’autres applications telles que Final Cut Pro. Dans Color, la lecture se limite toujours à la zone du plan de montage située entre le point d’entrée et le point de sortie. Si la tête de lecture se trouve dans cette zone, la lecture commence à partir du plan sur lequel la tête de lecture est située et se termine au point de sortie. Si la tête de lecture se trouve hors de cette zone, elle vient automatiquement se placer sur le point d’entrée lorsque vous commencez la lecture. Ceci permet d’accélérer le processus de lecture en boucle de scènes ou de plans particuliers du plan de montage, qui se répète souvent lors de la correction de couleurs.152 Chapitre 7 Lecture, navigation et modification du plan de montage Démarrage et arrêt de la lecture Les contrôles ci-dessous permettent de commencer et d’interrompre la lecture du programme. Pour lire le programme, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Play Forward (lecture avant) ou sur le bouton Play Backward (lecture arrière). m Appuyez sur la barre d’espace. m Appuyez sur la touche J pour lire le programme en arrière ou sur la touche L pour le lire vers l’avant. Important : à partir du moment où la lecture a commencé, vous vous trouvez dans un mode dans lequel il n’est pas possible de travailler avec les contrôles de Color, et ce jusqu’à l’arrêt de la lecture. Pour interrompre la lecture du programme, effectuez l’une des opérations suivantes : m Appuyez sur la barre d’espace lors de la lecture du programme. m Appuyez sur la touche Échap. m Appuyez sur la touche K. Choix du mode de lecture Le mode de lecture permet de choisir entre deux possibilités : soit les points d’entrée et de sortie changent automatiquement de façon à correspondre à la durée du plan actuel chaque fois que vous déplacez la tête de lecture, soit leur écart reste fixe et représente une plus grande partie de votre programme. Mode Shot Le mode Shot (plan) est le mode de lecture par défaut. Chaque fois que la tête de lecture se déplace sur un nouveau plan, les points d’entrée et de sortie qui apparaissent dans le plan de montage changent automatiquement de façon à correspondre aux points d’entrée et de sortie définis dans le projet pour le plan sélectionné. Par consé- quent, la lecture se limite uniquement à ce plan. Si l’option Loop Playback est activée, la tête de lecture se déplacera en boucle sur le plan actuel tant que la lecture ne sera pas interrompue. Color et JKL Color comprend une implémentation partielle des contrôles de lecture JKL qui sont si utiles dans certaines autres applications de montage. Toutefois, les avantages les plus significatifs de JKL, tels que le ralenti et la lecture image-par-image, ne sont pas pris en charge.Chapitre 7 Lecture, navigation et modification du plan de montage 153 Remarque : vous avez toujours la possibilité de cliquer sur d’autres plans dans le plan de montage pour les sélectionnez, mais les points d’entrée et de sortie ne changent pas tant que vous ne déplacez pas la tête de lecture jusqu’à un autre plan. Mode Movie Lorsque vous entrez pour la première fois dans le mode Movie (film), le point d’entrée qui apparaît dans le plan de montage correspond à la première image du premier plan du plan de montage, et le point de sortie à la dernière image du dernier plan. Ceci vous permet de lire autant de plans que vous le souhaitez et donc de visionner des scènes entiè- res de votre projet. Lorsque vous êtes dans le mode Movie, vous pouvez aussi définir vos propres points d’entrée et de sortie de sorte qu’ils soient placés où bon vous semble et qu’ils ne soient pas actualisés lorsque vous déplacez la tête de lecture sur un autre plan. Placement de vos propres points d’entrée et de sortie Quel que soit le mode de lecture que vous ayez choisi, vous avez toujours la possibilité de définir manuellement de nouveaux points d’entrée et de sortie où que vous le souhaitiez. Si vous définissez vos propres points d’entrée et de sortie, le mode de lecture passe automatiquement au mode Movie. Pour basculer d’un mode de lecture à l’autre, effectuez l’une des opérations suivantes : m Choisissez Timeline > Toggle Playback Mode. m Appuyez sur Maj + Contrôle + M. Pour personnaliser la durée de la lecture : 1 Déplacez la tête de lecture jusqu’au point d’entrée souhaité, puis appuyez sur la touche I. 2 Déplacez la tête de lecture jusqu’au point de sortie souhaité, puis appuyez sur la touche O. Lecture en boucle Si l’option Loop Playback (lecture en boucle) est activée, la tête de lecture revient automatiquement au point d’entrée chaque fois qu’elle atteint le point de sortie lors de la lecture. Pour activer la lecture en boucle : 1 Cliquez sur l’onglet du studio Setup, puis sur l’onglet User Prefs. 2 Cliquez sur le bouton Loop Playback pour activer la lecture en boucle.154 Chapitre 7 Lecture, navigation et modification du plan de montage Respect de la fréquence d’images Le réglage Maintain Framerate qui se trouve dans l’onglet User Prefs du studio Setup permet de spécifier si une perte d’images doit ou non avoir lieu afin de maintenir la fréquence d’images du projet pendant la lecture.  Si le réglage Maintain Framerate est activé (par défaut), la fréquence d’images du plan actuel est respectée quel que soit la charge de travail supportée par le processeur. Si le jeu d’étalonnage choisi pour le plan en cours de lecture requiert une grande quantité de ressources processeur, certaines images seront ignorées pendant la lecture afin de maintenir la fréquence d’images du projet. Sinon, la lecture se déroule en temps réel.  Si Maintain Framerate est désactivé, toutes les images sont lues dans tous les cas. Si le jeu d’étalonnage en cours de lecture requiert une grande quantité de ressources processeur, la lecture sera ralentie pour éviter la perte d’images. Sinon, il est possible que la lecture soit plus rapide que la normale. Navigation à l’intérieur du plan de montage Les contrôles indiqués ci-dessous permettent de naviguer à l’intérieur du programme qui se trouve dans le plan de montage, en le faisant défiler, en effectuant des zooms avant et des zooms arrière et en déplaçant la tête de lecture d’un plan à un autre. Pour effectuer un zoom avant ou un zoom arrière sur un plan se trouvant dans le plan de montage : 1 Déplacez la tête de lecture jusqu’à l’endroit du plan de montage que vous souhaitez agrandir. 2 Placez le curseur à l’intérieur du plan de montage, puis effectuez l’une des opérations suivantes :  Pour effectuer un zoom avant, choisissez Timeline > Zoom In ou appuyez simultané- ment sur la touche Commande et sur la touche – (moins).  Pour effectuer un zoom arrière, choisissez Timeline > Zoom Out ou appuyez simultanément sur la touche Commande et sur la touche = (égal). Remarque : vous pouvez aussi vous servir des touches + et – du pavé numérique pour faire un zoom sur le plan de montage. L’ampleur maximale du zoom avant dépend de l’unité définie pour l’affichage de la règle du plan de montage. Inversement, plus l’unité définie pour l’affichage dans le plan de montage est grande, plus les possibilités de zoom arrière sont importantes. Par exemple, vous pouvez obtenir davantage de recul avec le zoom arrière, afin de voir un plus grand nombre de plans en même temps dans le plan de montage, lorsque la règle du plan de montage est définie à Minutes que lorsqu’elle est définie à Frames.Chapitre 7 Lecture, navigation et modification du plan de montage 155 Lorsque le nombre de pistes qui peuvent être affichées est supérieur au nombre de pistes qu’il est possible de visualiser en même temps dans le plan de montage, des petites flèches blanches apparaissent en haut, en bas, ou en haut et en bas pour montrer qu’il y a d’autres pistes dans la direction indiquée qui n’apparaissent pas pour l’instant. Dans ce cas, vous pouvez faire défiler le plan de montage verticalement à l’aide du bouton central de la souris. Pour faire défiler le plan de montage horizontalement ou verticalement sans déplacer la tête de lecture : m Cliquez sur le plan de montage avec le bouton central de la souris, puis faites glisser vers la gauche, vers la droite, vers le haut ou vers le bas. m Pour un défilement plus rapide, appuyez sur la touche Option et maintenez-la enfoncée, puis cliquez sur le plan de montage avec le bouton central de la souris et faites glisser. Pour déplacer la tête de lecture d’un plan à un autre, effectuez l’une des opérations suivantes : m Faites-la glisser à l’intérieur de la règle du plan de montage pour faire défiler les plans. m Appuyez sur la touche Flèche vers le haut pour déplacer la tête de lecture jusqu’à la première image du plan suivant situé à sa gauche. m Appuyez sur la touche Flèche vers le bas pour déplacer la tête de lecture jusqu’à la première image du plan suivant situé à sa droite. m Cliquez sur le bouton Next Shot (plan suivant) ou sur le bouton Previous Shot (plan précédent). Il est également possible de déplacer la tête de lecture d’une seule image à la fois. Pour déplacer la tête de lecture d’une image à l’image suivante, effectuez l’une des opérations suivantes : m Appuyez sur la touche Flèche gauche pour aller à l’image précédente. m Appuyez sur la touche Flèche droite pour passer à l’image suivante. Pour aller à la première image du projet : m Appuyez sur la touche Début. Pour aller à la dernière image du projet : m Appuyez sur la touche Fin.156 Chapitre 7 Lecture, navigation et modification du plan de montage Sélection de plans dans le plan de montage Il existe certaines opérations, telles que la copie des corrections Primary, qui peuvent être effectuées sur des groupes sélectionnés de plans. Color a recours à des méthodes standard pour sélectionner un ou plusieurs plans dans le plan de montage. Remarque : vous pouvez également sélectionner des plans à l’aide du navigateur de plans. Pour en savoir plus, consultez la section « Le navigateur de plans » à la page 109. Pour sélectionner un plan dans le plan de montage : m Cliquez sur le plan souhaité. Les plans sélectionnés apparaissent dans le plan de montage avec une mise en surbrillance de couleur cyan. Pour sélectionner plusieurs plans successifs : 1 Cliquez sur le premier plan de la plage de plans que vous souhaitez sélectionner. 2 Appuyez sur la touche Maj et maintenez-la enfoncée, puis cliquez sur un autre plan choisi en tant que dernier plan de la plage à sélectionner. Tous les plans qui se trouvent entre le premier et le second plans sélectionnés sont eux aussi sélectionnés. Pour sélectionner plusieurs plans qui ne se suivent pas dans le plan de montage : m Appuyez sur la touche Contrôle et maintenez-la enfoncée, puis cliquez sur autant de plans que vous le souhaitez dans le plan de montage.Chapitre 7 Lecture, navigation et modification du plan de montage 157 Pour désélectionner des plans dans le plan de montage : m Sélectionnez un plan non sélectionné auparavant pour annuler la sélection actuelle. m Cliquez sur une zone vide du plan de montage. Utilisation des jeux d’étalonnage dans le plan de montage Il est possible d’appliquer à chacun des plans qui se trouvent dans le plan de montage l’un des quatre jeux d’étalonnage qui apparaissent dans la piste des jeux d’étalonnage. Ces quatre jeux d’étalonnage vous permettent de stocker différents aspects pour un même plan. Par exemple, si vous avez créé un jeu d’étalonnage satisfaisant, mais que vous ou votre client souhaitez essayer « autre chose », vous pouvez faire des essais pour obtenir jusqu’à trois autres aspects différents, tout en sachant que vous pouvez instantanément revenir à l’aspect initial si c’est finalement celui que vous préférez. Un plan ne peut être modifié que par un seul jeu d’étalonnage à la fois. Le jeu d’étalonnage sélectionné dans le plan de montage est celui que vous verrez dans l’affichage Preview (aperçu) ou dans l’affichage Broadcast (diffusion). Tous les jeux d’étalonnage qui ne sont pas sélectionnés sont désactivés. Pour en savoir plus sur la création et la gestion des jeux d’étalonnage, reportez-vous au chapitre 13, « Gestion des corrections et des jeux d’étalonnage », à la page 299. Par défaut, chaque plan d’un nouveau projet n’est muni au départ que d’un seul jeu d’étalonnage vide, mais vous pouvez en ajouter un autre à tout moment. Pour ajouter un nouveau jeu d’étalonnage à un plan, effectuez l’une des opérations suivantes : m Déplacez la tête de lecture jusqu’au plan auquel vous souhaitez ajouter un nouveau jeu d’étalonnage, puis appuyez sur Contrôle + 1 à 4. m Cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris sur le jeu d’étalonnage auquel vous souhaitez passer, puis choisissez Add New Grade dans le menu contextuel.158 Chapitre 7 Lecture, navigation et modification du plan de montage S’il n’existe pas déjà un jeu d’étalonnage portant le même numéro que celui que vous avez saisi, un nouveau jeu est créée. Chaque fois qu’un nouveau jeu d’étalonnage est ajouté, la taille de la piste des jeux d’étalonnage augmente et le nouveau jeu est sélectionné. Les nouveaux jeux d’étalonnage sont dénués de tout réglage et permettent de commencer à travailler à partir de l’état original du plan non étalonné. Pour sélectionner le jeu d’étalonnage en vigueur : 1 Déplacez la tête de lecture jusqu’au plan dont vous souhaitez changer le jeu d’étalonnage. 2 Effectuez l’une des opérations suivantes :  Cliquez sur le jeu d’étalonnage auquel vous souhaitez passer.  Appuyez sur Contrôle + 1 à 4.  Cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris sur le jeu d’étalonnage auquel vous souhaitez passer, puis choisissez Select Grade X dans le menu contextuel, X étant le numéro du jeu d’étalonnage que vous sélectionnez. Le plan qui est affiché dans le plan de montage est mis à jour avec le jeu d’étalonnage qui vient d’être sélectionné. Pour réinitialiser un jeu d’étalonnage du plan de montage : 1 Déplacez la tête de lecture jusqu’au plan dont vous souhaitez changer le jeu d’étalonnage. 2 Dans la piste des jeux d’étalonnage du plan de montage, cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris sur le jeu d’étalonnage que vous souhaitez réinitialiser, puis choisissez Reset Grade X dans le menu contextuel (X étant le numéro du jeu d’étalonnage). Lorsque vous réinitialisez un jeu d’étalonnage, tous les studios qui lui sont associés sont également réinitialisés, y compris les studios Primary In, Secondary, Color FX, et Primary Out. Le studio Geometry, lui, reste inchangé. Pour en savoir plus, consultez le chapitre 13, « Gestion des corrections et des jeux d’étalonnage », à la page 299. Onglets de réglages Les onglets de réglages (Settings) indiquent les propriétés du plan sur lequel se trouve actuellement la tête de lecture. Certaines de ces propriétés peuvent être modifiées, d’autres non.Chapitre 7 Lecture, navigation et modification du plan de montage 159 Onglet Settings 1 Les relatives au chronométrage répertoriées dans cet onglet ne peuvent pas être modifiées. Elles dépendent en effet de la position de chaque plan dans le plan de montage et des propriétés des données source auquel chaque plan est lié.  Project In et Project Out : ces réglages définissent l’emplacement du plan dans le plan de montage.  Trim In et Trim Out : ces réglages définissent la partie des données source qui est effectivement utilisée dans le projet par rapport à la durée totale disponible du fichier de données source qui se trouve sur le disque. Les timecodes Trim In et Trim Out ne peuvent pas être en dehors de la plage des paramètres Source In et Source Out.  Source In et Source Out : ces réglages définissent le point de début et le point de fin des données source originales qui se trouvent sur le disque. Si la valeur de Trim In est égale à celle de Source In et que la valeur de Trim Out est égale à celle de Source Out, il n’y a aucune poignée non utilisée disponible dans les données source du disque. Vous utilisez toutes les données disponibles.  Menu local de Frame Rate : le menu local vous permet de définir la fréquence d’images de chaque plan. Ce réglage annule le réglage de fréquence d’images de l’onglet Project Settings. Pour la plupart des projets qui utilisent des données source au format QuickTime, le réglage par défaut ne devrait pas être modifié. Dans le cas des projets qui utilisent des séquences d’images DPX comme données source, le menu local vous permet de modifier une fréquence d’images incorrecte dans les données d’en-tête des fichiers DPX. Onglet Settings 2 Ce deuxième onglet contient des réglages supplémentaires permettant de modifier les données d’en-tête des fichiers image DPX.  Override Header Settings : s’il est activé, ce réglage annule les réglages suivants relatifs à l’en-tête DPX du plan actuel.  Log : ce réglage vous permet d’activer ou de désactiver la conversion des images du mode logarithmique au mode linéaire que Color effectue automatiquement pour les fichiers DPX et Cineon logarithmiques 10 bits.  Printing Density : ce menu local ne peut être sélectionné que lorsque le projet en cours est réglé pour utiliser les séquences d’images Cineon ou DPX. Il vous permet de choisir explicitement la plage numérique des valeurs qui sont utilisées pour traiter la couleur de façon à assurer la compatibilité avec votre flux de données (« pipeline ») de postproduction. Ces options déterminent le réglage des points noir et blanc dans les données dont le rendu est effectué par Color. Trois options sont disponibles :  Film (95 Black – 685 White : Logarithmic)  Video (65 Black – 940 White : Linear)  Linear (0 Black – 1023 White)160 Chapitre 7 Lecture, navigation et modification du plan de montage Important : le point noir par défaut, pour les numérisations de films DPX, est en général de 95, tandis que le point blanc par défaut dans le même cas est en général de 685. Il est important de vérifier que les réglages de point noir et de point blanc ne contiennent pas des valeurs aberrantes. Consultez le laboratoire pour vérifier que les réglages sont appropriés.  DeInterlace : si vous activez cette option à l’aide du bouton correspondant, vous avez la possibilité de désentrelacer chaque plan séparément. Ce réglage annule les réglages Deinterlace Renders et Deinterlace Previews de l’onglet Project Settings. Lorsque DeInterlace est activé, la moyenne des deux champs vidéo est utilisée pour leur union en une seule image. Contrôles et procédures de montage Color n’a pas été conçu en tant qu’environnement de montage. C’est la raison pour laquelle le jeu d’outils de montage mis à votre disposition n’est pas aussi complet que celui d’une application telle que Final Cut Pro. D’ailleurs, dans la plupart des cas, il est recommandé de veiller à n’apporter absolument aucune modification au montage de votre projet dans Color, et ce pour plusieurs raisons :  Le déverrouillage des pistes des projets qui ont été importés au format XML ou envoyés depuis Final Cut Pro et qui doivent ultérieurement retourner à Final Cut Pro risque de bouleverser les données du projet et d’empêcher un renvoi réussi de ce dernier à Final Cut Pro.  Si vous modifiez le montage d’un projet envoyé depuis Final Cut Pro, vous ne pourrez renvoyer à Final Cut Pro qu’une version simplifiée de ce projet contenant uniquement les plans et les transitions de la piste V1 et les réglages Pan and Scan du studio Geometry.  Si vous importez une liste de montage et modifiez le montage, vous pouvez exporter depuis Color une autre liste de montage reflétant vos modifications. Toutefois, celle-ci contiendra uniquement les plans et les transitions de la piste V1.  Si le projet que vous importez est synchronisé avec un mixage audio, toutes les modifications que vous apportez au montage risquent de rompre la synchronisation audio. Toutefois, si vous travaillez sur un projet pour lequel les questions ci-dessus n’ont aucune importance, vous pouvez vous servir des commandes et des outils indiqués ci-dessous pour monter des plans une fois les pistes correspondantes déverrouillées dans le plan de montage. ? Conseil : si vous devez modifier le montage, vous avez toujours la possibilité de monter à nouveau la séquence originale dans Final Cut Pro, d’exporter un nouveau fichier XML, puis de vous servir de la commande Reconform pour mettre à jour le plan de montage de Color de sorte qu’il tienne compte des modifications apportées.Chapitre 7 Lecture, navigation et modification du plan de montage 161 Outil Select L’outil Select (sélection) est l’état par défaut du pointeur dans Color. Comme son nom l’indique, cet outil permet de sélectionner des plans dans le plan de montage, de les déplacer jusqu’à un autre endroit du montage ou de les supprimer. Il est recommandé de sélectionner à nouveau l’outil de sélection immédiatement après avoir fait une coupe avec tout autre outil pour être sûr de ne pas continuer à apporter des modifications au plan de montage sans le vouloir. Pour modifier la position d’un plan dans le plan de montage : m Faites glisser le plan jusqu’à un autre endroit du plan de montage. Lorsque vous déplacez un plan à l’intérieur du plan de montage, sa position finale dépend de la relation entre son point d’entrée et les plans qui se trouvent déjà à la position souhaitée. Dans Color, les plans déplacés n’écrasent jamais d’autres plans. Au lieu de cela, ces derniers sont déplacés dans le plan de montage pour laisser suffisamment de place au plan à insérer, ce qui produit une mise à jour automatique de tous les points de montage du programme.  Si vous positionnez le point d’entrée du plan déplacé dans la première moitié d’un autre plan, le plan que vous déplacez sera inséré au point d’entrée de cet autre plan, ce qui aura pour effet de déplacer tous les autres plans qui se trouvent dans le plan de montage vers la droite pour lui faire de la place.  Si vous positionnez le point d’entrée du plan déplacé dans la seconde moitié d’un autre plan, le plan que vous déplacez sera inséré après le point de sortie de cet autre plan, ce qui aura pour effet de déplacer tous les autres plans qui se trouvent dans le plan de montage vers la droite pour lui faire de la place.  Si vous déplacez le plan jusqu’à un endroit du plan de montage de telle sorte qu’il ne chevauche aucun autre plan, il se retrouve tout simplement à l’endroit souhaité sans qu’aucun déplacement des autres plans ne se produise. Pour supprimer un plan du plan de montage : 1 Sélectionnez un ou plusieurs plans dans le plan de montage. 2 Effectuez l’une des opérations suivantes :  Appuyez sur la touche Supprimer.  Appuyez sur Forward Delete. Le résultat est un montage par élimination qui laisse un vide dans le plan de montage à l’endroit où se trouvait le plan. La suppression d’un plan n’entraîne aucun déplacement des autres plans.162 Chapitre 7 Lecture, navigation et modification du plan de montage Roll, outil L’outil Roll permet d’ajuster en même temps le point de sortie et le point d’entrée de deux plans consécutifs. Vous pouvez vous servir de l’outil Roll si vous êtes satisfait de l’endroit où se trouvent deux plans dans le plan de montage, mais que vous souhaitez changer la position du point de montage correspondant à la coupe. L’utilisation de l’outil Roll n’entraîne aucun déplacement des plans à l’intérieur du plan de montage ; seul le point de montage entre les deux plans est déplacé. Il s’agit d’un montage des deux côtés puisqu’il concerne simultanément les points de montage de deux plans différents ; le point de sortie du premier plan et le point d’entrée du plan suivant sont tous deux ajustés par le montage Roll. Toutefois, ce montage n’a aucune incidence sur les autres plans de la séquence. Remarque : lorsque vous effectuez un montage Roll, la durée globale de la séquence reste la même, mais celle des deux plans change. L’un s’allonge alors que l’autre rétrécit en compensation. Ceci signifie que vous n’avez pas à vous préoccuper d’un quelconque risque de provoquer d’éventuels problèmes de synchronisation entre des éléments reliés aux plans qui se trouvent dans d’autres pistes. Dans l’exemple ci-dessus, le plan B est raccourci et le plan C devient plus long, mais la durée d’ensemble des deux plans ne change pas. Pour effectuer un montage Roll : 1 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Roll :  Choisissez Timeline > Roll Tool.  Appuyez sur Contrôle + R. 2 Déplacez le pointeur jusqu’au point de montage situé entre deux plans que vous souhaitez unir par un montage Roll, puis faites-le glisser vers la gauche ou vers la droite. Le plan de montage est mis à jour pour refléter le montage effectué. A B C A B C Avant montage Après montageChapitre 7 Lecture, navigation et modification du plan de montage 163 Ripple, outil Un montage Ripple ajuste le point d’entrée ou le point de sortie d’un plan, en augmentant ou réduisant la durée de ce dernier, de sorte qu’il n’y ait pas de vide dans le plan de montage. La modification de la durée du plan entraîne une mise à jour automatique des points de montage de tout le reste du programme et provoque un déplacement de tous les plans qui se trouvent à droite de celui que vous avez ajusté vers la droite ou vers la gauche à l’intérieur du plan de montage. Un montage Ripple est un montage sur un seul côté, c’est-à-dire que vous ne pouvez l’utiliser que pour ajuster le point d’entrée ou le point de sortie d’un seul plan. Tous les plans qui viennent après celui que vous avez ajusté sont déplacés, vers la gauche si vous l’avez raccourci, vers la droite si vous l’avez allongé. Il s’agit d’une opération très importante qui peut éventuellement avoir une incidence sur le chronométrage de l’ensemble de votre programme. Important : les montages Ripple peuvent présenter des risques si vous essayez de maintenir la synchronisation entre votre programme dans Color et le son original de la séquence Final Cut Pro ou de la liste de montage source dont tout le mixage est effectué dans une autre application. En effet, les plans de votre projet Color peuvent se déplacer vers le début ou vers la fin du programme alors que le son avec lequel ils sont censés être synchronisés, lui, reste en place. Pour faire un montage Ripple : 1 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Ripple :  Choisissez Timeline > Ripple Tool.  Appuyez sur Contrôle + T. 2 Déplacez le pointeur jusqu’au point d’entrée ou jusqu’au point de sortie du plan que vous souhaitez raccourcir ou allonger, puis faites-le glisser vers la gauche ou vers la droite. Le plan de montage est mis à jour pour refléter le montage effectué et tous les plans qui viennent après celui que vous avez ajusté se déplacent vers la gauche ou vers la droite pour compenser le changement du chronométrage. A B C A B C Avant montage Après montage164 Chapitre 7 Lecture, navigation et modification du plan de montage Coulissement, outil Un montage par coulissement ne change ni la position ni la durée du plan dans le plan de montage, mais il modifie la partie des données du plan qui apparaît dans le plan de montage en vous permettant de déplacer simultanément ses points d’entrée et de sortie. Ceci signifie que la partie du plan qui est lue dans le plan de montage n’est plus la même, bien que la position du plan à l’intérieur du plan de montage ne change pas. Un montage par coulissement n’a aucune incidence sur les autres plans qui se trouvent dans le plan de montage, et la durée globale du projet reste inchangée. Dans l’exemple ci-dessus, le montage par coulissement change les points d’entrée et de sortie du plan B, mais pas sa durée ni sa position dans la séquence. Lors de la lecture de la séquence, la partie affichée des données du plan B sera différente. Pour effectuer un montage par coulissement : 1 Déplacez la tête de lecture jusqu’au plan à ajuster pour pouvoir voir ce que vous faites lors de la modification. 2 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Slip :  Choisissez Timeline > Slip Tool.  Appuyez sur Contrôle + Y. 3 Déplacez le pointeur jusqu’au plan que vous souhaitez faire coulisser, puis faites-le glisser vers la gauche ou vers la droite. Contrairement à Final Cut Pro, Color ne montre pas les images correspondant aux nouveaux points d’entrée et de sortie que vous choisissez avec cet outil. La seule image affichée est celle sur laquelle se trouve la tête de lecture, qui est mise à jour lorsque vous faites glisser le plan dans un sens ou dans l’autre. C’est la raison pour laquelle il est utile de déplacer la tête de lecture jusqu’au plan à ajuster avant de commencer un montage par coulissement. A B C A B C Avant montage 00:00:10:00 00:00:30:00 00:00:17:00 00:00:37:00 Après montageChapitre 7 Lecture, navigation et modification du plan de montage 165 Outil Split L’outil Split (division) permet d’ajouter un point de montage à un plan en le coupant en deux. Ce point de montage est ajouté au niveau de l’image sur laquelle vous cliquez dans le plan de montage. Cet outil peut s’avérer utile pour supprimer une section d’un plan ou pour appliquer un effet à une partie précise d’un plan. Pour diviser un plan en deux plans distincts : 1 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Split :  Choisissez Timeline > Split Tool.  Appuyez sur Contrôle + X. 2 Déplacez le pointeur jusque sur la règle du plan de montage, puis, lorsque la ligne de chevauchement de la division apparaît (il s’agit d’une ligne blanche verticale qui indique l’intersection des plans dans le plan de montage), faites-la glisser jusqu’à l’image du plan sur laquelle vous souhaitez placer un point de montage. 3 Cliquez pour ajouter un point de montage. Le plan de montage est mis à jour pour refléter le montage effectué et un nouveau point de montage apparaît au niveau de l’image sur laquelle vous avez cliqué. Outil Splice Chaque fois que vous coupez un plan avec l’outil Split, le plan original est divisé en deux plans séparés par un point de montage correspondant à une coupe. Les coupes ne se voient pas dans le plan de montage de Color, mais tout point de montage qui divise une plage d’images successives qui formeraient un tout en son absence est considéré comme une coupe. L’outil Splice (raccord) permet de relier ces images pour rétablir l’unité du plan. Le fait de relier deux plans que sépare une coupe a pour effet de les fusionner à nouveau en un seul plan. Vous ne pouvez pas relier deux plans qui ne sont pas séparés par une coupe. Si vous tentez de le faire, vous obtiendrez simplement un message d’avertissement. Important : lorsque vous raccordez deux plans dont les jeux d’étalonnage et les corrections sont différents, les jeux d’étalonnage et les corrections du plan situé à gauche annulent celles du plan de droite. Pour raccorder deux plans de sorte qu’ils n’en forment plus qu’un : 1 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Splice :  Choisissez Timeline > Splice Tool.  Appuyez sur Contrôle + Z. 2 Déplacez le pointeur jusque sur la règle du plan de montage, puis, lorsque la ligne de chevauchement du raccord apparaît (il s’agit d’une ligne blanche verticale qui indique l’intersection des plans dans le plan de montage), faites-la glisser jusqu’au point de montage correspondant au raccord à effectuer. 3 Cliquez pour faire de ce point de montage un raccord.166 Chapitre 7 Lecture, navigation et modification du plan de montage Le plan de montage est mis à jour pour refléter le montage effectué et les deux plans qui étaient auparavant séparés par une coupe sont raccordés de façon à n’en faire plus qu’un. Commande Create an Edit (Création d’un point de coupe) La commande Create an Edit du menu Timeline (Contrôle + V) est semblable à l’outil Split. Elle permet de couper en deux un plan du plan de montage à l’endroit où se trouve la tête de lecture. Cette commande permet de ne pas avoir à choisir un outil. Pour créer un point de montage : 1 Déplacez la tête de lecture jusqu’à l’image sur laquelle vous souhaitez ajouter un point de montage. 2 Effectuez l’une des opérations suivantes :  Choisissez Timeline > Create an Edit.  Appuyez sur Contrôle + V. Le plan de montage est mis à jour pour refléter le montage effectué et un nouveau point de montage apparaît à l’endroit où se trouve la tête de lecture. Commande Merge Edits (Fusion d’un point de coupe) La commande Merge Edits (Contrôle + B) est semblable à l’outil Splice. Elle permet de relier deux plans séparés par une coupe, à l’endroit où se trouve la tête de lecture, en un seul. Cette commande permet de ne pas avoir à choisir un outil. Pour fusionner deux plans en un seul à un point de montage correspondant à une coupe : 1 Déplacez la tête de lecture jusqu’à l’image qui correspond à la coupe que vous souhaitez fusionner. 2 Effectuez l’une des opérations suivantes :  Choisissez Timeline > Merge Edits.  Appuyez sur Contrôle + B. Le plan de montage est mis à jour pour refléter le montage effectué et les deux plans qui étaient auparavant séparés par une coupe sont fusionnés de façon à n’en faire plus qu’un. Important : lorsque vous raccordez deux plans dont les jeux d’étalonnage et les corrections sont différents, les jeux d’étalonnage et les corrections du plan situé à gauche annulent celles du plan de droite. Magnétisme Lorsque le magnétisme est activé les plans se calent sur la valeur temporelle 00:00:00:00 de la Timeline. Pour activer ou désactiver le magnétisme : m Choisissez Timeline > Snapping pour activer ou désactiver le magnétisme.8 167 8 Vidéoscopes Outre un écran de diffusion bien calibré, les vidéoscopes offrent un moyen rapide et précis d’évaluation et de comparaison quantitatives des images. Color propose la plupart des écrans de vidéoscopes disponibles dans les autres suites de vidéo en ligne et d’étalonnage plus quelques-uns qui sont propres à l’analyse des images par logiciel. Ces vidéoscopes fournissent conjointement des mesures graphiques des niveaux de luminance, de chrominance et RVB de l’image contrôlée, vous permettant d’évaluer clairement les qualités différentiant un plan d’un autre. Vous pouvez ainsi prendre des décisions en connaissance de cause lors de la légalisation ou de la comparaison de plans dans Color. Les rubriques suivantes seront abordées au cours de ce chapitre :  Quels sont les vidéoscopes disponibles ? (p. 168)  Options des vidéoscopes (p. 171)  Analyse d’images par le biais de vidéoscopes (p. 173)168 Chapitre 8 Vidéoscopes Quels sont les vidéoscopes disponibles ? Les vidéoscopes suivants figurent dans la fenêtre Scopes :  Waveform Monitor avec les options suivantes :  Vue RGB Parade  Overlay de canaux rouge, vert et bleu  CanalRed, Green ou Blue en isolement  Luma uniquement  Chroma uniquement  Y´CB CR présenté en vue parade  Vectorscope  Histogram avec les options suivantes :  RGB présenté simultanément  CanalRed, Green ou Blue en isolement  Luma uniquement  Analyse de couleur 3D avec les options d’espace colorimétrique suivantes :  RGB  HSL  Y´CB CR  IPT L’emplacement des vidéoscopes dépend du mode d’affichage de Color (simple ou double) :Chapitre 8 Vidéoscopes 169  En mode d’affichage simple : deux vidéoscopes sont affichés sous l’aperçu vidéo dans la fenêtre Scopes, qui est positionnée sur la gauche de la fenêtre d’interface Color.170 Chapitre 8 Vidéoscopes  En mode d’affichage double : jusqu’à trois vidéoscopes sont affichés dans la fenêtre Scopes, outre l’aperçu vidéo. Précision des vidéoscopes Pour créer une analyse en temps réel du signal vidéo (même durant l’ajustement et la lecture), Color effectue un sous-échantillonnage de l’image en cours à une résolution de 384 x 192. L’image sous-échantillonnée est alors analysée et les données résultantes sont affichées par les vidéoscopes sélectionnés. La même résolution sous-échantillonnée est utilisée quelle que soit la résolution d’origine des données source. Dans le cadre de cette méthode, chaque pixel contribue à l’analyse finale de l’image. Dans les tests, les graphiques générés par les vidéoscopes Color sont très proches de ceux générés par les vidéoscopes dédiés et sont extrêmement utiles dans l’évaluation et la mise en correspondance des plans lorsque vous utilisez Color. Cependant, notez bien que l’analyse de Color reste une approximation des données totales. Les vidéoscopes dédiés restent utiles pour une évaluation critique. Remarque : si vous souhaitez intercepter des pixels perdus en dehors de la gamme lors de la réalisation d’ajustements pour le QC, vous pouvez activer les réglages Broadcast Safe pour vous protéger des violations QC. Pour en savoir plus, consultez la section « Réglages de seuils de diffusion (Broadcast Safe) » à la page 119.Chapitre 8 Vidéoscopes 171 Options des vidéoscopes Vous pouvez modifier l’affichage et le comportement des vidéoscopes des façons suivantes. Pour activer la mise à jour des vidéoscopes en temps réel : 1 Ouvrez l’onglet User Preferences dans le studio Setup. 2 Sélectionnez Update UI During Playback. 3 Pour que les vidéoscopes se mettent à jour au cours de la lecture, sélectionnez Update Secondary Display. ? Conseil : vous pouvez désactiver Update Primary Display pour améliorer les performances de lecture. Certains vidéoscopes disposent de plusieurs modes. Pour faire passer un vidéoscope dans un mode différent : m Cliquez sur le bouton correspondant au mode voulu en haut du vidéoscope. Tout quadrant contenant un vidéoscope peut aussi en utiliser de différents types. Pour modifier le type de vidéoscope affiché dans une région particulière de la fenê- tre Scopes : m Cliquez tout en maintenant la touche Contrôle enfoncée sur un vidéoscope ou cliquez dessus avec le bouton droit de la souris et choisissez-en un autre dans le menu contextuel. Il est possible d’effectuer un zoom dans tous les vidéoscopes pour mieux voir le graphique.172 Chapitre 8 Vidéoscopes Pour effectuer un zoom sur l’écran d’un vidéoscope, procédez de l’une des manières suivantes : m Faites rouler la molette de défilement ou la boule de défilement de votre souris vers le bas pour effectuer un zoom avant sur un écran d’un vidéoscope et vers le haut pour effectuer un zoom arrière. m Cliquez sur l’un des boutons de pourcentage en haut à gauche du Vectorscope pour mettre à l’échelle l’écran du vidéoscope. Il est également possible d’effectuer une rotation dans l’espace des vidéoscopes 3D afin que vous puissiez consulter l’analyse sous différents angles. Pour repositionner un vidéoscope 3D, procédez de l’une des manières suivantes : m Faites glisser le modèle de vidéoscope horizontalement ou verticalement afin qu’il effectue une rotation dans cette direction. m Maintenez le bouton du milieu enfoncé et faites glisser pour repositionner le modèle de vidéoscope dans cette direction. Pour réinitialiser l’échelle et l’orientation d’un vidéoscope : m Cliquez tout en maintenant la touche Contrôle enfoncée sur un vidéoscope ou cliquez dessus avec le bouton droit de la souris et choisissez Reset dans le menu contextuel. Certains vidéoscopes peuvent être affichés en couleurs. Pour activer ou désactiver l’affichage en couleurs d’un vidéoscope : 1 Ouvrez l’onglet User Preferences dans le studio Setup. 2 Cliquez sur Monochrome Scopes pour désactiver ou activer les couleurs. Les couleurs du vidéoscope sont affectées par les paramètres personnalisables suivants :  Lorsque Monochrome Scopes est désactivé, le paramètre UI Saturation détermine le degré d’intensité des couleurs du vidéoscope.  Lorsque Monochrome Scopes est activé, le contrôle Scope Color directement en dessous contrôle la couleur des graticules du vidéoscope.Chapitre 8 Vidéoscopes 173 Analyse d’images par le biais de vidéoscopes La section suivante décrit l’utilisation de chaque vidéoscope fournit par Color. Waveform Le vidéoscope Waveform est en fait une famille de vidéoscopes fournissant différentes analyses de la luminance et de la chrominance via des formes d’onde. Description d’une forme d’onde Pour créer une forme d’onde, Color analyse les lignes d’une image de gauche à droite, les valeurs résultantes sont tracées verticalement sur la graticule de la forme d’onde relative à l’échelle utilisée (par exemple, –20 à 110 IRE sur le graphique de luminance). Dans l’image suivante, une ligne de l’image est analysée et tracée de cette façon. Pour générer l’analyse globale de l’image, les graphiques de chaque ligne de celle-ci sont superposés.174 Chapitre 8 Vidéoscopes Les valeurs de la forme d’onde étant tracées dans la même position horizontale que la partie de l’image analysée, la forme d’onde la reflète, dans une certaine mesure. Cela peut être constaté lorsqu’un sujet bouge de gauche à droite dans une image, alors que la forme d’onde est lue en temps réel. Dans tous les vidéoscopes de type oscilloscope, les niveaux de luminance ou de chrominance élevés sont représentés comme des crêtes sur la forme d’onde et les niveaux faibles comme des chutes. Il est ainsi facile de lire les niveaux mesurés de hautes lumiè- res ou d’ombres de l’image. Parade Le vidéoscope Parade affiche des formes d’onde distinctes pour les composants rouge, vert et bleu de l’image côte à côte. Si Monochrome Scopes est désactivé, les formes d’onde sont de couleur rouge, verte et bleue afin qu’elles soient facilement identifiables. Remarque : pour mieux illustrer le rôle du vidéoscope Parade, les exemples de cette section sont fournis avec filtre Broadcast Safe désactivé, de sorte que les valeurs d’image supérieures à 100 pour cent et inférieures à 0 pour cent ne soient pas écrêtées.Chapitre 8 Vidéoscopes 175 Le vidéoscope Parade facilite la distinction des dominantes de couleurs dans les hautes lumières et les ombres d’une image, en comparant les contours de la partie supérieure et inférieure de chaque forme d’onde. Les blancs, les gris et les noirs étant caractérisés par des niveaux exactement égaux de rouge, de vert et de bleu, les zones neutres de l’image doivent afficher trois formes d’onde d’une hauteur à peu près égale dans le vidéoscope Parade. Si ce n’est pas le cas, il est aisé d’effectuer une correction en apportant des ajustements pour mettre à niveau les trois formes d’onde. Avant l’étalonnage Après étalonnage176 Chapitre 8 Vidéoscopes Parade est aussi très utile pour comparer les niveaux relatifs de rouges, de verts et de bleus de deux plans. Si un plan comporte plus de rouge qu’un autre, la différence se traduit par une forme d’onde rouge plus élevée pour l’un et une forme d’onde rouge abaissée pour l’autre, par rapport aux autres canaux. Dans la première illustration, l’image globale comporte une quantité nettement plus importante de rouge. En comparaison, le second plan comporte beaucoup moins de bleu et des niveaux bien plus élevés de vert, ce qui se voit immédiatement dans Parade. Si vous avez besoin d’uniformiser les couleurs de ces plans, vous pouvez vous baser sur ces mesurer pour calculer les corrections. Parade permet aussi d’identifier des canaux de couleurs dépassant la limite de chrominance pour la légalité de diffusion, si les paramètres Broadcast Safe sont désactivés. En effet, leurs formes d’onde sont soit trop élevées soit trop basses. Un canal rouge présentant une courbe de niveau plus élevé Un canal vert plus élevé conduira à une autre correctionChapitre 8 Vidéoscopes 177 Overlay Le vidéoscope Overlay présente des informations identiques à celles de Parade, à l’exception du fait que les formes d’onde représentant les canaux rouge, vert et bleu sont superposées directement les unes sur les autres. Cela peut permettre l’identification des différences ou des similarités relatives dans les zones se chevauchant des trois canaux de couleurs censés être identiques, comme les blancs, les gris et les noirs neutres. Une autre caractéristique de cet écran réside dans le fait que lorsque les vidéoscopes sont définis sur l’affichage des couleurs (en désactivant le paramètre Monochrome Scopes), les zones du graticule où les formes d’onde rouge, verte et bleue se chevauchent précisément apparaissent blanches. Cela permet de visualiser facilement où vous avez éliminé des dominantes de couleur dans les ombres et les hautes lumières en équilibrant les trois canaux. Red/Green/Blue Channels Ces vidéoscopes montrent des formes d’onde isolées pour chacun des canaux de couleur. Ils sont utiles si vous voulez étudier de plus près les valeurs d’un canal.178 Chapitre 8 Vidéoscopes Luma Le vidéoscope Luma indique les niveaux de luminosité relatifs dans l’image. Les crêtes et chutes des formes d’onde affichées permettent de localiser facilement les tâches lumineuses et les zones sombres de votre image. La différence entre la crête la plus élevée et la chute la plus basse du graticule du vidéoscope Luma indique le rapport de contraste total du plan et l’épaisseur moyenne de la forme d’onde indique son exposition moyenne. Les formes d’onde trop basses indiquent des images sombres et si elles sont trop élevées, elles peuvent signifier une surexposition. Si vous effectuez une inspection QC d’un programme, les réglages Broadcast Safe étant désactivés, vous pouvez aussi utiliser l’échelle pour identifier facilement des niveaux vidéo supérieurs ou inférieurs aux limites recommandées. Forme d’onde de surexposition forme d’onde de sous-exposition Forme d’onde de bonne expositionChapitre 8 Vidéoscopes 179 Chroma Ce vidéoscope montre les composants différentiels combinées de couleur CB et CR de l’image. Il s’avère utile pour vérifier si la chrominance globale est trop élevée et aussi si elle est trop limitée, car il permet de voir le résultat du réglage Chroma Limit imposé quand Broadcast Safe est activé. Par exemple, le graphique suivant représente une chrominance extrêmement saturée dans l’image : Lorsque vous activez Broadcast Safe avec une valeur Chroma Limit par défaut de 50, vous constatez que les crêtes de chrominance élevées ont été limitées à 50. Y’CB CR Ce vidéoscope présente les composants du signal encodé Y´CB CR dans une vue parade. La forme d’onde la plus à gauche est le composant de luminance (Y’), la forme d’onde du milieu est le composant de différence de couleur CB et celle la plus à droite est le composant de différence de couleur CR .180 Chapitre 8 Vidéoscopes Vectorscope Le Vectorscope indique la distribution globale de la couleur dans l’image par rapport à une échelle circulaire. L’image vidéo est représentée par un graphique constitué d’une série de points connectés figurant autour du centre de cette échelle. Pour chaque point du graphique analysé, son angle autour de l’échelle indique sa teinte (qui peut être comparée aux cibles de couleur fournies) alors que sa distance du centre de l’échelle représente la saturation de la couleur affichée. Le centre du Vectorscope représente la saturation zéro et plus un point est loin du centre, plus la saturation est élevée. Si l’option Monochrome Scopes est désactivée dans l’onglet User Prefs du studio Setup, les points du graphique tracés par le Vectorscope utiliseront la couleur de cette partie de l’image source. Il est ainsi plus facile de voir quelles zones du graphiques correspondent à celles de l’image.Chapitre 8 Vidéoscopes 181 Le Vectorscope permet de connaître la teinte et l’intensité des différentes couleurs de l’image. Lorsque vous aurez appris à identifier les couleurs de vos plans sur le graphique dans le Vectorscope, il sera plus facile de rapprocher deux images car vous pourrez voir leurs différences. Si, par exemple, une image est plus saturée qu’une autre, le graphe du Vectorscope sera plus grand. Vous pouvez aussi utiliser le Vectorscope afin de constater si une dominante de couleur affecte des parties de l’image devant être neutres (ou désaturées). Les zones désaturées de l’image devant être parfaitement centrées, un graphique Vectorscope décentré repré- sentant une image avec des parties de blanc, de gris et de noir indique clairement un déséquilibre colorimétrique. Les cibles de couleur Les cibles de couleur de l’échelle du Vectorscope correspondent aux couleurs des contrô- les Color Balance des filtres d’étalonnage de Final Cut Pro. Si les teintes de deux plans à harmoniser ne correspondent pas, la direction et la distance de leur décalage sur l’échelle du Vectorscope indiquent dans quel sens déplacer l’indicateur de contrôle de la balance. Image moins saturée Image plus saturée182 Chapitre 8 Vidéoscopes La façon dont les cibles de couleur du Vectorscope sont liées à la saturation de son graphique dépend de l’échelle définie pour celui-ci :  Si l’échelle du Vectorscope est 75 pour cent, les barres de couleur de ce pourcentage atteindront les cibles.  Si l’échelle du Vectorscope est 100 pour cent, les barres de couleur de ce pourcentage atteindront les cibles. Remarque : toutes les couleurs sont converties par Color en RVB via la norme Rec. 709 avant l’analyse. Par conséquent, les vidéos source NTSC et PAL atteindront les mêmes cibles. Barre I La barre –I indique l’angle correct auquel la teinte de la case bleu foncé de la séquence de test des barres de couleur doit apparaître. Cette case bleu foncé qui se trouve à gauche du carré de référence blanc 100 pour cent est appelée le signal Inphase (I). L’incrustation de la barre I (barre I positive) dans le Vectorscope est aussi identique à la courbe de teint dans Final Cut Pro. Elle permet d’identifier et de corriger les teints des acteurs dans un plan. Les différents teints, une fois enregistrés sur bande vidéo et mesurés à l’aide d’un Vectorscope, se recoupent plus ou moins (même si la saturation et la luminosité varient). Lorsqu’un acteur se trouve dans un plan, pour savoir si son teint est reproduit fidèlement, vérifiez s’il existe une zone de couleur plus ou moins proche de la barre I. Si les teints de vos acteurs sont franchement incorrects, le décalage entre la zone de couleur probable la plus proche dans le Vectorscope et la cible du teint vous indiqueront approximativement la modification à apporter.Chapitre 8 Vidéoscopes 183 Barre Q La barre Q indique l’angle correct auquel la teinte de la case violette de la séquence de test des barres de couleur doit apparaître. Cette case violette qui se trouve à droite du carré de référence blanc 100 pour cent est appelée le signal +Quadrature (Q). Lors du dépannage d’un signal vidéo, la correspondance entre les composants Inphase et +Quadrature du signal des barres de couleur et de la position des barres –I et Q indique si les composants du signal vidéo sont démodulés correctement. histogramme L’histogramme fournit un type d’analyse très différent de celle des vidéoscopes basés sur les formes d’onde. Les formes d’onde ont une correspondance intégrée entre la position horizontale de l’image analysée et celle du graphique de forme d’onde alors que les histogrammes fournissent une analyse statistique de l’image. Les histogrammes calculent le nombre total de pixels de chaque jeu d’étalonnage ou de luminance dans l’image et tracent un graphique indiquant le nombre de pixels à chaque pourcentage. Dans ce graphique en barres, chaque incrément de l’échelle de gauche à droite représente un pourcentage de luminance ou de couleur et la hauteur de chaque segment de l’histogramme indique le nombre de pixels correspondant à ce pourcentage. RGB L’histogramme RGB indique des analyses d’histogramme distinctes pour chaque canal de couleur. Vous pouvez ainsi comparer le distribution relative de chaque canal de couleur sur la plage tonale de l’image.184 Chapitre 8 Vidéoscopes Par exemple, des images à dominante rouge ont un histogramme rouge beaucoup plus important ou inversement, des histogrammes verts et bleus plus faibles. Dans l’exemple suivant, la dominante rouge des hautes lumières est clairement visible. R, G et B Les histogrammes R, G et B sont simplement des versions isolées de l’histogramme de chaque canal. Luma L’histogramme Luma indique la force relative de toutes les valeurs de luminance de l’image vidéo, de noir à super blanc. La hauteur du graphique à 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. Si, par exemple, vous avez une image avec peu de hautes lumières, vous pouvez vous attendre à voir une concentration importante de valeurs autour des tons intermédiaires sur l’histogramme.Chapitre 8 Vidéoscopes 185 L’histogramme Luma peut s’avérer très utile pour effectuer des comparaisons de luminance rapides entre deux plans afin d’harmoniser les ombres, les tons intermédiaires et les hautes lumières. Si, par exemple, vous harmonisez une plan de coupe avec le plan illustré ci-dessus, vous pouvez conclure d’un simple regard que l’image ci-dessous est sous-exposée, mais l’histogramme vous renseigne plus précisément sur l’aspect quantitatif de cette sous-exposition. La forme de l’histogramme permet également de déterminer le contraste dans une image. Une image à faible contraste, comme celle illustrée ci-dessus, possède une distribution des valeurs concentrée au centre de l’histogramme. Au contraire, une image très contrastée affiche une distribution plus répartie des valeurs sur toute la largeur de l’histogramme. Vidéoscope d’espace colorimétrique 3D Ce type de vidéoscope affiche une analyse de la couleur de l’image projetée dans une zone 3D. Vous pouvez sélectionner l’un des quatre espaces colorimétriques avec lesquels représenter les données de couleur.186 Chapitre 8 Vidéoscopes RGB L’espace colorimétrique RGB distribue la couleur dans l’espace d’un cube représentant la plage totale de couleur pouvant être affichée :  Le noir et le blanc absolus figurent dans deux coins diagonalement opposés du cube, le centre de cette diagonale étant la plage de niveaux de gris désaturés du noir au blanc.  Les trois couleurs primaires, rouge, vert et bleu figurent aux trois coins liés au noir.  Les trois couleurs secondaires, jaune, cyan et magenta figurent aux trois coins liés au blanc. Ainsi, chaque couleur pouvant être représentée dans Color peut se voir affecter un point dans trois dimensions en utilisant la teinte, la saturation et la luminosité pour définir chaque axe d’espace. Les côtés du cube représentent la couleur de la saturation 100 %, la diagonale centrale allant du coin noir au coin blanc représente une saturation de 0 %. Les couleurs plus sombres sont plus proches du coin noir du cube et les couleurs plus claires plus proches du coin blanc diagonalement opposé.Chapitre 8 Vidéoscopes 187 HSL L’espace colorimétrique HSL (Hue, Saturation et Luminance) distribue un graphique de points dans un cône à deux pointes représentant la plage de couleurs pouvant être affichée.  Le noir et le blanc absolus figurent à deux points opposés en haut et en bas de la forme.  Les couleurs primaires et secondaires sont distribuées autour de la roue des couleurs habituelle, la saturation de 100 %étant représentée par le bord externe de la forme et la saturation à 0 % représentée au centre. Ainsi, les couleurs plus sombres se trouvent à l’intérieur en bas et les couleurs plus claires en haut. Les couleurs plus saturées se trouvent plus près des bords externes de la forme et les couleurs moins saturées plus proches du centre interne. Y’CB CR L’espace colorimétrique Y´CB CR est similaire à l’espace colorimétrique HSL à ceci près que la limite externe de saturation est représentée par une structure à six côtés de forme spécifique indiquant les limites générales de la couleur dans la vidéo de diffusion. La limite externe n’indique pas les limites légales de diffusion de la vidéo, mais illustre la plage de couleurs générale disponible. Par exemple, l’image suivante a une saturation et une luminosité illégales.188 Chapitre 8 Vidéoscopes Si vous activez les réglages Broadcast Safe, la distribution de la couleur dans l’espace colorimétrique Y´CB CR devient limitée. IPT L’espace colorimétrique IPT est pondéré perceptuellement, le but de cette pondération étant de représenter plus précisément les teintes d’une image distribuée sur une échelle semblant uniformément linéaire. Si les espaces colorimétriques RGB, HSL et Y´CB CR présentent des analyses tridimensionnelles de l’image mathématiquement exactes et vous permettent de voir comment les couleurs d’une image sont transformées d’une gamme à une autre, ils ne montrent pas forcément la distribution des couleurs telle que l’œil la perçoit. Il peut s’agir par exemple d’une roue des teintes calculée conventionnellement. Notez combien la partie verte de la roue des teintes présentée ci-dessous semble beaucoup plus grande que la partie jaune ou rouge. Les cônes de l’œil sensibles à la couleur ont des sensibilités différentes par rapport à chacune des couleurs primaires (rouge, vert et bleu). Donc, une distribution mathématiquement linéaire de la couleur analysée n’est pas nécessairement la façon la plus précise de représenter ce que l’œil voit. L’espace colorimétrique IPT rectifie cela en redistribuant l’emplacement des teintes dans l’espace colorimétrique en fonction de tests où des personnes ont choisi et ordonné une distribution égale de teintes d’une couleur à une autre, pour définir un spectre qui leur semblait correct.Chapitre 8 Vidéoscopes 189 Dans l’espace colorimétrique IPT, I correspond à l’axe vertical de lumière (noir à blanc désaturé) traversant le centre de l’espace colorimétrique. Le plan horizontal est défini par l’axe P, qui est la distribution du rouge au vert et l’axe T, qui est la distribution du jaune au bleu. Voici une analyse de l’image test dans cet espace colorimétrique. Échantillonnage de couleur Le vidéoscope 3D fournit aussi des contrôles pour l’échantillonnage et l’analyse de la couleur de l’image affichée. Trois échantillons au bas du vidéoscope permettent d’échantillonner trois couleurs différentes pour l’analyse. Remarque : ces contrôles sont visibles uniquement lorsque le vidéoscope 3D occupe une zone de la fenêtre Scopes. Pour échantillonner et analyser une couleur : 1 Cliquez sur l’un des trois boutons d’échantillons de couleurs au bas du vidéoscope 3D. 2 Faites glisser dans la zone d’aperçu de l’image pour placer la cible de couleur dans la zone à analyser, puis relâchez le bouton de la souris.190 Chapitre 8 Vidéoscopes Lorsque vous faites glisser la cible de couleur sur l’aperçu de l’image, trois événements se produisent :  L’échantillon de couleur adopte cette couleur.  Les valeurs H, S et L du pixel analysé sont affichées à droite de l’échantillon sélectionné.  Un curseur en croix identifie l’emplacement de cette valeur dans la représentation en 3D de la couleur du vidéoscope 3D. Chaque cible de couleur est numérotée afin d’identifier son échantillon correspondant.9 191 9 Primary In Le studio Primary In constitue l’interface principale dédiée à la correction colorimétrique des plans. C’est dans ce studio que vous commencerez votre travail et, bien souvent, c’est le seul dont vous aurez besoin. Pour parler plus simplement, les corrections primaires sont des étalonnages qui affectent l’intégralité d’une image. D’ailleurs, le studio Primary In propose une multitude de commandes familières à quiconque a l’habitude de travailler avec d’autres modules et applications de traitement des images et d’étalonnage colorimétrique. Chacune de ces commandes permet de manipuler le contraste et la couleur d’une image de façon différente. Remarque : plusieurs des commandes disponibles dans le studio Primary In apparaissent également dans les studios Secondaries et Primary Out, où elles offrent les mêmes fonctions. Les rubriques suivantes seront abordées au cours de ce chapitre :  Objectifs de l’utilisation du studio Primary In (p. 192)  Utilisation des commandes de contraste Primary (p. 195)  Réglage du contraste dans les zones d’ombres, de tons intermédiaires et de hautes lumières (p. 197)  Utilisation des commandes Color Balance (p. 209)  Description détaillée des corrections des ombres, des tons intermédiaires et des hautes lumières (p. 213)  Commandes Curves (p. 220)  Onglet Basic (p. 233)  Onglet Advanced (p. 237)  Auto Balance (p. 239)192 Chapitre 9 Primary In Objectifs de l’utilisation du studio Primary In En règle générale, le studio Primary In vous permet de réaliser des tâches variées, telles que les suivantes :  Régler le contraste de l’image, afin que les ombres soient suffisamment foncées, les zones de hautes lumières suffisamment claires et la luminosité globale de l’image appropriée à la scène.  Ajuster le couleur dans les zones de hautes lumières et de tons intermédiaires, afin de corriger des dominantes de couleur involontaires dues à des réglages incorrects de balance des blancs d’une caméra vidéo ou à un éclairage inapproprié au type de pellicule utilisé.  Apporter des modifications à la couleur et au contraste d’ensemble d’une image, afin de donner l’impression qu’elle correspond à une autre heure de la journée. Vous serez sans doute amené à modifier un plan photographié en fin d’après-midi pour qu’il semble avoir été pris en plein midi.  Adapter la couleur et le contraste de chaque plan d’une scène, afin d’éliminer la moindre irrégularité dans l’exposition ou la couleur d’un plan à l’autre. Vous pouvez effectuer toutes ces tâches et bien d’autres grâce aux outils mis à votre disposition dans le studio Primary In. Lorsque vous travaillez sur des programmes nécessitant des corrections relativement simples, il se peut même que vous appliquiez toutes vos corrections dans ce studio, y compris un léger ajustement supplémentaire en vue de réchauffer ou refroidir l’image à des fins purement esthétiques. D’un autre côté, vous pouvez également choisir d’effectuer les diverses étapes de ces corrections nécessaires dans les différents studios proposés et ce, à des fins purement organisationnelles. Pour en savoir plus sur les diverses méthodes de répartition et d’organisation des corrections, consultez la section « Utilisation de tous les studios Primary, Secondary et Color FX pour gérer les corrections de chaque plan » à la page 320. Le studio Primary In vous permet d’apporter des corrections spécifiques Même si le studio Primary In applique les corrections à l’intégralité de l’image, il n’est pas impossible de cibler des corrections sur certains de ses aspects. Nombre des commandes présentes dans le studio Primary In sont conçues pour appliquer des ajustements à des zones d’une tonalité particulière. Autrement dit, certaines commandes modifient la couleur des zones les plus claires de l’image, alors que d’autres n’affectent que les plus sombres. Qui plus est, d’autres types de commandes s’appliquent à des canaux de couleur particuliers. Vous pouvez ainsi diminuer ou augmenter la valeur du canal vert, sans affecter les canaux rouge et bleu.Chapitre 9 Primary In 193 Premiers pas Ce chapitre est consacré à l’ensemble des commandes d’ajustement d’images disponibles dans le studio Primary In. De nombreux coloristes recourent à ces outils dans un ordre particulier. Cette séquence permet d’organiser chaque partie du travail, afin de définir une méthodologie. En règle générale, vous travaillerez sur la plupart des images en vous conformant aux étapes suivantes. Étape 1 : Réglage du contraste de l’image La majorité des coloristes commencent toujours leur travail par la correction du contraste d’une image avant de passer au traitement de sa couleur proprement dite. Il est possible d’appliquer cette correction grâce aux commandes primaires de contraste, ainsi qu’aux commandes Luma Curve, Master Lift, Master Gain et Master Gamma de l’onglet Basic. Étape 2 : Ajustement de la balance des couleurs de l’image Il suffit de déterminer les points blanc et noir de l’image pour fixer sa balance des couleurs. Les commandes primaires de balance des couleurs permettent d’effectuer rapidement ses ajustements dans les ombres, les tons intermédiaires et les zones de hautes lumières. Pour apporter des corrections plus précises, utilisez les commandes des courbes rouge, verte et bleue. Vous pouvez également recourir aux commandes Red, Green et Blue Lift, Gamma et Gain de l’onglet Advanced pour saisir des valeurs numériques d’ajustement.194 Chapitre 9 Primary In Étape 3 : Réglage de la saturation de l’image Dès que la qualité de la couleur vous convient, apportez des modifications pour augmenter ou diminuer la saturation, encore appelée l’intensité des couleurs de l’image. Les commandes Saturation, Highlight Sat. et Shadow Sat. de l’onglet Basic vous permettent de régler la saturation d’ensemble ou de certaines régions d’une tonalité particulière. Étape 4 : Modifications plus spécifiques Si vous pensez que certains aspects de l’image nécessitent de plus amples corrections après avoir suivi les étapes 1 à 3, accédez aux commandes des courbes qui vous permettent de cibler vos modifications liées à la couleur et au contraste de l’image sur des zones présentant une tonalité définie. Néanmoins, il est plus simple d’accéder à le studio Secondaries au-delà d’un certain point (décrit au chapitre 10, « Secondaries », à la page 241).Chapitre 9 Primary In 195 Utilisation des commandes de contraste Primary Si vous retirez toute couleur d’une image (il vous suffit de régler le paramètre Saturation sur 0), vous obtenez une image en niveaux de gris qui représente le composant Luma de cette image, à savoir la partie qui contrôle sa luminosité. Comme l’explique la section « Modèle de couleurs Y’CB CR » à la page 27, le composant Luma d’une image correspond au rapport pondéré des canaux rouge, vert et bleu de l’image (la sensibilité de l’œil à chaque couleur). Même si le composant Luma était à l’origine un concept lié à la vidéo, vous pouvez le manipuler à l’aide des commandes de contraste disponibles dans Color, quel que soit le format d’origine des images. Ces commandes vous permettent d’ajuster la luminosité d’une image de manière de plus ou moins indépendante de sa couleur. Remarque : des ajustements importants du contraste de l’image peuvent avoir un effet sur la saturation. Étendue du contraste L’une des modifications majeures que vous pouvez appliquer à une image concerne l’étendue de son contraste. En effet, cette étendue correspond à la différence entre le pixel le plus sombre des zones ombrées (le point noir) et le pixel le plus clair des zones de hautes de lumières (le point blanc). L’étendue du contraste d’une image est très facile à quantifier en observant le graphique de l’oscilloscope ou de l’histogramme réglé sur Luma. La répartition des valeurs des images à fort contraste est très étendue du point noir au point blanc.196 Chapitre 9 Primary In En revanche, les images à faible contraste présentent des valeurs extrêmement rapprochées entre le point noir et le point blanc. Les curseurs de réglage du contraste Shadow, Midtone et Highlight vous permettent d’appliquer des corrections distinctes à chacune de ces trois caractéristiques du contraste. Remarque : les réglages effectués à l’aide des curseurs de contraste du studio Primary In peuvent affecter la saturation de l’image. D’ailleurs, l’augmentation considérable du composant Luma peut entraîner la réduction de la saturation, alors que sa diminution peut accroître la saturation de l’image. Ce comportement diffère du filtre Étalonnage à 3 voies de Final Cut Pro, qui modifie le contraste de l’image sans aucun effet sur sa saturation. Utilisation des curseurs de réglage du contraste avec une surface de contrôle Les trois curseurs de réglage du contraste présents dans les studios Primary In, Secondaries et Primary Out correspondent généralement à trois contrôles rotatifs, molettes ou boutons sur les surfaces de contrôle compatibles. Alors que vous ne pouvez régler qu’un seul de ces curseurs à la fois avec votre souris via les contrôles d’écran, vous pouvez les ajuster simultanément si vous êtes équipé d’une surface de contrôle. Lorsque vous utilisez une surface de contrôle, le paramètre Encoder Sensitivity affiché par l’onglet User Prefs du studio Setup vous permet de personnaliser la vitesse à laquelle les commandes agissent. Pour en savoir plus, consultez la section « Réglages de la surface de contrôle » à la page 122.Chapitre 9 Primary In 197 Réglage du contraste dans les zones d’ombres, de tons intermédiaires et de hautes lumières Les curseurs Primary Contrast sont divisés en trois curseurs verticaux, dont vous vous servez pour régler le point noir, la répartition des tons intermédiaires et le point blanc d’une image. Chacun de ces curseurs est en fait un dégradé vertical. Le faire glisser vers le haut ou le bas augmente ou réduit respectivement sa valeur. Une barre bleue indique le niveau actuel auquel chaque curseur est réglé. Quant au troisième nombre affiché dans la pré- sentation Output (intitulé « L ») en dessous de chaque commande de couleur, il indique la valeur numérique du curseur. Réglage du point noir avec le curseur Shadow Le comportement de ce curseur de réglage du contraste dépend de l’activation ou de la désactivation de la préférence Limit Shadow Adjustments (pour en savoir plus, consultez la section « Réglages de l’interface utilisateur » à la page 123). Ajustements de point noir Ajustements de la répartition des gris Ajustements de point blanc Sortie: 0.00h 0.00s 0.001 Sortie: 0.00h 0.00s 0.501 Sortie: 0.00h 0.00s 1.001 Ombres Gris Surbrillance198 Chapitre 9 Primary In  Si la préférence Limit Shadow Adjustments est désactivée : les réglages du contraste effectués avec le curseur Shadow sont appliqués comme s’il s’agissait d’une seule et même opération de soustraction. La correction obtenue éclaircit ou assombrit uniformément l’intégralité de l’image, modifiant les zones d’ombres, de tons intermédiaires et de hautes lumières dans les mêmes proportions. On s’en rend compte clairement lorsqu’on règle le point noir d’un dégradé linéaire du noir au blanc, qui apparaît sur l’oscilloscope sous forme d’une ligne droite diagonale. Notez que toute la courbe du dégradé se déplace vers le haut sur l’oscilloscope.Chapitre 9 Primary In 199  Si la préférence Limit Shadow Adjustments est activée : la valeur du point noir est augmentée, mais le point blanc reste à 100 pour cent. Autrement dit, si vous apportez des modifications avec le curseur de réglage du contraste Shadow, toutes les zones de tons intermédiaires de l’image sont échelonnées entre le nouveau point noir et 100 pour cent. Notez que le haut de la courbe, sur l’oscilloscope, reste en place lorsque le point noir change. Vous allez très certainement conserver la préférence Limit Shadow Adjustments activée pour la plupart de vos projets, car elle vous assure un plus grand contrôle sur le contraste de l’image (et donc sur sa couleur, comme vous le découvrirez plus tard) dans vos programmes.200 Chapitre 9 Primary In Le réglage du contraste dans les zones d’ombres est l’une des tâches les plus fréquentes que vous serez amené à exécuter. En effet, réduire les noirs de telle sorte que les ombres les plus foncées avoisinent 0 pour cent (ce qui est visible en bas du graphique de l’oscilloscope ou à gauche du graphique de l’histogramme lorsque l’un ou l’autre est réglé sur Luma) rend les ombres de l’image plus profondes. De telles ombres peuvent enrichir l’image et accentuer des détails qui étaient précédemment imprécis. Si vous réduisez davantage les noirs, ce qui s’appelle écraser les ombres (car aucun pixel ne peut être plus sombre que 0 pour cent), vous obtenez un contraste encore plus fort. Cet écrasement se fait au détriment des détails dans les zones d’ombres, parce que de grandes parties de l’image deviennent uniformément noires à 0 pour cent. On le voit bien dans la partie noire du dégradé, en bas de l’image. Remarque : même si la préférence Limit Shadow Adjustments est activée, vous pouvez toujours apporter des corrections de soustraction à l’image grâce au paramètre Master Lift présent dans l’onglet Basic. Consultez la section « Commandes Master Contrast » à la page 236.Chapitre 9 Primary In 201 Réglage des tons intermédiaires Le curseur de réglage du contraste Midtone vous permet d’ajuster de manière non linéaire la répartition des tons intermédiaires de l’image (procédé auquel il est souvent fait référence sous le nom de correction gamma). En d’autres termes, vous êtes en mesure de régler les tons moyens de l’image sans modifier l’obscurité de ses zones d’ombres, ni la clarté de ses zones de hautes lumières. Voici deux exemples d’utilisation du curseur de réglage du contraste Midtone. Dans l’image suivante, les tons intermédiaires ont été réduits. Vous remarquez que l’ensemble de l’image s’est assombri, les zones d’ombres couvrant une plus grande surface. Toutefois, les zones de hautes lumières sont toujours aussi claires et le détail des zones ombrées n’a pas été perdu. Le haut et le bas de la courbe du dégradé sur l’oscilloscope restent à peu près en place, tandis que la courbe s’incurve vers le bas, ce qui illustre bien la nature non linéaire de ce réglage.202 Chapitre 9 Primary In Le curseur Midtone est ensuite réglé sur une valeur plus élevée. L’image est nettement plus claire et les zones de hautes lumières couvrent une plus grande surface. Pourtant, les ombres les plus profondes restent riches et sombres, alors que les détails des zones de hautes lumières sont toujours bien visibles, car ces zones sont restées à leur niveau d’origine. Là encore, le haut et le bas de la courbe, sur l’oscilloscope restent à peu près en place, mais cette fois, la courbe s’incurve vers le haut. Quelle que soit l’étendue du contraste que vous avez décidé d’utiliser pour un plan, le curseur Midtone est l’un des principaux outils vous permettant de corriger la clarté globale de l’image en vue de créer une ambiance, de donner l’impression d’une autre heure de la journée ou plus simplement, de s’assurer que le public verra clairement les personnages. Remarque : même si la correction des tons intermédiaires ne modifie en rien le point noir et le point blanc (respectivement à 0 et 100 pour cent), leur ajustement extrême écrase les ombres et aplatit les blancs, ce qui provoque l’élimination des détails au profit d’un contraste plus fort. Réglage du point blanc avec le curseur Highlight Le curseur Highlight fonctionne à l’opposé du curseur Shadow. Il vous permet d’augmenter ou de réduire la valeur du point blanc de l’image, tout en conservant le point noir à une valeur quasiment inchangée. Toutes les zones de tons intermédiaires de l’image sont alors échelonnées entre le nouveau point blanc et 0 pour cent.Chapitre 9 Primary In 203 Si l’image est trop sombre et les zones de hautes lumières semblent atones, remontez le niveau du curseur Highlight pour éclaircir les zones de hautes lumières, tout en maintenant les zones d’ombres à leur niveau actuel. Notez que le point noir de la courbe du dégradé, sur l’oscilloscope, reste à 0 pour cent après le réglage. Remarque : dans cet exemple, le filtre Broadcast Safe a été désactivé, et l’on peut voir que le niveau de blanc du dégradé se situe au maximum de 109 pour cent. Si les zones de hautes lumières sont trop claires, abaissez le niveau du curseur Highlight pour les assombrir, sans vous soucier d’écraser les ombres. 204 Chapitre 9 Primary In Les zones de hautes lumières trop claires sont fréquentes dans les images tirées de vidéos. En effet, des niveaux de super-blanc situés au-dessus de la limite légale pour la diffusion, à savoir 100 pour cent, sont souvent présentes dans le média source (comme dans l’exemple précédent). Faute de correction, les zones de hautes lumières au-delà de 100 pour cent sont écrêtées en cas d’activation des réglages Broadcast Safe, ce qui entraîne la perte des détails de ces zones, car tous les pixels au-dessus de 100 pour cent sont ramenés à 100 pour cent. La réduction de la valeur du point blanc peut vous permettre de restaurer dans l’image les détails écrêtés. Remarque : les valeurs écrêtées ou limitées par Color sont conservées en interne et peuvent donc être récupérées pour des corrections ultérieures. Ce fonctionnement est différent de l’écrêtage des valeurs surexposées dans le média source au moment de l’enregistrement, lesquelles sont définitivement perdues.Chapitre 9 Primary In 205 Alors que les corrections mineures effectuées à l’aide du curseur Highlight n’affectent pas le point noir, elles ont un impact sur les tons intermédiaires, proportionnel à leur degré. L’influence du curseur Highlight s’affaiblit en direction des zones d’ombres. Toutefois, il est nécessaire de savoir que les corrections appliquées par ce biais ont un effet progressivement décroissant sur près de 80 pour cent des zones les plus claires de l’image. C’est la raison pour laquelle vous risquez d’être amené à compenser l’effet sur les tons intermédiaires de l’image d’une correction effectuée à l’aide du curseur Highlight en appliquant une légère correction inverse avec le curseur Midtone. La définition du point blanc d’une image est très subjective. En fait, la « blancheur » d’un objet n’est pas un critère suffisant pour le régler sur 100 pour cent. Les objets naturellement très clairs, comme les brillants spéculaires, les scintillements réfléchis ou les sources lumineuses exposées sont bien évidemment de bon choix pour le réglage Luma à 100 % (comme il existe des risques que ces zones soient déjà à des niveaux de super-blanc, il vous faut réduire leur luminosité si vous devez faire face aux limites légales pour la diffusion). En revanche, si vous travaillez sur une scène d’intérieur ne comportant aucun des exemples mentionnés ci-dessus, les objets les plus clairs de votre scène risquent d’être un mur de la pièce ou les zones de hautes lumières du visage d’une personne, ce qui ne correspond pas forcément à une niveau de clarté suffisant pour les régler sur 100 pour cent. Dans de tels cas, la luminosité que vous choisissez pour régler les zones de hautes lumiè- res dépend en grande partie du type d’éclairage utilisé. Avec un éclairage tamisé, vous opterez pour des zones de hautes lumières à des valeurs plus faibles que dans le cas d’un éclairage volontairement cru.206 Chapitre 9 Primary In Augmentation et réduction du contraste de l’image Il existe un grand nombre de raisons qui peut vous pousser à augmenter l’étendue du contraste d’une image, afin d’obtenir la plus grande plage de valeurs possibles, sans pour autant introduire du bruit (ce qui peut parfois survenir avec des images sous-exposées nécessitant des corrections importantes du contraste). La plupart des images ne sont pas réglées dès le départ avec l’étendue de contraste la plus large possible. Même dans le cas de plans avec une bonne exposition, les camé- ras vidéo n’enregistrent pas systématiquement le noir à 0 pour cent, mais plutôt à des niveaux avoisinant 3 à 4 pour cent. Pour cette simple raison, vous devez souvent apporter de légères corrections de réduction du point noir, mais pas grand chose de plus. Dans d’autres cas, une image légèrement sur ou sous-exposée peut paraître délavée ou boueuse et vous devez alors appliquer des corrections simples pour réduire les pixels les plus sombres de l’image et augmenter les pixels les plus clairs en vue d’étendre le contraste (ce qui a un effet similaire à « essuyer une couche de poussière sur l’image »). Ces corrections constituent souvent la première étape d’optimisation d’un plan.Chapitre 9 Primary In 207 Dans d’autres cas encore, vous pouvez décider d’augmenter délibérément l’étendue du contraste pour modifier à l’extrême le contraste de l’image. Vous pouvez procéder de la sorte dans le cas d’une image vraiment sous-exposée. Vous devez alors régler les curseurs Highlight et Midtone, afin d’obtenir que les personnages soient simplement plus visibles. Vous pouvez également étendre à l’extrême le contraste d’un plan bien exposé, ce qui provoque l’écrasement des ombres et l’écrêtage des zones de hautes lumières pour un effet à très fort contraste. Important : lorsque vous augmentez le contraste des plans sous-exposés, ou lorsque vous effectuez des réglages de contraste extrêmes, cela peut entraîner le grain du film et le bruit vidéo de l’image. Cela constitue plus particulièrement un problème lorsqu’on étalonne des programmes à des formats vidéo associés à des taux faibles de sous-échantillonnage de chromie. Pour en savoir plus, consultez « Sous-échantillonnage chromatique » à la page 27. Vous avez évidemment la possibilité de réduire l’étendue du contraste d’une image. Procédez de la sorte pour donner l’impression d’une autre heure du jour (en ternissant les ombres tout en conservant des zones de hautes lumières claires pour le plein midi) ou pour créer une certaine ambiance d’ordre stylistique dans votre programme (avec des ombres très légères et des lumières atténuées pour une ambiance plus douce).208 Chapitre 9 Primary In Impact du contraste de l’image sur le fonctionnement des commandes Color Balance Il existe une autre raison pour augmenter ou fixer l’étendue du contraste d’une image avant de lui appliquer la moindre correction colorimétrique. En effet, toute correction apportée au contraste d’une image modifie les parties de l’image assignées aux trois zones tonales en chevauchement qui sont affectées par les commandes de balance des couleurs (pour en savoir plus, consultez la section suivante). Si, par exemple, vous avez une image de faible contraste avec peu d’ombres, et si vous corrigez cet état de fait à l’aide de la commande de balance de couleurs Shadow, la correction résultante sera faible, comme on peut le constater sur le dégradé ci-après. Définition exacte du détail de l’image Le détail de l’image est un thème fréquemment abordé dans ce chapitre ainsi que dans d’autres. Il est principalement traité dans le contexte des opérations effectuées pour améliorer les détails perçus, comme des opérations provoquant leur perte dans l’image. Pour parler simplement, le détail de l’image fait référence à la variation naturelle de la tonalité, de la couleur et du contraste entre des pixels adjacents. Les zones d’ombres et de hautes lumières d’une image apparaissant aux limites exté- rieures du signal vidéo, elles sont les plus susceptibles de subir une perte de détail lors des corrections du contraste. Cette perte se traduit par un « aplatissement » des zones d’ombres et de hautes lumières, car des groupes très importants de pixels de l’image se voient attribuer la même valeur (0 pour les ombres et 100 pour les hautes lumières). Il est important de préserver un certain degré de détail dans l’image afin de lui conserver un aspect naturel. Toutefois, rien ne vous empêche de supprimer des détails de l’image pour obtenir une ambiance particulière, comme des ombres légèrement écrasées ou un contraste extrêmement fort avec des ombres écrasées et des blancs écrê- tés. Gardez simplement à l’esprit les modifications exactes subies par l’image lorsque vous effectuez ce type de corrections.Chapitre 9 Primary In 209 Par la suite, si vous réglez le curseur de contraste Shadow ou Midtone pour réduire les zones d’ombres, une plus grande partie de l’image est affectée par la même correction colorimétrique, bien que vous n’ayez apporté aucune autre modification à cette commande de couleur. Il n’est bien sûr pas interdit de modifier le contraste après avoir appliqué des corrections colorimétriques, mais vous devez vous souvenir des interactions qui en découlent si vous procédez de la sorte. Utilisation des commandes Color Balance Une dominante de couleur correspond à une teinte involontaire dans l’image, due à l’éclairage, à la balance des blancs de la caméra vidéo ou à la pellicule utilisée en fonction des conditions d’éclairage au cours du tournage. Ces dominantes sont le fait de la force ou de la faiblesse inappropriée d’un ou de plusieurs canaux de couleur. De plus, elles ne sont généralement pas uniformes à l’échelle de l’image. En fait, elles sont souvent plus fortes dans une partie de l’image (les zones de hautes lumières, par exemple) et plus faibles, voire inexistantes, dans d’autres parties (les ombres, par exemple). Si vous observez une image avec une dominante de couleur dans le graphique de l’oscilloscope réglé sur Parade, vous pouvez souvent constater les niveaux disproportionnés de chaque canal, qui provoquent cette dominante. Il vous suffit de regarder les pics des formes d’ondes (représentant les zones de hautes lumières) et leurs creux (représentant les ombres). Remarque : pour plus de clarté, l’oscilloscope Parade est illustré avec les formes d’onde teintés en rouge, vert et bleu qui apparaissent lorsque Monochrome Scopes est désactivé sous l’onglet des préférences.210 Chapitre 9 Primary In Les commandes Color Balance (auxquelles il est souvent fait référence sous l’appellation de Hue Wheels) fonctionnent comme des trackballs virtuels à l’écran. Toutefois, elles ont constituées de trois commandes distinctes.  Boule de commande Color Balance : boule de commande virtuelle qui vous permet de régler la teinte (définie par l’angle de la poignée par rapport au centre) et la saturation (définie par la distance de la poignée par rapport au centre) de la correction que vous utilisez pour rééquilibrer les canaux rouge, vert et bleu de l’image vis-à-vis d’une autre image. Une poignée située au centre de la croix vous indique la correction en cours. Lorsque la poignée est centrée, aucune modification n’est apportée.  Curseur Hue : ce curseur vous permet de modifier la teinte de la correction, sans affecter sa saturation.  Curseur Saturation : ce curseur vous permet de modifier la saturation de la correction, sans affecter sa teinte. Faites-le glisser vers le haut ou la bas pour augmenter ou réduire la saturation.  Bouton Reset : cliquez sur ce bouton pour réinitialiser la commande Color Balance et le curseur Contrast de cette zone tonale. Si vous utilisez une surface de contrôle, vous disposez de commandes de réinitialisation séparées pour les corrections de couleur et de contraste de chaque zone (sur la surface de contrôle proprement dite).  Présentation Output : cette présentation située en dessous de chaque commande de couleur vous indique les valeurs de teinte et de saturation actuelles de la commande Color Balance, ainsi que la valeur de luminosité du curseur Contrast pour cette zone. Remarque : il est possible de multiplier par 10 la vitesse normale des commandes Color Balance en maintenant enfoncée la touche Option alors que vous faites glisser le pointeur. Curseur Saturation Curseur Hue : Bouton Présentation Output :Chapitre 9 Primary In 211 Faites glisser la poignée d’une commande Color Balance pour rééquilibrer la force des canaux rouge, vert et bleu d’une image en vue de manipuler la qualité de la lumière. Vous pouvez ainsi corriger des dominantes de couleur ou en introduire à des fins créatives. Les commandes Color Balance règlent toujours les trois canaux de couleur simultanément. Dans l’exemple précédent, l’image présente une dominante rouge dans les zones de hautes lumières, ce qui est confirmé par la hauteur du pic du canal rouge dans le graphique de l’oscilloscope réglé sur Parade. Pour corriger ce problème, vous devez simultanément réduire le canal rouge et augmentez le canal bleu. Il vous suffit de faire glisser la commande Highlight Color Balance. Pour vous rappeler très simplement comment appliquer une correction de ce type, faites glisser la poignée de la commande Color Balance en direction de la couleur secondaire qui est trop accentuée. Dans le cas présent, la dominante de couleur est rouge/orangé. Si vous faites glisser la commande Color Balance dans la direction opposée, vers le bleu/turquoise, vous rééquilibrez les canaux de couleur de manière appropriée. La commande Color Balance des tons intermédiaires est utilisée, car la majeure partie de l’image à ajuster se situe entre 8à et 20 pour cent.212 Chapitre 9 Primary In Si vous observez le graphique de l’oscilloscope réglé sur Parade alors que vous effectuez votre modification, vous pouvez constater le rééquilibrage des canaux de couleur, tout en regardant la correction appliquée à l’image dans la présentation Broadcast. Les studios Primary In, Secondaries et Primary Out mettent à votre disposition trois commandes Color Balance. Chacune vous permet de corriger des régions d’une certaine tonalité dans l’image. Utilisation des commandes Color Balance avec une surface de contrôle Les trois commandes Color Balance correspondent aux trois trackballs ou manettes disponibles sur les surfaces de contrôle compatibles. Alors que vous ne pouvez régler qu’une seule de ces commandes à la fois avec votre souris via les contrôles d’écran, vous pouvez les ajuster simultanément si vous êtes équipé d’une surface de contrôle. Lorsque vous utilisez une surface de contrôle, les paramètres Hue Wheel Angle et Joyball Sensitivity affichés par l’onglet User Prefs du studio Setup vous permettent de personnaliser le fonctionnement de ces commandes. Pour en savoir plus sur le réglage de ces paramètres, consultez la section « Réglages de la surface de contrôle » à la page 122. Dominante de couleur, toujours synonyme d’ambiance créative ? Il est important se souvenir qu’une dominante de couleur n’est pas toujours involontaire. Si le directeur de la photographie, notamment, utilise la lumière à des fins créatives, l’image obtenue peut comporter des dominantes de couleur dans la plage de tonalités. Vous devez alors faire la distinction entre les dominantes accidentelles ou liées aux conditions de tournage, et les choix stylistiques opérés grâce à l’éclairage de chaque scène. Dans tous les cas, une communication claire entre le directeur de la photographie et les coloristes est impérative.Chapitre 9 Primary In 213 Description détaillée des corrections des ombres, des tons intermédiaires et des hautes lumières Comme de nombreux autres environnements d’étalonnage colorimétrique, Color propose un ensemble de trois commandes de balance des couleurs. Chacune est dédiée à des ajustements particuliers de la couleur au sein des trois zones tonales en chevauchement dans chaque image. Ces zones tonales correspondent aux zones d’ombres, de tons intermédiaires et de hautes lumières décrites dans la section précédente sur le contraste. Si vous décidez de réduire la tonalité d’une image au sein de ces trois zones, elle risque de ressembler à l’illustration suivante. Image couleur originale Zones tonales, d’ombres, de tons intermédiaires et de hautes lumières simulées Zones les plus affectées par l’ajustement des tons intermédiaires Zones les plus affectées par l’ajustement des ombres Zones les plus affectées par l’ajustement des hautes lumières214 Chapitre 9 Primary In Ces commandes différenciées par zone vous permettent d’apporter des corrections ciblées à la couleur des zones de hautes lumières d’une image, sans affecter la couleur de ses zones d’ombres. De même, elles vous permettent d’appliquer des modifications distinctes à des parties différemment éclairées d’une image, soit pour les améliorer, soit pour créer des ambiances particulières. Pour prévenir tout effet de bande évident ou d’autres imperfections, les corrections appliquées aux trois zones tonales se chevauchent largement, l’influence de chaque commande Color Balance sur l’image diminuant progressivement sur les bords de chaque zone. Ce chevauchement est illustré dans le graphique suivant. Ces zones se chevauchent conformément au standard OpenCDL et leur comportement est décrit ci-après. Important : si vous êtes habitué au fonctionnement du filtre Étalonnage à 3 voies de Final Cut Pro, vous aurez certainement besoin d’un peu de temps pour vous familiariser avec les commandes du studio Primary In, car leur résultat est quelque peu diffé- rent. Contrairement aux modifications effectuées à l’aide du filtre Étalonnage à 3 voies de Final Cut Pro, les corrections apportées avec la commande Color Balance modifie le composant Luma de l’image, ce qui affecte l’étendue de son contraste. Influence du contrôle de l’ombre Influence du contrôle de surbrillance Influence des grisChapitre 9 Primary In 215 Corrections de la couleur des ombres Le comportement de la commande de balance des couleurs Shadows dépend de l’activation ou de la désactivation de la préférence Limit Shadow Adjustments (pour en savoir plus, consultez la section « Réglages de l’interface utilisateur » à la page 123).  Si la préférence Limit Shadow Adjustments est désactivée : les ajustements de couleur effectués à l’aide de la commande Shadows sont exécutées comme une simple opération d’addition (la couleur sélectionnée dans cette commande est ajoutée à la couleur de chaque pixel de l’image). La correction résultante affecte l’intégralité de l’image (elle est visible sur le dégradé qui se trouve en bas de l’image), produisant un effet de nuance.216 Chapitre 9 Primary In  Si la préférence Limit Shadow Adjustments est activée : une atténuation linéaire est appliquée aux ajustements de couleur effectués à l’aide de la commande Shadows, de telle sorte que le noir reçoive 100 pour cent de la correction et le blanc 0 pour cent. Vous devez recourir à cette méthode si vous souhaitez corriger les ombres sans modifier les zones de hautes lumières. Remarque : pour mieux illustrer l’effet de la commande Shadow, les précédents exemples ont été montrés avec le filtre Broadcast Safe désactivé, de sorte que les valeurs d’image inférieures à 0 pour cent ne soient pas corrigées. Corrections de la couleur des tons intermédiaires Les corrections apportées à l’aide de la commande de balance des couleurs Midtones s’appliquent via une opération de puissance (nouvelle valeur du pixel = ancienne valeur du pixel ^ correction). Les ajustements des tons intermédiaires ont alors un effet plus important sur les valeurs de couleur à 50 pour cent de luminosité et s’atténuent au niveau des valeurs proches de 0 et de 100 pour cent de luminosité.Chapitre 9 Primary In 217 Vous pouvez ainsi apporter des modifications à la couleur, sans affecter les zones d’ombres et de hautes lumières de l’image. Par exemple, vous avez la possibilité d’ajouter un peu de bleu aux tons intermédiaires pour neutraliser un peu le grain de peau d’un acteur, tout en conservant des ombres profondes et sans teinte, et des zones de hautes lumières claires et pures. Corrections de la couleur des zones de hautes lumières Les corrections apportées à l’aide de la commande de balance des couleurs Highlight s’appliquent à l’image via une opération de multiplication (la couleur sélectionnée dans cette commande est multipliée par la couleur de chaque pixel de l’image). Par définition, ce type d’opérations par multiplication s’atténuent dans les parties les plus sombres de l’image et n’ont aucun effet sur les parties noires à 0 pour cent.218 Chapitre 9 Primary In Cette commande Highlight est extrêmement utile pour corriger les problèmes de balance des couleurs liés à la source lumineuse prépondérante qui génère les zones de hautes de lumière, sans appliquer la moindre teinte accidentelle aux ombres. Dans l’exemple ci-après, un peu de bleu est ajouté aux hautes lumières pour neutraliser l’orange dû à l’éclairage au tungstène. Chevauchement des commandes Color Balance Le large chevauchement des corrections de couleur effectuées à l’aide des trois commandes Color Balance est nécessaire pour assurer une transition sans à-coups entre les ajustements apportés d’une zone tonale à l’autre et éviter ainsi les effets de bande et autres imperfections. En règle générale, les corrections appliquées à une zone tonale modifient les autres zones tonales de la manière suivante :  Les ajustements effectués à l’aide de la commande Shadow se superposent aux zones de tons intermédiaires et à la partie la plus sombre des zones de hautes lumières, mais excluent les zones de l’image dotées des pourcentages les plus élevés.  Les ajustements appliqués aux tons intermédiaires affectent la plus grande partie de l’image, mais ne modifient pas les ombres avec les pourcentages les plus faibles et les zones de hautes lumières avec les pourcentages les plus élevés.  Les ajustements appliqués aux zones de hautes lumières affectent également les tons intermédiaires, mais ne modifient pas les ombres avec les pourcentages les plus faibles.Chapitre 9 Primary In 219 Contrôle du chevauchement des commandes Color Balance Bien que les zones tonales affectées par les trois commandes Color Balance soient pré- déterminées par les opérations mathématiques appliquées, il est possible d’exercer un certain contrôle sur les zones de l’image modifiées par les corrections liées à une commande Color Balance particulière. Pour ce faire, il vous suffit d’appliquer des corrections opposées avec les autres commandes Color Balance. Ce principe est concrétisé dans l’exemple suivant. Si vous réglez la balance de couleur des hautes lumières pour ajouter du bleu à un dégradé linéaire, l’aperçu suivant est affiché. Comme vous pouvez le constater, cette modification affecte les blancs et les tons intermédiaires. Si vous souhaitez limiter l’effet sur les tons intermédiaires, tout en conservant cette correction sur la partie supérieure des blancs, vous pouvez recourir à la méthode décrite précédemment et utiliser des couleurs complémentaires pour qu’elles se neutralisent, ainsi qu’appliquer une correction opposée moins extrême avec la commande de balance des couleurs Midtone.220 Chapitre 9 Primary In La correction des zones de hautes lumières qui affectait les tons intermédiaires est désormais neutralisée dans la partie inférieure de ces tons intermédiaires. Même si l’application de plusieurs commandes Color Balance opposées peut sembler un non-sens, il s’agit d’une technique puissante. Au fil du temps, vous appliquerez d’instinct de plus en plus de corrections de ce type pour limiter les effets de vos corrections préalables sur les zones tonales avoisinantes. Commandes Curves Situées en dessous des commandes de couleur dans le studio Primary In, ces commandes vous offrent une méthode supplémentaire pour corriger la couleur et le contraste de vos images. Si vous êtes habitué aux applications de traitement d’image comme Photoshop, vous avez très certainement déjà utilisé des courbes. Il existe deux différences majeures entre les commandes Curves et Color Balance :  Les commandes Curves vous permettent d’apporter des modifications à un nombre illimité de zones tonales (autant que vous avez décidé d’en définir), alors que les commandes Color Balance modifient seulement trois plages tonales prédéfinies.  Chaque commande Curves affecte uniquement un seul canal de couleur, alors que les commandes Color Balance vous permettent de corriger rapidement les trois canaux de couleur simultanément.  Les courbes ne peuvent pas être animées à l’aide d’images clés, mais tout autre paramètre des studios Primary In et Primary Out peut l’être.Chapitre 9 Primary In 221 En règle générale, les commandes Color Balance sont plus rapides à utiliser lorsque vous appliquez des modifications importantes aux zones d’ombres, de tons intermédiaires et de hautes lumières d’une image. Quant aux commandes Curves, elles nécessitent souvent plus de temps, mais elles permettent des corrections extrêmement précises au sein de zones tonales très restreintes de l’image, très proches du type d’opérations normalement réalisées par le biais de corrections secondaires de la couleur. Important : quel que soit le pouvoir de séduction des courbes, soyez attentif à ne passer trop de temps à peaufiner vos plans à l’aide des commandes Curves, tout spécialement lors de rendez-vous avec le client, car dans ces situations, le temps passé se résume à une histoire d’argent. Il n’est pas rare de se laisser noyer dans la correction minutieuse d’un seul plan alors que l’horloge ne cesse de tourner. Gardez à l’esprit que d’autres outils vous permettent d’accomplir ce travail de détail bien plus vite. Impact des courbes sur l’image Les courbes fonctionnent en mettant en correspondance les valeurs de couleur et Luma d’origine avec les nouvelles valeurs choisies. Pour ce faire, il suffit de changer leur hauteur. L’axe X du graphique représente les valeurs source comprises dans l’ensemble de la plage tonale de l’image d’origine, du noir (à gauche) au blanc (à droite). Quant à l’axe Y, il représente la plage tonale disponible pour la correction, du noir (en bas) au blanc (en haut). En l’absence de la moindre correction, chaque commande de courbe est une ligne droite en diagonale. Autrement dit, chaque valeur source étant égale à sa valeur de correction, aucune modification n’est effectuée. Valeur source Valeur d’ajustement222 Chapitre 9 Primary In Si une partie de la courbe est rehaussée par le biais d’un ou de plusieurs de ses points de contrôle, les valeurs source représentées sur la courbe et correspondant à la zone tonale de l’image sont remplacées par une valeur plus élevée. Cette partie de l’image devient donc plus claire. Si une partie de la courbe est abaissée par le biais d’un ou de plusieurs de ses points de contrôle, les valeurs source représentées sur la courbe et correspondant à la zone tonale de l’image sont remplacées par une valeur plus faible. Cette partie de l’image devient donc plus sombre. Modification des points de contrôle et des courbes B-Splines Par défaut, chaque courbe comporte deux points de contrôle. Les points situés en bas à gauche et en haut à droite correspondent respectivement au point noir et au point blanc de ce canal. Ces deux point de contrôle ancrent chaque courbe en bas et en haut. Effets d’une augmentation des tons intermédiaires via la courbe de luminance Effets d’une réduction des tons intermédiaires via la courbe de luminanceChapitre 9 Primary In 223 Dans Color, les courbes sont modifiées à l’aide de courbes B-splines, qui utilisent des points de contrôle qui ne sont pas réellement fixés sur la courbe, afin de l’« attirer » selon différentes formes, comme agirait un aimant sur un fil de fer. Voici, par exemple, une courbe comportant un seul point de contrôle et entraînant une augmentation disproportionnée des hautes lumières par rapport aux tons intermédiaires : Le point de contrôle surplombant la courbe attire l’ensemble de la courbe vers le haut, alors que ses extrémités restent en place. La complexité d’une courbe est déterminée par le nombre de points de contrôle qui exercent une influence sur cette courbe. Si vous ajoutez deux points de contrôle de chaque côté, puis que vous les déplacez vers le bas, la courbe est modifiée comme illustré ci-dessous. Pour accentuer les courbes, rapprochez leurs points de contrôle les uns des autres. En revanche, pour des courbes plus douces, il vous suffit d’éloigner les points de contrôle les uns des autres. Les procédures suivantes décrivent la création, la suppression et la modification de points de contrôle en vue de modifier les paramètres d’une courbe.224 Chapitre 9 Primary In Pour ajouter des points de contrôle à une courbe : m Cliquez n’importe où sur la courbe. Pour modifier un point de contrôle : m Faites-le glisser n’importe où dans la zone de la courbe. Pour supprimer un point de contrôle d’une courbe : m Faites-le glisser vers le haut ou le bas, n’importe où en dehors de la zone de la courbe. Pour supprimer tous les points de contrôle d’une courbe : m Cliquez sur le bouton Reset (dans le coin supérieur gauche du graphique de chaque courbe) de la courbe dont vous souhaitez supprimer tous les points de contrôle. Utilisation des courbes pour régler le contraste L’une des méthodes les plus simples pour comprendre l’utilisation des courbes consiste à régler le contraste d’une image avec sa courbe Luma. La courbe Luma permet de modifier simultanément les canaux rouge, vert et bleu de l’image (comme vous pouvez le constater si vous observez le graphique de l’oscilloscope réglé sur Parade tout en modifiant la courbe Luma). L’effet obtenu est une modification de la luminosité de l’image. Remarque : si vous apportez des corrections à la courbe Luma d’une image, vous risquez d’affecter sa saturation. En effet, l’augmentation considérable de la valeur Luma d’une image peut réduire sa saturation. Il existe une correspondance d’ordre général entre les commandes décrites dans la section précédente « Utilisation des commandes de contraste Primary » et le point noir, les tons intermédiaires et le point blanc de la courbe Luma. Ainsi, le déplacement vers le haut du point noir de la courbe entraîne une augmentation de la valeur du point noir.Chapitre 9 Primary In 225 Le déplacement vers le bas du point blanc de la courbe réduit la valeur du point blanc de l’image. Ces deux points de contrôle correspondent plus ou moins aux commandes de contraste Shadow et Highlight. Si vous ajoutez un troisième point de contrôle vers le milieu de la courbe Luma, vous pouvez modifier la répartition des tons intermédiaires compris entre les points noir et blanc. Cette correction est similaire à l’utilisation de la commande de contraste Midtones. Si vous déplacez ce point de contrôle central vers le haut, vous augmentez la répartition des tons intermédiaires, ce qui éclaircit l’image tout en conservant les points noir et blanc à leur place. En revanche, si vous déplacez ce point de contrôle central vers le bas, vous réduisez la répartition des tons intermédiaires, ce qui assombrit l’image tout en conservant les points noir et blanc à leur place.226 Chapitre 9 Primary In Même si ces trois points de contrôle offrent des fonctionnalités à peu près identiques aux commandes de contraste Shadow, Midtone et Highlight, tout l’intérêt des courbes réside dans la possibilité d’ajouter d’autres points de contrôle, en vue d’apporter des corrections de luminosité ciblées sur certaines zones tonales de l’image. Exemple d’utilisation d’une courbe Luma L’exemple suivant illustre l’utilisation de la courbe Luma pour apporter des modifications très particulières au contraste d’une image. Si vous observez la forme d’onde sur l’illustration suivante, vous constatez que le ciel est nettement plus clair que le reste de l’image. Pour attirer immédiatement l’attention du spectateur sur le personnage assis à son bureau, vous souhaitez assombrir le ciel à l’arrière de la fenêtre, sans affecter la luminosité du reste de l’image. 1 Avant de procéder aux modifications elles-mêmes, paramétrez les tons intermédiaires et les ombres de l’image en ajoutant un point de contrôle à la courbe sans la déplacer vers le haut ou vers le bas. L’ajout de points de contrôle auquel vous ne toucherez pas sur une partie d’une courbe que vous ne souhaitez pas modifier est une méthode efficace pour réduire l’effet d’autres corrections que vous serez amené à faire sur des zones particulières d’une image. Si vous ajoutez ensuite des points de contrôle supplémentaires pour corriger la courbe, les points de contrôle non modifiés vous aident à limiter l’effet de vos corrections.Chapitre 9 Primary In 227 ? Conseil : lors de l’ajout de plusieurs points de contrôle supplémentaires à une courbe, utilisez la grille pour identifier l’emplacement des parties de la courbe que vous souhaitez conserver à l’état d’origine (neutre) de l’image. Lorsqu’elle ne comporte aucune correction, une courbe coupe en diagonale les intersections de la grille d’arrière-plan. 2 Pour procéder à la modification, faites glisser le point blanc qui se trouve au coin supérieur droit, afin d’assombrir le ciel. Veillez à ne pas faire glisser ce nouveau point de contrôle trop bas, car si l’on n’y prend pas garde, il est très facile d’appliquer des corrections produisant un effet peu naturel ou solarisé avec les courbes, tout spécialement si une partie de la courbe est inversée. Il s’agissait d’une correction très ciblée, mais vous pouvez aller plus loin. Maintenant que le ciel est plus atténué, vous avez envie d’éclaircir les hautes lumières du visage de l’homme en augmentant le contraste de cette partie de l’image.228 Chapitre 9 Primary In 3 Ajoutez un point de contrôle en dessous du premier point créé, puis faites-le glisser vers le haut jusqu’à ce que le visage de l’homme s’éclaircisse. Le visage de l’homme est désormais plus clair, mais les ombres semblent quelque peu délavées. 4 Ajoutez un tout dernier point de contrôle en dessous du dernier créé, puis faites-le glisser très légèrement vers le bas pour foncer les ombres sans affecter les parties plus claires de l’image. Comme vous pouvez vous en rendre compte, la courbe Luma est un outil puissant pour appliquer des corrections très ciblées. La courbe Luma limite la plage des curseurs Primary Contrast L’un des aspects importants des commandes Curves est qu’il leur arrive de limiter la plage des réglages ultérieurs avec les curseurs Primary Contrast situés dans le même studio. Cet aspect devient évident si vous abaissez le point blanc d’une image avec sa courbe Luma. Vous serez par la suite dans l’incapacité d’utiliser le curseur de contraste Highlight pour augmenter la luminosité de cette image au-delà du niveau défini par la courbe Luma. Vous pourrez néanmoins apporter d’autres corrections au contraste dans les autres studios.Chapitre 9 Primary In 229 Utilisation des courbes pour ajuster la couleur Contrairement aux commandes Color Balance qui modifient les trois canaux de couleur simultanément, chaque commande Color Curve affecte un seul canal. De plus, les courbes de couleur rouge, verte et bleue vous permettent d’appliquer des corrections au sein de zones tonales particulières définies par les points de contrôle ajoutés aux courbes. Vous pouvez ainsi effectuer des ajustements de couleur très précis, limités à des zones de l’image aussi restreintes ou étendues que vous l’avez défini. Exemple d’utilisation de courbes de couleur Dans l’exemple suivant, vous allez apprendre à appliquer une correction ciblée pour éliminer une dominante de couleur des tons intermédiaires les plus bas, des ombres et des zones de hautes lumières extrêmes d’une image, tout renforçant la même dominante dans les zones de hautes lumières les plus basses. L’image suivante présente une dominante rouge distincte des ombres jusqu’aux zones de hautes lumières, ce qui est confirmé par la forme d’onde élevée du canal rouge dans le graphique de l’oscilloscope réglé sur Parade. Remarque : pour plus de clarté, le filtre Broadcast Safe a été désactivé afin que vous distinguiez mieux le bas des formes d’onde sur l’oscilloscope réglé en mode Parade. Dans le cadre de ce plan, vous souhaitez conserver la lumière rouge qui éclaire le visage de la femme, comme s’il s’agissait d’un effet intentionnel faisant partie de l’ambiance de la scène. Toutefois, vous aimeriez supprimer une partie du rouge dans les zones d’ombres, afin qu’elles semblent plus foncées et que le personnage ressorte mieux sur l’arrière-plan. 1 Ajoutez un point de contrôle à la courbe rouge à proximité de son niveau inférieur, puis faites-le glisser vers le bas jusqu’à ce que la dominante de couleur s’atténue. 230 Chapitre 9 Primary In Le niveau du point de contrôle doit normalement faire coïncider le bas de la forme d’onde rouge dans le graphique de l’oscilloscope réglé sur Parade avec le bas des formes d’ondes verte et bleue. Cette opération a sans aucun doute neutralisé le rouge dans les zones d’ombres. Comme cet unique point de contrôle a un impact sur l’intégralité de la courbe, la correction a malheureusement supprimé beaucoup du rouge d’origine au sein des tons intermédiaires. ? Conseil : si vous vous demandez où placer les points de contrôle sur une courbe en vue de modifier une zone particulière de l’image, utilisez la hauteur des graphiques correspondants dans l’oscilloscope réglé sur Parade (si vous réglez la couleur) ou sur Luma (si vous ajustez la courbe Luma). Si vous souhaitez, par exemple, corriger les zones de hautes lumières de l’image, vous serez sans doute amené à placer un point de contrôle sur la courbe à la même hauteur approximative que les zones de hautes lumières apparaissent sur le graphique de la forme d’onde.Chapitre 9 Primary In 231 2 Ajoutez un autre point de contrôle à proximité du sommet de la courbe rouge, puis faites-le glisser vers le haut jusqu’à ce qu’une partie du « remplissage » rouge réapparaisse sur le côté du visage de la femme. Vous avez ainsi ajouté du rouge sur le visage de la femme. Par la même occasion, vous avez ajouté du rouge aux zones de hautes lumières de la source lumineuse principale. Comme la principale source de lumière de ce plan est le soleil visible au travers de la fenêtre, ce rouge supplémentaire est inapproprié et doit donc être corrigé. 3 Faites glisser le point de contrôle correspondant au point blanc sur la courbe rouge vers le bas jusqu’à ce que le rouge soit neutralisé dans les zones de hautes lumières les plus claires du visage, mais arrêtez-vous avant que l’éclairage ne vire au turquoise.232 Chapitre 9 Primary In Une fois cette étape réalisée, la correction est terminée. Du rouge est présent dans la lumière éclairant le visage de la femme, alors que les ombres et les zones de hautes lumières très claires du soleil semblent naturelles, ce qui augmente d’autant le contraste des couleurs de l’image. Voici une comparaison avant/après pour que vous puissiez voir la différence.Chapitre 9 Primary In 233 Onglet Basic Cet onglet met à votre disposition les commandes Saturation, ainsi que les paramètres Master lift, Gamma et Gain qui vous permettent d’apporter des modifications supplé- mentaires au contraste de votre image. Commandes Saturation La saturation décrit l’intensité de la couleur d’une image. Elle est contrôlée par trois paramètres qui, comme d’autres commandes du studio Primary In, vous permettent d’effectuer des ajustements distincts sur les différentes zones tonales d’une image. Comme les commandes de contraste et de couleur, les corrections de saturation appliquées à une certaine tonalité s’atténuent progressivement sur les bords de chaque correction pour garantir des transitions fluides. Définition du contraste des couleurs Dans cette documentation, le terme « contraste » fait généralement référence aux différences entre les tons clairs et sombres de l’image. Toutefois, ce terme recouvre également le contraste entre les différentes couleurs d’une image. Le contraste des couleurs est un vaste sujet qui nécessite d’aborder la teinte, la température de couleur, la luminosité et la saturation. Pour simplifier à l’extrême, le contraste des couleurs correspond à la différence entre les couleurs présentes dans les diverses zones de l’image. Dans l’exemple précédent, l’image était à l’origine baignée dans une dominante de couleur uniforme. Autrement dit, vous y trouviez du rouge aussi bien dans ses zones d’ombres, de tons intermédiaires que de hautes lumières : les différentes zones de l’image ne présentaient que très peu de contraste des couleurs. En supprimant la dominante de couleur de certaines zones et en la conservant dans d’autres, vous avez augmenté le contraste des couleurs entre le personnage principal et l’arrièreplan. Dans le cas de certaines images, le contraste des couleurs peut ajouter une certaine sophistication visuelle à un résultat qui serait plutôt fade.234 Chapitre 9 Primary In  Saturation : ce paramètre contrôle la saturation de l’intégralité de l’image. Sa valeur par défaut, égale à 1, n’applique aucune modification à la saturation de l’image. Si vous réduisez cette valeur, vous diminuez l’intensité de la couleur de chaque pixel de l’image. À 0, l’image devient une image monochrome en niveaux de gris, n’affichant que son composant Luma. Vous pouvez augmentez la valeur du paramètre Saturation jusqu’à 4 pour accroître l’intensité de la couleur. Faites attention à ne pas trop augmenter la saturation d’une image, car les couleurs commencent à se « fondre » les unes aux autres et le signal obtenu n’est pas admis pour la diffusion. Saturation réduite de plus de la moitié Image d’origine Image beaucoup trop saturéeChapitre 9 Primary In 235 Si les paramètres Broadcast Safe sont activés, la conformité légale de l’image est proté- gée, mais certaines parties extrêmement colorées vont sembler aplaties, car la valeur Chroma de l’image est limitée par la valeur que vous avez définie. L’effet est visible sur le Vectorscope par une concentration aux bords du graphe. Même si vous ne travaillez pas sur un projet de diffusion vidéo, des couleurs trop saturées peuvent provoquer des problèmes et ne correspondent, de toute façon, à aucun critère professionnel.  Highlight Sat. : ce paramètre contrôle la saturation des zones de hautes lumières de l’image. Vous pouvez ainsi désaturer séparément les zones de hautes lumières de votre image, ce qui peut vous aider à garantir la conformité légale de plans posant des problèmes et à restaurer du blanc dans les zones de hautes lumières les plus claires d’une image. Saturation des hautes lumières complètement abaissée Saturation des hautes lumières augmentée236 Chapitre 9 Primary In  Shadow Sat. : ce paramètre contrôle la saturation des ombres de l’image. Vous pouvez ainsi désaturer séparément les zones d’ombres de votre image, afin de créer des noirs donnant une impression de plus grande profondeur et d’éliminer une couleur inappropriée dans les ombres de vos images pour une ambiance plus cinématographique. Commandes Master Contrast Ces trois paramètres supplémentaires permettent également d’affecter le contraste d’une image. Pour en savoir plus sur les réglages du contraste, consultez la section « Utilisation des commandes de contraste Primary » à la page 195.  Master Lift : contrairement au curseur de contraste primaire Shadow, le paramètre Master Lift fonctionne uniquement comme un opérateur d’addition ou de soustraction. Il applique une correction globale au composant Luma de toute l’image, quel que soit le réglage de la préférence Limit Shadow Adjustments. Pour en savoir plus sur les corrections par soustraction, consultez la section « Réglage du point noir avec le curseur Shadow » à la page 197.  Master Gain : ce paramètre fonctionne exactement comme le curseur de contraste primaire Highlight. Il ajuste le point blanc tout en conservant le point noir à son niveau actuel et il échelonne tous les points intermédiaires entre ces deux points.  Master Gamma : ce paramètre fonctionne exactement comme le curseur de contraste primaire Midtone. Il ajuste la répartition des tons intermédiaires entre 0 et 100 pour cent. Image d’origine Saturation des ombres complètement abaisséeChapitre 9 Primary In 237 Onglet Advanced Cet onglet comporte un autre ensemble de paramètres servant à régler chacun des trois canaux de couleur primaire au sein de chacune des trois zones tonales. Il affiche également un jeu de commandes Printer Points pour les coloristes habitués à utiliser l’étalonnage colorimétrique optique pour les films. Commandes RGB Ces paramètres permettent de contrôler le contraste et la couleur par canal. Il ne s’agit en aucun cas des représentations numériques des autres commandes du studio Primary In. Comme les paramètres de l’onglet Basic, ils sont mis à disposition en supplément. En règle générale, ces paramètres sont réglés lorsque le bouton Auto Balance est utilisé pour corriger automatiquement un plan (pour en savoir plus, consultez la section « Auto Balance » à la page 239). Toutefois, vous pouvez y recourir selon vos besoins.  Red, Green et Blue Lift : ces paramètres fonctionnent exactement comme le paramètre Master Lift, mais ils modifient les canaux de couleur séparément.  Red, Green et Blue Gain : ces paramètres fonctionnent exactement comme le paramètre Master Gain, mais ils modifient les canaux de couleur séparément.  Red, Green et Blue Gamma : ces paramètres fonctionnent exactement comme le paramètre Master Gamma, mais ils modifient les canaux de couleur séparément. Commandes Printer Points Ces paramètres sont mis à la disposition des coloristes habitués à travailler avec le système Printer Points pour la synchronisation des couleurs des films. Employé par les appareils d’impression des films, le système Printer Points permet de procéder à un étalonnage colorimétrique optique, en émettant une lumière filtrée au travers des négatifs afin de révéler une impression positive intermédiaire et en créant au cours du processus un seule bobine du film dont la couleur est déjà corrigée. Le processus permettant de contrôler chaque plan et de corriger la couleur scène par scène est réalisé à l’aide de trois commandes permettant d’ajuster séparément la proportion de lumière rouge, verte et bleue à laquelle le film est exposé, grâce à une série de filtres et d’obturateurs optiques. Cette méthode peut être reproduite de manière numérique par le biais des paramètres Printer Points. ? Conseil : vous pouvez contrôler ces paramètres à l’aide des boutons disponibles sur la plupart des surfaces de contrôle compatibles.238 Chapitre 9 Primary In Définition d’un point d’impression (Printer Point) Chacun des paramètres rouge, vert et bleu est réglé par incréments discrets, appelés des points d’impression (chaque point étant une fraction d’un rapport focal ƒ-stop, l’échelle utilisée pour mesurer l’exposition d’un film). Color met en œuvre un système standard employant un nombre total de 50 points par canal, où le point 25 correspond à l’état neutre d’origine de ce canal de couleur. D’un point de vue technique, chaque point représente 1/4 d’un ƒ-stop d’exposition (alors qu’un ƒ-stop représente un doublage de la lumière). Chaque point complet d’exposition équivaut donc à 12 Printer Points. Corrections à l’aide de points d’impression Contrairement à la quasi-totalité des commandes disponibles dans le studio Primary In, les paramètres Printer Points Red, Green et Blue appliquent une correction uniforme à l’ensemble du canal de couleur correspondant, quelle que soit la tonalité de l’image. Par ailleurs, la méthode utilisée pour les corrections est tout à fait unique. Pour émuler le caractère spécifique des filtres utilisés dans ce type d’appareils, l’augmentation de la valeur d’un paramètre, tel que Printer Points Red, n’accentue en rien la présence du rouge. En fait, elle supprime le rouge, provoquant le décalage de l’image vers le cyan (la valeur secondaire du vert et du bleu). Pour accentuer le rouge, vous devez donc réduire la valeur du paramètre Printer Points Red. L’augmentation ou la réduction simultanée des trois paramètres Printer Points assombrit l’image (en cas d’augmentation des trois) ou l’éclaircit (en cas de réduction des trois). Si vous appliquez des modifications inconsidérées aux trois canaux, vous modifiez la balance des couleurs de l’image, ce qui modifie sa couleur et autorise la correction ou l’introduction de dominantes de couleur. Paramètres Printer Points  Printer Points Calibration : cette valeur calibre le système Printer Points en fonction du standard Gamma du film que vous souhaitez utiliser. La valeur par défaut, égale à 7,8, est le résultat de la multiplication de la valeur 12 (points par ƒ-stop) par la valeur 0,65 (le standard Gamma par défaut du film utilisé). 0,65 * 12 = 7,8. Pour recalibrer le système en vue d’utiliser une valeur Gamma de film différente, insérez votre propre valeur Gamma value dans cette équation.  Printer Points Red : valeur à ajouter ou supprimer du canal rouge.  Printer Points Green : valeur à ajouter ou supprimer du canal vert.  Printer Points Blue : valeur à ajouter ou supprimer du canal bleu. Remarque : le studio Color FX affiche également un nœud Printer Points, qui fonctionne comme les paramètres décrits dans cette section.Chapitre 9 Primary In 239 Auto Balance Ce bouton vous permet d’effectuer une analyse automatique du plan en cours, en se basant sur l’image située à la position de la tête de lecture. Cette méthode s’avère utile pour restaurer rapidement l’état neutre d’un plan problématique avec une dominante de couleur peu apparente, avant de procéder à d’autres corrections colorimétriques. Lorsque vous cliquez sur ce bouton, Color échantillonne automatiquement les cinq pour cent les plus sombres et les plus clairs de l’image, ainsi que les pixels de tons intermédiaires les plus neutres compris entre les deux précédents échantillons, afin de déterminer comment appliquer des corrections sur les zones d’ombres, de tons intermédiaires et de hautes lumières pour neutraliser toute dominante de couleur présente dans l’image. De plus, le contraste de l’image est étendu au maximum pour occuper toute la plage disponible entre 0 et 100. Remarque : contrairement aux commandes Balance automatique du filtre Étalonnage à 3 voies de Final Cut Pro, la commande Auto Balance est totalement automatique et né nécessite aucune sélection préalable de certaines zones de l’image pour lancer l’analyse. Pour utiliser le bouton Auto Balance : 1 Dans la Timeline, placez la tête de lecture sur une image représentative du plan dont vous souhaitez automatiser la balance des couleurs. 2 Cliquez sur Auto Balance. Une fois l’analyse effectuée, les paramètres Red, Green et Blue Lift et Gain affichés par l’onglet Advanced dans le studio Primary In sont réglés automatiquement avec les valeurs obtenues pour ces corrections. Le rendu des blancs, des gris et des noirs dans l’image résultante doit être totalement neutre.240 Chapitre 9 Primary In Comme les corrections nécessaires sont apportées au moyen des paramètres Lift et Gain de l’onglet Advanced, les commandes principales Shadow, Midtone, Highlight et Curves ne sont pas utilisées et restent à votre disposition pour appliquer d’autres corrections à l’image. Informations sur la copie, l’enregistrement et la gestion des jeux d’étalonnage Pour en savoir plus sur l’activation d’autres jeux d’étalonnage disponibles, l’utilisation des commandes Copy to, ainsi que l’intérêt des chutiers de corrections et de jeux d’étalonnages pour enregistrer et appliquer des réglages à d’autres plans de votre projet, consultez le chapitre 13, « Gestion des corrections et des jeux d’étalonnage », à la page 299.10 241 10 Secondaries L’étalonnage secondaire vous permet d’isoler une partie de l’image et de l’ajuster de façon sélective sans que cela n’affecte le reste de l’image. Après avoir apporté les premières corrections à une séquence à l’aide du studio Primary In, l’étape suivante consiste à passer au studio Secondaries afin de réaliser des ajustements plus ciblés. Les rubriques suivantes seront abordées au cours de ce chapitre :  Fonctions du studio Secondaries (p. 242)  Premiers pas (p. 243)  Choix de la région à corriger à l’aide des qualificateurs HSL (p. 244)  Onglet Previews (p. 252)  Isolement d’une zone à l’aide des commandes de vignette (p. 254)  Ajustement des parties interne et externe de la sélection (p. 261)  Utilisation des courbes secondaires (p. 263)  Commandes de réinitialisation (p. 268)242 Chapitre 10 Secondaries Fonctions du studio Secondaries Le studio Secondaries a été conçu de façon à offrir une flexibilité optimale. Si son objectif premier est de faciliter l’apport de corrections ciblées à des caractéristiques précises d’une image, il peut également être utilisé pour réaliser diverses tâches.  Isolement de zones en vue d’y apporter des corrections ciblées : il s’agit de la fonction principale du studio Secondaries. Grâce à diverses techniques, vous pouvez exécuter des fonctions permettant par exemple d’isoler les hautes lumières d’une image pour modifier la qualité globale de la lumière, de cibler la couleur d’un vêtement trop voyant pour la désaturer sans affecter le reste de l’image ou bien de sélectionner le visage d’un acteur de façon à créer un effet « coup de soleil » via un flux de postproduction. Une fois que vous maîtrisez les techniques d’ajustement sélectif de l’image, les possibilités sont infinies.  Création d’effets de vignettes : habituellement les vignettes utilisées à des fins créatives ont pour effet d’assombrir les bords de l’image initialement créée à l’aide de caches ou de filtres d’objectif. Vous pouvez créer n’importe quel type de vignette à partir de formes prédéfinies ou personnalisées, afin d’assombrir (ou du moins de marquer) certaines zones l’image. Les vignettes permettent d’attirer l’attention du spectateur en mettant en évidence un sujet au premier plan ou en ombrant des élé- ments de l’arrière-plan que vous ne souhaitez pas voir ressortir. Avant Après Avant AprèsChapitre 10 Secondaries 243  Rectification numérique de l’éclairage sur des zones de l’image : la même fonctionnalité peut être utilisée différemment, en dessinant des formes personnalisées pour isoler des portions de l’image et ajouter des faisceaux ou des zones de lumières là où il n’y en avait pas. Cela s’avère particulièrement utile lorsque la luminosité est trop faible et que vous souhaitez rendre un élément de la scène plus intéressant.  Apport de modifications ayant pour effet de changer la correction Primary In : le studio Secondaries offre une fonctionnalité quelque peu originale, qui consiste à appliquer une correction supplémentaire à l’ensemble de l’image, par-dessus la correction originale effectuée à l’aide du studio Primary In. Si vous n’utilisez aucun qualificateur secondaire, les ajustements effectués à l’aide des commandes de balance des couleurs, de contraste et de saturation sont appliqués à l’ensemble de l’image, tout comme dans le studio Primary In. Vous pouvez faire appel à cette fonctionnalité pour distinguer les ajustements d’effets stylisés des corrections de base apportées dans le studio Primary In. Pour en savoir plus sur ce type de flux de travaux, reportez-vous à la section « Utilisation de tous les studios Primary, Secondary et Color FX pour gérer les corrections de chaque plan » à la page 320. Premiers pas Le processus d’étalonnage secondaire, relativement simple, implique les étapes ci-après. Étape 1 : Isoler la zone de l’image à ajuster Il existe trois méthodes de base vous permettant d’isoler (on dit aussi qualifier) des élé- ments ou zones d’une image dans le studio Secondaries :  Sélection d’une gamme de couleurs, de degrés de saturation et de niveaux de luminosité.  Utilisation d’une forme comme masque.  Utilisation de l’une des courbes secondaires pour ajuster de façon sélective une partie du spectre. Toutes ces méthodes sont expliquées dans le présent chapitre. Une fois que vous avez sélectionné la zone de l’image à retravailler, le menu local Control vous permet d’appliquer des opérations distinctes sur la partie intérieure de cette zone et sur la partie exté- rieure à celle-ci. Avant Après244 Chapitre 10 Secondaries Étape 2 : Effectuer des ajustements relatifs à la balance des couleurs, au contraste et à la saturation Après avoir sélectionné la zone à corriger, vous pouvez utiliser les mêmes commandes de balance des couleurs, les mêmes curseurs primaires de contraste et les mêmes paramètres Lift/Gain/Gamma dans l’onglet Basic, ainsi que les paramètres RGB de l’onglet Advanced, disponibles dans le studio Primary In. Pour en savoir plus sur ces commandes, reportez-vous au chapitre 9, « Primary In », à la page 191. Remarque : le studio Secondaries propose un paramètre de correction supplémentaire, non disponible dans les studios Primary In et Primary Out : le paramètre Global Hue. Grâce à ce paramètre, vous pouvez faire pivoter la teinte de chaque couleur présente dans l’image en une seule opération. À l’inverse des autres paramètres de l’onglet Secondaries, le paramètre Global Hue affecte chaque pixel de l’image et n’est pas limité par les qualificateurs HSL ou les commandes Vignette. Étape 3 : Passer à l’onglet suivant (parmi les huit disponibles) pour apporter d’autres corrections Après avoir effectué les corrections de base, vous pouvez passer à l’opération secondaire suivante. Le studio Secondaries permet d’effectuer jusqu’à huit opérations secondaires distinctes (ou seulement sept en mode simple affichage). Dans les prochaines sections, vous allez apprendre à isoler des zones de l’image de différentes façons. Choix de la région à corriger à l’aide des qualificateurs HSL L’une des méthodes les plus courantes permettant d’isoler un élément en vue de lui appliquer une correction ciblée consiste à utiliser les qualificateurs HSL (appelés ainsi car ils qualifient la partie de l’image à corriger) pour définir la clé de couleur sur la zone à étalonner. Les initiales HSL correspondent aux termes anglais Hue, Saturation et Lightness, c’est-à- dire Teinte, Saturation et Luminosité, les trois propriétés de couleur qui, réunies, définissent l’ensemble de la gamme de couleurs pouvant être représentée de façon numérique. La qualification HSL est souvent l’un des moyens les plus rapides pour isoler les élé- ments aux formes irrégulières ou les sujets en mouvement de l’image. Toutefois, comme avec toute autre clé de chrominance ou de luminance, le sujet que vous tentez d’isoler doit présenter une couleur ou un niveau de luminosité différent de celui de l’image qui l’entoure. Fort heureusement, cela est assez fréquent et les teints de peau rougeâtres, le ciel bleu, les vêtements ou objets à la saturation excessive et les zones d’ombres et de hautes lumières sont souvent des sujets parfaitement adaptés à la correction secondaire.Chapitre 10 Secondaries 245 Si vous êtes habitué aux commandes d’effets de limite du filtre Étalonnage à 3 voies de Final Cut Pro, vous verrez que les commandes HSL du studio Secondaries fonctionnent plus ou moins de la même façon. Les commandes HSL jouent le rôle de manipulateur de chrominance. En sélectionnant des gammes de teinte, de saturation et de luminosité, vous créez un cache alors utilisé pour définir la zone sur laquelle les corrections seront appliquées. Tout ce qui se trouve en dehors du cache reste inchangé (vous pouvez néanmoins préciser quelle portion du cache vous souhaitez ajuster, la partie interne ou externe). Les commandes de qualificateurs HSL échantillonnent toujours les données à partir de l’image d’origine non corrigée. Cela signifie que, quels que soient les ajustements effectués dans le studio Primary In, ce sont les valeurs de l’image d’origine qui sont utilisées pour définir la clé. Par exemple, même si vous désaturez complètement l’image dans le studio Primary In, vous pouvez quand même appliquer une clé chromatique dans le studio Secondaries. Image d’origine Paramètres du qualificateur HSL Cache Image corrigée246 Chapitre 10 Secondaries ? Conseil : il n’est pas nécessaire d’utiliser les trois qualificateurs lorsque vous définissez une clé de couleur pour une zone de l’image. Chaque qualificateur est associé à une case à cocher pouvant être activée ou désactivée individuellement. Ainsi, si vous désactivez les commandes H et S (teinte et saturation), vous pouvez utiliser la commande L (luminosité) en tant que manipulateur de luminance. Cette technique, très performante, vous permet d’isoler des zones d’une image uniquement en fonction de la luminosité de celle-ci. Création rapide de clés secondaires à l’aide de la pipette HSL La pipette (outil Eyedropper), située dans la partie supérieure gauche de l’onglet Basic, permet un échantillonnage facile et rapide de valeurs de couleur à partir des images que vous corrigez. Pour utiliser la pipette afin de définir une clé secondaire : 1 Cliquez sur la pipette. Elle est alors mise en surbrillance et un curseur en croix apparaît au-dessus de l’image, dans les moniteurs Preview et Broadcast. Ce curseur vous permet d’échantillonner les valeurs HSL de pixels de l’image. 2 Déplacez la souris pour positionner le curseur en croix sur un pixel doté de la couleur sur laquelle vous souhaitez définir la clé, puis cliquez une fois pour échantillonner la couleur de ce pixel unique.Chapitre 10 Secondaries 247 Le curseur en croix disparaît et les commandes HSL sont ajustées de façon à inclure les valeurs échantillonnées, afin de créer le cache de clé. En outre, le bouton Enabled s’active automatiquement (ce qui active l’effet de l’opération secondaire dans cet onglet). L’onglet Previews est sélectionné au milieu du studio Secondaries, affichant le cache de clé créé par les qualificateurs HSL (pour en savoir plus, reportez-vous à la section « Onglet Previews » à la page 252). Une fois le cache de clé créé, l’étape suivante consiste à utiliser les commandes d’étalonnage situées dans la partie supérieure du studio Secondaries pour appliquer la correction proprement dite. Pour en savoir plus, consultez le chapitre 9, « Primary In », à la page 191. En plus d’échantillonner des valeurs de couleur individuelles, vous pouvez également utiliser la pipette pour échantillonner toute une plage de valeurs. Pour utiliser la pipette pour échantillonner une plage de valeurs : m Cliquez sur la pipette, puis faites glisser le curseur en croix sur l’étendue de pixels à échantillonner. Les commandes HSL se développent pour inclure la gamme complète des teintes, degrés de saturation et niveaux de luminosité présents dans les pixels échantillonnés. Par consé- quent, le cache de clé figurant dans l’onglet Previews est beaucoup plus complet. Vous pouvez également utiliser la pipette pour développer un intervalle existant de valeurs HSL.248 Chapitre 10 Secondaries Pour développer la sélection HSL à l’aide de la pipette : m Cliquez sur la pipette, puis maintenez la touche Maj enfoncée et cliquez sur un pixel unique ou faites glisser le curseur en croix sur un intervalle de pixels. Le curseur en croix disparaît et les commandes HSL sont développées de façon à inclure l’intervalle des valeurs échantillonnées que vous avez sélectionnées, afin de développer le cache de clé dans l’onglet Previews. Remarque : lorsque vous sélectionnez un intervalle de plusieurs valeurs HSL, il peut uniquement s’agir de valeurs adjacentes. Ainsi, vous ne pouvez pas exclure le jaune si vous avec inclus le rouge et le vert (en supposant que vous deviez également exclure le bleu, comme illustré dans la capture d’écran ci-dessous). Pour sélectionner des intervalles HSL non adjacents, vous devez utiliser plusieurs opérations secondaires. Commandes HSL Il n’est pas nécessaire d’utiliser la pipette pour sélectionner une plage de valeurs HSL. Vous pouvez également utiliser les commandes HSL situées dans la partie supérieure de l’onglet Basic pour sélectionner directement des gammes spécifiques de teinte, de saturation et de luminosité. Chacun de ces qualificateurs peut être activé ou désactivé individuellement. Un qualificateur activé participe à la création du cache de clé. La désactivation d’un qualificateur implique que l’aspect de couleur associé ne sera pas utilisé. À chaque qualificateur sont associés trois jeux de poignées, qui correspondent à trois potentiomètres sur les surfaces de contrôle compatibles. Ces poignées peuvent également être manipulées directement à l’écran à l’aide de la souris. Il s’agit des éléments suivants : Plage Centre ToléranceChapitre 10 Secondaries 249  Center : une poignée unique définit le milieu de l’intervalle de valeurs sélectionné.  Range : une paire interne de poignées, situées de part et d’autre de la poignée centrale, définissent l’intervalle de valeurs initial participant à la création du cache de clé. Il s’agit des pixels blancs unis visibles dans le cache.  Tolerance : une paire externe de poignées définit une gamme qui entoure les valeurs de l’intervalle pour créer une atténuation, donnant ainsi au cache de clé un contour estompé. Il s’agit des pixels gris clair visibles dans le cache. Pour régler le point central d’un qualificateur : m Faites glisser le curseur vers l’intérieur des deux poignées Range. Pour effectuer un réglage symétrique des poignées Range : m Faites glisser directement les poignées Range ou faites glisser le curseur entre les poignées Range et Tolerance (si la tolérance est suffisamment large) afin d’élargir ou de réduire l’intervalle. Pour réaliser un ajustement asymétrique des poignées Range : m Maintenez la touche Maj enfoncée et faites glisser la poignée à ajuster, tandis que la poignée opposée reste en place.250 Chapitre 10 Secondaries Lorsque vous effectuez un ajustement asymétrique, le point central se réajuste également en fonction du nouvel intervalle. Remarque : il n’est pas possible d’effectuer un ajustement asymétrique à l’aide des potentiomètres d’une surface de contrôle. Pour ajuster les poignées Tolerance : m Faites glisser le curseur vers l’extérieur des poignées Center, Range et Tolerance pour élargir ou réduire le niveau de tolérance. Vous pouvez également réaliser des ajustements asymétriques sur la tolérance en maintenant la touche Maj enfoncée tout en faisant glisser le curseur. Description des qualificateurs  H (teinte) : définit la gamme de couleurs participant à la création de la clé. L’utilisation du paramètre Hue seul pour définir un cache de clé peut renvoyer des résultats similaires à l’utilisation des courbes secondaires Hue, Sat et Lum. Étant donné que le spectre visible est représenté par un dégradé à ajustement automatique, les poignées H sont les seules qui permettent de régler automatiquement les valeurs extrêmes de cette commande, vous donnant ainsi la possibilité de sélectionner une gamme complète allant du bleu au vert, si nécessaire.  S (saturation) : définit la gamme de niveaux de saturation participant à la création de la clé. L’utilisation de la saturation seule pour définir un cache de clé peut être efficace pour limiter manuellement les couleurs trop saturées. Si vous utilisez la saturation et la teinte mais excluez la luminosité, vous pouvez limiter manuellement des couleurs spécifiques dans toute l’image.  L (luminosité) : définit la gamme de niveaux de luminosité participant à la création de la clé. L’utilisation de la luminosité seule pour définir un cache de clé constitue une technique extrêmement performante, qui vous permet d’isoler rapidement des zones des hautes lumières, des tons intermédiaires ou des ombres pour effectuer des ajustements spécifiques, comme augmenter ou réduire la luminosité des ombres ou bien encore manipuler la couleur au sein des hautes lumières.  Bouton Reset : réinitialise les trois qualificateurs à leur état par défaut, qui correspond à une sélection intégrale.Chapitre 10 Secondaries 251 Échantillons de couleurs Un ensemble de six échantillons, présents sous les qualificateurs HSL, vous permettent de définir automatiquement le qualificateur Hue sur une gamme étroite centrée sur l’une des couleurs primaires bleu, rouge et vert, ainsi que sur l’une des couleurs secondaires cyan, magenta et jaune. Les échantillons sont particulièrement utiles lorsque vous devez rapidement sélectionner des teintes pour un élément de l’image correspondant à l’une de ces couleurs. Lorsque vous choisissez un de ces échantillons, les commandes de saturation et de luminosité restent totalement inchangées. Pour ajuster le qualificateur Hue à l’aide de l’un des échantillons de couleurs : m Cliquez sur un échantillon tout en appuyant sur la touche Maj. Le qualificateur Hue est réinitialisé de façon à sélectionner la gamme de couleurs correspondante. Key Blur Le paramètre Key Blur vous permet d’appliquer un flou uniforme sur le cache de clé, afin d’estomper ce dernier. Cela peut grandement contribuer à rendre utilisable une clé par ailleurs source de bruit ou difficile à exploiter. Par défaut, ce paramètre a la valeur 0 et sa valeur maximale est de 8. Remarque : vous pouvez définir manuellement le paramètre de flou de clé sur des valeurs encore plus élevées en saisissant directement celles-ci dans le champ Key Blur. Sans flou de clé Avec flou de clé252 Chapitre 10 Secondaries L’un des intérêts de l’incrustation en vue de l’étalonnage réside dans le fait que, contrairement à l’incrustation visant à la création d’effets visuels, vous n’êtes pas toujours obligé de créer des caches de clé dotés de bords parfaitement lisses ou de surfaces intérieures totalement unies. Souvent, une clé apparemment médiocre fonctionnera sans problème, en particulier lorsque l’ajustement est subtil, dans la mesure où l’effet lui-même n’attire pas trop l’attention. Par ailleurs, il est important de noter que parfois, le vide observé dans le cache de clé qui vous préoccupe peut en fait correspondre à une ombre du sujet isolé, que vous ne souhaitez pas inclure dans la correction. Onglet Previews L’onglet Previews est une fenêtre en deux parties qui vous guide à travers les étapes d’ajustement lorsque vous utilisez les qualificateurs HSL et les commandes de vignette décrits dans ce chapitre. Deux images basse résolution vous présentent différentes vues de l’opération effectuée. Vérification des clés secondaires lors de la lecture Lors de la lecture, il est conseillé de vérifier l’aspect des clés secondaires que vous avez définies. Parfois, une opération secondaire qui semblait parfaite lors de l’étalonnage pré- sente des tremblements sur les bords ou des « claquements » résultant de bruits ou de l’intégration d’un intervalle de valeurs marginales situées juste à l’extrémité de l’intervalle sélectionné (cela se produit souvent pour les éléments d’une image dont la clé est difficile à définir). Dans ce cas, des ajustements supplémentaires peuvent être nécessaires pour éliminer le problème. Par ailleurs, les clés secondaires qui fonctionnent correctement dans une partie d’une séquence peuvent ne pas fonctionner de la même façon quelques secondes plus tard, si la luminosité change. Avant de passer à l’étape suivante, il est toujours préfé- rable de vérifier comment se présente une opération secondaire sur toute la durée d’une séquence.Chapitre 10 Secondaries 253 Remarque : les options Matte Preview Mode et Vignette Outline n’apparaissent dans l’affichage Preview de la fenêtre Scopes que lorsque l’onglet Previews du studio Secondaries est sélectionné.  Vignette Previews : l’image de gauche illustre la position et la taille de la forme de vignette actuellement sélectionnée, si cette option est activée. Lorsque vous utilisez les vignettes de type Square ou Circle, cette fenêtre contient également une commande à l’écran qui permet de déplacer, de redimensionner et d’estomper la vignette. En revanche, si vous avez sélectionné une forme User Shape dans le studio Geometry, vous verrez un contour non modifiable de cette forme. Pour en savoir plus sur les vignettes, reportez-vous à la section suivante.  HSL qualifier previews : l’image de droite illustre le cache généré par les qualificateurs HSL. Cette fenêtre n’inclut pas le masque généré par les commandes de vignette et n’affiche pas le cache HSL tel qu’il apparaît lorsque le paramètre Key Blur est utilisé. (Le cache HSL final, tel qu’il a été modifié par les vignettes et le flou de clé, est uniquement visible dans l’écran Preview lorsque le mode Matte Preview Mode est défini sur Matte Only.) Les zones blanches du masque indiquent les portions de l’image sélectionnées par les paramètres de qualification en cours, qui seront eux-mêmes affectés par les ajustements apportés. Les zones noires de l’image représentent les portions de l’image qui restent inchangées.  Boutons Matte Preview Mode : ces boutons déterminent quels éléments sont visibles dans l’affichage Preview de la fenêtre Scopes. Trois modes sont disponibles :  Final Image : affiche un aperçu de l’effet final. Celui-ci est semblable à l’aperçu standard affiché dans la fenêtre Scopes, à ceci près qu’il affiche également le contour des vignettes, si l’option correspondante est activée.  Desaturated Preview : les zones de l’image qui sont sélectionnées avec les paramè- tres de qualification en cours apparaissent en couleur, tandis que les zones inchangées sont désaturées et apparaissent en monochrome. Boutons de mode d’aperçu du cache Contour de la vignette Aperçu de la vignette Aperçu du cache généré par le qualificateur HSL254 Chapitre 10 Secondaries  Matte Only : affiche le cache utilisé pour limiter l’effet. Celui-ci est semblable à l’image affichée dans l’écran d’aperçu des qualificateurs HSL, si ce n’est qu’il affiche le cumul du masque de vignette et du masque HSL, ainsi que les résultats du masque modifié par le paramètre Key Blur.  Vignette outline : lorsque le bouton Vignette est activé, ce bouton vous permet d’activer ou de désactiver le contour des vignettes présentes dans la fenêtre Preview. Isolement d’une zone à l’aide des commandes de vignette Les commandes de vignette constituent un moyen extrêmement rapide d’isoler des zones de l’image dotées d’une géométrie arrondie ou rectangulaire, comme le visage d’une personne en gros plan ou une fenêtre en arrière-plan. Les vignettes sont également utiles pour isoler des sujets dont la clé est trop difficile à définir à l’aide des qualificateurs HSL. D’un autre côté, si le sujet auquel vous voulez associer une vignette bouge, vous devez soit animer la forme avec des images clés de façon à bouger avec le sujet (reportezvous au chapitre 14, « Images clés », à la page 323), soit utiliser le suivi de l’animation pour créer automatiquement un chemin que la forme devra suivre (Pour en savoir plus, consultez le paragraphe « Onglet Tracking » à la page 345). Option Final Image : Option Desaturated preview Option Matte onlyChapitre 10 Secondaries 255 Les vignettes servent également à sélectionner des zones vastes dans l’image, en vue de les éclaircir ou de les assombrir. Un exemple courant consiste à utiliser une forme pour entourer une zone de l’image sur laquelle vous souhaitez attirer l’attention du spectateur. Basculez vers le menu local Outside, puis assombrissez l’arrière-plan en dehors de cette forme à l’aide des curseurs de contraste afin de faire « ressortir » davantage le sujet, visuellement parlant. Pour finir, si les vignettes rondes ou carrées ne suffisent pas à isoler un sujet aux formes irrégulières, vous pouvez créer une forme User Shape personnalisée dans l’onglet Shapes du studio Geometry, puis utiliser cette forme pour limiter l’étalonnage. Vous pouvez même créer des sujets complexes par rotoscopie (processus qui consiste à retoucher une animation image par image), afin de créer des ajustements très précis, trop difficiles à isoler à l’aide des seuls qualificateurs HSL. Les formes personnalisées peuvent uniquement être éditées et animées dans le studio Geometry, mais les caches créés peuvent servir à isoler des ajustements dans n’importe lequel des huit onglets Secondaries. Avant Après ajustement par vignette256 Chapitre 10 Secondaries Commandes de vignette Les commandes de vignette sont situées sous l’onglet Previews. Certaines peuvent également être manipulées à l’aide des contrôles d’écran de l’onglet Previews, au-dessus. Remarque : si vous disposez d’une surface de contrôle compatible, vous pouvez également faire appel aux commandes associées pour personnaliser la vignette.  Bouton Vignette : ce bouton active ou désactive la vignette pour l’onglet en cours.  Use Tracker : si vous avez analysé un ou plusieurs outils de suivi de l’animation dans le projet en cours, vous pouvez spécifier quel outil utiliser, par numéro, pour animer automatiquement la position de la vignette. Pour détacher une vignette de l’influence de l’outil de suivi, définissez cette valeur sur 0. Remarque : lorsque l’option Use Tracker fait référence à un marqueur de suivi de votre projet, la position de la vignette (sa poignée centrale) est automatiquement déplacée pour correspondre à la position des images clés, le long du chemin d’animation du marqueur. Cela a pour conséquence de transformer immédiatement votre vignette et vous pouvez continuer à faire des ajustements de position pour amener la vignette précisément au bon endroit. C’est à noter plus particulièrement si le personnage auquel est appliquée la vignette n’est pas celui qui fait l’objet du suivi.  Menu local Shape : permet de choisir la forme à utiliser pour la vignette.  Square : rectangle personnalisable par l’utilisateur. Vous pouvez utiliser les contrô- les d’écran de l’onglet Previews ou les autres paramètres de vignette cités ci-après pour modifier sa position et sa forme.  Circle : ovale personnalisable par l’utilisateur. Vous pouvez utiliser les contrôles d’écran de l’onglet Previews ou les autres paramètres de vignette cités ci-après pour modifier sa position et sa forme.  User Shape : lorsque vous sélectionnez une forme User Shape dans le menu local Shape, vous êtes automatiquement redirigé vers l’onglet Shapes du studio Geometry, où vous pourrez cliquer pour ajouter des points et ainsi dessiner une forme personnalisée à utiliser comme vignette. Une fois que vous avez terminé, cliquez sur le bouton Attach, puis revenez au studio Secondaries pour apporter des ajustements supplé- mentaires. Lorsque vous utilisez une forme personnalisée comme vignette, le reste des paramètres de vignette n’est pas disponible. Vous pouvez simplement modifier et animer cette forme depuis l’onglet Shapes du studio Geometry. Pour en savoir plus, consultez la section « Onglet Shapes » à la page 337. Les paramètres suivants sont uniquement disponibles lorsque vous utilisez les options Square ou Circle du menu local Shape.Chapitre 10 Secondaries 257  Angle : fait pivoter la forme actuelle. Il n’existe aucune commande à l’écran pour ce paramètre.  X Center : ajuste la position horizontale de la forme.  Y Center : ajuste la position verticale de la forme.  Softness : applique un effet de flou au contour de la forme.  Size : agrandit ou rétrécit la forme.  Aspect : ajuste le rapport hauteur/largeur de la forme. Utilisation des contrôles d’écran pour ajuster les formes de vignette Les paramètres X Center, Y Center, Softness, Size et Aspect peuvent tous être ajustés via les contrôles d’écran disponibles dans l’image de gauche de l’onglet Preview. Remarque : bien qu’il soit également possible de visualiser les contours correspondant aux contrôles d’écran dans la zone Preview de la fenêtre Scopes lorsque le bouton Vignette Outline est activé, ces contours de commande ne sont pas activés dans cette zone. Vous ne pouvez effectuer ces ajustements que dans l’onglet Previews. Pour déplacer la vignette : m Faites glisser le curseur à l’intérieur ou à l’extérieur de la forme dans l’onglet Previews pour déplacer la vignette dans cette direction. Les paramètres X Center et Y Center sont ajustés simultanément. Color utilise le même système de coordonnées que Final Cut Pro pour définir une position.258 Chapitre 10 Secondaries Pour redimensionner la vignette : m Faites glisser l’un des quatre angles de la vignette pour la redimensionner par rapport à l’angle opposé qui, lui, reste verrouillé. m Tout en appuyant sur la touche Option, faites glisser le curseur pour redimensionner la vignette par rapport à son centre, représenté par un curseur en croix vert. m Tout en appuyant sur la touche Maj, faites glisser le curseur pour redimensionner la vignette tout en verrouillant son aspect, en agrandissant ou en réduisant la forme sans modifier son rapport hauteur/largeur. En fonction de l’opération effectuée, les paramètres X Center, Y Center, Size et Aspect peuvent également être ajustés. Pour ajuster l’atténuation de la vignette : m Cliquez sur la molette de la souris et faites glisser pour appliquer un effet de flou au contour de la vignette. Cela a pour effet d’ajuster le paramètre Softness. Le degré d’atténuation est représenté dans l’onglet Previews par une paire de cercles concentriques. Le cercle interne indique où commence le flou, le cercle externe où il se termine, ainsi que la forme. Animation de vignettes L’une des opérations les plus courantes consiste à placer un ovale sur le visage d’une personne, puis d’éclairer cet ovale ou d’obscurcir tout le reste pour attirer davantage l’attention sur le visage du sujet. Si le sujet reste immobile, cette opération est facile à réaliser. En revanche, s’il commence à bouger ou à se déplacer, vous devrez animer la vignette à l’aide d’images clés, de façon à ce que l’effet d’éclairage suive le sujet. Pour en savoir plus sur l’animation à l’aide d’images clés, reportez-vous au chapitre 14, « Images clés », à la page 323. Une autre possibilité consiste à utiliser l’outil de suivi de l’animation pour suivre automatiquement les mouvements du sujet, puis appliquer le mouvement analysé à la vignette. Pour en savoir plus, consultez la section « Onglet Tracking » à la page 345.Chapitre 10 Secondaries 259 Utilisation d’une forme personnalisée pour appliquer une vignette La procédure suivante explique comment utiliser l’option User Shape du menu local Shape associé aux commandes de vignette. 1 Ouvrez le studio Secondaries, cliquez sur l’un des huit onglets pour sélectionner l’opé- rateur secondaire à utiliser, puis activez les cases à cocher Enabled et Vignette pour activer les commandes de vignette. 2 Sélectionnez l’option User Shape dans le menu local Shape. L’onglet Shapes du studio Geometry s’ouvre immédiatement. La liste des formes qu’il contient, disponible sur la droite, comporte une nouvelle forme prête à être modifiée. 3 Cliquez dans la zone d’aperçu Geometry pour ajouter des points de contrôle autour de l’élément que vous souhaitez isoler, puis cliquez sur le premier point de contrôle créé pour fermer la forme et mettre fin à l’ajout de points. Par défaut, les formes tracées dans le studio Geometry sont des B-splines, qui utilisent les points de contrôle non associés à la forme créée pour mettre cette dernière en place (de la même façon que les B-splines utilisées par les commandes de courbe dans les studios Primary In et Primary Out). Vous pouvez également transformer ces formes en polygones simples si vous avez besoin d’une forme dotée d’angles plutôt que de courbes. Pour cela, cliquez sur le bouton Polygon de l’onglet Shapes. Remarque : si vous n’êtes pas sûr du nombre de points de contrôle à ajouter pour créer la forme souhaitée, n’hésitez pas à en créer plus que le nombre apparemment requis. Une fois la forme créée, il est très facile de modifier ses points. En revanche, vous ne pouvez pas ajouter ou supprimer des points de contrôle pour une forme déjà créée.260 Chapitre 10 Secondaries 4 Si nécessaire, modifiez la forme pour qu’elle soit mieux adaptée à l’élément que vous tentez d’isoler. Pour cela, faites glisser les points de contrôle pour manipuler la forme. 5 Pour adoucir les bords de la forme, augmentez la valeur du paramètre Softness. Deux formes modifiables supplémentaires apparaissent à l’intérieur et à l’extérieur de la forme que vous avez tracée. La forme interne indique où commence l’adoucissement des bords, tandis que la forme externe indique l’extrémité de la forme adoucie. Si nécessaire, vous pouvez ajuster chaque bordure indépendamment. 6 Si vous le souhaitez, vous pouvez saisir un nom identifiant la forme dans le champ Shape Name, puis appuyer sur Entrée pour valider la modification. 7 Cliquez sur Attach, en haut de l’onglet Shapes, pour associer la forme que vous venez de créer à l’onglet du studio Secondaries dans lequel vous vous trouviez à l’instant (le numéro de l’onglet secondaire doit être affiché dans le champ Current Secondary, en haut de l’onglet Shapes).Chapitre 10 Secondaries 261 8 Au besoin, vous pouvez également ajouter des images clés ou la fonction de suivi de l’animation pour animer la forme en fonction des mouvements de la caméra ou du sujet. Ainsi, la forme créée suit parfaitement l’action de la séquence. 9 Une fois la forme terminée, ouvrez le studio Secondaries. La forme créée est ensuite visible à l’intérieur de la zone de vignette de l’onglet Previews. À ce stade, le cache créé par la forme peut servir à limiter les corrections apportées, comme c’est le cas pour tout autre cache secondaire. Lorsque vous utilisez une forme personnalisée, les commandes de vignette de l’onglet secondaire auquel la forme est assignée sont désactivées. Si, à un moment donné, vous devez modifier la forme, vous devez procéder dans le studio Geometry. Les corrections secondaires qui utilisent cette forme seront automatiquement mises à jour pour reflé- ter les modifications apportées. Utilisation simultanée de l’incrustation secondaire et des vignettes Lorsque vous activez les commandes de vignette tout en utilisant les qualificateurs HSL pour créer une clé secondaire, la vignette limite le cache créé par la clé. Cela peut s’avé- rer extrêmement utile lorsque le meilleur cache de clé que vous arrivez à produire pour isoler un élément de l’image entraîne des sélections non souhaitées en arrière-plan, que vous ne parvenez pas à éliminer sans réduire la qualité du cache. Dans ce cas, vous pouvez utiliser la vignette comme cache patate, pour éliminer les sections du cache de clé qui se situent en dehors de la forme de vignette. Ajustement des parties interne et externe de la sélection Pour spécifier si les commandes de couleur, de contraste et de saturation s’appliquent à la partie interne ou à la partie externe de l’élément isolé, vous devez utilisez le menu local Control. L’une des fonctionnalités les plus intéressantes du studio Secondaries est sa capacité à appliquer des corrections séparées aux parties interne et externe d’un cache secondaire dans le même onglet. Cela signifie que chacun des huit onglets secondaires peut comporter deux corrections distinctes.262 Chapitre 10 Secondaries Dès que vous sélectionnez une autre zone à retravailler, les commandes se mettent à jour pour refléter ces réglages. Le menu local Control fournit également des options supplémentaires permettant de modifier ces réglages.  Inside : réglage par défaut. Lorsque l’option Inside est définie, tous les ajustements effectués s’appliquent à la partie intérieure du cache secondaire (la zone en blanc, lorsque vous regardez le masque lui-même).  Outside : lorsque l’option Outside est définie, tous les ajustements effectués dans l’onglet en cours s’appliquent à la partie externe du cache secondaire (la zone en noir). Réaliser un ajustement par assombrissement sur la partie externe d’un cache circulaire qui entoure l’intégralité de l’image et auquel un adoucissement des bords a été appliqué constitue l’une des façons de créer un effet de vignette traditionnel.  Copy Inside to Outside : copie la correction actuellement appliquée à la partie interne du cache sur la partie externe. Cette opération est pratique si vous souhaitez copier la même correction sur la partie externe, avant d’effectuer une petite modification. Ainsi, la différence entre les corrections appliquées à la partie interne et la partie externe reste minime.  Copy Outside to Inside : copie la correction appliquée à la partie externe sur la partie interne. Avant l’ajustement intérieur Après Avant l’ajustement extérieur AprèsChapitre 10 Secondaries 263  Swap : permute les corrections appliquées aux parties interne et externe du cache secondaire, de sorte qu’elles se retrouvent inversées. Utilisation des courbes secondaires Contrairement à ce que leur nom semble suggérer, les courbes secondaires sont en fait un ensemble de commandes très performantes qui vous permettent de réaliser des ajustements spécifiques aux paramètres de teinte, de saturation et de luminance d’une image, uniquement à partir des zones de teinte spécifiées à l’aide de points de contrôle placés sur une courbe. Important : les courbes ne peuvent pas être animées à l’aide d’images clés, mais quasiment tout autre paramètre des studios Primary In et Secondaries peut l’être. Le fonctionnement de ces courbes est très différent de celui des commandes de courbe disponibles dans le studio Primary In. Par défaut, chaque courbe secondaire est une ligne plane horizontale qui passe au milieu de la zone graphique. Le spectre visible est représenté le long de la surface de la courbe par un dégradé à ajustement automatique, dont les extrémités sont automatiquement renvoyées de l’autre côté de la courbe. Les points de contrôle situés sur la gauche et sur la droite de cette courbe sont liés de sorte que, lorsque vous en déplacez un, l’autre bouge en même temps. Cela garantit une transition en douceur si vous apportez des ajustements au niveau de la couleur rouge.264 Chapitre 10 Secondaries L’ajout de points à la surface de cette courbe vous permet de définir les zones de teinte à ajuster. Si vous faites monter la courbe dans ces zones, la valeur de l’aspect de couleur modifié par une courbe donnée augmente. Si vous faites descendre la courbe, la valeur diminue. Par exemple, si vous ajoutez quatre points de contrôle à la courbe de saturation pour réduire la gamme allant du vert au bleu, vous pouvez sans problème désaturer tous les éléments bleus et verts de l’image, tout en laissant intactes les autres couleurs. Avant Après Réglage de la courbe de saturationChapitre 10 Secondaries 265 L’un des aspects les plus appréciables de ces commandes vient du fait qu’elles permettent des ajustements très spécifiques visant à rétrécir ou élargir des zones de couleur, avec des transitions extrêmement douces entre les zones corrigées et les zones non corrigées de l’image. Dans de nombreux cas, les résultats seront bien meilleurs que ce qu’auraient permis les qualificateurs HSL. Un autre atout dont bénéficient ces commandes par rapport aux qualificateurs HSL est qu’ils permettent de réaliser des ajustements simultanés sur des gammes de teintes non adjacentes. En d’autres termes, vous pouvez amplifier ou réduire les valeurs des zones de rouge, de vert et de bleu d’une image, tout en minimisant l’effet de cet ajustement sur les zones de jaune, de cyan et de magenta. Les courbes secondaires utilisent des B-splines, tout comme les commandes des courbes primaires. En fait, vous pouvez ajouter et modifier des contrôles de point sur les courbes secondaires exactement de la même façon. Pour en savoir plus, consultez la section « Modification des points de contrôle et des courbes B-Splines » à la page 222. Important : les ajustements réalisés à partir des courbes secondaires s’appliquent toujours aux teintes animées avec des images clés de l’image entière et ne sont pas limités par les commandes Vignette ou HSL.266 Chapitre 10 Secondaries Onglet Hue Curve Lorsque vous augmentez ou diminuez une partie de la courbe de teinte secondaire, vous réalisez un ajustement de teinte semblable à ce que vous faites lorsque vous utilisez la commande Global Hue, à ceci près que vous ne faites pivoter que la valeur de teinte de la gamme de teintes sélectionnée spécifiée par la courbe. Si vous faites monter la courbe, la valeur s’approche du rouge, si vous la faites descendre, la valeur s’approche du bleu. Cette commande peut être utile pour réaliser de petits ajustements superficiels à la section rouge/orange du spectre qui concerne les teints de peau, afin d’ajouter ou de supprimer rapidement des couleurs chaudes. Avant Réglage de la courbe des teintes AprèsChapitre 10 Secondaries 267 Onglet Sat Curve Faire monter la courbe de saturation augmente le degré de saturation dans la portion du spectre concernée, alors que le fait de la faire descendre diminue le degré de saturation. Cet outil est très performant pour créer des thèmes stylisés qui rehaussent ou atténuent des couleurs spécifiques de l’image. Avant Réglage de la courbe de saturation Après268 Chapitre 10 Secondaries Onglet Lum Curve Faire monter la courbe de luminance augmente la luminosité des couleurs dans la portion du spectre concernée, alors que le fait de la faire descendre assombrit les couleurs. Faites appel à cet outil lorsque vous devez ajuster le contraste dans des zones de couleur spécifiques. Commandes de réinitialisation Le studio Secondaries est doté de deux boutons de réinitialisation.  Bouton Reset Secondary : réinitialise uniquement l’onglet secondaire actuellement ouvert.  Bouton Reset All Secondaries : réinitialise tous les onglets secondaires du studio Secondaries. Utilisez ce bouton avec précaution. Avant Réglage de la courbe de luminance Après11 269 11 Color FX Lorsque les contrôles d’étalonnage principal et secondaire ne suffisent pas à créer l’aspect voulu, Color FX permet de créer des effets sophistiqués via une interface utilisateur arborescente. Le studio Color FX est un environnement d’effets structuré de façon arborescente. Il a été conçu comme une boîte à outils extensible que vous pouvez utiliser pour créer des aspects personnalisés en traitant une image par le biais de combinaisons d’opérations prenant la forme de nœuds. Chaque nœud est une opération de traitement d’image individuelle et en connectant ces nœuds, constituant ainsi des combinaisons ou arborescences de nœuds, vous pouvez créer des effets sophistiqués de plus en plus complexes. Les rubriques suivantes seront abordées au cours de ce chapitre :  L’interface Color FX (p. 270)  Utilisation de Color FX (p. 270)  Création et connexion de nœuds (p. 272)  Ajustement des paramètres des nœuds (p. 274)  Omission de nœuds (p. 276)  Création d’effets dans le studio Color FX (p. 276)  Utilisation de Color FX avec des plans entrelacés (p. 282)  Enregistrement des effets préférés dans le chutier Color FX (p. 283)  Guide de référence des nœuds (p. 284)270 Chapitre 11 Color FX L’interface Color FX Le studio Color FX est divisé en quatre zones principales :  Liste Node : liste sur la gauche du studio Color FX contenant chaque opération de traitement d’image pouvant être ajoutée. Certains de ces nœuds sont à entrée simple, effectuant cette opération sur chaque image insérée, tandis que d’autres sont à entrée multiple, utilisant plusieurs copies de travail de l’image et les combinant via différentes méthodes. Tous les nœuds sont ordonnés alphabétiquement.  Vue Node : il s’agit d’une zone située au centre du studio Color FX, où les nœuds que vous créez sont affichés, interconnectés et disposés en arborescences de nœuds qui créent l’effet.  Onglet Parameters : lorsque vous sélectionnez un nœud dans la vue Node, ses paramè- tres s’affichent dans cet onglet afin que vous puissiez les ajuster et les personnaliser.  Chutier Color FX : ce chutier fonctionne de façon similaire aux chutiers Correction et Grades, vous permettant d’enregistrer les effets créés à des fins d’utilisation ultérieure. Utilisation de Color FX Le studio Color FX n’est pas un environnement de mixage dans lequel vous pouvez combiner plusieurs images. La seule image que vous pouvez insérer dans ce studio pour traitement est celle du plan en cours. Fonctionnement des arborescences de nœuds Dans la chaîne de traitement des images Color, le studio Color FX traite l’image telle qu’elle apparaît après que des corrections aient été appliquées dans les studios Primary et Secondaries. Les entrées de nœud non liées se connectent automatiquement à l’état de l’image affecté par les studios Primary et Secondaries. Chaque arborescence de nœuds débute ainsi, avec une entrée vide automatiquement connectée à l’image corrigée. Remarque : la seule exception est le nœud Color, qui génère une image de couleur unie que vous pouvez utiliser avec des nœuds mathématiques à entrée multiple pour nuancer une image de différentes façons.Chapitre 11 Color FX 271 Pour effectuer plus d’opérations sur une image, il suffit simplement d’ajouter d’autres nœuds, en connectant les sorties des nœuds précédemment ajoutés aux entrées de nouveaux nœuds via des boucles (noodles). Vous pouvez considérer une arborescence de nœuds comme une cascade de données de traitement d’image. Les opérations de traitement d’image commencent en haut, puis descendent en cascade, de nœud en nœud. Chaque nœud applique son effet sur l’image sortant du nœud situé au-dessus, jusqu’à ce que le bas de l’arborescence soit atteint, où l’image est à son état final. Le dernier nœud de toute arborescence doit être le nœud Output. Il s’agit du nœud qui renvoie l’image ayant été traitée par le studio Color FX dans la chaîne de traitement des images Color. S’il n’existe pas de nœud Output ou s’il est déconnecté, l’arborescence de nœuds n’aura aucun effet sur le plan et son effet ne sera pas rendu par la file d’attente de rendu. Remarque : la barre CFX n’apparaît que dans la piste des jeux d’étalonnage, pour les plans pour lesquels ont été créés des nœuds de sortie.272 Chapitre 11 Color FX Entrées et sorties de nœuds Les nœuds à entrée simple appliquent une opération à l’image. Ils ne peuvent traiter qu’une seule image entrante à la fois et vous ne pouvez donc connecter qu’une seule boucle à une entrée. Les nœuds à entrée multiple sont conçus pour combiner plusieurs variations de l’image de différentes façons, afin de ne générer qu’un seul effet combiné. Ces nœuds fournissent plusieurs entrées afin que vous puissiez connecter plusieurs boucles. Par contre, toute sortie de nœud peut être connectée à plusieurs nœuds ce qui permet d’intégrer plusieurs copies de travail identiques de l’image à ce stade dans l’arborescence, afin d’y appliquer plusieurs opérations. Création et connexion de nœuds Dans cette section, vous allez apprendre les méthodes utilisées pour ajouter, supprimer et disposer des nœuds dans une arborescence et ce, afin de créer des effets. Pour ajouter un nœud à la vue Node, procédez de l’une des manières suivantes : m Double-cliquez sur un nœud de la liste. m Sélectionnez un nœud dans liste, puis cliquez sur Add. m Faites-glisser un nœud depuis la liste dans la vue Node. Les nouveaux nœuds apparaissent toujours déconnectés dans la vue Node.Chapitre 11 Color FX 273 Pour supprimer un ou plusieurs nœuds de la vue Node : m Sélectionnez un ou plusieurs nœuds dans la vue Node, puis cliquez sur Delete ou Forward Delete. Le nœud disparaît et les boucles connectées à celui-ci sont déconnectées. Pour connecter la sortie d’un nœud à l’entrée d’un autre : m Faites-glisser une boucle depuis la sortie d’un nœud vers l’entrée d’un autre. Les boucles sont vertes lorsqu’elles sont créées, mais deviennent grises lorsqu’elles sont connectées. Remarque : lorsque vous positionnez le pointeur sur l’entrée d’un nœud, une petite bulle d’aide s’affiche, indiquant son nom. Si vous voulez que l’effet d’un nœud ne s’applique pas, vous pouvez cliquer sur son bouton Bypass, en haut de l’onglet Parameters. Pour déconnecter un nœud de celui du dessus : m Faites glisser une boucle depuis l’entrée du nœud que vous voulez déconnecter vers une zone vide de la vue Node. Lorsque vous travaillez sur des arborescences volumineuses, il est judicieux de bien les structurer afin qu’elles soient claires.274 Chapitre 11 Color FX Pour réorganiser des nœuds dans la vue Node, procédez de l’une des manières suivantes : m Faites glisser un nœud dans une direction. m Faites glisser une zone de sélection sur un groupe de nœuds, puis faites glisser l’un des nœuds sélectionnés dans une direction pour les déplacer ensemble. Ajustement des paramètres des nœuds Le fonctionnement de la plupart des nœuds peut être personnalisé via des paramètres variant d’un nœud à un autre, selon sa fonction. Tous les paramètres des nœuds figurent dans l’onglet Parameters, sur la droite du studio Color FX. Pour afficher les paramètres d’un nœud dans l’onglet Parameters : m Cliquez une fois sur le nœud à modifier. Le nœud sélectionné s’affiche en cyan et s’il a des paramètres, ils s’affichent à droite et peuvent être modifiés. Vous pouvez modifier les paramètres du nœud de la même façon que dans d’autres studios. Vous pouvez aussi choisir à quel stade d’une arborescence de nœuds vous voulez visualiser l’image. Pour afficher l’image traitée au niveau d’un nœud dans la vue Node : m Double-cliquez sur le nœud à afficher. Le nœud visualisé apparaît en jaune et l’image telle qu’elle apparaît au niveau de celuici dans l’arborescence figure dans les affichages Preview et Broadcast.Chapitre 11 Color FX 275 Remarque : étant donné que le double clic sur un nœud entraîne le chargement de l’image correspondante et l’ouverture des paramètres correspondants sous l’onglet Parameters, il apparaît également encadré de bleu. Lorsque vous créez des effets multinœuds, il est souvent utile de visualiser un nœud figurant au bas de l’arborescence lorsque vous ajustez un nœud situé plus haut. Ainsi, vous pouvez ajuster n’importe quel paramètre tout en visualisant son effet sur l’ensemble de l’arborescence. Dans l’exemple ci-après, on crée un aspect vaporeux mais très contrasté à l’aide d’une série de nœuds composée des nœuds B&W, Curve et Blur d’un côté (pour créer la couche vaporeuse) et le nœud Bleach Bypass de l’autre (qui apporte un fort contraste), les deux côtés étant reliés par un nœud Multiply pour créer la combinaison. En peaufinant cet effet, vous souhaiterez ajuster le degré d’inclusion de l’image originale en noir et blanc à l’effet final en ajustant le nœud Curve, mais vous devez voir la sortie du nœud Multiply pour savoir quel niveau d’ajustement vous devez effectuer. Pour cela, double-cliquez sur le nœud Multiply afin d’en faire le nœud visualisé (surligné en jaune). Puis cliquez une fois sur le nœud Curve pour charger ses paramètres sous l’onglet Parameters (le nœud est alors encadré en cyan).276 Chapitre 11 Color FX Omission de nœuds Chaque nœud est doté d’un bouton Bypass figurant en haut de sa liste de paramètres. Cliquez dessus pour désactiver l’effet qu’a ce nœud sur l’arborescence sans supprimer le nœud de la vue Node. Les nœuds ignorés sont soulignés d’une ligne pointillée orange. Si vous voulez suspendre l’effet d’une arborescence de nœuds entière sans la supprimer ou activer le bouton Bypass de chaque nœud, vous devez déconnecter entièrement le nœud Output. Création d’effets dans le studio Color FX Cette section présente certaines des opérations les plus courantes effectuées dans le studio Color FX. Utilisation des nœuds à entrée simple L’utilisation la plus simple de ce studio consiste à appliquer un ou deux nœuds à entrée simple pour créer un effet stylisé. Dans ce cas, il vous suffit d’ajouter les nœuds à utiliser, de les connecter dans l’ordre dans lequel vous voulez qu’ils soient appliqués, puis d’ajouter un nœud Output à la fin.Chapitre 11 Color FX 277 Dans l’exemple suivant, un nœud Bleach Bypass (qui modifie la saturation et le contraste d’une image pour simuler un traitement de film chimique) est suivi d’un nœud Curve (pour modifier plus avant le contraste de l’image), suivi par le nœud Output qui doit être ajouté à la fin de toutes les arborescences de nœuds. Utilisation des nœuds de surimposition Une utilisation plus sophistiquée des nœuds consiste à faire appel à des nœuds à entrée multiple pour combiner au moins deux copies de travail de l’image traitées séparément afin d’obtenir un effet combiné. Dans l’un des exemples les plus simples, vous pouvez nuancer une image en connectant un nœud Color (qui génère une couleur définissable par l’utilisateur) à une entrée d’un nœud de surimposition Multiply.278 Chapitre 11 Color FX Ceci multiplie la couleur avec l’image corrigée (rappelez-vous que les entrées déconnectées se lient toujours aux données de l’image corrigée). En raison du mode de fonctionnement de la multiplication des images, les zones les plus claires de l’image sont nuancées, alors que les zones progressivement plus sombres sont moins nuancées et les zones noires restent inchangées. Dans un exemple légèrement plus complexe, l’image est traitée via trois nœuds : un nœud Duotone (qui désature l’image et mappe de nouveau le noir et blanc en deux couleurs personnalisables), un nœud Curve (pour assombrir les tons intermédiaires) et un nœud Blur. Le résultat est connecté à une entrée d’un nœud Add (les deux paramè- tres BIas étant définis sur 1). Les nœuds Duotone, Curve et Blur nuancent, assombrissent et rendent floue l’image avant de l’ajouter à l’image corrigée (provenant de l’entrée 2). Le résultat obtenu est un effet de diffusion avec des hautes lumières chaudes et éclatantes.Chapitre 11 Color FX 279 Explication sur les nœuds de surimposition mathématiques Les nœuds de surimposition présentés dans l’exemple précédent font appel à des calculs simples pour combiner deux copies de travail de l’image modifiées différemment. Ces opérations mathématiques reposent sur la méthode numérique suivante de repré- sentation des tonalités dans chacun des trois canaux de couleur d’une image :  Noir = 0 (donc noir pour RVB = 0, 0, 0)  Les valeurs de tons intermédiaires dans chaque canal sont fractionnaires, de .00001 à .999999  Blanc = 1 (donc blanc pour RVB = 1, 1, 1) Gardez ces valeurs à l’esprit en lisant les sections suivantes. Add Les pixels de chaque image d’entrée sont ajoutés. Les pixels noirs ont la valeur 0, donc l’ajout de noir à une autre couleur ne provoque aucun changement de l’image. Toutes les autres valeurs sont augmentées de la somme des deux valeurs. L’ordre dans lequel les entrées sont connectées n’a pas d’importance. Les opérations d’ajout conviennent particulièrement bien à la création d’effets éclatants agressifs, car elles ont tendance à augmenter les niveaux très rapidement en fonction des images d’entrée. Notez que la meilleure façon d’agir sur les zones de l’image qui sont affectées lors de l’utilisation d’une opération d’ajout est de régler de façon « agressive » le contraste de l’une des images d’entrée. Plus une zone est sombre, moins elle aura d’effet. Remarque : par défaut, les paramètres Bias du nœud Add divisent les valeurs de chaque image d’entrée par deux avant de les ajouter. Si les résultats ne sont pas aussi vifs que vous le souhaitez, définissez les paramètres Bias Source 1 et Source 2 sur 1. Difference Les pixels de l’image connectée à Source 1 sont soustraits de ceux de l’image connectée à Source 2. Les pixels noirs ont la valeur 0, donc toute couleur à laquelle est soustrait du noir ne change pas par rapport à l’image Source 1. L’ordre dans lequel les entrées sont connectées est important. Ce nœud est utile pour assombrir l’image Source 1 basée sur la luminosité de l’image Source 2.280 Chapitre 11 Color FX Multiply Les pixels de chaque image d’entrée sont multipliés. Les pixels blancs ont la valeur 1, donc la multiplication du blanc avec une autre couleur ne provoque aucun changement de l’image. Cependant, lorsque le noir (0) est multiplié avec une autre couleur, le résultat est noir. Lors de la multiplication de deux images, leurs parties les plus sombres restent inchangées, alors que leurs parties les plus claires sont les plus affectées. Ceci est utile pour les opérations de nuançage, comme indiqué précédemment, ainsi que pour les opérations où vous voulez combiner les parties les plus sombres de deux images. Isolement de parties d’une image Une autre méthode courante de création d’un effet de surimposition consiste à utiliser un cache en niveaux de gris pour contrôler à quel endroit d’une image deux entrées sont ajoutées. Le nœud Alpha Blend a trois entrées qui sont combinées pour créer exactement cet effet. Ce nœud fusionne l’entrée Source 2 avec l’entrée Source 1 dans toutes les zones où l’image d’entrée Source 3 Alpha est blanche. Quand l’image d’entrée Alpha est noire, seule l’entrée Source 1 est affichée.Chapitre 11 Color FX 281 Toute image à niveaux de gris peut être utilisée afin de créer un cache que vous pouvez connecter à l’entrée Alpha, pour obtenir divers effets. Dans l’exemple suivant, un nœud Curve est utilisé pour manipuler le contraste de l’image de sorte qu’un nœud Edge Detector puisse plus aisément isoler les bords de l’image pour créer un cache en niveaux de gris, un nœud Blur est utilisé pour adoucir le cache des bords et un nœud Invert est utilisé pour inverser les zones noires et blanches du cache de sorte que les bords de la face deviennent les zones du cache qui sont transparentes, ou qui ne doivent pas être ajustées. Ce cache est connecté à l’entrée Alpha du nœud Alpha Blend (la troisième entrée). Un nœud Blur est alors connecté à l’entrée Source 2. 282 Chapitre 11 Color FX Le nœud Blur rend floue l’image corrigée, mais l’image du cache connectée à l’entrée Alpha limite son effet aux zones de l’image n’incluant pas le détail autour des bords qui étaient isolés via le nœud Edge Detector. Comme vous pouvez le voir, l’image connectée à l’entrée Alpha du nœud Alpha Blend limite la façon dont les entrées Source 1 et Source 2 sont combinées. Il ne s’agit que d’un exemple de la puissance du nœud Alpha Blend. Vous pouvez utiliser ce nœud pour limiter un grand nombre d’effets différents. Utilisation de Color FX avec des plans entrelacés L’une des limites du studio Color FX est que de nombreux effets doivent être spécialement assemblés lorsque vous travaillez sur une vidéo entrelacée. Lorsque vous créez un effet pour un plan entrelacé, vous devez séparer chaque trame au début de l’arborescence de nœuds avec deux nœuds Deinterlace, l’un défini sur Even et l’autre sur Odd. Une fois ceci fait, vous devez traiter chaque trame via des arborescences de nœuds identiques. Lorsque vous avez obtenu l’effet, vous devez réassembler les trames en images via le nœud Interlace, en connectant la branche Even de l’arborescence de nœuds à l’entrée Even sur la gauche et la branche Odd à l’entrée Odd sur la droite. Enfin, le nœud Output est connecté au nœud Interlace.Chapitre 11 Color FX 283 Si vous ne traitez pas chaque trame séparément, vous risquez de rencontrer des effets d’image inattendus, particulièrement lors de l’utilisation de nœuds de filtrage et de transformation comme Blur, Sharpen, Stretch et Translate. Enregistrement des effets préférés dans le chutier Color FX Lorsque vous avez créé un effet Color FX que vous aimez, vous pouvez l’enregistrer pour vous en servir ultérieurement via le chutier Color FX. Ce chutier fonctionne comme les chutiers de correction des autres studios. Pour enregistrer un effet dans le studio Color FX : 1 Placez la tête de lecture sur un plan ayant une arborescence de nœuds que vous voulez enregistrer. 2 Tapez un nom pour l’effet dans la zone File sous le chutier (cette étape est facultative, mais recommandée). 3 Cliquez sur Save. L’effet est enregistré avec une vignette extraite du plan depuis lequel il a été enregistré. L’indication d’un nom personnalisé est facultative, mais recommandée, pour vous aider à effectuer un suivi de toutes vos corrections. Si vous n’indiquez pas de nom, les corrections et les jeux d’étalonnage enregistrés sont automatiquement nommés de la façon suivante. Pour appliquer un effet ou un jeu d’étalonnage enregistré à un plan : 1 Placez la tête de lecture sur le plan auquel appliquer l’effet. 2 Effectuez l’une des opérations suivantes :  Double-cliquez sur l’effet à appliquer.  Sélectionnez un effet et cliquez sur le bouton Load sous le chutier.  Faites glisser l’effet sur le plan auquel vous voulez l’appliquer. L’effet sélectionné est appliqué au plan à la position de la tête de lecture. Vous pouvez également appliquer une correction enregistrée à plusieurs plans.284 Chapitre 11 Color FX Pour appliquer un effet enregistré à plusieurs plans : 1 Sélectionnez tous les plans auxquels vous voulez appliquer la correction dans le plan de montage. 2 Effectuez l’une des opérations suivantes :  Double-cliquez sur l’effet dans le chutier.  Sélectionnez un effet enregistré et cliquez sur le bouton Load sous le chutier. L’effet est alors appliqué à tous les plans sélectionnés dans le plan de montage. Pour en savoir plus sur l’enregistrement et la gestion des corrections, reportez-vous au chapitre 13, « Gestion des corrections et des jeux d’étalonnage », à la page 299. Guide de référence des nœuds Cette section présente une brève description de chaque nœud qui figure dans la liste de nœuds. Nœuds en couche Les nœuds suivants ont plusieurs entrées et sont utilisés pour combiner de différentes façons au moins deux copies de travail traitées différemment de l’image corrigée. Add Ajoute mathématiquement chaque pixel des deux images d’entrée. Les opérations d’ajout conviennent particulièrement bien à la création d’effets éclatants agressifs, car elles ont tendance à augmenter les niveaux très rapidement en fonction des images d’entrée. Notez que la meilleure façon d’agir sur les zones de l’image qui sont affectées lors de l’utilisation d’une opération d’ajout est de régler de façon « agressive » le contraste de l’une des images d’entrée. Plus une zone est sombre, moins elle aura d’effet. Chapitre 11 Color FX 285 L’ordre dans lequel les entrées sont connectées n’a pas d’importance. Le nœud Add a deux paramètres.  Source 1 Bias : contrôle dans quelle mesure l’image Source 1 est ajoutée pour créer le résultat final en multipliant la valeur de chaque canal par la valeur spécifiée. La valeur par défaut est 0,5.  Source 2 Bias : contrôle dans quelle mesure l’image Source 2 est ajoutée pour créer le résultat final en multipliant la valeur de chaque canal par la valeur spécifiée. La valeur par défaut est 0,5. Alpha Blend Ce nœud fusionne (comme le nœud Blend) l’entrée Source 2 avec l’entrée Source 1 dans toutes les zones où l’image d’entrée Source 3 Alpha est blanche. Quand l’image d’entrée Alpha est noire, seule l’entrée Source 1 est affichée. L’ordre dans lequel les entrées sont connectées affecte la sortie. Blend Ce nœud mélange deux entrées en fonction du paramètre Blend. L’ordre dans lequel les entrées sont connectées n’a pas d’importance. Blend a un paramètre :  Blend : lorsque sa valeur est 0, seule l’entrée 1 utilisée pour générer un résultat. Lorsque sa valeur est 0,5, les entrées 1 et 2 sont fusionnées en parts égales et sont utilisées pour générer un résultat. Lorsque sa valeur est 1, seule l’entrée 2 est utilisée pour générer un résultat. Darken Favorise les parties les plus sombres de chaque entrée. Les pixels de chaque image se chevauchant sont comparés et les plus sombres sont conservés. Les zones blanches de chaque entrée ne donnent aucun résultat. L’ordre dans lequel les entrées sont connectées n’a pas d’importance. Difference Les pixels de l’image connectée à Source 1 sont soustraits de ceux de l’image connectée à Source 2. Les pixels noirs ont la valeur 0, donc toute couleur à laquelle est soustrait du noir ne change pas par rapport à l’image Source 1. Puisqu’il s’agit d’une soustraction, l’ordre dans lequel les entrées sont connectées est important. Interlace Les images connectées à chaque entrée sont entrelacées. L’entrée de gauche concerne la trame Even, celle de droite la trame Odd. Ce nœud est utilisé à la fin des arborescences de nœuds commençant par des nœuds Deinterlace afin de traiter les effets des projets faisant appel à des données entrelacées.286 Chapitre 11 Color FX Lighten Le nœud Lighten accentue les parties les plus claires de chaque entrée. Les pixels de chaque image se chevauchant sont comparés et les plus clairs sont conservés. L’ordre dans lequel les entrées sont connectées n’a pas d’importance. Multiply Les pixels de chaque image d’entrée sont multipliés. Les pixels blancs ont la valeur 1, donc la multiplication du blanc avec une autre couleur ne provoque aucun changement de l’image. Cependant, lorsque le noir (0) est multiplié avec une autre couleur, le résultat est noir. Lors de la multiplication de deux images, leurs parties les plus sombres restent inchangées, alors que leurs parties les plus claires sont les plus affectées. Ceci est utile pour les opérations de nuançage, comme indiqué précédemment, ainsi que pour les opérations où vous voulez combiner les parties les plus sombres de deux images. RGB Merge Les trois entrées sont utilisées pour insérer des canaux individuels dans les canaux rouge, vert et bleu. Vous pouvez séparer ces trois canaux de couleur via le nœud RGB Split, traiter chaque canal à niveaux de gris individuellement, puis les réassembler dans une image en couleurs avec ce nœud. Nœuds d’effets Les nœuds suivants ont une seule entrée et sont utilisés pour appliquer une correction ou un effet à l’image. B&W Désature l’image pour générer une image monochrome à niveaux de gris constituée uniquement du composant Luma. Bleach Bypass Augmente le contraste et désature l’image. Simule le processus de rétention de l’argent en laboratoire photo, qu’on utilise pour augmenter le contraste des images dans les films : omission de l’étape de blanchiment du développement du film, qui laisse des grains d’argent exposés sur le négatif ce qui amplifie le contraste, augmente le grain et réduit la saturation. Blur Rend l’image floue. Blur a un paramètre :  Spread : Niveau de flou. Peut avoir une valeur comprise entre 0 (pas de flou) et 40 (flou maximal).Chapitre 11 Color FX 287 Clamp Deux paramètres fixent les valeurs minimale et maximale dans l’image. Le nœud Clamp a deux paramètres :  Min : niveau minimal dans l’image. Les niveaux inférieurs à cette valeur sont définis sur celle-ci.  Max : niveau maximal dans l’image. Les niveaux supérieurs à cette valeur sont ramenés à cette valeur plafond. Curve Courbe affectant le contraste de l’image, similaire à la courbe Luma dans le studio Primary In. La sélection de ce nœud révèle un contrôle des courbes dans l’onglet Parameters qui fonctionne de façon identique à celui du studio Primary In. Duotone Désature l’image, en mappant ses points noir et blanc en deux couleurs personnalisables par l’utilisateur pour créer des images nuancées ayant deux nuances, du blanc au noir. Duotone a deux paramètres :  Light Color : couleur avec laquelle le point blanc est mappé.  Dark Color : couleur avec laquelle le point noir est mappé. Edge Detector Filtre de convolution qui amplifie le contraste de l’image de sorte à réduire celle-ci à ses contours les plus sombres. Edge Detector a deux paramètres :  B&W : désature l’image résultante. utile pour générer des caches.  Scale : ajuste le point blanc. Baisser cette valeur augmente le contraste et compresse les valeurs de ton intermédiaire pour mettre l’accent sur les contours.  Bias : ajuste le contraste global. Baisser cette valeur augmente le contraste et l’augmenter le baisse. Exposure Augmente les hautes lumières ou compresse les ombres, selon que vous augmentez ou baissez la valeur du paramètre Exposure. Ce nœud a un paramètre :  Exposure : l’augmentation ce paramètre accroît les hautes lumières tout en laissant le point noir inchangé. La valeur 0 n’entraîne à aucune modification. Une baisse de la valeur de ce paramètre réduit l’image, en compressant les ombres tout en baissant les hautes lumières moins fortement.288 Chapitre 11 Color FX Film Grain Ajoute du bruit aux parties plus sombres d’une image pour simuler le grain du film ou le bruit vidéo dus à une sous-exposition. Les hautes lumières dans l’image ne sont pas affectées. Ce nœud est utile si vous devez mettre en correspondance un insert propre et bien exposé dans une scène perturbée en raison d’une sous-exposition. Il est également utile pour donner un aspect austère à un film. Ce nœud a trois paramètres :  Grain Intensity : rend le bruit plus visible en augmentant son facteur de contraste (en insérant des pixels de bruit clairs et foncés) ainsi que la saturation du bruit.  Grain Size : augmente la taille de chaque grain de bruit ajouté. Notez que la taille du grain d’un film dépend de la résolution de votre projet. Un grain de film d’une taille particulière appliqué à un plan de définition standard semblera plus granuleux qu’un grain de la même taille appliqué à un plan haute définition.  Monochrome : l’activation de ce bouton aboutit à la création de bruit monochrome ou à niveaux de gris, sans couleur. Film Look Nœud « tout en un » relatif à l’aspect d’un film. Combine l’opération Film Grain décrite ci-dessus avec un ajustement d’exposition de « Courbe en S » qui compresse légèrement les ombres et amplifie les hautes lumières. Le contraste dans les tons intermédiaires est étiré, mais leur distribution reste centrée, il n’y a donc aucun éclaircissement ou assombrissement global. Ce nœud a trois paramètres :  Grain Intensity : rend le bruit plus visible en augmentant son facteur de contraste (en insérant des pixels de bruit clairs et foncés) ainsi que la saturation du bruit.  Grain Size : augmente la taille de chaque grain de bruit ajouté. Notez que la taille du grain d’un film dépend de la résolution de votre projet. Un grain de film d’une taille particulière appliqué à un plan de définition standard semblera plus granuleux qu’un grain de la même taille appliqué à un plan haute définition.  Contrast : effectue un ajustement de « Courbe en S » au niveau du contraste qui compresse les ombres et amplifie les hautes lumières. les tons intermédiaires restant centrés. La valeur 0 conserve le contraste d’origine de l’image corrigée et la valeur 1 est l’expansion de contraste maximale possible avec ce nœud.Chapitre 11 Color FX 289 Gain Ajuste le contraste en augmentant ou en baissant le point blanc de l’image sans déplacer le point noir et en adaptant les tons intermédiaires au nouveau point blanc et au point noir. Ce nœud a quatre paramètres :  Gain : ajuste les canaux rouge, vert et bleu simultanément, pour obtenir une modification globale des hautes lumières et des tons intermédiaires de l’image.  Red Gain : ajuste uniquement le canal rouge, permettant un étalonnage basé sur un ajustement de point blanc pour ce canal.  Green Gain : ajuste uniquement le canal vert, permettant un étalonnage basé sur un ajustement de point blanc pour ce canal.  Blue Gain : ajuste uniquement le canal bleu, permettant un étalonnage basé sur un ajustement de point blanc pour ce canal. Gamma Effectue un ajustement gamma standard ce qui aboutit à un ajustement non linéaire pour augmenter ou baisser la distribution de tons intermédiaires de l’image sans déplacer les points noirs et blancs. Il s’agit d’une fonction de puissance, (f(x) = xa ). Ce nœud a quatre paramètres :  Gamma : ajuste les canaux rouge, vert et bleu simultanément, pour obtenir une modification globale des tons intermédiaires de l’image.  Red Gamma : ajuste uniquement le canal rouge, permettant un étalonnage basé sur un ajustement gamma pour ce canal.  Green Gamma : ajuste uniquement le canal vert, permettant un étalonnage basé sur un ajustement gamma pour ce canal.  Blue Gamma : ajuste uniquement le canal bleu, permettant un étalonnage basé sur un ajustement gamma pour ce canal. Grain Reduction Réduit le grain et le bruit dans une image en effectuant une moyenne des pixels adjacents dans cette image en fonction des valeurs spécifiées dans les paramètres Master, Red, Green et Blue Scale. La détection des contours peut être utilisée pour conserver la netteté dans des zones de détails très contrastés via le paramètre Edge Retention et une opération d’augmentation de la netteté peut être appliquée après la réduction du grain pour amplifier les détails. Certains plans ayant un bruit plus apparent dans certains canaux de couleurs spécifiques, vous pouvez apporter des ajustements indépendants à chaque canal. Ce nœud a six paramètres :  Master Scale : effectue une moyenne des pixels adjacents de chaque canal de couleur dans l’image pour réduire le grain et le bruit, au dépend d’un certain degré d’atténuation de l’image.  Red Scale : effectue sélectivement une moyenne des pixels dans le canal rouge.  Green Scale : effectue sélectivement une moyenne des pixels dans le canal vert.  Blue Scale : effectue sélectivement une moyenne des pixels dans le canal bleu.290 Chapitre 11 Color FX  Edge Retention : utilise la détection des contours pour isoler des zones de détails très contrastés dans l’image (comme les cheveux, les yeux et les lèvres d’un acteur filmé en gros plan) et exclut ces zones de l’image de l’opération de réduction du grain pour empêcher l’atténuation des détails les plus importants de l’image. Des valeurs plus élevées préservent plus de l’image d’origine dans ces zones.  Post Sharpening : applique un filtre de convolution de renforcement de la netteté après l’opération de réduction de grain pour tenter de restaurer des détails perdus une fois le grain atténué. Utilisez ce paramètre avec modération. Si vous indiquez une valeur trop élevée, vous réintroduirez le grain que vous tentez de réduire. Hue Effectue une rotation de la teinte de chaque pixel dans la totalité de l’image. Ce nœud a un paramètre :  Shift : degré de modification de la teinte. Cette opération n’est pas effectuée en degrés, comme cela est représenté dans le Vecteurscope. Une valeur de –1 à 1 est utilisée, –1, 0 et 1 plaçant la teinte aux valeurs d’origine. Invert Inverse l’image. Utile pour créer des « positifs » à partir du négatif d’une image. Aussi utile pour inverser une image à niveaux de gris utilisée comme cache avec le nœud Alpha Blend, pour inverser les parties du cache qui seront unies et transparentes. Lift Éclaire ou assombrit de façon uniforme la totalité de l’image, modifiant dans la même mesure les ombres, les tons intermédiaires et les hautes lumières. Ce nœud a quatre paramètres :  Lift : ajuste les canaux rouge, vert et bleu simultanément, pour obtenir une modification globale de la luminosité de l’image.  Red Lift : ajuste uniquement le canal rouge, permettant un étalonnage basé sur un ajustement d’élévation pour ce canal.  Green Lift : ajuste uniquement le canal vert, permettant un étalonnage basé sur un ajustement d’élévation pour ce canal.  Blue Lift : ajuste uniquement le canal bleu, permettant un étalonnage basé sur un ajustement d’élévation pour ce canal.Chapitre 11 Color FX 291 Maximum Effectue une moyenne des pixels adjacents (leur nombre étant défini dans le paramè- tre Brush Size), pour générer un seul pixel plus important basé sur la valeur la plus claire de ce groupe de pixels. Les valeurs les plus élevées aboutissent à des copies de travail de l’image aplaties, presque semblables à des aquarelles. Ce nœud est aussi utile pour étendre les zones blanches et lisser les images à niveaux de gris que vous utilisez comme caches. Ce nœud a un paramètre :  Brush Size : définit le nombre de pixels utilisés pour effectuer une moyenne afin d’aboutir à un seul pixel plus grand. Des valeurs extrêmement importantes génèrent des pixels carrés progressivement plus importants et se chevauchant d’une couleur uniforme, amplifiant les tons pastels plus clairs de l’image. Minimum Effectue une moyenne des pixels adjacents (leur nombre étant défini dans le paramè- tre Brush Size), pour générer un seul pixel plus grand basé sur la valeur la plus foncée de ce groupe de pixels. Des valeurs plus importantes génèrent des copies de travail aplaties et plus sombres de l’image. Ce nœud est aussi utile pour étendre les zones noires et lisser les images à niveaux de gris que vous utilisez comme caches. Ce nœud a un paramètre :  Brush Size : définit le nombre de pixels utilisés pour effectuer une moyenne afin d’aboutir à un seul pixel plus grand. Des valeurs très élevées génèrent des pixels carrés progressivement plus importants et se chevauchant d’une couleur uniforme, amplifiant les tons plus sombres et terreux de l’image. Printer Lights Fournit des paramètres Red, Green et Blur pour l’étalonnage qui fonctionnent de façon identique aux contrôles Printer Points dans l’onglet Advanced du studio Primary In. Pour en savoir plus, consultez la section « Commandes Printer Points » à la page 237. Saturation Augmente ou baisse la saturation de l’image globale, rendant l’image plus ou moins colorée. Ce nœud a un paramètre :  Saturation : la valeur par défaut 1 n’entraîne aucun changement. 0 aboutit à une image complètement désaturée et la valeur maximale, 10, produit une copie de travail excessivement saturée, hyper stylisée de l’image.292 Chapitre 11 Color FX Scale RGB Étend ou réduit le facteur de contraste d’un plan, du point noir au point blanc, en centrant le point intermédiaire de cette opération à un pourcentage de tonalité d’image que vous spécifiez. Ce nœud a deux paramètres :  Scale : degré d’extension ou de réduction du facteur de contraste global dans le plan. Il s’agit d’une opération à multiplicative, donc la valeur 1 ne provoque aucun changement alors que des valeurs plus élevées augmentent le facteur de contraste et des valeurs plus faibles le réduisent.  Center : spécifie le pourcentage de tonalité d’image sur lequel l’extension et la réduction sont centrées, de sorte que les valeurs de l’image d’origine à ce pourcentage y restent. La valeur par défaut (0,5) ajuste de façon égale les points blanc et noir dans les deux directions (le point blanc va vers le haut et le point noir vers le bas, les valeurs étant à 50 pour cent y restent). La valeur 0 fixe le point noir tout en appliquant la totalité de l’ajustement au point blanc, et la valeur 1 fixe le point blanc tout en appliquant la totalité de l’ajustement au point noir. Sharpen Applique un filtre de convolution d’augmentation de la netteté qui améliore sélectivement le contraste dans des zones de détail de l’image afin de donner l’illusion de netteté. Doit être utilisé avec précautions car cette opération augmente aussi la netteté du grain de film et du bruit vidéo. Ce nœud a un paramètre :  Sharpen : des valeurs élevées augmentent le contraste des détails de l’image. La valeur 0 n’augmente pas la netteté. Smooth Step Applique un ajustement de type « Courbe en S » non ajustable pour compresser légè- rement les noirs et amplifier les blancs, tout en fixant les points noir et blanc à 0 et 100 pour cent. Conçu pour émuler les tendances d’exposition d’un film au niveau « pied » et « épaule » de l’image. Cet ajustement de contraste est similaire à celui effectué par le nœud Film Look.Chapitre 11 Color FX 293 Stretch Fournit des opérations de mise à l’échelle verticale et horizontale distinctes permettant de compresser ou d’étirer l’image. Vous pouvez modifier le pixel central au niveau duquel cette mise à l’échelle est effectuée. Ce nœud a quatre paramètres :  Horizontal Center : pixel au niveau duquel la mise à l’échelle horizontale est centrée. Le pixel central ne bouge pas, mais la mise à l’échelle de l’image est relative à sa position.  Vertical Center : pixel au niveau duquel la mise à l’échelle verticale est centrée. Le pixel central ne bouge pas, mais la mise à l’échelle de l’image est relative à sa position.  Horizontal Scale : degré d’étirement horizontal de l’image. Des valeurs élevées étirent l’image vers l’extérieur et des valeurs faibles la compressent vers l’intérieur. Lorsque la valeur par défaut (1) est utilisée, l’image est inchangée.  Vertical Scale : degré d’étirement vertical de l’image. Des valeurs élevées étirent l’image vers l’extérieur et des valeurs faibles la compressent vers l’intérieur. Lorsque la valeur par défaut (1) est utilisée, l’image est inchangée. Translate Décale l’image relativement au coin supérieur droit. Ce nœud a deux paramètres :  Horizontal Offset : déplace l’image vers la gauche.  Vertical Offset : déplace l’image vers le bas. Nœuds Utility Les nœuds suivants ne combinent pas d’images et ne créent pas d’effets. Ils génèrent des informations sur les canaux de couleurs ou extraient l’imagerie de cache de diffé- rentes façons. Tous ces nœuds doivent être utilisés avec d’autres nœuds de surimposition et d’effet pour créer des interactions plus complexes. Color Génère une image de couleur unie. Peut être utilisé avec différents nœuds de surimposition pour ajouter des couleurs à diverses opérations. Ce nœud a un contrôle :  Color : paramètre de couleur standard permettant de choisir la teinte, la saturation et la luminosité de la couleur générée. Deinterlace Supprime l’entrelacement d’un plan de trois façons, correspondant à trois boutons. Vous pouvez utiliser ce nœud pour supprimer l’entrelacement en fusionnant les trames ou utiliser deux nœuds Deinterlace pour séparer les trames Even et Odd d’un plan entrelacé avant de traiter chaque trame séparément et les réassembler via le nœud Interlace. Ce nœud a trois boutons :  Merge : génère la combinaison fusionnée des deux trames.  Even : génère uniquement la trame Even, ligne doublée pour préserver la résolution en cours.  Odd : génère uniquement la trame Odd, en doublant les lignes pour préserver la résolution en cours.294 Chapitre 11 Color FX HSL Key Incrustateur HSL qui génère un cache en niveaux de gris que vous pouvez utiliser pour isoler des effets via le mode Alpha Blend ou simplement pour effectuer une combinaison avec d’autres nœuds de surimposition de différentes façons. Cet incrustateur fonctionne de façon identique à celui du studio Secondaries. Pour en savoir plus, consultez la section « Choix de la région à corriger à l’aide des qualificateurs HSL » à la page 244. Output Il doit s’agir du dernier nœud d’une arborescence de nœuds. Il génère l’effet créé dans le studio Color FX pour la chaîne de traitement des images Color principale dans le cadre du rendu. Si un nœud Output n’est pas connecté à l’arborescence, cet effet ne sera pas rendu par la file d’attente de rendu. RGB Split Génère les canaux rouge, vert et bleu individuellement, en fonction du bouton sur lequel vous cliquez. Chaque canal à niveaux de gris peut alors être manipulé indépendamment avec différentes branches de l’arborescence de nœuds avant d’être réassemblé via le nœud RGB Merge. Ce nœud a trois boutons :  Red : génère le canal rouge.  Green : génère le canal vert.  Blue : génère le canal bleu. Vignette Crée une vignette carrée ou ronde. Cette vignette s’affiche en tant que couleur sur l’aperçu de niveaux de gris si le nœud Vignette est visualisé directement. Lorsque les résultats sont examinés en aval, par la visualisation d’un autre nœud traitant ses données de sortie, la véritable image à niveaux de gris est présentée. Ce nœud a neuf paramètres :  Use Tracker : si vous avez analysé un ou plusieurs outils de suivi de l’animation dans le projet en cours, vous pouvez spécifier quel outil utiliser, par numéro, pour animer automatiquement la position de la vignette. Pour détacher une vignette de l’influence de l’outil de suivi, définissez cette valeur sur 0.  Zone Type : permet de choisir la forme à utiliser pour la vignette. 1 correspond à un cercle, 2 à un carré.  Invert : cliquez sur ce bouton pour que la zone blanche devienne noire et vice versa.  X Center : ajuste la position horizontale de la forme.  Y Center : ajuste la position verticale de la forme.  Size : agrandit ou rétrécit la forme.  Aspect : ajuste le rapport hauteur/largeur de la forme.  Angle : fait pivoter la forme actuelle. Il n’existe aucune commande à l’écran pour ce paramètre.  Softness : applique un effet de flou au contour de la forme.12 295 12 Primary Out Le studio Primary Out offre un ensemble de commandes supplémentaires pour la correction globale des couleurs, mais il peut également être utilisé comme outil afin d’effectuer un Trim sur les jeux d’étalonnage appliqués à un groupe de séquences sélectionné. Ce chapitre décrit les différentes utilisations du studio Primary Out, qui dispose des mêmes commandes que le studio Primary In. Pour en savoir plus sur les commandes primaires de correction des couleurs, reportez-vous au chapitre 9, « Primary In », à la page 191. Les rubriques suivantes seront abordées au cours de ce chapitre :  Utilisation du studio Primary Out (p. 296)  Apport de corrections supplémentaires à l’aide du studio Primary In (p. 296)  Présentation du processus de traitement de l’image (p. 297)  Utilisation des commandes de plafonnement (p. 298)296 Chapitre 12 Primary Out Utilisation du studio Primary Out Le studio Primary Out est une réplique du studio Primary In en termes de commandes et de fonctionnalités. Cela inclut notamment le partage des corrections enregistrées (les studios Primary In et Primary Out ont accès aux mêmes corrections enregistrées dans leurs chutiers). L’intérêt du studio Primary Out se résume en trois points essentiels :  Il constitue un studio supplémentaire par le biais duquel vous pouvez apporter de nouvelles modifications au jeu d’étalonnage d’une séquence, sans pour autant modifier celui qui se trouve dans le studio Primary In.  Dans le cadre du processus de traitement de l’image, le studio Primary Out vient après les studios Primary In, Secondaries et Color FX, de sorte que vous pouvez appliquer des ajustements à l’image globale après avoir ajouté des corrections et des effets dans les autres studios.  Outre celles déjà disponibles dans le studio Primary In, le studio Primary Out dispose de trois commandes supplémentaires. Les paramètres Ceiling constituent un moyen supplémentaire de limiter les valeurs de couleur dans une séquence, afin de les légaliser ou de les styliser. Apport de corrections supplémentaires à l’aide du studio Primary In L’interface Color a été conçue de façon à garantir une flexibilité optimale. Les fonctionnalités des divers studios de correction se recoupent largement et, bien que chaque studio ait été arrangé en vue d’optimiser certains types d’opérations, vous pouvez choisir d’effectuer des corrections à l’aide de vos commandes favorites. Souvent, les coloristes aiment répartir les différentes étapes du processus de correction des couleurs sur les différents studios. Ce point est expliqué en détail à la section « Utilisation de tous les studios Primary, Secondary et Color FX pour gérer les corrections de chaque plan » à la page 320. En adoptant cette approche, vous pouvez effectuer la correction principale d’une séquence à l’aide du studio Primary In, faire appel au studio Secondaries pour les ajustements d’« aspect » stylisés, puis appliquer l’une de vos « combinaisons maison » d’effets précédemment enregistrées dans le studio Color FX pour donner à la séquence son jeu d’étalonnage définitif. Dès que votre client aura la possibilité de visualiser le programme, il n’hésitera sans doute pas à vous faire part de commentaires et de remarques supplémentaires. C’est à ce moment-là que le studio Primary Out prend toute sa dimension.Chapitre 12 Primary Out 297 Jusqu’à présent, nous ne l’avons pas utilisé. Mais c’est précisément pour cela que vous allez l’apprécier : vous pourrez appliquer très aisément toutes ces petites touches finales. Bénéficier d’un studio totalement à part pour pouvoir apporter ces corrections finales permet de revenir facilement dessus si jamais le client change d’avis. Par ailleurs, il est très facile d’utiliser le studio Primary Out pour appliquer des modifications concernant une scène entière à plusieurs plans à la fois (on parle alors parfois d’appliquer un Trim à d’autres jeux d’étalonnage). Pour appliquer un Trim à un ou plusieurs jeux d’étalonnage sélectionnés à l’aide du studio Primary Out : 1 Placez la tête de lecture sur la séquence que vous souhaitez ajuster, puis cliquez sur le studio Primary Out. 2 Apportez les ajustements requis au moyen des commandes de couleur et de contraste. 3 Sélectionnez toutes les séquences de la timeline auxquelles vous souhaitez appliquer ces ajustements. 4 Cliquez sur Copy To Selected. La correction apportée à la séquence en cours dans le studio Primary Out est répercutée dans toutes les séquences sélectionnées. Remarque : la commande Copy To Selected écrase les réglages antérieurs qui existent dans le studio Primary Out. Par conséquent, si vous devez effectuer un autre ajustement, il vous suffit de répéter la procédure décrite ci-dessus pour appliquer cet ajustement à chaque séquence sélectionnée. Présentation du processus de traitement de l’image Le studio Primary Out permet également d’appliquer des corrections aux plans vidéo après avoir effectué des ajustements dans les studios précédents. Alors que l’image traitée passe de studio en studio (Primary In, Secondaries, puis Color FX), les corrections apportées dans chacun d’eux sont appliquées lors du transfert de l’image dans le studio suivant. Color FX étant le dernier studio de correction pour chaque jeu d’étalonnage, il traite l’image qu’il a lui-même produite. Vous pouvez tirer parti de cet aspect pour appliquer des corrections globales à l’image post-traitée. Dans l’exemple ci-après, une série d’ajustements hautement saturés sont effectués dans chacun des studios, mais le studio Primary Out est utilisé pour réduire la saturation du résultat final, correction qui a pour effet de modifier de façon collective la sortie de tous les autres studios.298 Chapitre 12 Primary Out Utilisation des commandes de plafonnement Pour finir, le studio Primary Out dispose d’un groupe de commandes unique non disponible dans Primary In. Le bouton Enable Clipping de l’onglet Basic vous permet d’activer des valeurs de plafonnement individuelles pour les canaux de rouge, de vert et de bleu associés à la séquence en cours. Ainsi, si vous ne souhaitez pas activer l’option Broadcast Safe pour l’ensemble du programme, cela vous évite d’engendrer des valeurs de diffusion non autorisées dans les séquences auxquelles vous appliquez des corrections Primary, Secondary ou Color FX extrêmes. Remarque : si les réglages Enable Clipping et Broadcast Safe sont tous les deux activés, la norme de niveau inférieur s’applique.  Bouton Enable Clipping : active les commandes Ceiling Red/Green/Blue afin qu’elles prennent effet.  Ceiling Red : définit le niveau chromatique maximal autorisé dans le canal de rouge. Toutes les valeurs trop élevées seront ramenées à ce niveau.  Ceiling Green : définit le niveau chromatique maximal autorisé dans le canal de vert. Toutes les valeurs trop élevées seront ramenées à ce niveau.  Ceiling Blue : définit le niveau chromatique maximal autorisé dans le canal de bleu. Toutes les valeurs qui le dépassent seront ramenées à ce niveau.13 299 13 Gestion des corrections et des jeux d’étalonnage Color met à votre disposition de nombreux outils de gestion des corrections et jeux d’étalonnage précédemment appliqués. En effet, vous pouvez gagner du temps en enregistrant, copiant et appliquant des corrections et jeux d’étalonnage déjà créés à plusieurs plans en une seule fois. Il y a trois endroits de l’interface utilisateur de Color où vous pouvez enregistrer, organiser, copier, appliquer et plus généralement gérer les corrections et les jeux d’étalonnage : le chutier des corrections de chaque studio, le chutier des jeux d’étalonnage et le navigateur de plans du studio Setup, et la piste des jeux d’étalonnage de la Timeline. Ce chapitre détaille l’utilisation de chacune de ces zones de l’interface. Les rubriques suivantes seront abordées au cours de ce chapitre :  Différence entre les corrections et les jeux d’étalonnage (p. 300)  Enregistrement et utilisation de corrections et de jeux d’étalonnage (p. 300)  Application de corrections et de jeux d’étalonnage enregistrés à des plans (p. 305)  Gestion des jeux d’étalonnage dans la Timeline (p. 306)  Utilisation des boutons « Copy to » dans les studios Primary (p. 309)  Utilisation des commandes Copy Grade et Paste Grade (p. 311)  Définition d’un jeu d’étalonnage parfait dans la Timeline (p. 312)  Désactivation de tous les jeux d’étalonnage (p. 312)  Gestion des jeux d’étalonnage dans le navigateur de plans (p. 313)  Utilisation de tous les studios Primary, Secondary et Color FX pour gérer les corrections de chaque plan (p. 320)300 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Différence entre les corrections et les jeux d’étalonnage Il existe une différence majeure entre les corrections et les jeux d’étalonnage dans Color. Comprendre cette différence est essentiel pour gérer correctement vos divers ensembles de modifications. Les corrections sont les modifications apportées au sein d’un seul studio. Vous avez la possibilité d’enregistrer des corrections individuelles dans les chutiers disponibles au sein des studios Primary In et Out, Secondaries et Color FX. Après les avoir enregistrées, vous pouvez appliquer ces corrections à un ou plusieurs plans de votre projet sans modifier les réglages des autres studios. Par exemple, si vous souhaitez appliquer une correction secondaire précédemment enregistrée à cinq plans d’une scène, vous pouvez procéder sans affecter les corrections primaires déjà apportées à ces plans. Bien que les studios Primary In et Primary Out contiennent les mêmes corrections enregistrées, chaque studio dispose de ces propres chutiers de corrections. Ils servent à enregistrer et appliquer des corrections individuelles. Quant au jeu d’étalonnage, il réunit plusieurs corrections effectuées au sein de divers studios, en enregistrant toutes les corrections primaires, secondaires et Color FX sous forme d’une seule unité. Lorsque vous enregistrez un groupe de corrections sous forme de jeu d’étalonnage, vous pouvez toutes les appliquer comme s’il s’agissait d’un seul préré- glage. L’application d’un jeu d’étalonnage enregistré à un ou plusieurs plans écrase toute correction précédemment appliquée à ces plans. Les jeux d’étalonnage enregistrés sont gérés à l’aide du chutier de jeux d’étalonnage situé dans le studio Setup. Enregistrement et utilisation de corrections et de jeux d’étalonnage Vous pouvez enregistrer n’importe quel jeu d’étalonnage ou correction afin d’appliquer par la suite les réglages d’un plan à d’autres plans. Voici des exemples d’utilisation de corrections et de jeux d’étalonnage enregistrés :  Enregistrement du jeu d’étalonnage finalisé d’un plan de votre programme afin de l’appliquer à d’autres plans partageant le même angle de couverture  Enregistrement d’une correction apportée à un plan d’une bande posant un problème spécifique (par exemple, une bande avec une balance des blancs incorrecte sur toute sa longueur) pour l’appliquer à tous les autres plans de la même bande  Enregistrement d’une correction stylistique correspondant à une « ambiance » particulière dans le studio Primary, Secondaries ou Color FX pour l’appliquer à d’autres scènes ou programmesChapitre 13 Gestion des corrections et des jeux d’étalonnage 301 Enregistrement de corrections dans les chutiers correspondants Les studios Primary In, Secondaries, Color FX et Primary Out disposent de chutiers de corrections dans lesquels vous pouvez enregistrer des corrections propres à ces studios pour un usage ultérieur. Lorsque vous enregistrez des corrections dans l’un de ces studios, elles sont disponibles dans tous les projets ouverts dans Color. Pour enregistrer des corrections individuelles dans le chutier d’un de ces studios : 1 Déplacez la tête de lecture au niveau du plan comportant la correction que vous souhaitez enregistrer. 2 Attribuez un nom à la correction enregistrée dans le champ File situé en bas du chutier de corrections (cette étape est facultative). 3 Cliquez sur Save. La correction est enregistrée dans le chutier du studio sélectionné, accompagnée d’une vignette du plan depuis lequel elle est enregistrée. L’indication d’un nom personnalisé est facultative, mais recommandée, pour vous aider à effectuer un suivi de toutes vos corrections. Si vous ne saisissez aucun nom, les corrections enregistrées (et les jeux d’étalonnage) se voient automatiquement attribuer un nom selon la convention suivante : TypeCorrection.Jour Mois Année Heure.Minute.Seconde FuseauHoraire.extension302 Chapitre 13 Gestion des corrections et des jeux d’étalonnage La date et l’heure indiquées correspondent à la seconde près à l’heure d’enregistrement de la correction. Par exemple, il est possible qu’une correction secondaire enregistrée se voit attribuer le nom suivant : Secondaire.01 Mai 2007 10.31.47EST.scc Les corrections de chaque studio sont enregistrées dans le sous-répertoire correspondant du répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Color. Pour en savoir plus, consultez la section « Méthode d’enregistrement des jeux d’étalonnage et des corrections » à la page 80. Enregistrement de jeux d’étalonnage dans le chutier des jeux Les jeux d’étalonnage enregistrés stockent en les regroupant toutes les corrections appliquées dans les studios Primary In, Secondaries, Color FX et Primary Out. Il vous faut donc suivre une étape supplémentaire. Pour enregistrer un jeu d’étalonnage : 1 Cliquez sur l’onglet Grades dans le studio Setup. 2 Déplacez la tête de lecture au niveau du plan comportant le jeu d’étalonnage que vous souhaitez enregistrer. 3 Faites en sorte que le jeu d’étalonnage à enregistrer soit le jeu d’étalonnage actuellement sélectionné pour ce plan. 4 Attribuez un nom à la correction enregistrée dans le champ File situé en bas du chutier de corrections (cette étape est facultative). 5 Cliquez sur le bouton Save (tout en bas à droite du chutier de jeux d’étalonnage).Chapitre 13 Gestion des corrections et des jeux d’étalonnage 303 L’étalonnage est alors enregistré dans le chutier de jeux d’étalonnage. L’étalonnage est sauvegardé avec une vignette du plan à partir duquel il a été enregistré. Après avoir enregistré des jeux d’étalonnage, vous pouvez les supprimer, les organiser et les appliquer comme vous le feriez avec des corrections enregistrées (consultez la section précédente). Les jeux d’étalonnage sont enregistrés dans le répertoire /Utilisateurs/nom d’utilisateur/ Bibliothèque/Application Support/Color/Grades. Suppression de corrections et de jeux d’étalonnage enregistrés Vous pouvez supprimer des corrections enregistrées dont vous n’avez plus besoin. Pour supprimer une correction ou un jeu d’étalonnage enregistré : 1 Sélectionnez une correction dans l’un des chutiers. 2 Appuyez sur la touche Suppr ou Effacement vers l’avant. 3 Si une zone de dialogue d’avertissement apparaît, cliquez sur Yes. La correction sélectionnée est supprimée de Color et du disque. Il est impossible d’annuler cette opération. Organisation des corrections et jeux d’étalonnage enregistrés à l’aide des dossiers de Color Les corrections enregistrées sont disponibles dans tous les projets que vous ouvrez. C’est la raison pour laquelle vous trouverez certainement pratique d’enregistrer vos corrections dans des dossiers situés au sein du chutier de chaque studio. Vous disposez d’un certain nombre de méthodes pour utiliser les dossiers en vue d’organiser vos corrections enregistrées :  Vous pouvez créer un dossier pour chaque nouveau projet sur lequel vous travaillez, puis enregistrer toutes les corrections propres à un projet dans le dossier correspondant.  Vous pouvez également créer des dossiers pour les jeux d’étalonnage que vous avez enregistrés en vue de les utiliser avec n’importe quel projet. Par exemple, vous avez la possibilité de créer une bibliothèque de vos propres « ambiances stylistiques » afin de les appliquer rapidement et présenter ainsi différentes options à vos clients. Remarque : vous ne pouvez enregistrer des corrections dans un dossier que si vous l’avez créé au préalable.304 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Pour créer un nouveau dossier dans un chutier : 1 Cliquez sur New Folder. 2 Donnez un nom au nouveau dossier dans la zone de dialogue Nouveau dossier, puis cliquez sur Create. Un nouveau dossier portant le nom indiqué est créé au sein du chutier de corrections de ce studio. À chaque fois que vous créez un dossier dans un chutier, vous créez également un sous-répertoire dans le répertoire des corrections enregistrées pour ce studio, dans le répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color. Pour enregistrer une correction ou un jeu d’étalonnage dans un dossier : 1 Déplacez la tête de lecture au niveau du plan comportant la correction ou le jeu d’étalonnage que vous souhaitez enregistrer. 2 Double-cliquez sur un dossier du chutier de corrections ou de jeux d’étalonnage pour l’ouvrir. Le menu local Directory est mis à jour pour afficher le chemin dans le Finder du dossier actuellement ouvert. 3 Attribuez un nom à la correction ou au jeu d’étalonnage enregistré dans le champ File situé en bas du chutier de corrections (cette étape est facultative). 4 Cliquez sur Save.Chapitre 13 Gestion des corrections et des jeux d’étalonnage 305 La correction ou l’étalonnage est alors enregistré dans ce dossier. Important : il est impossible de déplacer une correction stockée dans un dossier une fois qu’elle a été enregistrée à l’aide de l’interface Color. Application de corrections et de jeux d’étalonnage enregistrés à des plans Après avoir enregistré des corrections ou des jeux d’étalonnage, vous pouvez les appliquer très simplement à un ou plusieurs plans de votre projet. Pour appliquer une correction ou un jeu d’étalonnage enregistré à un seul plan : 1 Déplacez la tête de lecture au niveau du plan auquel vous souhaitez appliquer la correction. 2 Effectuez l’une des opérations suivantes :  Double-cliquez sur la correction ou l’étalonnage à appliquer.  Sélectionnez la correction ou l’étalonnage à appliquer, puis cliquez sur le bouton Load situé en bas du chutier.  Faites glisser la correction ou l’étalonnage sur le plan auquel vous souhaitez l’appliquer. L’étalonnage sélectionné est appliqué au plan au niveau de la position de la tête de lecture. Vous pouvez également appliquer une correction enregistrée à plusieurs plans. Pour appliquer une correction ou un jeu d’étalonnage enregistré à plusieurs plans : 1 Dans la Timeline, sélectionnez tous les plans auxquels vous souhaitez appliquer la correction. 2 Effectuez l’une des opérations suivantes :  Double-cliquez sur une correction ou un jeu d’étalonnage dans le chutier.  Sélectionnez la correction ou l’étalonnage enregistré, puis cliquez sur le bouton Load situé en bas du chutier. La correction ou l’étalonnage est alors appliqué à tous les plans sélectionnés dans la Timeline. Réorganisation des corrections et jeux d’étalonnage enregistrés dans le Finder Comme chacun des chutiers de corrections reflète simplement le contenu du sousrépertoire correspondant dans le répertoire /Utilisateurs/nom d’utilisateur/Bibliothè- que/Application Support/Color vous pouvez utiliser le Finder pour réorganiser les corrections et jeux d’étalonnage que vous avez enregistrés. Pour en savoir plus, consultez la section « Réorganisation des corrections et jeux d’étalonnage enregistrés dans le Finder » à la page 81.306 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Gestion des jeux d’étalonnage dans la Timeline Chaque plan peut comporter jusqu’à quatre jeux d’étalonnage représentés avec des couleurs différentes dans les pistes de jeux d’étalonnage situées en dessous de la piste vidéo. L’étalonnage actuellement sélectionné de chaque plan est affiché en bleu, alors que les jeux d’étalonnage non sélectionnés apparaissent en gris. Les barres indiquant les corrections individuelles des studios préalablement modifiés pour l’étalonnage actuellement sélectionné sont affichées dans d’autres couleurs, en dessous des barres d’étalonnage de chaque plan. Vous pouvez utiliser ces barres de jeux d’étalonnage et de correction présentes dans la piste de jeux d’étalonnage pour ajouter, basculer et copier des jeux d’étalonnage directement dans la Timeline. Ajout et sélection de jeux d’étalonnage parmi plusieurs jeux d’étalonnage Dans la Timeline, chaque plan peut être réglé de façon à utiliser un à quatre jeux d’étalonnage. Seul l’étalonnage sélectionné affecte réellement le plan. Les jeux d’étalonnage inutilisés vous permettent de stocker d’autres corrections et ambiances, afin de tester des réglages différents sans modifier l’original. Par défaut, un seul jeu d’étalonnage primaire est appliqué à chaque plan d’un projet, bien que vous puissiez en ajouter d’autres à tout moment. Pour ajouter un nouveau jeu d’étalonnage à un plan, effectuez l’une des opérations suivantes : m Déplacez la tête de lecture au niveau du plan auquel vous souhaitez ajouter un nouvel étalonnage, puis appuyez sur les touches Contrôle + 1, 2, 3 ou 4. m Cliquez sur un jeu d’étalonnage tout en maintenant la touche Contrôle enfoncée ou avec le bouton droit de la souris, puis choisissez Add New Grade dans le menu contextuel.Chapitre 13 Gestion des corrections et des jeux d’étalonnage 307 S’il n’existe pour l’instant aucun jeu d’étalonnage correspondant au numéro que vous avez saisi, un nouveau jeu d’étalonnage est créé. Chaque fois qu’un nouveau jeu d’étalonnage est ajouté, la taille de la piste des jeux d’étalonnage augmente et le nouveau jeu est sélectionné. Les nouveaux jeux d’étalonnage sont dénués de tout réglage et permettent de commencer à travailler à partir de l’état original du plan non étalonné. Pour changer le jeu d’étalonnage sélectionné : 1 Déplacez la tête de lecture au niveau du plan dont vous souhaitez changer l’étalonnage. 2 Effectuez l’une des opérations suivantes :  Cliquez sur le jeu d’étalonnage auquel vous souhaitez passer.  Appuyez sur les touches Contrôle + 1, 2, 3 ou 4.  Cliquez sur un jeu d’étalonnage tout en maintenant la touche Contrôle enfoncée ou avec le bouton droit de la souris, puis choisissez Select Grade X dans le menu contextuel (X représente le numéro de l’étalonnage sélectionné). Le plan est mis à jour pour utiliser le nouveau jeu d’étalonnage sélectionné. Réinitialisation des jeux d’étalonnage dans la Timeline En cas de besoin, vous pouvez réinitialiser n’importe lequel des quatre jeux d’étalonnage d’un plan. Pour réinitialiser un jeu d’étalonnage du plan de montage : 1 Déplacez la tête de lecture jusqu’au plan dont vous souhaitez changer le jeu d’étalonnage. 2 Dans le piste de jeux d’étalonnage de la Timeline, cliquez sur l’étalonnage à réinitialiser tout en maintenant la touche Contrôle enfoncée ou avec le bouton droit de la souris, puis choisissez Reset Grade X dans le menu contextuel (X représente le numéro de l’étalonnage). La réinitialisation d’un jeu d’étalonnage efface tous les réglages des studios Primary In, Secondaries, Color FX et Primary Out. Le plan revient donc à son état d’origine. Toutefois, les réglages Panscan du studio Geometry restent intacts. Copie de corrections et de jeux d’étalonnage dans la Timeline La Timeline vous permet de copier des corrections individuelles ou des jeux d’étalonnage entiers d’un plan à l’autre.308 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Pour copier une correction d’un plan à l’autre : m Faites glisser une seule barre de correction présente dans la piste de jeux d’étalonnage de la Timeline vers le plan au niveau duquel vous souhaitez la copier. Le plan vers lequel vous faites glisser la correction est mis en surbrillance, et lorsque vous déposez celle-ci, le jeu d’étalonnage indiqué pour ce plan est représenté par la même barre de jeu d’étalonnage. Remarque : lorsque vous copiez individuellement une correction, les corrections secondaires écrasent celles précédemment déclarées et portant le même numéro. Pour copier un jeu d’étalonnage d’un plan à l’autre : m Faites glisser la barre du jeu d’étalonnage d’un plan qui se trouve sur la piste de jeux d’étalonnage de la Timeline vers le plan au niveau duquel vous souhaitez copier le jeu. Le plan vers lequel vous faites glisser le jeu d’étalonnage est mis en surbrillance, et lorsque vous déposez celui-ci, toutes les corrections regroupées dans le jeu d’étalonnage déjà affecté au plan sont remplacées par celles du nouveau jeu d’étalonnage que vous venez de copier. Vous pouvez également copier des jeux d’étalonnage dans d’autres jeux d’étalonnage au sein du même plan. Chapitre 13 Gestion des corrections et des jeux d’étalonnage 309 Pour copier un jeu d’étalonnage dans un autre au sein du même plan : m Faites glisser la barre d’étalonnage présente dans la piste de jeux d’étalonnage de la Timeline vers une autre barre d’étalonnage du même plan. Le jeu d’étalonnage copié écrase tous les précédents réglages. ? Conseil : il s’agit d’une méthode efficace pour enregistrer l’étalonnage d’un plan qui vous convient avant de procéder à d’autres essais. Si vos dernières modifications ne correspondent pas à vos attentes, vous pouvez facilement revenir au jeu d’étalonnage dupliqué. Utilisation des boutons « Copy to » dans les studios Primary Les boutons « Copy to Selected » et « Copy to All » affichés dans les studios Primary In et Primary Out sont des outils très performants : ils vous permettent d’appliquer à d’autres plans de votre projet des corrections effectuées dans le studio Primary In ou Primary Out. Pour copier une correction primaire dans tous les plans actuellement sélectionnés dans la Timeline : 1 Déplacez la tête de lecture au niveau du plan comportant l’étalonnage que vous souhaitez copier dans d’autres plans de votre programme. 2 Définissez l’étalonnage utilisé par ce plan comme celui que vous souhaitez copier. 3 Dans la Timeline, sélectionnez tous les plans vers lesquels vous souhaitez copier l’étalonnage en cours, en faisant bien attention à ne pas déplacer la tête de lecture vers un autre plan.310 Chapitre 13 Gestion des corrections et des jeux d’étalonnage 4 Cliquez sur Copy to Selected. L’étalonnage situé au niveau de la position actuelle de la tête de lecture est copié dans tous les plans sélectionnés. Vous pouvez également copier l’étalonnage actuellement sélectionné dans le moindre plan de votre programme. Pour copier une correction primaire dans tous les plans dans la Timeline : 1 Déplacez la tête de lecture au niveau du plan comportant l’étalonnage que vous souhaitez copier dans d’autres plans de votre programme. 2 Définissez l’étalonnage utilisé par ce plan comme celui que vous souhaitez copier. 3 Cliquez sur Copy to All. Le jeu d’étalonnage situé au niveau de la position actuelle de la tête de lecture est copié dans tous les plans de votre programme.Chapitre 13 Gestion des corrections et des jeux d’étalonnage 311 Remarque : les studios Secondaries et Color FX ne proposent pas les boutons « Copy to Selected » et « Copy to All ». Vous pouvez néanmoins exécuter la même opération en enregistrant une correction secondaire ou Color FX dans le chutier du studio Secondaries, en sélectionnant les plans auxquels vous souhaitez appliquer cette correction, puis en faisant glisser cette correction vers l’un des plans sélectionnés. Pour en savoir plus, consultez la section « Application de corrections et de jeux d’étalonnage enregistrés à des plans » à la page 305. Utilisation des commandes Copy Grade et Paste Grade Vous pouvez utiliser les commandes Copy Grade et Paste Grade pour copier des jeux d’étalonnage d’un plan et les coller dans d’autres. Vous disposez de cinq zones de mémoire pour copier et coller des jeux d’étalonnage. En d’autres termes, vous pouvez copier jusqu’à cinq jeux d’étalonnage différents, chacun occupant une zone de mémoire, puis les coller dans différents plans en fonction de vos besoins. Pour copier un jeu d’étalonnage dans l’un des cinq zones de mémoire : 1 Déplacez la tête de lecture au niveau du plan à partir duquel vous souhaitez copier un étalonnage. 2 Faites en sorte que l’étalonnage à copier soit l’étalonnage actuellement sélectionné. 3 Choisissez Grade > Copy Grade > Mem-Bank 1 à 5 (ou appuyez sur les touches Maj + Contrôle + Option + 1 à 5). Dès que vous avez copié un jeu d’étalonnage dans l’une des zones de mémoire disponibles, vous pouvez le coller. Pour coller un jeu d’étalonnage à partir de l’une des cinq zones de mémoire : 1 Déplacez la tête de lecture au niveau du plan vers lequel vous souhaitez copier un étalonnage. 2 Définissez l’étalonnage actuellement sélectionné comme l’étalonnage vers lequel vous souhaitez effectuer le collage. 3 Choisissez Grade > Copy Grade > Mem-Bank 1 à 5 (ou appuyez sur les touches Maj + Option + 1 à 5). L’étalonnage est appliqué au plan au niveau de la position de la tête de lecture.312 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Définition d’un jeu d’étalonnage parfait dans la Timeline Dès lors que chaque plan de votre projet comporte plusieurs jeux d’étalonnage, vous pouvez éprouver quelques difficultés à vous souvenir de l’étalonnage le plus intéressant pour un plan donné. Le fait de marquer un jeu d’étalonnage particulier comme l’étalonnage parfait vous permet de garder une trace de l’étalonnage que vous préfé- rez pour chaque plan. La définition de l’étalonnage parfait se limite à un marqueur visuel utilisé à des fins de référence uniquement. L’étalonnage parfait ne correspond pas au jeu d’étalonnage actuellement sélectionné. Pour marquer un jeu d’étalonnage comme l’étalonnage parfait : 1 Déplacez la tête de lecture au niveau du plan pour lequel vous souhaitez définir l’étalonnage parfait. 2 Sélectionnez l’étalonnage à définir comme l’étalonnage parfait. 3 Choisissez Grade > Set Beauty Grade (ou appuyez sur Contrôle + B). L’étalonnage actuellement sélectionné est affiché en rouge pour indiquer qu’il s’agit de l’étalonnage parfait. Vous pouvez sélectionner un autre étalonnage parfait à tout moment. Désactivation de tous les jeux d’étalonnage Il est souvent intéressant de désactiver toutes les corrections appliquées à un plan, afin de disposer d’une vue « avant » et « après » de l’état actuel de votre étalonnage. Pour désactiver temporairement tous les jeux d’étalonnage : m Appuyez sur les touches Contrôle + G. Toutes les corrections effectuées dans les studios Primary In, Secondaries, Color FX et Primary Out sont alors désactivées. Toutefois, les réglages Panscan du studio Geometry restent activés.Chapitre 13 Gestion des corrections et des jeux d’étalonnage 313 Gestion des jeux d’étalonnage dans le navigateur de plans Le navigateur de plans vous offre une autre méthode pour parcourir et organiser les plans de votre programme. En effet, il fonctionne de manière beaucoup moins linéaire que la Timeline. Par exemple, vous pouvez utiliser le champ Find de la présentation sous forme de liste pour rechercher des groupes de plans portant le même nom. Vous pouvez également recourir à la présentation sous forme d’icônes comme s’il s’agissait d’un outil d’organisation et rassembler certains plans dans des groupes en fonction de leur position dans votre programme, à savoir leur angle de couverture ou le type de jeu d’étalonnage que vous souhaitez leur appliquer, par exemple. Pour en savoir plus, consultez la section « Le navigateur de plans » à la page 109. Sélection de plans et déplacement dans le navigateur de plans (en présentation sous forme d’icônes) Si vous avez choisi la présentation sous forme d’icônes, vous pouvez sélectionner un ou plusieurs plans dans la Timeline, comme vous le feriez dans la présentation sous forme de liste. De plus, vous pouvez sélectionner le jeu d’étalonnage utilisé par un plan en développant ce plan pour consulter tous ses jeux d’étalonnage. Pour présenter sous forme d’icône le plan en cours : m Cliquez sur la flèche située à droite de la barre de nom d’un plan. La barre de nom du plan en cours apparaît en gris et la tête de lecture se déplace vers la première image de ce plan dans la Timeline.314 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Pour sélectionner un plan : m Cliquez sur la barre de nom d’un plan, en dessous de son icône. La barre de nom du plan sélectionné est affichée en surbrillance turquoise et ce plan est sélectionné dans la Timeline. Pour sélectionner plusieurs plans : m Cliquez sur les barres de noms des plans que vous souhaitez sélectionner tout en maintenant la touche Commande enfoncée. Si vous travaillez sur un projet contenant de nombreux plans, il peut s’avérer utile d’effectuer un zoom arrière, puis de défiler pour trouver les plans que vous recherchez. Pour effectuer un zoom avant ou arrière sur le navigateur de plans présenté sous forme d’icônes, procédez de l’une des manières suivantes : m Appuyez sur la touche Contrôle, puis faites glisser le pointeur tout en maintenant enfoncé le bouton gauche de la souris. m Cliquez avec le bouton droit de la souris, puis faites glisser le pointeur vers le haut pour un zoom arrière et vers le bas pour un zoom avant. Pour défiler dans le navigateur de plans présenté sous forme d’icônes : m Cliquez n’importe où dans le navigateur de plans avec le bouton central de la souris, puis faites glisser le pointeur dans la direction dans laquelle vous souhaitez défiler. Vous pouvez réorganiser à votre gré les plans dans le navigateur de plans lorsque la présentation sous forme d’icônes est activée. Toute réorganisation effectuée dans cette présentation n’affecte en rien l’ordre des plans dans la Timeline. Pour déplacer un plan dans la présentation sous forme d’icônes : m Faites glisser la barre de nom d’un plan vers un autre emplacement dans le navigateur de plans.Chapitre 13 Gestion des corrections et des jeux d’étalonnage 315 Sélection de jeux d’étalonnage dans la présentation sous forme d’icônes Vous pouvez afficher les différents jeux d’étalonnage disponibles pour un plan, puis sélectionner l’étalonnage actuellement utilisé. Pour afficher tous les jeux d’étalonnage disponibles pour un plan : m Double-cliquez sur la barre de nom d’un plan, en dessous de son icône. Tous les jeux d’étalonnage disponibles pour ce plan sont alors affichés sous forme de barres situées en dessous et reliées au plan par des lignes bleues. Une fois qu’ils sont tous affichés, vous pouvez changer l’étalonnage sélectionné. Pour sélectionner l’étalonnage utilisé par un plan : m Double-cliquez sur l’étalonnage que vous souhaitez sélectionner. Le jeu d’étalonnage sélectionné devient bleu, tandis que les jeux d’étalonnage non sélectionnés restent gris foncé. Remarque : les jeux d’étalonnage déjà rendus apparaissent en vert.316 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Regroupement et dissociation de plans Un groupe est une structure organisationnelle disponible dans le navigateur de plans uniquement lorsqu’il est présenté sous forme d’icônes. L’objectif des groupes est très simple. Il s’agit de cibles grâce auxquelles vous pouvez copier un jeu d’étalonnage dans plusieurs plans à la fois. Voici quelques exemples illustrant l’intérêt d’utiliser des groupes :  Vous pouvez organiser tous les plans d’une scène particulière dans un seul groupe, afin de faciliter l’application et la mise à jour simultanées des corrections stylisées appliquées à chaque plan de cette scène.  Vous pouvez organiser certains plans d’une scène pris selon le même angle de couverture (et partageant éventuellement les mêmes corrections), afin d’appliquer simultané- ment le même jeu d’étalonnage à ces plans et les mettre à jour.  Vous pouvez regrouper tous les plans d’un certain type (par exemple, tous les plans du visage d’un orateur), afin d’appliquer simultanément les mêmes corrections ou jeux d’étalonnage à tous ces plans. L’utilisation des groupes est sans limite. Pour résumer, dès que vous avez envie d’appliquer la même correction ou le même jeu d’étalonnage à une série de plans, envisagez sérieusement d’utiliser des groupes. Remarque : un plan ne peut être intégré qu’à un seul groupe à la fois. Pour créer un groupe : 1 Ouvrez le navigateur de plans dans le studio Setup. 2 Réglez la présentation du navigateur de plans sous forme d’icônes. 3 Réorganisez les plans que souhaitez grouper dans le navigateur de plans (cette étape est facultative). Même si cette étape n’est pas strictement nécessaire, elle peut s’avérer utile pour visualiser tous les plans que vous souhaitez grouper sous la forme d’un ensemble d’icônes regroupées dans l’espace.Chapitre 13 Gestion des corrections et des jeux d’étalonnage 317 4 Sélectionnez tous les plans que vous souhaitez grouper en cliquant sur leur barre de nom tout en maintenant la touche Commande enfoncée. 5 Appuyez sur la touche G. Un groupe est créé. Un nœud de groupe apparaît avec des lignes de liaison bleues indiquant les plans intégrés à ce groupe. Pour ajouter un plan à un groupe existant : m Cliquez n’importe où sur la barre de nom d’un plan avec le bouton droit de la souris, puis tracez une ligne de liaison vers le nœud du groupe auquel vous souhaitez l’ajouter. Dès lors que vous avez créé un groupe, vous pouvez le dissocier à tout moment.318 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Pour dissocier un groupe de plans : m Sélectionnez le nœud de groupe à supprimer, puis appuyez sur la touche Suppr ou Effacement vers l’avant. Le nœud et ses lignes de liaison disparaissent. Les plans sont alors dissociés. Pour supprimer un seul plan d’un groupe : m Cliquez n’importe où sur la barre de nom d’un plan avec le bouton droit de la souris, puis tracez une ligne de liaison vers une zone vide du navigateur de plans. Sitôt que vous relâchez le bouton de la souris, ce plan n’est plus relié au groupe. Utilisation des groupes Dès que vous avez créé un ou plusieurs groupes de plans, vous pouvez utiliser le nœud d’un de ces groupes pour afficher et masquer les plans qui y sont reliés, ainsi que copier des jeux d’étalonnage et des corrections vers chacun de ces plans. Pour réduire et développer un groupe : m Double-cliquez sur le nœud de n’importe quel groupe. Lorsqu’un groupe est réduit, les plans qui y sont reliés sont masqués.Chapitre 13 Gestion des corrections et des jeux d’étalonnage 319 Double-cliquez sur un groupe réduit pour afficher tous les plans précédemment masqués. Une fois que vous créé un groupe, vous pouvez y copier très simplement une correction ou un étalonnage. Pour copier un jeu d’étalonnage dans un groupe : m Faites glisser la barre d’un jeu d’étalonnage de la Timeline vers le nœud d’un groupe. L’étalonnage que vous venez de faire glisser remplace l’étalonnage actuellement sélectionné de tous les plans de ce groupe. Leurs jeux d’étalonnage non sélectionnés ne sont pas affectés. Vous pouvez également copier une correction d’un studio particulier vers le même studio de tous les autres plans d’un groupe.320 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Pour copier une correction individuelle vers un groupe : m Faites glisser la barre de correction du studio que vous souhaitez copier de la Timeline vers le nœud d’un groupe. La correction que vous venez de faire glisser remplace les réglages du même studio de tous les plans de ce groupe. Important : il est uniquement possible de copier des corrections et des grades de la Timeline vers les groupes affichés dans le navigateur de plans. Utilisation de tous les studios Primary, Secondary et Color FX pour gérer les corrections de chaque plan L’interface Color offre une grande flexibilité lors de la correction et de la manipulation de la couleur de vos plans. Même si chaque studio dispose de ses propres commandes adaptées à des types d’opérations bien particuliers, certaines fonctions présentent des parties communes. Les studios Primary In, Secondaries, Color FX et Primary Out contribuent donc ensemble à l’apparence finale obtenue. Vous avez toute latitude pour utiliser ces studios à votre convenance. Au minimum, l’étalonnage d’un projet requiert les étapes suivantes : Étape 1 : Optimisation de l’exposition et de la couleur de chaque plan Étape 2 : Balance de chaque plan d’une scène afin d’obtenir un contraste et une balance des couleurs similaires Étape 3 : Application d’une ambiance créative à la scène Étape 4 : Modifications liées aux commentaires du client Vous pouvez réaliser toutes ces étapes dans un seul studio ou les diviser entre divers studios.Chapitre 13 Gestion des corrections et des jeux d’étalonnage 321 Réalisation complète dans un seul studio À l’exception de certaines opérations spéciales, comme les étalonnages secondaires et Color FX, il est possible d’exécuter chacune de ces étapes du processus d’étalonnage via un seul jeu de modifications dans le studio Primary In. Pour les programmes simples ne nécessitant que peu de corrections, vous n’utiliserez d’ailleurs que ce studio. Dans le cadre de projets où le directeur de la photographie et l’équipe ont fait en sorte d’obtenir l’ambiance désirée au cours du tournage, il ne vous reste plus qu’à effectuer la balance des plans de chaque scène et à apporter les modifications nécessaires à l’amé- lioration du contraste et de la couleur des éléments qui vont été fournis. Étalonnage au sein de plusieurs studios D’un autre côté, il n’existe aucune raison qui vous empêche de répartir les étapes mentionnées ci-dessus entre plusieurs studios. Cette approche vous permet de concentrer tous vos efforts sur chaque étape du processus d’étalonnage et met à votre disposition une méthode simple pour organiser les modifications que vous effectuez, rendant ainsi chaque changement plus simple à ajuster par la suite. Cette section se limite à suggérer l’une des innombrables méthodes d’utilisation des divers studios de Color pour réaliser les étapes nécessaires à l’étalonnage de vos projets. Étape 1 : Optimisation de l’exposition et de la couleur de chaque plan Il est recommandé de commencer par l’optimisation de l’exposition et de la couleur de chaque plan dans le studio Primary In. Comme il s’agit d’une préparation du projet en vue d’une session de travail avec le client, il est conseillé de vous restreindre lors de vos corrections à rendre chaque plan aussi bon que possible, en optimisant son exposition et sa balance des couleurs, sans même penser aux étapes ultérieures. Étape 2 : Balance de chaque plan d’une scène afin d’obtenir un contraste et une balance des couleurs similaires Suite à cette optimisation, vous pouvez effectuer la balance du contraste et des couleurs de chaque plan, afin d’assurer la cohérence de tous les plans d’une scène particulière, grâce au premier onglet du studio Secondaries. Si vous cliquez sur le bouton Enable affiché dans le studio Secondaries sans limiter les réglages par défaut des qualificatifs HSL, les modifications apportées sont identiques à celles que vous avez effectuées dans l’un des studios Primary. Important : si vous utilisez un onglet secondaire pour affecter l’intégralité de l’image, assurez-vous que l’onglet Previews n’est pas sélectionné au cours de votre travail. En effet, si l’onglet Previews est sélectionné, l’image contrôlée est modifiée en fonction du Matte Preview Mode sélectionné, ce qui peut provoquer un léger décalage de couleur lorsque l’onglet Secondaries est sélectionné. Cliquez sur l’onglet Hue, Sat ou Lum Curve (même si vous n’avez pas besoin de l’utiliser) pour contrôler correctement l’image.322 Chapitre 13 Gestion des corrections et des jeux d’étalonnage Étape 3 : Application d’une ambiance créative à la scène Les plans sont dorénavant optimisés et la balance des scènes finalisée. Vous pouvez donc vous concentrer sur les questions d’ordre créatif à l’aide des onglets deux à huit du studio Secondaries. Recourez à ces onglets si vous souhaitez appliquer une ambiance créative ou aller plus loin en opérant des modifications spécifiques de retouche numérique de l’éclairage. À cette étape du processus, vous pouvez également utiliser le studio Color FX pour étendre vos possibilités de création. Étape 4 : Modifications liées aux commentaires du client Dès que votre client aura eu l’opportunité de visualiser l’étalonnage quasiment finalisé du programme, nul doute qu’il vous fera part de remarques et commentaires sur votre travail. Accédez alors au studio Primary Out (que vous n’aviez pas encore eu l’occasion d’utiliser) pour appliquer très simplement ces retouches finales. Comme vous avez réalisé chaque étape du processus d’étalonnage dans un studio différent de l’interface Color, il sera également beaucoup plus simple pour vous d’identifier quelle remarque du client correspond à la correction requérant des ajustements. Les étapes décrites ci-dessus ne sont que des simples suggestions. Au fil du temps, vous allez très certainement développer votre propre méthode pour gérer des diffé- rents processus nécessaires à l’étalonnage des programmes dans Color.14 323 14 Images clés Vous pouvez créer des jeux d’étalonnage animés et d’autres effets à l’aide d’images clés dans la Timeline. Dans Color, l’animation avec des images clés est un mécanisme simple, mais efficace. Il a été conçu pour vous permettre d’animer en quelques étapes des étalonnages, des vignettes, des nœuds Color FX, des effets Panscan et des formes créées par des utilisateurs. Les rubriques suivantes seront abordées au cours de ce chapitre :  Objectifs de l’animation d’un effet avec des images clés (p. 323)  Fonctionnement de l’animation avec des images clés dans les différents studios (p. 324)  Utilisation d’images clés dans la Timeline (p. 326)  Interpolation d’images clés (p. 329) Objectifs de l’animation d’un effet avec des images clés Vous allez souvent travailler sur des projets entiers sans avoir besoin d’animer le moindre de vos étalonnages avec des images clés. Toutefois, recourir à des étalonnages primaires animés avec des images clés va souvent vous permettre de compenser les changements dynamiques appliqués à l’exposition ou à la couleur de plans qui auraient été inutilisables si vous n’aviez pas procédé de la sorte. Les images clés vont également vous servir à créer un éclairage ou des effets de couleur animés, en vue d’augmenter l’éclairage d’origine d’une scène. Voici quelques exemples courants d’utilisation d’images clés animées :  Correction d’un changement accidentel d’exposition au milieu d’un plan.  Création d’un effet d’éclairage animé, tel qu’une lumière successivement allumée, puis éteinte.  Correction d’une modification accidentelle de la balance des blancs au milieu d’un plan.  Déplacement d’une vignette afin qu’elle suive le mouvement d’un objet/personnage.  Animation d’une forme créée par un utilisateur de telle sorte qu’elle traite par rotoscopie un objet/sujet en vue d’une correction intensive.324 Chapitre 14 Images clés Fonctionnement de l’animation avec des images clés dans les différents studios Vous pouvez animer des effets avec des images clés dans les studios Primary In, Secondaries, Color FX, Primary Out et Geometry. Chaque studio dispose de son propre ensemble d’images clés, stocké dans les diverses pistes du graphique des images clés de la Timeline. Ces pistes sont masquées jusqu’à ce que vous commenciez à ajouter des images clés dans un studio particulier. Dès lors, la piste d’images clés de cet studio devient visible. Toutes les images clés créées dans chaque studio sont affichées simultanément dans la Timeline, mais vous ne pouvez modifier ou supprimer que les images clés du studio actuellement ouvert. Les autres images clés sont verrouillées tant que vous n’ouvrez pas le studio correspondant. Bien que vous puissiez créer, modifier et supprimer des images clés de la même manière dans tous les studios, leur effet est différent selon le studio. Animation de corrections avec des images clés dans les studios Primary In et Out Les studios Primary In et Out vous permettent d’animer avec des images clés l’ensemble des commandes et des paramètres. Vous pouvez ainsi corriger un éclairage inapproprié du fait d’un décalage et la couleur due à des réglages automatiques de caméra, ainsi que créer vos propres effets animés. Deux limitations de l’animation des corrections dans les studios Primary In et Primary Out doivent toutefois être mentionnées et gardées à l’esprit :  Les images clés ajoutées dans les studios Primary enregistrent l’état de toutes les commandes simultanément. Il est impossible d’animer des paramètres individuels avec des images clés.  Les courbes ne peuvent pas être animées à l’aide d’images clés, mais tout autre paramètre des studios Primary In et Primary Out peut l’être. Remarque : l’animation des modifications de couleur dépend du réglage Radial HSL Interpolation dans l’onglet User Prefs du studio Setup. Dans la majorité des cas, vous obtenez de bien meilleurs résultats en laissant cette option désactivée. Pour en savoir plus, consultez la section « Onglet User Preferences » à la page 122.Chapitre 14 Images clés 325 Animation de corrections secondaires avec des images clés Tout comme les paramètres et les commandes des studios Primary In et Out, vous avez la possibilité d’animer la plupart des commandes et des paramètres d’étalonnage. Chacun des huit onglets secondaires dispose de sa propre piste d’images clés. D’ailleurs, les réglages Inside et Outside de chaque onglet secondaire peuvent être animés individuellement avec des images clés. Outre les commandes de couleur et de contraste, les commandes secondaires suivantes peuvent également être animées avec des images clés :  Le bouton Enable qui active et désactive les corrections secondaires.  Les qualificatifs du manipulateur secondaire.  Le bouton Vignette qui active et désactive le vignetage.  Tous les paramètres de forme des vignettes. Remarque : les courbes secondaires ne peuvent pas être animées à l’aide d’images clés. Puisque vous pouvez animer avec des images clés toutes ces commandes, vous avez la possibilité d’automatiser avec beaucoup de latitude les opérations secondaires d’étalonnage. Par exemple, vous pouvez régler les qualificatifs du manipulateur secondaire pour compenser un changement d’exposition dans le plan d’origine provoquant une modification involontaire de la zone d’isolation. L’animation des paramètres de forme des vignettes avec des images clés vous permet d’animer les vignettes de façon à ce qu’elles suivante un objet/personnage en mouvement ou à créer d’autres effets animés de projecteur. Animation de Color FX avec des images clés Vous pouvez animer les paramètres des nœuds avec des images clés dans le studio Color FX afin de créer toute sorte d’effets. Même si le studio Color FX ne dispose que d’une seule piste d’images clés, chaque nœud de votre arborescence comporte ses propres images clés. Vous pouvez enregistrer l’état de chaque paramètre au sein d’un nœud à l’aide d’un seul ensemble d’images clés. Toutefois, il est impossible d’animer individuellement chaque paramètre d’un nœud avec des images clés. Les seules images clés affichées sur la piste d’images clés du studio Color FX sont celles du nœud actuellement sélectionné pour être modifié. Les images clés de tous les autres nœuds sont masquées. Cet affichage peut provoquer une certaine confusion au début, car les images clés apparaissent et disparaissent de la Timeline en fonction du nœud en cours de modification.326 Chapitre 14 Images clés Animation des effets Panscan avec des images clés Vous pouvez animer avec des images clés tous les réglages que vous avez effectués à l’aide des paramètres Panscan et des contrôles d’écran du studio Geometry, afin de créer des effets Panscan animés et des transformations géométriques. Sachez alors que tous les paramètres sont animés ensemble avec des images clés. Animation de formes créées par des utilisateurs avec des images clés Vous pouvez animer avec des images clés des formes créées par des utilisateurs dans l’onglet Shapes du studio Geometry, afin de traiter par rotoscopie (les isoler en les contourant image par image) des objets/personnages et des zones de l’image en mouvement dans le but de les corriger en détail dans le studio Secondaries. Remarque : vous pouvez animer des formes avec des images clés uniquement après qu’elles aient été affectées à un onglet du studio Secondaries. Utilisation d’images clés dans la Timeline Vous devez créer au moins deux images clés pour animer un effet, quel que soit son type. Chaque image clé créée stocke l’état du studio dans lequel vous vous trouvez au niveau de cette image. Dès que vous avez ajouté deux images clés avec deux corrections diffé- rentes à un studio, Color animé automatiquement la correction appliquée à l’image, en passant de la correction de la première image clé à la correction de la dernière.Chapitre 14 Images clés 327 Une fois que vous avez ajouté une image clé à un plan dans un studio particulier, vous ne pouvez modifier les commandes et les paramètres de ce studio que lorsque la tête de lecture est positionnée directement au-dessus d’une image clé. Si vous souhaitez apporter d’autres modifications au plan animé avec des images clés, vous devez déplacer la tête de lecture sur l’image à modifier et ajouter une autre image clé. Effectuez tous les ajustements nécessaires alors que la tête de lecture est positionnée au-dessus de la nouvelle image clé. Pour ajouter une image clé dans le studio actuellement ouvert : m Choisissez Timeline > Add Keyframe (ou appuyez sur Contrôle + 9). Dès que vous avez ajouté une ou plusieurs images clés, vous pouvez utiliser deux commandes pour déplacer rapidement la tête de lecture vers l’image clé suivante, à droite ou à gauche. Pour déplacer la tête de lecture d’une image clé à la suivante dans le studio actuellement ouvert, procédez de l’une des manières suivantes : m Appuyez sur les touches Option + Flèche gauche pour la positionner sur l’image clé suivante sur la gauche. m Appuyez sur les touches Option + Flèche droite pour la positionner sur l’image clé suivante sur la droite. m Cliquez sur le graphique des images clés de la Timeline tout en maintenant la touche Contrôle enfoncée, puis choisissez Next Keyframe ou Previous Keyframe dans le menu contextuel. Les images clés situées à l’emplacement actuel de la tête de lecture sont affichées en surbrillance. Vous pouvez supprimer des images clés dont vous n’avez pas besoin. Pour supprimer une seule image clé : 1 Déplacez la tête de lecture au niveau de l’image comportant l’image clé que vous souhaitez supprimer. 2 Choisissez Timeline > Remove Keyframe (ou appuyez sur Contrôle + 0). Vous pouvez également supprimer simultanément toutes les images clés appliquées à un plan dans un studio particulier.328 Chapitre 14 Images clés Pour supprimer toutes les images clés dans un seul studio : 1 Cliquez sur l’onglet correspondant au studio contenant les images clés que vous souhaitez supprimer. 2 Déplacez la tête de lecture au niveau de l’image où la correction ou l’effet est dans l’état que vous souhaitez appliquer à l’intégralité du plan. 3 Dans la Timeline, cliquez sur l’image clé à supprimer tout en maintenant la touche Contrôle enfoncée, puis choisissez Remove All Keyframes dans le menu contextuel. Chaque image clé appliquée à ce studio ou à l’onglet secondaire est supprimée et le graphique des images clés de ce studio disparaît de la Timeline. Lorsque vous supprimez d’un seul coup toutes les images clés d’un plan, les réglages de correction ou d’effets de l’image située à l’emplacement de la tête de lecture deviennent les réglages de l’ensemble du plan. Important : la commande Remove All Keyframes vous permet de supprimer toutes les images clés du studio actuellement sélectionné, quelle que soit la zone du graphique des images clés de la Timeline sur laquelle vous avez cliqué tout en maintenant la touche Contrôle enfoncée. Le réglage de la synchronisation des images clés précédemment créées est un jeu d’enfant. Pour déplacer une image clé et modifier sa synchronisation : m Faites-la glisser vers la gauche ou la droite. Vous pouvez également régler la synchronisation d’une image clé tout en prévisualisant l’image vers laquelle vous la déplacer. Pour déplacer une image clé tout en mettant à jour l’image prévisualisée : m Appuyez sur la touche Option alors que vous faites glisser l’image clé vers la gauche ou la droite. En cas de besoin, vous pouvez également redimensionner à la verticale le graphique des images clés de la Timeline, afin de mieux voir ce que vous êtes en train de faire. Pour en savoir plus, consultez la section « Personnalisation de l’interface du plan de montage » à la page 148. Vous pouvez également utiliser le graphique des images clés pour accéder à un studio comportant des effets animés avec des images clés. Pour ouvrir le studio correspondant à une piste d’images clés : m Double-cliquez sur n’importe quelle piste d’images clés dans la Timeline.Chapitre 14 Images clés 329 Interpolation d’images clés La méthode d’interpolation choisie pour une image clé détermine le mode d’animation des réglages d’une image clé à la suivante. Il existe trois types d’interpolation :  Smooth : les images clés de ce type commencent lentement leur transition vers l’état suivant d’animation, atteignent leur vitesse normale au milieu de la transition, puis ralentissent jusqu’à s’arrêter au niveau de l’image clé suivante. Ce « lissage » d’une image clé à la suivante crée des transitions entre les étalonnages, les paramètres de nœuds Color FX animés, les réglages Panscan et les formes animées créées par des utilisateurs, qui se déplacent alors avec fluidité et naturel. Toutefois, si vous avez ajouté plus de deux images clés, votre effet donne l’impression de faire une pause d’une image au moment où la tête de lecture passe au-dessus de chaque image clé, ce qui peut être contraire au résultat recherché.  Linear : les images clés de ce type opèrent une transition régulière d’un état d’animation au suivant, sans accélération ni ralentissement. Si vous utilisez des images clés linéaires pour animer un effet survenant à un endroit quelconque au milieu d’un plan, l’effet animé risque de donner l’impression de commencer et se terminer de manière abrupte. D’un autre côté, si vous animez avec des images clés un effet commençant au niveau de la première image et se terminant sur la dernière, son aspect semble évoluer à une vitesse uniforme.  Constant : les images clés constantes n’opèrent aucune sorte d’interpolation. Tous les effets passent de manière abrupte au prochain état d’animation au moment où la tête de lecture atteint l’image clé constante suivante. Ce type d’images clés est très pratique lorsque vous souhaitez qu’un effet passe soudainement à un autre état, comme la modification du contraste pour simuler un éclair au travers d’une fenêtre.330 Chapitre 14 Images clés Par défaut, toutes les images clés créées sont de type « smooth », mais vous pouvez modifier leur interpolation à tout moment. La modification de l’interpolation d’une image clé affecte uniquement la façon dont les valeurs sont animées entre cette image clé et la suivante sur la droite. Pour modifier l’interpolation d’une image clé : 1 Déplacez la tête de lecture au niveau de l’image clé que vous souhaitez modifier. 2 Choisissez Timeline > Change Keyframe (ou appuyez sur Contrôle + 0).15 331 15 Studio Geometry Le studio Geometry vous permet d’effectuer des zooms avant/arrière sur des plans, de créer des effets Panscan, de dessiner des caches personnalisés pour les opérations secondaires sur des vignettes, ainsi que suivre des objets/ personnages en mouvement en vue d’automatiser l’animation des vignettes et des formes. Ce studio comporte un aperçu d’image sur la gauche (qui contient tous les contrôles d’écran de l’ensemble des fonctions disponibles dans ce studio) et trois onglets sur la droite. Chaque onglet propose des outils différents dédiés à des fonctions spécifiques. L’onglet Panscan vous permet de redimensionner, faire pivoter, retourner et renverser des plans en fonction de vos besoins. L’onglet Shapes vous sert à créer des masques personnalisés pour vos corrections secondaires. Quant à l’onglet Tracking, il vous offre une interface de création et d’application de suivi de l’animation sur des vignettes et des formes personnalisées de votre projet. Les rubriques suivantes seront abordées au cours de ce chapitre :  Navigation dans l’aperçu d’image (p. 332)  Onglet Panscan (p. 332)  Onglet Shapes (p. 337)  Onglet Tracking (p. 345)332 Chapitre 15 Studio Geometry Navigation dans l’aperçu d’image Chacun des onglets du studio Geometry est basé sur des contrôles d’écran disponibles dans la zone d’aperçu d’image située à gauche des onglets. Vous pouvez effectuer un zoom avant ou arrière sur cette zone, ainsi que la faire défiler, afin d’obtenir une meilleure visibilité de l’image sur laquelle vous êtes en train de travailler. Vous pouvez même effectuer un zoom et afficher un panoramique alors que vous êtes en train de dessiner une forme. Pour effectuer un zoom avant ou arrière sur l’aperçu d’image : m Cliquez avec le bouton droit de la souris dans l’aperçu d’image, puis faites glisser le pointeur vers le haut pour un zoom arrière et vers le bas pour un zoom avant. Pour obtenir un panoramique de l’aperçu d’image : m Cliquez avec le bouton central de la souris dans l’aperçu d’image, puis faites-le glisser dans n’importe quelle direction. Pour recadrer l’aperçu d’image afin qu’il s’adapte à la taille actuelle de l’écran : m Appuyez sur F. Onglet Panscan L’onglet Panscan vous permet d’appliquer des transformations de base aux plans de vos projets. Vous pouvez utiliser ces transformations pour agrandir des images, les repositionner afin de rogner les zones inutiles et faire pivoter des plans en vue de créer des angles de prise de vue. Vous avez également la possibilité d’animer ces effets avec des images clés afin de créer des effets Panscan animés lors de la conversion d’un projet à haute résolution pour écran large vers une définition standard d’image à 4:3. Importation et exportation de paramètres Geometry depuis/vers Final Cut Pro Lorsque vous transférez une séquence de Final Cut Pro vers Color, les paramètres d’animation suivants sont convertis en paramètres équivalents dans Color. Lors de l’étalonnage de votre programme, vous pouvez prévisualiser l’effet de ces transformations sur chaque plan et apporter, le cas échéant, des modifications supplémentaires. Paramètres présents dans l’onglet Animation de Final Cut Pro Paramètres Panscan dans Color Scale Scale Rotation Rotation Centre Position X, Position Y Aspect Ratio Aspect RatioChapitre 15 Studio Geometry 333 Dès que vous avez terminé votre travail sur votre projet dans Color, le fait que Color traite ou non les modifications Panscan lors du rendu de chaque plan à partir de la Render Queue dépend de la méthode choisie pour l’importation de votre projet :  Si des projets sont transférés de Color vers Final Cut Pro ou importés sous forme de fichiers XML, toutes les transformations géométriques appliquées aux plans dans Color sont à nouveau converties en réglages d’animation équivalents dans Final Cut Pro lors de la réexpédition du projet vers Final Cut Pro. Vous avez alors la possibilité de personnaliser davantage ces effets dans Final Cut Pro avant d’effectuer leur rendu et leur sortie.  Dans le cas d’intermédiaires numériques en 2K avec des séquences d’images Cineon et DPX, les transformations Panscan sont traitées dans Color en même temps que vos étalonnages lors du rendu du média de sortie. Utilisation de l’onglet Panscan Vous pouvez transformer les plans de votre programme grâce à deux ensembles de commandes. À gauche, la zone d’aperçu d’image met à votre disposition les contrôles d’écran, alors qu’à droite, des paramètres numériques reflètent vos modifications.334 Chapitre 15 Studio Geometry Utilisation des contrôles d’écran Les contrôles d’écran disponibles dans l’onglet Panscan sont constitués d’un cadre de sélection externe muni d’une poignée à chacun de ses quatre angles (représentant la sortie mise à l’échelle) et de deux indicateurs d’opération sur les blancs et de titre sécurisé. Par défaut, ce cadre et ces commandes adoptent la même taille que la résolution de votre projet. Les contrôles d’écran fonctionnent conjointement avec l’image affichée dans les pré- sentations Preview et Broadcast. Autrement dit, vous utilisez les contrôles d’écran pour isoler la partie de l’image que vous souhaitez obtenir au final, puis vous visualisez la transformation en cours dans les présentations Preview et Broadcast. Pour redimensionner un plan : m Faites glisser l’un des quatre angles de la commande à l’écran pour redimensionner le plan autour de son centre. Cette commande à l’écran permet de réduire ou d’agrandir l’image de façon à en inclure plus ou moins. Les présentations Preview et Broadcast affichent le résultat obtenu. Le paramètre Scale est également modifié.Chapitre 15 Studio Geometry 335 Pour faire pivoter un plan : m Faites glisser le pointeur de la souris à proximité des quatre poignées d’angle, mais à l’extérieur, vers la droite pour une rotation vers la gauche et vers la gauche pour une rotation vers la droite. Comme la commande à l’écran fonctionne en sélectionnant une partie de l’image source statique, elle pivote en sens inverse de l’effet, mais les présentations Preview et Broadcast affichent le résultat correct. Pour repositionner un plan : m Faites glisser le pointeur n’importe où dans le cadre de sélection rouge. La commande à l’écran se déplace pour sélectionner une autre partie du plan, puis les présentations Preview et Broadcast affichent le résultat. Remarque : les paramètres Aspect Ratio, Flip et Flop ne disposent d’aucune commande à l’écran. Utilisation des paramètres Panscan Toute modification apportée à l’aide des contrôles d’écran se reflète dans les paramè- tres numériques de l’onglet Panscan affiché à droite et est enregistrée. Si vous le souhaitez, vous pouvez modifier directement ces paramètres numériques. Il vous suffit de saisir une nouvelle valeur dans le champ correspondant ou de faire glisser le bouton Middle d’un des champs pour l’ajuster avec son curseur virtuel.  Position X et Y : déterminent la partie de l’image affichée lorsque vous repositionnez la commande à l’écran. Ces paramètres correspondent aux deux dimensions du paramètre Centre dans Final Cut Pro.  Scale : détermine la taille de l’image.  Aspect Ratio : vous permet de modifier les proportions du plan (sa largeur par rapport à sa hauteur) afin de l’étirer ou de le compresser. Ce paramètre ne dispose d’aucune commande à l’écran.336 Chapitre 15 Studio Geometry  Rotation : vous permet de faire pivoter le plan autour du centre de la commande à l’écran.  Flip Image : vous permet d’inverser l’image à l’horizontale. Droite et gauche sont alors inversées.  Flop Image : vous permet d’inverser l’image à la verticale. Haut et bas sont alors inversés. Important : les paramètres Flip et Flop sont désactivés lorsque vous travaillez sur un projet XML provenant de Final Cut Pro, car ils n’ont aucun équivalent parmi les réglages de l’onglet Animation. Animation des paramètres Panscan avec des images clés et des marqueurs de suivi En cas de besoin, vous avez la possibilité d’animer les effets Panscan selon deux méthodes :  Avec des images clés : vous pouvez animer avec des images clés toutes les commandes de transformation Panscan. Pour en savoir plus sur l’animation avec des images clés dans Color, consultez le chapitre 14, « Images clés », à la page 323.  Avec un marqueur de suivi : vous pouvez également utiliser le suivi de l’animation pour animer automatiquement un effet Panscan, comme le bouger pour suivre le déplacement d’un personnage traversant l’écran, par exemple. Après avoir créé un marqueur de suivi et analysé le plan (dans l’onglet Tracking), il vous suffit d’indiquer le numéro du marqueur de suivi à utiliser dans le champ Use Tracker pour que les paramètres Position X et Y soient automatiquement animés. Si le champ Use Tracker contient la valeur 0, aucun marqueur de suivi n’est appliqué. Pour en savoir plus, consultez la section « Onglet Tracking » à la page 345. Copie et réinitialisation des paramètres Panscan Situés en bas de l’onglet Panscan, trois boutons vous permettent de copier et de réinitialiser les modifications apportées à ces commandes.  Bouton Copy to Selected : sélectionnez un ou plusieurs plans dans la Timeline, puis cliquez sur ce bouton pour copier les réglages Panscan actuels dans tous les plans sélectionnés.  Bouton Copy to All : permet de copier les réglages Panscan dans tous les plans du programme. Cette fonction est utile lorsque vous apportez une modification globale lors du changement de format d’un programme.  Bouton Reset Geometry : réinitialise tous les paramètres Panscan à l’échelle par défaut de votre projet.Chapitre 15 Studio Geometry 337 Onglet Shapes L’onglet Shapes vous permet de dessiner des formes personnalisées que vous pouvez utiliser comme des vignettes dans le studio Secondaries pour les fonctions d’isolation, de vignetage ou de retouche numérique de l’éclairage. Cet onglet n’offre aucun intérêt s’il est utilisé seul et vous ne devez pas y commencer votre travail. En fait, vous devez tout d’abord créer des formes en choisissant l’option User Shape dans le menu local Shape des commandes Vignette disponibles dans le studio Secondaries. Lorsque vous choisissez cette option, vous accédez directement à l’onglet Shapes du studio Geometry, qui met à votre disposition toutes les commandes nécessaires pour dessiner et modifier vos propres formes personnalisées. Pour en savoir plus sur ce processus, consultez la section « Utilisation d’une forme personnalisée pour appliquer une vignette » à la page 259. Remarque : les formes personnalisées ne s’utilisent qu’avec des opérations secondaires dans le studio Secondaries. Il est impossible de les utiliser dans le studio Color FX. Commandes disponibles dans l’onglet Shapes L’onglet Shapes comporte les commandes suivantes :  Current Secondary : indique lequel des huit onglets affichés dans le studio Secondaries est l’opération secondaire actuellement sélectionnée. Si vous cliquez sur le bouton Attach, la forme actuellement sélectionnée est associée à cet onglet.  Attached Shape : si vous sélectionnez une forme préalablement associée à l’onglet secondaire d’un plan, ce champ vous indique le nom de cette forme et le jeu d’étalonnage auquel elle est reliée conformément au format suivant : nomForme.numéroJeuÉtalonnage  Bouton Attach : une fois que vous avez dessiné une forme à utiliser pour limiter une opération secondaire, cliquez sur ce bouton pour l’associer à l’onglet secondaire actuellement ouvert dans le studio Secondaries (indiqué dans le champ Current Secondary).  Bouton Detach : cliquez sur ce bouton pour rompre la relation unissant une forme et l’onglet secondaire auquel elle était précédemment affectée. Une fois détachée, une forme n’a plus aucun effet de limitation sur une opération secondaire.  Shapes List : cette liste répertorie toutes les formes non associées disponibles dans un projet, ainsi que les formes affectées au plan actuel. Cette liste est décrite de façon plus détaillée ci-après.  Hide Shape Handles : cliquez sur ce bouton pour masquer les points de contrôle des formes dans l’aperçu d’image. Leur contour reste visible.338 Chapitre 15 Studio Geometry  Reverse Normals : lorsque les bords d’une forme sont adoucis à l’aide du paramètre Softness, ce bouton permet d’inverser quelle forme définit les bords intérieur et exté- rieur de l’adoucissement.  Use Tracker : si vous avez analysé un ou plusieurs marqueurs de suivi d’animation dans le projet en cours, vous pouvez indiquer le numéro du marqueur de suivi à utiliser pour animer automatiquement la position de la forme actuelle. Pour qu’une forme ne soit plus sous l’influence du marqueur de suivi associé, réglez cette valeur sur 0.  Softness : adoucit globalement tous les bords de la forme. Si vous réglez ce paramè- tre sur 0, le contour de la forme est abrupt (mais anticrénelé). Si vous optez pour une valeur supérieure à 0, les formes adoucies intérieure et extérieure apparaissent avec leurs propres points de contrôle. La forme interne indique où commence l’adoucissement des bords, tandis que la forme externe indique l’extrémité de la forme adoucie. Si nécessaire, vous pouvez ajuster chaque bordure indépendamment.  Shape Name : par défaut, ce champ affiche « sans titre ». Toutefois, vous pouvez attribuer le nom de votre choix à la forme actuellement sélectionnée, afin d’organiser plus facilement la liste des plans.  New : cliquez sur ce bouton pour créer une nouvelle forme affectée à aucune opération.  Remove : sélectionnez une forme, puis cliquez sur ce bouton pour la supprimer de la Shapes List.  Close Shape/Open Shape : cliquez sur ce bouton pour basculer la forme actuellement sélectionnée de l’état ouvert à fermé (et inversement).  Bouton Save : enregistre la forme actuellement sélectionnée dans le répertoire des formes favorites.  Bouton Load : charge toutes les formes enregistrées dans le répertoire des formes favorites dans la Shapes List du plan actuel.  Boutons B-spline/polygon : fait passer la forme actuellement sélectionnée du mode B-spline (qui autorise des formes courbes) au mode polygone (dans lequel les formes sont uniquement angulaires) et inversement.  Boutons Main/Inner/Outer : ces boutons vous permettent de choisir quels points vous souhaitez sélectionner pour faire glisser le cadre de sélection dans l’aperçu d’image, sans pour autant verrouiller les autres points contrôle. Vous pouvez toujours modifier un point de contrôle, quel que soit son réglage.Chapitre 15 Studio Geometry 339 Liste des formes La Shapes List répertorie toutes les formes non associées dans le projet en cours, ainsi que toutes les formes associées utilisées par le plan au niveau de la position actuelle de la tête de lecture. Si vous cliquez sur une forme dans cette liste, elle apparaît dans la zone d’aperçu d’image et tous les paramètres de l’onglet Shapes sont mis à jour avec les réglages de la forme sélectionnée.  Colonne Name : nom de la forme modifiable dans le champ Shape Name.  Colonne ID : numéro d’identification de la forme. Ces numéros commencent à 0 pour la première forme et sont incrémentés de 1 à chaque fois que vous créez une nouvelle forme.  Colonne Grade : si une forme est associée, cette colonne indique le jeu d’étalonnage à laquelle elle est reliée.  Colonne Sec : si une forme est associée, cette colonne indique auquel des huit onglets secondaires elle est reliée. Dessin de formes Pour dessiner et modifier des formes, vous allez procéder quasiment de la même manière que dans d’autres applications de compositing. Color utilise des courbes B-splines pour tracer des formes courbes, qu’il est possible de dessiner et modifier rapidement. Ces courbes B-splines fonctionnent de façon similaire aux courbes des studios Primary et Secondaries. Enregistrement et chargement de formes favorites Vous pouvez créer une collection des formes personnalisées afin de les utiliser dans d’autres projets grâce aux boutons Save et Load. Lorsque vous sélectionnez une forme non associée dans la Shapes List, puis cliquez sur Save, elle est enregistrée dans le répertoire suivant : /Utilisateurs/nom_utilisateur/Bibliothèque/Application Support/Color/ BShapes/ Cliquez sur Load pour charger toutes les formes enregistrées dans ce répertoire dans la Shapes List du plan actuel. Dès que vous avez choisi la forme à utiliser, vous pouvez supprimer toutes les autres.340 Chapitre 15 Studio Geometry Les courbes B-splines utilisent des points de contrôle qui ne sont pas réellement fixés à la surface de la forme, afin d’« attirer » la forme dans différentes directions, comme agirait un aimant sur un fil de fer. Voici par exemple une courbe dotée d’un seul point de contrôle : Le point de contrôle surplombant la forme attire l’ensemble de la forme dans sa direction, alors que les points de contrôle voisins permettent aux autres parties de la forme de rester en place. La complexité d’une forme est déterminée par le nombre de points de contrôle qui exercent une influence sur cette forme. Si vous ajoutez deux points de contrôle de chaque côté, puis que vous les déplacez vers le bas, la courbe est modifiée comme illustré ci-dessous. Pour accentuer les courbes d’une forme, rapprochez ses points de contrôle les uns des autres. En revanche, pour des courbes plus douces, il vous suffit d’éloigner les points de contrôle les uns des autres. Les procédures suivantes décrivent la création, la suppression et la modification de points de contrôle en vue de modifier les paramètres d’une courbe. Pour dessiner une forme : 1 Cliquez sur l’un des huit onglets de le studio Secondaries afin de l’utiliser pour effectuer une correction secondaire, activez les boutons Enable et Vignette, puis choisissez User Shape dans le menu local Shape. Vous accédez alors directement à l’onglet Shapes de le studio Geometry où vous pouvez dessiner une forme.Chapitre 15 Studio Geometry 341 2 Cliquez n’importe où dans la zone d’aperçu d’image afin d’ajouter le premier point de contrôle. 3 Continuez à cliquer dans cette zone pour ajouter d’autres points de contrôle. 4 Lorsque vous avez terminé, fermez la forme en cliquant sur le premier point de contrôle créé. 5 Attribuez un nom à la forme dans le champ Shape Name, puis appuyez sur Entrée (cette étape est facultative). 6 Cliquez sur le bouton Attach pour utiliser cette forme dans l’onglet secondaire. Un double de la forme apparaît dans la liste, qui montre le jeu d’étalonnage et l’onglet d’étalonnage secondaire auquel il est lié (la forme originale dessinée demeure dans la liste ci-dessus, prête à être recyclée ultérieurement). Une fois cette étape franchie, vous êtes prêt à utiliser cette forme dans l’onglet secondaire auquel elle est associée. Pour modifier une forme : m Faites glisser l’un de ses points de contrôle dans n’importe quelle direction. Contrairement aux courbes de Bézier, les courbes B-splines ne comportent pas de tangentes à ajuster. Les seules modifications que vous êtes autorisé à apporter nécessitent de jouer sur le nombre de points de contrôle et leur position relative. Pour repositionner une forme : m Faites glisser sa poignée centrale verte dans n’importe quelle direction. Cette poignée centrale correspond au point autour duquel les transformations liées aux images clés et au suivi de l’animation sont appliquées.342 Chapitre 15 Studio Geometry Pour redimensionner une forme : 1 Assurez-vous que la case Main est cochée dans l’onglet Shapes. 2 À l’aide du pointeur de la souris, tracez un cadre de sélection autour de chaque point de contrôle à redimensionner. Les points de contrôle sélectionnés apparaissent en vert. Il n’est pas nécessaire de sélectionner tous les points de contrôle de la forme. Vous pouvez en sélectionner quelques uns pour redimensionner uniquement une partie de la forme dans son ensemble. Le centre de tous les points de contrôle sélectionnés affiche un petit signe + vert, qui indique la position des points de contrôle sélectionnés par rapport à la poignée centrale. 3 Effectuez l’une des opérations suivantes :  Faites glisser l’un des quatre angles du cadre de sélection pour redimensionner la forme par rapport au coin opposé (qui reste alors à sa place).  Faites glisser le cadre de sélection tout en maintenant la touche Option enfoncée pour redimensionner la forme par rapport à son centre, représenté par une croix verte.  Faites glisser le cadre de sélection tout en maintenant la touche Maj enfoncée pour redimensionner la forme en respectant ses proportions d’origine, à savoir l’agrandir ou la rétrécir sans changer le rapport existant entre sa largeur et sa hauteur. Pour transformer la forme d’une courbe B-Spline en un polygone angulaire (et inversement) : m Cliquez sur B-Spline ou Polygon dans l’onglet Shapes pour changer le type de rendu de la forme.Chapitre 15 Studio Geometry 343 Pour adoucir les bords d’une forme : 1 Augmentez la valeur de son paramètre Softness. Ce paramètre applique un adoucissement uniforme tout le long des bords de la forme. Il affiche également deux formes, l’une intérieure, l’autre extérieure, qui représentent les limites internes et externes de l’effet d’adoucissement appliqué à la forme. 2 Si nécessaire, modifiez ces formes intérieure et extérieure pour obtenir l’effet d’adoucissement du contour le plus approprié pour la forme. Vous pouvez ainsi créer des contours adoucis de manière irrégulière, avec un bord accentué et un bord adouci, par exemple.344 Chapitre 15 Studio Geometry Pour ajouter des points de contrôle à une forme existante : 1 Sélectionnez la forme à modifier dans la Shapes List. 2 Cliquez sur Open Shape. 3 Cliquez au sein de la zone d’aperçu d’image pour ajouter des points de contrôle à la fin de la forme sélectionnée. 4 Cliquez sur le premier point de contrôle de la forme lorsque vous fini d’en ajouter.Chapitre 15 Studio Geometry 345 Animation des formes avec des images clés et des marqueurs de suivi En cas de besoin, vous avez la possibilité d’animer les formes selon deux méthodes :  Avec des images clés : vous pouvez animer les formes à l’aide d’images clés. Pour en savoir plus sur l’animation avec des images clés dans Color, consultez le chapitre 14, « Images clés », à la page 323.  Avec un marqueur de suivi : vous pouvez également utiliser le suivi de l’animation pour animer automatiquement une forme, comme la bouger pour suivre le déplacement d’un personnage à cause d’un panoramique de la caméra. Après avoir créé un marqueur de suivi et analysé le plan (dans l’onglet Tracking), il vous suffit de sélectionner une forme dans la Shapes List, puis d’indiquer le numéro du marqueur de suivi à utiliser dans le champ Use Tracker pour que la forme soit animée automatiquement. Si le champ Use Tracker contient la valeur 0, aucun marqueur de suivi n’est appliqué. Pour en savoir plus, consultez la section suivante. Onglet Tracking Le suivi de l’animation est le processus d’analyse automatique d’un plan qui permet de suivre le mouvement d’un personnage particulier à l’image afin de créer une trajectoire d’animation. Une fois cette analyse terminée, vous pouvez utiliser le suivi des trajectoires de la caméra pour animer des vignettes, des effets Panscan, des formes personnalisées, voire certains nœuds Color FX en suivant les trajectoires d’animation. De cette façon, les corrections que vous avez apportées semblent suivre les objets/personnages en mouvement ou le mouvement de la caméra. Remarque : Color autorise uniquement le suivi de l’animation basé sur un seul point. Le suivi de deux ou quatre points n’est pas pris en charge. Le suivi de l’animation est réalisé en créant un marqueur de suivi dans l’onglet Tracking du studio Geometry. La Tracker List répertorie tous les marqueurs de suivi créés et analysés pour un plan donné. Chacun de ces marqueurs est identifié par un numéro ID (ils sont numérotés dans l’ordre selon lequel ils ont été créés). 346 Chapitre 15 Studio Geometry Chaque marqueur de suivi dispose d’une seule commande à l’écran représentée par deux cadres avec une croix au milieu. Lorsque vous traitez un marqueur de suivi, Color analyse la zone de pixels déterminée par le cadre extérieur de recherche de la commande à l’écran, dans la plage d’images définie à l’aide des boutons Mark In et Mark Out. Le marqueur de suivi tente de « suivre » le personnage que vous avez identifié (à l’aide du cadre intérieur du motif de référence de la commande à l’écran) alors qu’il se déplace dans l’image. ? Conseil : les objets/personnages angulaires à fort contraste constituent des motifs de référence idéaux. Utilisation du suivi de l’animation Sitôt le traitement d’un marqueur de suivi terminé, vous pouvez utiliser son analyse pour animer une vignette, une forme personnalisée ou un paramètre Panscan. Lorsqu’elle est appliquée à une vignette ou une forme personnalisée, l’animation du marqueur de suivi est ajoutée au positionnement d’origine de la forme. Par exemple, si vous utilisez un marqueur pour suivre le mouvement du regard d’un personnage et que vous souhaitez appliquer l’animation analysée à une vignette qui illumine son visage, vous devez positionner le centre, l’angle et l’atténuation d’une vignette en forme de cercle sur le visage de ce personnage au niveau de la première image du plan, puis choisir le numéro du marqueur de suivi dans le champ Use Tracker. La vignette commence ainsi son déplacement à partir d’une position correcte et continue à suivre la trajectoire définie par le marqueur de suivi. Comme ce marqueur utilise une transformation supplémentaire, vous pouvez encore repositionner la vignette par le biais des paramètres Center X et Y ou de la commande à l’écran disponible dans l’onglet Previews.Chapitre 15 Studio Geometry 347 Si vous souhaitez limiter le suivi à une partie de la durée totale d’un plan (en positionnant les points d’entrée et de sortie du marqueur de suivi à une distance plus courte que la longueur du plan), la vignette reste à la position d’origine sur laquelle vous l’avez fait glisser jusqu’à ce que la tête de lecture atteigne le point d’entrée du marqueur, puis elle commence à suivre la trajectoire d’animation du marqueur. Dès que la tête de lecture atteint le point de sortie, la vignette s’arrête et reste à la même position jusqu’à la fin du plan. Commandes disponibles dans l’onglet Tracking L’onglet Tracking comporte les commandes suivantes :  Tracker List : liste de tous les marqueurs de suivi créés pour le plan au niveau de la position actuelle de la tête de lecture. Cette liste comporte trois colonnes :  Name : nom du marqueur. Tous les marqueurs de suivi sont nommés conformé- ment à la convention suivante : marqueur.numéroID  ID : numéro d’identification correspondant à un marqueur de suivi particulier. Il s’agit du numéro à saisir dans le champ Use Tracker pour indiquer quel marqueur de suivi utiliser pour animer cette modification.  Status : barre de progression indiquant si un marqueur de suivi a été traité. Une barre rouge signifie que le marqueur de suivi n’a pas été traité, alors qu’une barre verte indique le contraire.  Manual Tracker : cliquez pour activer le mode de suivi manuel. Vous pouvez alors utiliser votre souris pour cliquer sur le personnage que vous souhaitez suivre dans la zone d’aperçu. Chaque clic positionne manuellement le marqueur de suivi à l’écran pour créer une image clé de suivi, puis avance la tête de lecture d’une image et ce, jusqu’à la fin du plan. Grâce à ce mode, vous pouvez rapidement et manuellement suivre des personnages que le suivi automatique ne parvient pas à suivre. Suivi de l’animation : la solution à tous vos problèmes ? Dans les plans où la cible est clairement définie (de préférence, un élément à fort contraste et présentant des angles), le suivi de l’animation représente souvent la méthode la plus rapide pour animer un effet de telle sorte qu’il suive le mouvement du plan. Toutefois, ce n’est pas toujours le cas. Il suffit que des acteurs ou des objets du plan passent devant la cible que vous souhaitez suivre, que le mouvement du plan soit tellement rapide qu’il provoque un flou d’animation, que le bruit soit excessif ou, tout simplement, qu’aucun personnage ne soit suffisamment clair pour déterminer le suivi, pour que votre meilleure option reste encore l’animation manuelle avec des images clés, même si vous pouvez aussi tenter l’opération avec un marqueur de suivi manuel. Pour en savoir plus sur l’animation à l’aide d’images clés, reportez-vous au chapitre 14, « Images clés », à la page 323.348 Chapitre 15 Studio Geometry  Tracking Curve Smoothness : lisse les données de suivi afin d’éliminer tout mouvement saccadé ou irrégulier. Plus les valeurs sont élevées, plus la trajectoire du suivi de l’animation est lissée. Vous pouvez lisser aussi bien les données en suivi automatique que les données en suivi manuel. Remarque : les données d’origine du marqueur de suivi de l’animation sont conservées sans être jamais modifiées par ce lissage.  Process : dès que vous avez réglé les contrôles d’écran pour identifier un motif de référence et une zone de recherche, cliquez sur Process afin d’effectuer l’analyse.  New : crée un nouveau marqueur de suivi dans la Tracker List.  Remove : supprime le marqueur de suivi actuellement sélectionné dans la Tracker List.  Mark In : définit le point d’entrée dans le plan actuel à partir duquel le traitement doit commencer. Si vous ne définissez aucun point d’entrée, la première image du plan est utilisée par défaut.  Mark Out : définit le point de sortie dans le plan actuel à partir duquel le traitement doit s’arrêter. Si vous ne définissez aucun point de sortie, la dernière image du plan est utilisée par défaut. Utilisation de l’onglet Tracking Cette section décrit la procédure à suivre pour réaliser le suivi de l’animation. Pour suivre automatiquement un personnage : 1 Déplacez la tête de lecture au niveau du plan que vous souhaitez suivre. 2 Ouvrez l’onglet Tracker du studio Geometry, puis cliquez sur New. Un nouveau marqueur de suivi non traité apparaît dans la Tracker List et ses contrôles d’écran sont alors disponibles dans la zone d’aperçu d’image. 3 Déplacez la tête de lecture au niveau de la première image de la plage que vous souhaitez suivre, puis cliquez sur Mark In. Un point d’entrée vert apparaît sur une nouvelle piste dans la Timeline. Dans de nombreux cas, il s’agit de la première image du plan. Toutefois, si le personnage n’est pas visible ou ne se déplace pas dans le plan avant plusieurs images, réglez le point d’entrée au niveau de la première image où il apparaît ou juste avant qu’il ne commence à sa déplacer.Chapitre 15 Studio Geometry 349 4 Alors que la tête de lecture est positionnée sur cette image initiale, faites glisser le pointeur au sein du cadre central de la commande à l’écran, afin de le déplacer de telle sorte que la croix soit centrée sur le personnage que vous souhaitez suivre, puis ajustez les poignées du cadre intérieur (le cadre du motif de référence) pour les placer autour de ce personnage. 5 Ajustez le cadre extérieur en vue d’y inclure autant d’éléments environnants du plan que vous jugez nécessaires pour analyser le plan. ? Conseil : pour réussir le suivi, le personnage identifié à l’aide du cadre du motif de réfé- rence ne doit jamais sortir de la zone de recherche définie, car le plan est traité une image après l’autre. Si le mouvement du plan est rapide, agrandissez le cadre extérieur, même si l’analyse exige alors plus de temps. À l’inverse, si le mouvement est lent, vous pouvez réduire le cadre de la zone de recherche afin d’accélérer l’analyse. 6 Déplacez la tête de lecture au niveau de la dernière image de la plage que vous souhaitez suivre, puis cliquez sur Mark Out. Un point de sortie vert apparaît dans la Timeline.350 Chapitre 15 Studio Geometry Dans de nombreux cas, il s’agit de la dernière image du plan. Toutefois, si le personnage que vous suivez disparaît peu à peu, réglez le point de sortie au niveau de la dernière image où il est bien visible. 7 Cliquez sur Process. Color lance l’analyse du plan en commençant au niveau du point d’entrée. Une barre de progression verte avance du point d’entrée vers le point de sortie pour indiquer l’état d’avancement de l’analyse du plan. Lorsque le traitement est terminé, le marqueur de suivi correspondant apparaît avec une barre de progression verte dans la colonne Status de la Tracker List. Vous pouvez désormais utiliser ce marqueur de suivi dans votre projet. D’ailleurs, la trajectoire d’animation de ce marqueur de suivi est affichée dans la zone d’aperçu d’image dès que vous le sélectionnez. Si le mouvement d’un plan est trop difficile à suivre automatiquement, vous pouvez tenter de réaliser un suivi manuel. Pour suivre manuellement un personnage : 1 Déplacez la tête de lecture au niveau du plan que vous souhaitez suivre. 2 Ouvrez l’onglet Tracker du studio Geometry, puis cliquez sur New. Un nouveau marqueur de suivi non traité apparaît dans la Tracker List et ses contrôles d’écran sont alors disponibles dans la zone d’aperçu d’image. 3 Amenez la tête de lecture sur la première image de la plage que vous voulez suivre. Remarque : il n’est pas nécessaire de marquer des points d’entrée et de sortie en mode Suivi manuel.Chapitre 15 Studio Geometry 351 4 Cliquez sur Manual Tracker pour passer en mode de suivi manuel. La commande à l’écran du marqueur de suivi disparaît dès que vous activez le mode de suivi manuel. 5 Dans la zone d’aperçu d’image, cliquez sur le personnage que vous souhaitez suivre. Par exemple, si vous souhaitez suivre le visage d’une personne pour lui appliquer un vignetage ultérieurement, cliquez sur son nez. Chaque clic positionne manuellement le marqueur de suivi à l’écran, puis avance la tête de lecture d’une image. 6 Cliquez sur le même personnage que précédemment au fur et à mesure que les images défilent, jusqu’à ce que vous ayez atteint la fin de la durée du mouvement à suivre ou la fin du plan. Alors que vous ajoutez de plus en plus de points de suivi manuel, une trajectoire d’animation se dessine lentement selon le parcours du personnage que vous suivez. 7 Lorsque le suivi manuel est terminé, arrêtez de cliquer. Ce marqueur de suivi est prêt à être affecté à un autre paramètre de votre projet. Important : ne désactivez pas le bouton Manual Tracker, sauf si vous voulez supprimer toutes vos images clés de suivi manuel.352 Chapitre 15 Studio Geometry Il peut arriver que le suivi du mouvement soit une réussite, mais que la trajectoire d’animation obtenue soit trop approximative pour être utilisée en l’état. Dans d’autres cas, c’est un mouvement irrégulier qui peut mettre en avant un effet animé que vous tentiez de rendre invisible. On parle alors de trajectoires d’animation crénelées. Si le cas se présente, utilisez le curseur Tracking Curve Smoothness pour lisser la trajectoire d’animation créée par le marqueur de suivi. Pour lisser un suivi : 1 Sélectionnez un marqueur de suivi dans la Tracker List. 2 Réglez le curseur Tracking Curve Smoothness jusqu’à ce que la trajectoire de suivi de l’animation soit suffisamment lisse pour répondre à vos besoins. Le réglage du curseur Tracking Curve Smoothness n’est pas définitif. En d’autres termes, les données de suivi d’origine sont conservées et vous pouvez donc augmenter ou réduire le lissage qui leur est appliqué à tout moment pour effectuer d’autres modifications. Si vous réglez le curseur Tracking Curve Smoothness sur 0, vous restaurez les données de suivi analysées à l’origine.Chapitre 15 Studio Geometry 353 Utilisation des marqueurs de suivi dans les studios Secondary, Color FX et Geometry Un champ Use Tracker est affiché pour toute correction effectuée dans un studio qu’il est possible d’animer avec un marqueur de suivi. Une fois le marqueur de suivi correspondant traité, il vous suffit de saisir son numéro ID dans ce champ pour animer automatiquement cette correction en fonction de la trajectoire d’animation du marqueur. Si vous saisissez la valeur 0 dans le champ Use Tracker, la correction est réinitialisée et aucun marqueur de suivi n’est utilisé.16 355 16 Magasin d’images fixes (Still Store) Il s’agit d’une interface utilisateur permettant de comparer des plans lors de l’étalonnage plan par plan. Via cette interface, vous pouvez enregistrer des images de différents plans d’un projet afin de les utiliser comme images de référence dans le cadre de la comparaison avec des plans en cours d’étalonnage. Il s’agit d’une opération courante dans l’étalonnage plan par plan, lorsque vous équilibrez tous le plans d’une scène pour qu’ils soient cohé- rents en matière d’exposition et de couleur, afin qu’ils semblent tous avoir été pris au même endroit et au même moment. Via le Still Store, vous pouvez enregistrer des images de référence de tout plan de votre projet, à des fins de comparaison avec d’autres plans. Cela signifie que si vous travaillez sur un documentaire où un style particulier de plan très serré est intercalé dans le programme, vous pouvez enregistrer une image de référence du plan très serré principal étalonné et le réutiliser pour comparaison avec les autres plans très serrés du programme. Les rubriques suivantes seront abordées au cours de ce chapitre :  Enregistrement d’images dans le Still Store (p. 356)  Enregistrement des images du Still Store dans de sous-répertoires (p. 357)  Retrait d’images du Still Store (p. 358)  Rappel d’images du Still Store (p. 358)  Personnalisation de la vue du Still Store (p. 359)  Contrôles du chutier Still Store (p. 359)356 Chapitre 16 Magasin d’images fixes (Still Store) Enregistrement d’images dans le Still Store Pour utiliser le Still Store, vous devez d’abord enregistrer une ou plusieurs images afin de les rappeler ultérieurement. Pour ajouter une image au Still Store : 1 Positionnez la tête de lecture sur une image à enregistrer dans le Still Store. Choisissez une image étalonnée contenant les sujets requis pour la comparaison et représentative de l’éclairage et de la couleur que vous voulez homogénéiser. 2 Si le Still Store est activé, désactivez-le afin de vous assurer que vous n’enregistrez pas accidentellement une image de l’image composite affichée. 3 Facultativement, si vous voulez enregistrer l’image avec un nom personnalisé, vous pouvez cliquer sur l’onglet Still Store et taper un nom dans le champ File sous le chutier Still Store. Si vous n’entrez pas de nom personnalisé, chaque image enregistrée sera automatiquement nommée comme suit : Image.Jour_Mois_Année_Heure_Minute_SecondeFuseauhoraire.sri La date et l’heure indiquent l’horodatage exact de l’enregistrement de l’image. Remarque : si vous chargez une image dans le Still Store immédiatement avant d’en enregistrer une autre, l’image nouvellement enregistrée utilisera le nom de l’image chargée, en écrasant l’image précédemment enregistrée. 4 Pour enregistrer une image, procédez de l’une des manières suivantes :  Depuis un studio, choisissez Still Store > Store (Ctrl + I).  Cliquez sur l’onglet Still Store, puis sur Save. Une image de celle à la position de la tête de lecture est enregistrée sous la forme d’un fichier DPX non compressé dans le sous-répertoire /StillStore/ dans l’ensemble de projets. Elle apparaît aussi dans Color comme un élément du chutier Still Store. Lorsque Still Store est en mode d’affichage des icônes, chaque image enregistrée est dotée d’un vignette pour référence.Chapitre 16 Magasin d’images fixes (Still Store) 357 Les images du Still Store sont enregistrées à la résolution native du média source d’où elles proviennent, mais elles ne sont pas enregistrées avec la correction de la table de conversion appliquée. Ainsi, si votre projet utilisait une table de conversion lorsque vous avez enregistré les images dans le Still Store et que vous la supprimez de votre projet, les images enregistrées continueront à correspondre aux plans d’où elles provenaient. Important : les images du Still Store ne sont pas mises à jour si le plan d’où elles proviennent est de nouveau étalonné. Donc, si vous enregistrez une image du Still Store depuis un plan, puis réeffectuez un étalonnage de ce dernier afin d’obtenir un aspect différent, l’image du Still Store enregistrée ne sera plus représentative de ce plan et devra être supprimée. Si vous n’êtes pas sûr qu’une image reflète correctement l’étalonnage en cours d’un plan, l’horodatage de l’enregistrement de l’image peut vous aider. Enregistrement des images du Still Store dans de sousrépertoires Par défaut, une image est enregistrée dans le sous-répertoire StillStore interne de votre projet et figure dans le chutier Still Store avec toutes les autres images enregistrées. Toutes les images du chutier Still Store apparaissent dans l’ordre dans lequel elles ont été créées, les plus récentes étant placées en dernier. Vous pouvez aussi organiser vos images enregistrées dans des sous-répertoires. Vous pouvez créer des sous-répertoires individuels basés sur la date d’un travail, les plans depuis lesquels les images sont enregistrées ou tout autre type de catégorisation de votre choix. Pour créer un sous-répertoire personnalisé dans le chutier Still Store : 1 Cliquez sur l’onglet Still Store. 2 Cliquez sur New Folder. 3 Lorsque la boîte de dialogue New Folder s’ouvre, entrez un nom dans le champ « Name of new folder », puis cliquez sur Create. Un nouveau sous-répertoire apparaît dans le répertoire StillStore dans votre ensemble de projets et devient le répertoire ouvert dans lequel toutes les nouvelles images sont enregistrées. Raison pour laquelle un projet peut devenir très volumineux Toutes les images étant enregistrées dans le sous-répertoire StillStore dans votre ensemble de projets, vous constaterez peut-être que la sauvegarde de votre projet est plus longue qu’avant si vous enregistrez beaucoup d’images. Si vous avez besoin de réduire la taille du fichier projet, supprimez le plus possible des images du Still Store inutilisées.358 Chapitre 16 Magasin d’images fixes (Still Store) Important : vous ne pouvez pas déplacer des images dans des sous-répertoires à l’issue de leur création. Pour enregistrer de nouvelles images dans un sous-répertoire, vous devez y accéder dans le chutier Still Store avant d’enregistrer de nouvelles images. Retrait d’images du Still Store Les images enregistrées peuvent s’accumuler assez rapidement dans le Still Store, il est donc nécessaire de supprimer régulièrement toutes les images inutiles. Pour supprimer une image du Still Store : 1 Cliquez sur l’onglet Still Store. 2 Sélectionnez l’image à supprimer. 3 Cliquez sur Delete ou Forward Delete. 4 Cliquez sur Yes dans la boîte de dialogue d’avertissement qui s’affiche, pour confirmer que vous voulez supprimer l’image sélectionnée. La suppression d’une image ne peut pas être annulée dans Still Store. Rappel d’images du Still Store Lorsqu’une image a été ajoutée au Still Store, elle peut être rappelée à tout moment. Pour afficher une image enregistrée, vous devez la charger dans le Still Store, puis activer ce dernier pour la visualiser. Pour charger une image dans le Still Store : 1 Cliquez sur l’onglet Still Store. 2 Effectuez l’une des opérations suivantes :  Sélectionnez l’image à charger, puis cliquez sur Load.  Double-cliquez sur l’image à charger. Une fois une image chargée, vous devez activer Display Loaded Still pour la rendre visible. Pour afficher une image chargée dans le Still Store, procédez de l’une des manières suivantes : m Choisissez Still Store > Display Loaded Still (Ctrl + U). m Cliquez sur l’onglet Still Store, puis sélectionnez Display Loaded Still. L’image chargée s’affiche dans l’aperçu et sur votre moniteur broadcast. Par défaut, les images apparaissent sous forme de comparaison d’image composite de gauche à droite, mais cela peut être personnalisé.Chapitre 16 Magasin d’images fixes (Still Store) 359 Personnalisation de la vue du Still Store Chaque coloriste utilise le Still Store à sa façon. Certains préfèrent passer d’une image plein écran à une autre lors de leur comparaison, alors que d’autres créent une image composite afin de comparer, côte à côte, le Still Store et le plan étalonné. Color vous permet d’utiliser les deux méthodes. Chaque image a ses propres réglages quant à l’aspect qu’elle aura lors de son rappel. Ils figurent sur la droite du studio Still Store.  Enable : rend l’image Still Store chargée visible dans l’aperçu et les moniteurs de sortie vidéo. Identique à Still Store > Enable (Ctrl + U).  Transition : ce paramètre détermine dans quelle mesure l’image chargée est affichée à l’écran. Lorsque la valeur indiquée est 0, l’image chargée n’est pas du tout visible. S’il s’agit de la valeur 1, l’image chargée remplit la totalité de l’écran. Les autres valeurs intermédiaires créent une vue d’image composite.  Angle : modifie l’angle le long duquel la bordure d’une image composite est orientée. Les boutons d’orientation ci-dessous modifient automatiquement le paramètre Angle, mais le seul moyen de créer une image composite diagonale consiste à personnaliser ce contrôle.  Left to Right : affecte la valeur 180 degrés au paramètre Angle, pour créer une image composite verticale avec l’image sur la gauche.  Right to Left : affecte la valeur 0 degrés au paramètre, pour créer une image composite verticale avec l’image sur la droite.  Top to Bottom : affecte la valeur -90 degrés au paramètre Angle, pour créer une image composite horizontale avec l’image en haut.  Bottom to Top : affecte la valeur 90 degrés au paramètre Angle, pour créer une image composite horizontale avec l’image en bas. Contrôles du chutier Still Store Le chutier Still Store est doté des contrôles suivants :360 Chapitre 16 Magasin d’images fixes (Still Store)  Up Directory : cliquer sur ce bouton permet d’accéder au répertoire précédent du chemin d’accès en cours. Vous ne pouvez pas quitter l’ensemble de projets. Afin que votre projet soit bien organisé, assurez-vous d’enregistrer toutes vos images dans le répertoire /StillStore/ de votre ensemble de projets.  Home Directory : sélectionne le chemin d’accès au répertoire StillStore dans votre ensemble de projets.  Icon View : le chutier Still Store passe en mode d’affichage des icônes. Chaque image enregistrée est représentée par une vignette et toutes les images sont organisées en fonction de la date et de l’heure de leur sauvegarde, les images le plus anciennes apparaissant en premier (de gauche à droite).  List View : en mode liste, toutes les images et tous les répertoires sont représentés par deux colonnes. Le nom du fichier d’images figure à gauche et la date de sa création à droite. Toutes les images sont organisées en fonction de la date et de l’heure de leur sauvegarde, les images le plus anciennes apparaissant en haut et les plus récentes en bas.  Curseur Icon Size : lorsque le chutier Still Store est en mode d’affichage des icônes, ce curseur permet d’augmenter et de réduire la taille des vignettes affichées pour chaque image.  Champ File : ce champ est à double emploi. Lorsque vous chargez une image, ce champ affiche son nom. Cependant, si vous entrez un nom personnalisé, puis enregistrez une autre image, la nouvelle image sera créée avec le nom entré.  Menu local Directory : ce menu local affiche le chemin d’accès au répertoire en cours et vous permet de remonter la structure de répertoires, si vous le voulez.  Bouton New Directory : crée un sous-répertoire dans le répertoire StillStore de votre ensemble de projets.  Bouton Save : enregistre l’image à la position en cours de la tête de lecture afin d’être rappelée ultérieurement.  Bouton Load : charge une image afin qu’elle puisse être comparée via le bouton Enable ou la commande Enable dans le menu Still Store (Ctrl + -U).17 361 17 File d’attente de rendu Lorsque vous avez terminé l’étalonnage de votre programme, les contrôles de la file d’attente de rendu vous permettent de rendre l’ensemble approprié de fichiers de données pour la sortie finale de votre programme, vers Final Cut Pro, ou vers d’autres systèmes compatibles. Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos du rendu dans Color (p. 361)  Quels effets sont rendus par Color ? (p. 362)  L’interface de la file d’attente de rendu (p. 363)  Mode de rendu des plans dans votre projet (p. 365)  Rendu de plusieurs jeux d’étalonnage pour chaque plan (p. 367)  Commande Gather Rendered Media (p. 368) À propos du rendu dans Color Le rendu dans Color a une finalité différente de celle qu’il peut avoir dans une application comme Final Cut Pro. Dans Color, la totalité du traitement des effets pour la lecture est réalisé à la volée, en abandonnant des images ou en ralentissant de façon à afficher votre sortie étalonnée à un niveau de qualité élevé à des fins d’évaluation. Les données lues dans Color ne sont pas mise en mémoire vive et il n’existe aucun moyen d’effectuer un prérendu de votre projet pour la lecture pendant que vous travaillez. Dans Color, le rendu est traité comme l’étape finale dans la validation de vos corrections sur disque par la génération d’un nouvel ensemble de fichiers de données. La file d’attente de rendu permet d’effectuer un rendu de tout ou partie des plans dans votre projet lorsqu’ils ont été corrigés dans Color.362 Chapitre 17 File d’attente de rendu Vous pouvez utiliser la file d’attente de rendu pour rendre votre projet de façon incré- mentielle ou intégrale. Par exemple, si vous travaillez sur un projet à haute résolution avec une planification sur plusieurs jours ou semaines, vous pouvez choisir d’ajouter les plans de chaque scène à la file d’attente de rendu au fur et à mesure de leur approbation, en les préparant à un rendu durant la nuit à la fin de chaque session quotidienne. La charge de travail est ainsi répartie sur plusieurs jours et évite la longue session de rendu nécessaire à la génération de la totalité du programme. Vous pouvez cependant souhaiter effectuer un rendu de la totalité du programme d’un seul coup, par exemple, si vous avez besoin de générer un autre ensemble de données dans un autre format ou si la petite taille du projet ne nécessite pas de réaliser le rendu en plusieurs fois. Quels effets sont rendus par Color ? Les projets importés depuis des fichiers de projets XML et EDL peuvent être dotés de beaucoup plus d’effets que Color n’est capable d’en traiter. Notamment des transitions, des transformations géométriques, des superpositions, des effets de vitesse et des images. Lors du rendu de votre programme terminé, votre flux d’importation/d’exportation détermine les effets rendus par Color. En particulier, si vous importez un EDL pour étalonner et exporter des séquences d’images 2K DPX à imprimer sur film, Color permet d’effectuer un rendu des plans de votre projet très différent de celui obtenu si vous aviez importé un fichier XML et que vous procédiez au rendu de fichiers QuickTime devant être renvoyés à Final Cut Pro. Dans tous les cas, les corrections effectuées via les studios Primary In, Secondary, Color FX et Primary Out sont toujours rendues. La carte graphique que vous utilisez affecte le rendu en sortie Color utilise le processeur graphique installé dans votre ordinateur pour rendre les ajustements d’étalonnage et de géométrie appliqués aux plans de votre programme. Les capacités des processeurs graphiques des différentes cartes vidéo sont variables, il est donc possible que le même projet Color soit légèrement différent lorsqu’il est rendu sur des ordinateurs n’ayant pas les mêmes cartes graphiques. Pour garantir l’exactitude du rendu des couleurs, il est préférable de rendre votre projet sur un ordinateur doté de la même carte graphique que celle utilisée lors de l’étalonnage du programme.Chapitre 17 File d’attente de rendu 363 Effets rendus pour la sortie 2K Une fois que vous avez importé une liste de décisions de montage (EDL) et lorsque vous générez les séquences d’images 2K DPX en sortie, toutes les transformations que vous avez effectuées au niveau de l’onglet Pan & Scan du studio Geometry sont rendues. Les effets à créer dans le cadre de la finalisation du projet et qui ne sont pas rendus par Color comprennent les transitions vidéo, les effets de vitesse, les effets composites et les titres. Ces effets doivent être créés à l’aide d’une autre application, par exemple Shake. Les effets ne sont pas rendus lors de l’envoi à Final Cut Pro Lorsqu’un projet passe de Final Cut Pro XML à Color, toutes les transitions, tous les filtres, images, générateurs, effets de vitesse, paramètres de superposition et autres effets non compatibles avec Color provenant du projet Final Cut Pro d’origine sont conservés dans votre projet Color, même si ces effets ne sont pas visibles. Lorsque vous avez étalonné votre programme dans Color et avez rendu ce projet sous la forme d’une série de séquences QuickTime en préparation du retour à Final Cut Pro, les effets précédemment mentionnés qui ont été conservés de façon invisible ne sont pas rendus. Cependant, lorsque vous renvoyez le projet Color terminé à Final Cut Pro, ces effets réapparaissent dans la séquence Final Cut Pro résultante. À ce stade, vous pouvez effectuer d’autres ajustements et effectuer un rendu du projet Final Cut Pro avant de le mettre sur bande ou de le générer en tant que fichier de séquence principal QuickTime. Informations supplémentaires sur les réglages de mouvement et les ajustements Pan & Scan Un sous-ensemble des réglages de mouvement depuis Final Cut Pro est traduit en réglages Pan & Scan équivalents dans Color lors de la première importation du projet. Ces réglages ont un effet visible sur votre projet Color et peuvent être ajustés lors de l’affinage de votre programme. Cependant, ces effets ne sont pas rendus par Color. Ils sont transférés de Color à Final Cut Pro afin d’y être rendus. Pour en savoir plus, consultez la section « Importation et exportation de paramètres Geometry depuis/vers Final Cut Pro » à la page 332. L’interface de la file d’attente de rendu Les plans du programme devant être rendus sont spécifiés via la liste de la file d’attente de rendu. Lorsque vous ajoutez des plans à cette liste, ils sont organisés par numéro de plan. L’ordre dans lequel les plans apparaissent dans cette colonne dicte celui dans lequel ils sont rendus ; le plan non rendu situé en haut de la liste est rendu en premier, puis c’est le tour du plan non rendu suivant dans la liste jusqu’à la fin de celle-ci.364 Chapitre 17 File d’attente de rendu  Colonne Number : identifie la position numérique du plan dans la Timeline. Tous les plans de la file d’attente de rendu sont listés par ordre décroissant en fonction de leur numéro d’identifiant.  Colonne Shot Name : affiche une vignette et le nom du plan.  Colonne In : la première image des données qui sera rendue pour ce plan. Ce timecode est égal au point Project In plus la valeur Handles en cours spécifiée dans l’onglet Project Settings du studio Setup.  Colonne Out : la dernière image des données qui sera rendue pour ce plan. Ce timecode est égal au point Project Out plus la valeur Handles en cours spécifiée dans l’onglet  Project Settings du studio Setup. Remarque : si aucune donnée supplémentaire n’est disponible sur disque pour les poignées au début ou à la fin de plans, aucune poignée ne sera ajoutée.  Colonne Grade ID : affiche le jeu d’étalonnage sélectionné pour ce plan. Vous pouvez mettre en file d’attente le même plan jusqu’à quatre fois, différents jeux d’étalonnage étant activés, afin de rendre les données de chaque jeu d’étalonnage associé à ce plan.  Colonne Progress : cette colonne est dotée d’une barre de rendu indiquant la durée que prend le rendu d’un plan. Si le plan n’est pas en cours de rendu, cette colonne indique son état de rendu (en file d’attente, en cours de rendu ou rendu). Contrôles de la file d’attente de rendu Les boutons suivants sous la liste de la file d’attente de rendu permettent d’ajouter des plans à la file d’attente, de les supprimer et de lancer le rendu.  Add Selected : ajoute tous les plans sélectionnés à la file d’attente de rendu.  Add All : ajoute chaque plan de la Timeline à la file d’attente de rendu. Les plans ayant déjà été rendus sont aussi placés dans la file d’attente et seront de nouveau rendus sauf s’ils sont supprimés. Les plans rendus de nouveau remplacent les données rendues précédentes.  Clear Queue : supprime tous les plans de la file d’attente de rendu.  Remove Selected : supprime uniquement les plans sélectionnés de la file d’attente de rendu.  Start Render : lance le rendu pour tous les plans ayant été placés dans la file d’attente de rendu. Ce bouton a la même fonction que la commande du menu Render > Start Render. Important : lorsque vous avez lancé le rendu, vous pouvez le suspendre en appuyant sur Echap ou sur Ctrl + point.Chapitre 17 File d’attente de rendu 365 Mode de rendu des plans dans votre projet La file d’attente de rendu est conçue pour que vous puissiez gérer le rendu de votre projet à votre gré. Vous pouvez ajouter chaque plan du programme dans la file d’attente afin d’effectuer un rendu intégral ou vous pouvez n’ajouter que les plans terminés ce jour-là dans le cadre d’un processus de rendu incrémentiel de votre projet. Quelle que soit la façon dont vous décidez d’effectuer le rendu des données de votre projet, le processus est similaire ; vérification des réglages du projet et des plans, ajout des plans à la file d’attente de rendu, puis utilisation de la commande Start Render. Pour effectuer un rendu d’un ou de plusieurs plans de votre programme : 1 Dans la Timeline, choisissez le jeu d’étalonnage pour le rendu de chaque plan. 2 Procédez de l’une des manières suivantes pour ajouter des plans à la liste de la file d’attente de rendu :  Cliquez sur Add All.  Choisissez Render > Add All (Ctrl + Maj + Option + A).  Sélectionnez un ou plusieurs plans, puis cliquez sur Add Selected ou choisissez Render > Add Selected (Commande + Maj + A) pour ajouter les plans sélectionnés. Lorsque vous avez ajouté des plans à la liste de la file d’attente de rendu, l’état de chacun des plans ajouté devient Queued dans le navigateur Shots. Dans la Timeline, chacun des plans ajoutés s’affiche, une barre d’état jaune figurant au-dessus du jeu d’étalonnage utilisé pour chaque plan mis en file d’attente, afin d’indiquer quel jeu d’étalonnage est rendu. Remarque : vous pouvez ajouter un plan à la file d’attente de rendu avec un jeu d’étalonnage activé, puis choisir un autre niveau pour ce plan et l’ajouter de nouveau à la file afin de rendre les deux jeux d’étalonnage pour ce plan. 3 Revérifiez les réglages de votre projet avant d’effectuer le rendu afin de vous assurer que vous utilisez le répertoire de rendu, le réglage d’interfaçage, le codec d’exportation et les réglages Broadcast Safe corrects.366 Chapitre 17 File d’attente de rendu 4 Si vous effectuez un rendu de données Cineon ou DPX, revérifiez le menu local Render Proxy dans l’onglet User Prefs pour vous assurer que vous effectuez le rendu à la résolution requise. 5 Effectuez l’une des opérations suivantes :  Cliquez sur le bouton Start Render dans l’onglet Render Queue.  Choisissez Render > Start Render. Le rendu des plans de la file d’attente de rendu commence. Une barre de progression verte s’affiche dans la colonne Progress du premier plan non rendu de la liste, indiquant la durée de son rendu. Simultanément, la barre de rendu figurant au-dessus de la réglette de la Timeline pour le plan rendu dans la Timeline reflète la barre de progression dans la file d’attente de rendu.Chapitre 17 File d’attente de rendu 367 Lorsque le rendu du premier plan de la file d’attente de rendu est terminé, le prochain est lancé et le rendu se poursuit du haut vers le bas de la liste jusqu’à ce que le dernier plan soit rendu. Tous les plans rendus dans la Timeline apparaissent avec une barre de rendu verte au-dessus de la réglette de la Timeline et une barre d’état verte au-dessus du jeu d’étalonnage rendu. Important : pour suspendre le rendu, appuyez sur Echap. Vous pouvez cliquer de nouveau sur Start Render pour reprendre le rendu. Toutes les données rendues sont écrites dans le répertoire de rendu du projet, spécifié dans l’onglet Project Settings du studio Setup. Le répertoire de rendu est organisé en sous-répertoires numérotés correspondant chacun à un plan de la Timeline de votre projet. Le numéro de chaque sous-répertoire correspond au numéro de chaque plan dans la colonne Number de la file d’attente de rendu. Chacun de ces sous-répertoires contient jusqu’à quatre ensembles de données rendus correspondant à chaque jeu d’étalonnage rendu. Rendu de plusieurs jeux d’étalonnage pour chaque plan Chaque plan de votre projet Color utilise un des quatre jeux d’étalonnage (maximum). En travaillant, vous pouvez modifier librement le jeu d’étalonnage utilisé par un plan, en passant d’un aspect à un autre selon vos besoins durant le développement de l’esthétique du programme. Vous pouvez aussi rendre chacun des jeux d’étalonnage d’un plan individuellement ou collectivement. Ainsi, s’il existe une scène où le client peut préférer un des quatre aspects différents, vous pouvez parer à toute éventualité en rendant toutes les copies de travail. Color a connaissance du jeu d’étalonnage sélectionné lorsque vous renvoyez ce projet à Final Cut Pro, ou lorsque vous utilisez la commande Gather Rendered Media et s’assure que le fichier de rendu approprié est utilisé. Chaque jeu d’étalonnage rendu est numéroté. Par exemple, si vous avez rendu deux jeux d’étalonnage différents dans un projet QuickTime pour le plan numéro 1, le sousrépertoire de ce dernier contient deux plans appelés 1_g1.MOV et 1_g2.MOV, le numéro suivant immédiatement le g indiquant à quel jeu d’étalonnage correspond ce fichier.368 Chapitre 17 File d’attente de rendu Afin de rendre plusieurs jeux d’étalonnage pour un plan : 1 Placez la tête de lecture sur un plan à rendre et choisissez le premier jeu d’étalonnage à utiliser pour ce plan. 2 Sélectionnez ce plan, cliquez sur l’onglet Render Queue, puis cliquez sur Add Selected pour ajouter ce plan à la file d’attente de rendu. 3 Passez au jeu d’étalonnage suivant que vous voulez utiliser pour ce plan. 4 Cliquez de nouveau sur Add Selected pour ajouter ce plan à la file d’attente de rendu une seconde fois. Chaque jeu d’étalonnage en file d’attente pour rendu apparaît avec une barre de rendu jaune au-dessus de la barre de jeux d’étalonnage de la Timeline. La colonne ID du jeu d’étalonnage dans la file d’attente de rendu indique les jeux d’étalonnage sélectionnés pour rendre chaque plan. Commande Gather Rendered Media Cette commande ne peut être utilisée que lorsque vous avez rendu des données de séquence d’images pour un projet importé via EDL. Elle est utilisée pour organiser vos données de séquence d’images rendues afin de les préparer pour l’imprimante de films. Elle organise vos séquences d’images rendues de deux façons :  Elle place chaque image des données de votre projet dans un seul répertoire.  Elle renomme chaque image des données pour votre projet afin de créer un éventail d’images continu de la première à la dernière image du projet rendu. Important : vous ne pouvez pas rassembler des données dans une boucle XML.Chapitre 17 File d’attente de rendu 369 Pour rassembler les données rendues : 1 Choisissez File > Gather Rendered Media. 2 Choisissez l’une de ces trois options pour rassembler les données rendues de votre projet :  Copy Files : effectue des doubles des fichiers de séquences d’images, mais laisse les fichiers originellement rendus dans le répertoire de rendu.  Move Files : copie les fichiers de séquences d’images, puis supprime les fichiers originellement rendus du répertoire de rendu.  Link Files : crée des alias des fichiers originellement rendus dans le répertoire de rendu. Ceci est utile si vous voulez traiter les images via une application sur votre ordinateur et que vous ne voulez pas dupliquer les données inutilement. Par contre, cela ne présente pas d’intérêt si vous envisagez de transporter les données vers un autre emplacement, car les fichiers d’alias ne pointent que sur les données d’origine dans le répertoire de rendu et ne contiennent aucune donnée d’image. 3 Cliquez sur Create New Directory si vous voulez placer les données rassemblées dans un nouveau répertoire. 4 Cliquez sur Gather. Toutes les images rendues de chaque plan de votre projet sont renommées, renumérotées et placées dans le répertoire spécifié, prêtes à être traitées plus avant ou transmises. 371 A Annexe A Étalonnage de votre moniteur Lorsque vous utilisez des périphériques analogiques, veillez à ce qu’ils soient bien étalonnés du point de vue de la couleur et de la luminosité pour que vous puissiez étalonner avec précision votre vidéo. À propos de la mire La mire est un signal vidéo généré électroniquement qui obéit à des caractéristiques spécifiques très strictes. Les niveaux de luminance et de chrominance étant standard, vous pouvez utiliser la mire pour passer en revue les différents composants d’un maté- riel vidéo pour vous rendre compte de la façon dont chacun restitue le signal. Les formats NTSC et PAL possèdent chacun leurs standards de mire, et il existe même plusieurs standards au sein de chacun des formats. Lorsque vous analysez la mire sur un instrument vidéo, il est essentiel que vous sachiez à quel standard vous rapporter pour éviter les impairs dans votre échantillonnage. La « mire SMPTE » est le standard couramment utilisé. Étalonnage des moniteurs avec la mire Les monteurs et les concepteurs d’émissions ne doivent pas se fier à un moniteur non étalonné pour les ajustements majeurs de couleur et de luminosité de leurs programmes. Il est très important d’utiliser un moniteur de diffusion bien étalonné afin d’assurer des ajustements corrects d’exposition et de couleurs. Quand utiliser la mire ? Les périphériques analogiques ont sans cesse besoin d’être étalonnés et réajustés même pour de légers décalages. En effet, la chaleur, le temps, le bruit, la longueur de câbles et bien d’autres facteurs jouent de façon subtile sur le voltage du signal vidéo électronique analogique, ce qui a un effet sur la luminosité et la couleur de l’image vidéo. La mire offre un signal de référence que vous pouvez utiliser pour étalonner les niveaux de sortie d’un appareil analogique.372 Annexe A Étalonnage de votre moniteur Étalonnage de votre moniteur de diffusion Pour étalonner un moniteur, utilisez la mire standard SMPTE. La luminosité et le contraste sont ajustés à vue d’œil au moyen de la mire à l’écran. Pour l’ajustement de chrominance et de phase, utilisez le bouton Fond bleu dont sont dotés les moniteurs vidéo professionnels. Tous les moniteurs doivent être étalonnés, qu’ils soient à l’extérieur ou dans le studio de montage. Pour étalonner votre moniteur : 1 Connectez un générateur de mire ou de motifs de test au moniteur utilisé ou utilisez la sortie de l’un des générateurs de mires intégrés dans Final Cut Pro. Important : évitez d’utiliser des images fixes de mires. Pour en savoir plus, consultez la section « Rendu Y´CB CR et mire » à la page 374. 2 Allumez le moniteur et attendez environ 30 minutes pour qu’il « chauffe » et atteigne une température stable. 3 Sélectionnez l’entrée appropriée sur le moniteur pour que la mire apparaisse à l’écran. Trois barres noires de différentes intensités sont affichées près du coin inférieur droit de la mire. Chacune d’elles correspond à une valeur de luminosité différente, mesurée en IRE. (IRE vient de Institute of Radio Engineers (Institut des ingénieurs radio), qui fait désormais partie de l’organisme IEEE. Il s’agit d’une unité de tension spécifique à la vidéo.) Il s’agit des barres de réglage dites PLUGE (Picture Lineup Generation Equipment), qui permettent d’ajuster la luminosité et le contraste d’un moniteur vidéo en vous aidant à établir le noir absolu. 4 Abaissez au minimum la chrominance du moniteur. Il s’agit d’un réglage temporaire qui va vous permettre d’ajuster plus précisément la luminance. Le contrôle de chrominance peut également être appelé couleur ou saturation. 5 Ajustez le contrôle de luminosité de votre moniteur jusqu’à ne plus pouvoir distinguer les deux barres Pluge de gauche et le carré noir adjacent. À ce stade, la plus lumineuse des barres (11,5 IRE) ne doit plus être qu’à peine visible et les deux barres Pluge de gauche (5 et 7,5 IRE respectivement) doivent présenter le même niveau de noir. 6 Augmentez alors le contraste au maximum jusqu’à ce que cette barre devienne claire, puis diminuez à nouveau.Annexe A Étalonnage de votre moniteur 373 Le point où cette barre est presque invisible correspond au réglage de contraste correct pour votre moniteur (l’exemple indiqué ci-dessous est volontairement exagéré). Lorsque vous réglez le contraste, gardez un œil sur le carré blanc en bas à gauche. Si le contraste est trop fort, le carré blanc doit donner l’impression de déborder sur les carrés d’à côté. Réglez alors le contraste jusqu’à ne plus avoir cette impression. Important : le contraste ne doit être ajusté qu’après la luminosité 7 Lorsque vous avez terminé les réglages de luminance, remettez le contrôle de la chrominance dans la position du milieu (détente). Remarque : certains boutons s’arrêtent en une position par défaut très précise. C’est ce que l’on appelle la position de détente. Si vous réglez un moniteur PAL, vous avez terminé. Les prochaines étapes traitent de réglages de la couleur qui ne concernent que les moniteurs NTSC. 8 Appuyez sur le bouton « Fond bleu » à l’avant de votre moniteur pour préparer le réglage des contrôles Chroma et Phase. Remarque : ce bouton n’est généralement disponible que sur les moniteurs professionnels. 9 Effectuez les réglages suivants en fonction du type de signal vidéo que vous contrôlez :  Si vous contrôlez un signal Y´CB CR SDI ou par composantes, n’ajustezl que le contrôle Chroma de sorte que les parties supérieures et inférieures des barres grises alternatives correspondent. Il s’agit du seul réglage que vous devez effectuer, car le contrôle Phase n’a aucun effet avec les signaux SDI ou par composantes.  Si vous contrôlez un signal Y/C (aussi appelé S-vidéo), il est exécuté via un décodeur RVB intégré au moniteur. Dans ce cas, réglez les contrôles Chroma et Phase. La chrominance affecte l’équilibre des deux barres grises externes. La phase affecte l’équilibre des deux barres grises internes. Les réglages effectués pour l’un de ces contrôles affectant l’autre, vous devez continuer à les régler jusqu’à ce que toutes les barres grises soient d’une luminosité uniforme en haut et en bas. Lorsque la luminosité et le contraste sont correctement réglés, cette bande ne doit pas être visible au-delà du noir.374 Annexe A Étalonnage de votre moniteur Remarque : le second point s’applique aussi au contrôle des signaux composites, mais il n’est vraiment pas recommandé de contrôler de tels signaux lors de l’étalonnage. Lorsque votre moniteur est correctement étalonné, la couleur des barres grises et noires sera homogène. Rendu Y´CB CR et mire Si le rendu Y´CB CR doit être pris en charge par le codec utilisé dans une séquence pour que Final Cut Pro effectue un rendu de la mire via une zone PLUGE (Picture Lineup Generation Equipment) incluant un signal super noir (4 IRE dans NTSC, 2 IRE dans PAL) pour l’étalonnage. La partie PLUGE du signal test ne peut pas être rendue via un codec RVB. Lorsque la phase (équivalent de la teinte) du moniteur est correctement ajustée, des barres alternativement grises et noires doivent s’afficher. 375 B Annexe B Raccourcis clavier Raccourcis clavier dans Color Les tableaux ci-après illustrent les différents raccourcis clavier disponibles dans Color. Raccourcis clavier relatifs aux projets Les raccourcis clavier suivants sont communs à de nombreuses applications et vous permettent de gérer vos projets Color. Commande Description Commande + N Nouveau projet Commande + O Ouvrir un projet Commande + R Revenir à la version sauvegardée du projet en cours Commande + S Enregistrer le projet Option + Commande + S Enregistrer une copie archivée sous un autre nom Option + Commande + A Ouvrir une version archivée du projet Commande + I Importer un plan (ouvre le navigateur de fichiers dans le studio Setup Option + Commande + G Rassembler les données rendues (uniquement pour les projets Cineon ou DPX) Commande + Z Annuler ; appuyez sur Commande + Z une seconde fois pour réinstaurer la modification précédemment annulée Commande + X Couper Commande + C Copier Commande + V Coller Commande + A Tout sélectionner Commande + ? Ouvrir le manuel de l’utilisateur376 Annexe B Raccourcis clavier Changement de studio et de fenêtre Les raccourcis clavier ci-après vous permettent de naviguer dans l’interface utilisateur de Color, de passer d’un studio à l’autre ou d’une fenêtre à une autre. Lecture et navigation Les raccourcis clavier ci-après vous permettent de commander la lecture de votre projet et la navigation dans celui-ci en déplaçant la tête de lecture le long de la Timeline. Commande Description Commande + 1 Ouvrir le studio Setup Commande + 2 Ouvrir le studio Primary In Commande + 3 Ouvrir le studio Secondaries Commande + 4 Ouvrir le studio Color FX Commande + 5 Ouvrir le studio Primary Out Commande + 6 Ouvrir le studio Geometry Commande + 7 Ouvrir le magasin des images fixes Commande + 8 File d’attente de rendu Commande + 9 Ouvrir l’onglet Project Settings dans le studio Setup Commande + 0 Ouvrir le navigateur de plans dans le studio Setup. Maj + 1 Sélectionner la fenêtre Color Maj + 2 Sélectionner la fenêtre Scopes Maj + 0 Passer du mode simple écran au mode double écran ou vice versa au prochain lancement de Color Commande Description Barre d’espace Alterner entre la lecture et l’arrêt J Lire en arrière K Arrêter L lire vers l’avant Flèche vers le bas Amener la tête de lecture sur le plan suivant Flèche vers le haut Amener la tête de lecture sur le plan précédent Flèche gauche Faire reculer la tête de lecture d’une image Flèche droite Faire avancer la tête de lecture d’une image Début Aller au début de la Timeline Fin Aller à la fin de la Timeline Maj + Contrôle + M Changer de mode de lecture I Définir un point d’entrée de lecture sur la Timeline O Définir un point de sortie de lecture sur la TimelineAnnexe B Raccourcis clavier 377 Raccourcis liés aux jeux d’étalonnage Les raccourcis clavier ci-après vous permettent de créer, de sélectionner, de copier et de coller des jeux d’étalonnage à appliquer aux plans sur lesquels est positionnée la tête de lecture. Raccourcis clavier relatifs à la Timeline Les raccourcis clavier ci-après vous permettent de changer l’affichage de la Timeline ; elles ne peuvent être utilisées que lorsque le pointeur se trouve dans la partie Timeline de l’interface utilisateur. Commande Description Contrôle + 1 Créer un jeu d’étalonnage/Sélectionner le jeu d’étalonnage 1 Contrôle + 2 Créer un jeu d’étalonnage/Sélectionner le jeu d’étalonnage 2 Contrôle + 3 Créer un jeu d’étalonnage/Sélectionner le jeu d’étalonnage 3 Contrôle + 4 Créer un jeu d’étalonnage/Sélectionner le jeu d’étalonnage 4 Contrôle + G Activer/désactiver le jeu d’étalonnage sélectionné Contrôle + Option + Maj + 1 (1 à 5) Copier le jeu d’étalonnage sélectionné dans la mémoire 1 à 5 Option + Maj + 1 (1 à 5) Coller le jeu d’étalonnage stocké dans la mémoire 1 à 5 Contrôle + B Désigner le jeu d’étalonnage sélectionné comme le jeu d’étalonnage parfait Commande Description Commande + – Zoom arrière – (pavé numérique) Zoom arrière Command + + Zoom avant + (pavé numérique) Zoom avant F Graduer la réglette de la Timeline en images S Graduer la réglette de la Timeline en secondes M Graduer la réglette de la Timeline en minutes H Graduer la réglette de la Timeline en heures Tab Alterner les graduations de la réglette de la Timeline entre images/ secondes/minutes/heures378 Annexe B Raccourcis clavier Raccourcis clavier de montage Les raccourcis clavier ci-après permettent de sélectionner des outils de montage lorsque vous travaillez sur des projets comportant des pistes vidéo non verrouillées. Raccourcis clavier relatifs aux images clés Les raccourcis clavier ci-après permettent de commander des opérations d’image clé dans tous les studios. Raccourcis relatifs au navigateur de plans Les raccourcis clavier ci-après ne fonctionnent que lorsque le pointeur est dans le navigateur de plans du studio Setup. Commande Description Contrôle + S Choisir l’outil Sélection Contrôle + R Choisir l’outil Roll Contrôle + T Choisir l’outil Ripple Contrôle + Y Choisir l’outil Coulissement Contrôle + X Choisir l’outil Split Contrôle + Z Choisir l’outil Splice Contrôle + V Créer un point de montage à la position de la tête de lecture Contrôle + B Fusionner un point de montage à la position de la tête de lecture Commande Description Contrôle + 8 Changer de type d’interpolation d’image clé à la position de la tête de lecture Contrôle + 9 Ajouter une image clé à la position de la tête de lecture Contrôle + 0 Supprimer une image clé à la position de la tête de lecture Option + Flèche gauche Amener la tête de lecture sur l’image clé précédente du plan sélectionné dans le studio sélectionné Option + Flèche droite Amener la tête de lecture sur l’image clé suivante du plan sélectionné dans le studio sélectionné Commande Description G Affecter les plans sélectionnés à un même groupe F Centrer le navigateur de plansAnnexe B Raccourcis clavier 379 Raccourci disponible dans le studio Geometry Le raccourci clavier ci-après ne fonctionne que lorsque le pointeur est dans le studio Geometry. Raccourcis relatifs au magasin d’images fixes Les raccourcis clavier ci-après vous permettent d’enregistrer et d’activer des images fixes sans avoir besoin d’ouvrir le magasin Still Store. Raccourcis relatifs à la file d’attente de rendu Les raccourcis clavier ci-après vous permettent d’ajouter des plans à la file d’attente de rendu et de lancer l’opération de rendu sans avoir besoin d’ouvrir la file d’attente. Commande Description F Encadrer l’image précédente dans le studio Geometry Commande Description Contrôle + U Activer les images fixes actuellement chargées Contrôle + I Enregistrer l’image qui se trouve à la position de la tête de lecture dans le magasin d’images fixes Commande Description Maj + Commande + A Ajouter les plans sélectionnés à la file d’attente de rendu Option + Maj + Commande + A Ajouter tous les plans de la Timeline à la file d’attente de rendu Commande + P Lancer l’opération de rendu 381 C Annexe C Configuration d’une surface de contrôle Color est compatible avec les surfaces de contrôle de marques JLCooper et Tangent Devices. Une surface de contrôle vous permet d’effectuer simultanément des corrections de plusieurs paramètres dans le cours de votre travail. Vous y gagnez non seulement en rapidité, mais cela vous permet d’appliquer des réglages de couleur complexes en une seule fois à différentes zones de l’image. Cette annexe explique comment raccorder à votre ordinateur et configurer des surfaces de contrôle compatibles avec Color et aborde les points suivants :  Surfaces de contrôle JLCooper MCS-3000, MCS-Spectrum, MCS-3400 et MCS- 3800 (p. 382)  Surface de contrôle Tangent Devices CP100 (p. 387)  Surface de contrôle Tangent Devices de la gamme CP200 (p. 389)  Personnalisation de la sensibilité des surfaces de contrôle (p. 394)382 Annexe C Configuration d’une surface de contrôle Surfaces de contrôle JLCooper MCS-3000, MCS-Spectrum, MCS-3400 et MCS-3800 JLCooper fabrique tout un ensemble de surfaces de contrôle compatibles aussi bien avec Color qu’avec Final Cut Pro. La gamme de surfaces de contrôle MCS dispose à la fois de commandes de navigation et de commandes propres à la correction de couleurs, dans différentes configurations. Pour pouvoir utiliser les surfaces de contrôle MCS de JL Cooper avec Color, vous devez disposer des éléments suivants et satisfaire aux conditions suivantes :  un MCS-3000, MCS-3400 ou MCS-3800 avec surface de contrôle MCS-Spectrum  une carte Ethernet dans le logement 1 de votre contrôleur  un concentrateur, un routeur ou un commutateur multiport  des câbles Ethernet Cat-5 La connexion Ethernet de la surface de contrôle MCS-Spectrum est établie avec le contrôleur MCS-3000 à l’aide d’un câble d’extension Le contrôleur/surface de contrôle MCS-3000 est lui-même raccordé à votre ordinateur par Ethernet. Important : les surfaces de contrôle JLCooper ne peuvent pas être raccordées à un second port Ethernet de l’ordinateur Mac Pro. Elles doivent être raccordées au port Ethernet principal, si nécessaire au travers d’un concentrateur ou d’un commutateur si ce port doit être partagé avec une connexion à Internet. R3 B3 B2 R1 B1 R2 PAGE 5 PAGE 6 PAGE 8 PAGE 7 PAGE 1 PAGE 2 PAGE 4 PAGE 3 F1 M1 W1 W2 W3 W4 W5 W6 W7 JOG SHUTTLE M2 M3 1 2 3 4 5 6 7 8 BANK 1 BANK 2 HOURS MINUTES SECONDS FRAMES BANK 4 BANK 4 PAGE ASSIGN UTILITY M4 M5 TIME CODE DISPLAY F2 F3 F4 F5 F6 F7 F8Annexe C Configuration d’une surface de contrôle 383 Configuration des surfaces de contrôle MCS-3000 et MCS-Spectrum Les marches à suivre proposées ci-après expliquent comment configurer et utiliser ces surfaces de contrôle avec Color. Pour configurer les MCS-3000 et MCS-Spectrum pour utilisation avec Color : 1 Mettez le MCS-3000 sous tension et patientez jusqu’à la fin de son initialisation. Le MCS-3000 fonctionne de la même façon que n’importe quel ordinateur de réseau. Vous devez donc configurer ses réglages IP pour qu’il puisse être en réseau avec votre ordinateur. 2 Maintenez les touches SHIFT et ASSIGN/UTILITY enfoncées simultanément. Les réglages d’adresse IP en vigueur s’affichent sur l’écran qui se trouve en haut de l’appareil. 3 En utilisant le pavé numérique du MCS-3000, tapez les valeurs suivantes : a Tapez une adresse IP, puis appuyez sur ENTER pour la valider et passer à l’étape suivante : Vous pouvez, par exemple, lui attribuer l’adresse IP : 192.168.001.010 Remarque : les trois premiers groupes de chiffres de l’adresse doivent être les mêmes que ceux des autres adresses IP utilisées sur votre réseau local. Si vous n’êtes pas sûr des valeurs à utiliser, contrôlez l’adresse IP de votre ordinateur (elle se trouve dans les réglages Réseau de vos Préférences Système) et créez l’adresse IP du MCS-3000 sur cette base, en ne changeant que le dernier groupe de chiffres de sorte que cette adresse soit propre, c’est-à-dire non utilisée par un autre périphérique du réseau. b Tapez une adresse de passerelle, puis appuyez sur ENTER pour la valider et passer à l’étape suivante : Remarque : les trois premiers groupes de chiffres de cette adresse doivent être les mêmes que l’adresse IP que vous venez de créer. c Tapez un masque de sous-adresse, puis appuyez sur ENTER pour la valider et passer à l’étape suivante : Dans l’exemple que nous avons pris, où les trois premiers groupes de chiffres des adresses IP sont identiques pour toutes les adresses de votre réseau local, le masque à indiquer est le suivant : 255.255.255.000 d Tapez un numéro de port par lequel communiquera l’appareil, puis appuyez sur ENTER pour la valider et passer à l’étape suivante : Vous pouvez, par exemple, taper : 49153 Remarque : pour éviter les conflits de numéros de port, choisissez une valeur comprise dans la plage définie par la norme comme celle des « Ports dynamiques et/ou privés », c’est-à-dire entre 49152 et 65535. 4 Mettez hors tension le MCS-3000 et le MCS-Spectrum. Maintenant que votre surface de contrôle est configurée, vous devez la paramétrer dans Color.384 Annexe C Configuration d’une surface de contrôle Pour utiliser les MCS-3000 et MCS-Spectrum avec Color : 1 Mettez d’abord sous tension le MCS-Spectrum, puis mettes sous tension le MCS-3000. 2 Ouvrez Color. Si vous ouvrez Color pour la première fois, la zone de dialogue Control Surface Startup vous est présentée. Si ce n’est pas la première fois que vous ouvrez Coloret si vous avez demandé à ce que cette zone de dialogue n’apparaisse plus systématiquement au démarrage, vous devez cliquer sur le bouton Show Control Surface Dialog de l’onglet User Prefs du studio Setup. 3 Lorsque la zone de dialogue Control Surface Startup apparaît : a Choisissez « JLCooper - MCS3000/Spectrum » dans le menu contextuel Control Surface. b Tapez l’adresse IP que vous avez définie pour le MCS-3000 dans le champ Adresse IP, puis appuyez sur Entrée. c Tapez le numéro de port que vous avez défini pour le MCS-3000 dans le champ Port, puis appuyez sur Entrée. 4 Cliquez sur Yes. Les MCS-3000 et MCS-Spectrum sont en principe maintenant prêts à être utilisés avec Color. Commandes des MCS-3000 et MCS-Spectrum La plupart des commandes (ou « contrôles ») des MCS-3000 et MCS-Spectrum sont identifiées par des libellés. Vous trouverez ci-après des indications sur ces commandes et fonctions et sur celles dont l’emploi est moins immédiatement clair.Annexe C Configuration d’une surface de contrôle 385 MCS-3000  Page 1-8 : Sélectionner l’un des huit studios de Color.  F1 : Supprimer l’image clé  F2 : Ajouter une image clé  F3 : Modifier l’interpolation de l’image clé  Retour arrière : Revenir au début du plan ou au plan précédent  Avance rapide : Passer à la fin du plan ou au plan suivant  Arrêt : Arrêter la lecture  Lecture : Lancer la lecture  Molette Jog Shuttle : Commande fine de la tête de lecture  Pavé numérique : Commandes de navigation  Locate : Aller à un timecode ou à un identifiant de plan  Mode : Alterner la fonction de la touche Locate entre recherche de timecode et recherche d’identifiant de plan  Last : Retourner au dernier emplacement  Enter : Valider une valeur de navigation  M1 : Contrôle de vitesse  M2 : Lecture en pouces [???]  Bank1 : Sélectionner/Copier/Coller la mémoire d’étalonnage 1  Bank2 : Sélectionner/Copier/Coller la mémoire d’étalonnage 2  Bank3 : Sélectionner/Copier/Coller la mémoire d’étalonnage 3  Bank4 : Sélectionner/Copier/Coller la mémoire d’étalonnage 4  Assign : Alterner entre Sélectionner/Copier/Coller la mémoire d’étalonnage. (L’afficheur LCD vous indique quelle opération est sélectionnée.) F1 M1 W1 W2 W3 W4 W5 W6 W7 JOG SHUTTLE M2 M3 1 2 3 4 5 6 7 8 BANK 1 BANK 2 HOURS MINUTES SECONDS FRAMES BANK 4 BANK 4 PAGE ASSIGN UTILITY M4 M5 TIME CODE DISPLAY F2 F3 F4 F5 F6 F7 F8386 Annexe C Configuration d’une surface de contrôle Utilisation des contrôles de navigation Il y a deux façons possible de naviguer sur la timeline à l’aide du pavé numérique du MCS-3000. Pour alterner entre navigation par saisie du timecode et par saisie du numéro de plan : 1 Appuyez sur Mode Locate ou sur Set Locate sur le MCS-3000. 2 Maintenez enfoncée la touche Shift (la touche bleue sous la série de touches F-), puis appuyez sur Mode Locate. Les indicateurs du MCS-3000 affichent 00 00 00 00 (Timecode) ou 0 (Numéro de plan) pour vous indiquer dans quel mode vous êtes. Pour vous déplacer sur la Timeline à l’aide du timecode (mode Timecode) : 1 Appuyez sur Mode Locate ou sur Set Locate sur le MCS-3000. 2 Tapez le timecode que vous voulez atteindre, puis appuyez sur Enter. La tête de lecture passe à cet emplacement de timecode. Pour vous déplacer sur la Timeline à l’aide des numéros de plan (mode Numéro de plan) : 1 Appuyez sur Mode Locate ou sur Set Locate sur le MCS-3000. 2 Tapez le numéro de plan que vous voulez atteindre, puis appuyez sur Enter. La tête de lecture se déplace vers le plan correspondant à ce numéro sur la Timeline. Contrôles du MCS-Spectrum R3 B3 B2 R1 B1 R2 PAGE 5 PAGE 6 PAGE 8 PAGE 7 PAGE 1 PAGE 2 PAGE 4 PAGE 3Annexe C Configuration d’une surface de contrôle 387  R1 : Réinitialiser le curseur de contraste des ombres  B1 : Réinitialiser le contrôle de couleur des ombres  Boule de commande gauche : Réglage du contrôle de couleur des ombres  Couronne gauche : Réglage du curseur de contraste des ombres (point noir)  R2 : Réinitialiser le curseur de contraste des tons intermédiaires  B2 : Réinitialiser le contrôle de couleur des tons intermédiaires  Boule de commande centrale : Réglage du contrôle de couleur des tons intermédiaires  Couronne centrale : Réglage du curseur de contraste des tons intermédiaires (gamma)  R3 : Réinitialiser le curseur de contraste des hautes lumières  B3 : Réinitialiser le contrôle de couleur des hautes lumières  Boule de commande droite : Réglage du contrôle de couleur des hautes lumières  Couronne droite : Réglage du curseur de contraste des hautes lumières (point blanc) Surface de contrôle Tangent Devices CP100 Le Tangent Devices CP100 est une grande surface de contrôle intégrée combinant toutes les fonctionnalités utiles en une seule console. Configuration de la surface de contrôle CP100 Les marches à suivre proposées ci-après expliquent comment configurer et utiliser cette surface de contrôle avec Color. Remarque : vous devez avoir ouvert une session d’administrateur pour pouvoir configurer le Tangent Devices CP100. Pour configurer et utiliser le CP100 avec Color : 1 Raccordez le CP100 à votre ordinateur à l’aide d’un câble Ethernet. Important : le CP100 ne peut pas être raccordé à un second port Ethernet de l’ordinateur Mac Pro. Elles doivent être raccordées au port Ethernet principal, si nécessaire au travers d’un routeur ou d’un commutateur si ce port doit être partagé avec une connexion à Internet. 2 Mettez le CP100 sous tension et patientez jusqu’à la fin de son initialisation. 3 Ouvrez Color.388 Annexe C Configuration d’une surface de contrôle Si vous ouvrez Color pour la première fois, la zone de dialogue Control Surface Startup vous est présentée. Si ce n’est pas la première fois que vous ouvrez Coloret si vous avez demandé à ce que cette zone de dialogue n’apparaisse plus systématiquement au démarrage, vous devez cliquer sur le bouton Show Control Surface Dialog de l’onglet User Prefs du studio Setup. 4 Lorsque la zone de dialogue Control Surface Startup apparaît : a Choisissez « Tangent Devices - CP100 » dans le menu contextuel Control Surface. b Lorsque le système vous demande votre mot de passe d’administrateur, tapez ce dernier dans le champ correspondant, puis cliquez sur OK. Le CP100 est maintenant en principe prêt à fonctionner avec Color. Commandes du CP100  Do : Copier le jeu d’étalonnage (Mémoire 1)  Undo : Coller le jeu d’étalonnage (Mémoire 1)  Redo : Copier le jeu d’étalonnage de la correction précédente sur la Timeline  Cue : Commander la navigation (modes Timecode ou Numéro de plan)  Mark : Créer une image fixe  In : Définir le point d’entrée de lecture  Out : Définir le point de sortie de lecture  Select : Changer de mode de lecture  Mix : Afficher/masquer l’image fixe  Grade : Afficher/masquer le jeu d’étalonnage  Delete : Reprendre le jeu d’étalonnage identique ou de la mémoire de base  |< : Événement précédent  >|- Événement suivant  < : Lecture en arrière  [] : Arrêter la lecture  > : Lecture vers l’avant  Touche adjacente à la molette jog/shuttle : Faire passer la vitesse de lecture à x10 Compressor 3 Manuel de l’utilisateurK Apple Inc. Copyright © 2007 Apple Inc. Tous droits réservés. Vos droits sur le logiciel sont régis par l’accord de licence qui l’accompagne. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel Final Cut Studio peut reproduire la présente publication dans le but d’apprendre à utiliser ce logiciel. Aucune parte de la pré- sente publication ne peut être reproduite ni transmise à des fins commerciales, comme, par exemple, la vente de copies de la présente publication ou pour la fourniture de services d’assistance payants. Le logo Apple est une marque d’Apple Inc., déposée aux États-Unis et dans d’autres pays. L’utilisation du logo Apple sur un clavier (Option + 1) à des fins commerciales sans l’autorisation préalable écrite d’Apple Computer, Inc. peut constituer une contrefaçon de la marque et une concurrence déloyale en violation des lois fédérales et nationales. Tous les efforts nécessaires ont été mis en œuvre pour que les informations contenues dans ce manuel soient les plus exactes possibles. Apple n’est pas responsable des erreurs d’écriture et d’impression. Remarque : comme Apple publie souvent de nouvelles versions et des mises à jour de son logiciel d’exploitation, de ses applications et de ses sites Internet, les images qui figurent dans le présent ouvrage peuvent varier légèrement de ce que vous voyez à l’écran. Apple Inc. 1 Infinite Loop Cupertino, CA 950142084 408-996-1010 www.apple.com Apple, le logo Apple, AppleScript, DVD Studio Pro, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, iPod, iTunes, Mac, Macintosh, Mac OS, QuickTime et Soundtrack sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Apple TV et Finder sont des marques d’Apple Inc. AppleCare et Apple Store sont des marques de service d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Dolby Laboratories : fabriqué sous licence de Dolby Laboratories. « Dolby », « Pro Logic » et le symbole avec le double D sont des marques de Dolby Laboratories. Confidential Unpublished Works, © 1992-1997 Dolby Laboratories, Inc. Tous droits réservés. UNIX est une marque déposée de The Open Group. Les autres noms de sociétés et de produits mentionnés dans ce manuel sont les marques de leur société respective. La mention de produits tiers n’est effectuée qu’à des fins informatives et ne constitue en aucun cas une approbation ni une recommandation. Apple n’assume aucune responsabilité vis-à-vis des performances ou de l’utilisation de ces produits. Photos de plateau du film « Koffee House Mayhem » reproduites avec l’aimable autorisation de Jean-Paul Bonjour. « Koffee House Mayhem » © 2004 Jean-Paul Bonjour. Tous droits réservés. http://www.jbonjour.com Photos de plateau du film « A Sus Ordenes » reproduites avec l’aimable autorisation de Eric Escobar. « A Sus Ordenes » © 2004 Eric Escobar. Tous droits réservés. http://www.kontentfilms.com 3 1 Table des matières Préface 9 Introduction à Compressor 10 À propos du Manuel de l’utilisateur de Compressor 11 Scénarios standard de Compressor 12 Fonctions de Compressor 14 Formats de sortie pour transcodage 16 Utilisation du Manuel de l’utilisateur de Compressor 17 Sites web d’Apple Chapitre 1 19 Premiers contacts rapides 19 Terminologie utilisée par Compressor 20 Flux de travaux Compressor rapide et facile 26 Tâches optionnelles disponibles avant l’envoi d’un lot Chapitre 2 29 Flux de production de transcodage de base 32 Concepts et terminologie de Compressor 32 Préparation de Compressor au transcodage 34 Choix d’un format de sortie 35 Création d’un lot Compressor 37 Visualisation de l’état du transcodage 38 Raccourcis optionnels de Compressor 39 Configuration des préférences de Compressor Chapitre 3 43 Interface de Compressor 44 Les fenêtres Compressor et le flux de transcodage 45 Création et gestion des modèles Compressor 48 Utilisation des fenêtres de Compressor 51 Fenêtre Lot 55 Onglet Réglages 56 Onglet Destinations 57 Fenêtre Inspecteur 68 Fenêtre Historique 69 Fenêtre Preview 70 Batch Monitor 71 Fenêtres Droplet4 Table des matières 72 À propos du changement des valeurs et des entrées de timecode 74 Raccourcis clavier généraux de Compressor 75 Raccourcis clavier de la fenêtre Preview Chapitre 4 77 Importation de fichiers multimédia sources 78 À propos de la fenêtre Lot 79 Ajout de fichiers multimédia sources à un lot pour créer des tâches 87 Utilisation de l’Inspecteur avec des fichiers multimédia sources 90 Astuces pour l’importation de fichiers multimédia sources Chapitre 5 93 Création, aperçu et modification des réglages 94 À propos de l’onglet Réglages 98 Utilisation de l’Inspecteur avec les réglages 99 Duplication des réglages 100 Création d’un réglage entièrement nouveau 102 Aperçu d’un réglage 104 Suppression de réglages 104 Création de groupes de réglages 106 Distribution et partage de réglages 106 Exemple : Création de réglages et de groupes personnalisés pour un DVD Chapitre 6 109 Finalisation de tâches et soumission de lots 110 Affectation de réglages à des fichiers multimédia sources 113 Remplacement d’un réglage affecté par un autre réglage 114 Modification d’un réglage affecté 115 Affectation de destinations aux fichiers multimédia sources 117 Réglage du nom de fichier de sortie 117 À propos des cibles 118 À propos de l’ajout et de la copie de tâches 119 À propos de l’enchaînement de tâches 120 Soumission d’un lot 123 Astuce relative au test du transcodage 123 À propos de la fenêtre Historique 124 Nouvelle soumission d’un lot 125 Enregistrement et ouverture d’un lot 126 Envoi d’un projet Final Cut Pro pour transcodage 127 Renvoi d’un projet Final Cut Pro 127 Exportation à partir de Final Cut Pro et traitement distribué 131 Transcodage de différents plans à partir d’un fichier multimédia source Chapitre 7 133 Création de fichiers AIFF 133 Création de fichiers de sortie AIFF 134 À propos de la sous-fenêtre AIFF Encoder 135 À propos de la zone de dialogue Réglages audio 136 Configuration des réglages AIFFTable des matières 5 Chapitre 8 139 Création de fichiers de sortie Dolby Digital Professional 140 À propos de la sous-fenêtre Encodeur Dolby Digital Professional 147 Informations générales sur la création de fichiers Dolby Digital Professional 148 Conversion de fichiers audio stéréo au format Dolby Digital Professional 149 Affectation de fichiers à des canaux audio Surround (méthode manuelle) 152 Affectation de fichiers à des canaux audio Surround (méthodes automatiques) 154 Affectation de fichiers à des canaux audio Surround à l’aide de droplets 154 Options de mixage spatial Chapitre 9 157 Création de fichiers de sortie pour flux DV 157 À propos de la sous-fenêtre Encodeur DV 158 Processus de transcodage DV Chapitre 10 159 Création de fichiers de sortie H.264 pour appareils Apple 160 À propos de la sous-fenêtre Encodeur H.264 pour appareils Apple 164 Processus H.264 pour iPod et Apple TV Chapitre 11 165 Création de fichiers de sortie H.264 pour DVD Studio Pro 165 À propos de la sous-fenêtre Encodeur H.264 pour DVD Studio Pro 171 Flux de production H.264 pour DVD Chapitre 12 173 Création de fichiers de séquence d’images 173 Création de fichiers de sortie de séquence d’images 174 À propos de la sous-fenêtre Encodeur de séquence d’images 175 Définition de réglages de séquence d’images Chapitre 13 177 Création de fichiers de sortie MP3 177 Utilisations courantes du format MP3 178 À propos de la sous-fenêtre Encodeur MP3 180 Processus de transcodage MP3 Chapitre 14 181 Création de fichiers de sortie MPEG-1 181 Utilisations courantes de MPEG-1 182 Spécifications de la norme MPEG-1 183 À propos de la sous-fenêtre Encodeur MPEG-1 186 À propos des flux système et élémentaires 186 Flux de production de transcodage MPEG-1 188 Configuration du format de fichier MPEG-1 pour une utilisation Web 189 Configuration du format de fichier MPEG-1 pour une utilisation DVD6 Table des matières Chapitre 15 195 Création de fichiers de sortie MPEG-2 195 À propos du format MPEG-2 en définition standard 196 À propos des sources haute définition et de MPEG-2 197 À propos des flux élémentaires, des flux de transport et des flux de programme 198 À propos de la sous-fenêtre Encodeur MPEG-2 213 Informations supplémentaires sur les GOP et les marqueurs 216 Flux de production de transcodage MPEG-2 Chapitre 16 225 Création de fichiers de sortie MPEG-4 226 À propos de la sous-fenêtre Encodeur MPEG-4 230 Processus de transcodage MPEG-4 Partie 2 Chapitre 17 237 Création de fichiers de sortie QuickTime 237 Création de fichiers de sortie QuickTime 238 À propos de la sous-fenêtre AIFF Encoder QuickTime 246 Flux de production de transcodage QuickTime 250 Compréhension des codecs 250 Codecs vidéo QuickTime 251 Codecs audio QuickTime Chapitre 18 253 Création de fichiers de sortie d’exportation QuickTime 253 Création de fichiers de sortie d’exportation QuickTime 254 Installation des modules de composant d’exportation QuickTime 254 À propos du module iPod 255 À propos de la sous-fenêtre Encodeur Composants d’exportation au format QuickTime 256 Configuration des réglages de composant d’exportation Chapitre 19 257 Ajout de filtres à un réglage 257 Utilisation des filtres 260 À propos de la sous-fenêtre Filtres 261 Filtres disponibles 271 Ajout de filtres à un réglage Chapitre 20 273 Ajout de contrôles d’images à un réglage 273 Utilisation des contrôles d’images 274 À propos de la sous-fenêtre Contrôles d’images 279 Ajout de contrôles d’images à un réglage 280 Utilisation du télécinéma inverse 283 Utilisation des contrôles de resynchronisation Chapitre 21 287 Ajout de réglages de géométrie 287 Utilisation du rognage, de la mise à l’échelle et du remplissage 290 À propos de la sous-fenêtre Géométrie 294 Ajustements de géométrie pour un réglageTable des matières 7 Chapitre 22 297 Ajout d’actions à un réglage 297 Utilisation des actions de post-transcodage 299 Ajout d’actions 301 Déclenchement des droplets AppleScript Chapitre 23 303 Utilisation de la fenêtre Preview 304 À propos de la fenêtre Preview 310 Prévisualisation d’un plan 315 Transcodage d’une section du plan à l’aide de la fenêtre Preview 317 Ajout de marqueurs à un plan 323 Raccourcis clavier de la fenêtre Preview Chapitre 24 325 Création et changement de destinations 326 À propos de l’onglet Destinations 327 Utilisation de l’Inspecteur avec l’onglet Destinations 328 Création d’une destination 332 Triangles d’avertissement 333 Suppression et duplication d’une destination 335 Création de destinations à utiliser avec DVD Studio Pro Chapitre 25 337 Utilisation de droplets 338 À propos de la fenêtre Droplet 340 Création d’une droplet 341 Vérification des réglages de droplets et des options AppleScript 342 Utilisation d’une droplet pour transcoder des fichiers multimédia sources 344 Conseils à propos des droplet Annexe A 345 Dépannage et assistance client 346 Contacter l’assistance AppleCare 347 Astuces de dépannage Annexe B 349 Utilisation de la ligne de commande 349 Utilisation de la ligne de commande 349 Commandes de shell pour la configuration des nœuds de service et des contrôleurs de cluster 350 Commandes de shell pour l’envoi de travaux Compressor 353 Commandes de shell pour le contrôle des lots Index 355 9 Préface Introduction à Compressor Compressor constitue une partie essentielle du processus de compression vidéo. Il rend la compression rapide, efficace et pratique et vous offre des options supplémentaires pour les paramètres et formats de sortie de compression. Avec la multiplication des modes de visualisation et de découverte de contenus multimédia, tels que les sites web, Apple TV, l’iPod, les CD-ROM et les DVD, les créateurs de contenus ont besoin de moyens de conversion simples et rapides pour que leurs création puissent être facilement lues par un grand nombre d’appareils. Que vous souhaitiez créer une bande-annonce de haute qualité pouvant être ouverte et visualisée sur le web en quelques secondes ou juste transférer un plan sur CD ou DVD, il est nécessaire de compresser les fichiers multimédia afin de limiter leur espace de stockage et de les rendre disponibles à la lecture. Compressor est un outil d’encodage audio et vidéo à grande vitesse qui offre un moyen efficace de convertir des contenus, quelle que soit le mode de lecture utilisé. De plus, outre les différents modes de génération de visualisation, il faut également considérer les nombreux formats de sortie. Vous pouvez être amené à compresser le même fichier multimédia dans différents formats de sortie, afin de vous adapter aux différents usages et lecteurs multimédia. Avec Compressor, vous pouvez sélectionner différents formats de sortie pour une utilisation avec les divers modèles de distribution.10 Préface Introduction à Compressor À propos du Manuel de l’utilisateur de Compressor Cette préface, « Introduction à Compressor, » contient des informations générales qui présentent la plupart des concepts et termes élémentaires liés à l’utilisation de Compressor. Les autres chapitres de ce manuel traitent des sujets suivants :  Le chapitre 1, « Premiers contacts rapides », vous aidera à découvrir les procédures élémentaires vous permettant d’utiliser Compressor pour la première fois.  Le chapitre 2, « Flux de production de transcodage de base », contient des procédures plus détaillées pour la configuration de Compressor.  Le chapitre 3, « Interface de Compressor », est une présentation rapide des fenêtres et fonctionnalités de Compressor.  Le chapitre 4, « Importation de fichiers multimédia sources », traite des types de fichier que Compressor peut accepter, ainsi que comment les importer.  Le chapitre 5, « Création, aperçu et modification des réglages », traite des réglages, une composante essentielle du flux de production de Compressor.  Le chapitre 6, « Finalisation de tâches et soumission de lots », est une explication détaillée du flux de production élémentaire de Compressor.  Les chapitres 7 à 18 expliquent chacun des types de fichier de sortie. Pour plus d’informations sur ces chapitres, consultez la section « Formats de sortie pour transcodage » à la page 14.  Les chapitres 19 à 22 vous expliquent comment ajouter des réglages et ajuster de manière plus précise les effets visuels de vos tâches de transcodage Compressor pour obtenir un résultat de meilleure qualité en termes d’images et de son.  Le chapitre 23, « Utilisation de la fenêtre Preview », explique comment utiliser la fenê- tre Preview de Compressor de façon à pouvoir examiner les fichiers multimédia sources, ainsi que l’effet des réglages Compressor que vous pouvez appliquer aux fichiers.  Le chapitre 24, « Création et changement de destinations », explique comment configurer et enregistrer les destinations fréquemment utilisées pour les fichiers de sortie transcodés.  Le chapitre 25, « Utilisation de droplets », traite des applications glisser-déposer que vous pouvez créer avec Compressor et qui vous feront gagner du temps.Préface Introduction à Compressor 11 Scénarios standard de Compressor Voici quelques scénarios pouvant généralement être mis en œuvre avec Compressor :  Conversion d’un fichier multimédia source en un ou plusieurs formats de sortie différents : vous pouvez utiliser Compressor pour convertir un ou plusieurs fichiers multimédia source en un ou plusieurs formats de sortie de fichiers multimédia diffé- rents. Consultez la section « Flux de travaux Compressor rapide et facile » à la page 20 pour plus d’informations.  Exportation de séquences ou de plans vers un ou plusieurs formats directement à partir d’autres applications : vous pouvez utiliser Compressor pour convertir des séquences ou des plans vers un ou plusieurs formats de fichier à partir d’autres applications telles que Final Cut Pro. Ce flux de production est identique à celui décrit en détail à la section « Envoi d’un projet Final Cut Pro pour transcodage » à la page 126. Cette intégration à Final Cut Pro et à d’autres applications accélère et facilite le transcodage (processus de conversion des fichiers de leur format d’origine en fichiers de sortie prêts pour la distribution dans un autre format) et permet également d’économiser de l’espace disque en évitant d’avoir à exporter les fichiers de données avant leur traitement. Compressor tire aussi parti de la technologie de traitement vidéo des autres applications pour dépasser les limites des tâches qui lui sont confiées (et donc optimiser la qualité des images encodées) et éviter les dégradations pouvant survenir après les multiples étapes de compression et de décompression. Périphériques Apple Vidéo DVD CD-ROM Apple TV iPod iTunes Application Compressor H.264 MP3 MP3 MPEG-1 MPEG-4 QuickTime AC-3 AIFF H.264 MPEG-1 MPEG-2 AIFF MP3 QuickTime Média source ou projet Final Cut Pro Sur le Web Séquence QuickTime (pour bas débit et pour haut débit)12 Préface Introduction à Compressor  Création de fichiers compatibles DVD à utiliser avec DVD Studio Pro : avant de pouvoir convertir vos fichiers multimédia existants en projets DVD Studio Pro, vous devez convertir la vidéo en fichiers MPEG-1 (projets SD uniquement), MPEG-2 (projets SD et HD) ou H.264 (projets HD uniquement). En effet, avant d’importer un ou plusieurs fichiers multimédia dans DVD Studio Pro, Compressor les transcode dans le format approprié. Compressor peut encoder l’audio au format Dolby Digital Professional (également appelé AC-3). Dolby Digital Professional est un format audio compressé très courant pour les disques DVD-Vidéo. Compressor gère également deux situations spécialisées :  Lorsque vous éditez des sources haute définition (HD) dans Final Cut Pro et que vous souhaitez créer un DVD en définition standard (DS) à partir de ces sources, Compressor offre une fonctionnalité de conversion. Les sources HD qui utilisent des résolutions de 1080i ou 720p utilisent un processus de transcodage haute qualité pour créer des fichiers de sortie vidéo DS MPEG-2.  Si vous devez faire tenir un maximum de vidéo sur un DVD et que vous n’avez pas besoin de la qualité de diffusion, Compressor permet d’exporter les fichiers au format MPEG-1 compatible DVD-Vidéo. Fonctions de Compressor Compressor peut fonctionner en tant qu’application autonome et être intégré au flux de production d’autres applications telles que Final Cut Pro. Pour cela, Compressor accepte le même éventail de types de fichiers multimédia que Final Cut Pro. Compressor cible les professionnels de la postproduction et de la compression vidéo, qui requièrent de hautes performances et un contrôle maximum du contenu numérique final pour la création de DVD, les serveurs de contenu multimédia et les dispositifs sans fil. Outre les possibilités de redimensionnement, de rognage, de traitement des images, d’encodage et de distribution, Compressor offre les fonctions suivantes :  Traitement par lot : ce processus simplifié permet de créer plusieurs fichiers de sortie à partir d’un seul fichier multimédia source.  Options VBR : à l’aide de l’encodeur MPEG-2, vous pouvez définir pour vos fichiers de sortie un encodage VBR (Variable Bit Rate - débit variable) en une seule ou en deux passes, ce qui a une incidence sur la qualité de l’image des fichiers vidéo.  Encodage H.264 : le format H.264 génère de la vidéo de qualité supérieure à des débits inférieurs, pour tout type de périphériques allant des téléphones portables à la haute définition (HD). Le format H.264 est particulièrement bien adapté au lecteur Apple QuickTime 7. Compressor inclut les formats H.264 conçus particulièrement pour les DVD HD, iTunes, l’iPod et Apple TV.  Droplets : ces applications autonomes peuvent être utilisées pour des opérations de transcodage par glisser-déposer, directement depuis le bureau. Après leur création, les Droplets simplifient et automatisent le processus de transcodage et peuvent être utilisées sans que Compressor ne soit lancé.Préface Introduction à Compressor 13  Réglages : les réglages contiennent tous les outils nécessaires au transcodage (format de fichier, filtre et réglages géométriques). Vous pouvez personnaliser et modifier les réglages fournis par Apple ou en créer de nouveaux et développer une bibliothèque de réglages spécialisés pouvant être réutilisés.  Des filtres : la sélection de filtres Compressor disponibles vous confère un contrôle artistique dynamique pendant la conversion de vos fichiers multimédia sources dans d’autres formats et vous permet de créer un produit final conforme à vos spécifications. Les filtres disponibles sont les suivants : fondu entrant/sortant, incrustations de timecode, correction gamma, suppression du bruit, letterbox, filigranes, ajustement de couleur, etc. Il existe en outre des filtres audio permettant de contrô- ler la plage dynamique, les niveaux de pics, l’égalisation et le fondu entrant/sortant.  Prévisualisation : vous pouvez prévisualiser vos réglages de filtres en temps réel dans la fenêtre Preview tout en les modifiant dans la fenêtre Inspecteur. Cela vous permet de modifier légèrement les paramètres à votre convenance avant le transcodage du fichier multimédia source.  Destinations : vous pouvez créer et enregistrer différentes destinations pour vos fichiers de sortie, qui peuvent ensuite être associées à la cible de chaque fichier de sortie. Ces destinations peuvent être des sites FTP ou des emplacements iDisk. Une destination peut également spécifier la convention d’appellation de fichier à utiliser.  Géométrie : vous pouvez régler les dimensions de l’image à l’aide des contrôles de géométrie de la fenêtre Inspecteur et des contrôles graphiques de la fenêtre Preview. Ces fonctionnalités permettent de rogner les zones des images que vous souhaitez supprimer de votre fichier multimédia source, et de réduire ainsi la taille du fichier. Compressor permet aussi de redimensionner l’image aux proportions suivantes : 4:3, 16:9 et 2,35:1 pour une utilisation sur d’autres plateformes, comme le DVD ou iPod.  Publication : vous pouvez utiliser Compressor pour télécharger vos fichiers de sortie sur un serveur de contenu multimédia, de type QuickTime Streaming Server, ou sur d’autres supports pour la création de DVD.  Utilisation d’AppleScript : vous pouvez ajouter des informations AppleScript spécialisées à n’importe quel fichier de sortie, ce qui vous confère la souplesse nécessaire pour automatiser et personnaliser les opérations de post-encodage.  Interopérabilité : Compressor est un élément fondamental des applications vidéo professionnelles Apple, tout comme Final Cut Pro et DVD Studio Pro. À partir de Final Cut Pro, vous pouvez exporter des séquences directement dans Compressor pour les transcoder, et déplacer des fichiers MPEG-2 transcodés de Compressor à DVD Studio Pro pour simplifier le processus de création de DVD.  Activité de transcodage en arrière-plan : grâce à Compressor, il est possible de commencer le transcodage d’un lot, puis de laisser celui-ci se dérouler en arrière-plan, ce qui vous permet d’exécuter d’autres tâches en même temps. 14 Préface Introduction à Compressor  Notification par message électronique : Compressor peut être configuré de manière à vous envoyer des notifications par message électronique pour vous avertir de la fin du transcodage d’un lot, quelle que soit l’adresse électronique spécifiée.  Traitement distribué : Compressor fournit le traitement distribué qui répartit le travail sur plusieurs ordinateurs choisis pour offrir une puissance de traitement supplémentaire. La fonctionnalité de traitement distribué est limitée aux ordinateurs sur lesquels est installé Final Cut Studio ou DVD Studio Pro. Pour plus d’informations, consultez le guide Configuration du traitement distribué.  Fonctionnalités de ligne de commande : Compressor comporte désormais un certain nombre d’options de ligne de commande pour l’envoi de tâches, l’activation et la désactivation des services de contrôle de nœuds et de clusters, ainsi que la surveillance des lots. Formats de sortie pour transcodage La sélection de la plate-forme de lecture appropriée (dispositifs Apple, web, CD, DVD et borne interactive) est le premier choix à faire avant de compresser un fichier multimé- dia source dans un format de sortie différent. Après avoir sélectionné une plate-forme, vous pouvez choisir le format de sortie qui lui convient le mieux. Quel que soit le format vidéo numérique de votre fichier multimédia source, ce dernier peut être transcodé à l’aide de l’un des encodeurs suivants, fournis avec Compressor :  AIFF : destiné à une utilisation audio (création de DVD ou de CD). Pour plus de détails sur le format AIFF, consultez le chapitre 7, « Création de fichiers AIFF », à la page 133.  Flux de vidéo numérique (DV) : le format DV est devenu extrêmement populaire à cause de son prix réduit et de sa grande disponibilité lorsque l’on travaille sur des projets SD.  Dolby Digital Professional : également appelé AC-3. Format destiné à la création de DVD. Pour plus de détails sur le format AC-3, consultez la section « Création de fichiers de sortie Dolby Digital Professional » à la page 139.Préface Introduction à Compressor 15  H.264 : nouvelle génération de technologie de compression vidéo à la norme MPEG-4. Également appelée MPEG-4 Partie 10. Adapté aux DVD HD et à de nombreuses autres utilisations, le format H.264 peut atteindre la qualité MPEG-2 maximale avec un débit inférieur de moitié. H.264 est actuellement obligatoire dans les deux nouvelles spécifications DVD haute définition (DVD HD et Blu-Ray). Pour plus d’informations sur le format H.264, particulièrement sur son utilisation dans le cadre de projets DVD HD, consultez la section « Création de fichiers de sortie H.264 pour DVD Studio Pro » à la page 165. Pour plus d’informations sur la création de fichiers H.264 pour les utiliser dans iTunes, sur un iPod ou avec Apple TV, consultez le chapitre 10, « Création de fichiers de sortie H.264 pour appareils Apple », à la page 159. Pour obtenir des informations sur la création de fichiers H.264 en vue d’une utilisation dans un autre contexte (comme par exemple la vidéo diffusée sur le web), voir « Création de fichiers de sortie QuickTime » à la page 237.  Séquence d’images : destiné aux autres programmes qui importent les données sous la forme d’une série d’images fixes au format TIFF ou TARGA. Pour plus de détails sur le format Séquence d’images, consultez le chapitre 12, « Création de fichiers de séquence d’images », à la page 173.  MPEG-1 : destiné à une utilisation Internet ou DVD spécialisée. Pour plus de détails sur le format MPEG-1, consultez le chapitre 14, « Création de fichiers de sortie MPEG-1 », à la page 181.  MPEG-2 : destiné à la lecture de DVD. Pour plus de détails sur le format MPEG-2, consultez le chapitre 15, « Création de fichiers de sortie MPEG-2 », à la page 195.  MPEG-4 : spécification très évolutive, avec différentes utilisations, de la vidéo web aux périphériques sans fil en passant par la HD. Pour plus de détails sur le format MPEG-4, consultez le chapitre 16, « Création de fichiers de sortie MPEG-4 », à la page 225.  Séquence QuickTime : QuickTime est une technologie multimédia interplateforme. Elle permet à des applications Mac OS et Windows de lire des fichiers vidéo et audio, ainsi que des fichiers d’images fixes. Pour plus de détails sur le format QuickTime, consultez le chapitre 17, « Création de fichiers de sortie QuickTime », à la page 237.  Composants d’exportation QuickTime : exploitant l’architecture à modules de QuickTime, Compressor peut désormais générer un large éventail de formats supplé- mentaires, tels que Windows Media, RealPlayer, 3G et AVI. Pour plus de détails sur les composants d’exportation de QuickTime, consultez la section « Création de fichiers de sortie d’exportation QuickTime » à la page 253.16 Préface Introduction à Compressor Utilisation du Manuel de l’utilisateur de Compressor Le Manuel de l’utilisateur de Compressor décrit étape par étape l’utilisation de Compressor, un outil de compression de fichiers multimédia sources, et contient des informations générales et conceptuelles sur la compression. Il a été conçu pour fournir les informations dont vous avez besoin pour rentrer rapidement en matière et tirer au mieux parti de Compressor. Le Manuel de l’utilisateur de Compressor vous permet d’accéder aux informations directement à l’écran lorsque vous travaillez dans Compressor. Pour afficher ces informations, choisissez Aide > Manuel de l’utilisateur de Compressor. Ce manuel comporte des liens hypertextes et présente un grand nombre de fonctionnalités facilitant la recherche d’informations.  La page d’accueil vous permet d’accéder rapidement à différentes fonctions, parmi lesquelles l’index, ainsi que d’autres documents et sites web importants.  Une liste détaillée de signets vous permet de choisir rapidement ce que vous voulez voir et vous emmène à la section correspondante d’un simple clic sur le lien. Outre ces outils de navigation, le Manuel de l’utilisateur de Compressor propose d’autres méthodes d’accès rapide aux informations :  Toutes les références croisées du texte sont liées à l’aide de l’hypertexte. Vous pouvez cliquer sur n’importe quelle référence croisée et atteindre immédiatement son emplacement. Vous pouvez ensuite cliquer sur la flèche arrière de la fenêtre Preview pour retourner là où vous étiez avant de cliquer sur la référence croisée.  La table des matières et l’index sont également constitués de liens hypertexte. Si vous cliquez sur une entrée dans l’une ou l’autre de ces sections, vous atteignez directement la section de l’aide correspondante.  Vous pouvez également utiliser la zone de dialogue Recherche pour trouver une portion de texte à l’aide de mots ou d’une phrase. Pour accéder à l’aide en ligne, procédez comme suit : m Choisissez Aide > Manuel de l’utilisateur de Compressor. m Appuyez sur les touches Commande + virgule. Outre l’accès au Manuel de l’utilisateur de Compressor, le menu Aide contient également une option de création d’un profil d’assistance. Dans certains cas d’assistance technique, AppleCare peut vous demander des informations autant sur l’ordinateur que sur la configuration de l’application en question. Sélectionnez Aide > Créer un profil d’assistance pour créer un fichier contenant les informations nécessaires et pouvant être envoyé par courrier électronique à AppleCare. Vous devez normalement utiliser cette fonction, à moins qu’un représentant de AppleCare ne vous indique le contraire.Préface Introduction à Compressor 17 Sites web d’Apple Différents sites web Apple vous donnent accès à des informations complémentaires. Site web de Compressor Visitez ce site pour obtenir des informations générales et des mises à jour et pour consulter les dernières actualités concernant Compressor. Pour accéder au site web de Compressor, accédez au site suivant :  http://www.apple.com/fr/finalcutpro/compressor.html Vous trouverez sur Internet une grande variété d’espaces de discussion, de forums et de ressources éducatives dédiés à Compressor. Site web de support et d’assistance d’Apple Accédez à ces sites pour obtenir des mises à jour logicielles et trouver les réponses que vous cherchez dans la foire aux questions, consacrée à tous les produits Apple, y compris Compressor. Vous pourrez aussi y consulter les spécifications des produits, des documents de référence et des articles techniques sur des produits Apple et tiers. Pour accéder au site web de support et d’assistance d’Apple :  http://www.apple.com/fr/support Pour accéder au site web d’assistance de Compressor, accédez au site suivant :  http://www.apple.com/fr/support/compressor Pour accéder aux pages de discussion Apple, allez à l’adresse :  http://discussions.info.apple.com (en anglais) Autres sites web d’Apple Commencez par la page d’accueil principale du site web d’Apple pour rechercher les plus récentes informations sur les produits Apple.  http://www.apple.com/fr QuickTime est une technologie devenue standard dans l’industrie pour la gestion de la vidéo, du son, de l’animation, des graphiques, du texte, de la musique et des scènes de réalité virtuelle (VR) à 360 degrés. QuickTime offre un niveau élevé de performances, de compatibilité et de qualité pour la sortie de vidéo numérique. Consultez le site web de QuickTime pour obtenir des informations sur les types de données gérés, vous familiariser avec l’interface QuickTime, connaître les caractéristiques, etc.  http://www.apple.com/fr/quicktime18 Préface Introduction à Compressor FireWire est l’un des systèmes standard de périphériques les plus rapides jamais développés, ce qui en fait un moyen idéal pour utiliser des périphériques multimédia tels que les caméscopes et les disques durs à grande vitesse les plus récents. Visitez ce site web pour connaître les caractéristiques et les avantages de la technologie FireWire, consulter des informations sur les logiciels FireWire et savoir quels sont les produits FireWire tiers disponibles.  http://www.apple.com/fr/firewire Pour plus d’informations sur les séminaires, événements et autres outils tiers utilisés pour l’édition sur le web, le design et l’impression, la musique et l’audio, les films assistés par ordinateur, l’imagerie numérique et les arts médiatiques, consultez :  http://www.apple.com/fr/pro Pour des références, des commentaires et des informations sur des projets développés par des utilisateurs pour la formation à l’aide de logiciels d’Apple, notamment Compressor, consultez :  http://www.apple.com/fr/education Accédez au magasin Apple Store pour acheter des logiciels, du matériel et des accessoires directement auprès d’Apple. Vous pourrez aussi y trouver des offres spéciales portant sur du matériel et des logiciels tiers.  http://store.apple.com/Apple/WebObjects/francestore/1 19 1 Premiers contacts rapides Compressor comprend un certain nombre de réglages préexistants qui vous permettent de commencer à transcoder immédiatement. Si vous disposez d’un ou plusieurs fichiers multimédia sources et que les destinations et les réglages existants de Compressor conviennent à vos besoins de transcodage, vous pouvez commencer le transcodage des fichiers de média dès l’installation de Compressor. Ce chapitre contient les sections suivantes :  Terminologie utilisée par Compressor (p. 19)  Flux de travaux Compressor rapide et facile (p. 20)  Tâches optionnelles disponibles avant l’envoi d’un lot (p. 26) Terminologie utilisée par Compressor Compressor utilise quelques termes avec lesquels vous devriez vous familiariser avant de commencer à vous servir de l’application. Un lot est l’élément central du processus de transcodage. Il contient un ou plusieurs fichiers multimédia sources, qui sont les fichiers que vous souhaitez transcoder, c’est-à-dire convertir, dans un autre format. Chaque fichier multimédia source crée sa propre tâche. Cela signifie qu’un lot peut contenir plusieurs tâches et que chacune de ces tâches repose sur le fichier multimédia source auquel elle est associée. Chaque tâche possède également au moins une cible. Les cibles déterminent le type de fichier de sortie qui doit être créé par le processus de transcodage. Vous avez la possibilité d’affecter plusieurs cibles à une tâche, ce qui signifie que vous pouvez facilement créer plusieurs fichiers de sortie ayant chacun un format différent. Chaque cible est formée de trois parties :  Le réglage : la partie réglage d’une cible détermine le format d’encodage utilisé, ainsi qu’un certain nombre d’autres aspects, notamment divers filtres et attributs de géométrie.20 Chapitre 1 Premiers contacts rapides  La destination : la partie destination d’une cible détermine l’endroit où le fichier de sortie est enregistré. Elle définit également les règles utilisées pour créer le nom du fichier de sortie. Compressor comprend un réglage de préférence qui vous permet de spécifier une destination par défaut.  Le nom du fichier de sortie : vous pouvez modifier la partie de la cible relative au nom du fichier de sortie si, pour une raison ou une autre, vous ne souhaitez pas utiliser le nom créé automatiquement en fonction de la destination. Remarque : vous ne pouvez transcoder une tâche que si au moins un réglage lui a été affecté. Si vous devez créer vos propres réglages ou modifier ceux qui sont fournis avec Compressor, reportez-vous au chapitre 2, « Flux de production de transcodage de base », à la page 29 et au chapitre 5, « Création, aperçu et modification des réglages », à la page 93. Flux de travaux Compressor rapide et facile Les flux de travaux suivants décrivent la façon la plus simple d’utiliser Compressor :  Ajout de fichiers multimédia sources à Compressor (p. 20)  Affectation de réglages et de destinations aux tâches (p. 22)  Envoi d’un lot (p. 25) Étape 1 : Ajout de fichiers multimédia sources à Compressor 1 Double-cliquez sur l’icône Compressor dans le dossier Applications. Compressor s’ouvre en affichant un lot vide sans titre contenant une tâche fictive. Fenêtre Preview Fenêtre Historique Onglets Réglages et Destinations Fenêtre de lot sans titre avec tâche fictive Fenêtre InspecteurChapitre 1 Premiers contacts rapides 21 Remarque : sélectionnez une présentation standard dans le menu Fenêtre > Présentation pour afficher une configuration de l’interface Compressor semblable à celle qui apparaît dans la figure ci-dessus. 2 Faites glisser les fichiers source du Finder ou du bureau jusque dans la fenêtre Lot. Remarque : si vous faites glisser plusieurs fichiers sur la zone réservée à la vignette (indiquée par une flèche dans cet exemple), seul le dernier fichier est ajouté à la tâche et tous les autres fichiers sont ignorés. De nouvelles tâches sont créées chaque fois que vous faites glisser un fichier source sur le lot. Consultez la section « À propos de la fenêtre Lot » à la page 78 pour plus d’informations sur les contrôles de la fenêtre globale. Zone de vignette de la tâche Chaque fichier source crée une tâche dans le lot. Zone cible (vide dans ce cas) d’une tâche22 Chapitre 1 Premiers contacts rapides Étape 2 : Affectation de réglages et de destinations aux tâches Vous devez affecter au moins un réglage à chaque tâche de fichier multimédia source avant de pouvoir envoyer le lot à traiter, mais vous pouvez également ajouter plusieurs réglages à une même tâche afin de transcoder plusieurs versions du fichier multimédia. Dans Compressor, chaque paire formée par un réglage et une destination est appelée une cible. 1 Sélectionnez un réglage pour vos tâches de fichier multimédia source de l’une des façons suivantes :  Pour affecter différents réglages à différentes tâches : faites glisser les réglages de l’onglet Réglages sur chaque tâche concernée dans la fenêtre Lot.Chapitre 1 Premiers contacts rapides 23  Pour affecter un seul réglage à plusieurs tâches sélectionnées : sélectionnez les tâches (fichiers multimédia sources) dans la fenêtre Lot, puis choisissez Cible > Nouvelle cible avec réglage. Une zone de dialogue de sélection de réglages est affichée pardessus la fenêtre Lot. Choisissez un ou plusieurs réglages, en utilisant le triangle d’affichage pour faire apparaître chacun d’entre eux, puis cliquez sur Ajouter. Les réglages choisis sont affectés à toutes les tâches sélectionnées. Vous pouvez aussi choisir Édition > Tout sélectionner pour sélectionner toutes les tâches avant d’appliquer les réglages. Reportez-vous au chapitre 5, « Création, aperçu et modification des réglages », à la page 93 pour obtenir de plus amples informations sur les réglages et au chapitre 6, « Finalisation de tâches et soumission de lots », à la page 109 pour en savoir plus sur l’utilisation des tâches et des cibles. L’étape suivante consiste à définir la destination. Cette destination est réglée par défaut sur Source, ce qui signifie que les fichiers de sortie sont stockés dans le dossier d’origine des fichiers source. Vous pouvez, pour des raisons de classement ou pour tirer parti de disques durs plus grands ou plus rapides, changer la destination. Dans la fenêtre Lot, sélectionnez les tâches concernées. Sélectionnez les réglages à appliquer aux tâches sélectionnées. Cliquez sur Ajouter pour affecter les réglages aux tâches sélectionnées. Les réglages choisis sont affectés comme cibles aux tâches sélectionnées.24 Chapitre 1 Premiers contacts rapides Remarque : vous pouvez choisir une destination par défaut dans la fenêtre Préférences de Compressor. Consultez la section « Configuration des préférences de Compressor » à la page 39 pour plus d’informations. Vous pouvez définir la destination de chaque cible ou d’un groupe sélectionné de cibles. 2 Choisissez une destination pour les cibles de votre tâche de l’une des façons suivantes :  Ne faites rien. Acceptez la destination par défaut nommée Source (le même dossier que celui dans lequel ont été créés les fichiers multimédia sources), indiquée dans la colonne Destination.  Utilisez le menu contextuel de la cible pour modifier un réglage à la fois. Cliquez sur la cible que vous souhaitez modifier tout en maintenant la touche Contrôle enfoncée, puis choisissez l’une des destinations préexistantes disponibles dans le sousmenu Destination. Vous pouvez aussi sélectionner Autre dans le menu contextuel, afin d’ouvrir une zone de dialogue permettant de choisir comme destination tout emplacement accessible depuis votre ordinateur. Remarque : si vous sélectionnez l’option Autre, vous pouvez choisir n’importe quel emplacement accessible depuis votre ordinateur, y compris un volume monté ouvert. Toutefois, ce disque doit rester ouvert jusqu’à l’achèvement du transcodage du lot. La même méthode permet également de sélectionner plusieurs cibles et de changer toutes leurs destinations d’un seul coup. Vous pouvez également utiliser le menu Cible > Destination pour choisir une destination ou faire glisser une destination de l’onglet Destinations sur la cible. Consultez le chapitre 24, « Création et changement de destinations », à la page 325 pour obtenir plus d’informations sur les destinations. 3 Vous pouvez attribuer un nom au lot, puis l’enregistrer en choisissant Fichier > Enregistrer. Utilisez le menu contextuel de la cible pour changer la destination des cibles sélectionnées.Chapitre 1 Premiers contacts rapides 25 Étape 3 : Envoi d’un lot Lorsqu’au moins un réglage et une destination sont associés à chaque fichier multimé- dia, ce dernier devient une tâche et votre lot est prêt à être soumis. Cliquez sur le bouton Soumettre pour envoyer votre lot. Une zone de dialogue est affichée pour vous permettre d’attribuer un nom à cette soumission, de définir sa priorité et de spécifier si le traitement distribué doit être utilisé. Dans la plupart des cas, vous pouvez laisser les réglages tels qu’ils sont et vous contenter de cliquer sur Soumettre. Après avoir envoyé un lot, vous pouvez ouvrir Batch Monitor pour visualiser l’état du transcodage de votre lot. Vous pouvez configurer Batch Monitor pour qu’il s’ouvre automatiquement dans la fenêtre Préférences de Compressor. Remarque : vous pouvez toujours ouvrir Batch Monitor en double-cliquant sur l’icône Batch Monitor dans le dossier Utilitaires situé à l’intérieur du dossier Applications ou en cliquant sur son icône dans la fenêtre Lot.26 Chapitre 1 Premiers contacts rapides Il est possible de surveiller la progression de l’encodage depuis la fenêtre Historique. Consultez le chapitre 6, « Finalisation de tâches et soumission de lots », à la page 109 pour obtenir plus d’informations sur les tâches et les lots. Tâches optionnelles disponibles avant l’envoi d’un lot Les trois étapes décrites dans la section précédente montrent le moyen le plus rapide de transcoder des fichiers de média. Bien que vous ayez la possibilité de modifier les réglages existants, vous ne pouvez pas prévisualiser vos fichiers ou optimiser les différents réglages. Les chapitres suivants décrivent les modifications optionnelles que vous pouvez apporter au réglage de n’importe quelle tâche avant son envoi :  chapitre 5, « Création, aperçu et modification des réglages », à la page 93  chapitre 6, « Finalisation de tâches et soumission de lots », à la page 109  chapitre 19, « Ajout de filtres à un réglage », à la page 257  chapitre 20, « Ajout de contrôles d’images à un réglage », à la page 273  chapitre 21, « Ajout de réglages de géométrie », à la page 287  chapitre 22, « Ajout d’actions à un réglage », à la page 297  chapitre 23, « Utilisation de la fenêtre Preview », à la page 303  chapitre 24, « Création et changement de destinations », à la page 325 Chapitre 1 Premiers contacts rapides 27 Les chapitres suivants décrivent plus en détail les paramètres des formats de sortie et les différentes options de transcodage :  chapitre 7, « Création de fichiers AIFF », à la page 133  chapitre 8, « Création de fichiers de sortie Dolby Digital Professional », à la page 139  chapitre 9, « Création de fichiers de sortie pour flux DV », à la page 157  chapitre 11, « Création de fichiers de sortie H.264 pour DVD Studio Pro », à la page 165  chapitre 10, « Création de fichiers de sortie H.264 pour appareils Apple », à la page 159  chapitre 12, « Création de fichiers de séquence d’images », à la page 173  chapitre 13, « Création de fichiers de sortie MP3 », à la page 177  chapitre 14, « Création de fichiers de sortie MPEG-1 », à la page 181  chapitre 15, « Création de fichiers de sortie MPEG-2 », à la page 195  chapitre 16, « Création de fichiers de sortie MPEG-4 », à la page 225  chapitre 17, « Création de fichiers de sortie QuickTime », à la page 237  chapitre 18, « Création de fichiers de sortie d’exportation QuickTime », à la page 2532 29 2 Flux de production de transcodage de base Avec Compressor, le transcodage de médias en de multiples formats est d’une grande facilité. Compressor est en outre intégré à d’autres applications, telles que Final Cut Pro, et génère des fichiers de haute qualité, compatibles avec DVD Studio Pro, grâce à un transcodage transparent, réalisé directement en une seule application, entre les différents formats multimédia. Ce chapitre traite des sujets suivants :  Concepts et terminologie de Compressor (p. 32)  Préparation de Compressor au transcodage (p. 32)  Création d’un lot Compressor (p. 35)  Visualisation de l’état du transcodage (p. 37)  Raccourcis optionnels de Compressor (p. 38)  Configuration des préférences de Compressor (p. 39) Le diagramme suivant illustre le mode de fonctionnement du processus de transcodage de Compressor. Le principal élément du transcodage est le lot. Un lot représente tous les composants nécessaires au transcodage d’un média. Il doit contenir une ou plusieurs tâches. Une tâche se compose d’au moins un fichier multimédia source avec une ou plusieurs cibles, chacune étant associée à un réglage et une destination. Quand le processus de transcodage est terminé, le fichier résultant est connu sous le nom de fichier multimédia de sortie. Chaque réglage attribué à un fichier multimédia source donne lieu à la création d’un fichier multimédia de sortie. 30 Chapitre 2 Flux de production de transcodage de base Dans l’illustration ci-dessous, le lot contient deux fichiers multimédia sources, chacun d’eux constituant une tâche contenant deux cibles (comprenant un réglage et une destination). Les fichiers de sortie créés par le transcodage de ce lot seront au nombre total de quatre. Tâche 1 donnera lieu à la création de deux fichiers multimédia de sortie, tout comme Tâche 2. Dans Compressor, un processus de transcodage typique inclut les composants suivants :  Un fichier multimédia source : le processus de transcodage commence toujours par un fichier multimédia source, qui est le fichier destiné à être transcodé dans sa forme d’origine. Les fichiers multimédia sources sont toujours du type suivant :  Un film : contenant des données audio, vidéo et autres (des marqueurs par exemple).  Des images fixes : utilisées comme partie d’une séquence d’images fixes pour certaines productions vidéo.  Réglage : une fois que vous avez importé votre fichier multimédia source, vous devez lui affecter un ou plusieurs réglages. Un réglage est une combinaison d’attributs de transcodage, comme le format de sortie, les filtres et les réglages de géométrie, qui vont être appliqués au fichier multimédia source pendant le processus de transcodage. Fichier média de sortie 2 Lot Tâche 2 Fichier média de sortie (Tâche 2, Cible 2) Cible 2 Réglage Destination Fichier média de sortie (Tâche 2, Cible 1) CIble 1 Réglage Destination Fichier média de sortie 1 Tâche 1 Fichier média de sortie (Tâche 1, Cible2) Cible 2 Réglage Destination Fichier média de sortie (Tâche 1, Cible1) Cible 1 Réglage DestinationChapitre 2 Flux de production de transcodage de base 31  Format (du fichier) de sortie : dépend de l’encodeur que vous choisissez pour convertir votre fichier source. Choisissez l’un des formats suivants selon l’environnement et la méthode de lecture visés pour vos fichiers multimédia transcodés : AIFF, Dolby Digital Professional, Flux DV, H.264 pour DVD Studio Pro, H.264 pour périphériques Apple (qui contient des réglages pour un iPod ou une Apple TV), Séquence d’images (qui prend en charge les images TIFF et TARGA), MPEG-1, MPEG-2, MPEG-4, Séquence QuickTime ou Composants d’exportation au format QuickTime.  Des filtres : ils vous permettent de paramétrer différentes caractéristiques de votre vidéo, comme la couleur, la luminosité et la résolution dans le but d’optimiser à la fois la qualité et la compression du fichier.  Des paramètres géométriques : permet de rogner l’image et d’ajuster sa taille.  Des paramètres d’action : permettent d’envoyer des notifications par message électronique et d’exécuter des tâches de post-transcodage à l’aide de scripts AppleScript.  Une destination : un fichier multimédia source doit aussi être associé à une destination. Il s’agit de l’emplacement de stockage de votre fichier multimédia transcodé. Vous pouvez soit utiliser la destination par défaut, nommée Source (dossier de stockage identique à celui du fichier multimédia source), soit désigner un autre emplacement auquel vous avec un accès total. Vous pouvez également modifier la destination par défaut dans les Préférences Compressor. La destination détermine également la manière dont le fichier multimédia transcodé est nommé.  Cible : sorte de plan permettant de créer un fichier multimédia de sortie contenant un réglage, une destination et un nom de fichier de sortie.  Tâche : une fois que vous avez attribué une ou plusieurs cibles au fichier multimédia source, il devient une tâche prête à être transcodée.  Un lot : un lot se compose d’une ou de plusieurs tâches qui sont traitées simultané- ment. Toutes les tâches du lot sont envoyées simultanément lorsque vous cliquez sur le bouton Soumettre.  Un fichier multimédia de sortie : les fichiers multimédia transcodés créés après l’envoi et le traitement d’un lot sont appelés des fichiers multimédia de sortie. Un fichier multimédia de sortie est le résultat du transcodage réussi d’un fichier multimédia source (associé à un réglage et une destination). Il y a autant de fichiers multimédia de sortie créés que de réglages appliqués aux différents fichiers multimédia sources du lot.32 Chapitre 2 Flux de production de transcodage de base Concepts et terminologie de Compressor  Codec : contraction de COmpression/DÉCompression, modèle mathématique de réduction des données d’un fichier multimédia source.  Format de fichier : format de sortie utilisé pour transcoder le fichier multimédia source.  Groupe : contient des réglages définis placés dans un dossier de l’onglet Réglages. Les groupes vous permettent d’organiser vos réglages et de simplifier le processus de création de tâches.  Transcodage : processus de conversion de fichiers dans leur format d’origine en fichiers de sortie prêts à être distribués dans un autre format. Parmi les termes étroitement liés, citons la compression, qui fait référence à la réduction des données, ainsi que l’encodage, terme synonyme de transcodage mais sans mettre l’accent sur l’aspect conversion. Préparation de Compressor au transcodage Compressor est fourni avec un certain nombre de réglages préconfigurés qui permettent de commencer immédiatement le transcodage. Si vous souhaitez transcoder immédiatement des fichiers multimédia sources et que vous n’avez pas besoin de créer de réglages, suivez plutôt les étapes décrites à la section « Flux de travaux Compressor rapide et facile » à la page 20. Cependant, si vous souhaitez créer vos réglages et destinations, et personnaliser d’autres attributs, comme les filtres, le rognage, le redimensionnement des images et les actions, veuillez suivre les étapes décrites ci-après. Si les réglages personnalisés que vous créez ici peuvent être utilisés pour tous vos besoins de transcodage, vous n’aurez plus à utiliser cette procédure. En revanche, si vous devez créer des réglages et des destinations pour chaque projet de transcodage, vous devez répéter chaque fois ces étapes. Étape 1 : Création d’un réglage Si vous n’utilisez pas un réglage préexistant fourni avec Compressor, vous devez créer vos réglages. Pour cela, utilisez l’onglet Réglages et commencez par choisir un format de sortie dans le menu Format de fichier qui s’ouvre lorsque vous cliquez sur le bouton Ajouter (+). Consultez la section « Choix d’un format de sortie » à la page 34 pour plus d’informations. En outre, vous avez aussi la possibilité d’ajouter des filtres, des paramè- tres géométriques et des actions de post-transcodage, puis de prévisualiser le réglage afin de vous assurer que vous être satisfait du résultat. Consultez la section « Création d’un réglage entièrement nouveau » à la page 100 pour plus d’informations. Vous pouvez également rationaliser le flux de production en plaçant vos réglages dans des groupes. Consultez la section « Création de groupes de réglages » à la page 104 pour plus d’informations.Chapitre 2 Flux de production de transcodage de base 33 Après avoir créé un réglage, vous pouvez le personnaliser en lui apportant des modifications supplémentaires telles que des filtres (pour régler la qualité de l’image ou ajouter des effets comme le « letterboxing »), une taille de pixel donnée (valeurs géométriques) et des actions de post-transcodage. Ces ajustements supplémentaires sont tous gérés dans la fenêtre Inspecteur. Pour en savoir plus, consultez le chapitre 19, « Ajout de filtres à un réglage », à la page 257, le chapitre 20, « Ajout de contrôles d’images à un réglage », à la page 273, le chapitre 21, « Ajout de réglages de géométrie », à la page 287 et le chapitre 22, « Ajout d’actions à un réglage », à la page 297. Étape 2 : Prévisualisation du réglage à l’aide de la fenêtre Preview La prévisualisation de votre réglage avant l’envoi du lot est un bon moyen pour gagner du temps. Pour cela, utilisez la fenêtre Preview et assurez-vous que la qualité du fichier multimédia de sortie vous convient. La fenêtre Preview consiste en un écran divisé en deux, qui affiche à gauche le fichier multimédia source sous sa forme originale, et à droite le contenu du fichier multimédia de sortie. La fenêtre Preview vous permet d’effectuer différentes opérations :  Lire le fichier multimédia.  Prévisualiser de manière dynamique les effets (en temps réel).  Modifier les effets des filtres et des réglages de géométrie de votre réglage.  Comparer les versions source ou les versions de sortie.  Rogner la taille d’image du fichier de sortie.  Changer les proportions.  Ajouter divers marqueurs (de compression, de chapitre ou de podcast). Pour plus d’informations, consultez la section « Aperçu d’un réglage » à la page 102 ou le chapitre 23, « Utilisation de la fenêtre Preview », à la page 303. Étape 3 : Création d’une destination Par défaut, le fichier transcodé est enregistré dans le même dossier que celui du fichier multimédia source (dossier Source). Cependant, si vous souhaitez enregistrer les fichiers transcodés dans un autre emplacement, vous pouvez créer une destination sous l’onglet Destinations. À l’aide de cet onglet, vous pouvez définir comme destination un dossier, un volume ou un serveur distant dont vous avez les autorisations et les accès, et ajouter d’utiles identificateurs à votre fichier de sortie transcodé. Une fois que vous avez créé suffisamment de destinations, il n’est plus nécessaire d’ouvrir l’onglet Destinations. Pour plus d’informations, consultez le chapitre 24, « Création et changement de destinations », à la page 325.34 Chapitre 2 Flux de production de transcodage de base Choix d’un format de sortie Le choix d’un format de sortie est le premier pas à faire après avoir décidé de transcoder un fichier multimédia source. Choisissez un format de sortie en rapport avec la méthode de lecture prévue pour le public. Compressor vous permet d’accéder aux formats standard suivants, chacun d’entre eux présentant ses attributs spécifiques :  QuickTime : destiné à être utilisé avec QuickTime dans une grande variété d’environnements de lecture. Étant donné que QuickTime est une technologie multimédia multiplateforme, elle permet aux applications Mac OS et Windows de capturer et de lire des fichiers vidéo et audio, ainsi que des fichiers d’images fixes. Pour plus de détails sur le format QuickTime, consultez le chapitre 17, « Création de fichiers de sortie QuickTime », à la page 237.  MPEG-1 : destiné à Internet et aux CD-ROM, ainsi que pour utilisation spécialisée sur DVD. Pour plus de détails sur le format MPEG-1, consultez le chapitre 14, « Création de fichiers de sortie MPEG-1 », à la page 181.  MPEG-2 : destiné à une utilisation DVD standard et haute définition. Pour plus de détails sur le format MPEG-2, consultez le chapitre 15, « Création de fichiers de sortie MPEG-2 », à la page 195.  MPEG-4, Partie 2 : destiné à un large éventail d’utilisations, notamment le web ou les périphériques sans fil. Pour plus de détails sur le format MPEG-4, consultez le chapitre 16, « Création de fichiers de sortie MPEG-4 », à la page 225.  MP3 : destiné à la compression audio. Le format MP3 crée des fichiers audio compatibles avec une grande variété de dispositifs de lecture. Pour plus de détails sur le format MP3, consultez le chapitre 13, « Création de fichiers de sortie MP3 », à la page 177.  H.264 pour DVD Studio Pro : destiné à un large éventail d’usages, notamment les DVD HD. Pour plus d’informations sur le format H.264, en particulier pour la création de DVD HD, consultez le chapitre 11, « Création de fichiers de sortie H.264 pour DVD Studio Pro », à la page 165.  H.264 pour les dispositifs Apple : destiné à créer des fichiers vidéo adaptés à la lecture via iTunes, un iPod et Apple TV. Pour plus de détails sur le format H.264 pour les dispositifs Apple, consultez le chapitre 10, « Création de fichiers de sortie H.264 pour appareils Apple », à la page 159.  Dolby Digital Professional : également appelé AC-3. Format destiné à la création de DVD. Pour plus de détails sur le format AC-3, consultez le chapitre 8, « Création de fichiers de sortie Dolby Digital Professional », à la page 139.  AIFF : destiné à un usage audio (y compris la création de DVD et de CD). Pour plus de détails sur le format AIFF, consultez le chapitre 7, « Création de fichiers AIFF », à la page 133.  Séquence d’images : compatible avec une grande variété d’applications de composition et de traitement d’images. Pour plus de détails, consultez le chapitre 12, « Création de fichiers de séquence d’images », à la page 173.Chapitre 2 Flux de production de transcodage de base 35  Flux DV : format courant utilisé pour les projets SD. Pour plus d’informations, consultez le chapitre 9, « Création de fichiers de sortie pour flux DV », à la page 157. Remarque : Compressor et QuickTime peuvent également être étendus afin de prendre en charge des options de codec et formats tiers supplémentaires. La fonctionnalité Composants d’exportation QuickTime vous permet de contrôler le moteur d’encodage tiers sans avoir à ouvrir une autre application. Pour plus d’informations, consultez la section « Création de fichiers de sortie d’exportation QuickTime » à la page 253. Création d’un lot Compressor Une fois que les réglages et les destinations nécessaires sont disponibles, vous pouvez commencer à créer un lot pour transcodage. Un lot contient une ou plusieurs tâches, Une tâche se compose d’au moins un fichier multimédia de sortie associé à une ou plusieurs cibles contenant les réglages et les destinations. Vous ne pouvez soumettre un lot au transcodage qu’après avoir affecté au moins une cible (réglage et destination) à chaque tâche (fichier multimédia source) du lot. Toutes les tâches du lot sont soumises simultanément au transcodage. Les lots sont similaires à des documents qu’il est possible d’enregistrer, de fermer et de rouvrir. À l’instar des onglets de projet Final Cut Pro, chaque lot de Compressor est contenu dans un onglet indépendant qui peut être détaché. Étape 1 : Importation de fichiers multimédia sources dans Compressor Pour importer des fichiers multimédia sources dans un lot, vous pouvez utiliser la zone de dialogue de sélection de fichiers ou faire glisser les fichiers du Finder vers la fenêtre Lot de Compressor. Vous pouvez importer des fichiers multimédia sources de n’importe quel dossier dont vous avez les droits d’accès. Pour plus d’informations, consultez le chapitre 4, « Importation de fichiers multimédia sources », à la page 77. Étape 2 : Affectation d’un réglage Après l’importation de votre fichier multimédia source dans la fenêtre Lot, vous devez lui attribuer un ou plusieurs réglages. Ce processus le convertit alors en tâche. Un fichier multimédia source ne peut être transcodé que s’il est associé à au moins un réglage, et cela n’est possible que si vous avez sélectionné un réglage préexistant ou que vous en avez créé un. Un format de fichier de sortie doit être associé à votre réglage.  Si vous choisissez un réglage existant, celui-ci est déjà associé à un format de fichier de sortie.  Si vous créez votre réglage, vous devez choisir un format de fichier de sortie dans le menu Format de fichier qui s’ouvre lorsque vous cliquez sur le bouton «Créer un réglage » (+) sous l’onglet Réglages.36 Chapitre 2 Flux de production de transcodage de base Vous pouvez ajouter un réglage à plusieurs tâches en une seule étape, soit en sélectionnant les tâches dans la fenêtre Lot et en choisissant un réglage dans la zone de dialogue qui apparaît lorsque vous choisissez Cible > « Nouvelle cible avec réglage », soit en cliquant sur l’une des tâches tout en maintenant la touche Contrôle enfoncée et en choisissant un réglage dans le sous-menu « Nouvelle cible avec réglage » du menu contextuel qui apparaît. Si vous avez un réglage favori (existant ou personnalisé), vous pouvez simplifier votre flux de production en créant une application autonome, appelée droplet, contenant plusieurs réglages et servant à envoyer des lots sans ouvrir Compressor. Consultez la section « Création d’une droplet » à la page 340 pour plus d’informations. Remarque : vous pouvez également créer des groupes de réglages, une manière simple et efficace d’associer plusieurs réglages à un fichier multimédia source. Consultez la section « Création de groupes de réglages » à la page 104 pour plus d’informations. Étape 3 : Prévisualisation du réglage à l’aide de la fenêtre Preview Vous pouvez soit prévisualiser un fichier multimédia seul, soit le prévisualiser avec les réglages qui lui ont été associés. La fenêtre Preview permet de prévisualiser dynamiquement (en temps réel) votre réglage et d’en modifier les effets des filtres et des ajustements géométriques, de lire le fichier multimédia, de visualiser les versions source ou de sortie, de rogner le cadre de l’image du fichier de sortie, de changer ses proportions, et d’ajouter divers marqueurs aux formats de fichier MPEG-1, MPEG-2 H.264 pour DVD Studio Pro et H.264 pour les dispositifs Apple. Consultez la section « Aperçu d’un réglage » à la page 102 ou « Prévisualisation d’un plan » à la page 310 pour plus d’informations. Étape 4 : Attribution d’une destination Vous pouvez choisir l’emplacement de destination des fichiers multimédia de sortie en affectant une destination à chaque cible. La destination définit également divers aspects de nommage du fichier multimédia de sortie. L’onglet Destination propose plusieurs destinations, mais vous pouvez également créer vos propres destinations personnalisées. Pour affecter une destination existante à une tâche, vous pouvez soit faire glisser une destination de l’onglet Destinations vers la cible d’une tâche, soit sélectionner Destination dans le menu Cible ou dans le menu contextuel qui apparaît lorsque vous cliquez sur une cible tout en maintenant la touche Contrôle enfoncée. Vous avez également la possibilité de choisir un emplacement qui n’a pas été défini comme destination, en choisissant l’option Autre dans l’un des deux menus ci-dessus. Consultez la section « Affectation de destinations aux fichiers multimédia sources » à la page 115 pour plus d’informations.Chapitre 2 Flux de production de transcodage de base 37 Étape 5 : Envoi du lot en transcodage Dès que le lot contient toutes les tâches que vous souhaitiez créer et que vous êtes satisfait des réglages et de la qualité des fichiers de sortie (grâce à leur prévisualisation), son envoi est prêt à être effectué. Pour cela, cliquez sur le bouton Soumettre dans la fenêtre Lot. Remarque : si vous souhaitez transcoder un lot volumineux, il est conseillé de désactiver l’écran de veille de votre ordinateur. Ceci augmente la vitesse du transcodage, car aucune ressource n’est réservée à l’écran de veille. Consultez la section « Soumission d’un lot » à la page 120 pour plus d’informations. Visualisation de l’état du transcodage Utilisez Batch Monitor et la fenêtre Historique pour afficher l’état d’un lot envoyé et de toutes les tâches qu’il comporte. Batch Monitor est une application autonome, qui peut donc fonctionner avec Compressor et les droplets, que Compressor soit ouvert ou fermé, indépendamment du fait que vous ayez ou non envoyé un lot en transcodage. Consultez la section « Création d’une droplet » à la page 340 pour plus d’informations sur les droplets. Étape 1 : Visualisation de l’état du transcodage d’un lot Après avoir soumis un lot, vous pouvez ouvrir Batch Monitor pour vous permettre de visualiser l’état du transcodage de votre lot. Cette possibilité s’avère utile pour savoir quand le transcodage de votre lot est terminé et surveiller l’apparition d’éventuels problèmes pendant toute la durée du processus. Vous pouvez configurer Batch Monitor pour qu’il s’ouvre automatiquement dans la fenêtre Préférences de Compressor. Pour plus de détails, consultez le Manuel de l’utilisateur de Batch Monitor. Sinon vous pouvez consulter la fenêtre Historique de Compressor. Elle contient une barre de progression et, à l’instar de Batch Monitor, elle indique si le lot a été correctement transcodé. Étape 2 : Confirmation de la fin du transcodage Une fois le transcodage terminé, il est conseillé d’ouvrir le dossier de destination du fichier multimédia transcodé afin de vous assurer que celui-ci a été transcodé avec succès et enregistré au bon endroit. 38 Chapitre 2 Flux de production de transcodage de base Raccourcis optionnels de Compressor Compressor a été conçu en tenant compte du flux de production. Suivant vos besoins, plusieurs méthodes vous permettent d’accélérer le flux de production de transcodage de Compressor. Utilisation des réglages existants Compressor est livré avec un certain nombre de réglages préconfigurés qui permettent de commencer immédiatement le transcodage. Si ceux-ci répondent à vos besoins, vous pouvez immédiatement procéder au transcodage de vos fichiers multimédia sources. Consultez la section « Flux de travaux Compressor rapide et facile » à la page 20 pour plus d’informations. Même si vous devez créer des réglages personnalisés, vous pouvez les regrouper pour les appliquer plus facilement aux cibles. Pour plus d’informations, consultez le chapitre 5, « Création, aperçu et modification des réglages », à la page 93. Utilisation des réglages et des destinations par défaut Si vous découvrez que vous appliquez toujours les mêmes réglages et destinations à chaque fichier multimédia source, vous pouvez configurer les Préférences de Compressor pour qu’il applique automatiquement ces réglages et destinations. Consultez la section « Configuration des préférences de Compressor » à la page 39 pour plus d’informations. Utilisation de droplets Les droplets constituent un moyen de transcodage rapide et pratique qui ne nécessite pas l’ouverture de Compressor. La création d’une droplet consiste à enregistrer un réglage ou un groupe de réglages et des destinations sous forme d’une icône active. Lorsque vous faites glisser un ou plusieurs fichiers multimédia sur cette icône, la droplet lance automatiquement le processus de transcodage. Consultez la section « Création d’une droplet » à la page 340 pour plus d’informations.Chapitre 2 Flux de production de transcodage de base 39 Configuration des préférences de Compressor Vous pouvez utiliser la fenêtre Préférences de Compressor pour configurer plusieurs aspects de Compressor. Pour ouvrir les Préférences de Compressor, procédez comme suit : m Sélectionnez les préférences de Compressor. m Appuyez sur les touches Commande + virgule. La fenêtre Préférences s’ouvre. Pour configurer les préférences de notification par courrier électronique : 1 Saisissez l’adresse électronique par défaut à utiliser lors de l’activation de la notification par courrier électronique. Vous pouvez modifier cette adresse dans la sous-fenêtre Actions de la fenêtre Inspecteur. 2 Saisissez le nom du serveur de messagerie utilisé par cet ordinateur pour les messages sortants. Pour plus d’informations sur la notification par courrier électronique, consultez la section « Utilisation des actions de post-transcodage » à la page 297. Pour spécifier si Batch Monitor doit s’ouvrir automatiquement, effectuez l’une des opérations suivantes : m Cochez la case « Lancer automatiquement Batch Monitor » pour que Batch Monitor s’ouvre automatiquement lorsque vous soumettez un lot. m Décochez la case « Lancer automatiquement Batch Monitor » pour empêcher l’ouverture automatique de Batch Monitor. Vous pouvez toujours lancer Batch Monitor manuellement à partir de la fenêtre Lot.40 Chapitre 2 Flux de production de transcodage de base Pour contrôler si Content Agent s’ouvre automatiquement, effectuez l’une des opé- rations suivantes : m Cochez la case « Lancer automatiquement Content Agent » pour que Content Agent s’ouvre automatiquement au démarrage de l’ordinateur. m Décochez la case « Lancer automatiquement Content Agent » pour empêcher Content Agent de s’ouvrir tant que Compressor n’est pas ouvert. Content Agent est un processus d’arrière-plan utilisé par Compressor pour transférer des fichiers sources vers d’autres nœuds d’un cluster Apple Qmaster et recevoir les fichiers transcodés depuis ces nœuds. En règle générale, Content Agent n’est nécessaire que si vous êtes prêt à utiliser le traitement distribué pour soumettre un lot au transcodage. L’ouverture automatique de Content Agent au démarrage de l’ordinateur peut toutefois faciliter le processus de transcodage dans certains cas. Par exemple, si un ordinateur redémarre automatiquement en raison d’un problème quelconque alors qu’un lot volumineux est en cours de traitement, le redémarrage automatique de Content Agent permet de poursuivre le processus de transcodage. Pour déterminer si Compressor doit rester ouvert après avoir été utilisé par une autre application (telle que Final Cut Pro) pour envoyer un lot : m Sélectionnez « Quitter après la soumission de lots d’autres applications » pour fermer Compressor après l’envoi du lot. m Désélectionnez « Quitter après la soumission de lots d’autres applications » pour laisser Compressor ouvert après l’envoi du lot. Pour contrôler les options de cluster (pour les réglages du stockage de travail du traitement distribué) : 1 Cliquez sur le menu local « Options de cluster ». 2 Choisissez l’une des options suivantes :  « Copier la source vers le cluster si nécessaire » pour que Compressor copie les fichiers source vers l’emplacement de stockage de travail d’un cluster, si nécessaire.  « Ne jamais copier la source vers le cluster » afin d’empêcher Compressor de copier les fichiers source.  « Toujours copier la source vers le cluster » pour que Compressor copie toujours les fichiers source vers l’emplacement de stockage de travail d’un cluster. Remarque : cette préférence s’applique uniquement à certaines copies de Compressor pour lesquelles le traitement distribué est activé. La fonctionnalité de traitement distribué est limitée aux ordinateurs sur lesquels est installé Final Cut Studio ou DVD Studio Pro.Chapitre 2 Flux de production de transcodage de base 41 Pour contrôler si Compressor transfère immédiatement les fichiers source vers le cluster de traitement, effectuez l’une des opérations suivantes : m Sélectionnez « Copier lors de la soumission (haute priorité) » pour que Compressor transfère immédiatement les fichiers source. m Désélectionnez « Copier lors de la soumission (haute priorité) » pour éviter que Compressor ne transfère immédiatement les fichiers source. Remarque : cette préférence s’applique uniquement à certaines copies de Compressor pour lesquelles le traitement distribué est activé. La fonctionnalité de traitement distribué est limitée aux ordinateurs sur lesquels est installé Final Cut Studio ou DVD Studio Pro. Pour contrôler le réglage par défaut : m Utilisez le menu local « Réglage par défaut » pour choisir un réglage dans la liste. Le réglage que vous choisissez apparaît en tant que réglage par défaut lorsque vous importez un nouveau fichier source dans la fenêtre Lot. Pour changer de destination par défaut : m Utilisez le menu local « Destination par défaut » pour choisir une destination dans la liste. La destination que vous choisissez apparaît en tant que destination par défaut lorsque vous importez un nouveau fichier source dans la fenêtre Lot. Pour contrôler si Compressor peut parcourir les clusters d’un réseau étendu, effectuez l’une des opérations suivantes : m Sélectionnez « Parcourir le réseau WAN » pour que Compressor utilise les ordinateurs au-delà du sous-réseau local et indique un domaine DNS dans le champ « Nom de domaine DNS ». m Désélectionnez « Parcourir le réseau WAN » pour que Compressor se limite aux ordinateurs du sous-réseau local. Remarque : toute modification apportée aux préférences de Compressor ne prend effet que lorsque vous cliquez sur Appliquer. Si vous apportez des modifications, mais que vous décidez finalement de ne pas les utiliser, cliquez sur Annuler.3 43 3 Interface de Compressor L’interface de Compressor consiste en une série de fenêtres de base qui vous permettent d’effectuer la majeure partie du travail de préparation du transcodage. Ce chapitre traite des sujets suivants :  Les fenêtres Compressor et le flux de transcodage (p. 44)  Création et gestion des modèles Compressor (p. 45)  Utilisation des fenêtres de Compressor (p. 48)  Fenêtre Lot (p. 51)  Personnalisation de la barre d’outils (p. 52)  Onglet Réglages (p. 55)  Onglet Destinations (p. 56)  Fenêtre Inspecteur (p. 57)  Fenêtre Historique (p. 68)  Fenêtre Preview (p. 69)  Batch Monitor (p. 70)  Fenêtres Droplet (p. 71)  À propos du changement des valeurs et des entrées de timecode (p. 72)  Raccourcis clavier généraux de Compressor (p. 74)  Raccourcis clavier de la fenêtre Preview (p. 75)44 Chapitre 3 Interface de Compressor Les fenêtres Compressor et le flux de transcodage Chaque fenêtre Compressor représente une étape du flux de transcodage.  Fenêtre Lot : cette fenêtre vous permet d’importer des fichiers multimédia sources, d’ajouter des réglages et des destinations et de donner un nom au lot.  Onglets Réglages et Destinations : l’onglet Réglages vous permet de centraliser la gestion des réglages personnalisés et Apple. L’onglet Destinations permet de créer, de modifier ou de supprimer vos réglages de destination, de définir une destination par défaut et d’ajouter des identificateurs aux noms de vos fichiers de média de sortie.  Fenêtre Inspecteur : permet d’accéder facilement aux contrôles de transcodage courants, et à une table de résumé complète contenant tous les détails de chaque réglage. Vous pouvez également utiliser la fenêtre Inspecteur afin de collecter des informations sur les plans source, ainsi que pour apporter des modifications dynamiques avec la fenêtre Preview.  Fenêtre Preview : vous permet de lire votre fichier multimédia source dans son format original ou de le prévisualiser avec les réglages qui lui ont été attribués. Vous pouvez voir les effets des réglages comme les filtres et le redimensionnement d’images, et faire des ajustements à ces attributs pendant la prévisualisation en temps réel du fichier média. Vous pouvez également utiliser la fenêtre Preview pour ajouter et visualiser plusieurs sortes de marqueurs.  Fenêtre Historique : la fenêtre Historique vous permet de voir l’historique complet de tous les lots soumis depuis votre ordinateur, ainsi que les barres de progression de ceux qui sont encore en cours de transcodage. Vous pouvez également faire une pause et soumettre à nouveau n’importe quel lot répertorié dans l’historique. Fenêtre Preview Fenêtre Historique Onglets Réglages et Destinations Fenêtre Lot sans titre avec tâche fictive Fenêtre InspecteurChapitre 3 Interface de Compressor 45  Fenêtre Droplet (pas illustré) : permet d’enregistrer un ou plusieurs réglages ou groupes de réglages dans une Droplet, un préréglage autonome intégré dans une application glisser-déposer et enregistré en tant qu’icône.  Batch Monitor (pas illustré) : permet d’afficher l’état de tous les lots traités. (Pour plus d’informations, consultez le Manuel de l’utilisateur de Batch Monitor.) La barre d’outils de Compressor, située dans la partie supérieure de la fenêtre Lot, facilite la navigation dans les fenêtres principales de Compressor et dans Batch Monitor. Création et gestion des modèles Compressor À l’usage de Compressor, vous remarquerez qu’en fonction de la tâche d’encodage que vous configurez, la façon dont sont disposées les différentes fenêtres de Compressor peut jouer sur sa simplicité d’utilisation. Pour vous faciliter la tâche, Compressor permet de configurer et de sauvegarder des modèles. Ils définissent les fenêtres visibles, leur taille, leur position et les icônes présentes dans la barre d’outils de la fenêtre Lot. Compressor propose deux modèles que vous pouvez utiliser comme point de départ à la création de vos propres modèles. Remarque : chaque modèle existe en plusieurs tailles, ce qui vous permet de choisir celle qui convient le mieux à votre moniteur. Vous pouvez modifier n’importe lequel de ces modèles et les sauvegarder comme modèles personnalisés. Modèle standard Dans le modèle standard, toutes les fenêtres de Compressor sont affichées et les onglets Réglages et Destinations partagent la même fenêtre. Ce modèle est optimisé pour le transcodage d’un seul fichier multimédia source.46 Chapitre 3 Interface de Compressor Modèle Lot Ce modèle met l’accent sur la fenêtre Lot. Il est optimisé pour le transcodage de plusieurs fichiers multimédia source similaires. Choix, enregistrement et gestion des modèles Compressor vous permet de choisir aisément un modèle. Pour choisir un modèle : m Choisissez Fenêtre > Modèles, puis sélectionnez un modèle dans la liste affichée. Une que vous avez choisi votre modèle, l’interface de Compressor change pour refléter ce choix. Vous pouvez également créer et enregistrer vos propres modèles. Pour enregistrer un modèle : 1 Configurez l’interface de Compressor comme vous souhaitez qu’elle soit enregistrée. Reportez-vous à la rubrique « Utilisation des fenêtres de Compressor » à la page 48 pour de plus amples informations sur la manière de travailler avec les différentes fenêtres. 2 Sélectionnez Fenêtre > Enregistrer comme modèle. 3 Dans la zone de dialogue qui apparaît, saisissez un nom pour le modèle et cliquez sur Enregistrer. Le modèle est enregistré et apparaît dans la liste Fenêtre > Modèles. Vous pouvez organiser la liste des modèles en supprimant ou en renommant des modèles existants. Chapitre 3 Interface de Compressor 47 Pour organiser vos modèles : 1 Choisissez Fenêtre > Organiser les modèles. La zone de dialogue d’organisation des modèles est alors affichée. 2 Pour renommer un modèle, double-cliquez dessus et saisissez un nouveau nom. 3 Pour supprimer un modèle, sélectionnez-le, puis cliquez sur le bouton de suppression ( – ). 4 Pour enregistrer la configuration de l’interface comme nouveau modèle, cliquez sur le bouton d’ajout ( + ) et saisissez un nom pour le modèle. 5 Pour choisir un modèle et l’appliquer à l’interface de Compressor, sélectionnez-le, puis cliquez sur le bouton Appliquer. La fenêtre d’organisation se ferme et l’interface de Compressor est modifiée pour reflé- ter le modèle sélectionné. 6 Cliquez sur Terminé lorsque vous avez fini d’organiser vos modèles. La liste des modè- les est divisée en deux parties : les modèles fournis par Apple et ceux que vous avez créés. Les modèles que vous avez créés sont rangés par ordre alphabétique. Pensez-y lorsque vous donnez un nom à un modèle afin de pouvoir le retrouver facilement. À propos des fichiers de modèle Si vous disposez de plusieurs stations de travail utilisant Compressor, il est conseillé d’avoir les mêmes modèles sur l’ensemble des ordinateurs. Pour cela, vous pouvez copier les fichiers de modèle d’un système à l’autre, en prenant garde de les placer dans l’emplacement adéquat. Les modèles sont stockés dans l’emplacement suivant : Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Compressor/Layouts. Tous les modèles ont la même extension « .moduleLayout ». Important : n’ajoutez ou ne retirez jamais de fichiers de modèle manuellement tant que Compressor est ouvert. Compressor vérifie les modèles disponibles dans cet emplacement lors de son processus de démarrage. Vous devez donc redémarrer Compressor pour qu’il reconnaisse les modifications effectuées sur ces fichiers.48 Chapitre 3 Interface de Compressor Utilisation des fenêtres de Compressor Bien que les modèles Standard et Lot présentent l’interface de Compressor comme un seul grand élément, cette interface est en fait composée de plusieurs fenêtres que vous pouvez repositionner ou redimensionner suivant vos besoins. Pourquoi certaines fenêtres sont-elles cachées ? L’interface de Compressor étant composée de plusieurs fenêtres indépendantes, lorsque vous passez de Compressor à une autre application, puis que vous cliquez de nouveau sur une fenêtre de Compressor, seule cette dernière s’affiche et les autres restent cachées par les fenêtres ouvertes d’autres applications. Il y a trois façons d’éviter cette situation ou de faire apparaître toutes les fenêtres :  Lorsque vous passez d’une application à l’autre, utilisez la fonctionnalité de basculement intégrée à Mac OS X. Appuyez sur la touche de tabulation en maintenant la touche Commande enfoncée pour faire apparaître une zone de dialogue de sélection d’applications. Tant que vous maintenez la touche Commande enfoncée, vous pouvez appuyer sur la touche de tabulation pour parcourir les différentes applications en cours d’exécution, puis relâcher la touche Commande lorsque vous avez sélectionné l’icône de Compressor. Cela permet de s’assurer que toutes les fenêtres de Compressor sont visibles.  Choisissez Fenêtre > Tout ramener au premier plan.  Cliquez sur l’icône de l’application Compressor dans le Dock. Redimensionnement des fenêtres de Compressor Vous pouvez redimensionner toutes les fenêtres de Compressor à l’exception de celle de l’Inspecteur qui a une taille fixe. Chaque fenêtre possède une taille minimum, horizontalement ou verticalement, qui influence le redimensionnement. Pour redimensionner une fenêtre : m Faites glisser le coin inférieur droit de la fenêtre pour l’agrandir ou la réduire horizontalement ou verticalement. Faites glisser ce coin pour redimensionner la fenêtre.Chapitre 3 Interface de Compressor 49 Remarque : lorsque vous repositionnez une fenêtre ou que vous la redimensionnez, elle se colle à la fenêtre la plus proche. Cela permet d’avoir une présentation de fenê- tres nette, sans interstices ni chevauchements. À propos des onglets La fenêtre Lot et la fenêtre des onglets Réglages et Destinations peuvent comporter plusieurs onglets.  La fenêtre Lot : lorsque vous travaillez sur grand écran et que plusieurs lots sont ouverts, il est parfois utile d’afficher chacun d’eux dans sa propre fenêtre.  Les onglets Réglages et Destinations : par défaut, les onglets Réglages et Destinations se trouvent dans la même fenêtre. Vous pouvez néanmoins choisir de leur attribuer une fenêtre chacun ou de fermer l’un de ces onglets. Vous pouvez même y ajouter n’importe quelle autre fenêtre (à l’exception de la fenêtre Lot) sous forme d’onglet supplémentaire. Dans tous les cas, vous avez la possibilité de contrôler l’ordre des onglets. Pour placer un onglet dans sa propre fenêtre par glissement : 1 Faites glisser l’onglet hors de son emplacement actuel.50 Chapitre 3 Interface de Compressor 2 Relâchez l’onglet pour le faire apparaître dans sa propre fenêtre. Pour placer un onglet dans sa propre fenêtre à l’aide du menu contextuel : m Cliquez sur l’onglet tout en maintenant la touche Contrôle enfoncée et sélectionnez Extraire l’onglet dans le menu contextuel. Il s’ouvre alors dans sa propre fenêtre. Pour ajouter un onglet d’une fenêtre à une autre par glissement : 1 Faites glisser l’onglet dans la zone d’onglet de la fenêtre à laquelle vous voulez l’ajouter. La zone d’onglet apparaît alors en surbrillance.Chapitre 3 Interface de Compressor 51 2 Relâchez l’onglet. Il se place automatiquement dans la zone d’onglet et sa fenêtre d’origine se referme. Pour ajouter un onglet d’une fenêtre à une autre à l’aide du menu contextuel : m Cliquez sur la zone d’onglet tout en maintenant la touche Contrôle enfoncée à l’endroit où vous voulez voir apparaître la fenêtre et choisissez l’onglet dans la liste proposée par le menu contextuel. Remarque : c’est la seule méthode qui permette d’ajouter les onglets Historique, Preview ou Inspecteur à la fenêtre. Pour modifier l’ordre des onglets dans leur fenêtre actuelle : m Faites glisser l’onglet vers la gauche ou la droite suivant l’emplacement souhaité. Les autres onglets sont déplacés pour lui laisser une place. Lorsque vous avez configuré l’interface de Compressor selon vos besoins, vous pouvez l’enregistrer en tant que modèle. Cela vous permet de facilement restaurer un modèle ou de passer de l’un à l’autre. Consultez la section « Création et gestion des modèles Compressor » à la page 45 pour plus d’informations. Fenêtre Lot Quand vous ouvrez Compressor pour la première fois, la fenêtre Lot apparaît. Cette dernière vous permet d’importer des fichiers média source à compresser, d’ajouter des réglages et des destinations, de nommer le lot et de choisir le dossier dans lequel vous souhaitez l’enregistrer. C’est là que vous devez placer vos fichiers multimédia sources en préparation du transcodage. Remarque : en général, la fenêtre Lot est toujours visible. Si vous la fermez, elle s’ouvre de nouveau lorsque vous créez un nouveau lot (Fichier > Nouveau lot) ou que vous ouvrez un lot existant (Fichier > Ouvrir).52 Chapitre 3 Interface de Compressor Vous pouvez utiliser la barre de menus de Compressor ou la barre d’outils située en haut de la fenêtre Lot pour ouvrir toutes les autres fenêtres. Si la barre d’outils n’est pas visible lorsque vous ouvrez Compressor, cliquez sur le bouton dans l’angle supérieur droit de la fenêtre Lot afin de l’ouvrir. En plus de la barre d’outils Compressor et du bouton Soumettre, la fenêtre Lot comprend des onglets représentant les lots ouverts et une zone permettant d’afficher et de configurer les tâches d’un lot. Pour plus d’informations sur l’ajout de fichiers multimédia sources à un lot, consultez la section « Ajout de fichiers multimédia sources à un lot pour créer des tâches » à la page 79. Pour savoir comment utiliser les tâches et les cibles, reportez-vous au chapitre 6, « Finalisation de tâches et soumission de lots », à la page 109. Personnalisation de la barre d’outils La fenêtre Lot contient une barre d’outils que vous pouvez personnaliser pour répondre au mieux à vos besoins. Remarque : si la barre d’outils n’est pas visible lorsque vous ouvrez Compressor, cliquez sur le bouton dans l’angle supérieur droit de la fenêtre Lot afin de l’ouvrir. Zone Tâche Barre d’outils Onglets Lot État du lot Bouton de soumission de lot Bouton « Afficher/Masquer la barre d’outils »Chapitre 3 Interface de Compressor 53 Pour personnaliser la barre d’outils de la fenêtre Lot : 1 Utilisez l’une des étapes suivantes pour ouvrir la palette de personnalisation de la barre d’outils :  Choisissez Présentation > Personnaliser la barre d’outils.  Cliquez dans la barre d’outils tout en maintenant la touche Contrôle enfoncée et choisissez « Personnaliser la barre d’outils » dans le menu contextuel.  Cliquez sur l’icône « Personnaliser la barre d’outils » (si elle est présente). La palette de la barre d’outils s’ouvre. 2 Pour supprimer des éléments de la barre d’outils, faites-les glisser hors de cette dernière. 3 Pour ajouter des éléments, faites-les glisser de la palette vers la barre d’outils en les plaçant à l’endroit souhaité. 4 Pour réorganiser les éléments de la barre d’outils, faites-les glisser de leur emplacement actuel vers la position souhaitée. 5 Pour restaurer la barre d’outils par défaut, faites glisser l’ensemble d’outils par défaut (situé en bas de la palette) dans la barre d’outils. 6 Pour configurer la façon dont les éléments sont affichés dans la barre d’outils, choisissez un réglage dans le menu local Afficher. Vous pouvez choisir d’afficher l’icône et le texte, uniquement l’icône ou uniquement le texte. 7 Cliquez sur Terminé lorsque vous avez fini.54 Chapitre 3 Interface de Compressor Remarque : la configuration de la barre d’outils est enregistrée comme élément d’un modèle. Consultez la section « Création et gestion des modèles Compressor » à la page 45 pour de plus amples informations sur les modèles. À propos des éléments de la barre d’outils La plupart des éléments ne peuvent être ajoutés qu’une seule fois à la barre d’outils. Certains, comme le séparateur, l’espace ou l’espace flexible peuvent être ajoutés plusieurs fois.  Nouveau lot : crée un nouveau lot sans nom.  Lot ouvert : ouvre une zone de dialogue permettant de localiser et de sélectionner un lot enregistré pour l’ouvrir.  Fermer : ferme le lot sélectionné. Remarque : vous ne pouvez pas fermer un lot s’il est le seul ouvert.  Ajouter un fichier : ouvre une zone de dialogue permettant de localiser et de sélectionner un ou plusieurs fichiers multimédia sources à importer dans le lot actuel.  Ajouter un son Surround : ouvre la zone de dialogue d’affectation de fichier audio permettant d’affecter manuellement des fichiers à chaque canal audio d’une configuration Surround.  Soumettre avec les réglages précédents : soumet le lot en utilisant les réglages utilisés lors des dernières soumissions de lot, sans ouvrir la zone de dialogue de soumission.  Historique : ouvre la fenêtre Historique.  Inspecteur : ouvre la fenêtre Inspecteur.  Réglages : ouvre l’onglet Réglages.  Destinations : ouvre l’onglet Destinations.  Aperçu : ouvre la fenêtre Preview.  Batch Monitor : ouvre l’application Batch Monitor.  Séparateur : ajoute une ligne verticale à la barre d’outils permettant ainsi de regrouper divers éléments.  Espace : ajoute un espace à largeur fixe à la barre d’outils.  Espace ajustable : ajoute un espace à largeur flexible à la barre d’outils. Cet espace permet de forcer le placement d’éléments sur les bords gauche et droit de la barre d’outils en agrandissant cette dernière de façon à remplir les zones inutilisées.  Personnaliser : ouvre la palette de personnalisation de la barre d’outils.Chapitre 3 Interface de Compressor 55 Il est possible d’ajouter plus d’éléments à la barre d’outils qu’elle ne peut en contenir. Lorsque cela arrive, une double flèche, sur laquelle vous pouvez cliquer pour accéder aux icônes non affichées, apparaît sur le bord droit de la barre. Onglet Réglages L’onglet Réglages permet de gérer de manière centralisée les réglages Apple et les réglages personnalisés. Utilisez l’onglet Réglages avec la fenêtre Inspecteur pour créer et modifier des réglages, décider exactement des réglages à utiliser pour transcoder votre fichier multimédia source et choisir le format de sortie dans lequel vous voulez convertir le fichier transcodé. Pour ouvrir l’onglet Réglages, effectuez l’une des opérations suivantes : m Sélectionnez Fenêtre > Réglages. m Appuyez sur Commande + 3. m Cliquez sur l’icône Réglages dans la barre d’outils de la fenêtre Lot (si elle s’y trouve). m Cliquez sur l’onglet Réglages (s’il est présent). Cliquez sur cette flè- che pour afficher les éléments qui ne tiennent pas dans la barre d’outils visible.56 Chapitre 3 Interface de Compressor L’onglet Réglages contient la liste des réglages existants et les boutons nécessaires à l’ajout, à la suppression et à la duplication d’un réglage, ainsi qu’à la création de groupes et de droplets. Pour plus de détails sur l’utilisation de l’onglet Réglages pour créer, organiser et choisir des réglages, reportez-vous au chapitre 5, « Création, aperçu et modification des réglages », à la page 93. Onglet Destinations L’onglet Destinations permet de créer, de modifier ou de supprimer vos réglages de destination, de définir une destination par défaut et d’ajouter des identificateurs aux noms de vos fichiers de média de sortie. Pour ouvrir l’onglet Destinations, effectuez l’une des opérations suivantes : m Sélectionnez Fenêtre > Destinations. m Appuyez sur Commande + 4. m Cliquez sur l’icône Destinations dans la barre d’outils de la fenêtre Lot (si elle s’y trouve).Chapitre 3 Interface de Compressor 57  Cliquez sur l’onglet Destinations (s’il s’y trouve). Consultez le chapitre 24, « Création et changement de destinations », à la page 325 pour en savoir plus sur la configuration de destinations afin de simplifier votre flux de production Compressor. Fenêtre Inspecteur La fenêtre Inspecteur permet d’accéder facilement aux commandes de transcodage courantes (pour créer et modifier des réglages et des destinations) et propose un tableau de résumé complet contenant tous les détails de chaque réglage, ainsi que des informations sur les fichiers multimédia sources, y compris les attributs A/V, les données de soustitres codés et autres annotations. Pour ouvrir la fenêtre Inspecteur, effectuez l’une des opérations suivantes : m Sélectionnez Fenêtre > Afficher l’inspecteur. m Appuyez sur Commande + Option + I. m Cliquez sur l’icône Inspecteur dans la barre d’outils de la fenêtre Lot. Remarque : contrairement aux autres fenêtres Compressor, la fenêtre Inspecteur ne peut pas être redimensionnée.58 Chapitre 3 Interface de Compressor À propos des réglages automatiques Plusieurs éléments des sous-fenêtres de réglages proposent un mode automatique facultatif. Lorsque ce mode est activé, Compressor détermine la valeur optimale pour le réglage. De façon générale, lorsque le mode automatique est activé, l’élément correspondant est estompé et ne peut pas être modifié.  Si le réglage n’a pas été affecté à un fichier multimédia source, « Automatique » apparaît à côté de l’élément. La sous-fenêtre « Contrôles d’image » de la fenêtre Inspecteur constitue toutefois une exception, puisque son état reste indéterminé tant que vous n’avez pas appliqué le réglage à un fichier multimédia source.  Si le réglage a été affecté, l’élément reste estompé, mais la valeur utilisée s’affiche. Lorsque le mode automatique est désactivé, son bouton est estompé et vous pouvez choisir des valeurs pour les éléments. Vous pouvez activer le bouton Automatique (le bouton s’obscurcit) ou le désactiver (le bouton s’éclaircit). Le bouton automatique est noir lorsqu’il est activé et l’élément correspondant est estompé. Le bouton automatique est estompé lorsqu’il est désactivé et l’élément correspondant peut alors être sélectionné.Chapitre 3 Interface de Compressor 59 ? Astuce : il peut être intéressant de vérifier dans les Inspecteurs les valeurs des réglages automatiques. Compressor peut généralement déterminer correctement les valeurs appropriées, mais il se peut que dans certains cas le fichier multimédia source ne contienne pas suffisamment d’informations pour cela. Par exemple, certaines séquences QuickTime peuvent ne pas comporter les bonnes métadonnées ou peuvent être incorrectes. De plus, si le fichier multimédia source utilise des réglages non standard (pour les dimensions d’image ou la fréquence d’images), Compressor choisit la valeur standard la plus proche. Fichiers multimédia sources et fenêtre Inspecteur Lorsque vous sélectionnez une tâche de lot, la fenêtre Inspecteur affiche des informations au sujet du fichier multimédia source de la tâche. La fenêtre Inspecteur comprend deux onglets : Attributs A/N et Informations supplémentaires.60 Chapitre 3 Interface de Compressor Attributs A/N L’onglet Attributs A/N contient des informations générales sur le fichier multimédia source et se divise en trois parties.  Informations de fichier : cette partie indique le nom du fichier, son emplacement et son format.  Informations vidéo : cette partie affiche, s’il y a lieu, toutes les informations vidéo du fichier. Cela comprend les dimensions de l’image, la fréquence d’images et les informations de timecode.  Informations audio : cette partie affiche, s’il y a lieu, toutes les informations audio du fichier. Cela comprend la taille d’échantillon et la fréquence d’échantillonnage. Informations supplémentaires L’onglet Informations supplémentaires vous permet de visualiser et de modifier divers éléments de métadonnées ayant pu être ajoutés dans d’autres applications telles que Final Cut Pro, Soundtrack Pro ou QuickTime. Vous pouvez également ajouter des élé- ments de métadonnées au fichier multimédia de sortie. Cela inclut la possibilité d’associer un fichier de sous-titres codés au fichier. Consultez la section « Utilisation de l’Inspecteur avec des fichiers multimédia sources » à la page 87 pour en savoir plus sur la gestion des fichiers de sous-titres codés et des annotations.Chapitre 3 Interface de Compressor 61 À propos des sous-fenêtres Réglages Lorsque vous sélectionnez un réglage dans l’onglet Réglages ou une cible dans une tâche par lot, l’Inspecteur affiche une des six sous-fenêtres. Sous-fenêtre Résumé La sous-fenêtre Résumé contient le tableau Résumé, qui décrit tous les réglages (audio, vidéo, géométrie et filtrage) associés au réglage sélectionné sous l’onglet Réglages. Les informations du tableau Résumé sont automatiquement mises à jour à chaque modification d’un réglage. Le tableau Résumé inclut les renseignements suivants :  Nom : nom du réglage sélectionné sous l’onglet Réglages.  Description : description du réglage sélectionné sous l’onglet Réglages.  Extension de fichier : l’extension attribuée au fichier multimédia transcodé. Cette extension identifie le format dans lequel est converti votre fichier multimédia source.  Taille estimée du fichier : lorsqu’on attribue cette option au fichier multimédia source, elle affiche une estimation de la taille totale du fichier. Si vous ne l’attribuez pas à un fichier multimédia source, elle affiche une estimation de taille par heure de données sources. Remarque : la taille totale estimée du fichier n’est pas disponible pour tous les formats de sortie.62 Chapitre 3 Interface de Compressor  Encodeur audio : indique le format du fichier de sortie audio et d’autres réglages de transcodage, comme la fréquence d’échantillonnage, les canaux, le nombre de bits par échantillon et le type de codec.  Encodeur vidéo : fournit des détails sur le format de fichier de sortie vidéo et d’autres réglages de transcodage tels que la largeur et la hauteur d’image, le rognage (en pixels), la fréquence d’images, les proportions, le type de codec, la profondeur de pixel, la qualité spatiale, la qualité spatiale minimale, l’intervalle entre les images clés, la qualité temporelle, la qualité temporelle minimale et le débit des données (en bits par seconde).  Filtre : détaille le ou les filtres (selon le nombre de filtres sélectionnés dans la sousfenêtre Filtres) sélectionnés parmi ceux disponibles dans Compressor. Sous-fenêtre Encodeur Utilisez la sous-fenêtre Encodeur pour sélectionner et configurer le format du fichier de sortie et les autres réglages. Les options et attributs du format de fichier sont différents pour chaque format.  Format de fichier : utilisez ce menu local pour choisir un format de fichier de sortie. Pour plus d’informations sur les formats de sortie disponibles, consultez la section « Choix d’un format de sortie » à la page 34.Chapitre 3 Interface de Compressor 63  Champ Extension de fichier : les extensions de fichier suivantes apparaissent automatiquement dans ce champ en fonction du format que vous choisissez dans le menu local « Format de fichier », et si les pistes vidéo et audio sont activées. Ne modifiez pas ce champ sans bonne raison, car le fichier pourrait alors ne pas être reconnu.  aiff : représente le format AIFF.  ac3 : représente Dolby Digital Professional.  dv : représente la vidéo au format Digital Video (DV).  mpg : représente le flux MPEG-1 multiplexé (vidéo et audio).  m1v : représente le flux élémentaire vidéo MPEG-1.  m1a : représente le flux élémentaire audio MPEG-1.  m2v : représente le flux vidéo élémentaire MPEG-2.  m2t : représente le flux de transport MPEG-2.  mpeg : représente le flux de programme MPEG-2.  m4v : représente le format H.264 pour appareils Apple.  mp4 : représente le format MPEG-4.  mov : représente le format QuickTime et H.264 pour DVD Studio Pro.  tga : représente le format TARGA.  tiff : représente le format TIFF.  Autoriser la segmentation de la tâche : cette case permet de désactiver la segmentation des tâches. Elle n’est importante que si vous utilisez Compressor avec le traitement distribué et avec l’encodage à deux passes ou multipasse. La fonctionnalité de traitement distribué de Compressor est limitée aux ordinateurs sur lesquels est installé Final Cut Studio ou DVD Studio Pro. Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.64 Chapitre 3 Interface de Compressor Segmentation de tâche et encodage 2 passes (ou multipasse) Si vous choisissez le mode deux passes ou multipasse et que le traitement distribué est activé, vous devrez peut-être faire un choix entre rapidité de traitement et garantie de la meilleure qualité possible. Le système Apple Qmaster de traitement distribué accélère le traitement en distribuant le travail sur plusieurs nœuds de traitement (ordinateurs). L’un des moyens pour y parvenir consiste à diviser la quantité totale d’images d’un travail en segments plus petits. Chacun des ordinateurs de traitement opère alors sur un segment différent. Étant donné que les nœuds fonctionnent en parallèle, le travail est terminé plus vite qu’il ne le serait sur un ordinateur unique. Mais avec l’encodage VBR 2 passes et multipasse, chaque segment est traité de manière individuelle, ainsi l’allocation de débit généré dans la première passe pour n’importe quel segment ne comprend pas d’informations sur les segments traités sur d’autres ordinateurs. Commencez par évaluer la difficulté d’encodage (complexité) de vos données source. Ensuite décidez si vous souhaitez ou non autoriser la segmentation de tâche (à l’aide de la case « Autoriser la segmentation de la tâche » en haut de la sous-fenêtre Encodeur). Si la répartition des zones simples et complexes des données est similaire à travers tout le fichier multimédia source, vous pouvez obtenir la même qualité, que la segmentation soit activée ou non. Dans ce cas, il est utile d’autoriser la segmentation afin de réduire le temps de traitement. Cependant, il se peut qu’un fichier multimédia source présente une distribution inégale des scènes complexes. Par exemple, un programme sportif dans lequel la première heure correspond à l’entraînement, avec des présentateurs relativement statiques, et la deuxième heure correspondant à l’action sportive. Si ces données source sont fractionnées en deux segments, le plan d’allocation de débit du premier segment ne pourra pas « donner » certains de ses bits au deuxième segment, car les segments seront traités sur des ordinateurs distincts. La qualité du métrage d’action plus complexe du second segment en pâtira. Dans ce cas, si votre objectif est de garantir la meilleure qualité possible sur les deux heures de programme, il serait judicieux de ne pas autoriser la segmentation des travaux, en désactivant la case en haut de la sous-fenêtre de l’encodeur. Cela a pour effet de forcer le traitement du travail (et donc l’allocation de débit) sur un ordinateur unique. Remarque : la case « Autoriser la segmentation de la tâche » n’affecte que la segmentation des tâches individuelles (fichiers source). Si vous envoyez des lots avec plusieurs tâches, le système de traitement distribué continue d’accélérer le traitement en distribuant les tâches (non segmentées), même lorsque la segmentation des tâches est désactivée. Pour plus d’informations sur l’encodage à débit variable (VBR), consultez la section « Onglet Qualité » à la page 204. Pour plus d’informations sur le système de traitement distribué Apple Qmaster, consultez le guide Configuration du traitement distribué.Chapitre 3 Interface de Compressor 65 Sous-fenêtre Contrôles d’images Cette sous-fenêtre de l’Inspecteur propose des réglages automatiques et personnalisés pour l’analyse d’image avancée et la resynchronisation d’image. Le redimensionnement d’image peut s’avérer nécessaire lorsque vous transcodez d’un format haute définition tel que le 1080i vers un format de définition standard comme le DV-NTSC. La resynchronisation d’image quant à elle est nécessaire lorsque vous transcodez entre formats vidéo de fréquences d’images différentes comme le NTSC (29,97 images par seconde) et PAL (25 images par seconde). Pour plus d’informations sur la sous-fenêtre Contrôles d’images, consultez la section « À propos de la sousfenêtre Contrôles d’images » à la page 274. Sous-fenêtre Filtres Utilisez la sous-fenêtre Filtres pour ajouter des filtres à votre réglage. Parmi les tâches disponibles, vous pouvez effectuer une correction gamma et supprimer le bruit. 66 Chapitre 3 Interface de Compressor Cochez la case située en regard du filtre que vous souhaitez associer à un réglage donné. Utilisez les curseurs de défilement ou les flèches de contrôle pour ajuster les paramètres de filtrage selon vos besoins. Les filtres sont appliqués au fichier multimédia source en fonction de leur ordre d’organisation dans la liste des filtres. Vous pouvez réorganiser les filtres en les déplaçant vers le bas ou le haut dans la liste. Pour de plus amples informations sur la sous-fenêtre Filtres, consultez la section « À propos de la sous-fenêtre Filtres » à la page 260. Sous-fenêtre Géométrie Vous devez utiliser la sous-fenêtre Géométrie pour rogner et dimensionner le fichier multimédia à compresser et définir ses proportions. La sous-fenêtre Géométrie comporte trois parties :  Cadre de source (rognage) : utilisez n’importe lequel des quatre champs pour saisir le nombre de pixels par lequel vous voulez réduire la taille du fichier multimédia source ou cliquez sur la case « Détecter automatiquement les réglages de rognage pour le format Letterbox » pour que Compressor choisisse les valeurs de rognage en fonction du contenu vidéo du fichier multimédia source.  Dimensions (pixels encodés) : utilisez le menu local « Dimension de l’image » ou ces champs pour créer une dimension d’image et des proportions de sortie correspondant à votre fichier multimédia source. Utilisez le menu local « Aspect des pixels » pour définir les valeurs de largeur et de hauteur, afin qu’elles soient conformes à des proportions déterminées.  Cadre de l’image de sortie (remplissage) : utilisez le menu local Remplissage pour calculer les valeurs de hauteur et de largeur de sortie. Si vous sélectionnez Personnaliser, vous pouvez saisir des valeurs dans les champs.Chapitre 3 Interface de Compressor 67 Pour de plus amples informations sur la sous-fenêtre Géométrie, consultez le chapitre 21, « Ajout de réglages de géométrie », à la page 287. Sous-fenêtre Actions Utilisez la sous-fenêtre Actions pour activer les envois par message électronique des notifications de fin de transcodage et exécuter les actions AppleScript de post-transcodage.  Case à cocher et champs « Notification par courrier électronique à » : utilisez ce champ pour introduire l’adresse électronique à laquelle vous souhaitez que la notification soit envoyée après le transcodage du fichier multimédia ou en cas d’erreur.  Case à cocher « Exécuter AppleScript sur la sortie » : cochez cette case pour activer les scripts AppleScript attribués au réglage après le transcodage du fichier multimédia.  Bouton Choisir : cliquez pour sélectionner le script AppleScript que vous voulez affecter au réglage.  Destination par défaut : choisissez dans ce menu local la destination que ce réglage doit utiliser. Pour de plus amples informations sur la sous-fenêtre Actions, consultez le chapitre 22, « Ajout d’actions à un réglage », à la page 297.68 Chapitre 3 Interface de Compressor Fenêtre Historique La fenêtre Historique vous donne rapidement accès aux lots soumis précédemment, ainsi qu’aux informations qui les concernent. Vous pouvez l’utiliser pour mettre en pause une opération de transcodage, soumettre à nouveau des lots en les faisant glisser dans la fenêtre Lot ou visualiser les détails de la soumission de lots particuliers. Vous pouvez également l’utiliser pour localiser les fichiers multimédia de sortie des lots préalablement envoyés. La fenêtre Historique contient également une barre de progression que vous pouvez utiliser pour contrôler l’état des lots soumis au préalable. Pour ouvrir ou fermer la fenêtre Historique, procédez de l’une des manières suivantes : m Sélectionnez Fenêtre > Historique. m Appuyez sur Commande + 1. m Cliquez sur le bouton Historique dans la barre d’outils de la fenêtre Lot. Remarque : la fenêtre Historique s’ouvre automatiquement si elle est fermée lorsque vous envoyez un lot en vue de le transcoder. La fenêtre Historique contient des entrées qui affichent des informations sur le nom du lot et la date et l’heure auxquelles il a été transcodé au départ. Les entrées sont classées par date, en commençant par la plus ancienne. Lorsque vous faites glisser un lot dans une fenêtre Lot pour une nouvelle soumission, un nouveau lot sans nom est créé à cet effet (les lots existants ne s’en trouvent pas affectés). Pour plus d’informations sur les commandes et réglages dans la fenêtre Historique, consultez la section « À propos de la fenêtre Historique » à la page 123.Chapitre 3 Interface de Compressor 69 Fenêtre Preview La fenêtre Preview consiste en un écran partagé en deux, qui affiche à gauche le fichier multimédia source sous sa forme originale, et à droite ce à quoi ressemblerait votre fichier de média de sortie. Cela vous permet de comparer l’original et la version transcodée et, le cas échéant, d’ajuster vos réglages. En utilisant les options de cette fenê- tre, vous pouvez rogner l’image, ajouter des images clés et modifier les proportions. Pour ouvrir la fenêtre Preview, procédez comme suit : m Sélectionnez Fenêtre > Preview. m Cliquez sur le bouton Preview dans la barre d’outils de la fenêtre Lot. m Appuyez sur Commande + 2. La fenêtre Preview propose d’autres fonctionnalités et notamment un menu local de gestion de marqueurs. Le menu local de gestion des marqueurs vous permet d’importer des listes de chapitre ou d’ajouter manuellement marqueurs de chapitres (et de podcasts) et des marqueurs de compression (pour améliorer la qualité de la compression d’un fichier média). Vous pouvez également modifier/couper les marqueurs de compression générés dans d’autres applications comme Final Cut Pro. Si vous exportez un projet Final Cut Pro vers Compressor, ces paramètres ou ces marqueurs sont aussi transférés avec votre projet. Ces marqueurs sont également exportés vers DVD Studio Pro. Consultez les sections « Utilisation d’images I MPEG-2 » à la page 223 et « À propos des marqueurs MPEG-2 et de DVD Studio Pro » à la page 215 pour de plus amples informations. Pour plus d’informations sur les contrôles et les paramètres de la fenêtre Preview, consultez la section « À propos de la fenêtre Preview » à la page 304. Bouton de menu local Marqueur70 Chapitre 3 Interface de Compressor Batch Monitor Utilisez Batch Monitor pour surveiller la progression de l’activité de tous les transcodages des lots, y compris les estimations du temps de transcodage restant pour l’ensemble des tâches. Batch Monitor est une application distincte pouvant être ouverte sans ouvrir Compressor. Pour plus de détails sur Batch Monitor, consultez le Manuel de l’utilisateur de Batch Monitor. Pour ouvrir Batch Monitor, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Batch Monitor dans la barre d’outils de la fenêtre Lot. m Double-cliquez sur l’icône Batch Monitor dans le dossier Utilitaires. Vous pouvez aussi définir les préférences de Compressor de façon à ce que Batch Monitor s’ouvre automatiquement lorsque vous soumettez un lot. Pour plus d’informations, consultez la section « Configuration des préférences de Compressor » à la page 39. Batch Monitor affiche l’état de tous les lots soumis et notamment leur nom et d’autres informations. Vous pouvez visualiser des rapports sur les tâches réussies ou échouées dans Batch Monitor ou la fenêtre Historique. Pour plus d’informations sur les contrôles et les réglages de Batch Monitor, consultez le Manuel de l’utilisateur de Batch Monitor.Chapitre 3 Interface de Compressor 71 Fenêtres Droplet Vous pouvez enregistrer un ou plusieurs réglages ou groupes de réglages dans une Droplet, un préréglage autonome, intégré dans une application glisser-déposer et enregistré en tant qu’icône. Vous pouvez ensuite transcoder les fichiers multimédia sources (sans même ouvrir Compressor) en les faisant tout simplement glisser sur une icône Droplet. Consultez le chapitre 25, « Utilisation de droplets », à la page 337 pour plus d’informations sur la création et l’utilisation de Droplets. Vous pouvez ouvrir n’importe quelle Droplet et afficher sa fenêtre pour voir tous les détails la concernant. Pour ouvrir une fenêtre Droplet : m Double-cliquez sur une icône Droplet. Pour plus d’informations sur les contrôles et réglages de la fenêtre Droplet, consultez la section « À propos de la fenêtre Droplet » à la page 338. Faites glisser les fichiers multimédia sources sélectionnés dans une Droplet pour les transcoder.72 Chapitre 3 Interface de Compressor À propos du changement des valeurs et des entrées de timecode Compressor propose plusieurs types de méthodes de saisie de valeurs. La plupart ont des fonctions permettant de simplifier la modification des champs de valeur ou de timecode. Utilisation des curseurs de valeur Deux méthodes sont utilisées pour saisir des valeurs numériques générales : les curseurs traditionnels avec champs d’entrée numérique séparés, qui allient le curseur et le champ d’entrée numérique. Les curseurs de valeur permettent de saisir un nombre spécifique dans le champ de valeur ou de faire glisser le pointeur dans le champ pour définir une valeur. Vous pouvez les utiliser en même temps qu’une touche de modification pour procéder à des modifications de valeurs importantes, réduites ou normales. Faire glisser le pointeur dans la partie centrale (où se trouve le nombre) fonctionne de la même façon qu’un curseur ordinaire : faire glisser vers la droite augmente la valeur et faire glisser vers la gauche réduit la valeur. De plus, vous pouvez cliquer sur la flèche gauche ou droite pour modifier la valeur d’un cran à la fois. Vous pouvez également double-cliquer sur le nombre lui-même et saisir une nouvelle valeur dans le champ de valeur. Pour modifier les valeurs d’incréments normaux, procédez de l’une des manières suivantes : m Faites glisser le pointeur vers la gauche ou la droite dans le champ de valeur. m Cliquez sur la flèche de gauche pour réduire la valeur et sur la flèche de droite pour l’augmenter. m Si vous disposez d’une souris à trois boutons avec molette de défilement, cliquez dans le champ de valeur et utilisez la molette de la souris. Pour modifier les valeurs de façon précise, procédez de l’une des manières suivantes : m Faites glisser le champ de valeur en maintenant la touche Option enfoncée. m Maintenez la touche Option enfoncée et cliquez sur la flèche de gauche pour réduire la valeur et sur la flèche de droite pour l’augmenter. m Si vous disposez d’une souris à molette de défilement, utilisez-la dans le champ de valeur tout en maintenant la touche Option enfoncée. Curseur de valeur avec curseur et champ d’entrée numérique combinés Curseur et champ d’entrée numérique séparésChapitre 3 Interface de Compressor 73 Pour modifier les valeurs de façon moins précise, procédez de l’une des manières suivantes : m Faites glisser le champ de valeur en maintenant la touche Maj enfoncée. m Maintenez la touche Maj enfoncée et cliquez sur la flèche de gauche pour réduire la valeur et sur la flèche de droite pour l’augmenter. m Si vous disposez d’une souris à molette de défilement, utilisez-la dans le champ valeur tout en maintenant la touche Maj enfoncée. Lorsqu’un curseur ou un champ de valeur est actif (mis en surbrillance), appuyez sur la touche Tab pour passer au champ suivant. Utilisation des curseurs de valeur de timecode Compressor utilise des curseurs de valeur de timecode pour tous les champs de timecode. Outre la possibilité de saisir directement des valeurs de timecode, vous pouvez « faire défiler » le timecode par glissement. Si vous positionnez le pointeur sur un segment de timecode, de petites flèches apparaissent au-dessus et en dessous de ce segment. Vous pouvez faire glisser le pointeur vers le haut ou vers la droite pour augmenter la valeur de ce segment (les valeurs des segments de gauche augmentent également si votre glissement dépasse la valeur maximale). En faisant glisser le curseur vers la gauche, la valeur est réduite. Vous pouvez maintenir la touche Option enfoncée pour faire des modifications de valeur plus lentes ou utiliser la touche Maj pour des modifications plus rapides. Vous pouvez également cliquer sur les flèches haut et bas de chaque côté de la valeur de timecode ou appuyer sur les touches Flèche vers le haut et Flèche vers le bas du clavier pour augmenter ou réduire la valeur de timecode. Vous pouvez contrôler le segment affecté par les flèches haut et bas en sélectionnant un segment, afin de faire apparaître un signe d’insertion en dessous du segment. Vous pouvez également utiliser les flèches gauche et droite du clavier pour sélectionner d’autres segments.74 Chapitre 3 Interface de Compressor Raccourcis clavier généraux de Compressor Commande clavier Fonction Passe la fenêtre Inspecteur au premier plan. Passe la fenêtre Historique au premier plan. Passe la fenêtre Preview au premier plan. Passe l’onglet Réglages au premier plan. Passe l’onglet Destinations au premier plan. Enregistre le lot actuel. Enregistre le lot actuel comme nouveau lot. Crée un nouveau lot sans nom. Ouvre un lot enregistré. Ouvre la fenêtre Préférences. Importe une ressource source pour créer une nouvelle tâche dans le lot. Crée une nouvelle tâche de groupe de son Surround dans le lot. Soumet le lot actuel. Envoie un lot à partir d’une Droplet ouverte. Supprime un élément sélectionné de la fenêtre Lot, Preview ou Destinations. Permet de se déplacer vers le haut dans les listes Lot, Destinations, Réglages et Filtres. Permet de se déplacer vers le bas dans les listes Lot, Destinations, Réglages et Filtres. Permet de passer d’un champ de texte à un autre dans toutes les sous-fenêtres. Ouvre la zone de dialogue « Monter le stockage du cluster ». Ouvre l’Aide Compressor. option I 1 2 3 4 S Maj S N O , l Maj I option S retour suppr. Maj M Maj ? Chapitre 3 Interface de Compressor 75 Raccourcis clavier de la fenêtre Preview Commande clavier Fonction Démarre une animation arrière rapide. Démarre une animation avant rapide. Lecture arrière du plan image par image. Lecture avant du plan image par image. Démarre ou arrête la lecture d’un plan. Ajoute ou supprime un marqueur. Lorsque la tête de lecture se trouve sur un marqueur, ouvre la zone de dialogue Modifier le marqueur. Définit un point d’entrée pour le plan. Définit un point de sortie pour le plan. J L espace M E l O4 77 4 Importation de fichiers multimédia sources La première étape du processus de transcodage dans Compressor consiste à importer au moins un fichier multimédia source dans la fenêtre Lot. L’importation d’un ou plusieurs fichiers multimédia sources dans un lot crée des tâches (une par fichier multimédia source). Il s’agit de la première étape pour pouvoir transcoder les fichiers multimédia sources en fichiers de sortie souhaités. Vous pouvez importer des fichiers multimédia sources pour créer des tâches à partir de n’importe quel dossier auquel vous avez accès. Compressor prend en charge une large gamme de formats multimédia sources allant des formats QuickTime les plus populaires au Dolby Digital Professional (AC-3), en passant par le MPEG-1, le MPEG-2 et le MPEG-4. Consultez la section « Ajout de fichiers multimédia sources à un lot pour créer des tâches » à la page 79 pour de plus amples informations. Ce chapitre traite des sujets suivants :  À propos de la fenêtre Lot (p. 78)  Ajout de fichiers multimédia sources à un lot pour créer des tâches (p. 79)  Utilisation de l’Inspecteur avec des fichiers multimédia sources (p. 87)  Astuces pour l’importation de fichiers multimédia sources (p. 90)78 Chapitre 4 Importation de fichiers multimédia sources À propos de la fenêtre Lot La fenêtre Lot permet de centraliser l’organisation des tâches de transcodage et d’attribuer rapidement des réglages. Lorsque vous ouvrez Compressor pour la première fois, une fenêtre Lot sans nom apparaît. Imaginez les lots comme des documents pouvant être enregistrés, fermés puis ouverts de nouveau. Utilisez la barre de menus située en haut de la fenêtre Lot pour ouvrir toutes les autres fenêtres de tâche. Informations générales sur la fenêtre Lot Les lots sont le cœur même de votre flux de production Compressor et c’est dans la fenêtre Lot que vous traitez les lots. Cette fenêtre prend en charge l’ouverture de plusieurs lots à la fois et les affiche dans des onglets séparés. Pour créer un nouveau lot : m Choisissez Fichier > Nouveau lot (ou appuyez sur Commande + N). Un nouveau lot sans nom est ajouté à la fenêtre. Consultez la section « Enregistrement et ouverture d’un lot » à la page 125 pour en savoir plus sur les fichiers de lot. Vous pouvez même ouvrir plusieurs fenêtres Lot, contenant chacune un lot différent en faisant glisser un onglet de lot dans un nouvel emplacement. Consultez la section « À propos des onglets » à la page 49 pour en savoir plus sur le déplacement d’onglets par glisser-déposer pour ouvrir ou fermer des fenêtres de lot. Zone Tâches Barre d’outils Onglets Lot État du lot Bouton d’envoi de lot Bouton « Afficher/Masquer la barre d’outils » Nom du lot actuellement sélectionné Chaque onglet correspond à un lot différent L’onglet du nouveau lotChapitre 4 Importation de fichiers multimédia sources 79 La fenêtre Lot comprend un bouton Soumettre, situé dans le coin inférieur droit, que vous pouvez utiliser pour commencer le transcodage du lot actuellement sélectionné. Le coin inférieur gauche affiche l’état du lot actuel (le nombre de tâches qu’il contient et s’il a été soumis). À propos de la barre d’outils de la fenêtre Lot Dans la partie supérieure de la fenêtre Lot se trouve une barre d’outils personnalisable. Vous pouvez choisir de l’afficher ou de la masquer en cliquant sur le bouton situé dans le coin supérieur droit de la fenêtre. Vous disposez d’un large choix d’éléments à intégrer à la barre d’outils, tels que des éléments permettant d’ouvrir, d’enregistrer et de fermer un lot. Pour plus de détails sur les éléments que vous pouvez ajouter et la façon de procéder, consultez la section « Personnalisation de la barre d’outils » à la page 52. Ajout de fichiers multimédia sources à un lot pour créer des tâches Vous devez importer les fichiers multimédia sources dans le lot de la fenêtre Lot avant de pouvoir leur ajouter tout réglage de transcodage. Lorsqu’ils sont importés dans un lot, les fichiers multimédia sources créent une tâche (première étape pour le transcodage des fichiers). Il existe quelques méthodes spéciales à utiliser lors de l’importation des fichiers multimédia sources avec son Surround. Bouton « Afficher/Masquer la barre d’outils » (la barre d’outils est cachée dans cet exemple)80 Chapitre 4 Importation de fichiers multimédia sources Ajout de fichiers multimédia sources standard aux lots Vous trouverez ci-après les instructions d’ajout de fichiers multimédia sources standard (n’utilisant pas le son Surround) à un lot. Pour ajouter des fichiers multimédia sources à un lot : 1 Ouvrez Compressor. La fenêtre Lot s’ouvre avec un onglet de lot vide intitulé Sans titre. 2 Procédez de l’une des façons suivantes :  Choisissez Tâche > « Nouvelle tâche avec fichier » (ou appuyez sur Commande + I), naviguez jusqu’au dossier de fichiers multimédia souhaité, sélectionnez un ou plusieurs fichiers multimédia sources, puis cliquez sur Ouvrir. Remarque : choisissez Tâche > « Nouvelle tâche avec fichiers son Surround » (ou appuyez sur Commande + Maj + I) pour créer une tâche utilisant un ensemble de fichiers audio pour une sortie son Surround. Consultez la section « Ajout de fichiers multimédia sources avec son Surround aux lots » à la page 83 pour obtenir plus d’informations.  Cliquez sur le bouton « Ajouter fichier » (dans la barre d’outils Lot, s’il est visible), naviguez jusqu’au dossier de fichiers multimédia souhaité, sélectionnez un ou plusieurs fichiers multimédia sources, puis cliquez sur Ouvrir.  Cliquez sur une zone vide du lot tout en maintenant la touche Contrôle enfoncée et choisissez « Nouvelle tâche avec fichier » dans le menu contextuel. Vous pouvez alors naviguer vers le dossier de fichiers multimédia souhaité, sélectionner un ou plusieurs fichiers multimédia sources, puis cliquer sur Ouvrir. Onglet lot sans titre Zone de lot vide contenant une tâche fictiveChapitre 4 Importation de fichiers multimédia sources 81  Ouvrez votre dossier de fichiers multimédia sources et faites glisser un ou plusieurs fichiers dans le lot. Remarque : vous pouvez combiner les étapes précédentes en sélectionnant tous les fichiers multimédia sources que vous souhaitez transcoder avant d’ouvrir Compressor, puis en les faisant glisser sur l’icône de l’application Compressor. Compressor s’ouvre alors et ajoute en même temps les fichiers multimédia au lot sans titre par défaut. 3 Enregistrez le lot au moyen de l’une des méthodes suivantes :  Choisissez Fichier > Enregistrer sous.  Appuyez sur Commande + Maj + S. 4 Saisissez un nom pour le lot et choisissez, dans la zone de dialogue qui apparaît, l’emplacement dans lequel vous voulez l’enregistrer. Cliquez sur Enregistrer une fois terminé. L’onglet de la fenêtre Lot change pour correspondre au nom du fichier. Remarque : si vos préférences de Finder sont réglées pour afficher les extensions, l’extension « .compressor » apparaît dans l’onglet à côté du nom. Vous n’avez aucune obligation de nommer et d’enregistrer vos lots ; il est parfois préfé- rable de ne pas le faire par souci de rapidité. Cependant, lorsque vous nommez et enregistrez un lot, il est plus facile par la suite d’y revenir et de le soumettre à nouveau si les fichiers de sortie ne correspondent pas à vos attentes ou si vos besoins ont changé. Cela permet également de savoir plus facilement ce qui se trouve dans la fenêtre Historique et dans Batch Monitor si vous soumettez plusieurs lots en peu de temps. 82 Chapitre 4 Importation de fichiers multimédia sources Le lot contient maintenant vos fichiers multimédia sélectionnés, chacun dans sa propre tâche. Les fichiers multimédia sources à contenu vidéo comprennent également une vignette et un curseur que vous pouvez utiliser pour parcourir la vidéo. Vous pouvez modifier le fichier multimédia source affecté à une tâche. Pour modifier le fichier multimédia source affecté à une tâche : 1 Sélectionnez la tâche dont vous souhaitez modifier le fichier multimédia source. 2 Procédez de l’une des façons suivantes :  Choisissez Tâche > Source > Fichier, naviguez jusqu’au dossier de fichiers multimédia souhaité, sélectionnez un ou plusieurs fichiers multimédia sources, puis cliquez sur Ouvrir.  Cliquez sur la tâche tout en maintenant la touche Contrôle enfoncée et choisissez Source dans le menu contextuel. Vous pouvez alors naviguer vers le dossier de fichiers multimédia souhaité, sélectionner un ou plusieurs fichiers multimédia sources, puis cliquer sur Ouvrir.  Faites glisser un nouveau fichier multimédia source dans la tâche. Toutes les cibles déjà configurées sont conservées et sont maintenant appliquées au nouveau fichier multimédia source. Vous pouvez également supprimer un fichier multimédia source d’une tâche si nécessaire. Pour supprimer un fichier multimédia source d’une tâche : m Cliquez sur la tâche tout en maintenant la touche Contrôle enfoncée et choisissez Effacer la source dans le menu contextuel. Pour supprimer une tâche d’un lot, procédez de l’une des manières suivantes : m Sélectionnez la tâche et appuyez sur la touche de suppression. m Cliquez sur une partie vide du lot tout en maintenant la touche Contrôle enfoncée et choisissez « Supprimer toutes les tâches » dans le menu contextuel. Faites glisser ce curseur pour parcourir les images des fichiers vidéo. Cliquez à n’importe quel endroit de la tâche pour voir les attributs du fichier dans la fenêtre Inspecteur. Chaque fichier multimédia source crée une tâche. Les cibles de cette tâche apparaissent à cet endroit.Chapitre 4 Importation de fichiers multimédia sources 83 Ces tâches sont maintenant prêtes à recevoir une nouvelle cible. Les cibles comprennent les réglages et destinations nécessaires pour en faire une tâche que vous pouvez soumettre au transcodage. Consultez le chapitre 6, « Finalisation de tâches et soumission de lots », à la page 109 pour de plus amples informations sur l’ajout de cibles aux tâches. Lisez également le chapitre 5, « Création, aperçu et modification des réglages », à la page 93 pour apprendre comment créer vos propres réglages. Ajout de fichiers multimédia sources avec son Surround aux lots Il existe deux méthodes permettant d’ajouter des fichiers audio à un lot pour créer une tâche avec son Surround : la méthode automatique, qui s’appuie sur le nom de fichier pour mapper les fichiers audio sur les canaux audio appropriés, et la méthode manuelle qui vous permet d’affecter manuellement les fichiers audio aux canaux. Chaque méthode produit une tâche à laquelle vous pouvez ajouter un réglage prenant en charge les sorties audio Surround, comme le Dolby Digital Professional, l’AIFF et d’autres codecs audio du format de sortie de séquence QuickTime. Important : certains formats de sortie ont plusieurs configurations pour les canaux audio Surround. Veillez à connaître la configuration requise par le périphérique de lecture souhaité. Par exemple, le format de sortie AIFF propose quatre configurations différentes pour les sorties audio 5.1 (6 canaux), la différence provenant de l’ordre des canaux. Affectation de fichiers à des canaux audio Surround (méthode automatique) Compressor offre des techniques rationalisées d’affectation de canaux, qui vous permettent de gagner du temps. Pour afficher des fichiers à des canaux Surround avec des codes d’identificateur de canal : 1 Ajoutez le code d’identificateur du canal Surround cible au nom de chaque fichier audio source. Reportez-vous au tableau ci-dessous pour la liste des codes d’identificateur de canal appropriés. Affectation de canaux Code d’identificateur de canal Canal avant gauche -G Canal avant droit -D Canal avant central -C Canal Surround gauche -Gs Canal Surround droit -Ds Canal Surround central -S Canal basse fréquence (subwoofer, LFE) -LFE84 Chapitre 4 Importation de fichiers multimédia sources Par exemple, pour affecter un fichier AIFF au canal Surround gauche, renommez le fichier comme suit nomdefichier-Gs.aiff (nomdefichier représentant le nom de votre fichier). Remarque : Mac OS X peut rajouter une extension de fichier de type .aiff. Cela n’interfère pas avec la méthode d’affectation de ce canal. Cette procédure ne fonctionne que lorsque vous glissez-déposez des fichiers dans la fenêtre Lot. Si vous faites glisser les fichiers sur l’icône de l’application Compressor, ils apparaissent comme fichiers sources séparés, chacun dans sa propre tâche. Remarque : si vous créez des flux audio Surround Dolby Digital Professional (AC-3), vous n’utiliserez pas immédiatement tous les canaux répertoriés dans le tableau. Consultez la section « Réglages de l’onglet Audio » à la page 141 pour un schéma des modes de codage audio Dolby. 2 Faites glisser vers la fenêtre Lot les fichiers audio source renommés. Si les conditions suivantes sont réunies, Compressor réduit automatiquement le groupe entier de fichiers en ce qui apparaît comme un fichier multimédia source Surround unique dans la fenêtre Lot :  Les fichiers du groupe doivent être nommés correctement (voir tableau ci-dessus).  Le nombre total de fichiers du groupe doit être inférieur à sept. Affectation de fichiers à des canaux audio Surround (méthode manuelle) Suivez ces étapes pour utiliser la méthode manuelle d’affectation de fichiers audio individuels aux canaux audio Surround. Pour affecter manuellement des fichiers audio source aux canaux d’un flux audio Surround : 1 Pour importer les fichiers audio source, effectuez l’une des opérations suivantes :  Cliquez sur le bouton « Ajouter son Surround » dans la fenêtre Lot.  Choisissez Tâche > « Nouvelle tâche avec groupe Surround » (ou appuyez sur Commande + Maj + I).  Cliquez dans le lot tout en maintenant la touche Contrôle enfoncée et choisissez « Nouvelle tâche avec groupe Surround » dans le menu contextuel. L’interface d’affectation des canaux s’ouvre.Chapitre 4 Importation de fichiers multimédia sources 85 2 Effectuez l’une des opérations suivantes pour affecter un fichier audio source à un canal particulier.  Faites glisser le fichier audio source du Finder vers l’icône d’un canal spécifique (par exemple « G »).  Cliquez sur l’icône d’un canal spécifique (par exemple « L ») et utilisez la zone de dialogue Ouvrir afin de localiser le fichier audio source destiné à ce canal. Le fichier est désormais affecté au canal « G » (avant gauche). 3 Répétez l’étape 2 pour chacun des fichiers audio source que vous prévoyez d’inclure dans le flux Surround. Remarque : si vous créez des flux audio Surround Dolby Digital Professional (AC-3), vous n’utiliserez pas immédiatement tous les canaux répertoriés dans le tableau. Consultez la section « Réglages de l’onglet Audio » à la page 141 pour un schéma des modes de codage audio Dolby. 4 Une fois que vous avez terminé l’ajout des fichiers audio source à l’interface d’affectation des canaux, cliquez sur OK. Le groupe de fichiers Surround apparaît comme une tâche unique de fichier multimé- dia source Surround dans la fenêtre Lot.86 Chapitre 4 Importation de fichiers multimédia sources À propos des tâches audio Surround Lorsque vous avez créé une tâche audio Surround, la fenêtre Lot affiche l’icône de son Surround dans la vignette du fichier multimédia source et la fenêtre Inspecteur affiche les canaux et les fichiers correspondants. Vous pouvez modifier n’importe quelle affectation de fichier dans la fenêtre Inspecteur. Pour modifier l’affectation d’un fichier audio Surround : 1 Cliquez sur l’icône de haut-parleur du canal que vous voulez modifier. Une zone de dialogue de sélection de fichiers s’ouvre. 2 Localisez le fichier à affecter à ce canal et cliquez sur Ouvrir. Pour des informations sur la création de fichiers de sortie Dolby Digital Professional, consultez le chapitre 8, « Création de fichiers de sortie Dolby Digital Professional », à la page 139. Consultez le Manuel de l’utilisateur de Soundtrack Pro pour obtenir des informations détaillées sur la création de fichiers audio Surround. Si vous prévoyez de créer des DVD à l’aide de DVD Studio Pro, consultez le Manuel de l’utilisateur de DVD Studio Pro pour plus d’informations sur le flux de production pour la création de DVD. Cliquez sur l’icône d’un canal pour changer le fichier qui lui est affecté.Chapitre 4 Importation de fichiers multimédia sources 87 Utilisation de l’Inspecteur avec des fichiers multimédia sources Lorsque vous sélectionnez une tâche de lot, la fenêtre Inspecteur affiche des informations au sujet du fichier multimédia source de la tâche. La fenêtre Inspecteur comprend deux onglets : Attributs A/N et Informations supplémentaires. Onglet Attributs A/N L’onglet Attributs A/N contient des informations générales sur le fichier multimédia source et se divise en trois parties.  Informations de fichier : cette section indique le nom du fichier, son emplacement et son format.  Informations vidéo : cette partie, s’il y a lieu, affiche toutes les informations du fichier concernant la vidéo. Cela comprend la dimension de l’image, la fréquence d’images et les informations de timecode.  Informations audio : cette partie, s’il y a lieu, affiche toutes les informations du fichier concernant l’audio. Cela comprend la taille d’échantillon et la fréquence d’échantillonnage.88 Chapitre 4 Importation de fichiers multimédia sources Onglet informations supplémentaires L’onglet Informations supplémentaires vous permet de visualiser et de modifier divers éléments de métadonnées ayant pu être ajoutés dans d’autres applications telles que Final Cut Pro ou QuickTime. Cela inclut la possibilité d’associer un fichier de sous-titres codés au fichier. Pour associer un fichier de sous-titres codés à un fichier multimédia source : 1 Cliquez sur la tâche pour afficher les attributs du fichier dans la fenêtre de l’Inspecteur. 2 Cliquez sur l’onglet des informations complémentaires. 3 Cliquez sur Choisir, localisez le fichier de sous-titres codés (un fichier au format de soustitres codés Scenarist portant généralement l’extension « .scc »), puis cliquez sur Ouvrir. Remarque : les données de sous-titres codés sont prises en charge par les formats de sortie H.264 pour appareils Apple, MPEG-2 et séquence QuickTime. Suivant le format de sortie de la cible de la tâche, Compressor applique le fichier de sous-titres codés aux fichiers multimédia de sortie.  Pour les sorties QuickTime : Compressor ajoute le fichier de sous-titres codés comme piste de sous-titres codés au fichier de sortie QuickTime. Vous pouvez visualiser les sous-titres codés à l’aide du lecteur QuickTime (version 7.2 ou ultérieure).  Pour les sorties de flux élémentaire MPEG-2 : Compressor incorpore les données de soustitres codés à un flux vidéo élémentaire MPEG-2 pour qu’elles puissent être utilisées pour la création de DVD. DVD Studio Pro retient ces données de sous-titres codés lorsque le flux vidéo est utilisé sur une piste dans un projet DVD NTSC de définition standard. Vous pouvez utiliser Apple DVD Player pour lire les fichiers de construction de DVD Studio Pro et vérifier que les données de sous-titres codés sont bien présentes.Chapitre 4 Importation de fichiers multimédia sources 89  Pour les sorties de flux de transport et de programmation MPEG-2 : Compressor incorpore les données de sous-titres codés aux flux de programmation et de transport MPEG-2 à l’aide du protocole EIA-708 ATSC. Important : les valeurs de timecode du fichier de sous-titres codés doivent être directement liées au timecode du fichier multimédia source. Vous pouvez ouvrir le fichier de sous-titres codés dans TextEdit pour voir les valeurs de timecode qu’il contient (le texte proprement dit est codé et n’est pas lisible de cette façon). Pour ajouter une annotation : 1 Cliquez sur la tâche pour afficher les attributs du fichier dans la fenêtre de l’Inspecteur. 2 Cliquez sur l’onglet des informations supplémentaires. 3 Utilisez le menu local « Ajouter une annotation » pour choisir le type d’annotation. 4 Double-cliquez sur le champ de valeur correspondant et saisissez le texte d’annotation.90 Chapitre 4 Importation de fichiers multimédia sources Remarque : cette fonctionnalité Ajouter annotation est prise en charge par les formats de sortie H.264 pour DVD Studio Pro, H.264 pour appareils Apple, MP3 et séquence QuickTime. Astuces pour l’importation de fichiers multimédia sources Voici quelques astuces complémentaires pour l’importation de fichiers multimédia sources. Fichiers sources hautement compressés Il est fortement recommandé de ne pas utiliser de fichiers sources hautement compressés, comme les fichiers MPEG, en guise de fichiers sources, car ils peuvent engendrer des artefacts indésirables dans la vidéo encodée. Séquences QuickTime de référence et traitement distribué À proprement dit, seules les séquences QuickTime (et non les séquences QuickTime de référence) sont prises en charge pour le traitement distribué. Si vous soumettez une séquence de référence en vue d’un traitement distribué, assurez-vous alors que les fichiers média spécifiés dans ladite séquence sont bel et bien disponibles à chacun des nœuds de cluster Apple Qmaster. En d’autres termes, placez les données dans le volume partagé (du stockage de cluster). Pour plus d’informations, consultez le guide Configuration du traitement distribué. Importation de fichiers MPEG-2 Lorsque vous importez un fichier MPEG-2, Compressor doit analyser le fichier avant que vous ne puissiez le lire dans la fenêtre Preview. L’analyse du fichier implique la détermination de sa structure d’images et d’autres informations nécessaires le concernant. Comme la structure d’images peut varier à travers le fichier, Compressor doit analyser l’intégralité du fichier, ce qui peut prendre plusieurs minutes pour les fichiers les plus longs. Cela n’arrive pas avec les fichiers élémentaires MPEG-2 encodés à l’aide de Compressor lorsque la case « Ajouter les métadonnées DVD Studio Pro » est cochée. Consultez la section « Onglet Compléments » à la page 211 pour obtenir plus d’informations. À propos des fichiers multimédia sources Dolby Digital Professional Vous pouvez utiliser des fichiers audio AC-3 Dolby Digital Professional comme fichiers multimédia sources pour vos tâches. Il peut y avoir deux raisons à cela :  Pour tester un fichier que vous venez d’encoder. Puisque vous ne pouvez pas prévisualiser les réglages de sortie Dolby Digital Professional, l’importation d’un fichier encodé dans une tâche vous permet de le lire et d’en vérifier les réglages.  Pour convertir un fichier audio Dolby Digital dans un autre format. Puisque tous les lecteurs multimédia ne sont pas équipés de décodeurs Dolby Digital, vous pouvez avoir besoin de transcoder le fichier dans un autre format.Chapitre 4 Importation de fichiers multimédia sources 91 Compressor comprend un décodeur Dolby Digital qu’il utilise chaque fois que vous lisez ou transcodez des fichiers audio Dolby Digital. Cela vous permet de vérifier les réglages de sortie Dolby Digital Professional d’un fichier préalablement encodé sur votre système sans devoir recourir à un décodeur Dolby Digital externe. Pour entendre le son Surround, il vous faut un périphérique audio Surround connecté à la sortie USB ou FireWire de votre ordinateur. L’audio est sous-mixé dans deux canaux si vous le lisez à l’aide des haut-parleurs stéréo de votre système. Important : la sortie audio étant déjà décodée sans être au format Dolby Digital, il est impossible d’utiliser la sortie optique pour lire les fichiers Dolby Digital à partir de Compressor. ? Astuce : ajoutez une extension « .ac3 » au nom de fichier si Compressor ne vous permet pas de l’ajouter à une tâche. Valeurs automatiques et fichiers QuickTime non standard Compressor utilise plusieurs tactiques pour déterminer les valeurs appropriées des réglages en mode Automatique. Dans la plupart des cas, les fichiers QuickTime contiennent des métadonnées qui spécifient les nombreux attributs du fichier, comme la fré- quence d’images et la dimension de l’image. Dans certains cas, les métadonnées ne sont pas présentes, ce qui oblige Compressor à essayer de déterminer ces informations. Il arrive également que ces métadonnées soient incorrectes et entraînent Compressor à générer des valeurs incorrectes pour les réglages en mode Automatique. De plus, certains fichiers QuickTime utilisent des réglages non standard qui obligent Compressor à choisir une valeur automatique qui n’est pas forcément appropriée. C’est pour toutes ces raisons qu’il vaut mieux utiliser les Inspecteurs pour vérifier les valeurs des réglages en mode Automatique. Consultez la section « À propos des réglages automatiques » à la page 58 pour obtenir plus d’informations.5 93 5 Création, aperçu et modification des réglages Un réglage est une combinaison d’attributs de transcodage, comme le format de sortie, les filtres et les paramètres géométriques, que vous appliquez au fichier multimédia source pendant le processus de transcodage. Avant de pouvoir transcoder un fichier multimédia source, vous devez au moins lui associer un réglage. Lorsqu’un fichier multimédia source se trouve dans la fenêtre Lot, vous pouvez soit sélectionner un réglage préexistant, soit créer un réglage personnalisé à l’aide de l’onglet Réglages. Une fois que vous disposez de tous les réglages dont vous pensez avoir besoin, il n’est pas nécessaire d’ouvrir à nouveau l’onglet Réglages. Vous pouvez en effet sélectionner les réglages directement dans la fenêtre Lot. Ce chapitre traite des sujets suivants :  À propos de l’onglet Réglages (p. 94)  Utilisation de l’Inspecteur avec les réglages (p. 98)  Duplication des réglages (p. 99)  Création d’un réglage entièrement nouveau (p. 100)  Aperçu d’un réglage (p. 102)  Suppression de réglages (p. 104)  Création de groupes de réglages (p. 104)  Distribution et partage de réglages (p. 106)  Exemple : Création de réglages et de groupes personnalisés pour un DVD (p. 106) Remarque : un réglage est simplement un type de préréglage Compressor. Vous pouvez également créer, modifier, enregistrer ou supprimer des préréglages de destination. Pour en savoir plus sur les destinations, reportez-vous à la section « Création et changement de destinations » à la page 325. 94 Chapitre 5 Création, aperçu et modification des réglages À propos de l’onglet Réglages L’onglet Réglages vous permet de gérer vos réglages. Conjointement avec la fenêtre Inspecteur, l’onglet Réglages fournit également des détails concernant tous les réglages, avec accès facile aux commandes de transcodage courantes. L’onglet Réglages (utilisé conjointement avec la fenêtre Inspecteur) sert à créer, modifier ou supprimer des réglages et à créer des dossiers de groupe destinés aux réglages multiples. Il permet également de créer des droplets. L’onglet Réglages contient la liste des réglages existants et les boutons nécessaires à l’ajout, à la suppression et à la duplication d’un réglage, ainsi qu’à la création de groupes et de droplets. Boutons de l’onglet Réglages Les boutons suivants sont situés dans le haut de l’onglet Réglages.  Créer un groupe de réglage : cette option crée un dossier pour grouper des réglages existants. Utilisez ce bouton comme un moyen d’organiser vos réglages dans un certain ordre logique, afin de conserver un onglet Réglages facile à parcourir. Une fois les réglages créés, vous pouvez affecter un groupe entier de réglages à un fichier multimédia source (en le faisant glisser sur le fichier source dans la fenêtre Lot), ou vous pouvez créer une droplet contenant plusieurs réglages. Consultez la section « Création de groupes de réglages » à la page 104 pour plus d’informations. Cliquez sur les triangles d’affichage pour afficher ou masquer le contenu d’un groupe de réglages. Enregistrer la sélection comme droplet Créer un groupe de réglage Bouton « Dupliquer le réglage sélectionné » Bouton « Supprimer les réglages sélectionnés » Liste Réglages Bouton « Créer un réglage » Exemple de réglageChapitre 5 Création, aperçu et modification des réglages 95  Enregistrer la sélection comme droplet : cliquez pour créer une droplet à partir d’un réglage ou d’un groupe de réglages existant. Les droplets permettent de transcoder un fichier de données en faisant glisser un ou plusieurs fichiers de données source sur l’icône de la droplet. Une fois que vous avez sélectionné votre réglage ou votre groupe de réglages et cliqué sur le bouton « Enregistrer la sélection comme droplet », la zone de dialogue Enregistrer vous invite à attribuer un nom à votre droplet, à choisir un emplacement où l’enregistrer ainsi qu’un dossier de destination pour les fichiers multimédias de sortie pertinents. Lorsque toutes ces opérations ont été effectuées, votre droplet est prête et vous pouvez faire glisser sur son icône autant de fichiers que vous le souhaitez. Consultez le chapitre 25, « Utilisation de droplets », à la page 337 pour plus d’informations sur les droplets.  Dupliquer le réglage sélectionné : cliquez sur cette option pour dupliquer un réglage sélectionné dans l’onglet Réglages. Le bouton Dupliquer copie dans l’onglet Réglages exactement les paramètres du réglage actuellement sélectionné. Au lieu de créer un réglage à partir d’un brouillon, utilisez cette fonction pour en créer un à partir d’un réglage préexistant, que vous pouvez ensuite paramétrer selon vos besoins.  Créer un réglage (+) : cette option ajoute un nouveau réglage à l’onglet Réglages. Lorsque vous cliquez sur ce bouton, une zone de dialogue apparaît pour vous permettre de choisir le format du fichier de sortie (H.264 pour les appareils Apple, MPEG-2, MPEG-4, etc.).  Supprimer les réglages sélectionnés (–) : cette option supprime un réglage de l’onglet Réglages. Aucune confirmation ne vous est demandée, soyez donc sûr de vouloir supprimer le réglage avant de cliquer sur ce bouton. Remarque : il n’est pas possible de supprimer les réglages Apple.96 Chapitre 5 Création, aperçu et modification des réglages Liste Réglages Lorsque vous ouvrez l’onglet Réglages pour la première fois, il contient un jeu de réglages (Apple) préexistants fournis avec Compressor. L’onglet Réglages affiche le nom et la description de tous les réglages et groupes existants stockés sur votre ordinateur. De nouveaux réglages apparaissent dans le dossier de groupe Personnalisé avec le nom par défaut « Sans titre ___ », où « ___ » est le format de fichier que vous avez choisi dans le menu local (+). Il est judicieux de remplacer le nom du réglage par une appellation plus significative, par exemple le nom du réglage ou de la méthode de distribution associée au réglage. Cliquez sur le réglage dans l’onglet Réglages pour l’ouvrir dans la fenêtre Inspecteur. Groupe de réglages Apple et ses sous-groupes Nouveau réglage « Sans titre » Cliquez sur un réglage pour l’afficher dans la fenêtre Inspecteur. Saisissez le nom du réglage sélectionné et sa description dans la fenêtre Inspecteur.Chapitre 5 Création, aperçu et modification des réglages 97 Saisissez un nom dans le champ Nom de la fenêtre Inspecteur. Utilisez le champ Description pour saisir plus d’informations sur chaque réglage. Ces informations apparaissent uniquement dans l’onglet Réglages et peuvent vous aider à identifier vos fichiers lorsque vous disposez de nombreux réglages. L’organisation des réglages dans des dossiers de groupe est une autre des possibilités qui vous sont offertes. Pour cela, après avoir créé et nommé un dossier de groupe, faites-y glisser n’importe quel réglage personnalisé existant. Lorsque vous faites glisser un réglage sur un groupe, vous le supprimez de son emplacement courant. Vous pouvez également sélectionner des réglages individuels d’un groupe, puis les faire glisser sur un fichier multimédia source. Consultez la section « Création de groupes de réglages » à la page 104 pour plus d’informations. Sélection d’une cible Lorsque vous sélectionnez la cible d’un lot, son réglage apparaît immédiatement dans la fenêtre Inspecteur et le champ Nom indique « Cible sélectionnée ». Il s’agit d’une copie temporaire du réglage, mais pas du réglage en soi, ce qui vous permet d’y apporter des modifications temporaires, uniquement pour cet envoi du lot. Dans la fenêtre Lot, sélectionnez une cible pour afficher ses réglages dans la fenêtre Inspecteur. Le nom du réglage est affiché comme « Cible sélectionnée ». Cliquez sur le bouton Enregistrer sous afin d’enregistrer le nouveau réglage qui contiendra toutes les modifications apportées.98 Chapitre 5 Création, aperçu et modification des réglages Lorsque vous modifiez le réglage de la cible, le bouton Enregistrer sous en bas de la fenêtre Inspecteur devient actif. Cliquez sur Enregistrer sous afin d’attribuer un nouveau nom au réglage modifié. La copie enregistrée s’affiche dans l’onglet Réglages sous le nom Copie de Nom du réglage et devient immédiatement le réglage sélectionné dans l’onglet Réglages. Utilisation de l’Inspecteur avec les réglages La fenêtre Inspecteur contient les sous-fenêtres suivantes, lesquelles permettent de créer et de modifier tous les réglages liés à votre fichier de données multimédias de sortie, comme les filtres, la géométrie ou le format de sortie.  Sous-fenêtre Résumé : offre un résumé détaillé d’un réglage sélectionné. Consultez la section « Sous-fenêtre Résumé » à la page 61 pour de plus amples informations sur cette sous-fenêtre.  Sous-fenêtre Encodeur : permet de sélectionner un format de sortie de sortie et d’autres réglages audio et vidéo connexes. Consultez les sections spécifiques ci-dessous pour de plus amples informations sur les différentes sous-fenêtres Encodeur :  « À propos de la sous-fenêtre AIFF Encoder » à la page 134  « À propos de la sous-fenêtre Encodeur Dolby Digital Professional » à la page 140  « À propos de la sous-fenêtre Encodeur DV » à la page 157  « À propos de la sous-fenêtre Encodeur H.264 pour appareils Apple » à la page 160  « À propos de la sous-fenêtre Encodeur H.264 pour DVD Studio Pro » à la page 165  « À propos de la sous-fenêtre Encodeur de séquence d’images » à la page 174  « À propos de la sous-fenêtre Encodeur MPEG-1 » à la page 183  « À propos de la sous-fenêtre Encodeur MPEG-2 » à la page 198  « À propos de la sous-fenêtre Encodeur MPEG-4 » à la page 226  « À propos de la sous-fenêtre AIFF Encoder QuickTime » à la page 238  « À propos de la sous-fenêtre Encodeur Composants d’exportation au format QuickTime » à la page 255  Sous-fenêtre « Contrôles d’images » : permet de personnaliser les modifications relatives à la taille des images, à leur fréquence ou à la priorité de trame. (Pour plus d’informations, reportez-vous à la section « Utilisation des contrôles d’images » à la page 273.)  Sous-fenêtre Filtres : permet d’ajouter des filtres aux réglages afin d’améliorer la qualité des fichiers de sortie. (Pour plus d’informations, reportez-vous à la section « À propos de la sous-fenêtre Filtres » à la page 260.)  Sous-fenêtre Géométrie : permet de rogner et de définir la taille du cadre du fichier de données multimédias de sortie. (Pour plus d’informations, reportez-vous à la section « Ajout de réglages de géométrie » à la page 287.)Chapitre 5 Création, aperçu et modification des réglages 99  Sous-fenêtre Actions : permet d’exécuter des scripts AppleScript et d’envoyer des notifications par message électronique. (Pour plus d’informations, reportez-vous à la section « Ajout d’actions à un réglage » à la page 297.) La fenêtre Inspecteur permet aussi d’attribuer un nom à vos réglages et d’ajouter des descriptions qui vous permettront ultérieurement de vous rappeler plus facilement des modifications personnalisées que vous avez effectuées. Duplication des réglages S’il existe un réglage qui contient des attributs que vous souhaitez utiliser dans un autre réglage, au lieu de créer un nouveau réglage, vous pouvez dupliquer le réglage existant et apporter les modifications nécessaires à la copie. La méthode la plus pratique pour créer des réglages personnalisés consiste à dupliquer un réglage prédéfini Apple et à adapter la copie de sorte qu’elle réponde à vos besoins. Pour dupliquer un réglage : 1 Sélectionnez sous l’onglet Réglages le réglage que vous souhaitez dupliquer. 2 Cliquez sur le bouton Dupliquer le réglage sélectionné. Un nouveau réglage apparaît dans le dossier Personnalisé et la mention Sans titre est ajoutée au début du nom original. 3 Sélectionnez le nouveau réglage dans le dossier Personnalisé. 4 Ouvrez les sous-fenêtres Inspecteur suivantes afin de modifier les éléments suivants :  Nom et description du réglage : permet de modifier le nom et la description du réglage de sorte que vous puissiez vous rappeler plus facilement pourquoi vous avez créé ce réglage personnalisé.  Sous-fenêtre Encodeur : permet de modifier le format de sortie et les codecs vidéo et audio, ainsi que les attributs qui y sont associés.  Sous-fenêtre Contrôles d’images : permet de changer les attributs souhaités dans la sous-fenêtre Contrôles d’images. Sélectionnez le réglage à dupliquer Cliquez sur le bouton « Dupliquer le réglage sélectionné » pour dupliquer le réglage sélectionné100 Chapitre 5 Création, aperçu et modification des réglages  Sous-fenêtre Filtres : permet la modification des attributs des filtres. Pour ajouter ou supprimer un filtre d’un réglage, cochez ou décochez respectivement la case située en regard du filtre concerné.  Sous-fenêtre Géométrie : permet de modifier n’importe quel attribut de la sous-fenê- tre Géométrie.  Sous-fenêtre Actions : permet de modifier n’importe quel attribut de la sous-fenêtre Actions. 5 Si vous avez modifié le réglage d’une façon ou d’une autre, vous pouvez effectuer l’une des opérations suivantes pour enregistrer les modifications :  Cliquez sur le bouton Enregistrer en bas de la fenêtre de l’Inspecteur afin d’enregistrer les modifications.  Essayez de sélectionner n’importe quel autre réglage. Une zone de dialogue vous demande si vous souhaitez enregistrer les attributs modifiés. Cliquez sur OK pour enregistrer les modifications, ou sur Revenir pour annuler les modifications et retourner à l’Inspecteur. Consultez la section « Affectation de réglages à des fichiers multimédia sources » à la page 110 pour plus d’informations sur l’attribution de réglages. Création d’un réglage entièrement nouveau Si les réglages préexistants ne répondent pas à vos besoins en matière de transcodage ou que vous souhaitez simplement en ajouter de nouveaux, vous pouvez créer vos réglages. Remarque : la procédure recommandée pour créer des réglages personnalisés consiste à dupliquer un réglage prédéfini Apple, puis à adapter la copie de sorte qu’elle réponde à vos besoins. Pour en savoir plus sur la duplication de réglages, reportez-vous à la section « Duplication des réglages » à la page 99.Chapitre 5 Création, aperçu et modification des réglages 101 Pour créer un réglage : 1 Dans l’onglet Réglages, cliquez sur le bouton Ajouter (+), puis choisissez un format de sortie dans le menu local. Un nouveau réglage nommé Sans titre suivi du format de fichier de sortie (par exemple, Sans titre MPEG-2) apparaît dans le dossier Personnalisé de l’onglet Réglages. La fenêtre Inspecteur change également pour afficher les paramètres de ce réglage. Remarque : vous pouvez toujours changer le format du fichier de sortie de ce réglage dans la sous-fenêtre Encodeur de l’Inspecteur, mais prenez soin de changer le nom du réglage afin de refléter son format de fichier de sortie. Nouveau réglage sans titre102 Chapitre 5 Création, aperçu et modification des réglages 2 Saisissez un nom et une description appropriés dans les champs Nom et Description de la fenêtre Inspecteur. 3 Configurez le réglage selon vos besoins dans la fenêtre Inspecteur. 4 Cliquez sur Enregistrer pour enregistrer le réglage. Consultez la section « Affectation de réglages à des fichiers multimédia sources » à la page 110 pour plus d’informations sur l’attribution de réglages. Remarque : il est possible de créer des groupes de réglages, que vous pouvez ensuite appliquer à un fichier de données multimédias en une seule étape. Consultez la section « Création de groupes de réglages » à la page 104 pour plus d’informations. Aperçu d’un réglage La fenêtre Preview de Compressor permet de voir les effets de votre réglage (par exemple, les filtres et le redimensionnement du cadre) et d’ajuster ces attributs pendant la prévisualisation du fichier de données multimédia en temps réel. Remarque : il n’est pas possible de prévisualiser un réglage seul. Il faut tout d’abord qu’il ait été affecté à une tâche avec un fichier multimédia source. Important : il n’est pas possible de prévisualiser les réglages des sous-fenêtres « Contrôles d’images » et Encodeur. Si vous souhaitez voir les effets de vos réglages dans ces deux sous-fenêtres, vous pouvez utiliser la fenêtre Preview pour sélectionner une petite partie du fichier multimédia source à transcoder, puis afficher le fichier de sortie pour voir les résultats. Consultez la section « Soumission d’un lot » à la page 120 pour plus d’informations. Pour visualiser votre réglage dans la fenêtre Preview : 1 Appliquez le réglage à une tâche faisant partie d’un lot. Consultez la section « Affectation de réglages à des fichiers multimédia sources » à la page 110 pour plus d’informations. 2 Sélectionnez la cible avec le réglage que vous souhaitez prévisualiser dans la fenêtre Lot. 3 Procédez de l’une des façons suivantes :  Dans la fenêtre Lot, cliquez sur le réglage.  Cliquez sur le bouton Preview. Chapitre 5 Création, aperçu et modification des réglages 103 La première image du fichier multimédia source sélectionné s’affiche dans la fenêtre Preview et le titre du réglage sélectionné apparaît dans le menu local « Élément de lot ». La moitié gauche de l’écran affiche le fichier multimédia source sous sa forme originale (vue Source), alors que la moitié droite affiche l’image de sortie telle qu’elle apparaîtrait en lui appliquant les filtres et les paramètres de réglage sélectionnés (vue Sortie). 4 Le cas échéant, ajustez tous les paramètres de votre réglage pendant la prévisualisation du fichier de données multimédia dans la fenêtre Preview. Vue Source Vue Sortie Bouton de sélection Élément Menu local Élément Cette moitié de la fenêtre Preview montre les effets des modifications apportées dans la fenêtre Inspecteur. Apportez les modifications pendant la prévisualisation du fichier de données multimédias dans la fenêtre Preview. Sélectionnez l’élément que vous souhaitez modifier.104 Chapitre 5 Création, aperçu et modification des réglages Remarque : pour prévisualiser les effets de vos filtres sur votre fichier multimédia, prenez soin de sélectionner les filtres que vous souhaitez appliquer en cochant leur case respective dans la liste Filtres. Dans le cas contraire, les filtres non sélectionnés ne sont pas reconnus par la fenêtre Preview et ils n’entrent pas en compte dans les paramètres de transcodage de cette tâche. Consultez le chapitre 23, « Utilisation de la fenêtre Preview », à la page 303 pour plus d’informations sur la prévisualisation de vos réglages, et la section « À propos de la sous-fenêtre Filtres » à la page 260 pour plus d’informations sur les filtres. Suppression de réglages Pour supprimer des réglages personnalisés, cliquez sur le bouton « Supprimer le réglage sélectionné ». Remarque : il n’est pas possible de supprimer les réglages Apple. Pour supprimer un réglage : 1 Sélectionnez le réglage que vous souhaitez supprimer. 2 Cliquez sur le bouton « Supprimer le réglage sélectionné » (–) ou appuyez sur la touche Suppr. de votre clavier. Création de groupes de réglages La création d’un groupe de réglages permet d’associer rapidement plusieurs réglages à un fichier multimédia source. Pour créer un groupe de réglages : 1 Cliquez sur le bouton Grouper de l’onglet Réglages. Avertissement : aucun avertissement n’est affiché si vous supprimez un réglage, et cette opération est irréversible.Chapitre 5 Création, aperçu et modification des réglages 105 Un dossier nommé Sans titre apparaît sous l’onglet Réglages et la colonne Description indique 0 réglages. Vous ne pouvez pas modifier ce champ, qui affiche le nombre de réglages que le groupe contient. 2 Saisissez un nom de groupe pertinent dans le champ Nom de l’Inspecteur. 3 Sous l’onglet Réglages, faites glisser les réglages appropriés dans le dossier de groupe. Remarque : vous pouvez aussi créer des hiérarchies de groupes (c’est-à-dire d’autres groupes à l’intérieur des groupes). Pour ce faire, il suffit de faire glisser un dossier de groupe dans un autre dossier de groupe. Le champ Description indique le nombre de réglages contenus par le groupe. Après avoir placé au moins un réglage dans le dossier de groupe, cliquez sur le triangle situé à gauche du dossier pour afficher ou cacher les détails concernant le groupe de réglages. Enfin, pour connaître en détail les réglages que contient chaque groupe, sélectionnez-en un, puis consultez la sous-fenêtre Résumé de la fenêtre Inspecteur. Cliquez sur le bouton Grouper. Un nouveau groupe intitulé « sans titre » et contenant 0 réglages est créé. Tapez un nom pour le nouveau groupe. Ce groupe personnalisé contient trois autres groupes personnalisés disposant chacun de leurs propres réglages.106 Chapitre 5 Création, aperçu et modification des réglages Remarque : vous pouvez également faire glisser les réglages d’un groupe vers un autre. Pour ajouter le même réglage à plusieurs groupes : 1 Sélectionnez le réglage. 2 Cliquez sur le bouton Dupliquer pour en créer une copie, puis renommez le réglage dupliqué. 3 Faites glisser le réglage dupliqué dans le dossier d’un autre groupe. Distribution et partage de réglages Les réglages préexistants et les nouveaux réglages sont stockés en tant que fichiers XML dans le dossier de départ /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Compressor et portent l’extension de fichier .setting. Vous pouvez distribuer et partager ces réglages en les plaçant dans le même emplacement dans le dossier principal de l’ordinateur sur lequel vous les distribuez. Vous pouvez aussi transférer ces fichiers au moyen de la méthode que vous utiliseriez pour distribuer tout autre fichier, c’est-à-dire en les envoyant par message électronique comme pièce jointe ou en les téléchargeant sur un serveur. Exemple : Création de réglages et de groupes personnalisés pour un DVD Dans cet exemple, vous travaillez sur un projet HD qui sera finalement enregistré sur un DVD HD et sur un DVD SD. Vous devez pour cela fournir d’abord les DVD SD contenant les rushes. Une méthode aisée pour ce faire consiste à créer deux groupes de réglages :  Réglages pour les rushes : ces réglages devraient comprendre un encodeur audio AIFF (étant donné que vous souhaitez une réalisation rapide et que l’espace disque ne posera probablement aucun problème) et un encodeur MPEG-2 dont la taille d’image SD utilise les réglages les plus rapides (puisque la qualité n’est pas votre pré- occupation première). Il pourrait aussi s’agir d’un encodeur HD si vous disposez d’un appareil vous permettant de lire facilement les DVD HD.  Réglages pour le disque final : ces réglages devraient comprendre un encodeur audio AC-3, un encodeur vidéo HD H.264 pour DVD et un encodeur MPEG-2 utilisant les contrôles d’images pour garantir une vidéo de sortie HD de qualité supérieure.  Vous devrez très probablement créer un troisième groupe de réglages portant le même nom que ce projet et contenant les deux groupes ci-dessus.Chapitre 5 Création, aperçu et modification des réglages 107 Pour créer les groupes destinés aux rushes et aux sorties finales : 1 Dans l’onglet Réglages, cliquez trois fois sur le bouton Grouper pour créer trois nouveaux groupes sans titre. 2 Sélectionnez le premier des nouveaux groupes et, à l’aide de la fenêtre Inspecteur, attribuez-lui le même nom que le projet. 3 Sélectionnez le deuxième des nouveaux groupes et nommez-le Rushes. 4 Sélectionnez le troisième des nouveaux groupes et nommez-le Disques finaux. 5 Dans l’onglet Réglages, faites glisser les groupes Rushes et Disques finaux vers le haut jusqu’à ce qu’une zone de couleur noire entoure le groupe portant le même nom que le projet, puis relâchez-les. Remarque : il est possible de sélectionner plusieurs groupes ou réglages en appuyant sur la touche Maj et en la maintenant enfoncée lorsque vous cliquez sur ces éléments. Cette manipulation a pour effet de placer les deux groupes à l’intérieur du groupe du projet. 6 Recherchez parmi les réglages Apple ceux dont la fonction correspond le mieux à la fonction souhaitée de chaque réglage au sein des nouveaux groupes. 7 Faites une copie de chaque réglage en cliquant sur le bouton « Dupliquer le réglage sélectionné ». 8 Sélectionnez chaque réglage copié, renommez-le, puis faites-le glisser jusque dans le dossier approprié. Vous pouvez ensuite sélectionner chaque réglage et lui apporter toute modification nécessaire. Une fois les fichiers multimédias sources importés et leurs tâches créées, il vous suffit d’affecter le groupe approprié (Rushes ou Disques finaux) pour que tous les réglages appropriés soient appliqués aux cibles. Ce groupe personnalisé contient les autres groupes personnalisés qui disposent chacun de leurs propres réglages. Ce groupe personnalisé contient les réglages utilisés pour créer les rushes. Ce groupe personnalisé contient les réglages utilisés pour créer le disque final.6 109 6 Finalisation de tâches et soumission de lots Une tâche consiste en un fichier multimédia source et au moins une cible (constituée d’un réglage et d’une destination) qui lui est affectée. Vous avez créé les tâches en important des fichiers multimédia sources. L’ajout de cibles les prépare pour la soumission au transcodage. Vous avez créé une tâche en important des fichiers multimédia sources dans un lot. Pour que la tâche soit terminée et prête à être soumise au transcodage, vous devez lui ajouter une ou plusieurs cibles. Chaque cible contient un réglage qui détermine toutes les informations concernant ce que doit devenir le fichier une fois transcodé, ainsi qu’une destination déterminant l’emplacement d’enregistrement du fichier transcodé et le mode de création de son nom. Chaque cible permet également de saisir manuellement le nom du fichier de sortie. Compressor vous propose toute une gamme d’options destinées à affecter des réglages et des destinations à vos cibles et à soumettre des lots. Remarque : consultez les sections « À propos de l’onglet Réglages » à la page 94 et « À propos de l’onglet Destinations » à la page 326 pour plus d’informations sur la création de préréglages dans ces fenêtres. Concernant l’attribution de réglages et de destinations et l’envoi de lots, veuillez aussi consulter les sections suivantes : Affectation de réglages  Affectation de réglages à des fichiers multimédia sources (p. 110)  Remplacement d’un réglage affecté par un autre réglage (p. 113)  Modification d’un réglage affecté (p. 114)110 Chapitre 6 Finalisation de tâches et soumission de lots Attribution de destinations  Affectation de destinations aux fichiers multimédia sources (p. 115)  Réglage du nom de fichier de sortie (p. 117) Informations générales sur les cibles et les tâches  À propos des cibles (p. 117)  À propos de l’ajout et de la copie de tâches (p. 118)  À propos de l’enchaînement de tâches (p. 119) Soumission de lots  Soumission d’un lot (p. 120)  Nouvelle soumission d’un lot (p. 124)  Envoi d’un projet Final Cut Pro pour transcodage (p. 126)  Transcodage de différents plans à partir d’un fichier multimédia source (p. 131) Enregistrement et ouverture de lots  Enregistrement et ouverture d’un lot (p. 125) Affectation de réglages à des fichiers multimédia sources Il existe de nombreuses méthodes permettant d’affecter des réglages à une tâche. Certaines, comme faire glisser le réglage depuis l’onglet Réglages, conviennent mieux pour travailler avec une tâche individuelle, tandis que d’autres, comme le recours au menu contextuel, sont plus appropriées pour affecter les mêmes réglages à un groupe de tâches. Remarque : les étapes suivantes impliquent que vous avez déjà ajouté des fichiers multimédia sources à un lot, créant ainsi les tâches auxquelles vous ajoutez les réglages. Consultez le chapitre 4, « Importation de fichiers multimédia sources », à la page 77 pour plus de détails sur l’importation de fichiers multimédia sources. ? Astuce : vous pouvez cliquer sur le triangle d’affichage d’un groupe de réglages tout en maintenant la touche Option enfoncée pour développer ce groupe (et tous ses sous-groupes) et afficher tous les réglages qu’il contient.Chapitre 6 Finalisation de tâches et soumission de lots 111 Pour affecter un réglage à une tâche par glissement : 1 Sélectionnez un ou plusieurs réglages ou groupes de réglages dans l’onglet Réglages. 2 Faites glisser les réglages sur la tâche dans la fenêtre Lot. Une nouvelle cible est créée pour chaque réglage ajouté à la tâche du lot. Remarque : vous ne pouvez appliquer les réglages qu’à une seule tâche si vous procé- dez par glisser-déposer. Tâche avec fichier multimédia source dans la fenêtre Lot. Sélectionnez un ou plusieurs réglages (deux dans notre cas) à appliquer à la tâche. De nouvelles cibles sont ajoutées pour chaque réglage que vous avez fait glissé sur la tâche.112 Chapitre 6 Finalisation de tâches et soumission de lots Pour affecter un réglage à une tâche à l’aide du menu Cible : 1 Sélectionnez une ou plusieurs tâches dans le lot actuel de la fenêtre Lot. 2 Choisissez Cible > Ajouter une cible avec réglage. La zone de dialogue de sélection de réglages apparaît par-dessus la fenêtre Lot. 3 Choisissez un ou plusieurs réglages ou groupes de réglages à affecter aux tâches et cliquez sur Ajouter. Les réglages sont affectés à chacune des tâches sélectionnées. Pour affecter un réglage à une tâche à l’aide du menu contextuel : 1 Sélectionnez une ou plusieurs tâches dans le lot actuel de la fenêtre Lot. 2 Cliquez sur l’une des tâches sélectionnées en maintenant la touche Contrôle enfoncée et choisissez « Ajouter une cible avec réglage » dans le menu contextuel. Chapitre 6 Finalisation de tâches et soumission de lots 113 Le menu contextuel affiche la liste des réglages en fonction de leurs groupes. Vous ne pouvez pas choisir directement un groupe à affecter, mais chacun dispose d’un élément « Tous » qui sélectionne tous les réglages du groupe. Remarque : cette méthode ne permet pas de sélectionner plusieurs réglages individuels. 3 Choisissez soit un réglage, soit Tous pour choisir tous les réglages d’un groupe. Les réglages s’appliquent à toutes les tâches sélectionnées. Remplacement d’un réglage affecté par un autre réglage Lorsque vous avez affecté un réglage à une tâche, vous pouvez trouver un réglage plus adéquat et décider de remplacer le réglage de la cible par un autre. Plusieurs méthodes permettent de modifier les réglages d’une cible. Elles conservent toutes les réglages de destination et le nom de fichier de sortie tels quels. Pour remplacer un réglage déjà affecté à une cible par un autre, procédez de l’une des manières suivantes : m Choisissez Cible > Modifier le réglage. La zone de dialogue de sélection de réglages s’ouvre pour vous permettre de choisir un nouveau réglage et de cliquer sur Ajouter pour l’affecter à la cible sélectionnée. m Cliquez sur la tâche tout en maintenant la touche Contrôle enfoncée et choisissez Modifier le réglage dans le menu contextuel. La zone de dialogue de sélection de réglages s’ouvre pour vous permettre de choisir un nouveau réglage et de cliquer sur Ajouter pour l’affecter à la cible sélectionnée. m Sélectionnez le nouveau réglage dans l’onglet Réglages et faites-le glisser sur la cible. Remarque : avec toutes les méthodes ci-dessus, si vous sélectionnez plusieurs réglages, seul celui du haut est affecté à la cible. 114 Chapitre 6 Finalisation de tâches et soumission de lots Modification d’un réglage affecté Vous pouvez modifier ou changer tout composant d’un réglage ayant déjà été affecté à un fichier multimédia source dans la fenêtre Lot (identifié comme Cible sélectionnée dans la fenêtre Inspecteur). Pour modifier un réglage associé à un fichier multimédia source dans la fenêtre Lot : 1 Sélectionnez la cible dans le lot avec le réglage que vous souhaitez changer. Le réglage apparaît dans la fenêtre Inspecteur avec « Cible sélectionnée » dans le champ Nom. Il s’agit d’une copie temporaire du réglage, mais pas du réglage en soi, ce qui vous permet d’y apporter des modifications temporaires, uniquement pour cet envoi du lot. 2 Procédez aux modifications du réglage. Lorsque vous modifiez le réglage, le bouton Enregistrer sous en bas de la fenêtre Inspecteur devient actif. 3 Cliquez sur Enregistrer sous afin d’attribuer un nouveau nom au réglage modifié. La copie enregistrée s’affiche dans l’onglet Réglages sous le nom Copie de Nom du réglage et devient immédiatement le réglage sélectionné dans l’onglet Réglages. Remarque : il n’est pas nécessaire de l’enregistrer, mais cela peut s’avérer utile au cas où vous devriez le réutiliser plus tard. Sélectionnez une cible dans la fenêtre Lot pour afficher ses réglages dans la fenêtre Inspecteur. Le nom du réglage est affiché comme « Cible sélectionnée ». Cliquez sur le bouton Enregistrer sous pour l’enregistrer comme nouveau réglage avec les modifications que vous avez effectuées.Chapitre 6 Finalisation de tâches et soumission de lots 115 Affectation de destinations aux fichiers multimédia sources Lorsque vous affectez des réglages à vos cibles, la destination par défaut est également affectée automatiquement. Vous pouvez définir la destination par défaut dans les préférences de Compressor. Sélectionnez Compressor > Préférences. Il peut s’agir d’une destination fournie avec Compressor ou d’une destination personnalisée que vous avez créé. Consultez la section « Création d’une destination » à la page 328 pour plus d’informations sur l’utilisation des destinations. Vous pouvez remplacer la destination par défaut par une autre ou même modifier manuellement un emplacement dans lequel enregistrer le fichier de sortie. Il existe différents moyens permettant d’affecter une destination à un fichier source. Comme pour l’affectation de réglages, les différentes méthodes ont toutes leurs avantages. Pour affecter une destination en procédant par glisser-déposer : 1 Sélectionnez une destination dans l’onglet Destinations. 2 Faites glisser la destination sur la cible dans la fenêtre Lot. Faites glisser la destination sur une tâche avec cible dans la fenêtre Lot. Sélectionnez une destination à appliquer à la cible.116 Chapitre 6 Finalisation de tâches et soumission de lots La partie destination de la cible pointe vers la nouvelle destination. Remarque : vous ne pouvez appliquer les réglages à une seule tâche que lorsque vous les lui affectez par glissement. De plus, vous ne pouvez pas créer de destination temporaire avec cette méthode. La méthode glisser-déposer permet également de créer une nouvelle cible (avec un réglage vide) en faisant glisser la destination vers une partie vide de la tâche. Pour affecter une destination à l’aide du menu contextuel ou du menu Cible : 1 Sélectionnez toutes les cibles sur lesquelles vous voulez régler la destination. 2 Procédez de l’une des façons suivantes :  Choisissez Cible > Destination > destination.  Cliquez sur l’une des cibles tout en maintenant la touche Contrôle enfoncée et choisissez Destination > destination dans le menu contextuel. Remarque : vous pouvez également attribuer une destination temporaire en choisissant Autre. Cela entraîne l’ouverture de la zone de dialogue Sélection de fichier, qui vous permet de créer une nouvelle destination exclusivement destinée à l’envoi de ce lot. Elle n’est pas enregistrée et ne s’applique qu’au lot soumis. Lorsque vous avez affecté toutes les destinations, elles s’affichent dans la section Destination de la cible. Menu contextuel DestinationChapitre 6 Finalisation de tâches et soumission de lots 117 Réglage du nom de fichier de sortie En plus de définir l’emplacement du fichier de sortie, les destinations déterminent la manière de créer le nom du fichier de sortie. Lorsque vous avez affecté une destination, le nom du fichier de sortie est complet. Vous pouvez choisir de l’utiliser tel quel, de le modifier manuellement ou de saisir un nouveau nom. Pour modifier ou saisir un nouveau nom de fichier de sortie : m Cliquez dans la zone du nom de fichier de sortie et modifiez le nom existant ou triplecliquez sur le nom du fichier pour en saisir un nouveau. À propos des cibles Les cibles contiennent trois éléments :  Le réglage  La destination  Le nom du fichier de sortie Le nom du fichier de sortie Le réglage La destination Le nom du fichier de sortie Faites glisser les séparateurs pour agrandir la section d’une cible et rendre l’entrée plus visible. Les boutons Ajouter et Supprimer de la cible118 Chapitre 6 Finalisation de tâches et soumission de lots Vous pouvez utiliser diverses méthodes pour ajouter des réglages à une tâche. La plus courante consiste à ajouter un réglage ou une destination à la tâche. Vous pouvez également utiliser une des méthodes suivantes. Pour ajouter une cible vide à une tâche, procédez de l’une des manières suivantes : m Sélectionnez une ou plusieurs tâches et choisissez Cible > Ajouter une cible. Cela ajoute une cible vide aux tâches. m Sélectionnez une ou plusieurs tâches, cliquez sur une de ses zones vides en maintenant la touche Contrôle enfoncée, puis choisissez Cible > Ajouter une cible. Cela ajoute une cible vide aux tâches. m Cliquez sur le bouton Ajouter (+) d’une cible existante. Vous pouvez également copier une ou plusieurs cibles d’une tâche à l’autre : Pour copier des cibles dans une autre tâche par glisser-déposer : 1 Sélectionnez les cibles à copier. 2 Appuyez sur la touche Option, puis faites glisser les cibles sur la nouvelle tâche. Pour supprimer des cibles, procédez d’une des manières suivantes : m Sélectionnez une ou plusieurs cibles et appuyez sur Supprimer. m Cliquez sur le bouton Supprimer (–) dans une cible. À propos de l’ajout et de la copie de tâches Les tâches sont créées, la plupart du temps, en ajoutant des fichiers multimédia sources à un lot. Il existe plusieurs méthodes pour ajouter des tâches à un lot. De plus, vous pouvez enchaîner des tâches dans un lot pour définir l’ordre dans lequel les fichiers sont transcodés lorsqu’ils ont été soumis. Pour ajouter une tâche vide à un lot : m Choisissez Tâches > Nouvelle tâche. Pour supprimer une tâche d’un lot : m Sélectionnez la tâche et appuyez sur la touche Supprimer. Pour copier des tâches d’un lot à l’autre, procédez d’une des manières suivantes : m Ouvrez chaque lot dans sa propre fenêtre et faites glisser les tâches d’une fenêtre à l’autre. m Sélectionnez les tâches à copier, appuyez sur Commande + C, sélectionnez le lot dans lequel copier et appuyez sur Commande + V.Chapitre 6 Finalisation de tâches et soumission de lots 119 À propos de l’enchaînement de tâches L’enchaînement de tâches est utile lorsque vous devez appliquer plusieurs réglages à un fichier multimédia source mais que vous ne pouvez appliquer chaque réglage qu’une fois que le précédent est terminé. Cela vous permet de contrôler l’ordre dans lequel les réglages peuvent modifier le fichier multimédia source. Pour enchaîner toutes les cibles dans une tâche à de nouvelles tâches : 1 Sélectionnez la tâche dont vous voulez enchaîner les cibles à d’autres tâches. 2 Choisissez Tâches > Nouvelle tâche avec sortie cible. De nouvelles tâches sont ajoutées au lot avec un symbole de chaîne et le nom du fichier de sortie des cibles auxquelles est enchaîné. Pour enchaîner des cibles sélectionnées à d’autres tâches : 1 Sélectionnez les tâches dont vous voulez enchaîner les sorties à d’autres tâches. 2 Cliquez sur l’une des cibles sélectionnées en maintenant la touche Contrôle enfoncée et choisissez « Nouvelle tâche avec sortie cible » dans le menu contextuel. De nouvelles tâches sont ajoutées au lot avec un symbole de chaîne et le nom du fichier de sortie des cibles auxquelles est enchaîné. Vous pouvez enchaîner des tâches multiples si vous le désirez. Consultez la section « Création de vidéo PAL lors du processus de télécinéma inverse » à la page 282 pour voir un exemple d’enchaînement de deux tâches. Le nom source de la tâche enchaînée est le fichier de sortie de la cible à laquelle il est enchaîné. Ce logo de chaîne constitue la vignette de la tâche enchaînée.120 Chapitre 6 Finalisation de tâches et soumission de lots Soumission d’un lot Lorsque vous avez configuré les tâches et leurs cibles dans un lot, vous êtes prêt à soumettre le lot pour le traitement. Pour envoyer un lot : 1 Assurez-vous que le lot à envoyer est sélectionné dans la fenêtre Lot. 2 Procédez de l’une des façons suivantes :  Choisissez Fichier > Soumettre (ou appuyez sur Commande + Option + S).  Cliquez sur le bouton Soumettre dans la fenêtre Lot. La zone de dialogue correspondante est affichée. 3 Vérifiez le champ Nom pour confirmer le nom du lot. Par défaut, il s’agit du nom du premier fichier multimédia source du lot. Vous pouvez le modifier afin qu’il reflète mieux le contenu du lot. Ce nom sera utilisé pour la soumission du lot dans Batch Monitor et dans la fenêtre Historique. 4 Utilisez le menu local Cluster pour choisir l’ordinateur ou le cluster qui doit traiter le lot. Le réglage de cluster par défaut est « Cet ordinateur » ; Compressor n’implique donc aucun autre ordinateur pour traiter le lot. Vous pouvez choisir n’importe quel cluster disponible présent dans la liste. Consultez le guide Configuration du traitement distribué pour de plus amples informations sur la configuration d’un réseau de traitement distribué Apple Qmaster. 5 Cochez la case « Inclure des services non gérés sur d’autres ordinateurs » pour créer un cluster approprié comprenant « Cet ordinateur » et tout autre nœud de service disponible. Cela fait partie de la fonction AutoCluster. Consultez la section « À propos d’AutoCluster et des services non gérés » à la page 121 pour plus d’informations.Chapitre 6 Finalisation de tâches et soumission de lots 121 6 Utilisez le menu local Priorité pour choisir le niveau de priorité du lot. 7 Cliquez sur Soumettre ou appuyez sur Entrée pour soumettre le lot au traitement. La fenêtre Historique affiche la progression du lot. Consultez la section « À propos de la fenêtre Historique » à la page 123 pour plus d’informations. Remarque : la fenêtre Historique s’ouvre automatiquement si elle n’est pas encore ouverte. Vous pouvez suivre la progression du transcodage à l’aide de Batch Monitor en doublecliquant sur l’icône Batch Monitor qui se trouve dans le dossier Utilitaires, dans le dossier Applications, ou en cliquant sur son icône dans la fenêtre Lot. Pour en savoir plus sur Batch Monitor, consultez le Manuel de l’utilisateur de Batch Monitor disponible via le menu Aide. Vous pouvez configurer Batch Monitor pour qu’il s’ouvre automatiquement dans la fenêtre Préférences de Compressor. Consultez la section « Configuration des préférences de Compressor » à la page 39 pour obtenir plus d’informations. Remarque : lors du traitement d’un lot volumineux (par exemple, neuf fichiers multimédia sources associés chacun à trois réglages), l’envoi est suivi d’un délai d’environ dix secondes pendant lequel rien ne se passe. Soyez patient ! Compressor profite de ce délai pour préparer le lot en question afin de pouvoir l’envoyer dans les meilleures conditions pour traitement. Si vous souhaitez transcoder un lot volumineux, il est conseillé de désactiver l’écran de veille de votre ordinateur. Ceci augmente la vitesse du transcodage, car aucune ressource n’est réservée à l’écran de veille. À propos d’AutoCluster et des services non gérés Compressor comporte une fonction nommée AutoCluster qui permet de profiter facilement des capacités de traitement distribué offertes par Apple Qmaster sans devoir disposer de beaucoup de connaissances sur la façon dont les clusters sont configurés, sur la configuration du partage de fichiers, etc. L’utilisation d’AutoCluster se fait en deux étapes :  Création automatique de nœuds du service Apple Qmaster lors de l’installation de Final Cut Studio ou Apple Qmaster.  Sélection de la case « Inclure des services non gérés sur d’autres ordinateurs » lorsque vous envoyez un lot Compressor en vue de le traiter. Ces deux étapes permettent de maîtriser la puissance de traitement d’un nombre quelconque d’ordinateurs sur votre réseau sans effort ni connaissances supplémentaires de votre part. Pour en savoir plus, consultez le Guide de configuration du traitement distribué disponible via le menu Aide de Compressor.122 Chapitre 6 Finalisation de tâches et soumission de lots Lorsque le lot a été soumis, un triangle jaune avec un point d’exclamation apparaît dans le lot. Compressor utilise ces symboles chaque fois qu’il y a un problème dans un lot. Vous pouvez placer le pointeur au-dessus du symbole pour afficher une bulle d’aide expliquant sa présence ou cliquer dessus pour ouvrir une zone de dialogue le concernant. Dans la case du dessus, lorsque le lot a été soumis, cet avertissement vous permet de savoir qu’un fichier portant ce nom existe désormais dans cet emplacement et qu’il sera écrasé si vous soumettez à nouveau le lot. Vous pouvez éviter la zone de dialogue de soumission de lots lorsque vous soumettez un lot. Le lot soumis pour traitement utilise automatiquement les réglages du lot précédent. Pour soumettre un lot en utilisant les réglages précédents, procédez d’une des manières suivantes : m Choisissez Fichier > Soumettre avec les réglages précédents. m Cliquez sur l’élément « Soumettre avec les réglages précédents » dans la barre d’outils de la fenêtre Lot (s’il s’y trouve). Consultez la section « À propos de la fenêtre Lot » à la page 78 pour plus d’informations sur l’utilisation de la fenêtre Lot. Cliquez sur le symbole d’avertissement pour recevoir des explications sur sa présence.Chapitre 6 Finalisation de tâches et soumission de lots 123 Astuce relative au test du transcodage Avant de vous lancer dans une longue session de transcodage, faites un test rapide en utilisant un petit passage du fichier de données source. S’il y a un problème (comme, par exemple, un réglage incorrect ou un fichier de référence qui ne trouve pas les fichiers auxquels il fait référence), vous pourrez procéder à la correction sans perdre trop de temps. De tels tests vous permettent aussi de prévisualiser les résultats de la sous-fenêtre Encodeur et Contrôles d’image qui ne sont pas visibles dans la fenêtre Preview. Pour sélectionner rapidement une petite partie d’un fichier multimédia source, consultez la section « Transcodage d’une section du plan à l’aide de la fenêtre Preview » à la page 315. Assurez-vous que la partie test est propre au type de réglages appliqués. Par exemple, sélectionnez une scène d’action rapide si vous effectuez une conversion de la fréquence d’images ou de l’ordre de trame avec Contrôles d’images. À propos de la fenêtre Historique La fenêtre Historique propose un accès rapide à tous les lots préalablement soumis, ce qui vous permet de soumettre à nouveau des lots en les faisant glisser dans la fenêtre Lot et de consulter des informations concernant la date de soumission de certains lots depuis votre ordinateur. Le contenu de la fenêtre Historique est organisé par date de soumission. Vous pouvez modifier l’ordre de tri du contenu en cliquant sur le bouton « Inverser l’ordre de tri » en bas de la fenêtre. Vous pouvez également effacer le contenu de l’Historique en cliquant sur le bouton Effacer ou en supprimant les éléments sélectionnés avec la touche Supprimer. Cliquez sur le triangle d’affichage pour afficher le détail des soumissions de la journée.124 Chapitre 6 Finalisation de tâches et soumission de lots La fenêtre Historique peut également afficher la progression d’un lot en cours de transcodage. Remarque : si elle est fermée, la fenêtre Historique s’ouvre automatiquement lorsque vous envoyez un lot. Lorsque le transcodage est terminé, un nouveau bouton apparaît dans la fenêtre Historique pour faciliter la recherche des fichiers encodés. Nouvelle soumission d’un lot Toutes les informations concernant la soumission de lots sont stockées dans la fenêtre Historique. Vous y trouverez des détails sur toutes les tâches et cibles du lot et notamment les fichiers multimédia sources qui leur ont été affectés. Vous pouvez utiliser ces informations pour envoyer à nouveau un lot en faisant tout simplement glisser une entrée spécifique de la fenêtre Historique vers la fenêtre Lot. Pour soumettre à nouveau un lot à partir de la fenêtre Historique : 1 Utilisez les triangles d’affichage pour localiser le lot à soumettre de nouveau. Remarque : c’est dans ce cas que l’on comprend l’utilité de donner à la soumission un nom reconnaissable. 2 Faites glisser la soumission de la fenêtre Historique dans la fenêtre Lot. Cliquez sur le triangle d’affichage pour voir les détails concernant chaque cible de cette soumission. Cliquez sur le bouton Pause pour mettre en pause le transcodage. Cliquez une nouvelle fois pour reprendre le transcodage. Nom de la soumission Cliquez sur le bouton Annuler pour mettre fin au processus de transcodage. Cible appartenant au lot envoyé Cliquez sur le bouton « Révéler dans le Finder » pour afficher le fichier encodé dans une fenêtre du Finder. En cliquant sur le triangle d’affichage, vous pouvez afficher les détails de la soumission.Chapitre 6 Finalisation de tâches et soumission de lots 125 Lorsque vous faites glisser un lot de la fenêtre Historique vers la fenêtre Lot, Compressor crée un nouvel onglet sans titre dans la fenêtre Lot correspondante. Le lot apparaît dans le nouvel onglet avec tous les détails originaux (fichiers multimédia sources, cibles, réglages affectés, destinations, format de sortie et nom du lot). Vous pouvez modifier le lot avant de le soumettre à nouveau. Enregistrement et ouverture d’un lot Il peut arriver que vous ne puissiez pas envoyer immédiatement un lot que vous venez de configurer. Dans ce cas, il peut être utile d’enregistrer les paramètres du lot afin d’y faire référence ultérieurement. Pour enregistrer un lot : 1 Procédez de l’une des façons suivantes :  Choisissez Fichier > Enregistrer sous.  Appuyez sur les touches Maj + Commande + S. Une zone de dialogue s’ouvre pour vous permettre de nommer le fichier et de sélectionner sa destination. Par défaut, le nom du fichier est le même que celui du premier fichier source. 2 Saisissez un nom pour le fichier si vous ne souhaitez pas utiliser le nom par défaut. 3 Choisissez la destination du fichier. 4 Cliquez sur Enregistrer. L’extension « .compressor » est ajoutée au nom des fichiers de lot. Remarque : l’extension « .compressor » apparaît dans les onglets de la fenêtre Lot si vous avez choisi d’afficher les extensions dans les préférences du Finder. Pour ouvrir un fichier de lot dans Compressor : 1 Procédez de l’une des façons suivantes :  Choisissez Fichier > Ouvrir.  Appuyez sur les touches Commande + O. Une zone de dialogue s’ouvre pour vous permettre de sélectionner le fichier de lot à ouvrir. 2 Localisez et choisissez le fichier. 3 Cliquez sur Ouvrir. Vous pouvez également ouvrir un fichier de lot en double-cliquant dessus dans le Finder ou en le faisant glisser vers l’icône de l’application Compressor. Remarque : un message d’erreur apparaît si Compressor ne parvient pas à localiser les fichiers source répertoriés dans le fichier de lot ; seuls les fichiers source trouvés seront affichés.126 Chapitre 6 Finalisation de tâches et soumission de lots Envoi d’un projet Final Cut Pro pour transcodage Vous pouvez utiliser Compressor pour améliorer le processus de transcodage de vos projets Final Cut Pro. Par exemple, vous pouvez transcoder un projet Final Cut Pro sans le soumettre à un programme de rendu. Cela évite une étape qui prend potentiellement du temps selon les transitions, les filtres et les effets vidéo que vous avez appliqués au projet, ainsi que les dégradations du contenu des fichiers multimédia sources qui peuvent survenir après les multiples étapes de compression et de décompression. Ce processus élimine également une étape du processus d’encodage précédent qui impliquait une exportation de Final Cut Pro vers QuickTime, puis un transcodage de cette séquence QuickTime dans Compressor. Selon sa taille, un projet Final Cut Pro transcodé uniquement sur votre ordinateur peut affecter de manière significative les performances de votre ordinateur. Remarque : le transcodage d’un projet Final Cut Pro ne crée pas de projet rendu, bien que tous les effets rendus doivent être appliqués au fichier multimédia de sortie. Si vous souhaitez continuer à travailler sur le projet dans Final Cut Pro, vous devez le rendre dans Final Cut Pro. Pour transcoder un projet Final Cut Pro : 1 Ouvrez dans Final Cut Pro le projet que vous voulez transcoder. 2 À l’aide d’une des méthodes suivantes, sélectionnez dans Final Cut Pro le projet à transcoder :  Dans le navigateur, sélectionnez la séquence que vous souhaitez transcoder.  Faites de la Timeline la fenêtre active en cliquant dessus. 3 Enregistrez votre projet Final Cut Pro et nommez-le. 4 Sélectionnez Fichier > Exporter > Avec Compressor. Compressor s’ouvre (s’il ne l’était pas déjà) et la séquence apparaît en tant que tâche dans un lot sans titre. La séquence et les noms de projet Final Cut Pro sont combinés pour créer le nouveau nom de tâche.Chapitre 6 Finalisation de tâches et soumission de lots 127 5 Affectez des réglages et des destinations à la tâche comme il convient. Consultez les sections suivantes pour plus d’informations :  « Affectation de réglages à des fichiers multimédia sources » à la page 110  « Affectation de destinations aux fichiers multimédia sources » à la page 115 6 Cliquez sur le bouton Soumettre dans la fenêtre Lot. Compressor commence alors le transcodage du projet Final Cut Pro, puis se ferme. Remarque : Final Cut Pro doit rester ouvert jusqu’à la fin de ce processus, car la préparation du transcodage des images se déroule principalement dans Final Cut Pro plutôt que dans Compressor. De même, vous ne pouvez pas travailler avec Final Cut Pro tant que le transcodage n’est pas terminé. Consultez la section « Exportation à partir de Final Cut Pro et traitement distribué, » ci-dessous pour en savoir plus sur le fonctionnement du processus si vous utilisez le traitement distribué. Renvoi d’un projet Final Cut Pro Vous pouvez utiliser la fenêtre Historique pour renvoyer un projet Final Cut Pro, comme si vous renvoyiez n’importe quel autre lot. Étant donné que Compressor reconnaît les lots créés dans Final Cut Pro, Final Cut Pro s’ouvre automatiquement quand vous faites glisser un lot dans la fenêtre Lot à partir de la fenêtre Historique. Consultez la section « Nouvelle soumission d’un lot » à la page 124 pour plus de détails sur les étapes de ce processus. Exportation à partir de Final Cut Pro et traitement distribué Compressor et Apple Qmaster peuvent distribuer des tâches de compression audio et vidéo sur plusieurs ordinateurs connectés en réseau. Remarque : cette fonctionnalité de traitement distribué de Compressor est limitée aux ordinateurs sur lesquels Final Cut Studio est installé. Il existe deux méthodes pour éviter d’exporter des fichiers multimédia autonomes depuis Final Cut Pro pour un traitement distribué dans Compressor :  Exportez directement une séquence de Final Cut Pro vers Compressor, puis soumettez cette tâche à un cluster dans un réseau de traitement distribué Apple Qmaster. Dans ce processus, Final Cut Pro s’ouvre sur chaque nœud de traitement du cluster pour réaliser la tâche. 128 Chapitre 6 Finalisation de tâches et soumission de lots  Exportez la séquence Final Cut Pro en tant que séquence de référence QuickTime, puis soumettez le résultat au cluster pour traitement. Bien qu’avec cette méthode il n’est pas nécessaire que Final Cut Pro soit installé sur tous les ordinateurs du cluster de traitement distribué, les fichiers multimédia spécifiés dans la séquence de réfé- rence doivent être disponibles sur chacun de ces ordinateurs. Pour exporter une séquence Final Cut Pro directement vers Compressor pour le traitement distribué : 1 Assurez-vous que Final Cut Pro est bien installé sur chacun des ordinateurs du cluster à utiliser pour le traitement distribué. Chaque installation de Final Cut Pro doit disposer de son propre numéro de série. Pour plus d’informations sur les licences en volume, rendez-vous sur http://www.apple.com/fr/finalcutstudio/. 2 Assurez-vous que tous les fichiers multimédia sources et de rendu de votre projet Final Cut Pro se trouvent sur un disque dur pouvant être partagé (monté) par tous les ordinateurs du cluster qui doit traiter la tâche. (Les instructions suivantes prennent l’exemple d’un disque de travail nommé Media1.) Si vous copiez tous les fichiers multimédia sur un autre disque dur à cet effet, vous devrez peut-être reconnecter les fichiers multimédia dans Final Cut Pro avant de continuer. Important : le disque dur que vous utilisez pour stocker les fichiers multimédia ne doit pas faire office de disque de démarrage pour un ordinateur du cluster. 3 Dans Final Cut Pro, réglez le disque de travail sur le disque dur utilisé pour le stockage des fichiers multimédia à l’étape 2 : a Choisissez Final Cut Pro > « Réglages système », puis cliquez sur l’onglet « Disques de travail ». b Cliquez sur Définir. c Dans la zone de dialogue qui apparaît, localisez et sélectionnez le disque que vous souhaitez utiliser (Media1 dans notre exemple). d Cliquez sur Choisir. Le disque spécifié (Media1) apparaît à côté du bouton Définir avec l’espace libre. Pour plus d’informations sur les disques de travail Final Cut Pro consultez le Manuel de l’utilisateur de Final Cut Pro. 4 Activez le partage de fichiers sur l’ordinateur contenant le disque de travail (Media1). (Dans la sous-fenêtre Partage des Préférences système, cliquez sur Services, puis sélectionnez Partage de fichiers.)Chapitre 6 Finalisation de tâches et soumission de lots 129 5 Sur chacun des ordinateurs du cluster, montez le disque de travail spécifié à l’étape 3 (dans la barre latérale du Finder, cliquez sur Réseau, accédez à l’ordinateur contenant le disque Media1, cliquez sur Se connecter, puis sélectionnez Media1). 6 Dans les Préférences Compressor, spécifiez les réglages d’options de cluster : a Choisissez Préférences Compressor > ou appuyez sur Commande + virgule ( , ). La fenêtre des préférences s’ouvre. b Choisissez « Copier la source vers le cluster si nécessaire » dans le menu local « Options de cluster ». 7 Dans Final Cut Pro, choisissez Fichier > Exporter > Avec Compressor. Compressor s’ouvre avec le fichier multimédia sélectionné (la séquence Final Cut Pro) dans la fenêtre Lot. 8 Dans Compressor, double-cliquez sur le fichier sélectionné et lisez-le dans la fenêtre de prévisualisation pour en vérifier l’intégrité. 9 Dans la fenêtre Lot, affectez des réglages et destinations au fichier sélectionné si nécessaire. 10 Cliquez sur le bouton Soumettre. La zone de dialogue correspondante est affichée. 11 Procédez de l’une des façons suivantes :  Choisissez le cluster souhaité dans le menu local Cluster.  Sélectionnez la case « Inclure des services non gérés sur d’autres ordinateurs » pour utiliser la fonction AutoCluster. Consultez la section « À propos d’AutoCluster et des services non gérés » à la page 121 pour plus d’informations. 12 Cliquez sur Soumettre. Important : pour de meilleurs résultats, vérifiez que Final Cut Pro est déjà ouvert sur les ordinateurs du cluster. Apple Qmaster tente d’ouvrir Final Cut Pro si nécessaire mais, si l’avertissement relatif à l’absence de périphérique A/V externe apparaît, Final Cut Pro ne s’ouvre pas et ne peut pas être utilisé. De plus, lorsque vous utilisez la fonction AutoCluster, sachez que soumettre un lot provoque l’ouverture de Final Cut Pro sur les ordinateurs qui fournissent les services non gérés, ce qui peut surprendre une éventuelle personne utilisant l’ordinateur. Pour exporter une séquence Final Cut Pro en tant que séquence de référence QuickTime et la soumettre à Compressor pour le traitement distribué : 1 Assurez-vous que tous les fichiers multimédia sources et de rendu de votre projet Final Cut Pro se trouvent sur un disque dur pouvant être partagé (monté) par tous les ordinateurs du cluster qui doit traiter la tâche. (Les instructions suivantes prennent l’exemple d’un disque de travail nommé Media1.) 130 Chapitre 6 Finalisation de tâches et soumission de lots Si vous copiez tous les fichiers multimédia sur un autre disque dur à cet effet, vous devrez peut-être reconnecter les fichiers multimédia dans Final Cut Pro avant de continuer. Important : le disque dur que vous utilisez pour stocker les fichiers multimédia ne doit pas faire office de disque de démarrage pour un ordinateur du cluster. 2 Dans Final Cut Pro, choisissez Fichier > Exporter > Séquence QuickTime. 3 Dans la zone de dialogue Enregistrer, assurez-vous que la case Film autonome n’est pas cochée. 4 Enregistrez la séquence de référence QuickTime sur le disque dur (Media1) utilisé pour stocker les fichiers multimédia à l’étape 1. 5 Activez le partage de fichiers sur l’ordinateur contenant le disque de travail (Media1). (Dans la sous-fenêtre Partage des Préférences système, cliquez sur Services, puis sélectionnez Partage de fichiers.) 6 Sur chaque ordinateur du cluster, montez le disque dur (Media1) à l’endroit où se trouvent les fichiers multimédia et les séquences de référence QuickTime (dans la barre latérale du Finder, cliquez sur Réseau, accédez à l’ordinateur contenant le disque Media1, cliquez sur Se connecter, puis sélectionnez Media1.) 7 Dans les Préférences Compressor, spécifiez les réglages d’options de cluster : a Choisissez Préférences Compressor > ou appuyez sur Commande + virgule ( , ). La fenêtre des préférences s’ouvre. b Choisissez « Ne jamais copier la source vers le cluster » dans le menu local « Options de cluster ». 8 Importez la séquence de référence QuickTime dans Compressor (faites-la glisser du Bureau vers la fenêtre Lot de Compressor). 9 Double-cliquez sur le fichier dans la fenêtre Lot et lisez-le dans la fenêtre de prévisualisation pour vérifier l’intégrité du plan. 10 Dans la fenêtre Lot, affectez des réglages et destinations au fichier sélectionné si nécessaire. 11 Cliquez sur le bouton Soumettre. La zone de dialogue correspondante est affichée. 12 Procédez de l’une des façons suivantes :  Choisissez le cluster souhaité dans le menu local Cluster.  Sélectionnez la case « Inclure des services non gérés sur d’autres ordinateurs » pour utiliser la fonction AutoCluster. Consultez la section « À propos d’AutoCluster et des services non gérés » à la page 121 pour plus d’informations. 13 Cliquez sur Soumettre.Chapitre 6 Finalisation de tâches et soumission de lots 131 Transcodage de différents plans à partir d’un fichier multimédia source Si vous avez un fichier multimédia source volumineux dont vous ne souhaitez transcoder que quelques sections, vous pouvez le faire en un seul envoi de lot. Pour transcoder différents plans à partir d’un seul fichier multimédia source : 1 Ouvrez la fenêtre Lot. 2 Importez le fichier multimédia dans un lot autant de fois que c’est nécessaire pour créer le nombre de plans voulu. Une nouvelle tâche est créée à chaque importation. 3 Ajout de réglages à chaque tâche. Un identificateur unique est automatiquement appliqué au nom des fichiers de sortie, de manière à pouvoir facilement identifier chaque plan après son transcodage. 4 Pour ouvrir la fenêtre Preview, procédez comme suit :  Cliquez sur le bouton Aperçu dans la fenêtre Lot.  Cliquez sur l’une des cibles. La fenêtre Preview s’ouvre. 5 Utilisez les boutons ou le menu local de sélection de lot pour accéder aux fichiers que vous souhaitez transcoder. Des identificateurs de fichier uniques sont automatiquement appliqués à chaque tâche.132 Chapitre 6 Finalisation de tâches et soumission de lots Spécifiez le plan que vous voulez transcoder dans le premier fichier multimédia en pla- çant des points d’entrée et de sortie, puis répétez l’opération pour chaque fichier multimédia suivant en définissant les plans à transcoder à l’aide de ces points. Vous pouvez aussi utiliser les touches I (pour entrée) et O (pour sortie) du clavier pour positionner les marqueurs là où se trouve la tête de lecture. 6 Retournez à la fenêtre Lot et cliquez sur le bouton Soumettre. Consultez la section « À propos de la fenêtre Preview » à la page 304 pour de plus amples informations. Point d’entrée Point de sortie7 133 7 Création de fichiers AIFF Vous pouvez utiliser Compressor pour produire de l’audio au format AIFF. Le présent chapitre décrit la production d’audio au format de fichier AIFF :  Création de fichiers de sortie AIFF (p. 133)  À propos de la sous-fenêtre AIFF Encoder (p. 134)  À propos de la zone de dialogue Réglages audio (p. 135)  Configuration des réglages AIFF (p. 136) Création de fichiers de sortie AIFF Le format de fichier AIFF (Audio Interchange File Format) a été développé par Apple pour le stockage de données audio de haute qualité. Le format était destiné à la création de DVD et de CD et est désormais l’un des formats de fichier audio les plus couramment utilisés pour Mac OS. 134 Chapitre 7 Création de fichiers AIFF À propos de la sous-fenêtre AIFF Encoder Les options suivantes apparaissent lorsque vous choisissez le format de sortie AIFF dans le menu local « Format du fichier » de la sous-fenêtre Encodeur de la fenêtre Inspecteur :  Extension de fichier : ce champ affiche automatiquement l’extension de fichier aiff une fois le format de sortie AIFF sélectionné dans le menu local « Format du fichier » ou dans le menu local (+) de l’onglet Réglages. Ne modifiez pas ce champ.  Autoriser la segmentation de la tâche : cette case vous permet de désactiver la segmentation de tâche. Comme la segmentation de tâche n’est pas utilisée pour les encodages purement audio, cette case n’est pas activée avec le format de fichier AIFF. Pour plus d’informations, consultez « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Réglages : ce bouton ouvre la zone de dialogue Réglages audio QuickTime. Utilisez cette zone de dialogue pour sélectionner les codecs audio appropriés et modifier les autres paramètres de compression audio. Consultez la section « À propos de la zone de dialogue Réglages audio » ci-après pour plus d’informations.  Résumé QuickTime AIFF : ce tableau affiche des détails complets pour ce réglage. Champ Extension de fichier Tableau Résumé AIFF QuickTime Cliquez sur ce bouton pour ouvrir la zone de dialogue Réglages audio. Choisissez AIFF.Chapitre 7 Création de fichiers AIFF 135 À propos de la zone de dialogue Réglages audio Utilisez la zone de dialogue Réglages audio pour modifier les réglages de compression audio des formats de sortie QuickTime et AIFF. Pour ouvrir cette zone de dialogue, cliquez sur le bouton Réglages audio dans la sous-fenêtre Encodeur Séquence QuickTime ou AIFF. Les éventuels réglages audio qui ne peuvent pas être modifiés restent inactifs. Certains codecs audio vous permettent d’effectuer des réglages supplémentaires, qui apparaissent dans la moitié inférieure de la zone de dialogue Réglages audio. Dans certains cas, un bouton Option devient accessible. Cliquez dessus pour procéder à des ajustements auxiliaires. La zone de dialogue Réglages audio contient les éléments suivants, avec différents choix pour chacun, en fonction du codec audio que vous choisissez dans le menu local Format.  Format : choisissez le codec audio à ajouter à votre réglage.  Canaux : choisissez le type de sortie de canal (mono ou stéréo) ou un type de sortie multicanal, en fonction du codec.  Fréquence : choisissez le taux d’échantillonnage que vous souhaitez appliquer à votre fichier multimédia. Plus le taux d’échantillonnage est important, meilleure est la qualité, mais plus le fichier est volumineux. Or, le téléchargement de fichiers volumineux est plus long et requiert une bande passante plus large.  Afficher les réglages avancés : ce bouton demeure estompé, sauf si le codec sélectionné dans le menu local « Format du fichier » offre des options. Il est conseillé de contacter directement les fabricants de ces codecs pour obtenir plus d’informations sur les options supplémentaires offertes. Choisissez le nombre de canaux (la sélection varie en fonction du codec). Choisissez un débit garantissant la qualité et la taille de fichier requises. Choisissez un codec audio. Réglages propres au format en fonction du codec136 Chapitre 7 Création de fichiers AIFF Tailles et fréquences d’échantillonnage audio QuickTime Si vous disposez de l’espace disque et de la bande passante suffisants, il vaut mieux ne pas compresser la composante audio. Les données audio non compressées utilisent normalement des échantillons 8 bits (qualité téléphone) ou 16 bits (qualité CD). Compressor prend en charge un maximum de 64 bits par échantillon en virgule flottante et une fréquence d’échantillonnage maximale de 192 kHz. Choix d’un codec audio AAC est un bon codec de diffusion audio polyvalent, compatible avec un large éventail de périphériques de lecture. Pour de faibles bandes passantes sur des ordinateurs rapides, le codec QDesign Music (QDMC) est approprié à la plupart des cas, tandis que le codec Qualcomm PureVoice est le meilleur choix pour les contenus exclusivement vocaux. Concernant les ordinateurs plus lents, les CD-ROM et les bornes interactives, le codec IMA est une meilleure option, car il fait moins appel aux ressources de l’ordinateur, ce qui permet à ce dernier de se focaliser sur le flux vidéo, plus exigeant. Configuration des réglages AIFF Lorsque vous choisissez le format de fichier de sortie AIFF, vous ne pouvez créer que des réglages audio, car il s’agit d’un format exclusivement audio. Si vous souhaitez ajouter un codec audio à votre préréglage AIFF, ouvrez la zone de dialogue Réglages audio, puis choisissez les paramètres de votre codec audio. Pour créer un réglage de codec audio AIFF : 1 Dans l’onglet Réglages, effectuez l’une des opérations suivantes :  Assurez-vous que le réglage correct est sélectionné.  Créez un réglage en choisissant AIFF dans le menu local « Créer un réglage » (+). 2 Cliquez sur le bouton Réglages dans la sous-fenêtre Encodeur AIFF. La zone de dialogue Réglages audio s’ouvre. Choisissez un codec audio dans le menu local Format.Chapitre 7 Création de fichiers AIFF 137 3 Choisissez un codec audio dans le menu local Format, puis acceptez ses paramètres par défaut ou personnalisez les autres réglages du codec audio (le format, les canaux, la fré- quence d’échantillonnage et, si possible, les options). Consultez la section « À propos de la zone de dialogue Réglages audio » à la page 135 pour obtenir plus d’informations. Remarque : vous pouvez consulter les détails complets des paramètres de votre préré- glage dans le tableau Résumé AIFF QuickTime de la sous-fenêtre Encodeur. 4 Cliquez sur OK pour enregistrer vos réglages et fermer la zone de dialogue.8 139 8 Création de fichiers de sortie Dolby Digital Professional Compressor offre les outils dont vous avez besoin pour encoder (par lot ou pas) les fichiers audio AC-3 (Dolby Digital Professional). Le format Dolby Digital Professional (également appelé AC-3) est un format audio comprimé très répandu pour les disques DVD-vidéo. Compressor accepte les fichiers audio multicanaux dans différents formats et vous donne le contrôle complet sur le processus d’encodage AC-3. Les programmes Dolby Digital peuvent diffuser du son Surround 5.1 avec cinq canaux discrets (gauche, centre, droite, gauche Surround et droite Surround), plus un sixième canal pour les effets basse fréquence (LFE), parfois appelé « subwoofer ». Dolby Surround est une autre option Surround, avec quatre canaux (gauche, centre, droite, Surround). Cependant, tous les fichiers audio AC-3 ne sont pas au format audio Surround 5.1. Dolby Digital Professional est couramment utilisé pour encoder des fichiers stéréo afin de réduire fortement leur taille. Ce chapitre traite des sujets suivants :  À propos de la sous-fenêtre Encodeur Dolby Digital Professional (p. 140)  Informations générales sur la création de fichiers Dolby Digital Professional (p. 147)  Conversion de fichiers audio stéréo au format Dolby Digital Professional (p. 148)  Affectation de fichiers à des canaux audio Surround (méthode manuelle) (p. 149)  Affectation de fichiers à des canaux audio Surround (méthodes automatiques) (p. 152)  Affectation de fichiers à des canaux audio Surround à l’aide de droplets (p. 154)  Options de mixage spatial (p. 154) Remarque : l’encodage Dolby Digital Professional avec Compressor est disponible uniquement sur les ordinateurs équipés de Final Cut Studio. Si vous utilisez Compressor avec le traitement distribué, Final Cut Studio doit être installé sur chaque nœud qui procède à l’encodage Dolby Digital Professional.140 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional Pour obtenir des informations détaillées sur la création de fichiers audio de son Surround, reportez-vous au Manuel de l’utilisateur de Soundtrack Pro. Si vous prévoyez de créer des DVD à l’aide de DVD Studio Pro, consultez le Manuel de l’utilisateur de DVD Studio Pro pour plus d’informations sur le flux de création de DVD. Pour en savoir plus sur la création de fichiers audio de son Surround à l’aide d’autres formats de sortie, reportez-vous à la section « Ajout de fichiers multimédia sources avec son Surround aux lots » à la page 83. Remarque : il est important de comprendre que Compressor ne peut pas utiliser des fichiers stéréo pour en créer du son Surround 5.1. Si vous souhaitez créer un fichier audio AC-3 Surround 5.1, vous devez d’abord créer les six canaux audio dont il a besoin. Pour ce faire, vous devez utiliser d’autres applications que Compressor, telles que Soundtrack Pro. À propos de la sous-fenêtre Encodeur Dolby Digital Professional Cette section contient des informations détaillées sur les différents onglets de la sousfenêtre Encodeur Dolby Digital Professional (AC-3) de la fenêtre Inspecteur. Vous devez définir vos réglages Dolby Digital Professional à l’aide des onglets décrits ci-dessous, en modifiant un réglage existant ou en créant un nouveau réglage dans l’onglet Réglages. La sous-fenêtre Dolby Digital Professional, qui contient les éléments décrits ci-après, s’ouvre par défaut avec l’onglet Audio actif :  Extension de fichier : ce champ affiche automatiquement l’extension du fichier Dolby Digital Professional (ac3) une fois que vous avez sélectionné le format de sortie Dolby Digital Professional dans le menu local « Format du fichier » ou dans le menu local (+) de l’onglet Réglages.Chapitre 8 Création de fichiers de sortie Dolby Digital Professional 141  Autoriser la segmentation de la tâche : cette case vous permet de désactiver la segmentation de tâche. Étant donné que la segmentation de la tâche n’est pas utilisée pour l’encodage purement audio, cette case est désactivée pour le format de fichier Dolby Digital Professional. Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Audio, Bitstream et Prétraitement : ces boutons permettent d’ouvrir les onglets Audio, Bitstream et Prétraitement décrits ci-après. Réglages de l’onglet Audio L’onglet Audio permet d’accéder aux réglages Dolby Digital Professional les plus importants.  Système cible : Compressor limite les réglages disponibles à ceux qui sont appropriés pour le système cible. Si vous procédez à l’encodage pour une utilisation avec DVD Studio Pro, choisissez DVD Vidéo. Si vous procédez à un encodage destiné à une application de création DVD Audio, choisissez DVD audio uniquement. Pour supprimer les limites des réglages, choisissez AC-3 générique.  Mode de codage audio : spécifie les canaux audio du flux encodé. Ce réglage dispose également d’un bouton Automatique. Bouton Automatique du mode de codage audio142 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional Par exemple, « 3/2 (G, C, D, Gs, Ds) » signifie trois canaux avant (gauche, centre, droite) et deux canaux arrière (Surround). « 2/0 (G, D) » est essentiellement un fichier stéréo standard. Le mode de codage audio a une incidence sur les réglages tels que la bande passante disponible et le prétraitement des canaux Surround. Si vous cliquez sur le bouton Automatique (en regard du menu local « Mode de codage audio »), Compressor détermine au mieux le mode de codage audio souhaité en fonction des fichiers audio sources disponibles. Remarque : dans le menu local « Mode de codage audio », « S » désigne un canal « Surround » arrière unique, et dans cette illustration, « LFE » signifie Low Frequency Effects (effets basse fréquence, également appelé « subwoofer »). Pour plus d’informations, consultez les sections « Affectation de fichiers à des canaux audio Surround (méthode manuelle) » à la page 149 et « Affectation de fichiers à des canaux audio Surround (méthodes automatiques) » à la page 152.  Activer les effets de basse fréquence : cochez cette case pour inclure le canal LFE dans le flux encodé (indisponible pour la monophonie 1/0 ou la stéréophonie 2/0).  Échantillonnage : cette option permet de spécifier la fréquence d’échantillonnage. Tous les fichiers destinés à la création de DVD vidéo et audio doivent être réglés sur une fréquence d’échantillonnage de 48 kHz conformément aux spécifications du DVD. Les fréquences d’échantillonnage de 32 kHz et 44,1 kHz ne sont disponibles que lorsque AC-3 générique est le système cible. canaux 3/1 canaux 3/0 canaux 2/2 canaux 2/1 canaux 2/0 canaux 1/0 (option LFE indisponible) (option LFE indisponible) canaux 3/2 G C LFE LFE LFE LFE LFE D Gs Ds G D Gs Ds G D G D S G C LFE D S G C C LFE DChapitre 8 Création de fichiers de sortie Dolby Digital Professional 143  Débit de données : les choix dépendent du mode d’encodage et du système cible. Plus le débit est élevé, meilleure est la qualité. Le débit des flux AC-3 est stable. À 448 kbps, la valeur par défaut pour l’encodage 5.1, une minute d’audio AC-3 nécessite environ 3,3 Mo d’espace de stockage. Pour l’encodage stéréo, les fréquences de 192 kbps et 224 kbps sont standard et donnent de bons résultats.  Mode BitStream : détermine la finalité des données audio encodées. Les informations figurent dans le flux final et peuvent être lues par certains systèmes de décodage.  Normalisation des dialogues : cette option permet de spécifier le volume moyen du dialogue, mesuré en décibels pleine échelle (dBFS, de l’anglais « Decibels of Full Scale »), de vos fichiers audio par rapport à la modulation maximale. Le périphérique de lecture utilise cette information pour maintenir un volume similaire sur différents flux AC-3. L’objectif recherché est que le niveau d’écoute soit le même pour tous les fichiers audio encodés en AC-3, quel que soit le fichier source. Cela est particulièrement important pour assurer une utilisation correcte de la fonction Normalisation des dialogues lorsque vous enregistrez des fichiers audio diffé- rents (avec des niveaux de volume différents) sur un DVD. Si vous connaissez le niveau moyen de chaque fichier, tapez sa valeur dans le champ Normalisation des dialogues pour chaque fichier. Par exemple, si le VU-mètre indique que le niveau moyen du dialogue de votre séquence Final Cut Pro se situe autour de –12 dB, tapez –12 dans le champ Normalisation des dialogues. Remarque : cette normalisation s’effectue entre les flux audio du DVD. Elle n’a aucun effet à l’intérieur de chaque flux audio. Pour ce type de normalisation, utilisez un outil de montage audio tel que Soundtrack Pro. Vous pouvez saisir des valeurs comprises entre –1 dBFS et –31 dBFS. La différence entre la valeur que vous tapez et 31 dBFS (qui représente le niveau d’écoute normal des dialogues) constitue l’ampleur de l’atténuation du volume audio source.  Si vous tapez –31 dBFS, l’atténuation sera de 0 dB (31 dBFS–31 dBFS), ce qui n’aura absolument aucune incidence sur les niveaux audio sources.  Si vous tapez –27 dBFS, l’atténuation sera de 4 dB (31 dBFS–27 dBFS).  Si vous tapez –12 dBFS, l’atténuation sera de 19 dB (31 dBFS–12 dBFS). Plus le volume du fichier source est élevé, plus la valeur que vous saisissez est réduite et plus le volume du fichier encodé est atténué au cours de la lecture. Important : si vous avez l’intention d’utiliser l’un des préréglages de compression, une définition correcte du réglage Normalisation des dialogues est cruciale. Les pré- réglages de compression considèrent qu’une fois le dialogue normalisé, le volume est réglé sur un niveau d’écoute normal de 31 dBFS. Les niveaux constamment situés au dessus de cette valeur entraînent des distorsions du son et des niveaux inégaux.144 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional Si vous ignorez le niveau sonore du fichier source ou si, pour une raison ou une autre, vous souhaitez vous assurer que l’encodeur Dolby Digital Professional n’a aucune incidence sur vos niveaux sonores, saisissez –31 dans le champ Normalisation des dialogues, puis choisissez Aucun dans le menu local « Préréglage de compression » (situé dans l’onglet Prétraitement). Réglages de l’onglet Bitstream Ces réglages sont stockés dans le flux terminé en vue d’une utilisation par le périphérique de lecture. Conservez leur valeur par défaut, si vous avez une raison technique spécifique pour les modifier.  « Downmix du canal central », « Downmix de Surround » : si l’audio encodé dispose de ces trois canaux, mais pas le lecteur, les canaux sont mixés dans la sortie stéréo au niveau indiqué.  Mode Dolby Surround : lors de l’encodage en mode 2/0 (stéréo), indique si le signal utilise Dolby Surround (Pro Logic).  Protégé par Copyright : cochez cette case pour spécifier que ces données audio sont protégées par un copyright.  Contenu original : cochez cette case pour spécifier que ces données audio proviennent de la source originale et non d’une copie.  Informations de production audio : cochez cette case et remplissez les champs en dessous afin de spécifier la façon dont le contenu audio encodé a été mixé. Les périphé- riques de lecture peuvent utiliser ces informations pour ajuster les réglages de sortie.  Niveau de mixage des pics : spécifie le niveau du pic de pression sonore (SPL) (entre 80 dB et 111 dB) dans l’environnement de production où ce mixage a été masterisé.  Type de pièce : permet d’indiquer des informations relatives au studio de mixage.Chapitre 8 Création de fichiers de sortie Dolby Digital Professional 145 Réglages de l’onglet Prétraitement Les options de prétraitement sont appliquées aux données audio avant l’encodage. À l’exception du réglage Préréglage de compression, conservez les valeurs par défaut de ces réglages, sauf si vous avez une raison technique de les modifier.  Préréglage de compression : spécifie l’un des modes de traitement de plage dynamique intégré au format AC-3. La valeur par défaut Compression standard pour films doit uniquement être utilisée lorsque vous encodez un mixage original destiné au cinéma. Dans la plupart des cas, vous devez choisir Aucun. Important : si vous avez l’intention d’utiliser l’un de ces préréglages de compression, il essentiel que vous définissiez correctement le réglage Normalisation des dialogues dans l’onglet Audio. Les préréglages de compression considèrent qu’une fois le dialogue normalisé, le volume est réglé sur un niveau d’écoute normal de 31 dBFS. Les niveaux constamment situés au dessus de cette valeur entraînent des distorsions du son et des niveaux inégaux. Remarque : si vous créez un DVD avec un son Dolby Digital Professional Surround 5.1 canaux, vous utiliserez « Compression standard pour films ».146 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional Général  Désaccentuation numérique : permet de préciser si les données audio d’entrée ont été accentuées au préalable et s’il est nécessaire d’annuler cette accentuation avant l’encodage. Canal LFE  Filtre passe-bas : cochez cette case pour appliquer un filtre passe-bas 120 Hz au canal LFE (Low Frequency Effects). Désactivez ce filtre si le signal numérique sur l’entrée LFE ne contient pas d’informations au-delà de 120 Hz. Canal bande pass. compl.  Filtre passe-bas : cochez cette case pour activer un filtre passe-bas avec une coupe près de la bande passante audio disponible qui est appliquée aux principaux canaux d’entrée. Si le signal numérique sur les principaux canaux d’entrée ne contient pas d’informations au-delà de la bande passante audio, vous pouvez désactiver ce filtre. Compressor détermine automatiquement la bande passante disponible.  Filtre CN : cochez cette case afin d’activer un filtre passe-haut CN pour tous les canaux d’entrée, comme un moyen simple de supprimer les décalages CN. La plupart des élé- ments audio mixés est déjà libre de décalages CN. Canaux Surround  Augmentation de phase de 90º : cochez cette case pour générer des flux AC-3 multicanaux pouvant être sous-mixés avec un décodeur externe à deux canaux afin de créer une sortie compatible Dolby Surround.  Atténuation du son de 3 dB : cochez cette case afin d’appliquer une atténuation de 3 dB aux canaux Surround d’une piste audio cinéma multicanal transférée vers un format home cinéma grand public. Les canaux Surround cinéma sont mixés à 3 dB de plus que les canaux avant afin de tenir compte des gains des amplificateurs cinéma.Chapitre 8 Création de fichiers de sortie Dolby Digital Professional 147 Informations générales sur la création de fichiers Dolby Digital Professional Vous trouverez ci-dessous certains éléments dont il convient de tenir compte lors de la configuration et de l’encodage de fichiers Dolby Digital Professional AC-3. À propos des fichiers multimédias sources Il est important de tenir compte de quelques directives lors de l’encodage de fichiers de sortie Dolby Digital Professional à partir de fichiers multimédias sources. En fonction du format, un fichier peut contenir un canal unique (mono), des canaux doubles (stéréo) ou plusieurs canaux. Compressor prend en charge Dolby Digital Professional dans toutes ces configurations. Les fichiers audio destinés à l’encodage Dolby Digital Professional doivent respecter les règles suivantes :  Tous les fichiers sources doivent être de longueur identique. Dans le cas contraire Compressor définit la longueur du flux AC-3 pour qu’elle corresponde à celle du fichier le plus long.  Tous les fichiers doivent présenter une fréquence d’échantillonnage de 48 kHz (requise pour les DVD).  Les flux AC-3 doivent comporter un multiple de 1536 échantillons. Si ce n’est pas le cas des fichiers d’entrée sélectionnés, Compressor ajoute du silence numérique à la fin des fichiers. Remarque : Compressor peut prendre en charge tout type de fichier source pouvant contenir du son Surround et de l’audio haute résolution jusqu’à 64 bits par échantillon (en virgule flottante), et des fréquences d’échantillonnage jusqu’à 192 kHz. À propos de la prévisualisation des réglages de l’encodeur Il n’est pas possible de prévisualiser les réglages définis dans la sous-fenêtre de l’encodeur Dolby Digital Professional. Si un appareil capable de reproduire le son Surround est connecté à un port USB ou FireWire de votre ordinateur ou à une autre sortie de ce dernier, vous serez en mesure d’entendre le son affecté aux différent canaux, mais il ne tiendra pas compte des réglages tels que ceux définis dans Normalisation des dialogues ou Préréglage de compression.148 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional Important : étant donné que la sortie audio n’est pas une sortie Dolby Digital, la sortie optique ne peut pas être utilisée pour vérifier le son affecté à chaque canal. La seule méthode permettant de vérifier les réglages consiste à soumettre le lot et à écouter les résultats. Si vous n’êtes pas sûr des réglages, utilisez la fenêtre Preview pour faire un essai en encodant une partie relativement courte de la source. Vous pouvez importer un fichier AC-3 en tant que fichier multimédia source dans un lot Compressor. Compressor dispose d’un décodeur Dolby Digital intégré qu’il utilise pour décoder les fichiers AC-3. Ce décodeur applique correctement tout réglage défini dans la sous-fenêtre de l’encodeur Dolby Digital Professional, ce qui vous permet d’entendre les effets même si vous ne disposez pas d’un décodeur Dolby Digital externe. Vous pouvez aussi transcoder les fichiers AC-3 dans un autre format. Remarque : les fichiers AC-3 avec son Surround sont sous-mixés en stéréo si aucun système externe reproduisant le son Surround n’est connecté à l’ordinateur. Conversion de fichiers audio stéréo au format Dolby Digital Professional Suivez ces étapes pour encoder un flux Dolby Digital Professional (AC-3) stéréo (2/0 D,G) à partir d’un fichier multimédia source stéréo. Pour encoder un flux AC-3 : 1 Ajoutez des fichiers audio sources à la fenêtre Lot. (Pour obtenir des détails, reportezvous au chapitre 4, « Importation de fichiers multimédia sources », à la page 77.) 2 Enregistrez le lot en choisissant Fichier > Enregistrer sous (ou en appuyant sur Commande + Maj + S), en saisissant un nom pour le lot, en sélectionnant un emplacement et en cliquant sur Enregistrer. 3 Effectuez l’une des opérations suivantes pour appliquer le réglage Apple approprié de la catégorie Dolby Digital Professional au fichier audio source :  Choisissez Cible > « Nouvelle cible avec réglage », sélectionnez un réglage et cliquez sur Ajouter.  Dans la fenêtre Lot, cliquez sur un espace vide de la tâche tout en maintenant la touche Contrôle enfoncée, choisissez Nouvelle cible avec réglage dans le menu local, sélectionnez un réglage, puis cliquez sur Ajouter.  Faites glisser un réglage de l’onglet Réglages jusque sur la tâche du fichier audio source dans la fenêtre Lot.Chapitre 8 Création de fichiers de sortie Dolby Digital Professional 149 4 Vous pouvez à l’occasion apporter des ajustements au réglage de la sous-fenêtre Encodage de la fenêtre Inspecteur. Consultez la section « À propos de la sous-fenêtre Encodeur Dolby Digital Professional » à la page 140 pour plus d’informations. Remarque : Compressor associe les canaux de manière intelligente. Voici quelques exemples :  Si vous importez un fichier source stéréo et que vous lui appliquez un mode de codage audio mono 1/0 (C), le fichier fait l’objet d’un sous-mixage.  Si vous appliquez un mode de codage audio Surround au fichier stéréo, les canaux gauche et droit sont mappés sur les canaux frontaux gauche (G) et droit (D) et les autres canaux du mode de codage restent silencieux.  Si vous affectez un fichier stéréo au canal Surround avant gauche ou (arrière) gauche, Compressor sélectionne le canal de gauche et ignore le canal de droite. 5 Cliquez sur Soumettre. Pour obtenir des informations sur l’encodage des fichiers avec son Surround, reportez-vous à la section « Affectation de fichiers à des canaux audio Surround (méthode manuelle), » ci-après et à la section « Affectation de fichiers à des canaux audio Surround (méthodes automatiques) » à la page 152. Consultez également la section « À propos de la prévisualisation des réglages de l’encodeur » à la page 147 pour en savoir plus sur la lecture des fichiers audio AC-3 avec Compressor. Affectation de fichiers à des canaux audio Surround (méthode manuelle) Suivez ces étapes pour utiliser la méthode manuelle d’affectation de fichiers audio individuels aux canaux audio Surround. Pour affecter manuellement des fichiers audio sources aux canaux d’un flux audio Surround : 1 Pour importer les fichiers audio sources, effectuez l’une des opérations suivantes :  Cliquez sur le bouton « Ajouter du son Surround » de la fenêtre Lot.  Choisissez Tâche > Nouvelle tâche avec groupe de sons Surround (ou appuyez sur Commande + Maj + I).  Cliquez sur le lot tout en maintenant la touche Contrôle enfoncée, puis choisissez « Nouvelle tâche avec groupe de sons Surround » dans le menu contextuel. L’interface d’affectation des canaux s’ouvre.150 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional 2 Effectuez l’une des opérations suivantes pour affecter un fichier audio source à un canal particulier.  Faites glisser le fichier audio source du Finder vers l’icône d’un canal spécifique (par exemple « G »).  Cliquez sur l’icône d’un canal spécifique (par exemple « G ») et utilisez la zone de dialogue Ouvrir afin de localiser le fichier audio source destiné à ce canal. Le fichier est désormais affecté au canal « G » (avant gauche). 3 Répétez l’étape 2 pour chacun des fichiers audio sources que vous prévoyez d’inclure dans le flux Surround. Remarque : si vous créez des flux audio Surround Dolby Digital Professional (AC-3), vous n’utiliserez pas immédiatement tous les canaux répertoriés dans le tableau. Consultez la section « Réglages de l’onglet Audio » à la page 141 pour un schéma des modes de codage audio Dolby. 4 Une fois que vous avez terminé l’ajout des fichiers audio sources à l’interface d’affectation des canaux, cliquez sur OK.Chapitre 8 Création de fichiers de sortie Dolby Digital Professional 151 Le groupe de fichiers Surround apparaît comme un seul fichier multimédia source Surround dans la fenêtre Lot et s’affiche également dans la fenêtre Inspecteur. Remarque : vous pouvez cliquer sur l’icône d’un canal dans la fenêtre Inspecteur pour changer le fichier qui lui est affecté. 5 Effectuez l’une des opérations suivantes pour appliquer le réglage Apple approprié de la catégorie Dolby Digital Professional au fichier audio source :  Choisissez Cible > « Nouvelle cible avec réglage », sélectionnez un réglage et cliquez sur Ajouter.  Dans la fenêtre Lot, cliquez sur un espace vide de la tâche tout en maintenant la touche Contrôle enfoncée, choisissez « Nouvelle cible avec réglage » dans le menu local, sélectionnez un réglage, puis cliquez sur Ajouter.  Faites glisser un réglage de l’onglet Réglages jusque sur la tâche du fichier audio source dans la fenêtre Lot. 6 Apportez les ajustements nécessaires dans la fenêtre Inspecteur, puis cliquez sur Soumettre. Compressor crée un flux audio Surround AC-3. Consultez la section « À propos de la prévisualisation des réglages de l’encodeur » à la page 147 pour en savoir plus sur la lecture de fichiers audio AC-3 avec Compressor.152 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional Affectation de fichiers à des canaux audio Surround (méthodes automatiques) Compressor offre des techniques rationalisées d’affectation de canaux, qui vous permettent de gagner du temps. Pour afficher des fichiers à des canaux Surround avec des codes d’identificateur de canal : 1 Ajoutez le code d’identificateur du canal Surround cible au nom de chaque fichier audio source. Reportez-vous au tableau ci-dessous pour la liste des codes d’identificateur de canal appropriés. Par exemple, pour affecter un fichier AIFF au canal Surround gauche, renommez le fichier comme suit : nomdefichier-Gs.aiff (où nomdefichier est le nom de votre fichier). Remarque : il se peut que Mac OS X ajoute une extension de fichier telle que .aiff. Cela n’interfère pas avec la méthode d’affectation de ce canal. Cette procédure ne fonctionne que lorsque vous glissez-déposez des fichiers dans la fenêtre Lot. Si vous faites glisser les fichiers sur l’icône de l’application Compressor, il apparaîtront en tant que fichiers sources distincts, chacun dans sa tâche. Remarque : si vous créez des flux audio Surround Dolby Digital Professional (AC-3), vous n’utiliserez pas immédiatement tous les canaux répertoriés dans le tableau. Consultez la section « Réglages de l’onglet Audio » à la page 141 pour un schéma des modes de codage audio Dolby. Affectation de canaux Code d’identificateur de canal Canal avant gauche -G Canal avant droit -D Canal avant central -C Canal Surround gauche -Gs Canal Surround droit -Ds Canal Surround central -S Canal basse fréquence (subwoofer, LFE) -LFEChapitre 8 Création de fichiers de sortie Dolby Digital Professional 153 2 Faites glisser vers la fenêtre Lot les fichiers audio sources renommés. Si les conditions suivantes sont réunies, Compressor réduit automatiquement le groupe entier de fichiers en ce qui apparaît comme un fichier multimédia source Surround unique dans la fenêtre Lot :  Les fichiers du groupe doivent être nommés correctement (voir tableau ci-dessus).  Le nombre total de fichiers du groupe doit être inférieur à sept. Les fichiers audio affectés à chaque canal sont affichés dans la fenêtre Inspecteur. Remarque : vous pouvez cliquer sur l’icône d’un canal dans la fenêtre Inspecteur pour changer le fichier qui lui est affecté. 3 Effectuez l’une des opérations suivantes pour appliquer le réglage Apple approprié de la catégorie Dolby Digital Professional à la tâche du fichier audio source :  Choisissez Cible > « Nouvelle cible avec réglage », sélectionnez un réglage et cliquez sur Ajouter.  Dans la fenêtre Lot, cliquez sur un espace vide de la tâche tout en maintenant la touche Contrôle enfoncée, choisissez « Nouvelle cible avec réglage » dans le menu local, sélectionnez un réglage, puis cliquez sur Ajouter.  Faites glisser un réglage de l’onglet Réglages jusque sur la tâche du fichier audio source dans la fenêtre Lot.154 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional 4 Apportez les ajustements nécessaires dans la fenêtre Inspecteur, puis cliquez sur Soumettre. Compressor crée un flux audio Surround AC-3. Consultez la section « À propos de la prévisualisation des réglages de l’encodeur » à la page 147 pour en savoir plus sur la lecture de fichiers audio AC-3 avec Compressor. Affectation de fichiers à des canaux audio Surround à l’aide de droplets Vous pouvez rationaliser davantage le processus d’affectation des canaux en encapsulant dans un droplet la méthode « automatique » décrite ci-dessus. Pour en savoir plus sur les droplets, reportez-vous à la section « Utilisation de droplets » à la page 337. Options de mixage spatial Cette section contient des perspectives et suggestions supplémentaires pour l’utilisation des canaux dans un programme Dolby Digital Professional. Utilisation du canal central Dans un système multicanal, il existe trois moyens de centrer une image audio :  Créez un « centre fantôme » (mixez le son à gauche et à droite de façon équilibrée, comme pour la stéréo). Cette méthode est couramment utilisée, mais elle suppose que l’auditeur soit assis juste entre les haut-parleurs (ce qui est impossible dans une voiture et pas toujours le cas dans une maison). Le timbre du son n’est pas le même qu’en provenance d’un haut-parleur direct, en raison des effets d’annulation croisée.  Utilisez le canal central seul. Il en résulte une image centrale stable pour les auditeurs, quelle que soit leur position. Pour éviter que l’audio ne soit trop nette ou trop étriquée, sa réverbération peut être étalée sur les canaux de gauche et de droite.  Utilisez les trois canaux avant de manière égale ou dans des proportions différentes. Cette méthode permet davantage de contrôle de la plage de largeur et de profondeur spatiale. Le centre fantôme peut être renforcé par des signaux supplémentaires dans le canal central, opération qui peut être améliorée par l’étalement du signal dans la paire gauche/droite. Cette méthode présente toutefois un inconvénient : le son issu des trois haut-parleurs peut ne pas être fluide ou ne pas parvenir à l’auditeur en même temps, ce qui entraîne un filtrage en peigne, des variations de tonalité ou autres irrégularités. Pour palier ces problèmes, les signaux supplémentaires peuvent d’abord être traités pour en changer le caractère spatial, le timbre ou l’intensité par rapport au signal central principal.Chapitre 8 Création de fichiers de sortie Dolby Digital Professional 155 Utilisation de canaux Surround De subtils effets Surround permettent d’améliorer de façon notoire la sensation de profondeur pour l’auditeur, par rapport à la stéréo conventionnelle. La musique populaire tire souvent parti de l’utilisation créative du son Surround. N’en abusez pas toutefois. Le principe de l’industrie cinématographique (ne pas utiliser les effets Surround comme distraction par rapport à l’histoire) s’applique également au monde de la musique. Limitations du canal LFE Le canal LFE (basse fréquence) est un signal distinct avec une plage de fréquences limitée ; il est créé par l’ingénieur de mixage et est diffusé en plus des canaux principaux dans le mixage. Un filtre « anti-repliement » à 120 Hz dans l’encodeur Dolby Digital Professional limite son utilisation aux deux octaves audibles inférieures. Dolby recommande de limiter le signal à 80 Hz lors du mixage de votre son. Dans la plupart des productions musicales (à quelques exceptions près, notamment les fameux coups de canon dans l’ouverture 1812 de Tchaikovsky), le canal LFE n’est pas nécessaire. Le signal LFE est également ignoré dans le processus de sous-mixage Dolby Digital Professional, de sorte que les signaux de basse intense ne provoquent pas de dégâts sur les petits systèmes stéréo. Prenez soin de ne pas inclure dans le canal LFE des informations vitales qui seraient manquantes lors d’une lecture mono, stéréo ou Pro Logic. Étant donné que le canal LFE est distinct des autres canaux, sa capacité à fusionner avec les fréquences plus élevées peut être modifiée par les filtres utilisés pour générer le signal LFE. Pour garantir un signal audio cohérent, conservez le signal entier dans les canaux principaux. Évitez de créer un canal LFE pour les documents créés à l’origine sans ce canal. Les cinq canaux principaux du format Dolby Digital Professional sont tous complets et le canal LFE n’accroît pas la réponse en fréquence. Les décodeurs Dolby Digital Professional permettent une gestion des basses en dirigeant les fréquences faibles vers un caisson de sous-basses ou d’autres haut-parleurs adaptés. Une piste LFE peut gêner la gestion des basses.156 Chapitre 8 Création de fichiers de sortie Dolby Digital Professional Adaptation de la lecture stéréo Malgré la popularité des systèmes 5.1, il est conseillé de toujours effectuer une reproduction stéréo. Vous pouvez procéder de trois façons différentes :  Préparez un nouveau mixage stéréo à partir des éléments multipistes d’origine (à l’aide des sessions de mixage stéréo standard).  Préparez un sous-mixage ajusté en studio à partir du mixage multicanal. Cette méthode tire parti du travail de mixage de la version 5.1. Elle reste flexible dans les proportions exactes de chaque canal représenté dans le mixage stéréo final.  Laissez le décodeur générer un sous-mixage stéréo, à partir des formules prédéfinies du décodeur. Les options de sous-mixage et les effets de contrôle de plage dynamique peuvent être prévisualisés et ajustés dans le studio de production, et une plage d’ajustements est possible. Vérifiez toujours le mixage sur un système audio bas de gamme afin d’évaluer sa qualité sur les systèmes de lecture les plus modestes. Remarque : pour plus d’informations sur Dolby Digital Professional, consultez la section « Questions fréquences sur Dolby Digital Professional », disponible sur le site Web de Dolby Laboratories Inc. : http://www.dolby.com (en anglais).9 157 9 Création de fichiers de sortie pour flux DV Compressor comprend les outils dont vous avez besoin pour créer des fichiers DV. Parce qu’il est peu coûteux et très répandu, le format vidéo DV est très apprécié pour la capture et la distribution de vidéo en définition standard (SD). Ce chapitre traite des sujets suivants :  À propos de la sous-fenêtre Encodeur DV (p. 157)  Processus de transcodage DV (p. 158) À propos de la sous-fenêtre Encodeur DV Cette section contient des informations détaillées sur les divers réglages qui se trouvent à l’intérieur de la sous-fenêtre Encodeur DV de la fenêtre Inspecteur. Vous devez définir vos réglages DV en modifiant un réglage existant ou en créant un nouveau réglage dans l’onglet Réglages. Les boutons Automatique pour les valeurs Format, Proportions et « Ordre de trame »158 Chapitre 9 Création de fichiers de sortie pour flux DV La sous-fenêtre Encodeur de flux DV contient les réglages suivants :  Extension : ce champ affiche automatiquement l’extension de fichier dv une fois le format de sortie Flux DV sélectionné dans le menu local « Format du fichier » ou dans le menu local (+) de l’onglet Réglages.  Autoriser la segmentation de la tâche : cette case vous permet de désactiver la segmentation de tâche. Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Format : vous avez le choix entre NTSC et PAL pour le format vidéo de sortie.  Proportions : vous avez le choix entre 16:9 et 4:3 pour les proportions de la vidéo de sortie. Remarque : le format 16:9 utilise la vidéo anamorphosée.  Ordre de trame : sélectionnez le champ « Première trame inférieure » (obligatoire pour la vidéo DV entrelacée) avec des sources entrelacées ou Progressive avec des sources progressives. Processus de transcodage DV La méthode utilisée pour transcoder votre vidéo en fichiers au format Flux DV à l’aide de Compressor dépend de l’utilisation que vous comptez faire de ces fichiers. Les étapes essentielles sont les suivantes : Étape 1 : Créez un lot Comme pour toute opération de transcodage, vous devez commencer par créer un lot. Étape 2 : Créez des tâches avec les fichiers audio source Importez les fichiers vidéo source en les faisant glisser depuis le Finder jusque sur le lot ou en choisissant Tâche > Nouvelle tâche avec fichier. Étape 3 : Ajoutez des cibles avec un réglage DV à chacune des tâches Chacune des tâches requiert au moins une cible ; dans ce cas, les tâches nécessitent des cibles avec réglage Flux DV. S’il existe plusieurs tâches, il est plus facile de choisir Édition > Tout sélectionner pour sélectionner toutes les tâches, puis de sélectionner Cible > Nouvelle cible avec réglage pour appliquer le même réglage à toutes les tâches. Étape 4 : Envoyez le lot en transcodage Cliquez sur le bouton Soumettre pour lancer le processus de transcodage.10 159 10 Création de fichiers de sortie H.264 pour appareils Apple Compressor permet de créer des fichiers H.264 compatibles avec iTunes. Ces fichiers peuvent être lus par iTunes sur un iPod vidéo ou avec Apple TV. L’efficacité de l’encodeur H.264 le rend particulièrement approprié pour la création de fichiers de média destinés à être utilisés avec iTunes et les appareils qui y sont associés, tels que l’iPod ou l’Apple TV. Compressor comprend des réglages prédéfinis qui, grâce à la sous-fenêtre Encodeur H.264 pour appareils Apple, facilitent la création de fichiers de média compatibles. Ce chapitre traite des sujets suivants :  À propos de la sous-fenêtre Encodeur H.264 pour appareils Apple (p. 160)  Processus H.264 pour iPod et Apple TV (p. 164) Pour en savoir plus sur la création de fichiers H.264 destinés à la création de DVD, reportez-vous au chapitre 11, « Création de fichiers de sortie H.264 pour DVD Studio Pro », à la page 165. Pour obtenir des informations sur la création de fichiers H.264 en vue d’une utilisation dans un autre contexte que la création de DVD (comme par exemple la vidéo Web), voir le chapitre 17, « Création de fichiers de sortie QuickTime », à la page 237. 160 Chapitre 10 Création de fichiers de sortie H.264 pour appareils Apple À propos de la sous-fenêtre Encodeur H.264 pour appareils Apple Cette section comprend des informations détaillées sur les éléments de la sous-fenêtre Encodeur H.264 pour appareils Apple de la fenêtre Inspecteur. Vous devez définir vos réglages H.264 à l’aide de cette sous-fenêtre, soit en modifiant un réglage existant, soit en créant un nouveau réglage dans l’onglet Réglages. Définissez vos réglages H.264 pour appareils Apple à l’aide des contrôles décrits ciaprès, soit en dupliquant puis en modifiant un réglage existant, soit en créant un nouveau réglage dans l’onglet Réglages de la fenêtre Réglages. La sous-fenêtre Encodeur H.264 pour appareils Apple contient les éléments suivants :  Extension : ce champ affiche automatiquement l’extension de fichier propre au format H.264 pour appareils Apple (.m4v) une fois le format de sortie H.264 pour appareils Apple sélectionné dans le menu local « Format du fichier » ou dans le menu local (+) de l’onglet Réglages qui se trouve dans la fenêtre Réglages.  Autoriser la segmentation de la tâche : cette case vous permet de désactiver la segmentation de la tâche. Elle n’est utile que si vous utilisez Compressor avec le traitement distribué et l’encodage multipasse. (La fonction Traitement distribué ne peut être utilisée que sur les ordinateurs sur lesquels Final Cut Studio est installé.) Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Taille : ce menu local vous permet de sélectionner l’une des options de taille suivantes :  iPod 640 (VGA) : cette option permet de créer des fichiers de sortie vidéo d’une largeur d’image de 640 pixels.  iPod 320 (QVGA) : cette option permet de créer des fichiers de sortie vidéo d’une largeur d’image de 320 pixels.Chapitre 10 Création de fichiers de sortie H.264 pour appareils Apple 161  SD Apple TV : cette option permet de créer des fichiers vidéo de sortie d’une largeur d’image de 640 pixels avec une plage de débit supérieure à celle de la taille 640 (VGA) utilisée par l’iPod.  HD Apple TV : cette option permet de créer des fichiers de sortie vidéo d’une largeur d’image de 1280 pixels.  Proportions : utilisez ce menu local pour choisir la taille de pixel exacte du fichier de données de sortie. Les options disponibles dépendent de l’option de taille (VGA, QVGA ou 720p) que vous avez sélectionnée. Consultez la section « À propos des proportions » à la page 163 pour plus d’informations. Le réglage Proportions dispose également d’un bouton Automatique. Si vous cliquez sur ce bouton, l’encodeur choisit les proportions qui correspondent au fichier vidéo source. Important : le mode automatique du réglage Proportions est capable de choisir parmi une grande variété de valeurs pour mieux correspondre à la vidéo source (avec les valeurs déterminées et affichées lorsque ce format de sortie est appliqué à un fichier multimédia source). Pour les meilleurs résultats, il est recommandé d’utiliser le mode automatique pour le réglage Proportions. Remarque : par défaut, la fonctionnalité « Contrôles d’images » est réglée sur « Automatique ». Comme pour le réglage H.264 pour DVD Studio Pro, le « Contrôle de resynchronisation » des « Contrôles d’images » ne sera activé que si le fichier source est entrelacé.  Fréquence d’images : utilisez ce menu local pour choisir l’une des six options suivantes :  29.97 : utilisé pour la vidéo NTSC  25 : utilisé pour la vidéo PAL  24 : utilisé pour la vidéo PAL  23.98 : utilisé pour la vidéo NTSC  15 : utilisé pour la vidéo diffusée sur le web Bouton Automatique des proportions162 Chapitre 10 Création de fichiers de sortie H.264 pour appareils Apple Le réglage « Fréquence d’images » dispose également d’un bouton Automatique. Si vous cliquez sur ce bouton, l’encodeur choisit la fréquence d’images qui correspond au fichier vidéo source.  Débit : utilisez ce curseur pour choisir le débit à utiliser pour la vidéo de sortie ou saisissez une valeur dans le champ de texte. les plages disponibles dépendent du réglage Taille. Le réglage à choisir dépend de l’utilisation que vous souhaitez faire du fichier de sortie. Les débits élevés donnent des images de meilleure qualité, mais les fichiers de sortie sont plus volumineux.  Synchronisation des images : également appelée intervalle entre les images clés, la valeur « Synchronisation des images » représente la fréquence d’insertion d’images clés dans le flux H.264. Plus cette valeur est faible, plus la vidéo peut être manipulée (par défilement) de manière fluide durant la lecture (les images clés sont plus fréquentes). Plus cette valeur est élevée, plus la compression est efficace (les images clés sont moins fréquentes). La plage disponible va de 2 à 10 secondes ; la valeur par défaut est de 5 secondes. Le réglage « Synchronisation des images » dispose également d’un bouton Automatique. Si vous cliquez sur ce bouton, l’encodeur choisit une fréquence de synchronisation des images appropriée pour le fichier vidéo source.  Multipasse : semblable à l’encodage MPEG-2 à deux passes, l’encodage multipasse offre la meilleure qualité possible. Si vous souhaitez un encodage plus rapide (passe unique), désélectionnez cette case. Remarque : si vous utilisez aussi le traitement distribué, il peut être également utile de désactiver la segmentation de tâches (consultez la section « Autoriser la segmentation de la tâche » à la page 160). Pour en savoir plus, reportez-vous à la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64. Bouton Automatique de la fréquence d’imagesChapitre 10 Création de fichiers de sortie H.264 pour appareils Apple 163  Inclure l’audio AAC : utilisez cette case pour inclure une piste audio AAC stéréo dans la séquence de sortie. Le débit de la piste audio sera de 128 kbps. La fréquence d’échantillonnage sera de 44,1 kHz ou de 48 kHz, en fonction de l’audio d’entrée. Marqueurs de chapitre et de podcast pour la sortie sur iPod Les marqueurs de chapitre créés dans Final Cut Pro sont transférés à d’autres fichiers de sortie qui peuvent être reconnus par QuickTime Player, iTunes (fichiers .m4v), Final Cut Pro et DVD Studio Pro. Vous pouvez aussi ajouter des marqueurs de podcast au fichier de sortie. Les marqueurs de podcast sont similaires aux marqueurs de chapitre (il est possible de leur affecter une URL et une illustration), mais il n’est pas possible d’y accéder directement avec le visualiseur. Ils sont destinés à fournir une fonction de diaporama à des podcasts audio. Pour obtenir des informations sur l’ajout de marqueurs de chapitre et de podcast, consultez la section « Ajout de marqueurs à un plan » à la page 317. À propos des proportions L’option que vous choisissez dans le menu local Taille détermine la largeur du fichier encodé. Celle que vous sélectionnez dans le menu local Proportions détermine sa hauteur. Compressor redimensionne verticalement la vidéo source pour qu’elle soit adaptée à la hauteur. Cela signifie que la vidéo source doit être anamorphosée (les objets semblent étirés verticalement) en prévision d’un redimensionnement destiné à l’adapter aux proportions souhaitées. Si une vidéo qui n’est pas anamorphosée est réglée sur des proportions autres que ses proportions d’origine, l’image du fichier encodé apparaît déformée à l’écran. Important : si votre vidéo source est au format Letterbox, utilisez les proportions qui correspondent à l’intégralité de l’image vidéo, bandes noires comprises, sinon vous obtiendrez des fichiers de sortie déformés. Vous pouvez éliminer les bandes du format Letterbox à l’aide de la fonction de rognage automatique. Pour plus d’informations, consultez le chapitre 21, « Ajout de réglages de géométrie », à la page 287. Les options suivantes sont disponibles dans le menu local Proportions : iPod 640 (VGA) iPod 320 (QVGA) Apple TV SD Apple TV HD 4:3 (640 x 480) 4:3 (320 x 240) 4:3 (640 x 480) Sans objet 16:9 (640 x 360) 16:9 (320 x 180) 16:9 (640 x 360) 16:9 (1 280 x 720) 1,85:1 (640 x 346) 1,85:1 (320 x 173) 1,85:1 (640 x 346) 1.85:1 (1 280 x 692) 2,35:1 (640 x 272) 2,35:1 (320 x 136) 2,35:1 (640 x 272) 2.35:1 (1 280 x 544)164 Chapitre 10 Création de fichiers de sortie H.264 pour appareils Apple Si le fichier de média source est un fichier NTSC DV ou HDV et que vous n’êtes pas sûr de ses proportions, cliquez sur le bouton Automatique. Cette option analyse les proportions du fichier multimédia source pour déterminer les proportions idéales en pixels. Processus H.264 pour iPod et Apple TV L’efficacité et la qualité du format H.264 offrent un certain nombre d’options aux créateurs de vidéo destinée aux iPod et à l’Apple TV :  Compressor propose deux tailles de vidéo spécialement conçues pour la lecture sur iPod : iPod 320 (QVGA) et iPod 640 (VGA). Quelle que soit l’option choisie, les fichiers de média de sortie pourront être lus par l’iPod et, dans les deux cas, l’image affichée sur l’écran de l’iPod sera de bonne qualité.  Si vous avez l’intention de regarder les fichiers de média de sortie sur l’iPod même, vous pouvez utiliser la taille d’encodage iPod 320 qui crée des fichiers dont l’image correspond à environ la moitié de celle obtenue en choisissant la taille d’encodage iPod 640.  Si vous pensez que les fichiers de média de sortie seront affichés sur des écrans de plus grande taille, dans iTunes ou sur un moniteur connecté à un iPod, utilisez plutôt la taille d’encodage iPod 640 qui offre une meilleure qualité.  Si vous avez ajouté des marqueurs de chapitre à la vidéo à l’aide de la fenêtre Preview, iTunes utilise automatiquement le premier marqueur comme affiche. Si vous avez affecté une image à l’un des marqueurs à l’aide de Compressor, le premier marqueur disposant d’une image devient l’affiche dans iTunes. Vous pouvez, si nécessaire, changer d’affiche dans iTunes. Pour en savoir plus, reportez-vous à l’Aide iTunes. Consultez la section « Ajout de marqueurs de chapitre ou de podcast à un plan » à la page 320 pour obtenir d’autres informations sur l’ajout de marqueurs de chapitre dans Compressor.  La taille d’encodage Apple TV HD permet de créer des fichiers vidéo dont la taille d’image est environ quatre fois celle des fichiers obtenus en choisissant la taille d’encodage iPod 640. Il n’est pas possible de lire ces fichiers sur un iPod et il se peut que leur lecture ne soit pas fluide sur les ordinateurs Macintosh plus anciens.11 165 11 Création de fichiers de sortie H.264 pour DVD Studio Pro Compressor permet de créer facilement des réglages H.264 spécialement configurés pour la création de DVD haute définition. Les DVD haute définition peuvent utiliser des fichiers sources encodés en MPEG-2 HD ou en H.264. Aux débits des données utilisés par les DVD, le format H.264 est généralement deux fois plus efficace que le format MPEG-2. Cela signifie que vous pouvez utiliser un débit de données plus faible pour le format H.264 et obtenir la même qualité (et des fichiers de taille plus réduite) qu’avec un encodeur MPEG-2, ou même obtenir une qualité supérieure (et des fichiers de taille semblable) si le débit de données du format H.264 est le même que celui utilisé pour le format MPEG-2. Ce chapitre traite des sujets suivants :  À propos de la sous-fenêtre Encodeur H.264 pour DVD Studio Pro (p. 165)  Flux de production H.264 pour DVD (p. 171) À propos de la sous-fenêtre Encodeur H.264 pour DVD Studio Pro Cette section contient des informations détaillées sur les éléments de la sous-fenêtre Encodeur H.264 pour DVD Studio Pro de la fenêtre Inspecteur. Vous devez définir vos réglages H.264 à l’aide de cette sous-fenêtre, soit en modifiant un réglage existant, soit en créant un nouveau réglage dans l’onglet Réglages. Remarque : cette sous-fenêtre Encodeur particulière est dédiée à l’encodage de fichiers H.264 pour la création de DVD vidéo au format haute définition (HD). Pour en savoir plus sur la création de fichiers H.264 qui seront utilisés avec des produits Apple tels qu’iTunes, un iPod ou Apple TV, reportez-vous au chapitre 10, « Création de fichiers de sortie H.264 pour appareils Apple », à la page 159. Pour plus d’informations sur l’utilisation de H.264 pour d’autres objectifs, consultez le chapitre 17, « Création de fichiers de sortie QuickTime », à la page 237.166 Chapitre 11 Création de fichiers de sortie H.264 pour DVD Studio Pro La sous-fenêtre H.264 pour DVD Studio Pro contient les éléments suivants :  Champ Extension de fichier : affiche automatiquement l’extension de fichier QuickTime (mov) lorsque le format de sortie H.264 pour DVD Studio Pro est sélectionné dans le menu local « Format du fichier ».  Autoriser la segmentation de la tâche : cette case permet de désactiver la segmentation des tâches. Elle n’est pertinente que si vous utilisez Compressor avec le traitement distribué et un encodage à deux ou plusieurs passes. (La fonction Traitement distribué est limitée aux ordinateurs sur lesquels Final Cut Studio est installé.) Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Format vidéo : choisissez l’une des quatre options suivantes proposées dans ce menu local. Ce sont tous des formats progressifs HD :  NTSC : ce format, également appelé 480p, utilise une taille d’image de 720 x 480 et un format 16x9 anamorphosé à 59,94 ips.  PAL : ce format, également appelé 576p, utilise une taille d’image de 720 x 576 et un format 16x9 anamorphosé à 50 ips.  720p : ce format utilise une taille d’image de 1 280 x 720 et un format 16x9 à 59,94 ips pour le NTSC ou 50 ips pour le PAL.  1 920 x 1 080 : ce format, également appelé 1080p, utilise une taille d’image de 1 920 x 1 080 et un format 16x9 à 59,94 ips pour le NTSC ou 50 ips pour le PAL. Chapitre 11 Création de fichiers de sortie H.264 pour DVD Studio Pro 167 Le réglage Format vidéo dispose également d’un bouton Automatique. Si vous cliquez sur ce bouton, l’encodeur choisit le format vidéo qui correspond au fichier vidéo source.  Fréquence d’images : choisissez l’une des options suivantes dans ce menu local :  23.98 : utilisé pour la vidéo NTSC  25 : utilisé pour la vidéo PAL  29.97 : utilisé pour la vidéo NTSC  50 : utilisé pour la vidéo PAL  50.94 : utilisé pour la vidéo NTSC Le réglage Fréquence d’images dispose également d’un bouton Automatique. Si vous cliquez sur ce bouton, l’encodeur choisit la fréquence d’images qui correspond au fichier vidéo source. Remarque : si vous choisissez un format dans le menu Format vidéo, le menu Fréquence d’images est rempli automatiquement.  Curseur et champ Débit moyen : choisissez le débit moyen à utiliser pour la vidéo de sortie à l’aide du curseur ou saisissez directement une valeur. Bien que la plage disponible soit comprise entre 0,5 Mbps et 24,99 Mbps, les débits vidéo des DVD HD se situent habituellement entre 7 Mbps et 15 Mbps pour le format H.264 et dépendent du nombre de bits de votre DVD et de la nature de vos fichiers de média source. Le format de fichier H.264 est deux fois plus efficace que le format MPEG-2 standard. Cela signifie que vous pouvez utiliser un débit moins élevé pour obtenir la même qualité ou obtenir une qualité supérieure au même débit. Consultez la section « À propos des réglages Débit » à la page 170 pour plus d’informations. Bouton Automatique du format vidéo Bouton Automatique de la fréquence d’images168 Chapitre 11 Création de fichiers de sortie H.264 pour DVD Studio Pro  Curseur et champ Débit maximum : choisissez un débit maximum compris entre 0,59 Mbps et 29,4 Mbps. Vous pouvez aussi saisir tout nombre situé entre ces deux valeurs dans le champ à proximité du curseur. Le débit maximum ne peut pas être réglé sur une valeur inférieure au débit moyen. En règle générale, introduisez un débit maximum supérieur d’au moins 1 Mbps au débit moyen, afin d’autoriser les variations de débit et d’être ainsi conforme aux objectifs de qualité constante. Important : pour assurer une compatibilité maximale avec les lecteurs DVD HD, évitez de régler le débit maximum sur plus de 18 Mbps.  Synchronisation des images : utilisez le curseur ou saisissez directement une valeur pour choisir la vitesse de « Synchronisation des images » pour la vidéo de sortie. Le réglage par défaut est de 2 secondes. Consultez la section « À propos du réglage Synchronisation des images » à la page 169 pour plus d’informations.  Multipasse : cochez cette case pour activer l’encodage multipasse. Semblable à l’encodage MPEG-2 à deux passes, l’encodage multipasse offre une qualité optimale. Pour des encodages plus rapides (une seule passe), désactivez cette case. Consultez la section « Utilisation de l’encodage multipasse pour la création de DVD » à la page 170 et la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64 pour de plus amples informations.  Inclure l’audio PCM : cochez cette case pour ajouter une piste audio PCM stéréo 16 bits d’une fréquence de 48 kHz à la séquence QuickTime de sortie. La plupart des producteurs de DVD utilisent un réglage Dolby Digital Professional (AC-3) pour l’audio, beaucoup plus efficace. Dans ce cas, vous pouvez désélectionner cette case et vous assurer qu’un réglage Dolby 2.0 est appliqué à la tâche dans la fenêtre Lot. Si vous cochez la case, que vous encodez le film H.264, puis que vous importez le film dans DVD Studio Pro, la piste vidéo et la piste audio apparaissent comme deux éléments distincts sous l’onglet Ressources, comme si vous aviez importé une ressource vidéo et une ressource audio.Chapitre 11 Création de fichiers de sortie H.264 pour DVD Studio Pro 169 À propos du réglage Synchronisation des images Le réglage « Synchronisation des images » permet de définir un groupe d’images (« Group Of Pictures » en anglais ou « GOP ») H.264. L’une des différences qui existent entre l’encodage MPEG-2 et l’encodage H.264 est le fait qu’une image faisant partie d’un groupe d’images peut faire référence à d’autres images que celles à côté desquelles elle se trouve, ce qui signifie que le décodeur doit stocker toutes les images de réfé- rence éventuelles afin de pouvoir y accéder. La première image d’un groupe d’images H.264 est une image I spéciale appelée image IDR (de l’anglais « Instantaneous decoder refresh ») qui a notamment pour effet d’effacer les mémoires tampons des images de référence du décodeur. Cela signifie que les images qui constituent le groupe d’images défini par le réglage Synchronisation des images peuvent faire référence à n’importe quelle autre image du groupe, mais pas à celles qui se trouvent en dehors du groupe. Il en résulte qu’un réglage de synchronisation d’images plus long crée un plus grand groupe d’images, contenant plus d’images disponibles pour le référencement, alors qu’un réglage plus court donne lieu à un groupe d’images plus petit et à un nombre plus réduit d’images auxquelles il est possible de faire référence. Des images I, appelées images-clés de synchronisation partielle, sont ajoutées au groupe d’images. Ces images I standard définissent un groupe GOVU (de l’anglais « Group of video access unit »). Important : afin d’assurer la conformité aux spécifications des DVD HD et à leurs exigences relatives à la longueur maximale du groupe GOVU, Compressor insère automatiquement une image-clé de synchronisation partielle toutes les 0,5 secondes. FS PS GOP défaut de deux secondes GOVU défaut de 0,5 secondes Synchronisation partielle image-clé PS PS Synchronisation des images image-clé170 Chapitre 11 Création de fichiers de sortie H.264 pour DVD Studio Pro Utilisation de l’encodage multipasse pour la création de DVD Pour vous assurer que tous les fichiers H.264 créés avec Compressor sont correctement compilés en fichiers compatibles avec les DVD HD dans DVD Studio Pro, veillez à ce que l’encodage multipasse soit activé. Pour activer cet encodage : 1 Ouvrez l’onglet Réglages. 2 Dans l’onglet Réglages, sélectionnez le réglage que vous souhaitez modifier. Vous pouvez également sélectionner un réglage déjà appliqué à un fichier de données source dans la fenêtre Lot. 3 Ouvrez la sous-fenêtre Encodeur H.264 dans la fenêtre Inspecteur. 4 Cochez la case Multipasse. À propos des réglages Débit Lorsque vous déterminez les débits moyen et maximum pour la lecture de DVD, n’oubliez pas de prendre en considération le débit de vos pistes audio ainsi que le débit H.264. Important : pour assurer une compatibilité maximale avec les lecteurs DVD HD, évitez de régler le débit maximum sur plus de 18 Mbps. Vous devez faire en sorte que la somme des débits audio et vidéo, moyens et maximum ne dépasse pas 30 Mbps, le débit maximum garanti par les lecteurs de DVD haute définition. Étant donné que les formats audio compatibles avec les DVD utilisent un débit constant (CBR, de l’anglais « Constant bit rate »), vous n’avez pas à vous préoccuper d’un éventuel débit audio maximum. Par exemple, si vous utilisez de l’audio AIFF à 1,5 Mbps, vous devriez veiller à ce que les débits vidéo moyen et maximum pour les DVD haute définition ne dépasse pas 28,5 Mbps. En règle générale, votre débit moyen sera inférieur à cette valeur (entre 7 Mbps et 15 Mbps). Le débit maximum doit toutefois être, lui aussi, inférieur à cette valeur. Il est recommandé de ne pas dépasser 28,0 Mbps comme débit maximum afin de conserver une marge d’erreur (par exemple, pour les flux des sous-titres). Si vous utilisez un format audio comprimé compatible avec les DVD, tel que le format Dolby Digital ou MPEG-1/Layer-2, il se peut que le débit audio soit relativement bas et se situe entre 0,2 Mbps et 0,4 Mbps, auquel cas vous pouvez régler le débit maximum sur une valeur environ 1 Mbps plus élevée. En règle générale, introduisez un débit maximum supérieur d’au moins 1 Mbps au débit moyen, afin d’autoriser les variations de débit et d’être ainsi conforme aux objectifs de qualité constante.Chapitre 11 Création de fichiers de sortie H.264 pour DVD Studio Pro 171 Flux de production H.264 pour DVD L’efficacité et la qualité de H.264 donnent lieu à un certain nombre d’options pour les créateurs de DVD :  Étant donné que le format H.264 est capable de produire une vidéo haute définition (HD) à un débit de définition standard (SD), vous pouvez enregistrer 90 minutes de contenu HD sur un disque DVD-5 ordinaire lisible sur les nouveaux lecteurs DVD HD.  Les résolutions vidéo prises en charge par les DVD SD sont également prises en charge par les DVD HD. Cela signifie qu’un DVD haute définition peut utiliser un fichier de résolution vidéo HD pour son contenu principal, par exemple un long métrage, puis utiliser des fichiers de résolution vidéo SD pour les fonctionnalités supplémentaires telles que les génériques et les documentaires de tournage.  Les ressources H.264 doivent être progressives, si bien que les fichiers vidéo SD entrelacés doivent être convertis en fichiers progressifs. Sinon, vous pouvez encoder des fichiers MPEG-2 à partir des fichiers vidéo SD entrelacés, puis les ajouter à votre projet DVD.12 173 12 Création de fichiers de séquence d’images Vous pouvez utiliser Compressor pour produire une séquence d’images destinée aux applications de compositing Ce chapitre décrit les séquences d’images que Compressor peut produire à partir de vos fichiers multimédia sources :  Création de fichiers de sortie de séquence d’images (p. 173)  À propos de la sous-fenêtre Encodeur de séquence d’images (p. 174)  Définition de réglages de séquence d’images (p. 175) Création de fichiers de sortie de séquence d’images Le format de sortie Séquence d’images produit un ensemble de fichiers d’images fixes représentant les images vidéo sources. Utilisez cet encodeur pour convertir un plan vidéo en une séquence d’images à utiliser avec des applications de composition incompatibles avec QuickTime. Le format de sortie « Séquence d’images » prend en charge deux formats d’images fixes :  TIFF (Tagged Image File Format) : le format d’image fixe TIFF est l’un des plus courants et des plus flexibles qui soient, et a été développé pour créer un format de fichier standard pour le stockage et l’échange d’images numériques utilisés dans la publication assistée par ordinateur. Il est compatible avec une grande variété d’applications de composition et de traitement d’images.  TARGA (Truevision Advanced Raster Graphics Adapter) : le format TARGA, aussi souvent appelé simplement TGA, est un format d’infographie par quadrillage principalement utilisé par les applications d’animation et vidéo.174 Chapitre 12 Création de fichiers de séquence d’images À propos de la sous-fenêtre Encodeur de séquence d’images La sous-fenêtre Encodeur de séquence d’images contient les éléments suivants pour vous aider à créer des fichiers de sortie TIFF ou TARGA :  Extension de fichier : ce champ affiche automatiquement l’extension de fichier tiff une fois le format de sortie TIFF sélectionné dans le menu local « Format de fichier » ou dans le menu local (+) de l’onglet Réglages. Ne modifiez pas ce champ.  Autoriser la segmentation de la tâche : cette case vous permet de désactiver la segmentation de tâche. Elle n’est importante que si vous utilisez Compressor avec le traitement distribué et avec l’encodage à deux passes ou multipasse. (Cette fonctionnalité est limitée aux ordinateurs sur lesquels Final Cut Studio est installé.) Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Type d’image : choisissez soit TIFF soit TARGA dans le menu local.  Fréq. d’images (ips) : utilisez ce champ et le menu local pour saisir la fréquence d’images à laquelle vous souhaitez que les images fixes soient créées. Plus cette fréquence est élevée, plus le nombre d’images créées est important et plus le fichier de sortie est gros. Par exemple, si vous choisissez 30 images par seconde, Compressor crée 30 images pour chaque seconde de plan en cours de transcodage. Si vous choisissez 8 images par seconde, Compressor ne crée que 8 images fixes par seconde. Choisissez Séquence d’images. Choisissez le type d’image TIFF ou TARGA. Choisissez une fréquence d’images dans le menu local « Fréq. d’images » ou cliquez sur le bouton Automatique.Chapitre 12 Création de fichiers de séquence d’images 175  Créer un répertoire de sortie unique : cochez cette case pour créer un dossier de stockage des fichiers de sortie. Le nom attribué au dossier est celui du fichier multimédia et les fichiers sont stockés dans ce dossier sous le nom image-nnn. Par exemple, si le nom du fichier de sortie est test, le chemin d’accès est destination/test/image-nnn. Si vous ne cochez pas cette case, les fichiers sont stockés au niveau supérieur de votre dossier de destination et nommés nom_de_fichier-nnn au lieu de image-nnn. N’oubliez pas que même à un faible débit de 8 images par seconde, un grand nombre de fichiers est créé lors du transcodage dans ce format de sortie ; la création d’un répertoire de sortie s’avère donc être une bonne solution pour que vos fichiers restent organisés.  Ajouter des zéros en tête des numéros d’images : cochez cette case pour ajouter des zéros non significatifs aux numéros des images. Quand vous choisissez cette méthode, tous les noms des fichiers TIFF comprennent plusieurs chiffres, comme image-000001 (ou nom_de_fichier-000001 si ces fichiers ne sont pas stockés dans un répertoire de sortie unique). Inversement, les fichiers TIFF adoptent des noms standard, tels que cadre-1 (ou nom_de_fichier-1 si ces fichiers ne sont pas stockés dans un répertoire de sortie unique). Définition de réglages de séquence d’images Utilisez le format de sortie « Séquence d’images » pour transcoder un plan vidéo en une série d’images fixes. Pour créer un réglage de séquence d’images : 1 Dans l’onglet Réglages, effectuez l’une des opérations suivantes :  Assurez-vous que le réglage correct est sélectionné.  Créez un réglage en choisissant « Séquence d’images » dans le menu local « Créer un réglage (+) ». 2 Cliquez sur l’onglet Encodeur, puis choisissez « Séquence d’images » dans le menu local « Format de fichier ». La sous-fenêtre « Encodeur de séquence d’images » apparaît. 3 Choisissez le type d’image TIFF ou TARGA. 4 Saisissez une valeur dans le champ Vitesse (ips) ou choisissez une fréquence d’images dans le menu local. 5 Cochez la case « Créer un répertoire de sortie unique » pour que vos fichiers de séquence d’images soient stockés dans leur propre dossier à l’intérieur du dossier de destination. 6 Cochez la case « Ajouter des zéros en tête des numéros d’image » pour que les noms de fichier de sortie de séquence d’images soient au format 0000nn.176 Chapitre 12 Création de fichiers de séquence d’images Important : la fonction de destination distante de Compressor ne prend pas en charge le téléchargement de séquences d’images vers une destination distante (serveur FTP). Utilisez dans ce cas un logiciel de transfert FTP pour pouvoir télécharger la séquence d’images vers des serveurs distants. Consultez la section « À propos de la sous-fenêtre Encodeur de séquence d’images » à la page 174 pour plus d’informations sur la sous-fenêtre Encodeur de séquence d’images. Remarque : vous pouvez consulter le contenu actuel de votre réglage dans la sousfenêtre Résumé de la fenêtre Inspecteur.13 177 13 Création de fichiers de sortie MP3 Compressor fournit les outils nécessaires pour créer des fichiers MP3 exceptionnels. MP3 est un type d’encodage MPEG spécifique officiellement nommé « MPEG audio layer 3 ». MP3 utilise le codage audio perceptif et la compression psychoacoustique pour éliminer toutes les informations superflues (et notamment les parties de signal sonore redondantes et inutiles que l’oreille humaine ne peut pas entendre de toute façon). Le codage MP3 permet donc de réduire les données audio originales d’un CD (dont le débit de données s’élève à 1 411,2 kilobits par seconde de musique stéréo) d’un facteur de 12 (jusqu’à 112 – 128 Kbps) sans trop sacrifier la qualité sonore. Les partisans du format MP3 prétendent que la qualité sonore n’est pas sacrifiée, toutefois les professionnels audio peuvent entendre la différence sur des équipements de qualité. Ce chapitre traite des sujets suivants :  Utilisations courantes du format MP3 (p. 177)  À propos de la sous-fenêtre Encodeur MP3 (p. 178)  Processus de transcodage MP3 (p. 180) Utilisations courantes du format MP3 MP3 est une norme de fichiers audio compressés largement adoptée qui peut être utilisée de différentes manières. En voici quelques exemples : Musique Presque tous les lecteurs de musique portables prennent en charge le format audio MP3. En utilisant des débits plus élevés (256 Kbps, par exemple), vous pouvez créer un fichier audio d’excellente qualité et de taille largement inférieure au format audio non compressé. Vous pouvez également ajouter des métadonnées au fichier, afin de pouvoir afficher, lors de l’ouverture du fichier multimédia source sur de nombreux lecteurs (y comprisiTunes), les informations courantes telles que le nom de l’artiste, de l’album, etc.178 Chapitre 13 Création de fichiers de sortie MP3 Podcasts Le large éventail de débits pris en charge par le MP3 en font le format idéal pour diffuser des podcasts de niveaux de qualité variés, permettant ainsi aux utilisateurs de choisir la taille du fichier et le niveau de qualité qui leur convient. Remarque : pour profiter du plus grand nombre d’options lors de la création de podcasts audio améliorés, utilisez le format de sortie MPEG-4. Vous pouvez ajouter des marqueurs de chapitre et de podcast contenant des URL et des illustrations au fichier de sortie. Pour plus d’informations, consultez le chapitre 16, « Création de fichiers de sortie MPEG-4 », à la page 225. À propos de la sous-fenêtre Encodeur MP3 Cette section contient des informations détaillées sur les différents réglages de la sous-fenêtre Encodeur MP3 de la fenêtre Inspecteur. La configuration des réglages MP3 s’effectue par l’intermédiaire de ces réglages, soit en modifiant un réglage, soit en créant un sous l’onglet Réglages. La sous-fenêtre Encodeur MP3 contient les réglages suivants :  Extension : ce champ affiche automatiquement l’extension de fichier mp3, une fois le format de sortie MP3 sélectionné dans le menu local « Format de fichier » ou dans le menu local (+) de l’onglet Réglages.  Autoriser la segmentation de la tâche : cette case vous permet de désactiver la segmentation de tâche. Comme la segmentation de tâche n’est pas utilisée pour les encodages purement audio, cette case n’est pas activée pour le format de fichier MP3. Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.Chapitre 13 Création de fichiers de sortie MP3 179  Menu local Débit stéréo : plus le nombre de kilobits par seconde (Kbps) en mono ou en stéréo est élevé, plus la qualité des données audio est élevée et plus le fichier est volumineux. Les débits les plus courants pour les fichiers MP3 stéréo se situent entre 128 Kbps et 192 Kbps. Les débits plus faibles sont plus adaptés aux fichiers sonores contenant des enregistrements vocaux (plutôt que de la musique). Voici quelques exemples de réglages et de leur utilisation :  32 Kbps : qualité de radio AM, réglage adapté à un discours de qualité moyenne  96 Kbps : qualité de radio FM, réglage adapté à un discours de haute qualité ou à de la musique de qualité moyenne  128 Kbps : adapté à de la musique de bonne qualité  256 Kbps et 320 Kbps : adapté à de la musique de qualité proche d’un CD audio  Utiliser le codage VBR : ce réglage fait varier le nombre de bits utilisés pour stocker la musique en fonction de la complexité de celle-ci. Il permet de maintenir la taille du fichier à un minimum.  Menu local Echantillonnage : nombre de fois par seconde où les formes d’onde de la musique sont capturées numériquement. Plus le taux d’échantillonnage est important, meilleure est la qualité, mais plus le fichier est volumineux. Ne sélectionnez pas un taux d’échantillonnage supérieur à celui utilisé à l’origine pour stocker la musique, car vous risqueriez de gaspiller de l’espace. La qualité CD, par exemple, s’élève à 44,100 kHz, il est donc inutile de sélectionner un taux d’échantillonnage supérieur lorsque vous effectuez un encodage à partir d’un CD.  Menu local Canaux : si vous ne disposez pas de haut-parleurs stéréo ou si vos fichiers audio sont monophoniques, choisissez Mono (les fichiers mono sont près de deux fois plus petits que les fichiers stéréo). Si vous envisagez d’écouter vos fichiers MP3 sur un système stéréo, choisissez Stéréo.  Stéréo joint : lorsque cette option est désélectionnée, vos fichiers MP3 contiennent une piste pour le canal stéréo de droite et une piste pour le canal de gauche. Dans de nombreux cas, les deux canaux contiennent des informations connexes. Lorsque la case Stéréo joint est activée, un canal porte les informations qui sont identiques sur les deux canaux, tandis que l’autre canal véhicule les informations uniques. À des débits inférieurs ou égaux à 160 Kbps, cela peut améliorer la qualité sonore de vos données audio converties.  Réglages d’encodage avancé : sélectionnez cette option pour que Compressor analyse vos réglages d’encodage et la source musicale, afin d’ajuster les réglages pour maximiser la qualité.  Filtrer les fréquences inférieures à 10 Hz : le filtrage des fréquences inaudibles permet de générer des fichiers moins volumineux, plus efficaces et sans perte de qualité perceptible. 180 Chapitre 13 Création de fichiers de sortie MP3 Processus de transcodage MP3 La manière d’utiliser Compressor pour transcoder vos données audio en fichiers MP3 dépend de l’utilisation que vous souhaitez en faire. Les étapes de base sont les suivantes : Étape 1 : Créez un lot Comme pour tout processus de transcodage, vous devez commencer par créer un lot. Étape 2 : Créez des tâches avec les fichiers audio sources Importez les fichiers audio sources en les faisant glisser du Finder vers le lot ou en choisissant la commande Tâche > Nouvelle tâche avec fichier. Étape 3 : Ajoutez des annotations (si nécessaire) Si vous avez l’intention de lire les fichiers MP3 à l’aide d’un appareil ou d’une application telle qu’iTunes, vous pouvez ajouter diverses annotations, comme le nom de l’artiste, le nom de l’album, le titre et d’autres, qui peuvent être lues et affichées. Étape 4 : Ajoutez des cibles avec un réglage MP3 pour chacune des tâches Chacune des tâches nécessite au moins une cible ; dans ce cas, les tâches ont besoin de cibles avec un réglage MP3. S’il existe plusieurs tâches, il est plus facile de sélectionner toutes les tâches, de choisir Édition > Tout sélectionner, puis Cible > « Nouvelle cible avec réglage », afin d’appliquer le même réglage à toutes les tâches. Étape 5 : Soumission du lot pour transcodage Cliquez sur le bouton Soumettre pour lancer le processus de transcodage.14 181 14 Création de fichiers de sortie MPEG-1 Compressor fournit les outils dont vous avez besoin pour créer des fichiers transcodés MPEG-1 exceptionnels MPEG-1 est une norme de compression internationale, développée par le groupe MPEG (Motion Picture Experts Group). Elle permet de créer des fichiers vidéo de qualité VHS et a été conçue pour prendre en charge la vidéo non entrelacée (progressive) de résolution SIF (Standard Interface Format) en utilisant des débits relativement faibles Compressor prend en charge des débits allant de 0,5 Mbps à 2 Mbps. Elle permet également de créer des séquences audio compressées à un ou deux canaux. Ce chapitre traite des sujets suivants :  Utilisations courantes de MPEG-1 (p. 181)  Spécifications de la norme MPEG-1 (p. 182)  À propos de la sous-fenêtre Encodeur MPEG-1 (p. 183)  À propos des flux système et élémentaires (p. 186)  Flux de production de transcodage MPEG-1 (p. 186)  Configuration du format de fichier MPEG-1 pour une utilisation Web (p. 188)  Configuration du format de fichier MPEG-1 pour une utilisation DVD (p. 189) Utilisations courantes de MPEG-1 MPEG-1 est une norme largement adoptée, ce qui permet de nombreuses utilisations différentes. En voici quelques exemples : DVD, VCD et CD-ROM MPEG-1 est le format de compression vidéo utilisé pour les titres vidéo CD (VCD) et est compatible avec les titres DVD, car tous les lecteurs de DVD contiennent le matériel requis pour lire les séquences MPEG-1. MPEG-1 est couramment utilisé pour la vidéo distribuée sur CD-ROM. Son faible débit et la taille réduite de ses fichiers sont utiles lorsque vous devez faire tenir plusieurs heures de vidéo sur un DVD et que vous n’avez pas besoin de la qualité de diffusion fournie par le codage MPEG-2. Un DVD peut contenir un mélange de vidéo aux formats MPEG-2 et MPEG-1.182 Chapitre 14 Création de fichiers de sortie MPEG-1 Sur le web Dans la mesure où MPEG-1 a été l’une des premières normes de compression standard largement répandue, elle présente l’avantage d’être compatible avec la plupart des lecteurs. Cela rend cette norme intéressante pour une utilisation sur le Web où il est nécessaire d’associer une compatibilité maximale avec une qualité relativement élevée. Audio seulement Vous pouvez utiliser la compression audio MPEG-1 couche 2 comme alternative à la compression Dolby Digital Professional ou DTS. Bien qu’il n’y ait pas de réglage Apple, pour les fichiers MPEG-1 audio seulement, dans cette version de Compressor, vous pouvez toujours en créer un vous-même au besoin. Pour plus d’informations, consultez la section « Configuration du format de fichier MPEG-1 pour une utilisation DVD » à la page 189. Spécifications de la norme MPEG-1 Compressor prend en charge toutes les spécifications MPEG-1 pour la taille d’image, la fréquence d’images, l’encodage vidéo et l’encodage audio. Tailles d’images et fréquences d’images MPEG-1 Compressor peut générer de la vidéo au débit maximal (25 ips et 29,97 ips pour les DVD, 23,976 ips, 25 ips et 29,97 ips pour le Web) avec des résolutions SIF qui dépendent de l’utilisation :  Web : 320 x 240  NTSC : 352 x 240  PAL : 352 x 288 Bien que les résolutions NTSC et PAL correspondent à environ la moitié de la résolution maximale de la vidéo MPEG-2, l’image remplit automatiquement la totalité de l’écran lorsqu’elle est lue sur un lecteur de DVD. Spécifications du format de fichier MPEG-1 L’encodage vidéo MPEG-1 utilise un processus très similaire à celui de l’encodage MPEG-2 ; il applique plusieurs termes et réglages identiques. Dans Compressor, les paramètres de codage sont définis de la façon suivante :  Mode de codage : une passe  Structure GOP : ouverte  Motif GOP : BBIBBP  Longueur GOP : 15 images pour NTSC ; 12 images pour PALChapitre 14 Création de fichiers de sortie MPEG-1 183 Ces paramètres sont fixes et s’appliquent à tous les fichiers de sortie vidéo MPEG-1 de Compressor. Consultez la section « Onglet GOP » à la page 209 pour plus d’informations sur les paramètres GOP (Group of Pictures). Consultez la section « Onglet Qualité » à la page 204 pour plus d’informations sur le mode de codage. Les fichiers de sortie MPEG-1 peuvent contenir des cadres flottants qui ont été forcés sur des images spécifiques en plaçant des marqueurs de compression dessus. Ces marqueurs peuvent être soit ajoutés au fichier source à l’aide de Final Cut Pro, soit ajoutés manuellement dans la fenêtre Preview. Consultez la section « Ajout de marqueurs à un plan » à la page 317 pour plus d’informations. Le format MPEG-1 ne gère pas les marqueurs de chapitre nommés. À propos de la sous-fenêtre Encodeur MPEG-1 Cette section contient des informations détaillées sur les différents onglets de la sousfenêtre Encodeur MPEG-1 de la fenêtre Inspecteur. Vous pouvez faire vos réglages MPEG-1 avec ces onglets, en modifiant un réglage existant ou en créant un nouveau réglage dans l’onglet Réglages. La sous-fenêtre de l’encodeur MPEG-1 s’ouvre avec l’onglet Vidéo par défaut en haut ; elle contient les éléments suivants :  Extension : ce champ affiche automatiquement l’extension de fichier MPEG-1 mpg lorsque le format de sortie MPEG-1 a été sélectionné dans le menu local « Format de fichier » ou le menu local (+) de l’onglet Réglages. Il est remplacé par m1v si l’onglet Audio est désactivé ou par m1a si l’onglet Vidéo est désactivé.184 Chapitre 14 Création de fichiers de sortie MPEG-1  Autoriser la segmentation de la tâche : cette case vous permet de désactiver la segmentation de tâche. Elle n’a d’intérêt que si vous utilisez le traitement distribué (cette fonctionnalité est limitée aux ordinateurs sur lesquels Final Cut Studio est installé). Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Onglets Vidéo et Audio : ces boutons ouvrent les onglets Vidéo et Audio décrits ci-après. Onglet Vidéo Vous pouvez utiliser l’onglet Vidéo pour définir des réglages liés au format vidéo.  Case Activé : assurez-vous que cette case est cochée si vous souhaitez que le format de sortie MPEG-1 inclue les paramètres de l’onglet Vidéo.  Menu local « Fréquence d’images » : choisissez la vitesse de défilement de la vidéo que vous êtes en train de coder.  Avec l’option Web, vous avez le choix entre : 23,976 ips, 25 ips (vitesse PAL), 29,97 ips (vitesse NTSC) et Automatique.  Avec l’option DVD, vous avez le choix entre : 25 ips (vitesse PAL), 29,97 ips (vitesse NTSC) et Automatique. Cliquez sur le bouton Automatique pour forcer l’encodeur à déterminer la fréquence appropriée en choisissant celle qui est la plus proche de la source. Remarque : l’utilisation de l’option Automatique avec des vitesses de défilement source non standard peut entraîner des vitesses de sortie qui ne correspondent pas à la vitesse de défilement vidéo prévue. Par exemple, une vitesse de défilement source de 15 ips avec l’option DVD entraîne la sélection automatique de 25 ips (PAL). Si vous prévoyez d’utiliser la sortie sur un DVD NTSC, vous devez choisir 29,97 ips comme vitesse de défilement.  Boutons d’utilisation : choisissez l’utilisation prévue des fichiers de sortie. Bouton AutomatiqueChapitre 14 Création de fichiers de sortie MPEG-1 185  Web : force la résolution sur 320 x 240, indépendamment de l’option « Fréquence d’images » sélectionnée.  DVD : permet à la fréquence sélectionnée de déterminer la résolution. Avec une vitesse de défilement de 29,97 ips, la résolution est de 352 x 240. Avec une vitesse de 25 ips, la résolution est de 352 x 288.  Débit : utilisez ce curseur pour choisir le débit à utiliser pour la vidéo de sortie, ou bien saisissez une valeur directement dans le champ. La plage disponible étant comprise entre 0,5 Mbps et 2,0 Mbps, la valeur à utiliser dépend de la façon dont la sortie doit être utilisée. Les débits élevés donnent des images de meilleure qualité, mais les fichiers de sortie sont plus volumineux.  Pour les projets Web, choisissez le meilleur compromis entre qualité de l’image, taille du fichier et temps de téléchargement.  Pour les projets VCD, le débit vidéo recommandé est de 1,15 Mbps, avec un débit de flux système (vidéo et audio multiplexées dans le même fichier) inférieur à 1,3944 Mbps.  Pour les projets DVD, le débit vidéo standard est de 1,15 Mbps, le maximum autorisé étant de 1,856 Mbps. Onglet Audio Vous pouvez utiliser l’onglet Audio pour associer des réglages au format audio.  Case Activé : assurez-vous que cette case est cochée si vous souhaitez que le format de sortie MPEG-1 inclue les paramètres de l’onglet Audio.  Menu local Échantillonnage : choisissez la fréquence d’échantillonnage de l’audio de sortie.  48 kHz : requis pour une utilisation sur des DVD.  44,1 kHz : utilisé sur les CD audio. Il s’agit de la fréquence d’échantillonnage la plus répandue. 186 Chapitre 14 Création de fichiers de sortie MPEG-1  Boutons Canaux : indiquez si vous souhaitez créer une séquence audio de sortie sté- réo ou mono.  Menu local Débit : sélectionnez le débit à utiliser pour l’audio de sortie. Les options proposées sont les suivantes : 64 Kbps, 128 Kbps, 192 Kbps, 224 Kbps et 384 Kbps. Si des débits supérieurs offrent une meilleure qualité audio, ils génèrent également des fichiers de sortie plus volumineux. Remarque : les valeurs 224 Kbps et 384 Kbps ne sont pas disponibles lorsque l’option Canaux est réglée sur Mono. À propos des flux système et élémentaires Vous pouvez utiliser Compressor pour créer des flux MPEG-1 système ou élémentaires. Flux système Les flux système, également appelés flux multiplexés, associent les composants vidéo et audio dans un même fichier. Ce type de flux est le plus souvent utilisé dans les applications Web. Compressor crée automatiquement un flux système lorsque vous activez les onglets Vidéo et Audio dans le même réglage. Flux élémentaires Dans les flux élémentaires, des fichiers distincts sont utilisés pour les composants vidéo et audio. Certaines applications, telles que DVD Studio Pro, requièrent des flux élémentaires. Compressor crée automatiquement un flux élémentaire si seul l’onglet Vidéo ou Audio est activé. Pour créer des flux élémentaires à partir de la vidéo et de l’audio, vous devez utiliser deux réglages, un avec l’onglet Vidéo activé utilisant l’extension de fichier .m1v, l’autre avec l’onglet Audio activé utilisant l’extension de fichier .m1a. Flux de production de transcodage MPEG-1 Cette section vous propose des instructions de configuration de vos attributs MPEG-1 étape par étape, avant la création de fichiers de sortie MPEG-1 avec Compressor. Configurez vos réglages MPEG-1 à partir de la sous-fenêtre Encodeur MPEG-1, soit en modifiant un réglage existant, soit en en créant un autre. Suivez les étapes ci-après pour savoir comment utiliser le format de fichier de sortie MPEG-1.Chapitre 14 Création de fichiers de sortie MPEG-1 187 Exemples de paramètres MPEG-1 Les paramètres que vous utilisez varient selon que vous procédez au codage pour le Web ou pour un projet de DVD. Codage pour le Web Utilisez les paramètres suivants lors du codage de flux système MPEG-1 pour le Web. Onglet Vidéo  Vitesse : automatique.  Utilisation : Web.  Débit : le plus faible possible, tout en conservant une qualité d’image acceptable. Onglet Audio  Échantillonnage : 44,1 kHz.  Canaux : stéréo avec les sources à deux canaux, mono avec les sources à un seul canal.  Débit : le plus faible possible, tout en conservant une qualité audio acceptable ; utilisez des débits plus élevés lors de l’encodage audio stéréo. Codage pour un DVD Utilisez les réglages suivants pour configurer deux réglages lorsque vous encodez des flux élémentaires MPEG-1 destinés à la création de DVD. Réglage de flux vidéo élémentaire : onglet Vidéo  Vitesse : 29,97 pour NTSC ou 25 pour PAL.  Utilisation : DVD.  Débit : 1,15 Mbps. Réglage de flux vidéo élémentaire : onglet Audio  Case Activé non cochée. Réglage de flux audio élémentaire : onglet Vidéo  Case Activé non cochée. Réglage de flux audio élémentaire : onglet Audio  Échantillonnage : 48 kHz.  Canaux : stéréo avec les sources à deux canaux, mono avec les sources à un seul canal.  Débit : 192 Kbps ou 224 Kbps.188 Chapitre 14 Création de fichiers de sortie MPEG-1 Configuration du format de fichier MPEG-1 pour une utilisation Web La procédure qui suit vous guide à travers la configuration du format de fichier de sortie MPEG-1 pour une utilisation Web. Ce processus crée un flux système MPEG-1 unique. Étape 1 : Ouvrez la sous-fenêtre Encodeur MPEG-1 et choisissez les paramètres Vidéo 1 Ouvrez l’onglet Réglages puis choisissez MPEG-1 dans le menu local « Créer un réglage (+) ». La sous-fenêtre Encodeur MPEG-1 s’ouvre dans l’Inspecteur, avec l’onglet Vidéo qui s’affiche par défaut. 2 Nommez le nouveau réglage « MPEG-1 pour le Web ». 3 Cochez la case Activé. 4 Cliquez sur le bouton Automatique à côté du menu local « Fréquence d’images. » Vous pouvez aussi choisir 23,976, 29,97 ou 25 dans le menu local « Fréquence d’images » de la vidéo source. 5 Sélectionnez le bouton Web. Cela permet de régler la résolution de sortie sur 320 x 240. 6 Utilisez le curseur Débit pour choisir le débit à utiliser ou saisissez directement une valeur. Activez l’onglet Vidéo. Cliquez sur le bouton Automatique ou choisissez une fréquence d’images. Sélectionnez Web pour régler la résolution sur 320 x 240. Sélectionnez le débit.Chapitre 14 Création de fichiers de sortie MPEG-1 189 Étape 2 : Sélectionnez les paramètres Audio 1 Cliquez sur le bouton Audio dans la sous-fenêtre Encodeur MPEG-1 pour ouvrir l’onglet correspondant. 2 Cochez la case Activé. 3 Choisissez 44,1 kHz dans le menu local Échantillonnage. 4 Sélectionnez Stéréo si vous utilisez des sources audio à deux canaux et Mono pour les sources audio à un seul canal. 5 Choisissez le débit à utiliser dans le menu local correspondant. 6 Cliquez sur le bouton Enregistrer (dans le coin inférieur droit de l’Inspecteur) pour enregistrer ce réglage. Configuration du format de fichier MPEG-1 pour une utilisation DVD La procédure qui suit vous guide à travers la configuration du format de fichier de sortie MPEG- destiné à une utilisation DVD. Ce processus crée deux réglages, un pour la vidéo et l’autre pour l’audio, en créant des flux élémentaires. Création du réglage Vidéo MPEG-1 pour DVD La procédure qui suit permet de créer le réglage pour un fichier de sortie vidéo MPEG-1 élémentaire. Étape 1 : Créez le réglage Vidéo MPEG-1 pour DVD 1 Ouvrez l’onglet Réglages et choisissez MPEG-1 dans le menu local « Créer un réglage » (+). Un nouveau réglage est ajouté à la liste. 2 Nommez le nouveau réglage « Vidéo MPEG-1 pour DVD ». Consultez la section « Création d’un réglage entièrement nouveau » à la page 100 pour plus d’informations. Activez l’onglet Audio. Sélectionnez la fréquence d’échantillonnage 44,1 kHz. Sélectionnez le nombre de canaux audio. Sélectionnez le débit.190 Chapitre 14 Création de fichiers de sortie MPEG-1 Étape 2 : Ouvrez la sous-fenêtre Encodeur MPEG-1 et configurez les réglages Vidéo 1 Cliquez sur l’onglet Encodeur, puis choisissez MPEG-1 dans le menu local « Format de fichier ». 2 Cliquez sur le bouton Vidéo dans la sous-fenêtre Encodeur MPEG-1 pour ouvrir l’onglet Vidéo. 3 Cochez la case Activé. 4 Choisissez la fréquence d’échantillonnage correspondant à votre vidéo source (29,97 ou 25) dans le menu local Échantillonnage. 5 Sélectionnez le bouton DVD. La résolution de sortie correspond ainsi à la vitesse de défilement sélectionnée. 6 Utilisez le curseur Débit pour choisir le débit à utiliser ou saisissez directement une valeur. Pour les projets DVD, la valeur standard est de 1,15 Mbps, le maximum autorisé étant de 1,856 Mbps. Activez l’onglet Vidéo. Sélectionnez la vitesse de défilement. Sélectionnez DVD pour que la résolution corresponde à la vitesse de défilement. Sélectionnez le débit. L’extension de fichier devient m1v dès que l’onglet Audio est désactivé.Chapitre 14 Création de fichiers de sortie MPEG-1 191 Étape 3 : Désactivez l’audio pour le réglage vidéo 1 Cliquez sur le bouton Audio dans la sous-fenêtre Encodeur MPEG-1 pour ouvrir l’onglet correspondant. 2 Désactivez la case Activé. Cela permet de régler l’extension de fichier sur m1v et de garantir que ce préréglage crée uniquement un flux vidéo élémentaire. 3 Cliquez sur le bouton Enregistrer (dans le coin inférieur droit de l’Inspecteur) pour enregistrer ce réglage. Le réglage « Vidéo MPEG-1 pour DVD » est enregistré. Création du réglage Audio MPEG-1 pour DVD La procédure qui suit permet de créer le réglage pour un fichier de sortie audio MPEG-1 élémentaire. Étape 1 : Création du réglage Audio MPEG-1 pour DVD 1 Ouvrez l’onglet Réglages et cliquez sur le bouton « Ajouter un préréglage » (+). Un nouveau réglage est ajouté à la liste. 2 Nommez le nouveau réglage « Audio MPEG-1 pour DVD ». Consultez la section « Création d’un réglage entièrement nouveau » à la page 100 pour plus d’informations. Désactivez l’onglet Audio.192 Chapitre 14 Création de fichiers de sortie MPEG-1 Étape 2 : Désactivez la vidéo pour le réglage audio 1 Cliquez sur l’onglet Encodeur, puis choisissez MPEG-1 dans le menu local « Format de fichier ». 2 Cliquez sur le bouton Vidéo dans la sous-fenêtre Encodeur MPEG-1 pour ouvrir l’onglet Vidéo. 3 Désactivez la case Activé. Cela permet de garantir que ce préréglage crée uniquement un flux vidéo élémentaire, et l’extension du fichier devient m1a. Étape 3 : Configurez les réglages Audio 1 Cliquez sur le bouton Audio dans la sous-fenêtre Encodeur MPEG-1 pour ouvrir l’onglet correspondant. 2 Cochez la case Activé. 3 Choisissez 48 kHz dans le menu local Échantillonnage. 4 Sélectionnez Stéréo si vous utilisez des sources audio à deux canaux et Mono pour les sources audio à un seul canal. 5 Choisissez le débit à utiliser dans le menu local correspondant. Les valeurs habituelles utilisées pour les projets DVD sont 192 Kbps et 224 Kbps. Désactivez l’onglet Vidéo. L’extension de fichier devient m1a lorsque l’onglet Vidéo est désactivé. Activez l’onglet Audio. Sélectionnez la fréquence d’échantillonnage 48 kHz. Choisissez soit Stéréo, soit Mono. Sélectionnez le débit.Chapitre 14 Création de fichiers de sortie MPEG-1 193 6 Cliquez sur le bouton Enregistrer (dans le coin inférieur droit de l’Inspecteur) pour enregistrer ce réglage. Le préréglage « Audio MPEG-1 pour DVD » est enregistré. Création d’un groupe et d’une destination Pour faciliter l’utilisation de ces deux préréglages MPEG-1 avec une source, vous pouvez les rassembler en créant un groupe de préréglages. Consultez la section « Création de groupes de réglages » à la page 104 pour plus d’informations. Pour faciliter l’utilisation des fichiers de sortie créés par ces préréglages dans DVD Studio Pro, créez une destination qui garantisse que les fichiers de sortie vidéo et audio aient le même nom, mais pas les mêmes extensions. Consultez la section « Création de destinations à utiliser avec DVD Studio Pro » à la page 335 pour plus d’informations.15 195 15 Création de fichiers de sortie MPEG-2 Compressor fournit les outils dont vous avez besoin pour créer des fichiers transcodés MPEG-2 exceptionnels MPEG-2 est un standard international de compression, développé par le groupe MPEG (Motion Picture Experts Group). Le format MPEG-2 vous permet de créer des fichiers vidéo de qualité diffusion et a été conçu pour prendre en charge des vidéos à haut débit et à haute résolution. Ce format de compression est celui utilisé pour les titres vidéo de haute qualité sur DVD, la diffusion en haute définition et les systèmes de télévision par satellite. Tous les lecteurs DVD disposent du matériel requis pour la lecture MPEG-2. Ce chapitre traite des sujets suivants :  À propos du format MPEG-2 en définition standard (p. 195)  À propos des sources haute définition et de MPEG-2 (p. 196)  À propos des flux élémentaires, des flux de transport et des flux de programme (p. 197)  À propos de la sous-fenêtre Encodeur MPEG-2 (p. 198)  Flux de production de transcodage MPEG-2 (p. 216) À propos du format MPEG-2 en définition standard La norme MPEG-2 est définie par une fréquence d’images maximale (23,98 à 29,97 images par seconde) et une résolution plein écran (720 x 480 en NTSC et 720 x 576 en PAL). Le MPEG-2 présente les caractéristiques suivantes :  Prise en charge de la vidéo entrelacée : MPEG-2 prend en charge aussi bien la vidéo entrelacée que la vidéo progressive. Comme les contenus MPEG-2 sont généralement lus à partir d’un lecteur DVD local plutôt que sur un réseau (où la bande passante est variable), la fréquence d’images est habituellement constante et la vidéo semble d’une régularité parfaite.  Non-prise en charge de la lecture en continu : le MPEG-2 n’est pas adapté à la lecture en continu de fichiers vidéo sur le web, car il requiert un débit élevé (de 2 à 9 Mbps) pour maintenir une qualité d’image acceptable. 196 Chapitre 15 Création de fichiers de sortie MPEG-2 Remarque : l’encodeur de Compressor peut créer des flux vidéo MPEG-2 pour le format DVD vidéo. La création de disques DVD vidéo requiert une application particulière, telle que DVD Studio Pro, qui doit être utilisée conjointement à Compressor. À propos des sources haute définition et de MPEG-2 Compressor offre différentes options et différents flux de production pour le transcodage de fichiers source vidéo haute définition (HD) en fichiers MPEG-2. HD sur DVD Compressor peut générer des fichiers MPEG-2 pour la création de DVD HD (haute définition) à partir de données source HD ou SD (définition standard). Compressor peut conserver les différentes tailles et fréquences d’images de la vidéo haute définition lors du transcodage au format MPEG-2. En outre, Compressor prend en charge les débits plus élevés requis par les formats de DVD HD. Pour plus d’informations sur la création d’une sortie pour les DVD HD, consultez la section « À propos de la sous-fenêtre Encodeur MPEG-2 » à la page 198 et le Manuel de l’utilisateur de DVD Studio Pro. Remarque : l’autre format de fichier de sortie pour les DVD HD est H.264, également appelé MPEG-4 Partie 10. H.264 est actuellement obligatoire dans les deux nouvelles spécifications de DVD haute définition (DVD HD et Blu-Ray). Pour plus d’informations sur la création de fichiers H.264 pour la HD sur DVD, consultez la section « Création de fichiers de sortie H.264 pour DVD Studio Pro » à la page 165. Conversion de HD en SD Lorsque vous montez des sources haute définition (HD) dans Final Cut Pro et que vous souhaitez créer un DVD en définition standard à partir de ces sources, utilisez les moyens de conversion fournis par Compressor. Compressor conserve le maximum de détails possible lors de la conversion et préserve les formats progressifs ou entrelacés lors du codage en format MPEG-2 pour les DVD. Pour afficher la résolution des données source et la vitesse de défilement : 1 Importez le fichier multimédia source dans la fenêtre Lot. 2 Cliquez sur le nom de la source dans la fenêtre Lot. La résolution et la vitesse de défilement du fichier source, ainsi que sa durée, apparaissent dans l’angle inférieur gauche de la fenêtre Preview.Chapitre 15 Création de fichiers de sortie MPEG-2 197 À propos des flux élémentaires, des flux de transport et des flux de programme Il existe trois types courants de flux MPEG-2 utilisés pour générer de la vidéo encodée en MPEG-2 :  Flux élémentaires : ces flux contiennent un seul canal de contenu MPEG-2 et pas de données audio. Vous devez utiliser des flux élémentaires si vous souhaitez utiliser votre vidéo encodée en MPEG-2 comme ressource DVD Studio Pro.  Flux de transport : ces flux contiennent un seul canal de contenu MPEG-2 et ses données audio associées. Tous les canaux sont multiplexés, ce qui permet au destinataire de choisir le canal qu’il souhaite lire. Compressor prend en charge la création de flux de transport à canal unique pouvant éventuellement inclure des données audio. Les flux de transport peuvent également reprendre après une interruption, ce qui les rend particulièrement adaptés aux applications de diffusion et de lecture en continu dans lesquelles le bruit ou l’encombrement du réseau peuvent provoquer des interruptions.  Flux de programme : ces flux contiennent un seul canal de contenu MPEG-2 et ses données audio associées. Les flux de programme nécessitent une méthode de diffusion sans erreur et sont principalement utilisés pour le stockage ou le traitement au sein d’un ordinateur. Par défaut, l’encodeur MPEG-2 de Compressor crée des flux MPEG-2 élémentaires. Vous pouvez cependant configurer l’encodeur MPEG-2 pour qu’il crée des flux de transport ou de programme et décider s’ils doivent contenir ou non des données audio dans l’onglet Compléments. Consultez la section « Onglet Compléments » à la page 211 pour plus d’informations. Remarque : tous les réglages d’utilisation de flux, à l’exception des réglages génériques, génèrent des flux élémentaires. Si vous sélectionnez l’un des réglages d’utilisation de flux et que vous configurez la sortie pour générer un flux de transport ou de programme, l’utilisation de flux devient générique. Consultez la section « Utilisation de flux » à la page 199 pour plus d’informations.198 Chapitre 15 Création de fichiers de sortie MPEG-2 À propos de la sous-fenêtre Encodeur MPEG-2 Cette section contient des informations détaillées sur les différents onglets de la sousfenêtre Encodeur MPEG-2 de la fenêtre Inspecteur. La configuration des réglages MPEG-2 s’effectue par l’intermédiaire de ces onglets, soit en modifiant un réglage, soit en créant un sous l’onglet Réglages. La sous-fenêtre MPEG-2, qui contient les éléments décrits ci-après, s’ouvre par défaut sur l’onglet Format vidéo :  Champ Extension : affiche automatiquement l’extension de fichier MPEG-2 m2v automatiquement dès que le format de sortie MPEG-2 est sélectionné dans le menu local « Format du fichier ».  Autoriser la segmentation de la tâche : cette case permet de désactiver la segmentation des tâches. Elle n’est importante que si vous utilisez Compressor avec le traitement distribué et avec l’encodage à deux passes ou multipasse. (La fonctionnalité de traitement distribué est limitée aux ordinateurs sur lesquels est installé Final Cut Studio.) Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Utilisation de flux : ce menu local permet de choisir l’utilisation du flux MPEG-2. Compressor modifie les options disponibles et la plage de débits en fonction de l’utilisation que vous choisissez dans ce menu local. Consultez la section « Utilisation de flux, » qui suit, pour plus d’informations.  Format vidéo, Qualité, GOP et Compléments : cliquez sur ces boutons pour ouvrir les onglets Format vidéo, Qualité, GOP et Compléments. Les réglages de ces onglets sont expliqués dans les sections suivantes.Chapitre 15 Création de fichiers de sortie MPEG-2 199 Utilisation de flux Le choix d’un réglage du menu local « Utilisation de flux » permet de s’assurer que le flux encodé en MPEG-2 sera adapté à l’utilisation que vous souhaitez en faire. Les options du menu local « Utilisation du flux » comprennent :  Générique : l’option générique vous donne un accès complet à tous les réglages MPEG-2. C’est la seule option qui prend en charge le format vidéo MPEG-2 640 x 480 en plus des formats vidéo SD et HD. C’est également la seule option qui prend en charge la création de flux de transport et de programme. Elle prend en charge la plage de débits complète comprise entre 2,0 Mbps et 40,0 Mbps.  DVD SD : l’option DVD SD restreint les options d’encodage aux options admises par la spécification DVD SD. Cela inclut les formats vidéo NTSC et PAL et une plage de débits compris entre 2,0 Mbps et 9,0 Mbps.  Blu-ray : l’option Blu-ray restreint les options d’encodage aux options autorisées par les disques vidéo Blu-ray. Cela inclut les formats vidéo SD et HD et une plage de débits compris entre 10,0 Mbps et 40,0 Mbps.  HD DVD : l’option HD DVD restreint les options d’encodage aux options admises par la spécification HD DVD. Cela inclut les formats vidéo SD et HD et une plage de débits qui varie en fonction du format vidéo sélectionné.  Pour les formats vidéo HD, la plage de débits va de 10,0 Mbps à 29,4 Mbps.  Pour les formats vidéo SD, la plage de débits va de 2,0 Mbps à 15,0 Mbps. Onglet Format vidéo Utilisez l’onglet Format vidéo pour configurer les réglages liés aux formats vidéo, aux fréquences d’images, aux proportions, à la priorité de trame et au timecode. Tous ces réglages, sauf le timecode, peuvent être définis pour une configuration automatique en fonction des données vidéo encodées. L’onglet Format vidéo contient les contrôles suivants :200 Chapitre 15 Création de fichiers de sortie MPEG-2  Menu local Format vidéo : choisissez votre format de fichier de sortie vidéo parmi NTSC, PAL, 720p, HD 1440x1080, HD 1920x1080 ou diverses versions de formats de largeur égale à 640. Les réglages « Utilisation de flux » déterminent lesquels de ces formats sont réellement disponibles. Lorsque vous choisissez un réglage Format vidéo, les autres réglages de cet onglet sont remplis avec des valeurs par défaut ou ils sont grisés, indiquant qu’il existe des options pour ce réglage. Les éléments NTSC et PAL font référence aux réglages de définition standard pour les normes TV NTSC et PAL. Concernant les principales régions d’utilisation du DVD, sachez que le format NTSC est utilisé en Amérique du Nord et au Japon, tandis que la norme PAL est utilisée partout en Europe. Normalement, le format vidéo de sortie devrait correspondre au format vidéo source. Pour la vidéo entrelacée créée à partir de caméscopes traditionnels NTSC ou PAL, choisissez NTSC ou PAL dans ce menu local. Si vous ne connaissez pas le format vidéo de votre fichier multimédia source, vous pouvez choisir Automatique. Ce paramètre analyse la fréquence d’images d’un plan multimédia source pour déterminer le format vidéo adéquat. Si vous cliquez sur le bouton de format vidéo Automatique, la taille GOP est limitée à 12 ou 15 (en fonction du format de la vidéo, PAL ou NTSC) avec un modèle IBBP fermé. Avec l’option Automatique sélectionnée, vous ne pouvez changer aucun des réglages de fréquence d’images sous cet onglet, ou les réglages GOP sous l’onglet GOP. Consultez la section « Compréhension des types de GOP et d’images » à la page 211 pour plus d’informations sur les GOP. Remarque : comme le format MPEG-2 pour DVD met en œuvre des tailles d’images vidéo fixes (cf. le tableau ci-dessous), Compressor introduit automatiquement les dimensions de l’image de sortie dans les champs de la sous-fenêtre Géométrie en fonction du format vidéo choisi. Le format vidéo que vous choisissez détermine les options des caractéristiques associées, telles que la taille d’image et la fréquence d’images, les proportions et la priorité de trame. Bouton Format vidéo AutomatiqueChapitre 15 Création de fichiers de sortie MPEG-2 201 Remarque : les dimensions normales de l’image d’une vidéo numérique NTSC en résolution standard sont de 720 x 486. En conséquence, si vous souhaitez transcoder un fichier source en utilisant le paramètre NTSC, celui-ci est rogné par Compressor afin d’être conforme à la taille d’image MPEG-2 de 720 x 480, sauf si vous avez spécifié des attributs de rognage pour votre préréglage. Dans le cas contraire, Compressor rogne deux lignes de pixels à partir du haut et quatre lignes à partir du bas. Cet attribut de rognage n’est que temporaire et n’est pas enregistré dans le réglage. Vous pouvez visualiser les effets du rognage en double-cliquant sur le réglage dans la tâche pour ouvrir la fenêtre Preview. Format vidéo Taille d’image (en pixels) Fréquence d’images (images par seconde) Proportions Méthode de balayage NTSC 720 x 480 23,98 (progressive uniquement), 29,97 4:3 ou 16:9 Entrelacée, progressive PAL 720 x 576 25 4:3 ou 16:9 Entrelacée, progressive 720p 1280 x 720 23,98, 25, 29,97, 50, 59,94 16:9 Progressif HD 1440x1080 1440 x 1080 23,98 (progressive uniquement), 25, 29.97 16:9 Entrelacée, progressive HD 1920x1080 1920 x 1080 23,98 (progressive uniquement), 25, 29.97 16:9 Entrelacée, progressive 640x480 (1,33) 640 x 480 23,98, 25, 29,97 4:3 ou 16:9 Entrelacée, progressive 640x360 (1,78) 640 x 360 23,98, 25, 29,97 4:3 ou 16:9 Entrelacée, progressive 640x352 (1,82) 640 x 352 23,98, 25, 29,97 4:3 ou 16:9 Entrelacée, progressive 640x384 (1,67) 640 x 384 23,98, 25, 29,97 4:3 ou 16:9 Entrelacée, progressive 640x320 (2,00) 640 x 320 23,98, 25, 29,97 4:3 ou 16:9 Entrelacée, progressive202 Chapitre 15 Création de fichiers de sortie MPEG-2  Menu local « Fréquence d’image » : choisissez la fréquence d’image prévue pour le fichier de sortie MPEG-2. Les films et certains caméscopes récents créent des contenus progressifs à 24 images par seconde (ou à 23,98 images par seconde avec la variante NTSC). Bien que le terme « 24p » implique une vidéo avec une fréquence d’images de 24 ips, la fréquence d’images est généralement de 23,976 ips (arrondie à 23,98) ips. Pour transcoder ces sources pour la lecture de DVD sur des téléviseurs NTSC, choisissez le réglage 23,98. Consultez la section « Environ 24p (23,98p) » à la page 204 pour plus d’informations.  Menu local Proportions : choisissez les proportions de votre fichier vidéo. Le paramètre par défaut est 4:3 et l’option 16:9 est utilisée pour les DVD anamorphosés. Ces proportions déterminent la manière dont l’image remplit l’écran de la télévision. Un DVD en 16:9 (grand écran) vu sur une télévision classique 4:3 s’affiche au format boîte aux lettres (bandes noires en haut et en bas de l’écran). Au contraire, un DVD grand écran vu sur une télévision 16:9 (grand écran) résulte en un remplissage complet de l’écran. À propos des fréquences d’image NTSC La fréquence de défilement généralement indiquée pour le format NTSC est de 29,97 images par seconde. De la même manière, la « version NTSC » à 24 images par seconde est mentionnée à la place de la version à 23,98 images par seconde. Ces deux nombres (29,97 et 23,98) sont des approximations des valeurs réelles 30/1,001 et 24/1,001, c’est-à-dire respectivement 29,97003 et 23,97602 avec plus de décimales. Ces valeurs montrent que 29,97 est une approximation relativement bonne de 30/1,001 (décalage de 3 images seulement pour 100 000 secondes), mais que 23,976 serait nettement mieux que 23.98. En fait, même si la valeur 23,98 est utilisée par commodité dans l’Aide Compressor et dans l’interface utilisateurde Compressor, une précision supérieure ou égale à 23,976 est gérée en interne dans Compressor QuickTime et généralement dans QuickTime également.Chapitre 15 Création de fichiers de sortie MPEG-2 203  Menu local « Priorité de trame » : choisissez si ce sera la première ou la dernière trame de votre fichier multimédia source entrelacé qui sera prioritaire (la première) dans le fichier vidéo de sortie MPEG-2. Si vous choisissez Automatique (par défaut), Compressor analyse la vidéo source et essaie de déterminer automatiquement quelle est la trame prioritaire. La trame prioritaire des vidéos sources DV est la trame inférieure. Ce réglage ne concerne pas le format vidéo 720p, car ce format doit être progressif. Remarque : pour la vidéo entrelacée, la première trame est également appelée trame supérieure ou impaire, tandis que la dernière trame est également appelée trame inférieure ou paire.  Champ et case à cocher « Choisir le timecode de départ » : si vous ne sélectionnez pas cette case (état par défaut), Compressor incorpore le timecode existant du fichier multimédia source au fichier multimédia de sortie. Toutefois, en cochant cette case vous pouvez écraser le timecode existant et en introduire un nouveau dans le champ contigu. Ce champ reste inactif tant que la case n’est pas cochée, et s’il n’est pas rempli, le fichier multimédia de sortie utilise le timecode par défaut 00:00:00:00.  Case à cocher Drop frame : si vous avez déjà coché la case « Choisir le timecode de départ » et que vous souhaitez un timecode Drop Frame (plutôt que Non-Drop Frame), vous devez également cocher cette case. Le timecode est un système de numérotation pour l’étiquetage des images dans une séquence vidéo. Dans le cas des vidéos à 30 images par seconde, le timecode fonctionne avec un compteur d’images, qui compte de 0 à 29 puis incrémente le compteur de secondes avant de revenir à 0. Ce type de timecode, également connu sous le nom de timecode 30 images, maintient dans ce cas une mesure précise du temps écoulé. Cependant, dans le cas des vidéos NTSC, la fréquence d’images est égale à 29,97 images par seconde. Un timecode en temps réel a donc été conçu pour fournir des mesures plus précises du temps écoulé. Le timecode en temps réel saute les images 0 et 1 de chaque nouvelle minute, sauf toutes les 10 minutes. Par exemple, le timecode en temps réel 01:08:59;29 est suivi de 01:09:00;02, car les timecodes 01:09:00;00 et 01:09:00;01 ont été sautés. Remarque : le timecode en temps réel ne s’applique que si vous utilisez des vidéos NTSC entrelacées.204 Chapitre 15 Création de fichiers de sortie MPEG-2 Onglet Qualité L’onglet Qualité permet de définir le débit de votre vidéo, afin de pouvoir la transcoder à une taille et à une qualité convenables. Outre les contrôles, l’angle inférieur droit affiche une estimation du nombre de minutes de vidéo pouvant tenir sur un DVD de 4,7 Go en tenant compte des paramètres actuels. Cette durée suppose l’utilisation d’un flux audio AIFF avec le flux MPEG-2. Environ 24p (23,98p) Pour la création et l’encodage de DVD, le format 24P se réfère à une séquence vidéo qui contient 24 images progressives (non entrelacées) par seconde, avec une résolution d’image standard de type NTSC (720 x 480 pour le MPEG-2). La fréquence d’images naturelle des films est de 24 images par seconde, et comme le format MPEG-2 est capable de représenter en interne des vidéos à cette fréquence, de nombreux films DVD commerciaux sont encodés à l’aide de cette méthode. Cependant, chaque fois que vous utilisez de la vidéo NTSC dans votre projet, la fréquence d’images des données transférées à partir d’un film est ralentie de 24 ips à 23,976 ips (arrondi à 23,98) et un pulldown 2:3:2:3 est ajouté. Ainsi, le terme plus précis est en fait « 23,98p ». Compressor peut également effectuer cette opération pour les fichiers vidéo sources 24p. Pour ce type de fichiers, l’option de fréquence d’images 23,98 (sous l’onglet Format vidéo) compresse une par une chaque image source, sans compresser les images ou les trames qui se répètent, dans le but d’obtenir une fréquence d’images de 29,97 images par seconde. Avec un taux de compression inférieur, le résultat obtenu est de meilleure qualité que si le fichier avait été converti à 29,97 images par seconde avant le transcodage. Compressor définit en outre convenablement les indicateurs d’images MPEG-2 internes, ce qui permet aux lecteurs DVD d’appliquer de manière appropriée le processus pulldown 3:2 pour l’affichage de 29,97 images entrelacées par seconde sur des télévisions NTSC. Remarque : si la fréquence d’images de votre vidéo source est de 24,00 images par seconde au lieu de 23,98, Compressor saute une image toutes les 1000 images source. Au contraire, lorsque la fréquence de la vidéo source 24P est de 23,98 images par seconde, Compressor transcode toutes les images sources, sans en sauter ou en répé- ter aucune.Chapitre 15 Création de fichiers de sortie MPEG-2 205 L’onglet Qualité contient les contrôles suivants :  Menu local Mode : vous permet de choisir l’un des modes d’encodage MPEG-2 ciaprès. Les modes haute définition (HD) sont « VBR 1 passe optimal » et « VBR 2 passes optimal ».  CBR une passe : si vous utilisez ce mode, le débit du flux vidéo MPEG-2 de sortie est maintenu à un taux à peu près constant d’un GOP à l’autre. Ce mode d’encodage MPEG-2 est le plus rapide de Compressor et permet d’obtenir une qualité finale bonne, voire très bonne, notamment à des débits compris entre 5 et 9 Mbps.  VBR une passe : ce mode d’encodage VBR (débit variable) a pour but d’assurer une qualité constante (au détriment d’un débit constant) du fichier vidéo transcodé. Ainsi, dans les scènes très détaillées ou en mouvement rapide, Compressor autorise un débit supérieur à celui des séquences moins détaillées ou fixes du flux vidéo. Malgré cette variation de débit, Compressor veille à ce que le débit moyen soit conforme à la valeur que vous avez spécifiée et à ce que le débit maximum ne soit pas dépassé. Contrairement au mode à deux passes, ce mode ne permet pas de parcourir la totalité du média source avant son transcodage, ce qui entraîne une distribution de débit moins optimisée que celle obtenue avec un débit variable à deux passes. Néanmoins, pour la plupart des fichiers de données en définition standard (SD) à des débits de 3,5 Mbits et plus, la qualité finale est bonne ou excellente et le transcodage est rapide. Menu local Mode Estimation de la durée pour un disque de 4,7 Go avec un flux audio AIFF stéréo Menu local « Estimation d’animation »206 Chapitre 15 Création de fichiers de sortie MPEG-2  VBR 1 passe optimal : cette option est similaire au mode VBR à une passe, mais dans ce mode, Compressor donne la priorité à ses processus décisionnels internes. Malgré un transcodage plus lent dans ce mode qu’en VBR 1 passe, la qualité vidéo SD finale à des débits de 3 à 3,5 Mbits/s et au-delà est excellente, voire exceptionnelle. Les débits en MPEG-2 HD peuvent aller de 10 à 29 Mbps en moyenne, de 12 à 29 Mbps au maximum. Comparé au mode VBR 1 passe, ce mode offre une meilleure qualité, notamment avec des données difficiles à traiter à de faibles débits. Remarque : pour les flux courts d’une ou deux minutes tout au plus, la précision du débit peut être réduite de 10 à 30 % quel que soit le mode précédent utilisé.  VBR 2 passes : dans ce mode, Compressor lit deux fois l’ensemble du fichier vidéo source. Durant la première passe, Compressor analyse entièrement le flux vidéo source avant de le transcoder dans le but de déterminer le degré de difficulté de l’encodage de chaque scène. Il crée ensuite un plan de distribution de débit qui affecte le débit le plus rapide aux scènes les plus complexes et le débit le plus lent aux scènes les plus simples, en veillant à obtenir un débit moyen conforme à la valeur indiquée sans dépasser le débit maximum spécifié. Lors de la deuxième passe, Compressor procède à la compression, en créant le fichier vidéo de sortie MPEG-2 conformément à son plan de distribution de débit. Tout comme le mode VBR 1 passe, le but du mode VBR 2 passes est d’obtenir une qualité constante plutôt qu’un débit constant. En revanche, le mode VBR deux passes est capable de déterminer où distribuer au mieux les bits dans le fichier multimédia source avant de commencer son encodage. L’inconvénient de ce processus est que la durée du transcodage est près de deux fois plus longue qu’en mode VBR une passe. Bien qu’il soit impossible d’obtenir une qualité deux fois meilleure, la qualité finale est en général plus régulière en mode VBR 2 passes qu’en mode VBR 1 passe, notamment avec des fichiers de données sources dans lesquels les différences entre les scènes les plus complexes et les scènes les plus simples sont notables.  VBR 2 passes optimal : ce mode favorise plus ses processus décisionnels internes que le mode VBR 2 passes. En conséquence, la durée de l’encodage est plus longue. Cependant, la qualité offerte par l’encodeur MPEG-2 de Compressor est la meilleure possible. Ce mode offre une qualité exceptionnelle à des débits de 3 à 5,5 Mbps et au-delà pour la vidéo en définition standard (SD). Remarque : pour plus d’informations sur l’utilisation des modes à deux passes avec la segmentation de tâche, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.Chapitre 15 Création de fichiers de sortie MPEG-2 207  Champ et curseur de défilement Débit moyen : choisissez le débit moyen en faisant glisser le curseur ou en saisissant un nombre dans le champ prévu à cet effet. La plage dont vous disposez dépend du réglage « Utilisation de flux ». Consultez la section « Utilisation de flux » à la page 199 pour plus d’informations. Remarque : le réglage de débit moyen contrôle directement la taille du fichier encodé. Le réglage de débit maximum n’affecte pas du tout la taille du fichier encodé.  Curseur et champ Débit maximum : choisissez le débit maximum en faisant glisser le curseur ou en saisissant un nombre dans le champ prévu à cet effet. La plage dont vous disposez dépend du réglage « Utilisation de flux ». Consultez la section « Utilisation de flux » à la page 199 pour plus d’informations. Remarque : ce curseur de défilement n’est disponible qu’avec les modes VBR et ne peut pas être placé sur une valeur inférieure au débit moyen. À propos de la sélection des débits Lorsque vous déterminez les débits moyen et maximum pour la lecture de DVD standard, n’oubliez pas de prendre en compte le débit de la piste audio, ainsi que le débit MPEG2. Vous devez faire en sorte que le total des débits audio et vidéo moyens et maximum soit inférieur à 10,08 Mbps, vitesse maximum de transfert garantie par les lecteurs DVD standard (Comme les formats audio compatibles DVD sont à débit constant, il ne faut pas se soucier du débit audio maximum.) Par exemple, si vous traitez la composante audio au format AIFF à 1,5 Mbps, vous devez maintenir les débits vidéo maximum et moyen sous la barre des 8,5 Mbps. Généralement, le débit moyen sera inférieur à cette valeur (par exemple, 3,5 Mbps pour deux heures de métrage sur votre DVD). Le débit maximum doit toutefois être, lui aussi, inférieur à cette valeur. Un débit maximum de 8,0 Mbps est recommandé pour prévoir une marge d’erreur supplémentaire, afin de s’adapter par exemple aux flux de sous-titrage. Si vous utilisez un format audio compressé compatible DVD comme, par exemple, Dolby Digital ou MPEG-1/ Layer-2, le débit audio peut descendre jusqu’à entre 0,2 et 0,4 Mbps, ce qui vous permet alors de régler le débit maximum sur environ 1 Mbps plus haut. En règle générale, réglez le débit maximum au moins 1 Mbps plus haut que le débit moyen afin de permettre au débit de varier et d’obtenir une qualité constante.208 Chapitre 15 Création de fichiers de sortie MPEG-2  Menu local « Estimation d’animation » : ce menu est un autre compromis entre qualité d’image et durée de traitement, en particulier si le fichier source comporte beaucoup de mouvements. Choisissez l’un des paramètres suivants :  Bonne : réglage d’estimation des mouvements le plus rapide. Ce mode fonctionne bien, y compris avec d’importantes quantités de mouvement entre les images, à condition que les images comportent une quantité minimum de mouvements au sein des images. Par exemple, un métrage soumis à une conversion de sa fré- quence d’images ou à d’autres processus tend à ne comporter que peu de mouvements au sein des images. De manière générale, utilisez ce paramètre avec le mode d’encodage à une passe.  Meilleure : ce mode est un bon compromis général pour le paramètre d’estimation des mouvements. Il offre de bons résultats même avec des mouvements entrelacés complexes, et fonctionne bien avec la plupart des types de sources vidéo entrelacées, y compris avec les métrages précaires réalisés avec des petits caméscopes grand public. En général, choisissez cette option avec les modes VBR une passe et VBR deux passes. Remarque : si vous utilisez un format vidéo progressif, l’option Meilleure n’effectue qu’une estimation des mouvements image par image plutôt qu’une recherche de vecteur cinétique trame par trame, qui n’est pas pertinente avec les sources progressives. Dans ce cas, le mode Meilleure est quelque peu plus rapide.  Optimale : l’estimation des mouvements est dans ce cas de qualité optimale et ce mode ne devrait être utilisé qu’avec des sources entrelacées dont les mouvements sont les plus complexes et les plus exigeants. En contrepartie, il est plus lent que le mode Meilleure. En général, utilisez ce mode pour optimiser la qualité lorsque vous avez choisi les modes VBR une passe Optimale ou VBR deux passes Optimale. Remarque : choisissez dans le menu local « Estimation d’animation » le mode d’estimation d’animation (EM) qui convient le mieux au mode d’encodage sélectionné parmi les cinq possibilités décrites ci-dessus. Choisissez l’option d’estimation d’animation Bonne pour le mode une passe, Meilleure pour les modes VBR une passe et VBR deux passes, et Optimale pour les modes VBR une passe Optimale et VBR deux passes Optimale. Bien que les modes d’estimation d’animation fonctionnent quel que soit le mode d’encodage choisi, il est recommandé d’utiliser ces combinaisons.Chapitre 15 Création de fichiers de sortie MPEG-2 209 Onglet GOP Vous utilisez l’onglet GOP (groupe d’images) pour sélectionner un format, une structure et une taille de GOP. Cette sous-fenêtre contient les contrôles suivants Consultez la section « Compréhension des types de GOP et d’images » à la page 211 pour plus d’informations. Remarque : si vous choisissez l’un des formats vidéo HD proposés dans l’onglet Format vidéo, vous ne pouvez pas modifier les réglages de l’onglet GOP et ces derniers adoptent par défaut les valeurs d’une structure IBBP GOP fermée avec une taille de 12 (PAL) ou 15 (NTSC).  Menu local Structure GOP : ce paramètre indique qu’il y aura deux, une ou aucune image B entres les images de référence au sein d’un GOP. La structure et la taille d’un GOP permettent de définir le nombre d’images I, P et B utilisées dans un GOP pendant l’encodage. Choisissez l’une des options suivantes :  IP : aucune image B n’est utilisée avec ce paramètre. Ne choisissez ce paramètre que si votre média contient des mouvements rapides qui ne sont pas encodés avec une qualité suffisante avec une structure IBBP ou IBP.  IBP : dans une structure IBP, une image B est insérée entre les images de référence (images I et images P). Ne choisissez ce paramètre que si votre média contient des mouvements rapides qui ne sont pas encodés avec une qualité suffisante avec une structure IBBP ou IBP.  IBBP : vous pouvez utiliser cette option dans la plupart des cas d’encodage MPEG-2, avec une taille de GOP de 15 pour NTSC ou de 12 pour PAL. Si vous choisissez ce paramètre, deux images B sont insérées entre les images de référence. Remarque : dans la plupart des situations d’encodage MPEG-2 destiné à la création de DVD, choisissez une structure de GOP IBBP et une taille de GOP de 15 en NTSC ou de 12 en PAL. Ces paramètres donnent de bons résultats dans la majorité des cas. Consultez la section « Structure GOP » à la page 213 pour plus d’informations.210 Chapitre 15 Création de fichiers de sortie MPEG-2  Boutons Ouvert et Fermé : les GOP fermés ne contiennent aucune image faisant réfé- rence à une image du GOP précédent ou suivant, tandis que les GOP ouverts commencent par une ou plusieurs images B faisant référence à la dernière image P du GOP précédent. Les GOP fermés créés par l’encodeur MPEG-2 de Compressor commencent par une image I. Pour choisir un type de GOP (ouvert ou fermé), décidez si vous allez créer et de quelle manière des marqueurs de chapitre pour la création de DVD avec DVD Studio Pro ou si vous avez l’intention d’utiliser de multiples angles vidéo dans votre titre. Consultez la section « GOP ouverts et fermés » à la page 214 pour plus d’informations.  Menu local Taille GOP : choisissez le nombre d’images contenues dans votre GOP, suivant le format de la structure GOP sélectionnée. Dans Compressor, un GOP peut contenir au maximum 15 images (NTSC) ou 12 images (PAL et 720p). Quant au nombre minimum d’images d’un GOP, il est de 6 pour un GOP fermé et de 7 pour un GOP ouvert, quel que soit le format vidéo. La relation entre la structure d’un GOP et sa taille vous donnent les différents motifs d’un GOP. Consultez les sections « Compréhension des types de GOP et d’images » à la page 211 et « Taille GOP » à la page 213 pour de plus amples informations.  Champ Modèle : ce champ ne peut être édité, mais il affiche le modèle GOP réel en fonction de la structure et de la taille que vous avez choisies.Chapitre 15 Création de fichiers de sortie MPEG-2 211 . Onglet Compléments Utilisez l’onglet Compléments pour contrôler l’inclusion ou l’exclusion d’informations de création MPEG-2 spécifiques. L’onglet Compléments contient les contrôles suivants : Compréhension des types de GOP et d’images L’une des principales fonctions de l’encodage MPEG-2 est sa capacité à supprimer les redondances, pas seulement dans une image, mais aussi dans un groupe d’images. Le MPEG-2 utilise trois types d’image (I, P et B) pour représenter une vidéo. Les paramètres des groupes d’images (GOP) permettent de définir le motif des trois types d’image utilisées. Ces trois types d’image sont définis comme suit :  Intra (I) : également connue sous le nom d’image clé. Chaque GOP contient une image I. L’image I est le seul type d’image MPEG-2 qui peut être totalement décompressé sans faire aucune référence aux images qui la précèdent ou la suivent. Comme c’est aussi le type d’image le plus « lourd » en terme de données, c’est lui qui requiert le plus d’espace disque. Si vous souhaitez placer une image I à un changement de scène ou à tout autre emplacement précis, vous devez le paramétrer manuellement à l’aide de la fenêtre Preview. Dans ce cas, une image I est qualifiée de forcée. Consultez la section « Ajout de marqueurs à un plan » à la page 317 pour plus d’informations.  Prédite (P) : image encodée à partir d’une image « prédite » selon l’image I ou P précédente la plus proche. Les images P requièrent généralement moins d’espace disque que les images I, car elles font référence à l’image I ou P qui la précède dans le GOP. Remarque : les images I et P sont aussi dénommées images de référence, car une image B peut faire référence à l’un ou l’autre type d’image.  Bidirectionnelle (B) : image encodée à partir d’une interpolation des images de réfé- rence suivantes et précédentes, qu’il s’agisse d’images I ou P. Les images B sont le type d’image MPEG-2 le plus efficace en termes de stockage, car c’est celui qui requiert le moins d’espace disque. C’est l’utilisation d’images B et P qui permet au MPEG-2 de supprimer les redondances temporaires, contribuant ainsi à l’efficacité de la compression vidéo.212 Chapitre 15 Création de fichiers de sortie MPEG-2  Ajouter des métadonnées DVD Studio Pro : en cochant cette case, vous permettez à Compressor d’analyser des informations de création MPEG-2 spécifiques pendant le processus de transcodage, afin d’accélérer l’importation dans DVD Studio Pro. Néanmoins, ces fichiers MPEG-2 seront incompatibles avec les versions 1.5 ou précé- dentes de DVD Studio Pro. Si vous laissez cette case décochée, les informations seront analysées plus tard dans DVD Studio Pro. Remarque : les flux MPEG-2 contenant des métadonnées DVD Studio Pro supplé- mentaires ne sont compatibles qu’avec la version DVD Studio Pro 2 (ou ultérieure). Les flux MPEG-2 pour lesquels cette case est cochée ne sont pas compatibles avec les versions antérieures à DVD Studio Pro 2, ou avec d’autres outils de création de DVD. Cette case est cochée par défaut dans tous les réglages Apple. Pour que vos fichiers MPEG-2 soient compatibles avec d’autres outils de création de DVD, désélectionnez cette case, puis enregistrez le réglage.  Inclure les marqueurs de chapitre uniquement : en cochant cette case, vous excluez du flux de données les marqueurs de compression sans nom, tout en conservant les marqueurs de chapitre. Si vous laissez cette case décochée, tous les marqueurs sont reconnus dans le fichier multimédia de sortie. Consultez les sections « À propos des marqueurs MPEG-2 et de DVD Studio Pro » à la page 215 et « Ajout de marqueurs de chapitre ou de podcast à un plan » à la page 320 pour plus d’informations sur les marqueurs de chapitre.  Audio couche 2/MPEG-1 multiplexé : utilisez cette option pour créer un flux multiplexé (au lieu d’un flux élémentaire). Vous pouvez ainsi transformer le fichier de sortie en flux de transport ou de programme. Consultez la section « À propos des flux élémentaires, des flux de transport et des flux de programme » à la page 197 pour en savoir plus sur les différences entre les différents types de flux. L’audio de ce flux est au format couche 2/MPEG-1, avec une fréquence d’échantillonnage de 44,1 kHz ou 48 kHz (en fonction de la source) et un débit de 384 kbps. Pour créer un flux élémentaire audio uniquement (audio couche 2/MPEG-1), consultez la section « Création du réglage Audio MPEG-1 pour DVD » à la page 191. Important : générique est également la seule option qui prend en charge la création de flux de transport et de programme. En cochant la case « Audio couche 2 MPEG-1 multiplexé », vous réglez l’utilisation de votre flux sur Générique si cette utilisation est actuellement réglée sur une autre valeur.Chapitre 15 Création de fichiers de sortie MPEG-2 213 Informations supplémentaires sur les GOP et les marqueurs Vous trouverez ci-dessous des informations supplémentaires qui pourront vous être utiles pour décider comment configurer les paramètres GOP et comprendre comment les paramètres GOP affectent les marqueurs DVD Studio Pro. Points à considérer avant de choisir les paramètres d’un GOP Vous devez considérer les aspects suivants avant de choisir les paramètres d’un GOP : Structure GOP Ce paramètre indique qu’il y aura deux, une ou aucune image(s) B entre les images de référence au sein d’un GOP. La structure et la taille d’un GOP permettent de définir le nombre d’images I, P et B utilisées dans un GOP pendant l’encodage. La structure que vous choisissez dépend de l’éloignement des images P. Comme une image P est prédite à partir de l’image de référence antérieure (soit une image I, soit une image P) et qu’il peut y avoir entre elles une ou deux images B, la prédiction doit couvrir la distance que les objets peuvent parcourir pendant la durée de deux ou trois images. En principe, plus le mouvement moyen est faible d’une image à l’autre, plus les images P peuvent être espacées, et plus la compression peut être importante. Pour la plupart des contenus vidéo, la structure IBBP est un bon choix. Dans le cas de contenus qui ont des séquences entières avec de rares mouvements rapides, il est possible de choisir une structure IBP ou IP, mais un débit relativement élevé (6 à 8 Mbps pour la vidéo SD) peut alors s’avérer nécessaire pour obtenir une bonne qualité. Taille GOP Ce paramètre spécifie le nombre d’images contenues dans un GOP. Or, comme un GOP ne contient exactement qu’une seule image I, une taille plus grande permet généralement d’obtenir une meilleure compression, car les images B et P occupent moins d’espace que les images I. Pour la plupart des médias, un espacement d’environ une demi-seconde entre chaque image I donne de bons résultats. Cela revient à une taille de GOP contenant 15 images en NTSC et 12 images en PAL. Les spécifications du format DVD vidéo interdisent des GOP contenant plus d’images. Généralement, seuls les contenus dont les changements de scènes à des intervalles inférieurs à une demi-seconde sont fréquents bénéficient de GOP de taille plus petite.214 Chapitre 15 Création de fichiers de sortie MPEG-2 GOP ouverts et fermés Les GOP ouverts sont plus efficaces, car ils permettent l’insertion d’une autre image B dans le modèle GOP. Les GOP ouverts commencent par une image B capable de consulter la dernière image P du GOP précédent ainsi que la première image I de son propre GOP. Par définition, les GOP fermés ne peuvent contenir aucune image faisant référence à une image du GOP précédent, ou suivant. Au contraire, les GOP ouverts commencent par une ou plusieurs images B qui font référence à la dernière image P du GOP anté- rieur. Les GOP fermés créés par Compressor commencent toujours par une image I. À structure et taille identiques, la compression obtenue est généralement meilleure avec les GOP ouverts qu’avec les GOP fermés. En effet, l’illustration ci-dessus montre qu’un GOP fermé contient plus d’images P qu’un GOP ouvert de même longueur. Or, comme les images P requièrent habituellement plus de bits que les images B, la compression des GOP ouverts est d’une qualité légèrement supérieure. Certaines restrictions s’appliquent à l’utilisation de GOP ouverts avec des disques DVD vidéo créés à l’aide d’une application de création de DVD de type DVD Studio Pro. La première limite exclusivement aux GOP fermés les flux MPEG-2 utilisés pour des DVD à angles multiples ou mixtes. :06 :07 :08 :09 :09 :04 :05 :10 :11 :12 :13 :14 :15 :16 :17 :18 :19 :20 :21 GOP ouvert (IBBP, 15 images) P B B I B B P B B P B B P B B P B B I :03 :04 :05 :06 :07 :08 :10 :11 :12 :13 :14 :15 :16 :17 :18 GOP fermé (IBBP, 15 images) I B B B P B B P B P B P B P B Chapitre 15 Création de fichiers de sortie MPEG-2 215 La deuxième oblige à définir les marqueurs de chapitre des DVD au début d’un GOP fermé. Le meilleur moment pour définir des marqueurs de chapitre est avant d’effectuer le transcodage MPEG-2. Par exemple, si vous spécifiez des marqueurs de chapitre dans Final Cut Pro, vous pouvez paramétrer Compressor de manière à procéder au transcodage MPEG-2 avec des GOP ouverts. Compressor forcera alors un GOP fermé à commencer uniquement au niveau des marqueurs de chapitre spécifiés, et rendra les autres GOP ouverts. Vous pouvez également faire cela en spécifiant « images I forcées » dans la fenêtre Preview de Compressor, puis en leur indiquant un nom de chapitre à utiliser par DVD Studio Pro. Toutefois, si vous souhaitez définir des marqueurs de chapitre à chaque limite de GOP après le transcodage de votre vidéo au format MPEG-2, vous ne devriez utiliser que des GOP fermés. Cette liberté d’action est limitée, car vous ne pouvez définir des marqueurs de chapitre qu’aux limites des GOP et pas à n’importe quelle image de la vidéo. À propos des marqueurs MPEG-2 et de DVD Studio Pro Vous pouvez trouver les marqueurs MPEG-2 suivants dans un fichier multimédia source :  Marqueurs de chapitre : ces marqueurs identifient les images qui devraient être encodées en tant qu’images I et qui sont reconnues comme marqueurs de chapitre lors de l’importation dans DVD Studio Pro.  Marqueurs de compression forcée : ces marqueurs sont ajoutés durant la phase de montage et servent à identifier les images de la vidéo qui devraient être forcées à être des images I pour une meilleure qualité d’encodage, comme la première image d’une nouvelle scène. Les marqueurs de compression forcée ne sont pas reconnus comme des marqueurs de chapitre par DVD Studio Pro.  Marqueurs de compression automatique : ces marqueurs sont insérés par Final Cut Pro à tous les points de montage, forçant des images I là où des changements de scène sont susceptibles de se produire. Les marqueurs de compression automatique ne sont pas reconnus comme des marqueurs de chapitre par DVD Studio Pro. Ils ne seront pas inclus si vous cochez la case « Inclure les marqueurs de chapitre uniquement ». Si la case « Inclure les marqueurs de chapitre uniquement » n’est pas cochée, Compressor place automatiquement des images I à chaque fois qu’il détecte l’un des trois types de marqueur. Dans la plupart des cas, cela permet d’obtenir les meilleurs résultats. Cependant, si vous avez l’intention d’utiliser les fichiers multimédia comme faisant partie d’un titre DVD à angles multiples ou angles mixtes, ceux-ci doivent tous avoir les mêmes motifs d’images I.216 Chapitre 15 Création de fichiers de sortie MPEG-2 Les marqueurs de chapitre définis dans Final Cut Pro et transcodés dans Compressor ou directement définis dans Compressor seront absents des données MPEG-2 importées si vous utilisez une version antérieure à DVD Studio Pro 2. Toutefois, les images I seront définies là où les marqueurs de chapitre ont été nommés. Si vous utilisez une version antérieure à DVD Studio Pro 2, les options suivantes sont à votre disposition : Projets natifs Final Cut Pro Les deux options suivantes sont disponibles pour les projets d’origine Final Cut Pro :  Exportation à l’aide de Compressor : si les contrôles de qualité et de transcodage sont importants pour votre projet, utilisez Compressor pour exporter votre fichier multimédia MPEG-2. Vous gagnerez du temps et éviterez les pertes dues à la génération. L’inconvénient de ce mode est que vous ne pouvez pas utiliser Final Cut Pro au cours de l’exportation.  Exporter une séquence de référence QuickTime et la transcoder dans Compressor : vous n’obtiendrez pas la haute qualité et les options d’encodage offertes par Compressor, mais vous pourrez continuer le montage dans le plan de montage de Final Cut Pro pendant que Compressor travaille en arrière-plan. Projets natifs Compressor Vous pouvez définir des marqueurs de chapitre au moyen de la fenêtre d’aperçu Compressor, mais ceux-ci ne seront pas conservés lors de leur exportation vers des versions antérieures à DVD Studio Pro 2. Les images I sont par contre maintenues. Si vous utilisez une version antérieure à DVD Studio Pro 2, vous pouvez définir manuellement les marqueurs de chapitre directement dans DVD Studio Pro. Flux de production de transcodage MPEG-2 Cette section vous propose des exemples et des instructions de configuration de vos attributs MPEG-2 étape par étape, avant la création de fichiers de sortie MPEG-2 avec Compressor. La configuration des réglages MPEG-2 s’effectue via la sous-fenêtre Encodeur MPEG-2, soit en modifiant un réglage, soit en créant un sous l’onglet Réglages.Chapitre 15 Création de fichiers de sortie MPEG-2 217 Exemples de paramètres MPEG-2 Les réglages MPEG-2 suivants peuvent être utilisés dans la majorité des cas d’encodage MPEG-2 généraux. Ouvrez la sous-fenêtre Encodeur MPEG-2, puis cliquez sur le bouton approprié pour accéder à ces onglets. Remarque : n’oubliez pas que la plupart des paramètres donnés dans cet exemple ne sont pas adaptés à tous les formats vidéo d’entrée, ni à toutes les situations d’encodage. Le cas échéant, quelques paramètres alternatifs sont donnés entre parenthèses. Consultez les sections au début du présent chapitre pour obtenir plus d’informations sur quand et comment utiliser d’autres paramètres. Onglet Format vidéo  Format vidéo : NTSC (PAL, 720p, HD 1440x1080, HD 1920x1080 ou l’une des options de largeur égale à 640)  Proportions : 4:3 (16:9 pour un grand écran anamorphosé ou haute définition)  Priorité de trame : automatique (non disponible avec le format 720p) Onglet Qualité  Mode : VBR à une passe Optimale (ou d’autres réglages à une passe et à deux passes)  Débit moyen : 5 Mbps (entre 2 et 9 Mbps) pour le format DVD standard ou 18 Mbps pour les formats vidéo HD (plage variable) Remarque : votre choix de débit peut être influencé par de nombreux facteurs, comme la complexité de la vidéo source, le format et le nombre des flots audio, ainsi que la durée totale des plans vidéo à inclure sur le DVD.  Débit maximum : 8,0 Mbps pour le format DVD standard ou 27 Mbps pour les formats vidéo HD  Estimation d’animation : Optimale Onglet GOP  Structure GOP : IBBP  Taille GOP : 15 (12 pour PAL et les formats HD 50i, 50p et 24p)  Type de GOP : Ouvert (Fermé) Remarque : pour choisir un type de GOP (ouvert ou fermé), décidez si vous allez créer et de quelle manière des marqueurs de chapitre pour la création de DVD avec DVD Studio Pro ou si vous avez l’intention d’utiliser de multiples angles vidéo dans votre titre. Consultez les sections « À propos des marqueurs MPEG-2 et de DVD Studio Pro » à la page 215 et « Ajout de marqueurs de chapitre ou de podcast à un plan » à la page 320 pour de plus amples informations.218 Chapitre 15 Création de fichiers de sortie MPEG-2 Suivez les étapes ci-après pour savoir comment utiliser le format de fichier de sortie MPEG-2. Étape 1 : Ouvrez la sous-fenêtre Encodeur MPEG-2 et choisissez Format vidéo Il est important que le format vidéo, les proportions et le champ dominant concordent avec les paramètres de votre fichier multimédia source. Consultez la section « Onglet Format vidéo » à la page 199 pour une description plus détaillée de chacun de ces paramètres. Remarque : le moyen le plus facile de vous assurer que les réglages sont adaptés au fichier multimédia source consiste à activer les boutons Automatique. Consultez la section « À propos des réglages automatiques » à la page 58 pour plus d’informations. 1 Ouvrez l’onglet Réglages, puis choisissez MPEG-2 à l’aide du bouton de menu local « Ajouter un préréglage » (+). La sous-fenêtre Encodeur MPEG-2 s’ouvre dans l’Inspecteur, avec l’onglet Format vidéo qui s’affiche par défaut. 2 Choisissez dans le menu local « Utilisation de flux » le réglage qui correspond à la façon dont vous comptez utiliser la vidéo encodée. Cela garantit que les options d’encodage MPEG-2 sont limitées au options prises en charge par l’usage escompté. Les options sont les suivantes :  Générique  DVD SD  Blu-ray  DVD HD Configurez ces réglages manuellement si vous n’avez pas l’intention de les adapter au fichier multimédia source. Sélectionnez les boutons Automatique pour que l’encodeur adapte les réglages au fichier multimédia source. Choisissez le type de flux MPEG-2 à créer.Chapitre 15 Création de fichiers de sortie MPEG-2 219 3 Choisissez un format dans le menu local Format vidéo ou sélectionnez son bouton Automatique :  NTSC (par défaut)  PAL  720p  HD 1440x1080  HD 1920x1080  640x480  640x360  640x352  640x384  640x320 4 Choisissez des proportions dans le menu local Proportions ou sélectionnez son bouton Automatique. Avant cela, vous devez déterminer si la forme prévue de votre vidéo source est au format 4:3 (normal) ou 16:9 (grand écran). 5 En fonction du type de votre média source, choisissez un paramètre de champ dans le menu local « Priorité de trame ». Par exemple, pour un format DV, choisissez Première inférieure. Vous pouvez également choisir le bouton « Priorité de trame automatique » pour laisser Compressor déterminer le réglage correct. 6 Si vous souhaitez utiliser le timecode de votre vidéo source, laissez la case « Choisir le timecode de départ » décochée. Sinon, cochez-la et introduisez un nouveau timecode. 7 Si vous avez coché la case « Choisir le timecode de départ » et que votre format vidéo est NTSC, cochez aussi la case Drop Frame si vous voulez utiliser le timecode en temps réel (au lieu d’avoir un timecode 30 images). Consultez la section « Onglet Format vidéo » à la page 199 pour plus d’informations. Étape 2 : Choix des paramètres de qualité Dans l’onglet Qualité, ajustez les attributs d’encodage MPEG-2 qui ont le plus d’influence sur la qualité finale de votre fichier de sortie vidéo MPEG-2 : mode d’encodage, débits maximum et moyen et type d’estimation d’animation.220 Chapitre 15 Création de fichiers de sortie MPEG-2 1 Cliquez sur le bouton Qualité dans la sous-fenêtre Encodeur MPEG-2 pour ouvrir l’onglet correspondant. 2 Faites votre choix parmi les options proposées par le menu local Mode. Pour une qualité d’image optimale, choisissez « VBR 1 passe optimal » ou « VBR 2 passes optimal ». Si vous souhaitez obtenir l’encodage le plus rapide possible, choisissez « VBR une passe » ou « VBR 2 passes ». Pour les sources HD, choisissez « VBR 1 passe optimal » ou « VBR 2 passes optimal ». Avec les modes à deux passes, le fichier multimédia source est examiné pendant la première passe, puis transcodé pendant la deuxième avec les débits adaptés au contenu vidéo. À l’inverse, les modes à une passe transcodent plus rapidement, mais distribuent les débits de façon moins optimale que ne le font les modes à deux passes analogues. Remarque : si vous utilisez VBR à deux passes et que le traitement distribué est activé, vous pouvez désactiver la case « Autoriser la segmentation des tâches » dans la sousfenêtre Encodeur. Consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64 pour plus d’informations. 3 Choisissez un débit moyen à l’aide du curseur de défilement Débit moyen ou du champ contigu. Choisissez un débit approprié en fonction du contenu et de la longueur de votre vidéo source, et de la taille (en octets) souhaitée pour votre fichier de sortie. En création de DVD, l’intégralité de la vidéo doit tenir sur le disque DVD, or plus le débit est faible, plus vous pouvez stocker de données. Cependant, plus le débit est important, plus l’image sera de qualité. Choisissez un mode correspondant à vos exigences en termes de durée et de qualité. Choisissez un réglage Estimation d’animation. Choisissez les débits appropriés à vos exigences en termes de taille de fichier et de qualité.Chapitre 15 Création de fichiers de sortie MPEG-2 221 Lorsque vous modifiez la valeur Débit moyen (avec le curseur ou le champ), le calculateur de débit en bas de l’onglet Qualité affiche de manière dynamique le nombre maximum de minutes de vidéo sur un DVD-5. Le calculateur suppose un débit de 1,5 Mbps pour l’audio (AIFF deux canaux). Le tableau ci-dessous fournit quelques débits et la durée des métrages correspondants pour un DVD de 4,7 Go : Remarque : lorsque vous choisissez VBR une passe ou VBR une passe Optimale pour des plans très courts (inférieurs à une ou deux minutes), il est possible que la taille du fichier de sortie MPEG-2 résultant ne reflète pas précisément le débit moyen que vous avez spécifié. Si la longueur du fichier multimédia de sortie MPEG-2 ne correspond pas à vos attentes, vous pouvez essayer de le transcoder à nouveau à un débit moyen plus faible. 4 Si possible, spécifiez le débit maximum en introduisant une valeur dans le champ correspondant ou en déplaçant le curseur de défilement. Comme les lecteurs DVD prennent en charge des débits de pointe pouvant atteindre jusqu’à 10,08 Mbps pour des composantes audio et vidéo, il est conseillé d’ajuster le débit vidéo maximum entre 8,0 et 8,5 Mbps si vous utilisez une piste audio (AIFF deux canaux) à 1,5 Mbps. Remarque : pour un résultat optimal, assurez-vous que le débit maximum est supé- rieur d’au moins 1 Mbps au réglage moyen. Des différences plus grandes peuvent donner de meilleurs résultats encore. Débit moyen1 Durée approximative pour un DVD de 4,7 Go 3,5 Mbps 121 minutes 5,0 Mbps 94 minutes 6,0 Mbps 82 minutes 7,5 Mbps 68 minutes 8,0 Mbps 65 minutes 1 Pour un plan DVD avec composantes audio et vidéo et sous-images : suppose un débit de 1,5 Mbps pour les données audio (AIFF deux canaux).222 Chapitre 15 Création de fichiers de sortie MPEG-2 5 Choisissez un réglage parmi ceux proposés par le menu local « Estimation d’animation » :  Bonne : c’est le réglage d’estimation d’animation le plus rapide ; suffisant lorsque les mouvements entre les images sont lents.  Meilleure : il s’agit d’un bon compromis général pour le réglage d’estimation d’animation ; il offre de très bons résultats y compris en présence de mouvements entrelacés complexes.  Optimale : réglage de qualité optimale pour manipuler la plupart des sources entrelacées dont les mouvements sont les plus complexes et les plus exigeants ; un peu plus lent que le mode Meilleure. Consultez la section « Onglet Qualité » à la page 204 pour plus d’informations. Étape 3 : Choix des réglages de GOP Sélectionnez la structure et la taille appropriées des GOP, puis décidez si vous souhaitez que les GOP soient ouverts ou fermés. Remarque : ces réglages ne sont pas modifiables si vous choisissez un format vidéo HD dans l’onglet Format vidéo. 1 Cliquez sur le bouton GOP dans la sous-fenêtre MPEG-2 Encoder pour ouvrir l’onglet correspondant. 2 Choisissez une structure de GOP dans le menu local Structure GOP. Pour la plupart des tâches d’encodage MPEG-2 destinées à la création de DVD, choisissez la structure IBBP. 3 Choisissez la taille des GOP dans le menu local Taille GOP. Dans la plupart des tâches d’encodage MPEG-2 destinées à la création de DVD, choisissez une taille de GOP de 15 en NTSC et une taille de 12 en PAL et 24P. Les options disponibles dans ce menu dépendent de la structure choisie pour les GOP, et de s’ils sont ouverts ou fermés. Choisissez une structure GOP pour contrôler le nombre d’images B utilisées. Choisissez des GOP ouverts ou fermés. Choisissez une taille de GOP.Chapitre 15 Création de fichiers de sortie MPEG-2 223 4 Décidez si vous souhaitez que le motif des GOP soit ouvert ou fermé, puis cliquez sur le bouton approprié. Consultez les sections « Compréhension des types de GOP et d’images » à la page 211, « Points à considérer avant de choisir les paramètres d’un GOP » à la page 213, et « Onglet GOP » à la page 209 pour plus d’informations sur les GOP. Étape 4 : Choix des paramètres supplémentaires Vous pouvez contrôler l’inclusion ou l’exclusion d’informations de création MPEG-2 spécifiques par l’intermédiaire de l’onglet Compléments. 1 Cliquez sur le bouton Compléments dans la sous-fenêtre Encodeur MPEG-2 pour ouvrir l’onglet correspondant. Utilisation d’images I MPEG-2 La fenêtre Preview de Compressor offre une flexibilité de transcodage supplémentaire en vous permettant d’insérer manuellement des images I à n’importe quel endroit dans le fichier MPEG-2 de sortie, indépendamment du motif et de la taille que vous avez choisis pour les GOP. Ces images I, qualifiées de forcées peuvent être utiles pour améliorer la qualité du fichier MPEG-2 à proximité d’un changement de scène. Consultez la section « Compréhension des types de GOP et d’images » à la page 211 pour plus d’informations sur les images I. En outre, l’ajout d’images I à votre plan vous permet de créer des marqueurs de chapitre pouvant être interprétés et utilisés par DVD Studio Pro. Consultez les sections « Ajout de marqueurs à un plan » à la page 317 et « Ajout de marqueurs de chapitre ou de podcast à un plan » à la page 320 pour de plus amples informations.224 Chapitre 15 Création de fichiers de sortie MPEG-2 2 Cochez la case « Ajouter métadonnées DVD Studio Pro » si vous souhaitez que les informations de création MPEG-2 spécifiques soient analysées par Compressor et non pas ultérieurement par DVD Studio Pro. 3 Cochez la case « Inclure les marqueurs de chapitre uniquement » si vous souhaitez exclure les marqueurs de compression automatique du flux de données, mais conserver les marqueurs de chapitre. 4 Activez la case « Audio couche 2/MPEG-1 multiplexé » uniquement si vous devez créer des flux de transport ou de programme. Consultez la section « À propos des flux élé- mentaires, des flux de transport et des flux de programme » à la page 197 pour plus d’informations. Consultez les sections « Onglet Compléments » à la page 211 et « À propos des marqueurs MPEG-2 et de DVD Studio Pro » à la page 215 pour en savoir plus sur les réglages de l’onglet Compléments. En outre, pour faciliter l’utilisation des fichiers de sortie créés par ces préréglages dans DVD Studio Pro, créez une destination qui garantit que les fichiers de sortie vidéo et audio portent le même nom, mais uniquement avec des extensions de fichier différentes. Consultez la section « Création de destinations à utiliser avec DVD Studio Pro » à la page 335 pour de plus amples informations. Avertissement : si vous cochez cette case, vos fichiers MPEG-2 sont incompatibles avec les outils de création de DVD autres que DVD Studio Pro 2 (ou version ultérieure).16 225 16 Création de fichiers de sortie MPEG-4 Compressor fournit les outils dont vous avez besoin pour créer des fichiers transcodés MPEG-4 exceptionnels. La norme MPEG-4 Partie 2 (également appelée vidéo MPEG-4 dans QuickTime 6) joue un rôle important dans l’évolution des normes pour les secteurs de l’Internet et du multimédia sans fil, qui l’ont largement adoptée. Utilisez MPEG-4 Partie 2 lorsque vous souhaitez garantir la compatibilité avec les périphériques ou lecteurs MPEG-4 Partie 2, tels que les millions de téléphones portables 3G et d’appareils photo numériques qui capturent et lisent la vidéo MPEG-4 Partie 2. La norme H.264, également appelée MPEG-4 Partie 10, est une technologie plus récente que MPEG-4 Partie 2, offrant jusqu’à quatre fois la taille d’image de la vidéo encodée avec le codec MPEG-4 Partie 2 pour un débit donné. Cependant, tout comme les normes MPEG-1 et MPEG-2 sont toujours utilisées aujourd’hui, la norme MPEG-4 Partie 2 continuera d’être utilisée. Remarque : MPEG-4 Partie 2 est à la fois un codec QuickTime (vidéo MPEG-4) et un format de sortie. Dans ce chapitre, nous allons considérer MPEG-4 Partie 2 comme un format de sortie. MPEG-4 Partie 2 offre les avantages suivants :  Conformité aux normes : la sortie est compatible avec les périphériques MPEG-4 Partie 2 et les autres lecteurs normalisés (ISMA), tels que les téléphones portables.  Vidéo haute qualité : transcodeur polyvalent qui peut être réglé à un débit cible et, avec un débit variable une passe, peut optimiser la qualité ou la vitesse de sortie pour un transcodage le plus rapide possible.  Codage audio avancé (AAC) : le format audio MPEG-4 accepte une grande variété de données audio source et apporte à QuickTime un transcodage audio VBR réel. En outre, il utilise le codec AAC, lequel, à débit égal, s’avère plus précis que le MP3 et permet d’obtenir des fichiers de taille inférieure ou des fichiers de taille identique, mais de qualité supérieure. Vous pouvez également inclure des informations de podcasting, comme des marqueurs de chapitre accompagnés d’illustrations ou d’URL, ainsi que diverses annotations textuelles.226 Chapitre 16 Création de fichiers de sortie MPEG-4  Algorithmes d’optimisation pour la lecture en continu : les algorithmes d’optimisation indiquent la façon dont un flux vidéo est divisé en paquets pouvant être lus en continu. Pour créer un flux vidéo, le serveur de contenu multimédia requiert des algorithmes d’optimisation pour savoir quelles données envoyer et quand. Le principe de ces algorithmes est de définir la taille maximum d’un paquet et sa durée maximum. Les informations nécessaires à la lecture en continu de votre fichier de sortie sont contenues sur une piste dite piste d’algorithme. Cette piste d’algorithme est créée pour chaque piste multimédia (vidéo et audio) pouvant être lue en continu dans le fichier de sortie, et est utilisée par le serveur de contenu multimédia pour convertir le média en flux de données en temps réel. À propos de la sous-fenêtre Encodeur MPEG-4 La sous-fenêtre Encodeur MPEG-4 Partie 2 permet de sélectionner un large éventail de types et d’options de flux. La sous-fenêtre MPEG-4 Partie 2 contient les éléments suivants :  Champ Extension de fichier : affiche automatiquement l’extension de fichier MPEG-4 Partie 2 mp4 une fois que le format de sortie MPEG-4 est sélectionné dans le menu local « Format de fichier » ou dans le menu local (+) de l’onglet Réglages.  Boutons Vidéo, Audio et Diffusion : cliquez sur ces boutons pour ouvrir les sous-fenê- tres Vidéo, Audio et Diffusion décrites ci-après.Chapitre 16 Création de fichiers de sortie MPEG-4 227  Autoriser la segmentation de la tâche : cette case permet de désactiver la segmentation des tâches. Elle n’est importante que si vous utilisez Compressor avec le traitement distribué et avec l’encodage à deux passes ou multipasse. (La fonctionnalité de traitement distribué est limitée aux ordinateurs sur lesquels est installé Final Cut Studio.) Étant donné que le format MPEG-4 Partie 2 utilise le mode VBR à une seule passe, vous pouvez laisser cette case cochée dans tous les cas afin d’accé- lérer le traitement distribué. Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Autoriser les informations de podcasting : activez cette case pour vous assurer que les annotations et les métadonnées de podcasting sont enregistrées dans le fichier multimédia de sortie. Cette option s’applique uniquement aux fichiers audio. Pour que cette option soit disponible, désélectionnez la case Vidéo activée en haut de la fenê- tre Vidéo. Sous-fenêtre Vidéo La sous-fenêtre Vidéo permet de paramétrer la qualité (profil ISMA), la fréquence d’images (images par seconde), l’intervalle de création d’une image clé et le débit de votre fichier de sortie MPEG-4 Partie 2. La sous-fenêtre contient les contrôles suivants :  Case à cocher Vidéo activée : assurez-vous que cette case est activée si vous souhaitez que les réglages vidéo du format de sortie MPEG-4 Partie 2 soient appliqués.  Boutons Profil ISMA : choisissez l’une des qualités MPEG-4 Partie 2 suivantes :  Basique (0) : garantit la lecture sur tous les appareils MPEG-4 Partie 2.  Amélioré (1) : offre une meilleure qualité de sortie, mais ce réglage n’est compatible qu’avec les appareils MPEG-4 Partie 2 les plus récents.  Champ et menu local « Fréquence d’images » (ips) : choisissez ou saisissez une valeur pour spécifier la vitesse générale du fichier multimédia de sortie.  Champ « Intervalle entre les images-clés » : saisissez une valeur pour spécifier le nombre d’images clés créées dans le fichier multimédia de sortie.  Menu local Débit : choisissez l’un des débits suivants. Quel que soit le paramètre choisi, la qualité varie d’une image à l’autre pour maintenir le débit sélectionné constant. Spécifiez le débit en introduisant une valeur dans le champ correspondant ou en déplaçant le curseur de défilement (disponible uniquement avec l’option « Constant à »).228 Chapitre 16 Création de fichiers de sortie MPEG-4  Constant à : spécifiez manuellement le débit en introduisant une valeur dans le champ ou en déplaçant le curseur.  VBR bas : spécifie une qualité générale basse pour toutes les images.  VBR moyen : spécifie une qualité générale moyenne pour toutes les images.  VBR haut : spécifie une qualité générale élevée pour toutes les images.  Champ et curseur de défilement Débit : (disponible uniquement avec l’option « Constant à »). Déterminez le débit vidéo général de votre fichier multimédia de sortie (de 32 Kbps à 2048 Kbps) à l’aide du curseur de défilement ou en introduisant une valeur spécifique dans le champ correspondant. Sous-fenêtre Audio La sous-fenêtre Audio vous permet de définir la qualité des pistes audio, le taux d’échantillonnage et le débit du fichier de sortie MPEG-4. Utilisez les contrôles suivants pour effectuer vos réglages de manière précise :  Case à cocher Audio activé : assurez-vous que cette case est activée si vous souhaitez que les réglages audio du format MPEG-4 Partie 2 soient appliqués.  Boutons Canaux : indiquez si vous souhaitez que les canaux audio de votre fichier multimédia de sortie soient en mono ou en stéréo.  Menu local Échantillonnage : choisissez l’un des taux d’échantillonnage suivants : 8, 11,025, 12, 16, 22,05, 24, 32, 44,1 ou 48 kHz. Vous pouvez également choisir l’option Recommandé pour que Compressor choisisse un taux d’échantillonnage adapté aux réglages Canaux et Débit. Remarque : si vous choisissez l’option Recommandé, le taux d’échantillonnage n’est pas déterminé avant le lancement du transcodage.  Menu local Qualité : choisissez l’une des qualités audio suivantes pour votre fichier de sortie :  Bas : permet d’obtenir un transcodage rapide au détriment de la qualité du fichier de sortie.  Moyen : la qualité audio est meilleure, mais la durée du transcodage augmente. Menu local de sélection de la fréquence d’échantillonnage Curseur de réglage du débitChapitre 16 Création de fichiers de sortie MPEG-4 229  Haut : il s’agit de la meilleure qualité audio disponible. Choisissez cette option quand la qualité audio du fichier de sortie est importante, quelle que soit la durée du transcodage.  Champ et curseur de défilement Débit : déterminez le débit audio général de votre fichier multimédia de sortie, dans une gamme allant de 16 Kbps (2 Ko/s) à 256 Kbps (32 Ko/s), à l’aide du curseur de défilement ou en introduisant une valeur spécifique dans le champ correspondant. Sous-fenêtre Diffusion La sous-fenêtre Diffusion permet de paramétrer les algorithmes d’optimisation, ainsi que la taille maximum et la durée limite des paquets du fichier de sortie MPEG-4 Partie 2. Vous pouvez également configurer votre fichier multimédia de sortie pour qu’il soit compatible avec le serveur de diffusion QuickTime, version 4.1 ou précédentes. La sous-fenêtre Diffusion contient les contrôles suivants :  Case à cocher « Optimisation de diffusion activée » : assurez-vous que cette case est activée si vous souhaitez que les réglages de diffusion au format de sortie MPEG-4 Partie 2 soient appliqués.  Case « Compatibilité QuickTime Streaming Server (pré-4.1) » : cochez cette case pour que votre fichier de sortie soit compatible avec les anciennes versions de QuickTime Streaming Server (4.1 et antérieures). Ne cochez pas cette case si vous utilisez une version plus récente de QuickTime, tous les problèmes de compatibilité étant automatiquement résolus.  Champ Taille maximum de paquet : introduisez une valeur pour indiquer la taille maximum autorisée (en octets) des paquets du flux vidéo du fichier multimédia de sortie. La taille des paquets ne doit pas dépasser le paquet le plus gros utilisé sur un réseau quelconque entre le serveur de contenu multimédia et l’utilisateur. 230 Chapitre 16 Création de fichiers de sortie MPEG-4  Champ Durée maximum de paquet : introduisez une valeur pour indiquer la durée maximum autorisée (en millisecondes) des paquets du flux vidéo du fichier multimé- dia de sortie. La durée a une incidence sur les paramètres audio MPEG-4 Partie 2 uniquement. Elle permet de limiter la durée maximum de la composante audio (en millisecondes) dans chaque paquet, ce qui limite la perte d’informations audio engendrée par la perte d’un paquet. Processus de transcodage MPEG-4 Partie 2 Cette section contient des informations sur un processus MPEG-4 Partie 2 standard et sur la création d’un podcast audio. Processus MPEG-4 Partie 2 Si vous n’avez pas besoin de personnaliser les réglages audio et vidéo de votre fichier MPEG-4 Partie 2, vous pouvez utiliser la méthode « rapide et facile » pour transcoder vos fichiers de données source. Pour cela, acceptez les paramètres de sortie MPEG-4 Partie 2 par défaut : Sous-fenêtre Vidéo  Case Vidéo activée : Cochée  Profil ISMA : Basique  Fréquence d’images : 15 images par seconde  Intervalle entre les images clés : 15 images  Débit : 368 Kbps Consultez la section « Sous-fenêtre Vidéo » à la page 227 pour plus d’informations.Chapitre 16 Création de fichiers de sortie MPEG-4 231 Sous-fenêtre Audio  Case à cocher Audio activé : Cochée  Canaux : Stéréo  Échantillonnage : 44,1 kHz  Qualité : Haute  Débit : 64 Kbps Consultez la section « Sous-fenêtre Audio » à la page 228 pour plus d’informations. Sous-fenêtre Diffusion  Case à cocher « Optimisation de diffusion activée » : cochée  Taille maximum de paquet : 1 450 octets  Durée maximum de paquet : 100 millisecondes Consultez la section « Sous-fenêtre Diffusion » à la page 229 pour plus d’informations. Si ces paramètres vous conviennent, le paramétrage est terminé et vous pouvez dès à présent commencer le transcodage de vos fichiers multimédia sources.232 Chapitre 16 Création de fichiers de sortie MPEG-4 Si vous voulez personnaliser les réglages de format de fichier MPEG-4 Partie 2, le processus de transcodage décrit précédemment n’est pas suffisant et il est nécessaire d’en réaliser un plus détaillé incluant les étapes suivantes : Étape 1 : Personnalisation des paramètres vidéo MPEG-4 1 Dans la fenêtre Inspecteur, cliquez sur la sous-fenêtre Encodeur et choisissez MPEG-4 dans le menu local « Format du fichier ». La sous-fenêtre Encodeur MPEG-4 s’ouvre. Le champ Extension indique mp4 et la sousfenêtre Vidéo est au premier plan. 2 Ajustez les réglages vidéo MPEG-4 à l’aide des contrôles disponibles. Remarque : assurez-vous que la case Vidéo activée est cochée. Consultez la section « Sous-fenêtre Vidéo » à la page 227 pour plus de détails sur les réglages vidéo MPEG-4 Partie 2. Si vous ne souhaitez pas modifier d’autres attributs, le réglage MPEG-4 peut être attribué tel quel à un fichier multimédia source selon la méthode habituelle. Consultez la section « Préparation de Compressor au transcodage » à la page 32 pour plus d’informations. Sinon, passez à l’étape suivante pour modifier les paramètres audio MPEG-4. Spécifiez le débit en introduisant une valeur dans le champ Débit ou en déplaçant le curseur de défilement.Chapitre 16 Création de fichiers de sortie MPEG-4 233 Étape 2 : Personnalisation des paramètres audio MPEG-4 1 Cliquez sur le bouton Audio pour ouvrir la sous-fenêtre correspondante. 2 Ajustez les paramètres audio MPEG-4 à l’aide des contrôles disponibles. Remarque : assurez-vous que la case Audio activé est cochée. Consultez la section « Sous-fenêtre Audio » à la page 228 pour plus de détails sur les réglages audio MPEG-4 Partie 2. Si vous ne souhaitez pas modifier d’autres attributs, le réglage MPEG-4 peut être attribué tel quel à un fichier multimédia source selon la méthode habituelle. Consultez la section « Préparation de Compressor au transcodage » à la page 32 pour plus d’informations. Sinon, passez à l’étape suivante pour modifier les paramètres du flux vidéo. Étape 3 : Modification des paramètres du flux vidéo MPEG-4 1 Cliquez sur le bouton Diffusion pour ouvrir la sous-fenêtre correspondante. 2 Cochez la case « Compatibilité QuickTime Streaming Server (pré-4.1) » si vous prévoyez de distribuer vos fichiers via une version de QuickTime Streaming Server antérieure à la version 4.1. 3 Saisissez de nouvelles valeurs dans les champs Taille maximum de paquet et Durée maximum de paquet, et assurez-vous que la case « Optimisation de diffusion activée » est cochée. Spécifiez le débit en introduisant une valeur dans le champ Débit ou en déplaçant le curseur de défilement.234 Chapitre 16 Création de fichiers de sortie MPEG-4 4 Consultez la section « Sous-fenêtre Diffusion » à la page 229 pour plus de détails sur les réglages vidéo MPEG-4 Partie 2. Processus de podcasting audio Compressor facilite la création de podcasts audio évolués reposant sur le format de sortie MPEG-4. Un podcast audio évolué comprend des informations de podcasting telles que des marqueurs de chapitre ou de podcast accompagnés d’illustrations et d’URL, ainsi que diverses annotations textuelles. Étape 1 : Configurez la sortie MPEG-4 pour une sortie audio uniquement 1 Dans la fenêtre Inspecteur, cliquez sur la sous-fenêtre Encodeur et choisissez MPEG-4 dans le menu local « Format de fichier ». 2 Cliquez sur le bouton Vidéo pour ouvrir la sous-fenêtre correspondante. 3 Désélectionnez la case Vidéo activée. 4 Cliquez sur le bouton Audio pour ouvrir la sous-fenêtre correspondante. 5 Sélectionnez la case Audio activé. La sortie MPEG-4 est alors configurée pour l’audio uniquement. Vous pouvez également configurer d’autres réglages dans la fenêtre Audio si nécessaire. Étape 2 : Configurez la sortie MPEG-4 pour qu’elle comprenne des informations de podcasting 1 Activez la case « Autoriser les informations de podcasting » en bas de la fenêtre Inspecteur. Cette case est disponible uniquement si vous avez désélectionné l’option Vidéo activée dans la fenêtre Vidéo. L’activation de cette case garantit que toutes les annotations et tous les marqueurs de chapitre et de podcast, ainsi que les illustrations et les URL, sont incorporés au fichier multimédia de sortie. Désactivez cette case pour activer la case « Autoriser les informations de podcasting ». Activez cette case pour inclure les informations de podcasting dans le fichier multimédia de sortie.Chapitre 16 Création de fichiers de sortie MPEG-4 235 2 Enregistrez ce réglage pour pouvoir l’appliquer à la cible d’un fichier multimédia source. Étape 3 : Appliquez le réglage à la cible du fichier multimédia source Vous devez appliquer le réglage à la cible d’un fichier multimédia source pour pouvoir configurer les informations de podcasting que ce réglage vous permet d’ajouter au fichier multimédia de sortie. Consultez la section « Affectation de réglages à des fichiers multimédia sources » à la page 110 pour plus d’informations. Étape 4 : Saisissez les annotations destinées au fichier multimédia de sortie 1 Cliquez sur une zone non cible de la tâche créée par le fichier multimédia source. La fenêtre Inspecteur affiche les onglets Attributs A/N et Informations complémentaires. 2 Cliquez sur l’onglet Informations complémentaires. 3 L’onglet Informations complémentaires vous permet d’ajouter des annotations, telles que le titre ou le nom de l’artiste, au fichier multimédia de sortie. 4 Choisissez dans le menu local d’ajout d’annotations un élément à ajouter au fichier multimédia de sortie. L’élément sélectionné apparaît dans la colonne Annotation. 5 Double-cliquez sur la colonne Valeur de l’élément pour saisir le texte de l’annotation. 6 Répétez cette procédure pour chaque élément d’annotation à ajouter au fichier multimédia de sortie. 7 Cliquez sur Enregistrer. Consultez la section « Utilisation de l’Inspecteur avec des fichiers multimédia sources » à la page 87 pour plus d’informations. Choisissez des éléments dans ce menu local pour les inclure comme annotations dans le fichier multimédia de sortie. Cliquez sur Enregistrer une fois les annotations ajoutées.236 Chapitre 16 Création de fichiers de sortie MPEG-4 Étape 5 : Créez et configurez les marqueurs du fichier multimédia de sortie Vous pouvez utiliser la fenêtre Preview pour ajouter et configurer des marqueurs de chapitre et de podcast destinés au fichier multimédia de sortie. Vous pouvez ajouter manuellement les marqueurs ou importer une liste de marqueurs de chapitre. Chaque marqueur de chapitre et de podcast peut porter un nom, être associé à une URL ou recevoir une image ajoutée comme illustration. Lors de la lecture du fichier, l’illustration est affichée avec l’URL (sur laquelle l’utilisateur peut cliquer pour l’ouvrir dans un navigateur web). Consultez la section « Ajout de marqueurs à un plan » à la page 317 pour obtenir des détails sur l’ajout et la configuration de marqueurs dans la fenêtre Preview. Étape 6 : Soumettez la tâche et vérifiez le fichier multimédia de sortie Une fois que vous avez ajouté les annotations et les marqueurs au fichier, vous pouvez le soumettre pour créer le fichier multimédia de sortie. Une fois le processus d’encodage terminé, vous pouvez ouvrir le fichier multimédia de sortie dans le lecteur QuickTime pour vérifier que les marqueurs, les URL et les illustrations s’affichent comme prévu. Ajout de réglages et préréglages supplémentaires Bien que le réglage du format de sortie constitue la partie la plus importante du processus de Compressor, vous pouvez également ajouter d’autres réglages et préréglages, tels que les filtres, le rognage, la taille des images, les actions et les destinations. Pour plus d’instructions sur la manière d’ajouter ces paramètres, consultez les chapitres suivants :  chapitre 19, « Ajout de filtres à un réglage », à la page 257  chapitre 20, « Ajout de contrôles d’images à un réglage », à la page 273  chapitre 21, « Ajout de réglages de géométrie », à la page 287  chapitre 22, « Ajout d’actions à un réglage », à la page 297  chapitre 24, « Création et changement de destinations », à la page 32517 237 17 Création de fichiers de sortie QuickTime Compressor fournit les outils nécessaires pour créer des fichiers multimédia QuickTime. QuickTime est une technologie multimédia multiplateforme, qui permet aux applications Mac OS de capturer et de lire des fichiers vidéo et audio, ainsi que des fichiers d’images fixes. QuickTime prend en charge un large éventail de codecs et peut aussi être mis à niveau pour accepter des options de codec supplémentaires, ainsi que des codecs tiers. Consultez la section « Création de fichiers de sortie d’exportation QuickTime » à la page 253 pour plus d’informations sur les options d’exportation QuickTime supplémentaires. Ce chapitre traite des sujets suivants :  Création de fichiers de sortie QuickTime (p. 237)  À propos de la sous-fenêtre AIFF Encoder QuickTime (p. 238)  Flux de production de transcodage QuickTime (p. 246)  Compréhension des codecs (p. 250)  Codecs vidéo QuickTime (p. 250)  Codecs audio QuickTime (p. 251) Création de fichiers de sortie QuickTime QuickTime est une norme ouverte intégrant de nombreux codecs et constitue à la fois une architecture multimédia et une architecture de diffusion de contenu largement utilisée pour la création et la distribution. Par exemple, beaucoup d’applications de composition et de montage vidéo utilisent QuickTime comme format de base, et la plupart des créateurs de titres créent le contenu de leurs CD-ROM au format QuickTime. QuickTime contient un grand nombre de codecs audio et vidéo appropriés à toutes les situations, des flux vidéo aux DVD. L’architecture QuickTime peut aussi manipuler des formats de fichier autres que les séquences QuickTime, par exemple les fichiers AVI et les flux 3G. Pour plus d’informations sur la création de ces types de format, consultez le chapitre 18, « Création de fichiers de sortie d’exportation QuickTime », à la page 253.238 Chapitre 17 Création de fichiers de sortie QuickTime À propos de la sous-fenêtre AIFF Encoder QuickTime Les options suivantes apparaissent lorsque vous choisissez Séquence QuickTime dans le menu local « Format de fichier » :  Champ Extension de fichier : indique l’extension de fichier pour ce format de fichier de sortie. L’extension de fichier .mov représente le format QuickTime. Il est conseillé de ne pas modifier ce champ. Fichiers multimédia QuickTime pour le web Vous pouvez transmettre en continu vos fichiers multimédia de sortie sur Internet à l’aide de QuickTime, après leur compression à un débit approprié à la bande passante supposée des utilisateurs. Pour cela, convertissez vos fichiers multimédia de sortie soit en séquences QuickTime à lancement rapide (téléchargement placé d’avance en mémoire tampon), soit en séquences QuickTime Streaming (téléchargement complet). Compressor vous permet de choisir différentes options de diffusion en continu via le menu local Diffusion dans la sous-fenêtre Encodeur QuickTime. Consultez la section du menu local Diffusion pour plus d’informations sur la diffusion en continu de fichiers multimédia QuickTime sur Internet. Tableau Résumé Champ Extension de fichier Bouton Options (inactif) Menu local DiffusionChapitre 17 Création de fichiers de sortie QuickTime 239  Autoriser la segmentation de la tâche : cette case permet de désactiver la segmentation des tâches. Elle n’est importante que si vous utilisez Compressor avec le traitement distribué et avec l’encodage à deux passes ou multipasse. (La fonctionnalité de traitement distribué est limitée aux ordinateurs sur lesquels est installé Final Cut Studio.) Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Réglages vidéo et Réglages audio : ces boutons ouvrent respectivement les zones de dialogue Réglages de compression et Réglages audio de QuickTime. Utilisez ces zones de dialogue pour sélectionner les codecs appropriés et modifier les autres paramètres de compression audio ou vidéo. Consultez les sections « À propos de la zone de dialogue Réglages audio » à la page 244 et « À propos de la zone de dialogue Réglages de compression » à la page 242 pour plus d’informations sur ces zones de dialogue.  Passthrough activé/désactivé : utilisez ces menus locaux pour activer ou désactiver les réglages Vidéo et Audio. Activé signifie que la piste vidéo ou audio sera incluse dans la séquence de sortie. Désactivé signifie que la piste vidéo ou audio sera exclue de la séquence de sortie. Passthrough (audio uniquement) signifie que Compressor va copier les données audio dans la séquence de sortie sans les modifier. Un exemple évocateur serait celui où vous devez convertir des fichiers HD (haute définition) incluant plusieurs pistes audio en fichiers SD (définition standard) sans pour autant déranger les pistes audio. Remarque : si vous exportez une séquence filmée de Final Cut Pro à Compressor (par les menus Fichier > Exporter > Via Compressor) et que vous appliquiez un réglage avec l’option Passthrough activée, la partie audio du réglage se change bien alors en réglage PCM en fonction de celui de la séquence et du nombre de canaux, mais une seule piste est alors créée au moment de l’exportation de sortie. Si la fonction de passthrough audio est nécessaire pour une séquence filmée Final Cut Pro, exportez une séquence QuickTime (menus Fichier > Exporter > Séquence QuickTime), puis importer la séquence dans Compressor. Important : si « Passthrough » est sélectionné, les filtres de la sous-fenêtre Filtre ne sont pas disponibles. De plus, les contrôles de resynchronisation de la sous-fenêtre « Contrôles d’image » ne corrigerons pas l’audio, ce qui peut provoquer des erreurs de synchronisation de la vidéo.240 Chapitre 17 Création de fichiers de sortie QuickTime  Diffusion : choisissez l’une des options de diffusion QuickTime suivantes dans ce menu local :  Aucune : si vous choisissez cette option (sélectionnée par défaut), votre fichier multimédia de sortie ne sera pas diffusé en continu sur Internet.  Lancement rapide : grâce à cette option, votre fichier multimédia de sortie peut être visualisé avant même qu’il ne soit complètement téléchargé depuis son serveur.  Lancement rapide - En-tête comprimé : cette option produit le même résultat que Lancement rapide (visualisation de votre fichier multimédia de sortie avant même qu’il ne soit complètement téléchargé depuis le serveur), mais les fichiers multimé- dia de sortie sont moins volumineux.  Diffusion optimisée : cette option permet d’ajouter des pistes d’indices au fichier multimédia de sortie, afin qu’il puisse être utilisé avec un serveur QuickTime Streaming Server.  Bouton Options : ce bouton reste inactif tant que l’option Diffusion optimisée n’est pas sélectionnée dans le menu local Diffusion. Lorsque vous cliquez sur ce bouton, la zone de dialogue Réglage d’exportation d’indications de QuickTime s’ouvre, vous permettant de choisir des réglages supplémentaires pour les algorithmes d’optimisation de votre flux de données.  Tableau Résumé : affiche des détails complets pour ce réglage. Marqueurs de chapitre et de podcast pour la sortie au format QuickTime Les marqueurs de chapitre de Final Cut Pro sont transférés dans d’autres fichiers de sortie reconnaissables par QuickTime Player, iTunes (fichiers .m4v), Final Cut Pro et DVD Studio Pro. Pour des informations sur l’ajout de marqueurs de chapitre et de podcast, consultez la section « Ajout de marqueurs à un plan » à la page 317.Chapitre 17 Création de fichiers de sortie QuickTime 241 Réglages vidéo et audio QuickTime Les boutons Réglages vidéo et Réglages audio de QuickTime apparaissent dans la sous-fenêtre Encodeur si vous sélectionnez Séquence QuickTime comme format de fichier de sortie. Le bouton Réglages audio apparaît également si vous choisissez AIFF dans le menu local « Format de fichier ». Ces boutons vous permettent d’ouvrir les zones de dialogue Réglages de compression et Réglages Audio, dans lesquelles vous pouvez modifier l’ensemble des codecs vidéo ou audio que vous souhaitez ajouter au réglage sélectionné sous l’onglet Réglages. Par défaut, les boutons Réglages vidéo et Réglages audio sont actifs, mais vous pouvez les désactiver en décochant leur case respective. Paramètres des codecs vidéo  Pour plus d’informations sur le mode de personnalisation des paramètres des codecs vidéo, consultez l’étape 2 de la section « Ajout d’un codec vidéo QuickTime à un réglage » à la page 247.  Tous les codecs sont compatibles avec QuickTime, mais il est conseillé d’utiliser ceux indiqués ci-dessous si vous avez l’intention de lire votre fichier de sortie avec le lecteur QuickTime :  H.264  Photo-JPEG Paramètres des codecs audio  Pour plus d’informations sur le mode de personnalisation des paramètres des codecs audio, consultez l’étape 3 de la section « Ajout d’un codec audio QuickTime à un réglage » à la page 249.  Tous les codecs sont compatibles avec QuickTime, mais il est conseillé d’utiliser ceux indiqués ci-dessous si vous avez l’intention de lire votre fichier multimédia de sortie avec le lecteur QuickTime :  AAC  IMA 4:1 Consultez la section « Codecs audio QuickTime » à la page 251 pour plus d’informations sur les codecs audio.242 Chapitre 17 Création de fichiers de sortie QuickTime À propos de la zone de dialogue Réglages de compression Utilisez la zone de dialogue « Réglages de compression » pour modifier les paramètres des codecs vidéo du format de sortie QuickTime. Pour ouvrir la zone de dialogue « Réglages de compression », cliquez sur le bouton Réglages vidéo dans la sous-fenê- tre Encodeur QuickTime. Les éventuels réglages qui ne peuvent pas être modifiés restent inactifs. Certains codecs vidéo, comme Sorenson Video 3 et Photo-JPEG, vous permettent d’effectuer des réglages supplémentaires. Dans ce cas, le bouton Options deviendrait actif. Cliquez dessus pour procéder à des ajustements auxiliaires. La zone de dialogue Réglages de compression contient les éléments suivants, en fonction du codec que vous choisissez dans le menu local « Type de compression » :  Type de compression : utilisez ce menu local pour choisir le codec vidéo à ajouter à votre préréglage.  Fréquence : avec ce menu local, vous pouvez réduire la fréquence d’images de votre fichier original afin de réduire la taille du fichier compressé. En effet, des fréquences d’images élevées rendent les mouvements plus réguliers, mais requièrent une bande passante plus large. Utilisez le menu local Fréquence pour choisir une autre fré- quence d’images, mais sachez que pour obtenir des résultats optimaux, la valeur de fréquence d’images du fichier original doit être divisible par la nouvelle valeur. Par exemple, si votre fichier original avait une fréquence d’images égale à 30 images par seconde, vous devriez utiliser une fréquence d’images de 10 ou de 15 images par seconde. Le choix d’une fréquence égale ou à peu près égale à 24 images par seconde entraînerait un mouvement irrégulier, voire des images effacées, car 30 n’est pas exactement divisible par 24. Choisissez parmi les options suivantes : 8, 10, 12, 15, 23.98, 24, 25, 29.97, 30, 59.94, 60 ips, ou choisissez Personnalisé afin de saisir une valeur manuellement. Choisissez une fréquence d’images dans ce menu local. Cliquez sur le bouton Options pour accéder à des réglages de configuration supplémentaires. Sélectionnez un type de compression dans ce menu local.Chapitre 17 Création de fichiers de sortie QuickTime 243  Images clés : si le codec que vous avez sélectionné le permet, utilisez le champ « Images clés Tous les » pour saisir le nombre d’images souhaité entre deux images clés. Les codecs qui reposent sur une méthode de compression temporelle utilisent des images clés. Celles-ci servent d’images de référence pour la séquence d’images suivante, ce qui permet de supprimer n’importe quelle donnée redondante entre l’image clé et les images suivantes. Les images clés sont séparées par des images delta moins détaillées. L’insertion d’images clés dans votre fichier multimédia est nécessaire à cause des variations de contenu. Certains codecs vidéo permettent d’insérer une image clé toutes les X images, alors que d’autres utilisent des images clés naturelles en analysant la totalité du fichier pour rechercher des similarités et différences importantes, puis en insérant des images clés en fonction des résultats obtenus. Si votre fichier multimédia comporte beaucoup de mouvements, vous devez insérer des images clés plus souvent que vous ne le feriez avec un contenu plus statique, comme une séquence montrant un présentateur.  Menu local Profondeur : utilisez le menu local Profondeur pour définir le réglage de la couleur. Par exemple, si une séquence QuickTime est composée de millions ou de centaines de couleurs et que l’ordinateur de lecture n’est capable d’afficher que 256 couleurs, ce paramètre est nécessaire pour résoudre cette différence de couleur. Les options proposées par ce menu local changent en fonction du codec vidéo sélectionné dans le menu local « Type de compression ». Par exemple, si vous choisissez le codec PNG, vous pouvez faire votre choix parmi une sélection allant des gris à plusieurs millions de couleurs, tandis que le codec Photo-JPEG ne vous permet de choisir qu’entre la couleur et une échelle de gris. Image clé Images delta Image clé244 Chapitre 17 Création de fichiers de sortie QuickTime  Curseur Qualité : utilisez ce curseur pour modifier la qualité générale de l’image de votre fichier traité. Il s’agit d’un paramètre subjectif qui permet d’améliorer la qualité en réduisant la bande passante et inversement, et confère la même qualité à l’ensemble du fichier multimédia. Une qualité minimum signifie que les fichiers de sortie requièrent une bande passante plus étroite et qu’ils sont diffusés plus rapidement. Les paramètres disponibles sont Inférieure, Basse, Moyenne, Élevée et Optimale. Vous pouvez également positionner ce curseur entre l’un de ces paramètres pour obtenir un débit plus spécifique (affiché numériquement).  Bouton Options : ce bouton est estompé, sauf si le codec sélectionné dans le menu local « Type de compression » propose des options. Il est conseillé de contacter directement les fabricants de ces codecs pour obtenir plus d’informations sur les options supplémentaires offertes.  Débit : utilisez ce champ pour définir le nombre de kilo-octets par seconde (Ko/s) requis pour diffuser votre fichier multimédia. Ce réglage est utile si vous utilisez un débit spécifique (tel qu’une connexion DSL) ou une quantité d’espace spécifique (sur un DVD ou un CD-ROM). Vous devriez choisir un débit approprié pour une diffusion moyenne et, dans la mesure du possible, le configurer au maximum dans les limites de vos données. Ce paramètre est prioritaire sur tous les autres paramètres de qualité du codec, car ce dernier compresse le fichier autant que possible, conformément au débit limite introduit. N’oubliez pas que le débit ne concerne que la piste vidéo de votre fichier multimé- dia. Si votre fichier multimédia possède également des données audio, vous devez aussi en tenir compte. À propos de la zone de dialogue Réglages audio Utilisez la zone de dialogue Réglages audio pour modifier les réglages de compression audio des formats de sortie QuickTime ou AIFF. Pour ouvrir cette zone de dialogue, cliquez sur le bouton Réglages audio dans la sous-fenêtre Séquence QuickTime ou Encodeur AIFF.Chapitre 17 Création de fichiers de sortie QuickTime 245 Les éventuels réglages audio qui ne peuvent pas être modifiés restent inactifs. Certains codecs audio, comme Qualcomm PureVoice et QDesign Music 2, vous permettent d’effectuer des réglages supplémentaires. Dans ce cas, le bouton Options deviendrait actif. Cliquez dessus pour procéder à des ajustements auxiliaires. La zone de dialogue Réglages audio contient les éléments suivants, avec différents choix pour chacun, en fonction du codec audio que vous choisissez dans le menu local Format.  Format : choisissez le codec audio à ajouter à votre réglage.  Canaux : choisissez le type de sortie de canal, par exemple mono, stéréo ou un type de sortie multicanal, en fonction du codec.  Fréquence : choisissez le taux d’échantillonnage à appliquer à votre fichier multimé- dia. Plus le taux d’échantillonnage est important, meilleure est la qualité, mais plus le fichier est volumineux. Or, le téléchargement de fichiers volumineux est plus long et requiert une bande passante plus large.  Options : ce bouton demeure estompé, sauf si le codec sélectionné dans le menu local Format propose des options. Il est conseillé de contacter directement les fabricants de ces codecs pour obtenir plus d’informations sur les options supplémentaires offertes. Menu local Format Champ et menu local Fréquence Bouton Options (inactif)246 Chapitre 17 Création de fichiers de sortie QuickTime Tailles et fréquences d’échantillonnage audio QuickTime Si vous disposez de l’espace disque et de la bande passante suffisants, il est préférable de ne pas compresser les données audio. Une composante audio non compressée utilise normalement des échantillons sur 8 bits (qualité téléphone) ou sur 16 bits (qualité CD). Compressor prend en charge un maximum de 64 bits par échantillon en virgule flottante et une fréquence d’échantillonnage maximale de 192 kHz. Choix d’un codec audio AAC est un bon codec de diffusion audio polyvalent, compatible avec un large éventail de périphériques de lecture. Pour de faibles bandes passantes sur des ordinateurs rapides, le codec QDesign Music (QDMC) est approprié à la plupart des cas, tandis que le codec Qualcomm PureVoice est le meilleur choix pour les contenus exclusivement vocaux. Concernant les ordinateurs plus lents, les CD-ROM et les bornes interactives, le codec IMA est une meilleure option, car il fait moins appel aux ressources de l’ordinateur, ce qui permet à ce dernier de se focaliser sur le flux vidéo, plus exigeant. Consultez la section « Codecs audio QuickTime » à la page 251 pour plus d’informations sur les codecs audio. Flux de production de transcodage QuickTime Les étapes suivantes présentent le processus de transcodage nécessaire à la création de fichiers multimédia de sortie QuickTime : Étape 1 : Ouvrez la sous-fenêtre Encodeur QuickTime Il existe une multitude de codecs vidéo et audio QuickTime parmi lesquels vous pouvez choisir dans Compressor. Ceux-ci sont accessibles par l’intermédiaire des zones de dialogue Réglages de compression et Réglages audio, que vous ouvrez à partir de la sous-fenêtre Encodeur QuickTime en cliquant sur les boutons Réglages vidéo et Réglages audio. 1 Dans l’onglet Réglages, effectuez l’une des opérations suivantes :  Assurez-vous que le réglage correct est sélectionné.  Créez un réglage en choisissant Séquence QuickTime dans le menu local « Créer un réglage » (+).Chapitre 17 Création de fichiers de sortie QuickTime 247 2 Ouvrez la sous-fenêtre Encodeur dans la fenêtre Inspecteur. La sous-fenêtre Encodeur QuickTime s’affiche par défaut, avec les boutons Réglages vidéo et Réglages audio, les menus locaux Activer, le menu local Diffusion, le bouton Options (inactif) et le tableau Résumé. Consultez la section « À propos de la sousfenêtre AIFF Encoder QuickTime » à la page 238 pour plus d’informations. Remarque : assurez-vous que les menus locaux Activer en regard des boutons Réglages sont réglés sur Activer si vous souhaitez inclure ces réglages dans le transcodage. Étape 2 : Ajout d’un codec vidéo QuickTime à un réglage Pour ajouter un codec vidéo QuickTime à votre réglage, ouvrez la zone de dialogue « Réglages de compression », puis choisissez un codec vidéo dans le menu local « Type de compression ». Remarque : si vous avez l’intention de n’utiliser aucun réglage vidéo, décochez la case Activer à côté du bouton Réglages vidéo.248 Chapitre 17 Création de fichiers de sortie QuickTime 1 Cliquez sur le bouton Réglages vidéo dans la sous-fenêtre Encodeur QuickTime. La zone de dialogue « Réglages de compression » s’ouvre. 2 Choisissez un codec vidéo dans le menu local « Type de compression », puis acceptez ses réglages par défaut ou personnalisez les autres réglages (le mouvement, le mode d’encodage, la qualité, la profondeur et, si possible, les options). Consultez les sections ci-dessous pour de plus amples informations sur les codecs vidéo :  « Paramètres des codecs vidéo » à la page 241  « À propos de la zone de dialogue Réglages de compression » à la page 242  « Codecs vidéo QuickTime » à la page 250 Remarque : vous pouvez voir le contenu actuel du réglage en affichant le tableau Résumé. 3 Cliquez sur OK pour enregistrer les modifications et fermer la zone de dialogue. Choisissez un codec vidéo dans le menu local « Type de compression ».Chapitre 17 Création de fichiers de sortie QuickTime 249 Étape 3 : Ajout d’un codec audio QuickTime à un réglage Si vous souhaitez ajouter un codec audio à votre réglage, ouvrez la zone de dialogue Réglages audio, puis choisissez vos paramètres de codec audio. Remarque : si vous avez l’intention de n’utiliser aucun paramètre audio, décochez la case Activer à côté du bouton Réglages audio. 1 Cliquez sur le bouton Réglages audio dans la sous-fenêtre Encodeur QuickTime. La zone de dialogue Réglages audio s’ouvre. 2 Choisissez un codec audio dans le menu local Format, puis acceptez ses paramètres par défaut ou personnalisez les autres réglages du codec audio (le format, les canaux, la fré- quence d’échantillonnage et, si possible, les options). Consultez les sections ci-dessous pour de plus amples informations sur les codecs audio :  « Paramètres des codecs audio » à la page 241  « À propos de la zone de dialogue Réglages audio » à la page 244  « Codecs audio QuickTime » à la page 251 Remarque : vous pouvez voir le détail du contenu actuel du réglage en affichant le tableau Résumé. 3 Cliquez sur OK pour enregistrer vos réglages et fermer la zone de dialogue. Choisissez un codec audio dans le menu local Format.250 Chapitre 17 Création de fichiers de sortie QuickTime Compréhension des codecs Codec est issu de la contraction de compresseur (CO) et de décompresseur (DEC). Différents codecs sont utilisés en fonction des différentes méthodes de lecture (comme le web ou les CD-ROM). Vous pouvez choisir le codec approprié dès que vous connaissez la méthode de lecture de votre audience cible. Pour savoir quel codec répond le mieux à vos besoins, vous devez choisir le niveau de compression nécessaire selon le débit limite et le niveau de qualité souhaités. Les sections suivantes vous expliquent comment faire votre choix entre un codec audio et un codec vidéo. Codecs vidéo QuickTime Chaque codec présente des avantages et des inconvénients. Certains sont plus adaptés au stockage de certains types de média, d’autres introduisent plus d’artefacts. Certains compressent lentement et décompressent rapidement, tandis que d’autres compressent et décompressent à la même vitesse. Certains codecs peuvent compresser un fichier à 1/100e de sa taille originale, alors que d’autres ne réduisent la taille d’un fichier que très peu. Certains codecs ne fonctionnent qu’avec des systèmes d’exploitation donnés, d’autres requièrent un processeur particulier ou une version minimum de QuickTime pour la lecture. Lors du choix d’un codec, vous devez prendre en compte les points suivants :  la configuration minimum du système de votre audience cible,  le matériel source,  la qualité du fichier multimédia compressé,  la taille du fichier multimédia compressé, Ajout de réglages et préréglages supplémentaires Bien que le réglage du format de sortie constitue la partie la plus importante du flux de production de Compressor, vous pouvez également ajouter d’autres réglages et préréglages, tels que les filtres, le rognage, la taille des images, les actions et les destinations. Pour plus d’instructions sur la manière d’ajouter ces paramètres, consultez les chapitres suivants :  chapitre 19, « Ajout de filtres à un réglage », à la page 257  chapitre 20, « Ajout de contrôles d’images à un réglage », à la page 273  chapitre 21, « Ajout de réglages de géométrie », à la page 287  chapitre 22, « Ajout d’actions à un réglage », à la page 297  chapitre 24, « Création et changement de destinations », à la page 325Chapitre 17 Création de fichiers de sortie QuickTime 251  la durée de compression/décompression du fichier multimédia,  la diffusion ou non du fichier multimédia en continu. Compressor est livré avec les codecs vidéo standard offerts par QuickTime et les options de codec supplémentaires livrées avec QuickTime Pro. À moins d’être sûr que les ordinateurs de votre public cible sont équipés d’un codec particulier, utilisez l’un des codecs QuickTime standard afin de garantir une compatibilité globale. Remarque : consultez la documentation sur QuickTime pour plus d’informations sur le choix des codec vidéo et la façon de tirer au mieux parti de leurs paramètres. Les codecs vidéo peuvent être divisés en deux types : les codecs sans perte et les codecs avec perte.  Codecs sans perte : les codecs sans perte préservent intégralement les données qu’ils compressent et sont généralement utilisés pour transférer un métrage d’une suite d’édition à une autre. Ce type de codec peut nécessiter d’importants débits et des ordinateurs de pointe équipés d’un matériel spécialisé. Les codecs Animation et 4:4:2 non compressés 8 bits et 10 bits sont des exemples de codecs sans perte.  Codecs avec perte : contrairement aux codecs sans perte, les codecs avec perte ne renvoient qu’une approximation des données et sont généralement utilisés pour transmettre de la vidéo finalisée à un utilisateur final. Le niveau d’approximation dépend de la qualité du codec. Généralement, il existe un compromis entre la qualité de sortie du codec et le niveau de compression auquel il parvient. Avec certains codecs, il est possible d’atteindre un taux de compression d’au moins 5:1 sans dégradation visible. Le codec Photo-JPEG est un exemple de codec avec perte. Une compression avec perte de faible qualité introduit des artefacts visuels non naturels qui peuvent être visibles à l’œil nu. Si vous utilisez un codec avec perte, il est conseillé de ne compresser votre fichier multimédia qu’une seule fois, car le fait de comprimer un fichier plusieurs fois multiplierait les défauts. Codecs audio QuickTime Si vous disposez de l’espace disque et de la bande passante suffisants, la meilleure chose à faire est de ne pas compresser les données audio. Les données audio non compressées utilisent normalement des échantillons 8 bits (qualité téléphone) ou 16 bits (qualité CD). Compressor prend en charge un maximum de 64 bits par échantillon en virgule flottante et une fréquence d’échantillonnage maximale de 192 kHz. À l’inverse, si l’espace disque et la bande passante dont vous disposez sont limités, la compression des données audio est nécessaire. Toutefois, comme les données audio d’un fichier multimédia occupent moins d’espace disque que les données vidéo, il n’est pas indispensable de les compresser autant.252 Chapitre 17 Création de fichiers de sortie QuickTime Les principaux composants des codecs audio sont leur taille et leur taux d’échantillonnage. Le taux d’échantillonnage définit la qualité du son, tandis que la taille d’échantillonnage définit sa dynamique. Les codecs audio QuickTime permettent de définir le taux d’échantillonnage et la dynamique de votre fichier multimédia source. Taux d’échantillonnage audio Le son numérique consiste en différents échantillons sonores capturés à différentes fréquences. Plus il y a d’échantillons par seconde, plus la qualité du son est bonne. Par exemple, les CD audio utilisent un taux d’échantillonnage de 44,1 kHz, les DVD en utilisent un de 48 kHz et les réseaux téléphoniques échantillonnent la voix à 8 kHz. Le taux d’échantillonnage que vous allez choisir dépend de la nature du son. En effet, la musique requiert un taux d’échantillonnage supérieur à celui de la voix, car sa bande de fréquences est beaucoup plus large. Étant donné que la bande de fréquences de la voix est beaucoup plus limitée, vous pouvez choisir un taux d’échantillonnage plus bas tout en maintenant une qualité audio acceptable. Dans la plupart des cas, il est recommandé de toujours choisir le taux d’échantillonnage le plus élevé parmi ceux disponibles. La réduction du taux d’échantillonnage peut réduire la taille d’un fichier multimédia dans un rapport de 5:1. La qualité audio en sera affectée, mais pas autant que si vous utilisiez un échantillonnage sur 8 bits. Le tableau suivant indique des taux d’échantillonnage habituels et pour chacun, la qualité audio équivalente attendue : Taille d’échantillonnage audio La taille d’échantillonnage détermine la plage dynamique du son. Un son 8 bits fournit 256 valeurs possibles, tandis qu’un son 16 bits autorise plus de 65 000 valeurs. Choisissez un son 16 bits pour de la musique avec des sections hautes et modérées, comme de la musique orchestrale. Pour la voix ou la musique avec un niveau sonore plus ou moins constant, un son 8 bits devrait fournir de bons résultats. Si vous avez besoin de diminuer la taille de votre fichier multimédia, vous pouvez réduire la taille d’échantillonnage de 16 bits à 8 bits. Cela permet de diviser la taille du fichier par deux, mais dégrade également la qualité audio. Taux d’échantillonnage Qualité audio équivalente 48 kHz DAT/DV/DVD 44 kHz CD 22 kHz Radio FM 8 kHz Téléphone18 253 18 Création de fichiers de sortie d’exportation QuickTime Vous pouvez utiliser Compressor pour produire une grande variété de formats supplémentaires à l’aide de la fonction de module du composant QuickTime. Le présent chapitre décrit comment profiter fonction de module du composant QuickTime qui donne accès à une grande variété de formats de fichier supplémentaires que Compressor peut produire à partir de vos fichiers multimédia sources :  Création de fichiers de sortie d’exportation QuickTime (p. 253)  Installation des modules de composant d’exportation QuickTime (p. 254)  À propos du module iPod (p. 254)  À propos de la sous-fenêtre Encodeur Composants d’exportation au format QuickTime (p. 255)  Configuration des réglages de composant d’exportation (p. 256) Création de fichiers de sortie d’exportation QuickTime Compressor et QuickTime peuvent également être étendus afin de prendre en charge des options de codec et formats tiers supplémentaires. Cette section se concentre sur la fonctionnalité de module de composant QuickTime, qui vous permet d’exporter des formats de fichier exotiques pouvant être lus sur des périphériques et systèmes d’exploitation tiers, tels que les téléphones portables. Contrairement aux séquences QuickTime, ces fichiers exportés ne peuvent pas être lus par QuickTime Player ou d’autres applications QuickTime. Pour plus d’informations sur le format de fichier de séquence QuickTime natif, consultez la section « Création de fichiers de sortie QuickTime » à la page 237.254 Chapitre 18 Création de fichiers de sortie d’exportation QuickTime Par le passé, la création de ces types de fichier nécessitait plusieurs étapes et plusieurs systèmes d’exploitation : l’exportation du fichier, son déplacement vers un ordinateur sur une autre plate-forme, puis l’encodage à l’aide d’une autre application logicielle. La fonctionnalité Composants d’exportation QuickTime vous permet de contrôler le moteur d’encodage tiers sans avoir à ouvrir une autre application. Cela permet de rationaliser le flux de production tout en vous permettant de gagner du temps et d’éviter de travailler avec plusieurs systèmes d’exploitation et logiciels. Installation des modules de composant d’exportation QuickTime Sans aucun logiciel tiers supplémentaire, Compressor prend actuellement en charge l’encodage 3G, AVI et iPod. La fonctionnalité de composant d’exportation de Compressor a été développée pour permettre l’ajout de modules d’exportation supplé- mentaires dans le futur. Il suffira d’installer le logiciel tiers, puis de choisir le format de fichier de sortie correspondant dans le menu local « Type d’encodeur » de la sous-fenê- tre Encodeur Composants d’exportation au format QuickTime de la fenêtre Inspecteur. Pour en savoir plus sur les modules et mises à jour disponibles, consultez le site web de support de Compressor : http://www.apple.com/fr/support/compressor. À propos du module iPod Le format « Composants d’exportation au format QuickTime » comporte un type d’encodeur pour iPod. Cet encodeur crée un fichier de sortie qui peut être lu sur un iPod à l’aide d’un Encodeur H.264 pour la vidéo et un encodeur AAC pour l’audio. Tous les réglages (dimension de l’image, fréquence d’images, etc.) sont définis automatiquement. Les inconvénients de l’utilisation de ce module (par rapport à l’utilisation du format de sortie H.264 pour périphériques Apple) sont l’impossibilité de bénéficier du traitement distribué, d’ajouter des marqueurs de chapitre et d’utiliser la sous-fenêtre Contrôles d’image. Consultez le chapitre 10, « Création de fichiers de sortie H.264 pour appareils Apple », à la page 159 pour en savoir plus sur la création de fichiers de données de sortie iPod.Chapitre 18 Création de fichiers de sortie d’exportation QuickTime 255 À propos de la sous-fenêtre Encodeur Composants d’exportation au format QuickTime Les options suivantes apparaissent lorsque vous choisissez le format de sortie Composants d’exportation au format QuickTime dans le menu local « Format de fichier » de la sous-fenêtre Encodeur de la fenêtre Inspecteur :  Extension de fichier : ce champ indique l’extension de fichier pour le format de sortie sélectionné dans le menu Type d’encodeur.  Autoriser la segmentation de la tâche : cette case vous permet de désactiver la segmentation de tâche. Étant donné que la segmentation n’est pas utilisée avec le format « Composant d’exportation », cette case n’est pas activée. Pour plus d’informations, consultez la section « Segmentation de tâche et encodage 2 passes (ou multipasse) » à la page 64.  Type d’encodeur : utilisez ce menu local pour choisir parmi les formats de sortie de composant d’exportation disponibles (modules).  Options : cliquez sur ce bouton pour ouvrir la fenêtre Réglages pour le format de fichier de sortie sélectionné dans le menu local « Type d’encodeur ». Champ Extension de fichier Choisissez Composants d’exportation au format QuickTime. Cliquez pour afficher les options du module d’encodage. Choisissez un module d’encodage.256 Chapitre 18 Création de fichiers de sortie d’exportation QuickTime Configuration des réglages de composant d’exportation Lorsque vous choisissez « Composants d’exportation au format QuickTime » comme format de sortie, vous pouvez uniquement créer des réglages pour les modules d’exportation installés. Pour créer des réglages « Composants d’exportation au format QuickTime » : 1 Dans l’onglet Réglages, effectuez l’une des opérations suivantes :  Assurez-vous que le réglage correct est sélectionné.  Créez un réglage en choisissant « Composants d’exportation au format QuickTime » dans le menu local « Créer un réglage » (+). 2 Choisissez un format de fichier de sortie dans le menu local « Type d’encodeur ». 3 Cliquez sur le bouton Options dans la sous-fenêtre Encodeur. La fenêtre Réglages de ce format de fichier de sortie particulier apparaît. Important : utilisez l’interface utilisateur du module d’exportation tiers pour saisir de façon explicite la largeur, la hauteur et la fréquence d’images caractérisant le fichier de sortie. Ne laissez pas les champs de largeur, de hauteur et de fréquence d’images dans l’interface utilisateur de tierce partie sur leurs valeurs par défaut (c’est-à-dire leurs valeurs « actuelles »). 4 Cliquez sur OK pour enregistrer vos réglages et fermer la zone de dialogue. Remarque : la fonction « Contrôles d’images » de Compressor n’est pas disponible lors de l’utilisation de la fonction Composants d’exportation au format QuickTime. Configurez des réglages pour le composant d’exportation QuickTime.19 257 19 Ajout de filtres à un réglage Compressor comprend divers filtres (tels que les filtres d’étalonnage et de suppression de bruit) dont vous pouvez vous servir pour modifier les détails de vos projets de transcodage. Ce chapitre traite des sujets suivants :  Utilisation des filtres (p. 257)  À propos de la sous-fenêtre Filtres (p. 260)  Filtres disponibles (p. 261)  Ajout de filtres à un réglage (p. 271) Utilisation des filtres Vous pouvez traiter votre fichier multimédia source à l’aide de divers filtres avant de le transcoder, afin de contribuer à l’amélioration de la qualité de sortie de la vidéo et du son. La meilleure façon d’affecter ces réglages de filtre consiste à regarder, et écouter, votre fichier multimédia source et à choisir ce qui est le plus approprié en fonction de son contenu. Filtres de prévisualisation Vous pouvez prévisualiser un extrait contenant vos réglages de filtre actuels en cliquant sur la cible dans la fenêtre Lot afin de l’ouvrir dans la fenêtre Preview. L’écran Preview est divisé en deux parties dans lesquelles sont affichées la version originale et la version transcodée de votre fichier multimédia, pour que vous puissiez voir et entendre les effets de vos réglages de filtre avant de traiter le lot (à condition que la case correspondant à ce filtre particulier soit sélectionnée). Cela peut s’avérer utile si vous utilisez plusieurs filtres, car il est parfois difficile de pré- voir la manière dont les filtres interagissent. Important : l’ordre des filtres dans la liste de filtres correspond à l’ordre dans lequel ils sont appliqués à la vidéo ou au son. Essayez de changer l’ordre des filtres si vous voyez des résultats inattendus dans la fenêtre Preview.258 Chapitre 19 Ajout de filtres à un réglage Lorsque vous êtes satisfait de vos paramètres, il est conseillé de parcourir la totalité du film afin de vous assurer que les changements ne sont pas trop importants pour certaines scènes. Remarque : selon votre système, le type de fichier multimédia source et le nombre de filtres appliqués, il se peut que la fenêtre Preview dans laquelle les réglages de filtres sont affichés soit actualisée à une fréquence d’images inférieure à celle de la source. Pour plus d’informations, consultez le chapitre 23, « Utilisation de la fenêtre Preview », à la page 303. Désentrelacement La vidéo NTSC et la vidéo PAL sont entrelacées, c’est-à-dire que chaque image vidéo consiste en deux champs (déphasés de 1/60e de seconde), l’un avec les lignes de diffusion impaires et l’autre avec les lignes paires de l’image. La différence entre ces deux champs crée l’impression de mouvement, car nos yeux combinent ces deux images en une seule, ce qui permet d’obtenir à 30 images par seconde (en télévision définition standard) un mouvement régulier et réaliste. De plus, comme le taux de rafraîchissement des champs est élevé (1/60e de seconde), l’entrelacement est invisible. Les ajustements que vous faites peuvent être visualisés dans la fenêtre Preview.Chapitre 19 Ajout de filtres à un réglage 259 Comme l’entrelacement crée deux trames pour chaque image, les zones d’une trame où le mouvement est rapide sont séparées par des lignes alternatives en escalier. Vous pouvez visualiser votre média source image par image et vérifier la présence de bandes horizontales sur les bords avant et arrière des objets en mouvement. Si vous pouvez voir ces dernières, vous devez désentrelacer votre fichier multimédia source afin de le convertir à un format image par image. Remarque : pour le désentrelacement, l’option « Contrôles d’images » est recommandée par rapport au filtre de désentrelacement (filtre propriétaire), car elle offre toujours une qualité très supérieure. Pour plus d’informations, consultez le chapitre 20, « Ajout de contrôles d’images à un réglage », à la page 273. Espaces de couleur Compressor prend en charge les espaces colorimétriques suivants : YUV (R408), 2VUY, RGBA, ARGB et YUV (v210). Certains filtres requièrent une conversion des espaces de couleur, tandis que d’autres peuvent manipuler plusieurs espaces de couleur. Pour chaque fichier multimédia, Compressor choisit l’espace colorimétrique le plus approprié pour délivrer les meilleurs résultats de sortie et de performances en fonction de l’espace colorimétrique de ces trois attributs : le format du média source, le format de l’encodeur et les filtres choisis. L’entrelaçage crée un effet de « peigne » qui doit être supprimé.260 Chapitre 19 Ajout de filtres à un réglage À propos de la sous-fenêtre Filtres Utilisez les fonctions suivantes de la sous-fenêtre Filtres de l’Inspecteur pour sélectionner et ajuster les filtres à appliquer à vos réglages.  Liste des filtres : cochez la case située à gauche du filtre que vous souhaitez ajouter aux préréglages. Les paramètres de filtrage que vous sélectionnez apparaissent dans le tableau de la sous-fenêtre Résumé. Vous pouvez réorganiser les filtres en les déplaçant vers le bas ou le haut dans la liste Filtres. Comme ces filtres sont traités un par un pendant le transcodage (en commençant par le premier de la liste), leur classement dans la liste est très important. Par exemple, il est recommandé de placer le filtre de superposition de texte en dernier, afin que la couleur que vous avez choisie pour le texte ne soit pas modifiée par un autre filtre.  Contrôles du filtre : les contrôles disponibles dépendent du filtre sélectionné dans la liste. Le curseur de défilement vous permet de modifier rapidement les valeurs numériques de votre paramètre, tandis que les boutons fléchés n’autorisent que des modifications incrémentielles de la valeur numérique. Le numéro du paramètre apparaît dans le champ situé entre le curseur de défilement et les boutons fléchés. Remarque : après avoir paramétré un filtre, sa case est automatiquement cochée. Si vous décidez de ne plus vouloir utiliser ce filtre, assurez-vous de décocher sa case avant de procéder au transcodage. Liste des filtres. Contrôles de filtre. Choisissez des filtres vidéo ou audio.Chapitre 19 Ajout de filtres à un réglage 261 Filtres disponibles La sous-fenêtre Filtres comprend deux onglets : un pour la vidéo et un pour l’audio. Filtres vidéo  Rétablir BlackWhite : transforme les couleurs s’approchant du noir en noir pur et les couleurs s’approchant du blanc en blanc pur, sans modifier les autres couleurs du reste de l’image. Utilisez ce filtre pour mieux compresser les zones unies noires et blanches (luminance) de l’image, par exemple les arrière-plans. Les deux curseurs de défilement permettent de régler indépendamment les valeurs du blanc et du noir entre 0 et 100. Consultez la section « Espaces de couleur » à la page 259 pour plus d’informations sur la façon dont les espaces de couleur sont liés à ce filtre.  Luminosité et Contraste : modifie la couleur générale et les valeurs de luminance de votre fichier multimédia de sortie pour que l’image soit plus claire ou plus foncée. Certains codecs QuickTime assombrissent votre fichier vidéo ; vous pouvez donc utiliser ce filtre pour compenser ce phénomène. Choisissez une valeur comprise entre -100 et 100, mais il est déconseillé d’utiliser des valeurs extrêmes pour ne pas obtenir des images délavées.262 Chapitre 19 Ajout de filtres à un réglage  Étalonnage des hautes lumières, Tons intermédiaires ou Ombres : en fonction de ce que vous choisissez, cette option corrige les inexactitudes de balance des blancs et crée des effets de couleur dans les zones de couleurs vives, de tons intermédiaires ou de tons foncés des images de votre plan. Les valeurs de rouge, de vert et de bleu peuvent être réglées indépendamment entre -100 et 100.  Désentrelaçage : supprime les effets de l’entrelacement. Si votre fichier multimédia source doit être converti en un format image par image, vous devez le désentrelacer pour supprimer les effets de l’entrelacement. L’entrelacement sur les écrans d’ordinateur peut conférer aux objets en déplacement rapide un aspect flou, ce qui rend ce paramètre particulièrement important si vous lisez une vidéo au format QuickTime sur votre ordinateur ou en continu sur Internet. Vous pouvez supprimer la trame supérieure (impaire) ou inférieure (paire) d’un fichier vidéo entrelacé, mais cela aura un impact sur la fluidité des mouvements du plan. Lors des arrêts sur image, ce filtre peut également être utilisé pour éliminer le papillotement causé par l’entrelacement des images qui présentent de fines lignes verticales, comme les pages de titre avec du texte de petite taille. Les trames restantes sont interpolées pour créer une image complète, ce qui conduit à un adoucissement général de l’image. Consultez la section « Désentrelacement » à la page 258 pour plus d’informations. Remarque : l’option « Contrôles d’images » est recommandée par rapport au filtre de désentrelacement (filtre propriétaire), car elle offre toujours une qualité très supé- rieure. Pour plus d’informations, consultez le chapitre 20, « Ajout de contrôles d’images à un réglage », à la page 273.Chapitre 19 Ajout de filtres à un réglage 263 Parmi les méthodes de désentrelacement suivantes, sélectionnez dans le menu local celle qui fonctionne le mieux avec votre métrage :  Blur : mélange les trames paires et impaires. Ce paramètre rend les données temporaires plus importantes et préserve mieux les mouvements, mais comme les images individuelles sont composées de deux images, leur qualité n’est pas optimale lorsque vous suspendez la lecture.  Pair : garde les trames paires et ignore les trames impaires, évitant ainsi les mouvements flous.  Impair : garde les trames impaires et ignore les trames paires, évitant ainsi les mouvements flous.  Accentué : traite les deux trames pour rendre les bords plus nets. Ce paramètre met en valeur les données spatiales.  Fondu entrant/sortant : ajoute un fondu partant de ou aboutissant à une couleur de cache au début et à la fin du plan.  Durées de fondu entrant et sortant : définit la durée du fondu.  Opacité de fondu entrant et sortant : définit l’opacité de la première image vidéo du plan (fondu entrant) ou de la dernière (fondu sortant). Une valeur de 0,0 signifie que l’image vidéo concernée est complètement recouverte par la couleur de cache. Une valeur de 0,5 détermine un plan recouvert à 50 pour cent par la couleur de cache.  Couleur du fondu : définit la couleur de cache. Si vous cliquez sur cette option, le sélecteur de couleurs apparaît pour vous permettre de choisir la couleur de départ et d’arrivée du fondu. (La couleur du fondu entrant doit être la même que celle du fondu sortant.)264 Chapitre 19 Ajout de filtres à un réglage  Correction Gamma : contrôle la luminosité générale d’une image telle qu’elle apparaît à l’écran en modifiant la valeur du gamma du fichier multimédia. Ce filtre peut être utilisé pour supprimer les détails d’un plan sous-exposé ou pour réduire la saturation d’un plan surexposé à un niveau acceptable sans conduire à des images trop délavées. Les ordinateurs fonctionnant avec différents systèmes d’exploitation pré- sentent divers paramètres d’écran. En visualisation multi-plateforme, la correction gamma améliore l’image quelle que soit la plate-forme utilisée. Choisissez une valeur gamma comprise entre 0,1 et 4,0.  Letterbox : met à l’échelle et positionne l’image entre des barres horizontales de type « letterbox ».  Type : ce menu local permet de choisir le type de format Letterbox à utiliser. Échelle compresse verticalement la vidéo afin qu’elle tienne dans les barres Letterbox. Cache rogne la vidéo dans laquelle les barres Letterbox sont placées.  Position : ce menu local permet de choisir la position de la vidéo. L’option Au centre place des barres noires au-dessus et en dessous de la vidéo, cette dernière restant centrée. L’option Bas positionne la vidéo au bas de l’écran, avec une barre noire unique au-dessus. L’option Haut positionne la vidéo en haut de l’écran, avec une barre Letterbox unique au-dessous.  Sortie : ce menu local permet de choisir les proportions spécifiques à utiliser pour le format Letterbox. Chaque paramètre est suivi d’une valeur qui indique le ratio largeur/hauteur utilisé pour ce paramètre. Ainsi, le paramètre Academy indique un ratio de 1,85 :1, ce qui signifie que la largeur de l’image est égale à 1,85 fois sa hauteur. Le paramètre Manuelle active le curseur Manuelle que vous pouvez utiliser pour définir manuellement les proportions du format Letterbox. Chapitre 19 Ajout de filtres à un réglage 265  Curseur Manuelle : utilisé lorsque l’option Manuelle est sélectionnée dans le menu local Sortie. Cette option permet de définir manuellement les proportions Letterbox. Le curseur Manuelle n’a aucun effet lorsque l’option Manuelle n’est pas sélectionnée dans le menu local Sortie.  Case Arrière-plan : détermine la couleur de la boîte aux lettres. Cochez cette case pour choisir la couleur de l’arrière-plan à partir du sélecteur de couleur.  Suppression des bruits : réduit les zones de bruit aléatoire de l’image. Certains codecs introduisent dans les fichiers vidéo du bruit, qui peut être atténué à l’aide du filtre de suppression du bruit. Vous pouvez améliorer la qualité de l’image et compresser l’espace de votre contenu de manière plus efficace en réduisant les détails les plus fins. Le filtre de réduction de bruit vous permet de rendre floues certaines zones à faible contraste tout en gardant les bords à contraste élevé nets. Ce principe est connu sous le nom de réduction de bruit adaptative. Les résultats ne sont pas perceptibles à l’œil nu, mais améliorent la compression finale du média source. Il est particulièrement important d’utiliser ce filtre avec des vidéos diffusées en direct.  Appliquer à : ce menu local permet de choisir les canaux dont vous souhaitez filtrer le bruit. L’option par défaut est « Tous les canaux », qui permet de filtrer le bruit provenant de tous les canaux, y compris le canal alpha. L’autre option est « Canaux de colorimétrie », qui filtre uniquement le bruit provenant des deux canaux de colorimétrie (U et V) dans l’espace colorimétrique AYUV (ou R408 dans la terminologie Final Cut Pro).  Itérations : ce menu local atténue le bruit de l’image. Choisissez la fréquence d’application (entre 1 et 4) de l’algorithme sélectionné au fichier multimédia source. À chaque nouvelle application de l’algorithme, ce dernier utilise l’image modifiée résultant de l’application antérieure. Plus vous utilisez d’itérations, plus l’image devient floue.266 Chapitre 19 Ajout de filtres à un réglage  Algorithme : sélectionnez l’un des algorithmes suivants dans le menu local Algorithme : Moyen (la couleur de chaque pixel est modifiée en fonction de la couleur moyenne des pixels qui l’entourent, y compris sa propre couleur) ; Remplacement (la couleur de chaque pixel est modifiée en fonction de la couleur moyenne des pixels qui l’entourent, en excluant sa propre couleur) ; Fusionner (la couleur de chaque pixel est modifiée en fonction de la moyenne pondérée des couleurs des pixels qui l’entourent, y compris sa propre couleur).  Accentuer contour : améliore le contraste de l’image au niveau des bords des objets. Certains codecs rendent les images vidéo floues, ce filtre peut donc neutraliser l’effet d’adoucissement dû à la suppression du bruit ou à un média source flou, et augmenter l’impression de netteté de l’image. Lorsque vous utilisez des valeurs extrêmes, les images du fichier multimédia de sortie peuvent sembler granuleuses. Choisissez n’importe quelle valeur comprise entre 0 et 100.  Superposer texte : permet au texte d’apparaître en surimpression sur l’image. Cette option est utile pour apposer des informations textuelles sur votre fichier multimé- dia de sortie. Utilisez les contrôles suivants pour positionner du texte, sélectionner la couleur et la police, et spécifier sa transparence :  Menu local Position : détermine la position du texte dans le plan. Choisissez l’une des 13 positions (Au centre, Inférieure gauche, Inférieure gauche - Titre sécurisé, etc.).Chapitre 19 Ajout de filtres à un réglage 267  Alpha : ce curseur définit l’opacité du texte. Vous pouvez choisir une valeur comprise entre 0 et 1, sachant qu’une valeur égale à 0 équivaut à une transparence totale, tandis qu’une valeur égale à 1 correspond à une opacité complète.  Texte : tapez le texte souhaité dans ce champ.  Couleur du texte : cochez cette case pour choisir la couleur du texte à partir du sélecteur de couleur.  Sélectionner une police : cliquez sur ce bouton pour ouvrir une palette de polices vous permettant de sélectionner la police, son style et sa taille.  Générateur de timecode : superpose le texte du timecode du plan à l’image. Vous pouvez aussi ajouter une étiquette au texte du timecode.  Menu local Position : détermine la position du texte du timecode dans le plan. Choisissez l’une des 13 positions (Au centre, Inférieure gauche, Inférieure gauche, Titre sécurisé, etc.).  Alpha : ce curseur définit l’opacité du texte du timecode. Vous pouvez choisir une valeur comprise entre 0 et 1, sachant qu’une valeur égale à 0 équivaut à une transparence totale, tandis qu’une valeur égale à 1 correspond à une opacité complète.  Intitulé : saisissez dans ce champ tout texte que vous souhaitez voir apparaître à gauche du numéro du timecode.  Case « Démarrer timecode à 00:00:00:00 » : cochez cette case pour que le timecode commence à 00:00:00:00. Si cette option n’est pas sélectionnée, le timecode du plan est utilisé.  Couleur du texte : cochez cette case pour choisir la couleur du texte du timecode dans le sélecteur de couleurs.  Sélectionner la police : cliquez sur ce bouton pour ouvrir une palette de polices vous permettant de sélectionner la police, son style et sa taille.268 Chapitre 19 Ajout de filtres à un réglage  Filigrane : permet de superposer un filigrane à l’image. Cette option est utile pour apposer un logo approprié sur votre fichier multimédia de sortie. Le filtre Filigrane peut appliquer des images fixes ou des séquences en filigrane sur votre fichier multimédia de sortie. Utilisez les menus locaux, les curseurs de défilement et les champs ci-après pour positionner et dimensionner le filigrane, et régler sa transparence :  Menu local Position : ce menu local positionne l’image de filigrane dans le plan d’image. Choisissez l’une des 13 positions (Au centre, Inférieure gauche, Inférieure gauche - Titre sécurisé, etc.).  Échelle : ce curseur définit la taille de l’image de filigrane.  Alpha : ce curseur définit l’opacité de l’image de filigrane. Vous pouvez choisir une valeur comprise entre 0 et 1, sachant qu’une valeur égale à 0 équivaut à une transparence totale, tandis qu’une valeur égale à 1 correspond à une opacité complète.  Case Répétitive : si vous avez choisi un plan comme filigrane, le fait de cocher cette case permet de lire le filigrane en boucle. Si vous ne cochez pas cette case, le filigrane est lu une fois jusqu’à la fin puis disparaît.  Bouton Choisir : cliquez sur ce bouton pour ouvrir la zone de dialogue de sélection de fichiers, puis sélectionnez la séquence ou l’image à utiliser comme filigrane. Filtres audio Important : les filtres audio ne sont pas disponibles lorsque l’audio est réglé sur Passthrough dans les réglages QuickTime. Consultez la section « À propos de la sousfenêtre AIFF Encoder QuickTime » à la page 238 pour plus d’informations.Chapitre 19 Ajout de filtres à un réglage 269  Plage dynamique : cette option permet de contrôler les niveaux audio d’un plan de façon dynamique en augmentant le son des parties où le volume sonore est faible et en le baissant pour les parties où le volume sonore est plus élevé. Cette option est également appelée compression du niveau audio.  Adoucir au-dessus : les volumes sonores supérieurs à ce niveau audio sont réduits au niveau défini par le gain principal.  Seuil de bruit : définit le niveau de ce qui est considéré comme bruit. Le son dont le niveau est égal ou supérieur à ce niveau est amplifié de façon dynamique jusqu’au niveau défini par le gain principal. Le son au dessous de ce niveau demeure inchangé.  Gain principal : définit le niveau moyen du son comprimé de façon dynamique.  Écrêteur : définit le niveau maximum autorisé du son pour le plan.  Gain (dB) : définit le niveau au dessus duquel les pics plus élevés sont réduits.  Égaliseur graphique Apple AU : cette option vous permet d’utiliser l’égaliseur graphique AUGraphicEQ Apple pour créer un grand nombre de formes de fréquences sur toute la plage des fréquences audibles. Vous pouvez choisir entre une version à 31 bandes et une version à 10 bandes.270 Chapitre 19 Ajout de filtres à un réglage  Menu local Options : ouvre l’interface de l’égaliseur graphique AUGraphicEQ Apple. Le menu local « Nombre de bandes » de l’interface de l’égaliseur permet de choisir la version d’égaliseur à utiliser (31 bandes ou 10 bandes).  Fondu entrant/sortant : ajoute un mixage partant de ou aboutissant à un silence (ou un niveau de gain que vous avez défini) au début et à la fin du plan.  Durées de fondu entrant et sortant : définit la durée du mixage utilisé pour la transition entre la valeur de gain et le niveau audio normal du plan au début (fondu entrant) et à la fin (fondu sortant) du plan.Chapitre 19 Ajout de filtres à un réglage 271  Gains de fondu entrant et sortant : définit le niveau auquel le mixage commence (fondu entrant) ou se termine (fondu sortant). La valeur –100,0 correspond au silence et la valeur 0,0 signifie que le son n’est pas modifié. Remarque : lorsque vous utilisez à la fois le filtre Fondu entrant/sortant et le filtre Plage dynamique, veillez à ce que le filtre Plage dynamique se trouve avant le filtre Fondu entrant/sortant dans la liste de filtres. Ajout de filtres à un réglage Utilisez la sous-fenêtre Filtres dans la fenêtre Inspecteur pour ajouter des filtres à vos réglages. Pour ajouter des filtres à un réglage : 1 Ouvrez l’onglet Réglages. 2 Dans l’onglet Réglages, sélectionnez le réglage que vous souhaitez modifier. Vous pouvez également sélectionner un réglage déjà appliqué à un fichier multimédia source dans la fenêtre Lot. De cette façon, vous pouvez ouvrir la fenêtre Preview et voir les effets de vos ajustements de filtre. 3 Cliquez sur la sous-fenêtre Filtres de l’Inspecteur. 4 Configurez selon vos souhaits les filtres que vous souhaitez ajouter à ce réglage. Remarque : une coche apparaît automatiquement dès que vous commencez à paramé- trer un filtre. Le filtre est automatiquement sélectionné si vous modifiez ses réglages. Toute modification apportée aux réglages d’un filtre est appliquée au filtre sélectionné.272 Chapitre 19 Ajout de filtres à un réglage 5 Dans la liste des filtres, déplacez les filtres vers le haut ou vers le bas pour déterminer l’ordre dans lequel vous souhaitez qu’ils soient appliqués au fichier multimédia source pendant son transcodage. Étant donné que ces filtres sont traités un par un pendant le transcodage (en commen- çant par le premier de la liste), il est important que vous les classiez selon leur ordre d’application. Par exemple, il est recommandé de placer le filtre de superposition de texte en dernier, afin que la couleur que vous avez choisie pour le texte ne soit pas modifiée par un autre filtre. Si vous déplacez un filtre, assurez-vous de cocher la case pour que Compressor sache qu’il faut l’appliquer au réglage concerné. Si vous essayez de sélectionner un autre réglage après avoir sélectionné un filtre déplacé, la zone de dialogue Enregistrer vous demande d’enregistrer ou d’annuler les changements apportés à ce réglage. Par défaut, tous les filtres sélectionnés s’affichent en premier dans la liste. Remarque : vous pouvez voir les détails des réglages dans la sous-fenêtre Résumé de la fenêtre Inspecteur. Consultez la section « À propos de la sous-fenêtre Filtres » à la page 260 pour obtenir plus d’informations. Faites glisser les filtres vers le haut ou vers le bas pour établir l’ordre dans lequel vous souhaitez qu’ils soient appliqués au fichier multimé- dia source.20 273 20 Ajout de contrôles d’images à un réglage Les contrôles d’images reposent sur une analyse approfondie de l’image et servent à resynchroniser cette dernière, à la redimensionner ou à lui appliquer des effets vidéo sophistiqués. Ce chapitre contient les sections suivantes :  Utilisation des contrôles d’images (p. 273)  À propos de la sous-fenêtre Contrôles d’images (p. 274)  Ajout de contrôles d’images à un réglage (p. 279)  Utilisation du télécinéma inverse (p. 280)  Utilisation des contrôles de resynchronisation (p. 283) Utilisation des contrôles d’images Grâce aux contrôles d’images, Compressor permet de transcoder en haute qualité de nombreux formats sources différents dans de nombreux formats cibles en ayant recours à une analyse approfondie de l’image. Cela signifie que vous pouvez maintenant effectuer les différentes opérations suivantes à des niveaux de qualité qui étaient précédemment possibles uniquement avec des solutions matérielles coûteuses :  Convertir des fichiers vidéo entre les normes de télévision internationales, par exemple PAL vers NTSC ou NTSC vers PAL.  Convertir des sources vidéo haute définition (HD) en sources définition standard (SD), ou inversement.  Convertir un flux progressif en flux entrelacé, ou inversement.  Réaliser des ajustements de fréquence d’images de haute qualité, notamment pour obtenir des effets de ralenti de haute qualité.  Supprimer automatiquement le pulldown du télécinéma (télécinéma inverse). Remarque : le groupe de réglages « Conversions de format avancées » de l’onglet Réglages revêt une importance particulière pour l’utilisation des contrôles d’images.274 Chapitre 20 Ajout de contrôles d’images à un réglage Important : il n’est pas possible de prévisualiser les réglages « Contrôles d’images » dans la fenêtre Preview. Pour prévisualiser ces derniers, lancez un transcodage de test sur une petite section de votre fichier multimédia source (cf. « Transcodage d’une section du plan à l’aide de la fenêtre Preview » à la page 315 pour plus d’informations). À propos de la sous-fenêtre Contrôles d’images Utilisez les fonctionnalités suivantes sous l’onglet « Contrôles d’images » de l’Inspecteur afin de sélectionner et d’ajuster les attributs de contrôle d’images que vous souhaitez affecter à vos réglages. État des contrôles d’images Utilisez ce menu local pour choisir parmi les options suivantes de « Contrôles d’images » :  Désactivé : réglage par défaut pour la plupart des préréglages Apple. Choisissez Désactivé si votre projet Compressor n’implique pas de changements en termes de taille d’image, de fréquence d’images ou de priorité de trame.  Activé : cette option vous permet d’ajuster manuellement tous les attributs qui se trouvent dans la sous-fenêtre Contrôles d’images.  Sélection automatique : Compressor analyse la tâche de transcodage (le fichier multimédia source et le réglage appliqué), puis il détermine automatiquement les attributs « Contrôles d’images » appropriés. Contrôles de redimensionnement Contrôles de resynchronisation État des contrôles d’images Bouton Automatique des contrôles d’imagesChapitre 20 Ajout de contrôles d’images à un réglage 275 En mode Automatique, la technologie de « Contrôles d’images » intervient uniquement dans les deux types suivants de transcodages :  Le transcodage de sources haute définition (HD) en fichiers de sortie MPEG-2 en définition standard (SD)  Le transcodage de sources entrelacées en fichiers de sortie (progressifs) H.264 pour DVD Studio Pro et H.264 pour appareils Apple Contrôles de redimensionnement Utilisez les contrôles de cette section pour choisir l’algorithme avec lequel les images sont redimensionnées.  Filtre de redimensionnement : utilisez ce menu local pour choisir parmi les options suivantes de redimensionnement. Cette décision est un compromis entre une vitesse de traitement plus rapide et une qualité de sortie supérieure dans les projets qui impliquent un changement de résolution.  Rapide (pixel le plus proche)  Avancée (filtre linéaire)  Optimale (prédiction statistique)  Champs de sortie : utilisez ce menu local pour choisir la méthode de balayage de sortie (soit la priorité de trame, soit une conversion en balayage progressif).  Identique à la source : aucun changement de méthode de balayage.  Progressive : méthode de balayage où chaque image est complète (et non divisée en trames). Utilisez ce réglage au lieu du filtre Désentrelaçage de Compressor (un filtre hérité de la sous-fenêtre Filtres) car il offrira toujours une qualité bien supérieure.  Première supérieure : priorité de trame entrelacée (ordre des trames), également appelée trame deux, trame supérieure ou trame impaire.  Première inférieure : priorité de trame entrelacée (ordre des trames), également appelée trame une, trame inférieure ou trame paire.276 Chapitre 20 Ajout de contrôles d’images à un réglage  Désentrelacer : utilisez ce menu local pour choisir parmi différentes techniques de désentrelacement (ou désentrelaçage). Cette décision est un compromis entre une vitesse de traitement plus rapide et un désentrelaçage de qualité supérieure des zones de mouvement au sein de l’image. Dans tous les cas, toute option de désentrelaçage de qualité supérieure donne des résultats identiques ou meilleurs que l’option immédiatement inférieure. Toutefois, si le redimensionnement vers le bas est également appliqué à l’image, il se peut que les améliorations de qualité ne se remarquent pas. Dans ces conditions, les options Rapide ou Meilleure fourniront probablement une qualité suffisamment haute, selon l’ampleur du redimensionnement vers le bas.  Rapide (moyenne des lignes) : cette option fait la moyenne des lignes adjacentes d’une image.  Avancé (filtre Motion adaptive) : cette option offre une bonne qualité de désentrela- çage pour les zones de l’image qui sont en mouvement.  Optimale (correction des mouvements) : cette option offre une très bonne qualité de désentrelaçage pour les zones de l’image qui sont en mouvement.  Télécinéma inverse : cette option supprime les trames supplémentaires ajoutées lors du processus de télécinéma pour convertir les 24 ips du film en 29,97 ips pour le format NTSC. La sélection de cet élément entraîne la désactivation de tous les autres éléments de la sous-fenêtre Contrôles d’images. Remarque : pour en savoir plus sur le pulldown 3:2 et sur l’utilisation de la fonction Télécinéma inverse, reportez-vous à la section « Utilisation du télécinéma inverse » à la page 280. Alors que le menu local Désentrelacer est toujours actif, Compressor ne désentrelace que les tâches qui en ont besoin. (Par exemple, si la source est entrelacée et que le menu local « Champs de sortie » est défini sur Progressive, Compressor effectuera un désentrelaçage. Si le fichier multimédia source est progressif, Compressor n’effectuera pas de désentrelaçage.) Avertissement : l’utilisation de tous les réglages optimaux peut donner lieu à des temps de traitement beaucoup plus longs que prévu. Si vous réduisez la taille d’image en plus de désentrelacer l’image, les options Rapide ou Meilleure fourniront probablement une qualité suffisamment haute, selon l’ampleur du redimensionnement vers le bas.Chapitre 20 Ajout de contrôles d’images à un réglage 277  Détails de technique Adaptive : cochez cette case pour utiliser une analyser d’image avancée afin de distinguer les zones de bruit de celles de contour.  Anticrénelage : utilisez ce curseur pour régler un niveau d’adoucissement entre 0 et 100. Ce paramètre améliore la qualité des conversions lorsque vous augmentez l’échelle des données. Par exemple, lorsque vous transcodez de la vidéo de définition standard en haute définition, l’option Anticrénelage lisse les contours irréguliers pouvant apparaître dans l’image.  Niveau de détails : utilisez ce curseur pour définir un niveau (entre 0 et 100) pour conserver les contours accentués. Il s’agit d’un contrôle d’accentuation qui vous permet de rajouter des détails à une image agrandie. Contrairement aux autres opérations d’accentuation, le réglage « Niveau de détails » distingue les détails de bruit et ceux de fonction, et n’augmente généralement pas les grains non voulus. Le fait d’accroî- tre la valeur de ce paramètre peut donner lieu à des contours irréguliers, qui peuvent cependant être éliminés en augmentant la valeur d’anticrénelage. Remarque : les options « Détails de technique Adaptive », Anticrénelage et « Niveau de détails » se rapportent uniquement au redimensionnement d’image (mise à l’échelle), et non au désentrelaçage. Contrôles de resynchronisation Utilisez les commandes de cette section pour choisir l’algorithme avec lequel les fréquences d’images sont ajustées.  Conversion de fréquence : utilisez ce menu local pour choisir parmi les techniques suivantes de resynchronisation d’images (changement de la fréquence d’images). Cette décision est un compromis entre une vitesse de traitement plus rapide et une qualité de sortie supérieure. Dans de nombreux cas, le réglage Meilleure fournira une conversion d’une qualité suffisamment haute en économisant fortement du temps de traitement par rapport au réglage Optimale.  Rapide (image la plus proche) : aucune fusion d’images n’est appliquée ; Compressor utilise simplement une copie de l’image disponible la plus proche pour remplir les nouvelles images entre.278 Chapitre 20 Ajout de contrôles d’images à un réglage  Bonne (fusion d’images) : rassemble les images voisines afin de créer de nouvelles images entre.  Meilleure (correction des mouvements) : utilise un flux optique pour interpoler des images, avec des résultats de bonne qualité.  Maximum (correction des mouvements de haute qualité) : utilise un flux optique pour interpoler des images, avec des résultats de qualité supérieure ; cette option est particulièrement utile pour les transcodages qui impliquent des augmentations de fréquences d’images (par exemple, de 23,98 ips à 59,94 ips).  Régler la durée sur : utilisez cette option pour choisir l’une des trois méthodes proposées pour convertir la durée du plan en une nouvelle durée.  Pourcentage de la source : utilisez cette option pour saisir une valeur exprimée en pourcentage permettant de modifier la vitesse du plan ou choisissez un réglage spécifique dans le menu local.  Durée totale : servez-vous de cette option pour choisir la durée du plan.  Pour que les images source soient lues à une fréquence de [fréquence d’images] ips : utilisez cette option lorsque la fréquence d’images du fichier multimédia source ne correspond pas à celle qui est indiquée dans la sous-fenêtre Encodeur pour cet élément. Remarque : lorsque vous modifiez la vitesse de la vidéo à l’aide des contrôles de resynchronisation, Compressor ajuste également la partie audio du fichier multimé- dia de sortie de sorte que le son reste synchronisé avec l’image. Les contrôles de resynchronisation n’ont aucune incidence sur la hauteur tonale de l’audio. Pour en savoir plus sur l’utilisation de ces options, consultez la section « Utilisation des contrôles de resynchronisation » à la page 283. Avertissement : l’utilisation de tous les réglages optimaux peut donner lieu à des temps de traitement beaucoup plus longs que prévu. Le réglage Meilleure pour la conversion de fréquence fournira une conversion d’une qualité suffisamment haute, tout en économisant fortement du temps de traitement par rapport au réglage Optimale. Menu local de sélectionChapitre 20 Ajout de contrôles d’images à un réglage 279 Ajout de contrôles d’images à un réglage Utilisez la sous-fenêtre « Contrôles d’images » de la fenêtre de l’Inspecteur pour ajouter des réglages de resynchronisation et de redimensionnement d’image à vos réglages. Pour ajouter des réglages automatiques de contrôles d’images à un réglage : 1 Ouvrez l’onglet Réglages. 2 Dans l’onglet Réglages, sélectionnez le réglage que vous souhaitez modifier. Vous pouvez également sélectionner un réglage déjà appliqué à un fichier multimédia source dans la fenêtre Lot. 3 Cliquez sur l’onglet « Contrôles d’images » dans la fenêtre de l’Inspecteur. 4 Cliquez sur le bouton Automatique qui se trouve à côté du menu local « Contrôles d’images ». Compressor analyse la tâche de transcodage (le fichier multimédia source et le réglage appliqué), puis il détermine automatiquement les attributs « Contrôles d’images » appropriés. En mode Automatique, la technologie de « Contrôles d’images » intervient uniquement dans les deux types suivants de transcodages :  Le transcodage de sources haute définition (HD) en fichiers de sortie MPEG-2 en définition standard (SD).  Le transcodage de sources entrelacées en fichiers de sortie (progressifs) H.264 pour DVD Studio Pro et H.264 pour appareils Apple. Pour ajouter des réglages personnalisés de contrôles d’images à un réglage : 1 Ouvrez l’onglet Réglages. 2 Dans l’onglet Réglages, sélectionnez le réglage que vous souhaitez modifier. Vous pouvez également sélectionner un réglage déjà appliqué à un fichier multimédia source dans la fenêtre Lot. 3 Cliquez sur l’onglet « Contrôles d’images » dans la fenêtre de l’Inspecteur. 4 Dans le menu local « Contrôles d’images », choisissez Activé. Le choix de l’option Activé vous permet d’ajuster manuellement tous les attributs de la sous-fenêtre Contrôles d’images.280 Chapitre 20 Ajout de contrôles d’images à un réglage 5 Modifiez n’importe lequel des contrôles suivants dans la sous-fenêtre « Contrôles d’images ». (Voir « À propos de la sous-fenêtre Contrôles d’images » à la page 274 pour des détails concernant chacun de ces contrôles.)  Filtre de redimensionnement  Champs de sortie  Désentrelacer  Détails de technique Adaptive  Anticrénelage  Niveau de détails  Conversion de fréquence  Réglages de durée 6 Cliquez sur Enregistrer pour enregistrer les modifications. Utilisation du télécinéma inverse Le menu local Désentrelacer comprend un réglage permettant d’inverser le télécinéma. À propos du télécinéma inverse L’approche la plus courante pour distribuer un film à 24 ips destiné à la vidéo NTSC à 29,97 ips consiste à effectuer un pulldown 3:2 (également appelé pulldown 2:3:2:3). L’enregistrement en alternance de deux trames d’une image de film, puis de trois trames de l’image suivante permet de transformer les 24 images d’une seconde de film en 30 images d’une seconde de vidéo. Avant (23,98 ips) A B A B B C C D D D A B C D A D A B C D A B C D A B C D A B C D B C A A B B B C C D D D A A B B B C C D D D A A B B C C D D D A A B B B D B C C D D D A B A B B C C D D A B C D A A B B B C C D D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Pulldown 3:2 Après (29,97 ips) Une secondeChapitre 20 Ajout de contrôles d’images à un réglage 281 Comme le montre la figure ci-dessus, le modèle 3:2 (qui est en fait un modèle 2:3:2:3 puisque l’image A est enregistrée sur deux trames et est suivie par l’image B enregistrée sur trois trames) se répète toutes les quatre images du film. Pratiquement tous les spots publicitaires, les films et les émissions de télévision en différé de qualité sont soumis à ce processus avant leur diffusion. Pour les besoins du montage et de l’ajout d’effets, il est souvent préférable de supprimer ces trames supplémentaires et de rétablir la fréquence originale de 23,98 ips de la vidéo. Le rétablissement de la fréquence originale de 23,98 ips a en outre l’avantage de permettre une conversion plus aisée à la fréquence de 25 ips du format PAL. La fréquence d’images moins élevée présente également l’avantage de requérir moins d’images par seconde de vidéo, ce qui signifie que la taille du fichier est moins importante. La fonction de télécinéma inverse facilite cette opération. À propos de la cadence Lorsqu’un film est transformé par télécinéma en vidéo NTSC, sa cadence est constante. Cela signifie que le modèle 3:2 est systématique et ininterrompu. La suppression du télécinéma sur un plan de cadence constante est une opération relativement aisée, car il suffit de déterminer le modèle une seule fois. Si vous montez ces plans transformés par télécinéma en tant que vidéo NTSC, vous obtenez un fichier vidéo final avec une cadence irrégulière et un modèle 3:2 fluctuant. La suppression du télécinéma sur ce type de plan s’avère bien plus compliquée puisque vous devez sans cesse vérifier la cadence pour ne pas choisir par mégarde des trames incorrectes lors de la création de vidéo à 23,98 ips. A A B B B C C D D D A A B B B C C D D D A A B B C C D D D A A B B B D B C C D D D A B A B B C C D D A B A B B C C D D D A B C D A D A B C D A B C D A B C D A B C D B C A B C D A A B B C C D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 D Field 2 B Field 1 Avant (29,97 ips) Après (23,98 ips) Une seconde Suppression de pulldown 3:2282 Chapitre 20 Ajout de contrôles d’images à un réglage La fonction de télécinéma inverse dont est muni Compressor détecte automatiquement les cadences irrégulières et adapte le traitement de façon appropriée. Autres remarques sur la fonction de télécinéma inverse Il convient de tenir compte de quelques autres considérations lors de l’utilisation de la fonction de télécinéma inverse. Tous les autres réglages de « Contrôles d’images » sont désactivés Étant donné que l’objectif de la fonction de télécinéma inverse est de produire de la vidéo progressive à 23,98 ips, toutes les autres options de la sous-fenêtre « Contrôles d’images » sont désactivées lorsque Télécinéma inverse est sélectionné. À propos du télécinéma inverse et de l’encodage segmenté En raison de la nature imprévisible du traitement appliqué lors du télécinéma inverse, l’encodage segmenté ne fonctionne pas de façon aussi efficace que lorsque la fonction télécinéma inverse n’est pas utilisée. À propos de la suspension du processus de transcodage Si vous suspendez (pause) le processus de transcodage, vous êtes ensuite obligé de le reprendre depuis le début. Création de vidéo PAL lors du processus de télécinéma inverse Convertir une vidéo à 23,98 ips ou une vidéo à 24 ips en vidéo PAL dont la fréquence est de 25 ips en accélérant la vitesse de lecture de 4 pour cent est une pratique courante. Si votre vidéo source est une vidéo NTSC à 29,97 ips convertie par télécinéma, vous pouvez la convertir au format PAL à l’aide de deux tâches.  Première tâche : appliquez à la tâche un réglage qui permette d’inverser le télécinéma et d’obtenir une vidéo NTSC à 23,98 ips. Remarque : vous pourriez appliquer un réglage convertissant également la vidéo au format PAL, mais dans ce cas, la conversion du format ne serait pas effectuée à l’aide des contrôles d’images et sa qualité pourrait être insatisfaisante.  Deuxième tâche : pour créer la deuxième tâche, sélectionnez la première, puis choisissez Tâche > Nouvelle tâche avec sortie cible. Vous créez ainsi une tâche reposant sur la sortie de la première tâche. Vous pouvez alors appliquer un réglage assurant un format de sortie PAL et utiliser la fonction « Contrôles d’images » qui vous garantit un fichier de sortie de haute qualité. Pour en savoir plus sur l’enchaînement de tâches, reportez-vous à la section « À propos de l’ajout et de la copie de tâches » à la page 118.Chapitre 20 Ajout de contrôles d’images à un réglage 283 Utilisation des contrôles de resynchronisation Les contrôles de resynchronisation sont couramment utilisés pour deux opérations :  Conversion de la fréquence d’images d’une vidéo : il s’agit généralement de convertir la fréquence d’images NTSC en fréquence d’images PAL ou inversement. Cette fonction utilise uniquement le réglage du menu local « Conversion de fréquence » et est automatiquement configurée lorsque cela est nécessaire.  Conversion de la vitesse d’une vidéo : cette opération consiste à lire les images existantes à une vitesse différente ou, dans le cas des effets de ralenti, à créer des images intermédiaires si nécessaire. Dans tous les cas, si le fichier multimédia source contient de l’audio, la vitesse de ce dernier est également modifiée et sa hauteur tonale corrigée, afin que le résultat soit identique à celui de l’audio original, mais avec une vitesse différente. Cela vous permet de conserver la synchronisation entre l’image et le son. Remarque : si vous prévisualisez un réglage qui utilise les contrôles de resynchronisation, la vidéo sera lue à la nouvelle fréquence d’images ou vitesse, mais elle n’aura pas été traitée par les contrôles d’images et, par conséquent, sa qualité sera inférieure à celle du fichier de sortie transcodé. La hauteur tonale du son est corrigée lors de la pré- visualisation du réglage. Important : si vous utilisez les contrôles de resynchronisation sur un réglage qui utilise le format de sortie QuickTime Movie et que vous choisissez Passthrough comme réglage audio, la vitesse audio n’est pas modifiée et la synchronisation avec la vidéo n’est pas conservée. Consultez la section « À propos de la sous-fenêtre AIFF Encoder QuickTime » à la page 238 pour plus d’informations. Conversion de la vitesse d’une vidéo Les contrôles de resynchronisation proposent trois options pour déterminer la vitesse de lecture :284 Chapitre 20 Ajout de contrôles d’images à un réglage  saisir un pourcentage ;  saisir une durée ;  forcer la lecture des images à la fréquence d’images définie dans le réglage « Fréquence d’images » de la sous-fenêtre Encodeur. Saisir un pourcentage Vous disposez de deux options lorsque vous choisissez de définir la durée du plan à l’aide de cette méthode :  saisir une valeur en pour cent ;  choisir une valeur prédéfinie. Chacun des préréglages disponibles est destiné à être utilisé pour un cas de figure particulier.  24 @ 25 : utilisez ce réglage pour convertir une vidéo à 24 ips en vidéo à 25 ips distribuée en format PAL.  23,98 @ 24 : utilisez ce réglage pour convertir une vidéo à 23,98 ips en vidéo à 24 ips.  23,98 @ 25 : utilisez ce réglage pour convertir une vidéo à 23,98 ips en vidéo à 25 ips distribuée en format PAL.  30 @ 29,97 : utilisez ce réglage pour convertir une vidéo à 30 ips en vidéo à 29,97 ips.  29,97 @ 30 : utilisez ce réglage pour convertir une vidéo à 29,97 ips en vidéo à 30 ips.  24 @ 23,98 : utilisez ce réglage pour convertir une vidéo à 24 ips en vidéo à 23,98 ips distribuée sous forme de DVD NTSC. Aucune de ces options n’exige l’insertion d’images vidéo intermédiaires. La différence entre les réglages correspond juste à une lecture plus ou moins rapide des images existantes.Chapitre 20 Ajout de contrôles d’images à un réglage 285 Saisir une durée Le champ Durée indique la durée actuelle du plan. Si vous modifiez cette durée, la valeur exprimée en pourcentage change pour refléter cette modification. Cette option est très utile lorsque la durée du fichier multimédia source est un peu plus longue ou un peu plus courte que nécessaire et que vous préférez changer la vitesse de lecture plutôt qu’ajouter ou supprimer des images vidéo. Cette méthode donne lieu à la création d’images vidéo intermédiaires en fonction des besoins. Forcer la lecture des images à la fréquence d’images définie dans le réglage « Fréquence d’images » de la sous-fenêtre Encodeur On utilise cette option lorsque la fréquence d’images du fichier multimédia source est différente de celle qui est indiquée dans le réglage « Fréquence d’images » de la sous-fenêtre Encodeur.21 287 21 Ajout de réglages de géométrie Vous pouvez ajuster vos réglages de façon plus précise à l’aide de la sous-fenêtre Géométrie de la fenêtre Inspecteur. Ce chapitre contient les sections suivantes :  Utilisation du rognage, de la mise à l’échelle et du remplissage (p. 287)  À propos de la sous-fenêtre Géométrie (p. 290)  Ajustements de géométrie pour un réglage (p. 294) Utilisation du rognage, de la mise à l’échelle et du remplissage La sous-fenêtre Géométrie propose trois méthodes différentes pour modifier l’image de sortie. Rognage Lorsque vous rognez une image, vous supprimez du contenu vidéo. Ce contenu représente souvent une partie superflue de l’image (telle que la zone de surbalayage, nécessaire pour la télévision, mais inutile pour les ordinateurs) et sa suppression permet d’agrandir la portion restante dans une image de même taille. La fonction Rognage comprend également un réglage automatique qui détecte les bords de l’image et saisit automatiquement des valeurs de rognage adaptées. Cette option s’avère particulièrement utile si vous souhaitez supprimer les bandes noires d’un fichier multimédia source. 288 Chapitre 21 Ajout de réglages de géométrie Lorsque vous ajustez les réglages de rognage, l’un des deux cas de figure suivants peut se présenter en ce qui concerne la taille d’image du fichier vidéo de sortie :  La taille d’image reste la même si vous avez choisi un réglage autre que 100 % de la source, 50 % de la source ou 25 % de la source dans le menu local « Taille d’image » de la section Dimensions de la sous-fenêtre Géométrie. Cela signifie que l’image vidéo source est agrandie pour remplir l’image du fichier vidéo de sortie, ce qui provoque une augmentation de la taille des pixels et une dégradation générale de l’image.  La taille d’image est réduite en fonction des valeurs de rognage si vous avez choisi les réglages 100 % de la source, 50 % de la source ou 25 % de la source dans menu local « Taille d’image » de la section Dimensions de la sous-fenêtre Géométrie. Cette réduction peut aboutir à des tailles d’image non standard. Les réglages de rognage se trouvent dans la section « Cadre de source (rognage) » de la sous-fenêtre Géométrie. Mise à l’échelle La mise à l’échelle permet de modifier la taille d’image du fichier vidéo de sortie sans supprimer aucune image source. Elle implique le plus souvent une réduction de la taille d’image du fichier multimédia de sortie pour économiser l’espace de stockage ou réduire le débit de données. Il existe trois méthodes simples permettant de changer l’échelle de la taille d’image de votre fichier de sortie :  Choisir un pourcentage de la taille source : trois réglages permettent de redimensionner l’image source en fonction d’un pourcentage (100 % de la source, 50 % de la source et 25 % de la source). Les valeurs de rognage ont une incidence non seulement sur la taille d’image de la vidéo source, mais aussi sur celle de la vidéo de sortie.  Choisir une taille d’image particulière : vous pouvez choisir entre plusieurs réglages de taille d’image standard, tels que 720 x 486, 720 x 576, etc. Si vous choisissez l’une ces options, la taille d’image du fichier vidéo de sortie correspondra à ce réglage.  Saisir une valeur personnalisée : vous pouvez saisir une taille d’image personnalisée. Il est en outre possible de contraindre cette taille d’image personnalisée à respecter des proportions courantes telles que 4:3 ou 16:9. Si vous saisissez une taille d’image personnalisée, la taille d’image du fichier vidéo de sortie correspondra à ce réglage.Chapitre 21 Ajout de réglages de géométrie 289 Vous avez également la possibilité de définir les proportions des pixels de l’image de sortie en sélectionnant une option dans un menu local proposant des réglages courants. Remarque : les réglages de mise à l’échelle ne sont activés que si vous utilisez les formats d’encodage de sortie MP4EG--4, QuickTime Movie et Séquence d’images. Les réglages de mise à l’échelle se trouvent dans la section « Dimensions (pixels encodés) » de la sous-fenêtre Géométrie. Remplissage Le remplissage est une méthode qui permet de réduire la taille de l’image tout en conservant la taille de la vidéo de sortie en remplissant les zones restantes en noir. À la différence du rognage, le remplissage ne supprime aucune image source. L’image est réduite en fonction des valeurs de remplissage. Le remplissage s’avère utile lorsque la taille de l’image source est inférieure à celle de l’image de sortie et que vous souhaitez empêcher le redimensionnement de l’image source en fonction de la taille de l’image de sortie. Si vous ajoutez un remplissage approprié, l’image source conservera la même taille dans l’image de sortie et les parties restantes seront remplies avec du noir. Le remplissage est automatiquement appliqué lorsque l’image vidéo source est au format NTSC 720 x 486 sans compression et la résolution de l’image de sortie est 720 x 480. Il existe également plusieurs réglages de remplissage courants tels que 16x9 et Panavision. Ils facilitent la configuration puisque c’est Compressor qui saisit automatiquement les valeurs de remplissage, ce qui permet de garantir que l’image source conserve ses proportions d’origine. Les réglages de remplissage se trouvent dans la section « Cadre d’image de sortie (remplissage) » de la sous-fenêtre Géométrie. 290 Chapitre 21 Ajout de réglages de géométrie À propos de la sous-fenêtre Géométrie Utilisez la sous-fenêtre Géométrie pour spécifier les paramètres de rognage et de dimensionnement, la taille du fichier multimédia de sortie et les proportions de l’image (le rapport entre sa hauteur et sa largeur) : Réglages Cadre de source (rognage)  Gauche, Droite, Haut et Bas : les quatre champs de rognage (Gauche, Haut, Droite et Bas) vous permettent de rogner l’image de votre fichier multimédia source par incré- ments exprimés en pixels. La plupart des fichiers vidéo de diffusion présentent des zones de surbalayage. Si le fichier de sortie est destiné à n’être affiché que sur un écran d’ordinateur plutôt que sur un écran de télévision, vous pouvez en toute tranquillité supprimer une partie de sa bordure sans que cela n’affecte la zone d’image. Les valeurs indiquent la distance (en pixels) entre le bord du cadre original et le bord du cadre rogné final. Par défaut, tous les champs sont remplis avec la valeur 0. Remarque : la zone de surbalayage (« zone d’action sécurisée ») est habituellement constituée par les 5 pour cent de l’image les plus éloignés du centre le long des quatre côtés. Si vous rognez 5 pour cent de plus, il vous reste une zone plus réduite dite « zone de titre sécurisé ». Vous pouvez, par conséquent, rogner votre image en supprimant entre 5 à 10 pour cent de sa bordure extérieure sans risque pour le contenu important. Mise à l’échelle Rognage RemplissageChapitre 21 Ajout de réglages de géométrie 291  Case « Détecter automatiquement les réglages de rognage pour le format Letterbox » : cette case permet à Compressor de déterminer si le fichier multimédia source a été mis au format Letterbox et, si c’est le cas, de saisir des valeurs de rognage pour supprimer les bandes noires. Remarque : si vous souhaitez transcoder un fichier multimédia source de taille normale (720 x 486) avec une résolution standard (DS) à l’aide d’un réglage MPEG-2 NTSC, votre fichier multimédia de sortie est automatiquement rogné de deux pixels à partir du haut et de quatre à partir du bas afin d’obtenir les dimensions MPEG-2 requises de 720 x 480, sauf si vous avez déjà appliqué des attributs de rognage. Cet attribut de rognage n’est que temporaire et n’est pas enregistré dans le réglage. Vous pouvez visualiser le rognage automatique via la méthode habituelle en double-cliquant sur le réglage dans la tâche afin d’ouvrir la fenêtre Preview. Pour plus d’informations sur le menu local Format vidéo, consultez la section « À propos de la sous-fenêtre Encodeur MPEG-2 » à la page 198. Réglages Dimensions (pixels encodés) Les réglages de la section Dimensions ne sont actifs que lorsque vous utilisez les formats d’encodage de sortie MPEG- 4, QuickTime Movie et Séquence d’images. Pour les autres formats, les réglages apparaissent estompés, mais il est possible de voir ceux qui seront utilisés une fois le lot envoyé.  Taille d’image : ces champs de texte et les menus locaux qui y sont associés vous permettent de personnaliser la taille d’image et les proportions de votre fichier multimé- dia de sortie. Choisissez l’un des réglages suivants : 100 % de la source, 50 % de la source, 25 % de la source, 320 x 240, 640 x 480, 720 x 480, 720 x 486, 1280 x 720, 1920 x 1080 ou Personnalisé (réglage défini manuellement). Trois réglages personnalisés avec contrainte de proportions particulières sont également disponibles : Personnalisé (4:3), Personnalisé (16:9) et Personnalisé (2.35:1). Pour les options personnalisées, vous devez saisir dans les champs Largeur et Hauteur les dimensions adaptées à vos besoins. Dans le cas des options personnalisées avec contrainte, vous devez saisir une valeur dans le champ Largeur ou dans le champ Hauteur, afin que l’autre valeur soit automatiquement déterminée.292 Chapitre 21 Ajout de réglages de géométrie Les dimensions pertinentes de la taille de sortie sont automatiquement saisies dans les champs Largeur et Hauteur en fonction de ce que vous choisissez dans les menus locaux.  Menu local « Aspect des pixels » : utilisez ce menu local pour définir les proportions des pixels du fichier multimédia de sortie. Il force les proportions des pixels à se conformer à des formats particuliers. Cela est particulièrement important lors de l’utilisation de certains filtres. Par exemple, si le graphique que vous utilisez pour le filtre Filigrane utilise un cercle et que vous souhaitez vous assurer qu’il ressemblera toujours à un cercle une fois l’opération terminée (et non à un ovale), vous devez choisir le paramètre « Aspect des pixels » correspondant à votre format de sortie. Les options sont les suivantes :  Par défaut : les valeurs de proportions des pixels sont définies en fonction de valeurs de largeur et de hauteur courantes. Ainsi, la valeur par défaut pour 720 x 480 ou 720 x 486 est NTSC CCIR 601/DV NTSC.  Carré : utilisez cette option lorsque la sortie doit être affichée sur des ordinateurs.  NTSC CCIR 601/DV : impose une proportion de 4:3 avec une résolution de 720 x 480 pixels.  NTSC CCIR 601/DV (anamorphosé) : impose une proportion de 16:9 avec une résolution de 720 x 480 pixels.  PAL CCIR 601 : impose une proportion de 4:3 avec une résolution de 720 x 576 pixels.Chapitre 21 Ajout de réglages de géométrie 293  PAL CCIR 601 (anamorphosé) : impose une proportion de 16:9 en utilisant 720 x 576 pixels.  DVCPRO HD 720p60 (16:9) : impose une proportion de 16:9 en utilisant 1280 x 720 pixels.  DVCPRO HD 1080i60 (16:9) : impose une proportion de 16:9 avec une résolution de 1920 x 1080 pixels.  HDV 1080i (16:9) : impose une proportion de 16:9 en utilisant 1440 x 1080 pixels. Cadre d’image de sortie (remplissage)  Remplissage : utilisez ce menu local pour choisir une configuration prédéfinie de remplissage ou le réglage Personnalisé qui vous permet de saisir manuellement des valeurs dans les champs Gauche, Droite, En haut et En bas. Les configurations prédéfinies sont 4x3 1,33:1, 16x9 1,78:1, Panavision 2,35:1, Norme Europe 1,66:1, Norme UK 1,75:1 et Academy 1,85:1.  Gauche, Droite, Haut et Bas : utilisez ces champs pour ajouter des pixels « de remplissage » au pourtour d’une image. Il s’agit en fait du contraire du rognage. Si la taille d’image du fichier multimédia de sortie est différente de celle du fichier multimédia source, il est parfois préférable de remplir l’image plutôt que de la redimensionner. 294 Chapitre 21 Ajout de réglages de géométrie Ajustements de géométrie pour un réglage Utilisez la sous-fenêtre Géométrie de la fenêtre Inspecteur pour rogner, mettre à l’échelle et changer les proportions d’un réglage. Pour ajouter des réglages de rognage, de dimensionnement d’image et de proportions à un réglage : 1 Ouvrez l’onglet Réglages. 2 Dans l’onglet Réglages, sélectionnez le réglage que vous souhaitez modifier. Vous pouvez également sélectionner un réglage déjà appliqué à un fichier multimédia source dans la fenêtre Lot. 3 Cliquez sur l’onglet Géométrie de l’Inspecteur. 4 Saisissez vos réglages de cadre de source (rognage), choisissez les dimensions de la taille de sortie dans le menu local « Taille d’image », puis sélectionnez des réglages de remplissage dans la section « Cadre d’image de sortie ». Vous pouvez voir toutes les modifications apportées au réglage en consultant le tableau de la sous-fenêtre Résumé.Chapitre 21 Ajout de réglages de géométrie 295 Remarque : vous pouvez ajuster la taille de l’image de deux façons différentes : soit vous saisissez des valeurs dans les champs de rognage, soit vous déplacez les lignes rouges du cadre dans la fenêtre Preview. Dans ce dernier cas, les valeurs résultantes apparaissent dynamiquement dans les champs de rognage, ce qui vous permet d’avoir une représentation numérique du rognage du cadre. Maintenez enfoncée la touche Maj afin de forcer le rognage aux proportions, à la hauteur ou à la largeur de la source. Consultez la section « À propos de la sous-fenêtre Géométrie » à la page 290 ou « Prévisualisation d’un plan » à la page 310 pour plus d’informations. Si vous sélectionnez une cible de lot, tout redimensionnement effectué dans la fenêtre Preview est reflété dans la sous-fenêtre Géométrie. Vous pouvez aussi saisir des valeurs directement dans ces champs de rognage. Déplacez les lignes rouges du cadre (à l’aide des poignées) pour ajuster la taille du cadre du fichier de sortie.22 297 22 Ajout d’actions à un réglage Vous pouvez ajuster vos réglages de manière plus précise à l’aide de la sous-fenêtre Actions de la fenêtre Inspecteur. Ce chapitre contient les sections suivantes :  Utilisation des actions de post-transcodage (p. 297)  Ajout d’actions (p. 299)  Déclenchement des droplets AppleScript (p. 301) Utilisation des actions de post-transcodage Pour chaque préréglage, Compressor peut envoyer un message électronique à un destinataire pour l’informer que le transcodage est terminé. Vous pouvez aussi ajouter un script AppleScript par préréglage. Cela vous offre quelques options de post-transcodage pour votre fichier multimédia de sortie, telles que la création d’un script AppleScript permettant d’ajouter des métadonnées à un fichier QuickTime, le transfert automatique du fichier transcodé à un serveur web de diffusion ou la création d’un dossier surveillé déclenchant automatiquement le processus de transcodage chaque fois que vous y faites glisser de nouveaux fichiers multimédias sources. Remarque : dans vos préférences Internet, vous devez configurer un serveur de messagerie sortant pour pouvoir bénéficier de la notification par message électronique. Cette option n’est pas disponible pour les services de courrier nécessitant une authentification SMTP.298 Chapitre 22 Ajout d’actions à un réglage À propos de la sous-fenêtre Actions Utilisez la sous-fenêtre Actions de l’Inspecteur pour configurer les options liées aux envois par message électronique de notifications de fin de transcodage ou aux options « AppleScript de post-transcodage ». La sous-fenêtre Actions contient les éléments suivants :  Notification par courrier électronique à : si vous souhaitez recevoir une notification dès qu’une tâche de transcodage particulière est terminée, sélectionnez cette case et saisissez une adresse électronique valide dans le champ de texte. (Vous ne pouvez spé- cifier qu’une seule adresse.) Cette option est utile si le transcodage d’un fichier multimédia source particulièrement volumineux requiert plusieurs heures. Au lieu de vérifier de façon répétée le déroulement du transcodage, attendez simplement de recevoir un message électronique vous en indiquant la fin. Remarque : pour activer cette fonctionnalité de courrier électronique, vous devez d’abord saisir une adresse électronique et un serveur de courrier sortant dans les Préférences de Compressor. Sélectionnez Compressor > Préférences.  Exécuter AppleScript sur la sortie : sélectionnez cette case pour activer un script choisi. Même si vous avez choisi un script, il ne sera exécuté que si vous avez sélectionné cette case.  Bouton Sélectionner : cliquez sur ce bouton pour sélectionner un script existant que vous souhaitez affecter au fichier de sortie. L’ajout d’un script constitue une méthode utile pour appliquer des actions de post-transcodage à votre tâche, telles qu’ajouter des métadonnées à des fichiers QuickTime ou ajouter des éléments QuickTime interactifs. Bouton Choisir Case à cocher d’envoi d’une notification par message électroniqueChapitre 22 Ajout d’actions à un réglage 299 Ajout d’actions Utilisez la sous-fenêtre Actions dans la fenêtre Inspecteur pour configurer les options de post-transcodage pour le fichier multimédia de sortie, telles que l’envoi d’un message électronique, l’ajout de métadonnées à des fichiers QuickTime ou le transfert du fichier transcodé vers un serveur Web de contenu multimédia ou vers DVD Studio Pro. Pour ajouter une notification par courrier électronique à votre réglage : 1 Ouvrez l’onglet Réglages. 2 Dans l’onglet Réglages, sélectionnez le réglage que vous souhaitez modifier. Vous pouvez également sélectionner un réglage déjà appliqué à un fichier de données source dans la fenêtre Lot. 3 Cliquez sur l’onglet « Actions de l’Inspecteur ». 4 Cochez la case « Notification par courrier électronique à » et introduisez l’adresse électronique appropriée dans le champ contigu. Remarque : pour activer cette fonctionnalité de courrier électronique, vous devez d’abord saisir une adresse électronique et un serveur de courrier sortant dans les Préférences de Compressor. Sélectionnez Compressor > Préférences. Pour ajouter un script à votre réglage : 1 Ouvrez l’onglet Réglages. 2 Dans l’onglet Réglages, sélectionnez le réglage que vous souhaitez modifier. Vous pouvez également sélectionner un réglage déjà appliqué à un fichier de données source dans la fenêtre Lot. 3 Cliquez sur l’onglet « Actions de l’Inspecteur ».300 Chapitre 22 Ajout d’actions à un réglage 4 Cliquez sur le bouton Choisir. La zone de dialogue Sélection de fichier apparaît. 5 Naviguez jusqu’au fichier AppleScript souhaité, puis cliquez sur Ouvrir. Le chemin d’accès du fichier AppleScript apparaît sous le bouton Choisir. Assurez-vous que la case est sélectionnée. Dans le cas contraire, le script ne sera pas appliqué au réglage. Consultez la section « À propos de la sous-fenêtre Actions » à la page 298 pour obtenir plus d’informations.Chapitre 22 Ajout d’actions à un réglage 301 Déclenchement des droplets AppleScript Suivez la procédure ci-dessous pour vous assurer que votre script traitera correctement les fichiers multimédias de sortie Compressor. Pour créer une application droplet AppleScript en vue de traiter les fichiers créés par Compressor : 1 Dans Éditeur de scripts, choisissez Fichier > Enregistrer sous. 2 Dans la zone de dialogue Enregistrer : a Choisissez Application dans le menu local « Format du fichier ». b Désactivez les options Exécutable uniquement, Écran de démarrage et Rester en arrière-plan. c Cliquez sur Enregistrer. Le script est enregistré comme script applicatif. Étant donné que le script contient un gestionnaire « activé à l’ouverture », le script applicatif est enregistré comme application droplet, ce qui est indiqué par une flèche sur son icône. Pour déclencher automatiquement une droplet AppleScript après avoir comprimé des fichiers : 1 Dans Compressor, affectez un préréglage à un fichier Importé de la fenêtre Lot. 2 Dans la fenêtre Lot, sélectionnez le préréglage, puis choisissez Fenêtre > Afficher l’Inspecteur (ou appuyez sur Commande + Option + I). 3 Dans la fenêtre Inspecteur, cliquez sur l’onglet Actions. 4 Activez l’option « Exécuter AppleScript sur la sortie », puis choisissez l’application droplet AppleScript. Informations supplémentaires sur AppleScript Vous trouverez plus d’informations sur l’écriture de scripts destinés à être utilisés avec Compressor sur les sites web suivants :  Développeurs Apple : http://developer.apple.com/applescript/ (en anglais)  Clients généraux Apple : http://macscripter.net/ (en anglais)23 303 23 Utilisation de la fenêtre Preview La fenêtre Preview a deux rôles principaux : vous pouvez l’utiliser pour lire un fichier source dans son format d’origine ou afficher un aperçu du fichier avec les réglages qui lui ont été affectés. Ce chapitre traite des sujets suivants :  À propos de la fenêtre Preview (p. 304)  Prévisualisation d’un plan (p. 310)  Transcodage d’une section du plan à l’aide de la fenêtre Preview (p. 315)  Ajout de marqueurs à un plan (p. 317)  Raccourcis clavier de la fenêtre Preview (p. 323) Lorsque vous utilisez la fenêtre Preview pour comparer la version originale du plan à la version de sortie, vous pouvez effectuer et afficher les modifications en temps réel. Cette comparaison permet de vérifier les effets des réglages sur votre fichier avant d’engager du temps et des ressources dans le processus de transcodage. Il est conseillé de la faire pour vérifier la qualité d’un fichier multimédia de sortie. Version du plan mise à l’échelle, rognée et filtrée Version originale du plan304 Chapitre 23 Utilisation de la fenêtre Preview Vous pouvez également utiliser la fenêtre Preview pour agrandir la taille de l’écran de prévisualisation, ajouter manuellement des images I (MPEG-1 et MPEG-2 uniquement), et désigner une portion d’un fichier de média pour transcodage à l’aide des marqueurs d’entrée et de sortie. À propos de la fenêtre Preview La fenêtre Preview permet de lire des éléments avant de les soumettre à l’étape de transcodage, et de comparer les versions d’un plan pour vous assurer que la qualité du fichier multimédia de sortie est acceptable. La fenêtre Preview contient les éléments suivants :  Sélection d’échelle Preview : permet d’adapter la taille de l’écran de prévisualisation. Les trois paramètres sont 100%, 75% et 50%, mais vous pouvez aussi déplacer la poignée de la fenêtre Preview pour définir la taille à votre guise.  Sélection source/réglage : utilisez ces boutons pour prévisualiser l’élément de lot sélectionné en utilisant les proportions et la taille de la source ou de la sortie. Le bouton Vue source fournit également une limite de rognage que vous pouvez utiliser pour définir un ou plusieurs bords à rogner. Le bouton « Vue de sortie » affiche la version rognée du fichier en tenant compte des réglages de proportions et de taille. Contrôles d’entrée et de sortie Sélection d’échelle Preview Sélection source/réglage Zone d’écran Preview Contrôles de sélection d’élément Contrôles de Timeline Menu local Marqueur Informations sur la source/sortie Contrôles de navigationChapitre 23 Utilisation de la fenêtre Preview 305  Informations sur la source/sortie : la taille d’image et la fréquence d’images du plan sont illustrées dans l’angle inférieur gauche de la fenêtre Preview. La durée du plan (depuis le point d’entrée jusqu’au point de sortie) est affichée dans le coin inférieur droit. Lorsque le bouton Vue source est sélectionné, la taille d’image et la fréquence d’images représentent le plan source. Lorsque le bouton « Vue de sortie » est sélectionné, la taille d’image et la fréquence d’images représentent le réglage de cet élément du lot. Remarque : pour voir la durée totale d’un plan (sans les points d’entrée et de sortie), sélectionnez le fichier source dans la fenêtre Lot et ouvrez la fenêtre de l’Inspecteur (par les menus Fenêtre > Afficher l’Inspecteur). Zone de contrôle de sélection d’élément Vous pouvez utiliser la zone de sélection d’élément pour choisir dans la fenêtre Lot des éléments spécifiques à afficher dans la fenêtre Preview.  Boutons de sélection d’éléments : utilisez ces boutons pour avancer ou reculer dans la liste des fichiers multimédia sources et des plans associés à leurs réglages et disponibles pour la prévisualisation. Dès que vous cliquez dans la liste, l’élément sélectionné apparaît dans le menu local Élément.  Menu local Élément : choisissez, à l’aide de ce menu local, le fichier multimédia source que vous souhaitez prévisualiser avec ou sans les réglages qui lui sont associés. Contrôles d’entrée et de sortie Une fois que vous avez sélectionné l’élément, les contrôles d’entrée et de sortie peuvent être utilisés pour afficher et ajuster les informations de timecode des points d’entrée et de sortie.  Champs de timecode entrée et sortie : les emplacements exacts des points d’entrée et de sortie sont affichés dans ces champs dans le format de timecode standard : hh:mm:ss:ii. Vous pouvez les éditer manuellement en sélectionnant un champ, puis en saisissant de nouvelles valeurs. Si une nouvelle valeur est saisie, le point d’entrée ou de sortie approprié de la Timeline se déplace vers le point spécifié dans l’élément en cours. Boutons de sélection d’éléments Menu local Élément Règle le point d’entrée sur la position de lecture actuelle Règle le point de sortie sur la position de lecture actuelle Timecode du point d’entrée Timecode du point de sortie306 Chapitre 23 Utilisation de la fenêtre Preview Remarque : si votre fichier multimédia source dispose d’une piste de timecode spécifique, le timecode de début et de fin du plan s’affiche dans ces deux champs. Dans tous les autres cas, le timecode commence par 00:00:00:00.  Boutons de point d’entrée et de sortie : faites glisser les boutons « Point d’entrée » (flèche pointant vers la droite) ou « Point de sortie » (flèche pointant vers la gauche) dans la Timeline afin de définir un nouveau point d’entrée ou de sortie. Vous pouvez également utiliser les boutons Définir entrée et Définir sortie (en regard des champs de timecode) afin de définir les points d’entrée et de sortie. Zone d’écran Preview La zone d’écran Preview affiche l’élément actuellement sélectionné. L’écran de prévisualisation contient aussi les éléments suivants :  Curseur de partage de l’écran : déplacez le curseur de partage d’écran situé en haut de l’écran de prévisualisation selon la distance souhaitée pour comparer le fichier multimédia source (à gauche) et le fichier multimédia de sortie (à droite). La division de l’écran est indiquée par ce curseur, mais également par une ligne verticale blanche qui coupe l’image en deux.  Limite de rognage : la limite de rognage n’est disponible que dans la vue Source. Utilisez les poignées pour déplacer les bordures et angles de rognage rouges dans la direction dans laquelle vous souhaitez rogner votre fichier de média de sortie. Quant à la poignée centrale, elle vous permet de déplacer l’image entière dans une direction quelconque tout en conservant ses dimensions. Les nouvelles valeurs (gauche, haut, droite et bas) s’affichent dynamiquement dans l’écran de prévisualisation à mesure que vous rognez le cadre. En outre, si la fenêtre Inspecteur est ouverte et que la cible du lot est sélectionnée, ces mêmes valeurs apparaissent aussi dans les champs de rognage de la sous-fenêtre Géométrie. Sélectionnez la vue Sortie pour afficher les résultats des paramètres de limite de rognage. Limite de rognage Dimensions de rognage (également visibles dans les champs Cadre de source de la sous-fenêtre Géométrie) Poignée de rognage pour l’angle inférieur droit Curseur de partage de l’écranChapitre 23 Utilisation de la fenêtre Preview 307 Contrôles de Timeline Les contrôles de Timeline fournissent des informations sur le plan, notamment les marqueurs qu’il possède et les réglages actuels de point d’entrée et de sortie. Vous pouvez également utiliser la Timeline pour positionner la tête de lecture sur une image spécifique et pour définir les points d’entrée et de sortie.  Timecode de tête de lecture : affiche le timecode de la position de la tête de lecture dans la Timeline à l’aide du format de timecode standard hh:mm:ss:ii. Vous pouvez saisir une nouvelle valeur pour positionner avec précision la tête de lecture dans la Timeline. Remarque : si votre fichier multimédia source dispose d’une piste de timecode spécifique, le timecode du plan s’affiche dans ce champ. Dans tous les autres cas, le timecode commence par 00:00:00:00.  Points d’entrée et de sortie : utilisez ces points si vous souhaitez transcoder uniquement une section de votre fichier multimédia source au lieu de la totalité du fichier. Déplacez les points pour indiquer les points de début et de fin dans le fichier multimédia source que vous souhaitez transcoder. Les champs de timecode d’entrée et de sortie situés en bas de la fenêtre Preview sont mis à jour à mesure que vous faites glisser ces points. Vous pouvez également cliquer sur les boutons « Définir le point d’entrée » et « Définir le point de sortie » afin de définir les points à l’endroit où la tête de lecture est positionnée. Les points d’entrée et de sortie ne sont pas conservés à la fin du transcodage, vous devrez donc les réappliquer à votre plan si vous souhaitez resoumettre un lot depuis le tableau Historique. Les points d’entrée et de sortie sont assignés au fichier multimédia source et non au réglage. Ainsi, quels que soient les points d’entrée et de sortie que vous créez, le résultat est le même pour tous les autres réglages associés à ce fichier multimédia source dans le lot en cours.  Tête de lecture : elle vous donne une indication visuelle de l’emplacement de l’image affichée dans le plan. Vous pouvez déplacer la tête de lecture pour naviguer et atteindre rapidement un point donné du plan.  Marqueur : fournit une indication visuelle de l’emplacement où un marqueur a été placé dans le plan. La couleur du marqueur indique son type :  Bleu : marqueurs de compression (il s’agit des marqueurs de compression que l’on ajoute manuellement).  Violet : marqueurs de chapitre ou de podcast (il s’agit de marqueurs nommés destinés à servir à la navigation ou d’illustrations dans le fichier multimédia de sortie). Timecode de tête de lecture Tête de lecture Marqueur Point d’entrée Point de sortie308 Chapitre 23 Utilisation de la fenêtre Preview  Vert : marqueurs de montage/de coupe (il s’agit de marqueurs de compression qui sont ajoutés automatiquement aux points de montage de la séquence Final Cut Pro). Consultez la section « Ajout de marqueurs à un plan » à la page 317 pour plus d’informations. Contrôles de navigation Ces contrôles positionnent la tête de lecture vers l’arrière ou l’avant là où se trouve exactement soit le prochain marqueur, soit le prochain marqueur point d’entrée ou de sortie, ce qui permet de naviguer facilement et rapidement entre les différents marqueurs. Vous pouvez aussi utiliser ces boutons pour placer rapidement la tête de lecture au début ou à la fin du plan.  Bouton Lecture/Pause : démarre ou arrête la lecture du plan. Si vous arrêtez la lecture, la tête de lecture reste à sa position actuelle. Pour revenir au début du plan, déplacez la tête de lecture vers l’arrière jusqu’au début du plan ou cliquez sur le contrôle de déplacement vers le marqueur précédent.  Bouton de déplacement vers le marqueur précédent ou suivant : déplace la tête de lecture soit vers le marqueur précédent ou suivant, soit vers le début ou la fin du plan si aucun autre marqueur n’est présent.  Boutons de retour et d’avance rapide : permet de lire votre plan dans les deux directions, à deux fois la vitesse normale. Maintenez un bouton enfoncé pour poursuivre le balayage dans la direction correspondante.  Bouton « Lecture en boucle » : cliquez sur ce bouton pour lire le média en boucle continue. Déplacement vers le marqueur précédent Lecture/pause Retour rapide Déplacement vers le marqueur suivant Avance rapide Bouton « Lecture en boucle »Chapitre 23 Utilisation de la fenêtre Preview 309 Menu local Marqueur Utilisez le menu local Marqueur pour gérer les marqueurs du plan. Même si vous pouvez utiliser les marqueurs avec tous les réglages, ils n’affectent vraiment le fichier de sortie que lorsque le réglage utilise les formats MPEG-1, MPEG-2, MPEG-4 (configuré pour le podcasting), H.264 pour DVD Studio Pro, H.264 pour appareils Apple ou séquence QuickTime. Consultez la section « Ajout de marqueurs à un plan » à la page 317 pour plus d’informations.  Importer une liste des chapitres : cette option ouvre une zone de dialogue d’importation de fichiers qui vous permet d’importer un fichier contenant la liste des marqueurs temporels de chapitre du fichier multimédia source. Consultez la section « Ajout de marqueurs de chapitre ou de podcast à un plan » à la page 320 pour plus d’informations.  Ajouter/supprimer le marqueur : la fonction du bouton varie selon la position de la tête de lecture (sur un marqueur ou non).  Lorsqu’elle n’est pas positionnée sur un marqueur, le bouton indique Ajouter un marqueur. Si vous cliquez sur Ajouter un marqueur, un nouveau marqueur est placé sur la Timeline, à la position actuelle de la tête de lecture.  Lorsqu’elle est positionnée sur un marqueur, le bouton indique Supprimer le marqueur. Si vous cliquez sur Supprimer le marqueur, le marqueur actuel est supprimé.  Modifier : disponible uniquement lorsque la tête de lecture est positionnée sur un marqueur. Cliquer sur Modifier ouvre une zone de dialogue permettant de configurer le marqueur. Cette zone de dialogue vous permet de définir le type de marqueur et de lui assigner une URL et une image. Consultez la section « Ajout de marqueurs de chapitre ou de podcast à un plan » à la page 320 pour plus d’informations.  Afficher les marqueurs de chapitre/podcast : contrôle si les marqueurs de chapitre et de podcast (ceux qui possèdent un nom) sont affichés dans la Timeline. Une coche indique s’ils sont affichés.  Afficher les marqueurs de compression : permet de contrôler si les marqueurs de compression (ceux sans nom) sont affichés dans la Timeline. Une coche indique s’ils sont affichés.  Afficher marqueurs modifiés/coupés : contrôle si les marqueurs placés automatiquement à chaque point de montage par une autre application, telle que Final Cut Pro, sont affichés dans la Timeline. Une coche indique qu’ils sont affichés.310 Chapitre 23 Utilisation de la fenêtre Preview Prévisualisation d’un plan Vous pouvez soit prévisualiser un fichier multimédia source d’origine seul, soit le prévisualiser avec les réglages qui lui ont été associés. Les fichiers multimédia sources apparaissent dans la liste sous leurs noms de fichiers. Tous les réglages appliqués au fichier multimédia source apparaissent immédiatement sous le nom du fichier, ce qui facilite leur identification. Le fait de visualiser le fichier multimédia source d’origine seul ou le fichier multimédia source avec les réglages qui lui ont été associés détermine les options affichées dans la fenêtre Preview. Important : il est impossible de prévisualiser les réglages effectués dans les sous-fenê- tres Encodeur ou Contrôles d’images. Seuls les réglages effectués dans les sous-fenê- tres Filtres et Géométrie peuvent être prévisualisés. Consultez la section « Transcodage d’une section du plan à l’aide de la fenêtre Preview » à la page 315 pour obtenir une autre méthode de prévisualisation des réglages effectués dans les sous-fenêtres Encodeur et Contrôles d’images. Pour prévisualiser un fichier multimédia source : 1 Ouvrez la fenêtre Preview. Remarque : vous pouvez ouvrir votre fichier multimédia source dans la fenêtre Preview en une seule étape, en double-cliquant sur ses tâches dans la fenêtre Lot. 2 Procédez de l’une des façons suivantes :  Choisissez un fichier multimédia source dans le menu local Élément (identifié par son nom de fichier).  Cliquez sur les boutons de sélection d’éléments jusqu’à ce que le fichier multimédia source apparaisse dans le menu local.  Sélectionnez le fichier multimédia source dans ses tâches au sein de la fenêtre Lot. Seul le bouton Vue source est valide (le bouton « Vue de sortie » est inactif), car vous avez sélectionné un fichier multimédia source normal, ce qui vous permet uniquement de visualiser le plan original, sans les lignes de rognage ou les lignes de division d’écran. Un réglage appliqué au fichier multimédia source « Nancy at table CU 5 ». La coche indique qu’elle est affichée dans la fenê- tre Preview. Le fichier multimédia source d’origine intitulé « Nancy at table CU 5 » Sélectionnez l’image des barres de couleurs par défaut.Chapitre 23 Utilisation de la fenêtre Preview 311 3 Choisissez la taille de l’écran de prévisualisation dans le menu local de mise à l’échelle ou déplacez la poignée de la fenêtre Preview jusqu’à obtenir la taille souhaitée. Cela n’affecte pas la taille du cadre d’affichage du fichier de média de sortie proprement dit. Celle-ci ne peut être définie qu’à partir de la sous-fenêtre Géométrie de la fenêtre Inspecteur. 4 Cliquez sur le bouton Lecture pour prévisualiser le fichier multimédia source sélectionné. Les fichiers source contenant des marqueurs, tels que les fichiers de Final Cut Pro, les affichent dans la Timeline. Vous pouvez gérer les marqueurs si nécessaire. Consultez la section « Ajout de marqueurs à un plan » à la page 317 pour plus d’informations. Pour prévisualiser un plan associé à un réglage : 1 Ouvrez la fenêtre Preview. Remarque : vous pouvez ouvrir le plan dans la fenêtre Preview en une seule étape, en double-cliquant sur la cible (qui contient le réglage) d’une tâche dans la fenêtre Lot. 2 Procédez de l’une des façons suivantes :  Choisissez un réglage dans le menu local Élément (les noms de réglages situés en retrait, pas les noms de fichiers sources).  Cliquez sur les boutons de sélection d’élément jusqu’à ce que le plan et son réglage apparaisse dans le menu local.  Sélectionnez le réglage du plan dans ses tâches au sein de la fenêtre Lot. Les deux boutons Vue source et Vue réglage (sortie) sont actifs, ce qui vous permet de passer d’une vue à l’autre. Comme vous avez sélectionné un réglage, vous pouvez utiliser le curseur de division d’écran et les lignes de rognage de la fenêtre Preview. 3 Cliquez sur le bouton Vue de réglage dans l’angle supérieur droit de la fenêtre Preview. 4 Choisissez la taille de l’écran de prévisualisation dans le menu local de mise à l’échelle ou déplacez la poignée de la fenêtre Preview jusqu’à obtenir la taille souhaitée. Cela n’affecte pas la taille du cadre d’affichage du fichier de média de sortie proprement dit. Celle-ci ne peut être définie qu’à partir de la sous-fenêtre Géométrie de la fenêtre Inspecteur. Remarque : si vous adaptez la taille de l’image d’un réglage (dans la sous-fenêtre Géométrie) en cours de prévisualisation dans la fenêtre Preview, il se peut que la taille de l’image ne soit pas actualisée en conséquence. Si cela se produit, sélectionnez Échantillon de séquence ou une autre cible dans le menu local Élément, puis sélectionnez cette cible à nouveau afin qu’elle affiche la taille d’image adéquate.312 Chapitre 23 Utilisation de la fenêtre Preview 5 Faites glisser le curseur de partage de l’écran situé en haut de l’écran vers la gauche ou la droite pour déplacer plus ou moins la ligne de division de l’écran sur la portion transcodée du plan. 6 Utilisez les limites de rognage pour ajuster la taille du cadre d’affichage de votre fichier multimédia de sortie. 7 Vérifiez les résultats de votre rognage en cliquant sur les boutons Vue source et « Vue de réglage ». Remarque : paradoxalement, plus vous réduisez l’image d’un plan en la rognant, plus le facteur d’échelle de l’image de sortie sera grand, car la géométrie de cadrage est fonction des proportions de la taille de sortie, et pas des paramètres du fichier source. Tout se passe comme si vous agrandissiez l’image, avec comme conséquence des pixels plus grands et une dégradation générale de l’image. En conséquence, veillez à ne pas rogner une image agrandie pour lui redonner sa taille originale par rapport à la taille originale du cadre. Limites de rognage et poignées Curseur de partage de l’écran Ligne de division de l’écran Dimensions de rognage (également visibles dans les champs Cadre de source de la sous-fenêtre Géométrie) Boutons de visualisation de Menu local Élément la source et des réglages Boutons de visualisation de la source et des réglagesChapitre 23 Utilisation de la fenêtre Preview 313 8 Sélectionnez le filtre que vous voulez ajuster et effectuez les modifications jugées nécessaires. Remarque : dans la liste Filtres, la case située à gauche du filtre que vous sélectionnez doit être cochée. Dans le cas contraire, le filtre ne sera pas appliqué au réglage. Sélection de réglage Filtres sélectionnés vus dans la fenêtre Preview314 Chapitre 23 Utilisation de la fenêtre Preview 9 Si vous souhaitez que la taille du cadre d’affichage de votre fichier de média de sortie soit différente de celle de votre fichier multimédia source, ouvrez la sous-fenêtre Géométrie dans la fenêtre Inspecteur, puis choisissez une valeur dans le menu local « Taille d’image » ou introduisez des valeurs de taille de sortie différentes dans les champs appropriés. Remarque : conformément aux spécifications MPEG-2, la taille des cadres d’affichage dans ce format est préétablie. Par conséquent, lorsque vous utilisez ce format, tous les éléments qui concernent la taille de sortie sont indisponibles. 10 Dans la fenêtre Preview, cliquez sur le bouton Lecture pour visualiser le plan. Consultez la section « À propos de la fenêtre Preview » à la page 304 pour plus de détails sur ces paramètres. Dimensions de rognage (également affichées dans la fenêtre Inspecteur quand les lignes de rognage sont déplacées)Chapitre 23 Utilisation de la fenêtre Preview 315 Transcodage d’une section du plan à l’aide de la fenêtre Preview Alors que les options définies par Géométrie (tels que le rognage et le changement d’échelle) et Filtres s’affichent instantanément dans la fenêtre Preview, les réglages « Contrôles d’images » et Encodeur ne le sont pas. Pour prévisualiser ces derniers, lancez un transcodage de test sur une petite section de votre fichier multimédia source. Utilisez la fenêtre Preview pour définir les points d’entrée et de sortie, afin de transcoder uniquement une section de votre fichier multimédia au lieu du fichier entier. Lecture de fichiers Dolby Digital Professional (AC-3) dans la fenêtre Preview Vous pouvez utiliser la fenêtre Preview pour lire des fichiers Dolby Digital Professional (AC-3). Compressor comprend un décodeur Dolby Digital qui vous permet, lorsque vous ajoutez un fichier multimédia source AC-3 à un lot, de l’écouter à l’aide des hautparleurs de votre ordinateur. Il peut s’agir des haut-parleurs stéréo intégrés, qui lisent une version sous-mixée du fichier AC-3 s’il contient plus de deux canaux, ou de hautparleurs Surround externes connectés à une sortie USB ou FireWire. Important : pendant que Compressor décode le fichier audio Dolby Digital, vous ne pouvez pas utiliser la sortie optique de votre ordinateur pour écouter un aperçu du son Dolby Digital. Cette caractéristique est importante si vous utilisez l’encodeur Dolby Digital Professional, car vous ne pouvez pas prévisualiser les réglages de l’encodeur en temps réel dans la fenêtre Preview. Vous pouvez cependant ajouter les fichiers AC-3 encodés à un lot et les lire, afin de vérifier si les réglages de l’encodeur produisent de bons résultats. Consultez la section « Transcodage d’une section du plan à l’aide de la fenêtre Preview » à la page 315 pour plus d’informations sur la création d’un court plan test à cette fin.316 Chapitre 23 Utilisation de la fenêtre Preview Pour désigner une section de votre fichier multimédia pour transcodage : 1 Ouvrez la fenêtre Preview. 2 Choisissez un plan dans le menu local ou cliquez sur les boutons de sélection de l’élé- ment jusqu’à ce que le plan apparaisse dans le menu local. 3 Procédez de l’une des façons suivantes :  Faites glisser le point d’entrée jusqu’à l’emplacement approprié.  Faites glisser la tête de lecture à l’endroit où vous souhaitez que le transcodage commence, puis cliquez sur le bouton « Définir le point d’entrée ». 4 Procédez de l’une des façons suivantes :  Faites glisser le point de sortie jusqu’à l’emplacement approprié.  Faites glisser la tête de lecture à l’endroit où vous souhaitez que le transcodage se termine, puis cliquez sur le bouton « Définir le point de sortie ». Le transcodage ne concerne que le segment du fichier multimédia compris entre les deux points que vous venez de définir. Le reste du plan n’est pas transcodé. Important : lorsque vous utilisez des marqueurs pour spécifier un segment du fichier multimédia source à transcoder, ils s’appliquent à toutes les cibles associées à la tâche du fichier. Vous pouvez ajouter plusieurs fois un fichier multimédia de sortie à un lot, afin de créer plusieurs tâches, et définir des points d’entrée et de sortie différents pour chaque tâche. Bouton « Définir le point d’entrée » Tête de lecture Point d’entrée Point de sortie Bouton « Définir le point de sortie »Chapitre 23 Utilisation de la fenêtre Preview 317 Ajout de marqueurs à un plan Compressor peut importer et créer différents types de marqueurs. Compressor peut en outre importer des listes complètes de marqueurs de chapitre. Formats de fichiers de sortie compatibles avec les marqueurs Tous les formats de fichiers de sortie ne sont pas compatibles avec les marqueurs. Voici une liste des formats qui les reconnaissent.  MPEG-2  MPEG-4 configuré pour le podcasting (audio uniquement et si la case « Autoriser les informations de podcasting » est activée)  Séquences QuickTime  H.264 pour DVD Studio Pro  H.264 pour appareils Apple Vous pouvez définir et configurer des marqueurs pour d’autres formats de fichiers de sortie, mais ils ne seront pas intégrés au fichier de sortie encodé. Types de marqueurs Compressor peut importer et créer les types de marqueurs suivants :  Marqueurs de chapitre : les marqueurs de chapitre permettent d’accéder facilement aux points d’index d’un DVD, d’une séquence QuickTime ou d’un podcast. Compressor et DVD Studio Pro peuvent tous deux lire les marqueurs de chapitre exportés depuis Final Cut Pro. QuickTime Player peut interpréter n’importe quel texte contenant des horodatages comme piste de chapitre. Les marqueurs de chapitre peuvent également comporter des illustrations ou une URL qui apparaissent lors de la lecture d’un podcast. Ces marqueurs sont affichés en violet dans la Timeline de la fenêtre Preview.  Marqueurs de podcast : comme pour les marqueurs de chapitre, il est possible d’assigner des illustrations et une URL aux marqueurs de podcast. Les marqueurs de podcast ne peuvent toutefois pas être utilisés pour accéder à des images au sein du plan et ils n’apparaissent pas sous la forme de marqueurs de chapitre dans DVD Studio Pro ni QuickTime. Vous pouvez utiliser les marqueurs de podcast pour créer un diaporama (contenant des URL) que les utilisateurs peuvent regarder en lisant un podcast audio.  Marqueurs de compression : également appelés marqueurs de compression manuels, il s’agit des marqueurs que vous pouvez ajouter à une séquence Final Cut Pro (ou dans la fenêtre Preview de Compressor) pour indiquer à quel moment Compressor doit générer une image I MPEG au cours de la compression. Consultez la section « Compréhension des types de GOP et d’images » à la page 211 pour plus d’informations sur les images I.318 Chapitre 23 Utilisation de la fenêtre Preview Ces marqueurs apparaissent en bleu dans la Timeline de la fenêtre Preview et sont du type créé lorsque vous ajoutez des marqueurs manuellement à l’aide de Compressor. Vous pouvez convertir des marqueurs de compression en marqueurs de chapitre en choisissant l’option Modifier du menu local Marqueurs.  Marqueurs de montage/de coupe : également appelés marqueurs de compression automatiques, ces marqueurs sont générés automatiquement par Final Cut Pro à chaque coupe ou point de transition d’une séquence. Au cours du transcodage, Compressor utilise les marqueurs de montage/de coupe pour générer des images I MPEG sur ces points, ce qui améliore la qualité de la compression. Ces marqueurs apparaissent en vert dans la Timeline de la fenêtre Preview. Remarque : DVD Studio Pro ignore les marqueurs de montage/de coupe, car ils risquent d’interférer avec l’alignement GOP des vidéo DVD multi-angles. Pour plus d’informations à ce sujet, consultez la documentation incluse avec DVD Studio Pro. Ajout et suppression manuelle de marqueurs La fenêtre Preview intègre une prise en charge complète des marqueurs, y compris la possibilité de gérer les marqueurs existants du fichier multimédia source, d’ajouter ou de supprimer manuellement des marqueurs et d’importer des listes de marqueurs de chapitre (décrit à la section « Ajout de marqueurs de chapitre ou de podcast à un plan » à la page 320). Pour ajouter un marqueur de compression à votre plan : 1 Ouvrez la fenêtre Preview. 2 Sélectionnez les éléments « Afficher les marqueurs de chapitre/podcast » et « Afficher les marqueurs de compression » dans le menu local Marqueur. 3 Choisissez un plan dans le menu local Élément ou cliquez sur le bouton de sélection d’élément jusqu’à ce que le plan apparaisse dans le menu local. Remarque : en ce qui concerne les plans contenant des marqueurs, tels que ceux de Final Cut Pro, ces marqueurs apparaissent dans la Timeline. Vous pouvez modifier ces marqueurs de la même façon que si vous les aviez saisis manuellement.Chapitre 23 Utilisation de la fenêtre Preview 319 4 Effectuez l’une des opérations suivantes pour déterminer l’emplacement du marqueur :  Faites glisser la tête de lecture à l’endroit où vous souhaitez ajouter un marqueur.  Saisissez une valeur de timecode dans le champ de timecode de la tête de lecture. 5 Pour ajouter un marqueur, effectuez l’une des opérations suivantes :  Cliquez sur le bouton Marqueur et choisissez Ajouter un marqueur dans le menu local.  Appuyez sur M. Un marqueur bleu apparaît dans la Timeline. Il est possible de convertir les marqueurs de compression en marqueurs de chapitre à l’aide de l’option Modifier du menu local Marqueurs. Consultez la section « Ajout de marqueurs de chapitre ou de podcast à un plan » à la page 320 pour plus d’informations. Pour supprimer un marqueur du plan : 1 Cliquez sur les contrôles « Aller au marqueur précédent » ou « Aller au marqueur suivant » pour déplacer la tête de lecture vers le marqueur que vous souhaitez supprimer. 2 Pour supprimer le marqueur, effectuez l’une des opérations suivantes :  Cliquez sur le bouton Marqueur et choisissez Supprimer le marqueur dans le menu local.  Appuyez sur M. Le marqueur disparaît. Un marqueur bleu apparaît sous la tête de lecture après l’ajout du marqueur.320 Chapitre 23 Utilisation de la fenêtre Preview Ajout de marqueurs de chapitre ou de podcast à un plan Pour ajouter manuellement un marqueur de chapitre ou de podcast à un plan, vous devez d’abord ajouter un marqueur de compression (voir description à la section précédente), puis modifier le marqueur. Remarque : un podcast peut contenir des marqueurs de chapitre et des marqueurs de podcast. La seule différence est que la personne qui visualise le plan peut naviguer directement jusqu’à un marqueur de chapitre, mais ne peut pas naviguer jusqu’à un marqueur de podcast. Consultez la section « Types de marqueurs » à la page 317 pour plus d’informations. Pour ajouter manuellement un marqueur de podcast à un plan : 1 Effectuez l’une des opérations suivantes pour déterminer l’emplacement du marqueur :  Faites glisser la tête de lecture à l’endroit où vous souhaitez ajouter un marqueur.  Saisissez une valeur de timecode dans le champ de timecode de la tête de lecture. 2 Pour ajouter un marqueur, effectuez l’une des opérations suivantes :  Cliquez sur le bouton Marqueur et choisissez Ajouter un marqueur dans le menu local.  Appuyez sur M. Un marqueur de compression bleu apparaît dans la Timeline. 3 Ouvrez le menu local Marqueurs, puis choisissez l’option Modifier (ou appuyez sur Commande + E). Une zone de dialogue permettant de modifier le marqueur apparaît. 4 Choisissez Chapitre ou Podcast dans le menu local Type.Chapitre 23 Utilisation de la fenêtre Preview 321 5 Nommez le chapitre en remplissant le champ correspondant. Concernant les marqueurs de chapitre, ce nom apparaît dans le fichier multimédia de sortie où il peut être visualisé à l’aide de QuickTime Player, dans DVD Studio Pro (qui permet également de le modifier) et dans divers appareils de lecture. Pour les marqueurs de podcast, ce nom n’est pas visible par la personne qui regarde le plan. 6 Vous pouvez également saisir une URL dans le champ URL. Cette URL s’applique uniquement aux podcasts. Le nom du marqueur apparaît au-dessus de l’illustration et l’utilisateur peut cliquer dessus pour ouvrir le site correspondant dans le navigateur web. 7 Vous pouvez également associer une image au marqueur en choisissant l’une des options suivantes dans le menu Image :  Aucun : aucune image n’est associée au marqueur.  Image dans la source : vous choisissez une image dans le fichier multimédia source. L’image par défaut est l’image qui se trouve 2 secondes plus loin que l’image correspondant au marqueur de chapitre.  Depuis le fichier : cette option ouvre une zone de dialogue de sélection de fichiers qui vous permet de sélectionner un fichier d’image fixe à associer au marqueur. Remarque : les images associées aux marqueurs de chapitre sont ignorées par DVD Studio Pro. 8 Clique sur OK pour fermer la zone de dialogue. Le marqueur devient violet dans la Timeline pour indiquer qu’il s’agit désormais d’un marqueur de chapitre ou de podcast. Vous pouvez utiliser les boutons Marqueur précé- dent et Marqueur suivant pour sélectionner d’autres marqueurs de la Timeline à modifier. Vous pouvez également importer une liste de marqueurs de chapitre. Ces listes sont soit au format QuickTime TeXML (format reposant sur XML pour l’élaboration de pistes textuelles temporelles compatibles avec 3GPP dans un fichier de séquence QuickTime), soit au format texte des fichiers de listes de chapitres pris en charge par DVD Studio Pro. Pour plus d’informations, consultez la section « Création de listes de marqueurs de chapitre en texte brut, » ci-après. Pour importer une liste de marqueurs de chapitre : 1 Ouvrez la fenêtre Preview. 2 Choisissez un plan dans le menu local Élément ou cliquez sur le bouton de sélection d’élément jusqu’à ce que le plan apparaisse dans le menu local. 3 Dans le menu local Marqueurs, choisissez « Importer la liste des chapitres ». Une zone de dialogue de sélection de fichiers s’ouvre et vous permet de trouver et de sélectionner le fichier de marqueurs de chapitre correspondant au fichier multimédia de sortie. 322 Chapitre 23 Utilisation de la fenêtre Preview 4 Sélectionnez le fichier de marqueurs de chapitre, puis cliquez sur Ouvrir. Les marqueurs sont importés et ajoutés à la Timeline de la fenêtre Preview. Remarque : alors que tous les marqueurs importés à l’aide de la liste des marqueurs de chapitre sont configurés comme marqueurs de chapitre, vous pouvez utiliser la zone de dialogue de modification des marqueurs pour les transformer en marqueurs de podcast ou de compression. De plus, vous pouvez y ajouter des URL et des illustrations si vous le souhaitez. Important : les valeurs de timecode de la liste doivent être basées sur le timecode du fichier multimédia source. Création de listes de marqueurs de chapitre en texte brut Vous pouvez créer une liste de points de timecode que Compressor peut importer afin de créer des marqueurs. Les valeurs de timecode doivent correspondre aux timecode du plan vidéo de la piste. La liste des valeurs de timecode doit se présenter sous la forme d’un fichier en format texte brut ; vous pouvez le créer à l’aide de TextEdit (à condition d’enregistrer le fichier en texte brut). Si vous créez la liste avec une application de traitement de texte plus évoluée, veillez à enregistrer le fichier comme fichier texte ASCII sans aucun formatage. Le fichier doit respecter les règles suivantes :  Chaque marqueur doit se trouver sur une nouvelle ligne qui commence avec une valeur de timecode au format « 00:00:00:00 ». Ces valeurs identifient les positions du marqueur.  À la suite de la valeur de timecode, vous pouvez insérer le nom du marqueur. Vous pouvez utiliser une virgule, un espace ou une tabulation pour séparer la valeur du timecode du nom du marqueur.  Toutes les lignes qui ne commencent pas par une valeur de timecode sont ignorées. Cela vous permet d’ajouter facilement des commentaires à la liste.  Il est inutile d’établir la liste des valeurs de timecode selon l’ordre chronologique.Chapitre 23 Utilisation de la fenêtre Preview 323 Raccourcis clavier de la fenêtre Preview Commande clavier Fonction Démarre une animation arrière rapide. Démarre une animation avant rapide. Lecture arrière du plan image par image. Lecture avant du plan image par image. Démarre ou arrête la lecture d’un plan. Ajoute ou supprime un marqueur. Lorsque la tête de lecture est positionnée sur un marqueur, ouvre la zone de dialogue Modifier marqueur. Définit un point d’entrée pour le plan. Définit un point de sortie pour le plan. J L espace M E l O24 325 24 Création et changement de destinations Compressor permet de choisir l’emplacement d’enregistrement des fichiers transcodés. Ce chapitre traite des sujets suivants :  À propos de l’onglet Destinations (p. 326)  Utilisation de l’Inspecteur avec l’onglet Destinations (p. 327)  Création d’une destination (p. 328)  Triangles d’avertissement (p. 332)  Suppression et duplication d’une destination (p. 333)  Création de destinations à utiliser avec DVD Studio Pro (p. 335) Si vous ne sélectionnez aucune destination, le fichier de sortie est enregistré dans le dossier du fichier multimédia source. Cela correspond peut-être à vos besoins, mais s’il existe plusieurs serveurs de téléchargement distants ou que vous souhaitez simplement obtenir un type spécifique de fichier de sortie à un emplacement donné, vous devez définir cette destination. Si un volume est ouvert sur votre bureau, il est traité de la même façon que s’il s’agissait d’une destination locale et vous pouvez y enregistrer directement les fichiers multimé- dias de sortie, sans qu’il soit nécessaire pour vous de suivre la procédure supplémentaire requise dans le cas des destinations distantes, telles que l’indication du nom d’hôte et la saisie du nom d’utilisateur et du mot de passe. Lorsque vous utilisez l’option distante pour votre destination, vous pouvez enregistrer vos fichiers dans n’importe quel dossier du répertoire Utilisateur de cet ordinateur distant. Une fois que vous aurez créé toutes les destinations dont vous avez besoin, il ne sera plus nécessaire pour vous de rouvrir l’onglet Destinations puisque vous pouvez les sélectionner directement à partir de la fenêtre Lot. Remarque : assurez-vous que les fichiers de sortie disposent des accès et des droits appropriés pour les destinations distantes que vous spécifiez. 326 Chapitre 24 Création et changement de destinations À propos de l’onglet Destinations Utilisez l’onglet Destinations conjointement avec la fenêtre Inspecteur pour créer, modifier ou supprimer vos réglages de destination et ajouter des identificateurs de fichier au nom de vos fichiers multimédia de sortie. L’onglet Destinations contient les éléments suivants :  Liste Destinations : énumère les noms et les chemins d’accès des destinations. Il existe quatre destinations par défaut dans le dossier Apple : Source est le dossier dont provient le fichier multimédia source ; Bureau est le dossier « Bureau de l’utilisateur » ; « Dossier des séquences de l’utilisateur » est le dossier « Séquences de l’utilisateur » ; « Stockage de clusters » est l’emplacement de stockage de travail d’un cluster. Remarque : le stockage de clusters ne s’applique qu’aux installations de Compressor sur lesquelles le traitement distribué est activé. La fonctionnalité de traitement distribué est limitée aux ordinateurs sur lesquels est installé Final Cut Studio.  Ajouter (+) : pour créer une destination locale ou distante, cliquez sur ce bouton, puis choisissez soit Local, soit À distance dans le menu local.  Si vous choisissez Local, une zone de dialogue vous permet de sélectionner un dossier de destination.  Si vous choisissez À distance, la zone de dialogue À distance apparaît. Saisissez les informations FTP concernant le nom de l’hôte, le chemin d’accès du fichier et le mot de passe afin d’accéder à l’emplacement distant. Vous pouvez aussi saisir un emplacement iDisk. Destinations par défaut Destinations personnalisées Bouton Ajouter Bouton Supprimer Bouton Dupliquer Menu local « Modèle de nom de fichier » Exemple de ligne de nom de fichier Identificateurs de nom de fichier par défautChapitre 24 Création et changement de destinations 327  Bouton Dupliquer : crée une copie de la destination sélectionnée et la place dans le dossier Personnalisé. Au lieu de créer une destination de zéro, utilisez cette fonction pour en créer une autre à partir d’une destination existante, que vous pouvez ensuite paramétrer selon vos besoins.  Supprimer (–) : supprime immédiatement la destination personnalisée sélectionnée de l’onglet Destinations. Aucune confirmation ne vous est demandée, soyez donc sûr de vouloir supprimer la destination avant de cliquer sur ce bouton. Remarque : vous ne pouvez pas supprimer les destinations du dossier Apple. Utilisation de l’Inspecteur avec l’onglet Destinations Lorsque vous double-cliquez ou sélectionnez une destination sous l’onglet Destinations, la fenêtre Inspecteur s’ouvre. Elle contient les éléments suivants :  Nom : utilisez ce champ pour modifier le nom du préréglage de destination.  Modèle : utilisez ce menu local pour ajouter des identificateurs de fichier à votre fichier multimédia de sortie. Ce champ peut être édité manuellement. Le fait de sélectionner l’un des identificateurs suivants ajoute cet identificateur à la suite du nom de votre fichier multimédia de sortie :  Date : indique, selon le format ci-après, la date à laquelle le fichier a été transcodé : AAAA-MM-JJ.  Nom du réglage : nom du réglage utilisé pour la tâche de transcodage.  Nom du média source : nom du fichier source sans son extension.  Extension du média source : extension du fichier source.328 Chapitre 24 Création et changement de destinations  Échantillon du modèle défini : affiche un échantillon de ce à quoi ressemblera le nom du fichier de sortie ainsi que les identificateurs de fichier que vous avez ajoutés. Vous ne pouvez pas éditer cette ligne, mais celle-ci est modifiée dynamiquement en fonction des identificateurs que vous ajoutez ou supprimez.  Chemin : affiche le chemin du dossier de destination. Création d’une destination Vous utilisez l’onglet Destinations avec la fenêtre Inspecteur pour créer et affecter une destination ainsi que pour ajouter des identificateurs de fichier à votre fichier de sortie. Si vous souhaitez sauvegarder vos fichiers multimédias de sortie à un emplacement distant, vous devez saisir des informations dans la zone de dialogue À distance pour que Compressor puisse accéder avec succès au serveur distant. Vous pouvez créer les destinations suivantes :  Local : tout répertoire sur votre ordinateur.  Volume ouvert : tout volume ouvert partagé sur votre ordinateur.  À distance : répertoire situé à l’emplacement par défaut d’un serveur FTP ou iDisk, si vous disposez des autorisations et des droits d’accès appropriés. Remarque : par défaut, la destination du fichier multimédia de sortie est le même dossier que celui dont proviennent les fichiers multimédias sources. Vous pouvez remplacer la destination par défaut par n’importe quel autre préréglage de destination. Choisissez Compressor > Préférences et utilisez le menu local « Destination par défaut » pour choisir parmi la liste des préréglages de destination.Chapitre 24 Création et changement de destinations 329 Pour créer une destination locale ou sur volume ouvert : 1 Ouvrez l’onglet Destinations. 2 Cliquez sur le bouton Ajouter (+) et choisissez Local dans le menu local. La zone de dialogue Sélection de la destination apparaît. 3 Naviguez jusqu’au dossier de destination choisi ou jusqu’au volume monté ouvert, puis cliquez sur Ouvrir. Une nouvelle destination appelée Sans titre Local-1 apparaît dans le dossier Destinations où est indiqué le chemin permettant d’accéder au dossier que vous venez d’affecter. 4 Dans l’onglet Destinations, double-cliquez sur la nouvelle destination. La fenêtre Inspecteur s’ouvre, affichant les informations importantes sur la nouvelle destination. 5 Effectuez l’une des opérations suivantes dans l’Inspecteur :  Modifiez le nom de la nouvelle destination dans le champ Nom.  Modifiez le chemin de la nouvelle destination en cliquant sur Choisir afin d’ouvrir la zone de dialogue de sélection de destination et en accédant à un nouveau dossier. 6 Ajoutez des identificateurs de fichier au nom de votre fichier de sortie à l’aide du menu local dans le champ Modèle. Vous pouvez également modifier manuellement ce champ en effectuant l’une des opérations suivantes :  Faites glisser les identificateurs de fichier afin de les réorganiser.  Cliquez de chaque côté des identificateurs de fichier afin de taper du texte supplémentaire. Dans le menu local, choisissez Local. Menu local « Modèle de nom de fichier »330 Chapitre 24 Création et changement de destinations  Utilisez la touche Suppr. de votre clavier afin de supprimer n’importe lequel des identificateurs de fichier. Le champ « Échantillon du modèle défini » de la fenêtre Inspecteur affiche un échantillon du nom du fichier de sortie ainsi que les identificateurs de fichier choisis. La combinaison d’identificateur de fichier par défaut est « Nom du média source-Nom du réglage ». Remarque : évitez de personnaliser vos modèles de nom de fichier en les commençant par un point (.). Le fichier résultant ne serait visible que via la ligne de commande et serait introuvable avec le Finder de Mac OS X. Consultez la section « À propos de l’onglet Destinations » à la page 326 pour plus de détails sur ces paramètres. Pour créer une destination distante : 1 Ouvrez l’onglet Destinations. 2 Cliquez sur le bouton Ajouter (+) et choisissez Distant dans le menu local. La zone de dialogue À distance apparaît. Elle contient les champs suivants :  Nom : utilisez ce champ pour modifier le nom du préréglage de destination.  Modèle : utilisez ce menu local pour ajouter des identificateurs de fichier à votre fichier multimédia de sortie. Ce champ peut être édité manuellement. Le fait de sélectionner l’un des identificateurs suivants ajoute cet identificateur à la suite du nom de votre fichier multimédia de sortie :  Date : indique, selon le format ci-après, la date à laquelle le fichier a été transcodé : AAAA-MM-JJ.  Nom du réglage : nom du réglage utilisé pour la tâche de transcodage.  Nom du média source : nom du fichier source sans son extension.  Extension du média source : extension du fichier source. Le nom de l’hôte est obligatoire. Le chemin d’accès du fichier est obligatoire.Chapitre 24 Création et changement de destinations 331  Échantillon du modèle défini : affiche un échantillon de ce à quoi ressemblera le nom du fichier de sortie ainsi que les identificateurs de fichier que vous avez ajoutés. Vous ne pouvez pas éditer cette ligne, mais celle-ci est modifiée dynamiquement en fonction des identificateurs que vous ajoutez ou supprimez.  Ftp ou iDisk : sélectionnez le type de destination distante que vous souhaitez créer.  Nom d’hôte : (requis) nom du serveur hôte. Compressor suppose que le système d’URL utilisé est du type ftp :, de sorte qu’il n’est pas nécessaire que vous saisissiez ce type ni aucun autre système d’URL.  Chemin d’accès : (obligatoire) spécifie le chemin interne de l’hôte sur lequel le fichier multimédia de sortie sera stocké. Par exemple : Volumes/Films/Media de sortie. Ne saisissez que le chemin d’accès du fichier multimédia de sortie ; il n’est pas nécessaire d’inclure son nom.  Utilisateur : (facultatif) ce champ n’est requis que si le serveur hôte est muni de restrictions d’accès qui exigent la saisie d’un nom d’utilisateur et d’un mot de passe. Si le serveur hôte est en accès libre, laissez ce champ vide.  Mot de passe : (facultatif) ce champ n’est requis que si le serveur hôte est muni de restrictions d’accès qui exigent la saisie d’un nom d’utilisateur et d’un mot de passe. Si le serveur hôte est en accès libre, laissez ce champ vide. 3 Le cas échéant, saisissez les informations dans les champs appropriés. 4 Cliquez ensuite sur OK. Une fois que vous avez créé au moins une destination autre que Source dans l’onglet Destinations, vous pouvez définir une nouvelle destination par défaut. Pour changer de destination par défaut : 1 Sélectionnez les préférences de Compressor. 2 Utilisez le menu local « Destination par défaut » pour choisir dans la liste des préréglages de destination existants. La destination que vous choisissez apparaît en tant que destination par défaut lorsque vous importez un nouveau fichier source dans la fenêtre Lot.332 Chapitre 24 Création et changement de destinations Triangles d’avertissement Lorsque la destination choisie pose problème, un triangle jaune d’avertissement apparaît. Vous devez d’abord résoudre ce problème si vous souhaitez effectuer un transcodage avec succès. Des triangles d’avertissement apparaissent dans l’onglet Destinations s’il n’est pas possible d’accéder à la destination ou si elle est protégée en écriture, et dans la fenêtre Lot si :  Un fichier identique se trouve déjà à cet emplacement.  Deux destinations portent le même nom.  Il est impossible d’atteindre la destination ou d’y écrire des données. Les avertissements apparaissent quel que soit le niveau d’apparition du problème (préréglage, tâche ou lot) et se propagent au niveau supérieur, de sorte que si le problème survient au niveau des préréglages, les triangles d’avertissement seront visibles depuis les préréglages et les tâches. Si vous placez le curseur sur le triangle d’avertissement, une bulle d’aide apparaît après quelques secondes en vous indiquant la nature du problème. Dès que ce problème est résolu, le triangle d’avertissement disparaît et vous pouvez poursuivre le transcodage. Cliquez sur le triangle d’avertissement dans la fenêtre Lot pour afficher une zone de dialogue contenant une explication.Chapitre 24 Création et changement de destinations 333 Suppression et duplication d’une destination Vous pouvez gérer les destinations en supprimant celles dont vous n’avez plus besoin et en en créant de nouvelles à partir des destinations existantes. Pour supprimer une destination : 1 Ouvrez l’onglet Destinations. 2 Dans l’onglet Destinations, sélectionnez la destination que vous souhaitez supprimer, puis cliquez sur le bouton Supprimer (-) ou appuyez sur Suppr. Important : aucune confirmation ne vous est demandée au cours de cette opération, donc assurez-vous de vouloir supprimer cette destination avant de cliquer sur ce bouton. Bouton Supprimer334 Chapitre 24 Création et changement de destinations Pour dupliquer une destination : 1 Ouvrez l’onglet Destinations. 2 Dans l’onglet Destinations, sélectionnez la destination que vous souhaitez copier, puis cliquez sur le bouton Dupliquer. Une nouvelle entrée apparaît dans l’onglet Destinations avec la mention Copie ajoutée à son nom. Cette destination est identique en tous points à l’originale. Le cas échéant, renommez la destination dupliquée. Bouton Dupliquer Destination dupliquéeChapitre 24 Création et changement de destinations 335 Création de destinations à utiliser avec DVD Studio Pro Lorsque vous procédez à l’encodage de fichiers vidéo et audio à utiliser dans DVD Studio Pro, vous pouvez faciliter l’importation et l’utilisation des fichiers dans DVD Studio Pro en créant une destination personnalisée. DVD Studio Pro est capable de localiser automatiquement et, éventuellement, d’importer ou d’utiliser un fichier audio lorsque vous importez ou utilisez un fichier vidéo doté du même nom racine. Ainsi, si vous affectez un fichier vidéo à l’arrière-plan d’un menu, DVD Studio Pro recherche un fichier audio portant le même nom et le définit automatiquement comme séquence audio du menu. Les destinations Compressor par défaut ajoutent le nom du réglage au nom du fichier. Étant donné que différents réglages sont nécessaires pour générer des fichiers de sortie vidéo et audio compatibles DVD, les noms de ces fichiers ne sont jamais les mêmes, y compris lorsqu’ils proviennent du même fichier source. Lors de la création de destinations personnalisées dans Compressor, vous pouvez choisir de ne pas inclure l’identificateur de fichier de nom de préréglage avec le nom de fichier de sortie. Pour supprimer le nom du réglage d’une destination : 1 Double-cliquez sur la destination. Le champ Modèle de la fenêtre Inspecteur répertorie les identificateurs de fichier affectés à la destination. 2 Si « Nom du réglage » est indiqué dans le champ Modèle, supprimez-le. Champ Modèle25 337 25 Utilisation de droplets Compressor vous permet d’enregistrer un ou plusieurs réglages ou groupes de réglages dans une droplet. Une droplet est un préréglage autonome créé par Compressor se présentant sous la forme d’une application glisser-déposer et enregistré sous forme d’icône. Lorsque vous faites glisser des fichiers de données source sur l’icône d’une droplet, ils sont automatiquement soumis en vue de leur transcodage en tenant compte des réglages incorporés spécifiés. Le processus de transcodage est alors lancé, que Compressor soit ouvert ou fermé. Vous pouvez faire glisser un nombre quelconque de fichiers multimédia sur une droplet. Ensuite, pour l’ouvrir et consulter les réglages qu’elle contient, il suffit de doublecliquer dessus. Remarque : l’utilisation des droplets requiert l’installation préalable de Compressor sur tous les ordinateurs sur lesquels vous souhaitez les utiliser. Ce chapitre traite des sujets suivants :  À propos de la fenêtre Droplet (p. 338)  Création d’une droplet (p. 340)  Vérification des réglages de droplets et des options AppleScript (p. 341)  Utilisation d’une droplet pour transcoder des fichiers multimédia sources (p. 342)  Conseils à propos des droplet (p. 344)338 Chapitre 25 Utilisation de droplets À propos de la fenêtre Droplet Vous pouvez ouvrir n’importe quelle droplet pour la consulter en détail. Vous avez aussi la possibilité de modifier certains réglages, comme la destination et les identificateurs des fichiers multimédia de sortie. La fenêtre Droplet contient les éléments suivants :  Cluster : ce menu local permet de choisir un cluster d’ordinateurs sur votre réseau, auquel vous pouvez soumettre des lots pour le traitement distribué. (La fonctionnalité de traitement distribué est limitée aux ordinateurs sur lesquels est installé Final Cut Studio.) Le menu ne comporte qu’une seule option (Cet ordinateur) sauf si toutes les conditions suivantes sont réunies :  Le traitement distribué est activé dans Compressor.  D’autres clusters sont disponibles sur le réseau.  Destination : ce champ affiche le chemin d’accès au dossier de destination du fichier multimédia de sortie. Vous pouvez modifier ce chemin en cliquant sur le bouton Choisir afin d’ouvrir la zone de dialogue de sélection de destination et en accédant à un nouveau dossier.  Modèle : utilisez ce menu local pour ajouter des identificateurs de fichier à votre fichier multimédia de sortie. Ce champ peut être édité manuellement. Le fait de sélectionner l’un des identificateurs suivants ajoute cet identificateur à la suite du nom de votre fichier multimédia de sortie :  Date : indique la date de transcodage selon le format AAAA-MM-JJ.  Nom du réglage : nom du réglage utilisé pour la tâche de transcodage.  Nom du média source : nom du fichier source sans son extension.  Extension du média source : extension du fichier source. Consultez la section « À propos de l’onglet Destinations » à la page 326 pour plus d’informations sur l’utilisation d’identificateurs de fichier. Champ Destination Tableau Fichiers source Menu local Réglage Case à cocher « Afficher au démarrage » Tableau Résumé Champ Modèle Bouton SoumettreChapitre 25 Utilisation de droplets 339  Fichiers source : contient toutes les tâches du lot sur le point d’être soumises au transcodage. Lorsque la case « Afficher au démarrage » est cochée, la fenêtre Droplet s’ouvre automatiquement après avoir fait glisser vos fichiers multimédia sources sur l’icône de la droplet et tous les fichiers multimédia sources apparaissent dans le tableau Fichiers source. Vous pouvez faire glisser un ou plusieurs fichiers multimédia sources dans ce tableau, et ceux-ci seront tous transcodés en même temps lors de l’envoi du lot, comme s’il s’agissait d’un envoi normal depuis la fenêtre Lot.  Réglage : ce menu local en lecture seule affiche la liste complète des réglages associés à chaque droplet. Vous pouvez attribuer à une droplet autant de réglages que vous le souhaitez en en créant une à partir d’un groupe de réglages (Pour plus d’informations, consultez la section « Création d’une droplet, » ci-après.) Quel que soit le réglage, vous pouvez voir ses détails complets en le sélectionnant dans le menu local, puis en consultant le tableau Résumé au bas de la fenêtre.  Résumé : ce tableau répertorie chaque composant du réglage sélectionné dans le menu local Réglage.  Afficher au démarrage : lorsque cette case est cochée, la fenêtre Droplet s’ouvre dès que vous faites glisser le fichier multimédia source sur l’icône de la droplet, avant la soumission du lot. Cela vous permet de vérifier les réglages contenus dans la droplet. Si la case n’est pas cochée, le lot est envoyé dès que vous le faites glisser sur l’icône de la droplet (à condition qu’il n’y ait aucune erreur), sans que la fenêtre ne s’ouvre.  Soumettre : cliquez sur ce bouton pour envoyer le lot. Cette action n’est nécessaire que si la case « Afficher au démarrage » n’est pas cochée, car sinon le lot est automatiquement envoyé. Menu local Réglage340 Chapitre 25 Utilisation de droplets Création d’une droplet La création d’une droplet est d’une grande simplicité, et une fois créée, il est possible d’envoyer rapidement et facilement des fichiers multimédia sources en transcodage. Pour créer une droplet : 1 Ouvrez l’onglet Réglages. 2 Sélectionnez le réglage ou le groupe de réglages que vous souhaitez enregistrer en tant que droplet, puis cliquez sur le bouton Enregistrer droplet. La zone de dialogue Enregistrer apparaît. Remarque : vous ne pouvez pas sélectionner plusieurs réglages dans l’onglet Réglages et les ajouter directement à une droplet. En revanche, vous pouvez placer les réglages que vous souhaitez utiliser dans un groupe de réglages, sélectionner ce groupe, puis cliquer sur Enregistrer. Dans ce cas, chaque fichier multimédia source est transcodé par chaque réglage de la droplet. Par exemple, si vous envoyez deux fichiers multimédia sources dans une droplet contenant trois réglages, Compressor crée six fichiers multimédia de sortie différents. Pour plus d’informations sur la création de groupes de réglages, consultez la section « Création de groupes de réglages » à la page 104. 3 Dans la zone de dialogue Enregistrer, nommez la droplet en remplissant le champ « Enregistrer sous », puis utilisez le menu local Où pour naviguer jusqu’à l’emplacement de la droplet et cliquez sur Enregistrer. Vous pouvez enregistrer votre droplet n’importe où sur votre ordinateur, mais il est conseillé de l’enregistrer sur le bureau, afin de pouvoir facilement y faire glisser des fichiers multimédia sources. Vous pouvez choisir un dossier de destination autre que Source par l’intermédiaire de la zone de dialogue Enregistrer, mais vous ne pouvez sélectionner que des destinations créées via l’onglet Destinations. Si aucune destination personnalisée n’a été créée, seules quatre destinations Apple par défaut apparaissent dans le menu local « Sélectionner une destination ». Consultez la section « Création d’une destination » à la page 328 pour plus d’informations sur les destinations. Bouton Enregistrer dropletChapitre 25 Utilisation de droplets 341 Pour choisir une destination alternative pour une droplet : 1 Choisissez une destination dans le menu local « Sélectionner une destination ». Remarque : la droplet affiche un triangle d’avertissement lorsque la destination choisie pose problème. Dans ce cas, changez de répertoire jusqu’à ce que l’avertissement disparaisse. Consultez la section « Triangles d’avertissement » à la page 332 pour plus d’informations. 2 Cliquez sur Enregistrer. La droplet que vous venez de créer apparaît sous forme d’icône à l’emplacement sélectionné. Elle est maintenant prête à être utilisée en transcodage. Vérification des réglages de droplets et des options AppleScript La case « Afficher au démarrage », située en bas de la fenêtre Droplet, détermine si une fenêtre Droplet s’ouvre ou non lorsque vous faites glisser un lot vers une icône de droplet. Si cette case est cochée, la fenêtre Droplet s’ouvre lorsque vous faites glisser un lot sur l’icône de la droplet et vous pouvez consulter les réglages de la droplet. Si cette case n’est pas cochée, double-cliquez sur l’icône de la droplet pour ouvrir sa fenêtre et consulter ses réglages. Consultez la section « À propos de la fenêtre Droplet » à la page 338 pour plus d’informations concernant les réglages de la droplet. Vous pouvez voir une liste des options dictionnaire AppleScript pouvant être utilisées avec une droplet en faisant glisser l’icône de la droplet sur l’éditeur de script situé dans /Applications/AppleScript. Case à cocher « Afficher au démarrage »342 Chapitre 25 Utilisation de droplets Utilisation d’une droplet pour transcoder des fichiers multimédia sources Une fois que vous avez créé une droplet, vous pouvez transcoder des fichiers multimé- dia sources en les faisant glisser sur l’icône de la droplet. Pour transcoder des fichiers multimédia sources à l’aide d’une droplet : 1 Faites glisser vos fichiers multimédia sources sur l’icône de la droplet. Rôle de la case « Afficher au démarrage » en bas de la fenêtre :  Si la case « Afficher au démarrage » n’est pas cochée : la droplet commence immédiatement le transcodage des fichiers multimédia sources.  Si la case « Afficher au démarrage » est cochée : la fenêtre Droplet s’ouvre et les fichiers multimédia sources sont affichés dans le tableau Fichiers source de la droplet. Passez à l’étape 2 pour envoyer votre lot. 2 Si la fenêtre Droplet s’ouvre, vous pouvez vérifier et modifier les réglages de la droplet, comme le dossier de destination et les identificateurs de fichier. Lorsque les réglages vous conviennent, cliquez sur le bouton Soumettre. Chaque fichier multimédia source est traité en fonction du réglage ou du groupe de réglages contenu dans cette droplet. Chapitre 25 Utilisation de droplets 343 3 Ouvrez Batch Monitor si vous souhaitez suivre l’état du traitement de vos fichiers multimédia sources. Pour plus d’informations, consultez le Manuel de l’utilisateur de Batch Monitor. Si une fenêtre Droplet est ouverte, vous pouvez faire glisser vos fichiers multimédia sources directement dans le tableau Fichiers source, puis les envoyer en transcodage. Pour transcoder des fichiers multimédia sources à l’aide d’une droplet ouverte : 1 Double-cliquez sur l’icône d’une droplet pour l’ouvrir. 2 À l’aide du Finder, localisez les fichiers multimédia sources, puis faites-les glisser dans le tableau Fichiers sources de la droplet. 3 Le cas échéant, modifiez les réglages de votre droplet, puis cliquez sur le bouton Soumettre. Chaque fichier multimédia source est traité en fonction du réglage ou du groupe de réglages contenu dans cette droplet. Par exemple, si vous envoyez deux fichiers multimédia sources vers une droplet contenant trois réglages, Compressor crée six fichiers multimédia de sortie différents. 4 Ouvrez Batch Monitor si vous souhaitez suivre l’état du traitement de vos fichiers multimédia sources.344 Chapitre 25 Utilisation de droplets Conseils à propos des droplet Voici quelques conseils supplémentaires sur l’utilisation des droplets pour le transcodage des fichiers multimédia sources. Droplets et services de traitement Compressor Si vous faites glisser des fichiers sur l’icône d’une droplet sans avoir ouvert l’application ou une droplet au préalable, il se peut que Compressor vous affiche un avertissement (« Cet ordinateur n’est pas disponible »), indiquant que les services de traitement Compressor ne se sont pas encore lancés à l’arrière-plan. Cliquez sur le bouton Soumettre en bas de la fenêtre Droplet. Les services de traitement Compressor démarrent alors pour transcoder les fichiers glissés. Droplets et grand nombre de fichiers multimédia sources Si vous soumettez un grand nombre de fichiers multimédia sources (par exemple 200 ou plus) à l’aide d’une droplet, un retard d’environ une minute peut se produire entre le message d’alerte « Préparation au traitement » et l’apparition de la zone de dialogue confirmant que la tâche est en cours de soumission. Vous pouvez éviter ce retard en réduisant le nombre de fichiers source que vous transmettez à la fois à l’aide d’une droplet. 345 A Annexe A Dépannage et assistance client Si vous rencontrez des problèmes lors de l’utilisation de Compressor, vous disposez de plusieurs ressources pour y remédier.  Notes commerciales : une page de notes commerciales, dans le menu Aide Compressor, fournit des informations de dernière minute qu’il n’a pas été possible de faire figurer dans le Manuel de l’utilisateur de Compressor. Consultez les notes commerciales dès l’installation ou la mise à jour de Compressor.  Page Web d’assistance de Compressor : Compressor possède sa propre page d’assistance technique consultable sur http://www.apple.com/fr/support/compressor et sa propre page de discussions sur http://discussions.info.apple.com/compressor (en anglais).  Base de données « AppleCare Knowledge Base » : AppleCare offre une base de données sur la résolution de problèmes courants, régulièrement mise à jour et enrichie pour tenir compte des nouveaux problèmes dès leur apparition. Cette base de données gratuite constitue une excellente ressource pour les utilisateurs de Compressor. Pour accéder à cette base d’informations techniques AppleCare, visitez la page d’assistance AppleCare à l’adresse suivante : http://www.apple.com/fr/support.  Assistance AppleCare : les utilisateurs de Final Cut Pro disposent de plusieurs types d’assistance. Pour plus d’informations, consultez le Guide d’assistance et de service pour logiciels professionnels Apple fourni avec la documentation de Compressor.346 Annexe A Dépannage et assistance client Contacter l’assistance AppleCare Une documentation sur les options d’assistance proposées par Apple est fournie avec Compressor. Selon vos besoins, plusieurs niveaux d’assistance sont disponibles. Quel que soit votre problème, il est toujours utile de disposer immédiatement des informations correspondantes disponibles. Plus vous avez d’informations à communiquer aux techniciens, plus vite ils seront en mesure de résoudre votre problème.  Le numéro d’enregistrement fourni avec Compressor. Ce numéro diffère du numéro de série logiciel utilisé pour activer votre copie de Compressor.  Version de Mac OS X installée. Vous trouverez cette information en choisissant l’option « À propos de ce Mac » dans le menu Pomme.  La version de Compressor installée, en tenant compte, le cas échéant, des mises à jour. Consultez le numéro de version en choisissant l’option Compressor > « À propos de Compressor ».  Le modèle d’ordinateur utilisé.  La quantité de mémoire RAM installée sur votre ordinateur et celle disponible pour Compressor. Vous pouvez connaître la quantité de mémoire RAM installée en choisissant « À propos de ce Mac » dans le menu Pomme du Finder.  Le matériel tiers connecté à l’ordinateur ou installé, ainsi que son fabricant. Il peut s’agir de disques durs, cartes graphiques, etc.  Modules de tierce partie ou autres logiciels installés avec Compressor. Création d’un profil de support Outre le fait qu’il propose un accès au Manuel de l’utilisateur de Compressor, le menu Aide comprend également un élément permettant de créer un profil d’assistance. Dans certains cas d’assistance technique, AppleCare demande des informations autant sur l’ordinateur que sur la configuration de l’application en question. Sélectionnez Aide > Créer un profil d’assistance pour créer un fichier contenant les informations nécessaires et pouvant être envoyé par courrier électronique à AppleCare. Vous devez normalement utiliser cette fonction, à moins qu’un représentant d’AppleCare ne vous indique le contraire. L’assistance AppleCare est accessible en ligne à l’adresse http://www.apple.com/fr/support/compressorAnnexe A Dépannage et assistance client 347 Astuces de dépannage Si vous rencontrez des problèmes lors de l’utilisation de Compressor, recherchez ici la réponse à vos questions. L’utilisation de la ligne de commande de Compressor requiert l’ouverture d’une session La ligne de commande permettant d’exécuter un réseau de traitement distribué Apple Qmaster, chaque nœud du service Compressor (c’est-à-dire chaque ordinateur fournissant des services Compressor de traitement distribué) doit avoir ouvert une session avec un nom d’utilisateur et un mot de passe Mac OS X pour pouvoir bénéficier de toutes les fonctionnalités qu’offre ce système. Mise à l’échelle (en couleurs 10 bits) de fichiers de données source Si vous utilisez Compressor pour transcoder des fichiers multimédias sources utilisant 10 bits par canal de couleur et que vous avez l’intention de mettre leur image à l’échelle (c’est-à-dire de la redimensionner), activez les contrôles d’images. Dans le cas contraire, le fichier de sortie transcodé n’utilise alors que des couleurs sur 8 bits plutôt que 10. Pour activer les contrôles d’images : 1 Ouvrez l’onglet Réglages. 2 Dans l’onglet Réglages, sélectionnez le réglage que vous souhaitez modifier. Vous pouvez également sélectionner un réglage déjà appliqué à un fichier de données source dans la fenêtre Lot. 3 Cliquez sur l’onglet « Contrôles d’images » dans la fenêtre de l’Inspecteur. 4 Sélectionnez une des valeurs suivantes dans le menu local « Contrôles d’images » :  Automatique : Compressor analyse la tâche de transcodage (le fichier de données source et le réglage appliqué), puis il détermine automatiquement les attributs « Contrôles d’images » appropriés.  Personnalisé : cette option permet d’ajuster manuellement tous les attributs de la sous-fenêtre Contrôles d’images. 349 B Annexe B Utilisation de la ligne de commande Utilisation de la ligne de commande Si vous êtes habitué à effectuer votre travail à partir de shells Terminal et que vous avez besoin (ou préférez) exécuter Compressor à partir de la ligne de commande avec une utilisation minimale des interfaces d’application, cette annexe vous est destinée. L’annexe inclut les rubriques suivantes :  Commandes de shell pour la configuration des nœuds de service et des contrôleurs de cluster (p. 349)  Commandes de shell pour l’envoi de travaux Compressor (p. 350)  Commandes de shell pour le contrôle des lots (p. 353) Commandes de shell pour la configuration des nœuds de service et des contrôleurs de cluster Une alternative à l’utilisation de la sous-fenêtre Apple Qmaster des Préférences Système consiste à utiliser la commande qmasterprefs avec les options de ligne de commande destinées à activer et désactiver les services de contrôle des clusters et des nœuds de service. Dans les descriptions de ligne de commande ci-dessous, les crochets < > indiquent un argument obligatoire dans une commande et les crochets [ ] indiquent un argument facultatif. Remarque : la ligne de commande permettant d’exécuter un réseau de traitement distribué Apple Qmaster, chaque nœud du service Compressor (c’est-à-dire chaque ordinateur fournissant des services Compressor de traitement distribué) doit avoir ouvert une session avec un nom d’utilisateur et un mot de passe Mac OS X pour pouvoir bénéficier de toutes les fonctionnalités qu’offre ce système. Vue d’ensemble Vous trouverez ci-dessous un résumé de la commande permettant d’activer et de désactiver les services de contrôle des clusters sur un ordinateur. La commande qmasterprefs se trouve dans le dossier /usr/sbin. qmasterprefs -cluster [-timeout ] [-servername ] [-list] [-help] 350 Annexe B Utilisation de la ligne de commande Vous trouverez ci-dessous un résumé de la commande permettant d’activer et de désactiver le traitement des nœuds de service sur un ordinateur. qmasterprefs -service “Traitement Unix” [-instances ] [-timeout ] [-servername ] [-list] [-help] Options de commande Ce tableau fournit des informations sur l’activation et la désactivation de chacun des services de contrôle de cluster et de nœud de service. Commandes de shell pour l’envoi de travaux Compressor Vous pouvez exécuter l’application Compressor à partir de la ligne de commande en tapant Compressor , avec un certain nombre d’options de ligne de commande pour soumettre les tâches. Dans les descriptions de ligne de commande ci-dessous, les crochets < > indiquent un argument obligatoire dans une commande et les crochets [ ] indiquent un argument facultatif. Option de commande de préférence Description [-cluster] Active ou désactive les services de contrôle de cluster. [timeout min] [servername nom] [quickcluster on | off] [unmanagedservices on | off] [unmanagedmulticapturethreshold sec] [networkinterface allinterfaces | ] [-service Rendering] Active ou désactive les services de rendu UNIX. [timeout min] [instances n] [autorestart on | off] [unmanaged on | off] [-list] Répertorie les réglages qmasterprefs actuels. [-help] Affiche des informations sur les options prises en charge par qmasterprefs. [-restart] Redémarre les services Apple Qmaster. [-service name options] Définit les options des services.Annexe B Utilisation de la ligne de commande 351 Vue d’ensemble Voici une vue d’ensemble de la commande permettant d’envoyer un travail à un cluster. La commande Compressor se trouve dans le dossier /Applications/Compressor.app/ Contents/MacOS. Compressor [-clustername ][-clusterid ] [-batchfilepath ] [-batchname ] [-priority ] [-jobpath ] [-settingpath ] [-destinationpath ] [-info ] [-timeout ] [-help] [-show] Dans cet exemple, il est possible de répéter -jobpath, -settingpath et -destinationpath autant de fois que nécessaire, selon le nombre de tâches à « soumettre ». Remarque : les options ne sont pas toutes nécessaires. Vous pouvez, par exemple, indiquer le cluster soit par son nom (-clustername), oit par son identifiant (-clusterid). Vous n’avez pas besoin d’indiquer les deux. Dans le cas où les deux valeurs sont indiquées, seul -clusterid est utilisé. De plus, si vous indiquez une valeur -batchfilepath, les valeurs -jobpath, -settingpath, et -destinationpath ne sont alors pas nécessaires car le fichier de lot précédemment enregistré contient déjà les informations concernant la tâche, les réglages et la destination. Exemple de valeur -batchfilepath: Compressor -clustername "Cet ordinateur" -batchfilepath "/Volumes/Hermione/ SavedCompressorBatches/FreeChampagne.compressor" Une fois que la tâche a bien été envoyée, cette commande affiche l’identifiant (ID) du lot et celui de la tâche dans le shell. Vous pouvez également surveiller la progression du lot dans Batch Monitor.352 Annexe B Utilisation de la ligne de commande Options de commande Ce tableau contient des informations sur chacune des options de commande pour l’envoi de travaux. Option de commande d’envoi Description [-clustername ] Utilisez-la pour spécifier le nom du cluster auquel vous souhaitez envoyer le travail. Avec le nom du cluster, Compressor recherche le cluster sur le réseau afin de l’utiliser. [-batchname ] Utilisez-la pour spécifier un nom pour le lot, de façon à pouvoir le reconnaître facilement dans Batch Monitor. [-clusterid ] Vous pouvez aussi vous servir de -clusterid pour saisir l’ID et l e numéro du port du cluster au lieu d’utiliser -clustername. Lorsque vous saisissez l’ID de cluster et le port, moins de temps est nécessaire pour rechercher le cluster sur le réseau. Si vous avez utilisé -clustername et que le cluster nécessite un mot de passe, utilisez -clusterid pour spécifier le nom d’utilisateur et le mot de passe (vous devez également inclure l’adresse IP : numéro du port chaque fois que vous utilisez -clusterid). Astuce : utilisez la commande Compressor -show pour afficher l’adresse IP et le numéro de port d’un cluster. [-priority ] Spécifie le niveau de priorité d’un travail. [-jobpath ] Spécifie l’emplacement du fichier source. [-settingpath ] Spécifie l’emplacement des réglages pour le travail. [-destinationpath ] Spécifie l’URL du fichier de destination pour le travail. [-info ] Fournit des informations détaillées pour un lot ou un travail. [-timeout ] Utilisez cette commande pour spécifier le nombre de secondes avant que Compressor n’interrompe la recherche d’un cluster. La valeur par défaut est de 0, ce qui signifie qu’il n’y a pas de limite pour l’expiration, impliquant que Compressor parcourt le réseau jusqu’à ce qu’il ait trouvé le cluster. [-show] Affiche les informations relatives à l’identification du cluster spécifié avec -clustername ou -clusterid ou celles qui concernent tous les clusters si aucun d’entre eux n’est spécifié. [-help] Affiche les informations relatives aux paramètres obligatoires de la commande Compressor.Annexe B Utilisation de la ligne de commande 353 Exemple de code XML de commande Compressor Le code ci-dessous est un exemple de code XML pour l’envoi d’une commande Compressor. Remarquez qu’étant donné que ce code doit être saisi en tant que ligne de commande, chaque caractère non alphanumérique venant après -options doit être précédé d’une barre oblique inverse (\). ./Compressor -clusterid tcp://127.0.0.1:51737 -batchname myBatch -jobpath / Volumes/Source/ShortClips/NTSC24p.mov -settingpath /Utilisateurs/ stomper10/Bibliothèque/Application\ Support/Compressor/ PhotoJPEG.setting -destinationpath /Utilisateurs/nomdemachine/Séquence/ NomFichierdeDestination.mov. Cette commande comporte les éléments suivants :  L’adresse IP du cluster est tcp://127.0.0.1:51737.  Le nom du lot est myBatch.  Le chemin du travail est /Volumes/Source/ShortClips/NTSC24p.mov.  Le chemin d’accès des réglages est /Utilisateurs/stomper10/Bibliothèque/ Application/Support/Compressor/PhotoJPEG.setting.  Le chemin d’accès de destination est /Utilisateurs/nomdemachine/Séquence. Commandes de shell pour le contrôle des lots Vous pouvez utiliser la commande Batch Monitor, Batch\ Monitor, avec un certain nombre d’options de ligne de commande pour le contrôle des tâches. Dans les descriptions de ligne de commande ci-dessous, les crochets < > indiquent un argument obligatoire dans une commande et les crochets [ ] indiquent un argument facultatif. Vue d’ensemble Voici une vue d’ensemble de la commande pour le contrôle de lots. La commande Batch\ Monitor se trouve dans /Applications/Utilitaires/Batch Monitor.app/Contents/ MacOS. Batch\ Monitor [-clustername ] [-clusterid ] [-jobid -batchid ] [-timeout ] [-query ] [-help]354 Annexe B Utilisation de la ligne de commande Pour annuler un travail ou un lot : Batch\ Monitor [-clustername ] [-clusterid ] -kill -jobid -batchid Options de commande Ce tableau contient des informations sur chacune des options de commande pour le contrôle de lots. Option de commande de contrôle Description [-clustername ] Utilisez-la pour spécifier le nom du cluster auquel le travail a été envoyé. [-clusterid ] Vous pouvez aussi vous servir de -clusterid pour saisir l’ID et le numéro du port du cluster au lieu d’utiliser -clustername. Si vous avez utilisé -clustername et que le cluster nécessite un mot de passe, utilisez -clusterid pour spécifier le nom d’utilisateur et le mot de passe (vous devez également inclure l’adresse IP : numéro du port chaque fois que vous utilisez -clusterid). Astuce : utilisez Apple\ Qmaster -show ou Compressor - show pour afficher l’adresse IP et le numéro de port d’un cluster. [-jobid -batchid ] Utilisez-la pour spécifier le travail que vous souhaitez contrôler. Lorsque vous utilisez l’option -jobid, vous devez également spé- cifier -batchid sous la forme du nom qui a été attribué au lot lors de sa soumission. Les paramètres batchid et jobid sont affichés après l’envoi d’un lot. Si vous n’utilisez pas l’option -jobid, tous les travaux envoyés au cluster spécifié sont répertoriés. [-timeout ] Utilisez cette commande pour spécifier le nombre de secondes avant que Batch Monitor n’interrompe la recherche d’un cluster. La valeur par défaut est de 0, ce qui signifie qu’il n’y a pas de limite pour l’expiration, impliquant que Batch Monitor parcourt le réseau jusqu’à ce qu’il ait trouvé le cluster. [-query ] Utilisez cette option pour spécifier la fréquence, en secondes, selon laquelle l’état du travail doit être mis à jour. [-kill -jobid -batchid ] Annule le travail ou lot spécifié. [-help] Affiche des informations sur les options prises en charge par Batch\ Monitor. 355 Index Index A AAC 136 actions activation de la notification par message électronique 299 ajout d’AppleScripts 299–300 paramètres 31, 67 post-transcodage 299–300 affichage Échantillon du modèle défini 328 aide en ligne 16 profils d’assistance 16 AIFF (Audio Interchange File Format) choix de formats de sortie 34 description 133–137 encodeur 14 paramètres 134–137 réglages audio 244–245 réglages QuickTime 241 algorithmes d’optimisation 226, 229, 231, 233, 240 animation dans les séquences 208 annotations 89 AppleCare base de connaissances 345 profils d’assistance 16 Apple Qmaster alternatives 349 traitement distribué 64 AppleScripts activation 67 choix 67 exécution 298 options dictionnaire 341 ressources 301, 347 site Web 301, 347 Apple Store 18 Apple TV proportions 163 taille pour encodeur 164 vidéo H.264 pour 159 assistance client 345–347 atténuation de 3 dB 146 audio activation de pistes 239 audio PCM 168 canaux 141, 186 CD 246 codes d’identificateur de canaux 83, 152 débits maximum 170, 207 format Dolby Digital AC-3 12, 139, 148 liste des filtres 268–271 mixage spatial 154–156 MPEG-1/couche 2 212 PCM 168 qualité des périphériques 252 réglage Passthrough 239, 283 réglages MPEG-1 185 règles 142, 147 sans compression 136, 246, 251 son Surround 83–86, 149–154 stéréo. Voir audio stéréo taille d’échantillonnage 252 taux d’échantillonnage 252 8 bits 246, 252 16 bits 246, 252 Audio Interchange File Format. Voir AIFF audio stéréo canaux 228 débit de données 143 lecture stéréo 156 son Surround 140 sous-mixage 149 authentification SMTP 297 autorisations 328 avertissements, destinations 332 B balance des blancs 262 barre d’outils 52 configuration 52 éléments 54 vue d’ensemble 52–55 barre de menus 52 Batch Monitor état d’un lot 37 dans le flux de travaux 25356 Index options de ligne de commande 353 ouverture 70 ouverture automatique 39 présentation 70 bouton Ajouter 95 d’utilisation 184 de balayage 308 Définir le point d’entrée 316 Définir le point de sortie 316 de retour et d’avance rapide 308 Dupliquer 95, 99 Enregistrer droplet 95, 340 Grouper 94, 104 Lecture 308, 311 Lecture en boucle 308 Pause 308 Soumettre 339 Supprimer 95, 104 Vue de sortie 304 Vue source 304 C cache Letterbox 264 canal central 154 canaux affectation avec des codes d’identificateur 83, 152 Alpha 265 application de filtres 265 audio mono 228 bande passante complète 146 centre 154 de colorimétrie 265 Dolby Digital 141 LFE 146, 155 réglages MPEG-1 186 réglages QuickTime 245 sortie AIFF 135 sortie MPEG-4 228 Surround 146, 155 utilisation dans les programmes Dolby Digital 139, 154–156 case à cocher Afficher au démarrage 339, 341, 342 CBR (débits constants) 170, 207 CD audio 185, 252 CD-ROM contenu QuickTime 237 fréquences d’échantillonnage 252 sortie MPEG-1 181 CD vidéo. Voir VCD centres fantômes 154 champ de flou 263 de netteté 263 de rognage 290 Description 105 Destination 338 de timecode de tête de lecture 307 durée maximum de paquet 230 extension de fichier 63 intervalle entre les images-clés 227 modèle 210, 327, 338 taille maximum de paquet 229 chemins vers les destinations 328, 331 cibles ajout à une tâche 118 à propos de 117 copie 118 description 19, 31 suppression 118 clusters choix pour le traitement distribué 338 copie d’options 40 envoi de tâches 351 sélection d’emplacements de stockage 326 codage audio avancé (AAC) 225 code d’identificateur pour les canaux 83, 152 XML 353 codecs AAC (codage audio avancé) 136, 225 AIFF 136–137 audio 251–252 avec perte 251 choix 250 description 32 IMA 136 photo JPEG 242, 243 PNG 243 présentation 250–252 QDesign Music 136 QDesign Music 2 135, 245 QDMC 136 Qualcomm PureVoice 135, 136, 245 QuickTime 241, 247–252 sans perte 251 Sorenson Vidéo 3 242 codecs audio Voir aussi codecs AAC 225 AIFF 136–137 choix 135, 136, 246 MP3 177 codecs audio QuickTime 251–252 ajout aux préréglages 249–250 choix 136, 246, 251–252 paramètres 241 codecs vidéo Voir aussi codecs, noms des codecs spécifiques avec perte 251Index 357 considérations 250 sans perte 251 codecs vidéo QuickTime ajout aux préréglages 247–248 choix 250–251 paramètres 241 commande qmasterprefs 349 commandes Batch Monitor 353–354 de shell 349–354 de shell Terminal 349–354 compatibilité de la sortie MPEG-2 212 composante audio taux d’échantillonnage 147, 185 composants d’exportation au format QuickTime 256 de QuickTime 15 compression audio 145 audio sans compression 136, 246, 251 Compressor flux de travaux. Voir flux de travaux interface 43–75 introduction 9–15 mémoire allouée 346 modèles 45–47 préférences 39–41 premiers contacts avec 19–27 quitter après la soumission des lots 40 raccourcis 38 scénarios 11 site web 17 terminologie 32 vue d’ensemble des fonctionnalités 12–14 configuration contrôleurs de cluster 349–350 nœuds de service 349–350 Content Agent définition de préférences 40 description 40 contrôles de navigation 308 de Timeline 307 du filtre 260 contrôles de resynchronisation conversion de la vitesse vidéo 283 usages 283 contrôleurs de cluster activation/désactivation 349, 350 configuration de commandes de shell 349–350 conversions 196 de fréquences d’images vidéo 283 de la vitesse vidéo 283 copie d’éléments destinations 327, 334 réglages 95, 99 correction gamma 264 couleur d’arrière-plan 265 de marqueur 307 de pixel 266 espaces colorimétriques 259 filtres 262 incrustations de texte 267 réglages 243 curseur Débit maximum 168, 207, 221 Débit moyen 207, 220 de partage de l’écran 306 de réglage du débit 228, 229 manuel 265 qualité 244 D dates transcodages 327 débits 143, 244 constants 170, 207 maximum 168, 207, 221 moyens 207, 220–221 MPEG-1 185 MPEG-2 204–207 MPEG-4 227, 229 QuickTime 244 sortie au format H.264 pour DVD Studio Pro 167 variable. Voir VBR décodeur Dolby Digital 90, 315 lecture stéréo 155 défauts dans les fichiers de sortie 90, 251 dépannage ressources 345 déplacement de la tête de lecture 308 désentrelacement vidéo 258–259, 262 destinations 325–334 Voir aussi réglages affectation 22, 24, 36, 115–116 avertissements 332 changement des paramètres par défaut 41, 331 comparaison avec les réglages 93 création 33, 328–331 description 31 distantes 326, 328, 330, 331 droplets 340, 341 duplication 327, 334 DVD Studio Pro 193, 335 identificateurs de fichier 327 locales 326, 328, 329–330 par lots 29 sortie de la séquence d’images 175 suppression 327, 333358 Index suppression de noms 335 temporaires 116 types de 328 volume ouvert 329–330 distribution de réglages 106 dossier Bureau 326 de groupes 97, 105 fichiers transcodés 33 Séquences 326 downmix 144, 156 droplets 337–344 ajout d’identificateurs de fichier 338 création 38, 95, 340–341 description 38 destinations 340 enregistrement 95, 340 réglages 341, 342 réglages audio Surround 154 transcodage avec des 342–343 utilisation 38 duplication d’éléments destinations 327, 334 réglages 95, 99 DVD débits 185 DVD résolution HD 196 fréquences d’échantillonnage 185, 252 marqueurs de chapitre 215 minutes de vidéo 204 réglages MPEG-1 187, 189–193 sortie MPEG-1 181 vidéo SD 196 DVD-5 171 DVD HD prise en charge SD et HD 171 DVD Studio Pro configuration MPEG-1 189–193 destinations 193, 335 format MPEG-2 12 métadonnées 212, 224 options d’encodage Dolby 141 E échelle Letterbox 264 écrans de veille 37, 121 Éditeur de script 341 effets basse fréquence. Voir LFE enchaînement de tâches 119 encodage 1 passe 168, 205 à deux passes 63–64 de fichiers audio 148–149 multipasse 63–64, 168 VBR 1 passe optimal 205 VBR 2 passes optimal 205, 206 VBR 2 passes 206 VBR une passe 225 1 passe 205, 225 à 2 passes. Voir encodage à deux passes encodeur Dolby Digital 155 Dolby Digital Professional 34 MPEG-4 15 enregistrement d’éléments droplets 340 lots 125 en-têtes comprimés 240 envoi des réglages par courrier électronique 106 envoi de lots 37 options de ligne de commande 350 renvoi 123, 124–125 espaces de couleur 259 état des lots soumis 37 exportation d’éléments marqueurs de chapitre 216 média avec images I 69 modules Composants d’exportation au format QuickTime 254 projets Final Cut Pro 126 extensions .ac3 63, 140 .aiff 63 .compressor 125 .dv 63 .m1a 63, 186 .m1v 63 .m2t 63 .m2v 63, 198 .m4v 63 .mov 63, 238 s.mov 166 .mp4 63, 226 .mpeg 63 .mpg 63 Voir aussi les noms des extensions de fichier spécifiques dans le champ Extension de fichier 63 fichiers Dolby Digital 140 identificateurs de canal 84, 152 tableau Résumé 61 .setting 106 .tga 63 .tiff 63 F fenêtre Droplet 71, 338–339 Préférences 39–41Index 359 fenêtre Historique 44 état du transcodage 37 ouverture/fermeture 68 renvoi de lots 125 resoumettre des lots 124 vue d’ensemble 68, 123–124 fenêtre Inspecteur à propos des réglages automatiques 58 description 44 Destinations 327 présentation 57–67, 98–99 fenêtre Lot avertissements de destination 332 barre d’outils 52–55 droplets et 339 dans le flux de production 35, 44 importation de fichiers multimédia sources 79– 86 onglets 78 présentation 51–52, 78–79 fenêtre Preview 303–323 agrandissement de la taille de l’écran de prévisualisation 304 ajout d’images I à des fichiers MPEG-2 223 contrôles 304–309 description 33, 44 fichiers Dolby Digital 315 ouverture 69 présentation 69, 304–309 prévisualisation des plans 310–315 prévisualisation des réglages 33, 36, 44, 102–104 raccourcis clavier 75, 323 rôles 303 transcodage de sections de plans 315–316 fenêtres. Voir fenêtres de Compressor fenêtres de Compressor à propos des onglets 49–51 pourquoi elles sont parfois masquées 48 redimensionnement 48 utilisation 48–51 fichiers chemins 331 de sous-titres codés 88 média. Voir fichiers multimédia sources script AppleScript 300 source compressés 90 fichiers de données source fréquences d’images 196 haute définition 196 résolution 196 fichiers de séquence QuickTime encodeur 15 extension .mov extension 166 fichiers de séquence QuickTime 238 marqueurs de chapitre 240 séquences à lancement rapide 238, 240 fichiers de sortie Voir également les noms des formats spécifiques choix du format 31, 34 description 29, 31 destinations. Voir destinations formats, description 32 noms 117 qualité 303 réglages. Voir réglages transcodage 14 fichiers de sortie QuickTime création 237–238 fichiers web 238 flux de production de transcodage 246–250 réglages audio 135, 244–245 fichiers multimédia. Voir fichiers multimédia sources fichiers multimédia sources ajout à des lots 20–21, 79–83 attribution de destinations aux 22, 24, 36, 115– 116 attribution de réglages 22–23, 35, 110–113 confirmation de la fin du transcodage 37 dans la fenêtre Inspecteur 59 description 29, 30 diffusion en continu sur Internet 238 extensions des 61 fenêtre Droplet 339 fichiers audio 148 fichiers hautement compressés 90 importation 35, 77–83, 196 longueur 147 présentation 69, 310–315 processus de conversion 11 redimensionnement 66 transcodage. Voir transcodage transfert vers les clusters de traitement 41 films, description 30 filtres accentuer contour 266 ajout aux réglages 271–272 application 66, 313 CN 146 contraste de luminosité 261 de correction gamma 264 de filigrane 268 description 31 désentrelaçage 262 de suppression de bruit 265 égaliseur graphique Apple AU 269 étalonnage des hautes lumières 262 fondu entrant/sortant (audio) 270 fondu entrant/sortant (vidéo) 263 générateur de timecode 267 letterbox 264 limiteur de pics 269 ordre 257360 Index paramètres 65, 104, 261–271 passe-bas 146 passe-haut 146 plage dynamique 269 prévisualisation 104, 257, 313 réorganisation 66 rétablir BlackWhite 261 superposer texte 266 types de 261–271 utilisation 257–259, 260–272 Final Cut Pro marqueurs de chapitre 216 quitter Compressor après les lots 40 renvoi de projets 127 traitement distribué 127–130 transcodage de projets 126–127 flux de programme 197, 212 de transport 197, 212 élémentaires 186, 197, 212 multiplexés 186 système 186 flux de production fenêtres et flux de production Compressor 44 format Flux DV 158 format H.264 pour périphériques Apple 164, 171 MP3 180 MPEG-1 186–187 MPEG-2 216–224 podcasting avec MPEG-4 234–236 QuickTime 246–250 transcodage de base 29–38 flux de travaux rapides et faciles 20–26 forcer au format 66 format 080i 200 1080i 293 1920x1080 166 AVI 237, 254 Dolby Digital Professional 139 H.264 15 MPEG comme fichier source 90 rés HDV 200 VCPRO HD 293 vidéo anamorphosés 293 4p 204 720p 166, 200, 293 format AC-3 Voir aussi format Dolby Digital Professional débits de données 143 encodage 12, 63, 140 fréquences d’échantillonnage 147 longueur des flux 147 format Dolby Digital Professional 139–140, 154–156 à propos du 14 comme sources 90 conversion audio 148 description 12 prévisualisation 90, 147 prévisualiser 315 réglages de l’onglet Audio 141–144 réglages de l’onglet Bitstream 144 réglages de l’onglet Prétraitement 145–146 format DVD-Vidéo flux vidéo MPEG-2 196 GOP ouverts 214 format Flux DV à propos de 157 flux de production 158 réglages 157–158 format H.264 pour DVD Studio Pro sélection de formats de sortie 34 format H.264 pour périphériques Apple flux de production 164, 171 groupes GOVU 169 introduction 159 sélection de formats de sortie 34 sous-fenêtre Encodeur 160–164, 165–168 synchronisation des images 169 synchronisation partielle 169 utilisation de l’encodage multipasse 170 vidéo progressive 171 format MP3 flux de production 180 introduction 177 podcasts 178 sélection de formats de sortie 34 sous-fenêtre Encodeur 178 utilisations courantes du 177 format MPEG-1 ajout d’images I 318–319 choix de formats de sortie 34 configuration pour les DVD 189–193 configuration pour le web 188–189 description 15 exemples de réglages 187 exportation 12 comme fichiers source 90 flux de production de transcodage 186–187 flux élémentaires et système 186 fréquences et tailles d’images 182 introduction 181–182 plates-formes 181 spécifications d’encodeur 182 format MPEG-2 ajout d’images I 223, 318–319 analyse des sources 90 Blu-ray 199 choix de formats de sortie 34 description 15 DVD HD 196, 199Index 361 DVD SD 199 fichiers de sortie 195–215 comme fichiers source 90 flux de production de transcodage 216–224 générique 199 marqueurs 215 paramètres de création 211–224 prise en charge de la lecture en continu 195 projets DVD Studio Pro 12 réglages 217 réglages complémentaires 223–224 réglages de qualité 204–208, 217, 219–222 réglages GOP 209–215, 222–223 réglages vidéo 199–219 réglage Utilisation de flux 199 tailles d’image 314 types de flux 197 format MPEG-4 avantages 225 choix de formats de sortie 34 et podcasting 227 fichiers de sortie 225–236 comme fichiers source 90 flux de production de podcasts 234–236 processus de transcodage 230–236 réglages audio 228, 228–233 réglages d’enchaînement 229–230 réglages vidéo 227–228, 230, 232 format NTSC fréquence d’images 182, 202 proportions pixel 292 rognage 201 sortie MPEG-2 200 taille d’image SIF 182 taille GOP 210 format PAL proportions pixel 292 sortie MPEG-2 200 sortie MPEG SIF 182 taille GOP 210 formats. Voir formats spécifiques format 3G 237, 254 formats de fichier Voir aussi le nom des formats de fichier spécifiques description 32 extensions 63 format Séquence d’images encodeurs 15, 34 sorties 173–176 format Vidéo DVD DVD Studio Pro et le 141 fréquence d’images affichage 196 MPEG-1 182, 184 MPEG-2 202 MPEG-4 227 NTSC 202 QuickTime 242 réglages 277 resynchronisation d’images 65 séquences d’images 174 sortie au format H.264 pour DVD Studio Pro 167 synchronisation 168 fréquences d’échantillonnage audio DVD 142 audio QuickTime 136, 245 DAT 252 flux AC-3 147 présentation 252 réglages MPEG-1 185 réglages MPEG-4 228 son Surround 147 sortie AIFF 135 DV 252 G géométrie paramètres 31, 66, 290–295 gestion des basses 155 GOP (groupe d’images) ajout d’images I à des plans 223 fermé 210, 214–215 fichiers de sortie MPEG-2 222–223 ouvert 210, 214–215 paramètres 183, 209–211, 213–215 présentation 211–215 structure 209, 213 taille 200, 210, 213 GOP fermés 210, 214, 223 GOP ouverts 210, 214, 223 groupe d’images. Voir GOP groupes d’images H.264 169 description 32 GOVU 169 réglages 94, 104 I identificateurs de fichier 327, 338 illustration ajout au marqueur de chapitre 321 images bidirectionnelles 211 delta 243 fixes 30 mise à l’échelle 287, 291–293 numérotation 175 prédites 211 qualité des 244, 265 redimensionnement 65362 Index remplissage 289 resynchronisation 65 rognage 287, 290–291, 312 sortie de séquence 173 sortie TARGA 173 sortie TIFF 173 types 211–215 B 209, 211, 213 images clés description 211 de synchronisation partielle 169 H.264 168 MPEG-4 227 QuickTime 243 images I forcées 211, 215, 223 ajout à des plans 318–319 ajout aux fichiers MPEG-2 223 description 211, 215 forcées 215, 223 marqueurs 69 structures GOP 209, 213 suppression dans des plans 319 images P 209, 211, 213 importation d’éléments fichiers multimédia sources 35, 77–83 projets Final Cut Pro 126 indications 240 installation de modules QuickTime 254 Internet. Voir web intervalle entre les images clés (Fréquence de synchronisation des images) 168 intra image. Voir images I iPod format Composants d’exportation au format QuickTime 254 marqueurs de chapitre 163 marqueurs de podcast 163 proportions 163 tailles pour encodeurs 164 vidéo H.264 pour 159 iTunes marqueurs de chapitre 163 marqueurs de podcast 163 proportions 163 vidéo H.264 pour 159 L lecture commandes de lecture 308 en boucle 308 plates-formes 14 stéréo 156 vidéo en continu 195, 226, 229–230 LFE (effets basse fréquence) activation 142 canal 146, 155 interférence 155 limitations 155 ligne de commande 349–354 commandes de shell 349 contrôle de lots 353 envoi de tâches 350 limite de rognage 306 liste des filtres 260 des marqueurs de chapitre TeXML 321 lots 109–132 Voir aussi Batch Monitor affectation de destinations 36, 115–116 annulation 354 changement de fichier multimédia source 82 contrôle 353 contrôle à l’aide de commandes de shell 353–354 copie de tâches entre 118 création 35–37 description 19, 29, 31 destinations. Voir destinations destinations temporaires 116 enregistrement 125 envoi 25–26, 37, 120–121, 339 envoi à l’aide de commandes de shell 350–353 historique des. Voir fenêtre Historique importation de fichiers multimédia sources dans des 35, 79–83 noms 81 options de ligne de commande 350 ouverture de fichiers de lot 125 prévisualisation 304–309 quitter après la soumission 40 réglages. Voir réglages renvoi 123, 124–125, 127 sélections 97 tâches. Voir tâches tâches optionnelles 26–27 transcodage de différents éléments 131–132 visualisation de l’état 37 M marqueurs ajout de marqueurs de chapitre 320–322 ajouter à un plan de sortie 317 appellation 309 compression automatique 215 compression forcée 215 de montage/de coupe 308, 309, 318 formats qui les prennent en charge 317 images I 69 manipulation 309Index 363 marqueurs de chapitre 212, 215 MPEG-2 215 points d’entrée et de sortie 307 types 307, 317 marqueurs de chapitre 215, 224, 307, 309, 317 absence de prise en charge dans MPEG-1 183 affichage 309 ajout 320–322 ajout d’une image 321 ajout d’une URL 321 conservation 212, 224 création d’une liste au format Texte 322 définition 215 description 215 importer la liste des marqueurs 309, 321 indicateurs visuels 307 MPEG-1 183 URL 321 marqueurs de compression 212, 307, 309, 317, 318 automatique 215 forcée 215 marqueurs de podcast 317 définition 317 sortie H.264 163 mémoire allouée à Compressor 346 menu local algorithme 266 aspect des pixels 292 cluster 338 conversion de fréquence 277 débit 227 de sélection de la fréquence d’échantillonnage 228 désentrelacer 276 destination par défaut 41, 331 diffusion 240 élément 305 estimation d’animation 208, 222 filtre de redimensionnement 275 format vidéo 166, 200 GOP Structure 209, 222 itérations 265 marqueur 309 mode 205, 220 position 264 priorité de trame 203 profondeur 243 proportions 202 qualité 228 réglage par défaut 41 sortie 264 taille d’image 291 taille GOP 210, 222 type de compression 242 menu local Utilisation de flux 199 générique 212 métadonnées 212, 224 minutes de vidéo, DVD 204 mise à l’échelle des images 287, 291–293 mixage audio 144, 154–156 spatial 154–156 mode Estimation d’animation 208 modèles à propos des fichiers 47 configuration 45–47 enregistrer 46 gestion 46–47 lot 46 sélection 46 standard 45 modules 254 de tierce partie 346 mots de passe 331 MPEG-2 Blu-ray 199 MPEG-4 partie 10. Voir format H.264 musique 252 N niveaux de voix 252 nœuds de service activation/désactivation 350 configuration à l’aide de commandes de shell 349–350 noms d’utilisateur 331 des destinations 335 du réglage Cible sélectionnée 305 notification par courrier électronique activation 67, 299 description 297 préférence 39 numéros d’images 175 numérotation des images fixes 175 O onglet attributs A/N 59, 87 Audio 141–144, 185 Bitstream 144 Compléments 211–216, 223, 224 Format vidéo 199–204, 217 Géométrie 294 GOP 209–211, 217, 222 informations complémentaires 60, 88 Prétraitement 145–146 Qualité 204–208, 217 Vidéo 184 onglet Destinations 44, 56, 326–327, 333–334 à propos de 326–327 onglet Informations supplémentaires364 Index annotations 89 fichier de sous-titres codés 88 onglet Réglages 32, 44, 55, 94–98 à propos de 94–98 création de réglages 32 opacité du texte 267 option Atténuation du son de 3 dB 146 Augmentation de phase de 90° 146 Autoriser la segmentation des travaux 63 Correction des mouvements 276 Démarrage rapide 240 Désaccentuation numérique 146 DVD 185 Enchaînement à indications 240 Exécuter AppleScript sur la sortie 298 Exportation QuickTime 216 Filtre CN 146 Filtre linéaire 275 Filtre passe-bas 146 Format 135, 245 IBBP 209, 213 IBP 209 Image clé toutes les 243 Inclure l’audio PCM 168 IP 209 Lancer automatiquement Batch Monitor 39 Motion adaptive 276 Moyenne des lignes 276 Notification par courrier électronique à 298 Pixel le plus proche 275 Prédiction statistique 275 Volume ouvert 328 Web 185 ouverture de fichiers de lot 125 P paquets d’enchaînement 229 paramètres audio AIFF 134–137 fichiers MPEG-2 207 fichiers MPEG-4 228, 228–233 QuickTime 135, 244–245 paramètres vidéo fichiers MPEG-2 199–204, 218–219 fichiers MPEG-4 227–228, 230, 232 partage de préréglages 106 passthrough filtres audio 268 multipiste 239 réglage 239 performances, écrans de veille 37, 121 pistes activation de pistes audio ou vidéo 239 d’algorithme 226 d’indices 240 LFE 155 pixels carrés 292 plans ajout d’images I 223 ajout de marqueurs 318–319 exportation 11 lecture 307 prévisualisation 310–315 suppression d’images I 319 surexposés 264 transcodage à partir de différents fichiers multimédia 131–132 transcodage de sections de 315–316 plates-formes, lecture 14 podcasts 225 MPEG-4 227, 234–236 URL 321 utilisation du format Composants d’exportation au format QuickTime 254 utilisation du format MP3 178 vidéo au format H.264 164 points d’entrée et de sortie 306, 307–308, 315–316 polices 267 préréglages Voir destinations, droplets, réglages prévisualisation des éléments fichiers multimédia sources 310 plans 310–315 préréglages 257 réglages 33, 36, 44, 102–104 privilèges 325 d’accès 328 processus MPEG-4 230–236 processus pulldown 3:2 204 profils d’assistance 16 de support 346 ISMA 227 projets, Final Cut Pro 126 proportions options MPEG-2 219 périphériques Apple 163 pixels 292 réglages 202, 294–295 valeurs par défaut 202 pulldown 2:3:2:3 204 Q qualité fichiers MPEG-2 219–222 prévisualisation de la sortie 303 réglages QuickTime 244 segmentation des travaux 64Index 365 QuickTime encodeur 34 site web 17 quitter Compressor définition de préférences 40 R raccourcis Voir aussi raccourcis clavier flux de production 38 transcodage à l’aide de droplets 337–344 raccourcis clavier Voir aussi raccourcis contrôles généraux 74 fenêtre Preview 75, 323 RAM 346 redimensionnement d’images. Voir taille d’image réduction de bruit adaptative 265 reference frames 211 réglages actions de notification par courrier électronique 299 activer les effets de basse fréquence 142 affectation 22–23, 35, 110–113 affectation à plusieurs groupes 106 affectation à plusieurs tâches 36 affectation de destinations. Voir destinations ajout à l’onglet Réglages 95 anticrénelage 277 Apple 96 Audio Coding Mode 141 canal bande pass. compl. 146 codecs AIFF 136–137 codecs audio QuickTime 249–250 codecs de séquence d’images 175 codecs vidéo QuickTime 247–248 comparaison avec les destinations 93 composants d’exportation au format QuickTime 256 compression standard pour films 145 contenu original 144 création 32–33, 35, 100–102 débit de données 143 de domaine DNS 41 définition de réglages par défaut 41 description 29, 30 de sous-réseau 41 destinations. Voir destinations détails de technique Adaptive 277 distribution 106 Downmix du canal central, Downmix de Surround 144 droplets 36, 154 duplication 95, 99–100 emplacement 106 envoi par courrier électronique 106 estimation d’animation 208 filtres 271–272 fréquences d’images 277 général, onglet Prétraitement 146 géométrie 290–295 groupes 94, 104 identificateurs de fichier 327 informations de production audio 144 mode BitStream 143 mode Dolby Surround 144 modification 114 MPEG-1 191 MPEG-2 217 niveau de détails 277 niveau de mixage des pics 144 nombre dans les groupes 105 nom de fichier de sortie 117 noms 96, 102 normalisation des dialogues 143 organisation 97 partage 106 personnalisation 33 préexistants 35, 38 préréglage de compression 145 prévisualisation 33, 36, 44, 102–104 prévisualisation des plans et 311–315 proportions 294–295 protégé par Copyright 144 réglages de rognage 294–295 régler la durée sur 278 remplacement dans une tâche 113 reverse Telecine 276 scripts AppleScript 299–300 sous-fenêtre Résumé 61 stockage 106 suppression 95, 104 taille d’image 275, 294–295 Target System 141 type de pièce 144 utilisation 93–106 valeur Description 105 vidéo DVD 141 réglages Apple Voir aussi réglages réglages audio MP3 178 QuickTime 241 réglages automatiques 58 fichiers QuickTime non standard 91 réglages de stockage de travail emplacements 326 options de cluster 40 réglages vidéo QuickTime 241 remplissage366 Index à propos de 289 réglages 293 rendu, processus de transcodage 126 renvoi de lots 123, 124–125, 127 renvoi de projets Final Cut Pro 127 réseaux étendus 41 recherche de fichiers source 41 résolution 196 résolution des problèmes défauts dans les fichiers de sortie 90 suppression de réglages 104 triangles d’avertissement de destination 332 resynchronisation d’images 65 rognage d’éléments images 66, 294–295, 312 tailles d’images 201 S saturation 264 scintillement, suppression 262 scripts AppleScript actions 31 ajout aux réglages 297, 299–300 fichiers 300 segmentation des tâches options H.264 166 options MPEG-2 198 options MPEG-4 227 options QuickTime 239 sortie Composant d’exportation au format QuickTime 255 séquences d’images 173 de référence QuickTime 90 exportation 11 séquences QuickTime réglages audio 241 serveurs de courrier 297 hôtes 331 QuickTime Streaming Server 229, 233 SIF (Standard Interface Format) 181 sites web Apple 17, 18 AppleScripts 301, 347 Apple Store 18 assistance AppleCare 345, 346 assistance Compressor 17 Compressor 17, 345 Dolby Laboratories 156 FireWire 18 QuickTime 17 service et assistance Apple 17 son. Voir audio son Surround affectation de codes d’identificateur 83, 152 affectation manuelle de canaux 84, 149 audio stéréo 140 débits de données 143 description 139 lecture stéréo 156 mixage spatial 154–156 son Surround 5.1 83–86, 139, 140, 143, 149–154 soumission de lots 120–122 processus 25 sous-fenêtre Actions 67, 99, 100, 298–300 Apple Qmaster 349 Audio 228–229, 231, 233 Diffusion 229, 231, 233 Géométrie 66–67, 98, 100, 290–295 Résumé 61, 98 Vidéo 227, 230, 232 sous-fenêtre Contrôles d’image ajout automatique de réglages 279 ajout de réglages personnalisés 279 contrôles de resynchronisation 283 introduction 273 modification des réglages 99 présentation 65, 274 prévisualisation 274 télécinéma inverse 280 vue d’ensemble 278 sous-fenêtre Encodeur Voir aussi les noms des sous-fenêtres Encodeur spécifiques AIFF 134 composants d’exportation au format QuickTime 255 de séquence d’images 174–175 Dolby Digital Professional 140–146 modification des réglages 99 MPEG-1 183–186, 188 MPEG-2 198–215 MPEG-4 232 MPEG-4 Partie 2 226–230 présentation 62, 98 QuickTime 238–241 sous-fenêtre Filtres 65, 98, 100, 260–271 ajout aux réglages 271 sous-fenêtres Réglages à propos des 61–67 sous-fenêtre Actions 67 sous-fenêtre Contrôles d’images 65 sous-fenêtre Encodeur 62 sous-fenêtre Filtres 65 sous-fenêtre Géométrie 66 sous-fenêtre Résumé 61 Standard Interface Format (SIF) 181 Structures IBBP 200Index 367 suppression d’éléments destinations 327, 333 images I 319 marqueurs 309 noms de destinations 335 réglages 95, 104 suppression des bruits 265 synchronisation (resynchronisation) 65 partielle 169 T Tableau Résumé 339 tâches Voir aussi lots configuration 22 copie 118 description 19, 29, 31 destinations 115–116 enchaînement 119 importation de fichiers multimédia sources dans des 79–83 lots 35 options de ligne de commande 350 Tagged Image File Format. Voir TIFF taille d’échantillonnage, son 252 de l’écran de prévisualisation 304 taille des cadres MPEG-1 182 MPEG-2 314 taille des images mise à l’échelle et 287, 291–293 réglages 275 rognage et 201, 290–291 TARGA (Truevision Advanced Raster Graphics Adapter) description 173 encodeur 15, 34 fichiers de sortie 173–176 téléchargement de films 238, 240 préchargé en mémoire tampon (QuickTime) 238 télécinéma inverse à propos de 280 cadence 281 problèmes de 282 téléphones fréquences d’échantillonnage 252 qualité audio 246 terminologie 32 tête de lecture 307 texte, superposition 267 TIFF (Tagged Image File Format) description 173 encodeur 15, 34 fichiers de sortie 173–176 timecode contrôles d’entrée et de sortie 305 de départ 203 description 203 en temps réel 203 Non-Drop Frame 203 options MPEG-2 203, 219 tête de lecture 307 traitement distribué choix de clusters 338 Final Cut Pro 127–130 réglages de stockage de travail 40 segmentation des tâches 198, 227, 239 segmentation des travaux 63–64 séquences de référence QuickTime 90 sortie H.264 166 stockage de clusters 326 trames de cadre de source 66, 290 impaires 203, 262 inférieures 203, 262 paires 203, 262 prioritaire 203, 219 supérieures 203, 262 trames, sortie types 203 transcodage actions de post-transcodage 299–300 aperçu de réglages 33, 36 choix d’un format de sortie 34 composants typiques du 30–31 confirmation de la fin du 37 contrôles d’image 274–278 de lots. Voir lots description 32 destinations 33 différents plans à partir d’un seul fichier multimédia 131–132 droplets 337–344 économiseurs d’écran et 37, 121 fenêtres et flux de production Compressor 44 flux de production de base 29–38 formats de sortie 14 notifications par courrier électronique 297 options de post-transcodage 297–300 préparation de Compressor 32–33 projets Final Cut Pro 126–127 réglages 32–33 sections de fichiers multimédia 315–316 tâches facultatives 26–27 visualisation de l’état du 37 travaux segmentation 63–64368 Index V valeurs de luminance 261 VBR (débit variable) AAC et 225 options MPEG-2 205 segmentation des travaux 64 VBR (Variable Bit Rate - débit variable) deux passes 206–208 paramètres 228 une passe 205 VCD débits 185 sortie MPEG-1 181 Version Mac OS 346 vidéo activation de pistes 239 à définition standard Voir vidéo SD bruit 265 compression. Voir transcodage désentrelacement 258–259 entrelacement 195, 258–259 haute définition. Voir vidéo HD lecture en continu 195, 226 liste des filtres 261–268 minutes, sur DVD 204 non entrelacée 181 progressive 181, 195, 208 vidéo entrelacée création 195, 258–259 vidéo HD conversion 12, 196 disques DVD-5 171 options MPEG-2 196, 200, 205 redimensionnement d’image 65 source haute définition 196 vidéo progressive animation 208 MPEG-1 181 MPEG-2 195 vidéo SD conversion de vidéo HD 12, 196 dimension d’image 201 réglage des options MPEG-2 200 rognage de la sortie 291 volumes iDisk 326 normalisation 143 partagés 328 vue Sortie 103 Source 103 W WAN (réseaux étendus) 41 web diffusion en continu de fichiers multimédia 238 fréquences et tailles d’images 182 résolution 185 sortie MPEG-1 182, 187, 188–189 Z zéros de début 175 zone d’écran Preview 306 de surbalayage 290 sûres 290 zone de dialogue à distance 330 Enregistrer 340 QuickTime Réglage d’exportation d’indications 240 Réglages audio 135, 241, 244–250 Réglages audio QuickTime 134 Réglages de compression 242–244 Sélection de fichier 300 Pour afficher le manuel de l’utilisateur, cliquez sur une rubrique dans le volet latéral. Sinon, cliquez sur un lien ci-dessous. m Informations de dernière minute m Instruments et effets m Utilisation d’Apogee MainStage Manuel de l’utilisateurK Apple Inc. © 2007 Apple Inc. Tous droits réservés. En vertu des lois sur le copyright, la reproduction de tout ou partie de ce manuel sans le consentement écrit d’Apple est interdite. Vos droits sur le logiciel sont régis par le contrat de licence de logiciel qui l’accompagne. Le logo Apple est une marque d’Apple Inc. déposée aux États-Unis et dans d’autres pays. L’utilisation du logo Apple du clavier (Option - 1) à des fins commerciales sans le consentement écrit préalable d’Apple peut constituer une contrefaçon de marque ou un acte de concurrence déloyale et enfreindre les lois américaines. Tous les efforts nécessaires ont été mis en œuvre pour que les informations contenues dans ce manuel soient les plus exactes possibles. Apple n’est pas responsable des erreurs d’écriture et d’impression. Remarque :Apple proposant régulièrement de nouvelles versions et mises à jour de son logiciel système, de ses applications et de ses sites Internet, les illustrations de ce manuel peuvent être légèrement différentes de ce que vous constatez à l’écran. Apple Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, AppleScript, FireWire, Logic, Mac, Mac OS, QuickTime, Apple, Apple Store et Jam Pack sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Finder, GarageBand et MainStage sont des marques d’Apple Inc. Les autres noms de sociétés ou de produits mentionnés ici sont des marques de leurs détenteurs respectifs. La mention de produits tiers n’est effectuée qu’à des fins informatives et ne constitue en aucun cas une approbation ni une recommandation. Apple n’assume aucune responsabilité vis-à-vis des performances ou de l’utilisation de ces produits. 3 1 Table des matières Chapitre 1 7 Introduction à MainStage 7 Qu’est-ce que MainStage ? 8 Utilisation de MainStage avec des contrôleurs MIDI 9 Utilisation de MainStage avec des guitares et autres instruments 9 Ajout de MainStage dans votre configuration musicale 11 Utilisation MainStage lors de représentation en direct 12 Ressources pour en savoir plus sur MainStage 12 Manuel de l’utilisateur à l’écran de MainStage 13 Sites web d’Apple Chapitre 2 15 Configuration de votre système 15 Utilisation de matériels MIDI avec MainStage 16 Utilisation de matériels MIDI avec MainStage 17 Utilisation de modules d’effets avec MainStage Chapitre 3 19 L’interface MainStage 19 La fenêtre MainStage 21 Mode Disposition 22 Mode Édition 23 Mode Exécution 24 Mode Plein écran Chapitre 4 25 Premiers contacts avec MainStage 25 Avant de commencer 25 Choix d’un modèle de concert 27 Sélection et lecture de patchs 28 Ajout de patchs 29 Modification du nom d’un patch 29 Ajout d’une tranche de console à un patch 31 Modification d’un réglage de tranche de console 32 Apprentissage d’assignations de contrôleur 33 Mappage de contrôles d’écran à des paramètres 36 Familiarisation avec les modes Plein écran et Exécution 36 Personnalisation de la fenêtre MainStage4 Table des matières Chapitre 5 41 Utilisation de concerts 41 Ouverture et fermeture de concerts 42 Enregistrement de concert 43 Conséquences de l’enregistrement sur les valeurs des paramètres 43 Utilisation du Tempo dans un concert MainStage 45 Désactivation du son de la sortie audio 46 Notes MIDI en muet 47 Manipulations par concert Chapitre 6 53 Utilisation du mode Édition 53 Utilisation de patchs en mode Édition 57 Utilisation de tranches de console en mode Édition 68 Mappage de contrôles d’écran 70 Utilisation de sets en mode Édition 72 Manipulations par set 73 Substitution de mappages portant sur un concert ou un set entier 74 Partage de patchs et de sets entre concerts Chapitre 7 77 Utilisation du mode Disposition 78 Changement de la résolution de grille 78 Modification de la disposition d’un concert 78 Utilisation des contrôles d’écran 88 Assignation de contrôles matériels à des contrôles d’écran 90 Modification des paramètres des contrôles d’écran 94 Transition de messages dans le canal MIDI Thru avec MainStage 94 Exportation d’une disposition 95 Importation d’une disposition Chapitre 8 97 Représentation en direct avec MainStage 97 Avant de commencer à jouer 97 Utilisation des modes Plein écran et Exécution 99 Sélection de patchs pendant la représentation 100 Utilisation des contrôles d’écran pendant l’interprétation 101 Gestion des changements de tempo pendant l’interprétation 101 Utilisation de guitares et autres instruments 102 Utilisation du syntoniseur 103 Conseils pour la configuration complexe de matériel Annexe A 105 Raccourcis clavier 105 Concerts et dispositions 105 Patchs et sets (mode Édition) 106 Édition 106 Actions 106 Mappage de paramètres(mode Édition)Table des matières 5 106 Tranches de console (mode Édition) 107 Contrôles d’écran (mode Disposition) 107 Fenêtre et présentation 107 Aide et assistance Annexe B 109 Réglage des préférences MainStage 109 Préférences générales 110 Préférences Audio/MIDI Index 1111 7 1 Introduction à MainStage MainStage transforme votre ordinateur en puissant instrument de musique personnalisable, optimisé pour l’utilisation en représentation. L’avènement d’ordinateurs portables puissants et rapides a permis aux musiciens de les utiliser lors de performance en direct, leur ouvrant ainsi de nouvelles possibilités. Désormais les musiciens exploitant l’informatique peuvent conserver toute une bibliothèque de sons sur leur ordinateur et les utiliser pour jouer en live. Mais ils ont surtout besoin d’un moyen leur permettant d’accéder, d’organiser et de manipuler ces sons alliant les avantages de la composition musicale assistée par ordinateur au contrôle tactile et intuitif du matériel musical adapté. Qu’est-ce que MainStage ? MainStage est une nouvelle application conçue pour les représentations en live. MainStage transforme votre ordinateur en un puissant instrument multiple et processeur d’effets exploitable sur scène. Si vous jouez du clavier, de la guitare, de tout autre instrument ou que vous chantez, vous pouvez utiliser MainStage avec vos instruments, micros et autres appareils musicaux lors de vos performances. MainStage vous permet d’utiliser des instruments et des effets Logic Studio de qualité professionnelle pendant vos représentations. Vous pouvez accéder aux instruments et effets et les modifier à l’aide de l’interface déjà familière en tranches de console de Logic. Si vous jouez du clavier MIDI ou USB, vous pouvez jouer et contrôler toute une gamme d’instruments logiciels et notamment du piano, du clavier, du synthétiseur, des cordes, des cuivres, des percussions, etc. Si vous jouez de la guitare ou d’un autre instrument de musique, vous pouvez vous produire sur scène en utilisant des effets issus de Logic Studio, notamment la simulation d’ampli de basse, de la réverbération, de la compression ou de l’égalisation. Les chanteurs peuvent aussi utiliser des effets sur leur voix ;il en va de même pour les instruments acoustiques joués dans un micro.8 Chapitre 1 Introduction à MainStage MainStage est une interface simple et adaptable permettant d’organiser et d’accéder aux sons inclus dans des concerts. Ces concerts sont des documents MainStage : ils permettent de stocker tous les sons que vous comptez utiliser lors d’une représentation. Dans un concert MainStage, chaque son est stocké sous forme de patch contenant chacun des tranches de console audio ou d’instruments logiciels. Vous pouvez ajouter des tranches de console, choisir leurs réglages, ajouter des instruments et des effets et modifier leurs paramètres pour personnaliser vos sons. Vous pouvez même mixer des tranches de console audio et d’instrument logiciel dans un même patch. Chaque concert comprend une interface visuelle appelée Disposition avec des contrôles permettant de modifier vos patchs en pleine représentation. Les dispositions disposent de contrôles d’écran pouvant comprendre des claviers, des curseurs, des potentiomètres, des boutons, des pédales, des pads de batterie et autres objets. Vous pouvez établir des connexions entre les matériels MIDI et le concert en assignant des commandes matérielles aux contrôles d’écran dans l’espace de travail MainStage. Après avoir procédé aux assignations de contrôleur, vous devez mapper les contrôles d’écran à une tranche de console et aux paramètres de module, terminant ainsi la connexion de façon à pouvoir facilement accéder et manipuler les paramètres voulus pour chacun des patchs du concert. Vous pouvez aussi mapper des contrôles d’écran pour sélectionner des patchs et avoir un retour visuel en temps réel sur les patchs, les paramètres et autres informations. MainStage vous permet de créer rapidement et facilement des assignations de contrô- leur et des mappages de paramètres pour accélérer votre travail. Vous pouvez personnaliser votre Disposition pour l’adapter à votre matériel MIDI et optimiser l’utilisation de l’espace disponible à l’écran ou l’adapter à vos besoins particuliers. Utilisation de MainStage avec des contrôleurs MIDI Si vous jouez sur votre clavier contrôleur USB ou MIDI, vous pouvez lire et contrôler des patchs MainStage à l’aide de votre contrôleur. Vous pouvez assigner des curseurs, des ports, des boutons et autres commandes du clavier à des contrôles d’écran dans votre concert puis les mapper à des paramètres de vos patchs. Vous pouvez choisir exactement les paramètres que vous voulez pour avoir sous la main chacun des patchs et y accéder à partir du contrôleur pendant la représentation. MainStage prend en charge les claviers et autres matériels capables d’envoyer des messages MIDI standard, notamment les pédales Sustain et expression et les interrupteurs à pied MIDI. Vous pouvez aussi utiliser MainStage avec d’autres contrôleurs comme des guitares MIDI ou des contrôleurs à souffle.Chapitre 1 Introduction à MainStage 9 Utilisation de MainStage avec des guitares et autres instruments Si vous jouez de la guitare électrique ou d’un autre instrument de musique, MainStage se comporte alors comme un puissant processeur d’effets configurable. Après avoir branché votre instrument sur l’ordinateur à travers une interface audio, vous deves sélectionner l’entrée audio de votre instrument dans les tranches de console audio de vos patchs où vous pouvez ajouter des effets, notamment de la simulation d’ampli, de l’égalisation, de la compression et de la réverbération. Vous pouvez alors contrôler le volume, le mélange d’effets ou l’expression avec une pédale d’expression et utiliser un interrupteur à pied pour sélectionner les patchs. Les chanteurs et les musiciens jouant d’un instrument acoustique peuvent utiliser MainStage de la même façon, en raccordant l’entrée audio de leur micro sur les tranches de console de leurs patchs. Vous pouvez utiliser MainStage avec des périphériques audio compatibles Core Audio, comme des interfaces audio, pour l’entrée d’instruments et de micros, et la sortie sur des haut-parleurs, des moniteurs, une table de mixage ou un système de sonorisation. Ajout de MainStage dans votre configuration musicale Si vous jouez du clavier MIDI, de la guitare, que vous chantez ou que vous jouez d’un autre instrument, vous pouvez ajouter MainStage à votre équipement en suivant les étapes suivantes :  personnalisez la configuration de vos sons et de vos effets ;  organisez vos patchs dans votre concert ;  personnalisez votre disposition ;  réalisez les connexions entre MainStage et votre matériel musical. Pour faciliter la configuration, MainStage divise ses tâches en deux groupes avec des modes distincts pour chaque groupe de tâches. Vous pouvez personnaliser et organiser vos patchs en mode Édition, personnaliser votre disposition et établir des connexions avec votre matériel en mode Disposition. Cette répartition a l’avantage de séparer des tâches que vous n’exécutez normalement qu’une seule fois, comme la configuration de la disposition (tâches du mode Disposition), de celles que vous risquez de répéter plus souvent, comme la modification de sons (tâches du mode Édition).10 Chapitre 1 Introduction à MainStage Mode Édition :utilisation de sons Vous pouvez modifier et organiser les patchs en mode Édition. Ils sont alors « en direct » ce qui vous permet d’écouter instantanément le résultat de vos modifications.Vous pouvez sélectionner et lire des patchs, choisir des réglages et modifier des paramètres de tranche de console.Vous avez la possibilité de définir rapidement des plages de notes pour les tranches de console afin de créer des couches et des scissions de clavier, des expressions de gamme et autres paramètres à l’aide de transformations, et en filtrant les messages MIDI entrants. MainStage comprend de nombreux modèles de concerts adaptés à différents instruments de musique,styles et usages.Vous pouvez utiliser un modèle de concert en tant que « multi-instrument » prêt à l’emploi ou comme point de départ pour créer votre propre concert personnalisé. Lorsque vous ouvrez un concert en mode Édition, ses patchs apparaissent dans la Liste de patchs où vous pouvez les sélectionner et lancer la lecture. Vous pouvez modifier des paramètres de patch, ajouter des tranches de console aux patchs existants ou en créer de nouveaux et réorganiser des patchs pour construire une collection de sons personnalisés à utiliser en représentation. Vous pouvez aussi organiser les patchs en sets pour une plus grande flexibilité. Les sets sont des dossiers pouvant accueillir des groupes de patchs que vous voulez associer, ce qui peut s’avérer utile. Par exemple, vous pouvez stocker tous vos patchs de synthé préférés dans un set ou plusieurs patchs que vous avez l’intention d’utiliser dans un seul et même morceau pour pouvoir facilement les sélectionner lors de la représentation. Le mode Édition vous permet de mapper des contrôles d’écran à des paramètres de tranche de console. Vous pouvez mapper n’importe quel paramètre à modifier pour chaque patch à un contrôle d’écran afin de le manipuler facilement à partir de votre matériel lorsque vous êtes en représentation. Vous pouvez également mapper des contrôles d’écran à des actions spécifiques de MainStage, comme la sélection du patch suivant que vous voulez lire.Chapitre 1 Introduction à MainStage 11 Mode Disposition :connexion avec votre équipement Chaque concert comprend une disposition dont le but est de représenter vos contrô- les matériels à l’écran. En mode Disposition, vous pouvez organiser les contrôles d’écran dans l’espace de travail MainStage et établir la connexion entre MainStage et votre matériel musical. En mode Disposition, vous pouvez connecter vos matériels MIDI aux contrôles d’écran de votre concert MainStage en assignant des commandes matérielles comme les potentiomètres, les curseurs, les pédales et les pads de batterie aux contrôles d’écran correspondants. MainStage propose une large gamme de contrôles d’écran, dont des claviers, des potentiomètres, des curseurs, des interrupteurs, des molettes de modulation et de hauteur (pitch bend), des pédaliers et des pads de batterie. Des contrôles d’écran sont également fournis pour afficher du texte et des images et un sélecteur de patch que vous pouvez utiliser pour visualiser et sélectionner des patchs pendant l’exécution sur scène. Vous pouvez déplacer ou redimensionner les contrôles d’écran et personnaliser la repré- sentation visuelle des paramètres et autres informations.Vous n’avez à effectuer les assignations matérielles qu’une fois pour tout le concert, ce qui réduit considérablement le travail de connexion du matériel à l’ordinateur. Utilisation MainStage lors de représentation en direct Lorsque vous avez créé et organisé vos sons, personnalisé votre disposition et effectué les assignations matérielles, vous êtes prêt à vous produire. Lors de la représentation en direct, vous pouvez utiliser un ordinateur comme module de son et boîte d’effets finals. Vous avez la possibilité de sélectionner un patch et de le lire instantanément. MainStage passe d’un patch à l’autre sans coupure et peut tenir des notes du patch précédent tout en commençant à jouer celui qui vient d’être sélectionné. La représentation de vos patchs se fait en temps réel, incluant notamment le nom, la valeur des paramètres et les niveaux de sortie audio. Vous avez également la possibilité de régler des effets portant sur tout le concert et contrôler d’autres réglages de même portée. MainStage propose deux modes pour la représentation en direct :le mode Plein écran et le mode Exécution. En mode Plein écran, l’espace de travail occupe tout l’écran, optimisant ainsi l’espace disponible pour la disposition de l’écran. En mode Exécution, l’espace de travail occupe toute la fenêtre MainStage mais vous permet encore l’accès au Finder et autres applications.Vous pouvez utiliser l’un ou l’autre suivant votre préférence. Vous pouvez utiliser MainStage avec plusieurs contrôleurs MIDI, micros, instruments et autres équipements de musique. Pour les effets temporels, comme la réverbération ou le retard, vous avez la possibilité d’utiliser un tempo prédéfini, d’utiliser l’entrée MIDI pour les changements de tempo ou de taper le tempo lors de la représentation.12 Chapitre 1 Introduction à MainStage Ressources pour en savoir plus sur MainStage Ce manuel décrit l’interface, les commandes et les menus de MainStage et vous propose un guide pas à pas pour créer des concerts MainStage et réaliser des tâches plus spécifiques. Vous y trouverez également des informations pour la configuration de votre système. Il a été conçu pour vous fournir les informations dont vous avez besoin pour mettre rapidement à profit l’interface intuitive et les puissantes fonctionnalités de MainStage. Si vous voulez commencer par savoir comment installer votre matériel audio et MIDI pour l’utiliser avec MainStage, lisez chapitre 2, « Configuration de votre système » à la page 15. Si vous voulez en savoir plus sur les fonctionnalités et les commandes de l’interface MainStage, reportez-vous au chapitre 3, « L’interface MainStage » à la page 19. Si vous voulez faire le grand saut et commencer tout de suite à utiliser l’application, passez directement au chapitre 4, « Premiers contacts avec MainStage » à la page 25. Si vous voulez en savoir plus sur l’utilisation de MainStage en représentation, consultez le chapitre 8, « Représentation en direct avec MainStage » à la page 97. En plus de ce manuel, MainStage vous propose d’autres sources d’assistance. Manuel de l’utilisateur à l’écran de MainStage Le Manuel de l’utilisateur à l’écran de MainStage vous permet d’accéder aux informations directement pendant que vous travaillez dans MainStage. Pour visualiser ces informations, choisissez Aide > Manuel de l’utilisateur de MainStage. Le Manuel de l’utilisateur à l’écran de MainStage est une version du Manuel de l’utilisateur de MainStage incluant des liens et des fonctionnalités vous permettant de retrouver facilement et rapidement les informations que vous cherchez.  La page d’accueil vous permet d’accéder rapidement à différentes fonctionnalités, comme les Informations de dernière minute et le manuel Instruments et effets Logic Studio.  Une liste exhaustive de signets vous permet de choisir rapidement ce que vous voulez consulter et la rubrique voulue s’ouvre en un clic. En plus des outils de navigation, le Manuel de l’utilisateur à l’écran de MainStage vous propose d’autres moyens de retrouver rapidement les informations :  Toutes les références croisées du texte font l’objet de liens. Vous pouvez cliquer sur n’importe quelle référence pour y accéder directement. Vous pouvez ensuite utiliser le bouton Retour pour revenir où vous étiez avant de consulter la référence.  La table des matières et l’index fonctionnent aussi avec des liens. Si vous cliquez sur une entrée de ces sections, vous vous retrouvez directement à la rubrique correspondante du manuel.  Vous pouvez également utiliser la zone de dialogue Rechercher pour trouver des mots ou une expression spécifique dans le texte.Chapitre 1 Introduction à MainStage 13 Sites web d’Apple Il existe plusieurs sites web d’Apple sur lesquels vous trouverez des informations complémentaires. Site web Logic Studio Pour des informations d’ordre général et les dernières mises à jour Logic Studio, notamment MainStage, consultez :  http://www.apple.com/fr/logicstudio Site web de service et d’assistance Apple Pour les mises à jour logicielles et trouver des réponses aux questions les plus fréquentes sur les produits Apple, consultez :  http://www.apple.com/fr/support Vous aurez également accès aux spécifications des produits, à la documentation de référence et aux articles techniques sur les produits Apple et tiers. Autres sites web d’Apple Commencez par la page d’accueil Apple pour trouver les dernières informations les plus fiables sur les produits Apple :  http://www.apple.com/fr QuickTime est une technologie standard reconnue dans l’industrie, permettant de traiter de la vidéo, du son, de l’animation, de l’image, du texte, de la musique et des scènes de réalité virtuelle à 360 degrés (VR). QuickTime propose un haut niveau de performances, de compatibilité et de qualité en termes de vidéo numérique. Visitez le site web QuickTime pour en savoir plus sur les types de supports pris en charge, suivre une visite guidée de l’interface et des spécifications de QuickTime, etc. :  http://www.apple.com/fr/quicktime FireWire est une des normes de périphérique les plus rapides développées à ce jour, d’une grande utilité pour les périphériques multimédia comme les caméscopes vidéo et les derniers disques dur à haut débit. Consultez ce site web pour en savoir plus sur la technologie FireWire et les produits FireWire tiers disponibles (en anglais) :  http://www.apple.com/fr/firewire Pour en savoir plus sur les séminaires, les événements et les utilitaires tiers utilisés dans la publication, la conception web, l’impression, la musique et l’audio, les films, l’imagerie numérique et les arts multimédia, consultez :  http://www.apple.com/fr/pro14 Chapitre 1 Introduction à MainStage Pour consulter des ressources, des récits et des informations sur les projets développés grâce aux logiciels Apple en milieu éducatif, consultez :  http://www.apple.com/fr/education Rendez-vous dans l’Apple Store pour acheter des logiciels, du matériel ou des accessoires directement d’Apple et découvrir des promotions et offres spéciales sur des produits logiciels et matériels tiers :  http://www.apple.com/francestore2 15 2 Configuration de votre système Vous pouvez utiliser MainStage avec un large éventail de contrôleurs MIDI et d’appareils audio compatibles Core Audio. La génération et le traitement en temps réel de l’audio numérique requièrent une puissance de traitement importante de la part de votre ordinateur. Si vous envisagez de travailler sur des projets volumineux ou complexes, vous pouvez améliorer votre productivité en dotant votre ordinateur d’un processeur plus rapide et de mémoire RAM supplémentaire. De la RAM supplémentaire est particulièrement utile lorsque l’on a recours à un grand nombre de modules d’effets et à des instruments logiciels s’appuyant sur des échantillons. Nous vous recommandons de ne pas exécuter d’autres applications mettant à rude épreuve le processeur ou la mémoire en même temps que MainStage, particulièrement si vous jouez en direct. Utilisation de matériels MIDI avec MainStage MainStage fonctionne avec de nombreux claviers contrôleurs USB et MIDI et autres périphériques MIDI tels que des pédales et des interrupteurs au pied. Pour que les périphériques MIDI fonctionnent avec MainStage, ils doivent pouvoir envoyer des messages de contrôle MIDI standard. MainStage reçoit les messages MIDI standard mais n’est pas capable d’en envoyer, et n’est pas conçu pour piloter des appareils MIDI externes. Pour en savoir plus sur l’utilisation de matériels MIDI, consultez le chapitre « Configuration de votre système » dans le Manuel de l’utilisateur de Logic Pro 8. Utilisation de périphériques MIDI envoyant des types de message MIDI particuliers Certains types de contrôles matériels, tels que des potentiomètres (contrôles rotatifs) et des boutons, peuvent envoyer des messages MIDI de plusieurs types. Lorsque vous assignez ces contrôles aux contrôles d’écran MainStage à l’aide du processus Apprendre, MainStage analyse les données MIDI entrantes afin de déterminer le type de message envoyé par le contrôle matériel. Pour que MainStage puisse assimiler ces contrôles correctement, veillez à tourner les potentiomètres sur toute leur course et à appuyer exactement trois fois sur les boutons pendant le processus d’apprentissage.16 Chapitre 2 Configuration de votre système Certains contrôleurs MIDI peuvent envoyer des messages MIDI non standard ou des messages en format propriétaire. MainStage ne peut ni traiter ni répondre aux messages MIDI non standard, aux messages de paramètres « enregistrés » ou « non enregistrés » et aux messages System Exclusive (SysEx). Certains matériels présentent des boutons qui envoient des messages de changement de programme. Vous pouvez utiliser ces boutons pour envoyer des messages de changement de programme à MainStage mais vous ne pouvez pas les assigner pour contrôler d’autres paramètres à l’aide des contrôles d’écran de MainStage. Sélection d’un préréglage de contrôleur Certains contrôleurs de clavier permettent de choisir divers préréglages ou « scènes » qui reconfigurent les messages envoyés par les contrôles de l’appareil. Dans la plupart des cas, choisissez un préréglage générique qui envoie des messages MIDI standard plutôt que des messages System Exclusive ou des messages destinés à une application en particulier. Après avoir assigné des commandes matérielles à des contrôles d’écran dans MainStage, ne modifiez pas le préréglage de l’appareil MIDI sous peine de perdre vos assignations. Dans certains cas, il est possible de modifier le type de message que le contrôleur envoie en choisissant un autre préréglage ou en reprogrammant le matériel. Certains appareils intègrent des logiciels utilisables pour reprogrammer potentiomètres, boutons et autres contrôles. Pour en savoir plus sur la reprogrammation d’un matériel MIDI, reportez-vous à la documentation l’accompagnant. Utilisation de matériels MIDI avec MainStage MainStage fonctionne avec les matériels audio compatibles Core Audio, dont les interfaces audio FireWire, USB et PCI. Pour en savoir plus sur l’utilisation de matériels audio, consultez le chapitre « Configuration de votre système » du Manuel de l’utilisateur de Logic Pro 8. MainStage peut nécessiter une grande quantité de mémoire RAM, particulièrement avec les instruments logiciels s’appuyant sur des échantillons. Avant toute représentation en direct avec MainStage, il est recommandé de tester votre système et les concerts que vous envisagez d’utiliser afin de vous assurer que la mémoire dont vous disposez est suffisante pour jouer les patchs et passer de l’un à l’autre sans provoquer de pertes du signal audio ou de distorsion. Contrairement à Logic Pro 8, MainStage permet de choisir plusieurs gestionnaires d’entrée et de sortie audio. Pour en savoir plus sur la sélection de gestionnaires audio, consultez « Réglage des préférences MainStage » à la page 109.Chapitre 2 Configuration de votre système 17 Utilisation de modules d’effets avec MainStage Vous pouvez utiliser un grand nombre des modules d’effets de Logic Studio dans les tranches de console MainStage. Certains modules Logic Studio, dont les modules Surround et ceux entraînant une latence notable, ne sont pas disponibles dans MainStage. Pour en savoir plus sur les modules d’effets inclus, reportez-vous au manuel Instruments et effets Logic Studio.Vous pouvez aussi utiliser des effets Audio Units Apple et de tierce partie dans les tranches de console MainStage de la même façon que dans les tranches de console Logic Pro 8. Certains modules Audio Units peuvent entraîner un effet de latence. L’utilisation d’effets générant de la latence, tels que les compresseurs et les limiters, peut produire des résultats indésirables ou imprévisibles sur scène.3 19 3 L’interface MainStage Dans MainStage, vous ne travaillez que dans une seule fenêtre :celle de MainStage. La fenêtre MainStage est organisée de façon à faciliter l’utilisation de vos patchs et votre disposition lorsque vous modifiez vos concerts. L’espace de travail occupe le centre de la fenêtre, les inspecteurs et autres zones de modification se trouvant sur les côtés gauche et droite. Au moment de la performance en direct, deux modes adaptés à la représentation vous sont proposés pour optimiser la disposition de l’écran et vous faciliter la visualisation sur scène. La fenêtre MainStage Certaines fonctionnalités de l’interface MainStage sont communes à tous les modes alors que d’autres ne sont disponibles que dans certains. Moniteur d’activité Inspecteur Barre d’outils Espace de travail avec contrôles d’écran20 Chapitre 3 L’interface MainStage Parmi les fonctionnalités principales de MainStage, on trouve :  La barre d’outils : comprend des boutons pour les commandes et les outils courants. Vous pouvez la personnaliser pour rendre plus accessibles les commandes que vous utilisez le plus souvent.  Le moniteur d’activité :indique l’utilisation du processeur et de la mémoire de votre ordinateur ainsi que les données entrantes des matériels MIDI pendant l’édition et la représentation.  L’espace de travail :c’est le « canevas » à partir duquel vous pouvez personnaliser la disposition de l’écran, assigner des commandes matérielles et visualiser vos concerts.  Les contrôles d’écran :objets à l’écran qui correspondent aux commandes de vos matériels. Vous pouvez ajouter ou modifier des contrôles d’écran dans l’espace de travail, assigner des commandes matérielles aux contrôles d’écran puis les mapper à des paramètres à contrôler pour chacun des patchs de votre concert.  Les tranches de console : c’est dans ces tranches de console que vous construisez et personnalisez vos sons. Les tranches de console de MainStage sont similaires à celles de Logic Pro 8, prévoyant des Insertions, des Envois, des menus E/S ainsi que des VU-mètres, des curseurs, des potentiomètres de balance et autres commandes.  Les inspecteurs : les inspecteurs apparaissent sur la gauche de la fenêtre MainStage lorsque vous sélectionnez des éléments à l’écran. Il en existe plusieurs proposés dans les différents modes. Ils vous permettent de modifier des paramètres et des attributs pour les patchs, les sets, les contrôles d’écran, les tranches de console, le concert et la disposition. Pour faciliter son utilisation, MainStage propose quatre modes, chacun étant adapté à une tâche distincte. Vous pouvez écouter, modifier et organiser des sons ainsi que mapper des contrôles d’écran en mode Édition. La personnalisation de l’agencement de vos contrôles d’écran et les assignations des contrôleurs se font en mode Présentation. Les modes Exécution et Plein écran servent, quant à eux, à la représentation sur scène.Chapitre 3 L’interface MainStage 21 Mode Disposition En mode Disposition, vous pouvez personnaliser la disposition de l’écran et établir des liens entre le matériel MIDI et les contrôles d’écran dans votre concert. Vous pouvez faire glisser des contrôles d’écran dans l’espace de travail et les réorganiser à l’écran pour personnaliser la disposition, puis procéder à des assignations de contrôleur entre le matériel MIDI et les contrôles d’écran. Dans l’inspecteur de disposition, vous pouvez modifier les paramètres de disposition pour personnaliser les assignations de matériel et modifier l’apparence des contrôles d’écran.  L’inspecteur de disposition :visualisez et modifiez les paramètres des contrôles d’écran dans l’espace de travail, et notamment les paramètres d’assignation de matériel et d’apparence.  Les palettes de contrôles de panneau et de tablette :faites glisser des contrôles d’écran d’une de ces palettes dans l’espace de travail pour les ajouter à la disposition de l’écran. Les contrôles de panneau sont entourés par un panneau plat dans l’espace de travail alors que les contrôles de tablette s’affichent sur une tablette ajustable en 3D. En mode Disposition, contrairement aux autres modes de MainStage, vous pouvez sélectionner ou modifier des patchs individuellement. Vous pouvez lire et écouter le dernier patch sélectionné lorsque vous travaillez en mode Disposition. Inspecteur de disposition Palette de contrôles de panneau Palette de contrôles de tablette22 Chapitre 3 L’interface MainStage Mode Édition C’est dans le mode Édition que vous créez, personnalisez et organisez vos sons. Vous pouvez ajouter des patchs, ajouter et modifier des tranches de console, créer des couches et des scissions de clavier et modifier des paramètres de tranches de console. C’est aussi dans ce mode que vous pouvez sélectionner et mapper des contrôles d’écran à des paramètres de tranches de console et des actions, et que vous pouvez modifier des patchs, des sets et des paramètres portant sur l’intégralité du concert.  Liste de patchs:affiche les patchs et les sets du concert.Vous pouvez ajouter des patchs et des sets à la Liste de patchs, puis les renommer, les sélectionner et les réorganiser. Cette liste comprend un menu Action où vous pouvez créer des patchs et des sets, réinitialiser les numéros de changement de programme, passer des éléments et importer et exporter des patchs et des sets pour les utiliser dans d’autres concerts.  Inspecteurs de concert, de jeu, de sons, de tranche de console et de contrôle d’écran :visualisez et modifiez les paramètres de l’élément sélectionné. Le nom de l’inspecteur change pour refléter le type d’élément sélectionné.  Navigateur Réglages de tranche de piste (s’affiche lorsqu’une tranche de console est sélectionnée) :choisissez un réglage pour la tranche de console sélectionnée. Vous pouvez rechercher des réglages par nom, choisir les réglages à afficher et définir le réglage de tranche de console par défaut des nouvelles tranches de console. Liste de patchs Inspecteur de contrôle d’écran (évolue en fonction de la sélection) Navigateur de mappage de paramètres Zone Tranches de consoleChapitre 3 L’interface MainStage 23  Navigateur Mappage de paramètres (s’affiche lorsqu’un contrôle d’écran est sélectionné) :choisissez des paramètres et des actions de tranche de console à mapper au contrôle d’écran sélectionné dans l’espace de travail.  Zone Tranches de console :visualisez et modifiez les tranches de console dans vos patchs ou portant sur l’intégralité du concert ou du set. Les tranches de console s’affichent dans un format vertical similaire aux tranches de console de Logic Pro 8, avec sensiblement les mêmes commandes. Vous pouvez aussi ajouter des tranches de console et enregistrer des réglages de tranches de console. Les deux modes restants, le mode Exécution et le mode Plein écran,sont tous les deux optimisés pour un usage sur scène. Vous pouvez utiliser l’un ou l’autre en représentation. Mode Exécution En mode Exécution, l’espace de travail occupe toute la fenêtre MainStage. La barre d’outils est visible de façon à passer d’un mode à l’autre à l’aide des boutons Mode, à utiliser les boutons Panique et Silence Master et à visualiser les niveaux d’utilisation du processeur et de la mémoire, ainsi que des entrées MIDI dans le moniteur d’activité. Les navigateurs et les inspecteurs sont cachés pour optimiser l’espace de travail, ce qui permet des contrôles d’écran plus grands et plus faciles à lire lorsque vous êtes sur scène. Vous pouvez toujours accéder au Finder et activer d’autres applications en mode Exécution.24 Chapitre 3 L’interface MainStage Mode Plein écran En mode Plein écran, l’espace de travail occupe tout l’affichage de l’ordinateur, les contrôles d’écran sont donc aussi grands que possible pour une meilleure lisibilité. Le mode Plein écran optimise l’affichage en représentation lorsque vous ne voulez utiliser que MainStage pendant que vous jouez.4 25 4 Premiers contacts avec MainStage Vous pouvez rapidement commencer à travailler dans MainStage en choisissant un modèle de concert et en testant les patchs qui y sont inclus. Ce chapitre se veut un « tour d’horizon » guidé que vous pouvez suivre lorsque vous lancez MainStage pour la première fois. Avant de commencer Avant de commencer à travailler dans MainStage, nous vous recommandons de brancher le matériel, par exemple un clavier contrôleur, une interface audio, des instruments ou des micros, que vous avez l’intention d’utiliser sur votre ordinateur. Pour utiliser des claviers contrôleurs et autres appareils MIDI avec MainStage, ils doivent être en mesure d’envoyer des messages MIDI standard. Si vous ne savez pas exactement si c’est le cas, consultez le manuel ou le site Internet du produit. Pour en savoir plus, consultez « Configuration de votre système » à la page 15. Choix d’un modèle de concert MainStage comprend des modèles de différents styles, pour différents usages et instruments de musique. Vous pouvez choisir un modèle de concert dans la zone de dialogue Sélectionner le modèle qui apparaît lorsque vous ouvrez MainStage pour la première fois ou à chaque création de concert.26 Chapitre 4 Premiers contacts avec MainStage Pour choisir un modèle de concert : 1 Choisissez Fichier > Nouveau concert (ou appuyez sur Commande + N). La zone de dialogue Sélectionner le modèle apparaît alors. Sur la gauche se trouve la liste Collection reprenant des collections pour différents types d’instruments. Sur la droite, la liste Modèle indique les modèles disponibles pour la collection sélectionnée. 2 Cliquez sur une collection de la liste du même nom pour voir les modèles qu’elle contient. 3 Cliquez sur un modèle de concert dans la liste du même nom pour créer un concert à partir de ce modèle. Le nouveau concert s’ouvre alors en mode Édition. L’espace de travail apparaît au centre de la fenêtre MainStage et affiche les contrôles d’écran dans le concert. À gauche de l’espace de travail se trouve la Liste de patchs qui indique les patchs et les sets du concert. Les tranches de console du patch sélectionné s’affichent dans la zone Tranches de console,sur la droite de l’espace de travail. Lorsque vous ouvrez un concert pour la première fois, le patch le plus haut est sélectionné. Vous pouvez ainsi commencer à jouer immédiatement à l’aide d’un clavier contrôleur (si le patch a une tranche de console d’instrument logiciel), d’un instrument ou d’un micro connecté à votre ordinateur (si le patch dispose d’une tranche de console audio). Lorsque vous rouvrez un concert enregistré, c’est le patch choisi au moment de la fermeture qui est à nouveau sélectionné. Pour en savoir plus sur l’ouverture, l’édition et l’enregistrement de concerts, consultez « Utilisation de concerts » à la page 41. Choisissez une collection dans la colonne pour visualiser les modèles disponibles. Choisissez un modèle pour un nouveau concert dans cette colonne.Chapitre 4 Premiers contacts avec MainStage 27 Sélection et lecture de patchs Les patchs d’un concert apparaissent dans la Liste de patchs du côté gauche de la fenêtre MainStage. Vous pouvez test rapidement des patchs pour savoir ceux que vous pouvez utiliser. Si vous utilisez un contrôleur MIDI, vous pouvez lire des patchs avec des tranches de console d’instrument logiciel à l’aide de votre contrôleur. Si vous jouez de la guitare électrique ou tout autre instrument, ou que vous utilisez un micro branché sur une interface audio, vous pouvez jouer ou chanter à l’aide des patchs possédant une tranche de console. Avant de lire une tranche de console audio, vérifiez qu’elle est bien configurée pour recevoir une entrée à travers le canal (ou à travers la paire stéréo de canaux) auquel est branché l’instrument ou le micro. Pour sélectionner un patch : 1 Dans la Liste de patchs située à gauche de l’espace de travail, cliquez sur le patch. 2 Lorsque le patch est sélectionné, vous pouvez lancer la lecture immédiatement. Vous pouvez aussi sélectionner des patchs dans la Liste de patchs à l’aide du clavier. Pour cela : m Appuyez sur la Flèche vers le bas pour sélectionner le patch suivant (celui en dessous) dans la liste. m Appuyez sur la Flèche vers le haut pour sélectionner le précédent (celui au-dessus). Lorsque le patch est sélectionné, changez certaines commandes du contrôleur MIDI pour vérifiez que les contrôles d’écran répondent aux commandes dans l’espace de travail. Certains contrôles, et notamment la pédale Sustain, la molette de modulation/ pitch bend et le clavier, répondent aux messages MIDI correspondants sans avoir à les assigner ou les mapper. Cliquez sur un patch de la Liste de patchs pour le sélectionner et commencez la lecture.28 Chapitre 4 Premiers contacts avec MainStage Sélectionnez et lisez d’autres patchs dans le concert pour trouver des sons que vous voulez interpréter ou utiliser comme point de départ pour la création de patchs personnalisés. Vous pouvez aussi ajouter de nouveaux patchs et modifier le réglage de leurs tranches de console pour créer des sons uniques et personnels. Ajout de patchs Vous pouvez ajouter des patchs à un concert et les organiser dans la Liste de patchs. Le nombre de patchs n’est limité que par la mémoire disponible de votre système. Lorsque vous ajoutez un patch à un concert, vous devez choisir s’il est créé avec une tranche de console audio ou d’instrument logiciel. Pour ajouter un nouveau patch : 1 Cliquez sur le bouton d’ajout d’un patch (+), situé dans le coin supérieur droit de la Liste de patchs. La zone de dialogue « Nouvelle tranche de console » s’affiche en haut de la fenêtre. 2 Sélectionnez le type de tranche de console pour le patch. Si vous voulez lire le patch en utilisant le clavier contrôleur, cliquez sur le bouton Instrument logiciel. Si vous voulez que le patch reçoive une entrée audio à partir d’un instrument ou d’un micro, cliquez sur le bouton Audio. 3 Choisissez la sortie audio de la tranche de console dans le menu local Sortie. 4 Pour les tranches de console, choisissez Mono ou Stéréo dans le menu local Format, et l’entrée audio dans le menu local Entrée. Important :les tranches de console audio peuvent générer un retour sonore, plus particulièrement si vous utilisez un micro en entrée audio. Lorsque vous ajoutez une tranche de console audio,son volume est coupé par défaut. Pour éliminer rapidement ce retour a posteriori, vous pouvez cliquer sur le bouton Muet de la tranche de console ou appuyer sur Contrôle + M pour activer Silence Master. 5 Cliquez sur Créer. Un nouveau patch apparaît dans la Liste de patchs, et la tranche de console correspondante s’affiche dans la zone Tranches de console. 6 Pour les tranches de console, augmentez progressivement le curseur de volume jusqu’à entendre le son sur le canal. Cliquez sur le bouton du type de tranche de console que vous voulez utiliser dans le patch.Chapitre 4 Premiers contacts avec MainStage 29 Modification du nom d’un patch Lorsque vous ajoutez un patch, par défaut, il prend le nom de la tranche de console que vous lui ajoutez. Vous pouvez rapidement renommer des patchs afin de mieux les différencier. Pour renommer un patch : 1 Double-cliquez sur le patch dans la Liste de patchs. Un champ apparaît autour du nom du patch sélectionné. 2 Saisissez un autre nom dans le champ du nom du patch. Pour en savoir plus sur la modification et l’organisation de patchs, consultez « Utilisation de patchs en mode Édition » à la page 53. Ajout d’une tranche de console à un patch Vous pouvez ajouter des tranches de console à un patch pour créer des sons en couches et des scissions de clavier. Pour cela, vous devez choisir entre une tranche de console audio ou d’instrument logiciel. Vous pouvez mélanger les deux types dans un seul patch. Pour ajouter une tranche de console à un patch : 1 Vérifiez que le patch est sélectionné dans la Liste de patchs. 2 Cliquez sur le bouton « Ajouter une tranche de console » (+) dans le coin supérieur droit de la zone Tranches de console. La zone de dialogue « Nouvelle tranche de console » apparaît alors. Choisissez les réglages comme vous le feriez lors de l’ajout d’un patch. 3 Dans la zone de dialogue « Nouvelle tranche de console », sélectionnez le type de bande à créer. 4 Choisissez la sortie audio de la tranche de console dans le menu local Sortie. Double-cliquez sur le nom du patch puis saisissez un autre nom.30 Chapitre 4 Premiers contacts avec MainStage 5 Pour les tranches de console, choisissez Mono ou Stéréo dans le menu local Format, et l’entrée audio dans le menu local Entrée. 6 Cliquez sur Créer. Une nouvelle tranche de console apparaît en surbrillance bleue dans la zone Tranches de console pour indiquer qu’elle est sélectionnée. Le navigateur « Réglages de tranche de piste » apparaît en dessous de l’espace de travail et indique les réglages disponibles pour la tranche. 7 Pour les tranches de console, augmentez progressivement le curseur de volume jusqu’à entendre le son sur le canal. La plupart des contrôles de tranche de console de MainStage fonctionnent comme dans Logic Pro 8. Vous pouvez ajuster la sortie de la tranche de console à l’aide de son curseur, Volume ajuster la balance à travers le potentiomètre correspondant et influer sur le son général d’une tranche de console à l’aide de ses boutons Muet et Solo. Vous pouvez choisir de nouveaux réglages de tranche de console, ajouter et modifier les effets, ajouter des envois aux bus et changer la sortie tout comme dans Logic Pro 8. Pour les tranches de console audio, vous pouvez passer de Mono à Stéréo à l’aide du bouton Format. Pour les tranches de console d’instruments logiciels, vous avez le choix entre plusieurs instruments dans le menu local Entrée.Chapitre 4 Premiers contacts avec MainStage 31 Pour des informations générales sur l’utilisation des tranches de console, consultez le Chapitre 10, « Utilisation d’instruments et d’effets » du Manuel de l’utilisateur de Logic Pro 8. Pour en savoir plus sur les tranches de console dans MainStage, consultez « Utilisation de tranches de console en mode Édition » à la page 57. Modification d’un réglage de tranche de console Vous pouvez rapidement changer un instrument, des effets et autres paramètres d’une tranche de console en sélectionnant un autre réglage dans le navigateur « Réglages de tranche de piste ». Vous y retrouvez les réglages disponibles pour la tranche de console sélectionnée. Pour sélectionner un autre réglage de tranche de piste : 1 Dans la zone Tranches de console, sélectionnez celle à modifier. La tranche sélectionnée apparaît en surbrillance et les réglages disponibles s’affichent dans le navigateur « Réglages de tranche de piste ». Le contenu Logic Studio apparaît alors sous forme d’une série de dossiers numérotés avec différentes catégories d’instruments. Si GarageBand ou des collections Jam Pack sont installés sur votre ordinateur, ces réglages apparaissent en dessous de ceux de Logic Studio. 2 Cliquez sur une catégorie de la colonne de gauche puis sur des sous-catégories des colonnes de droite pour atteindre les réglages souhaités. Vous pouvez également rechercher des réglages de tranche de console par nom, réinitialiser la tranche active et exécuter d’autres fonctions à partir du navigateur « Réglages de tranche de piste ». Pour en savoir plus sur le navigateur « Réglages de tranche de piste », consultez « Sélection de réglages de tranche de console » à la page 59. Cliquez sur une catégorie de la colonne pour voir les choix disponibles. Cliquez sur le réglage de tranche de console à utiliser parmi les colonnes de droite.32 Chapitre 4 Premiers contacts avec MainStage Apprentissage d’assignations de contrôleur Lorsque vous sélectionnez un patch ou un réglage de tranche de console, certains paramètres répondent instantanément aux contrôles de votre appareil MIDI. MainStage répond aux notes jouées sur un clavier contrôleur, aux messages de molette de modulation/pitch bend et aux messages de pédale Sustain sans que vous configuriez de contrôles d’écran pour recevoir ces messages. Pour les autres commandes comme les curseurs, les potentiomètres et les boutons, vous devez les assigner à des contrôles d’écran MainStage avant de pouvoir les utiliser dans votre concert. Dans MainStage, vous devez attribuez des commandes matérielles à des contrôles d’écran dans l’inspecteur de disposition à l’aide du processus d’apprentissage, tout comme vous le feriez pour une surface de contrôle dans Logic Pro 8. L’apprentissage d’assignations de contrôleur est une méthode simple et rapide pour attribuer des commandes matérielles aux contrôles d’écran. Remarque :pour pouvoir assigner une commande matérielle à un contrôle d’écran, elle doit envoyer des messages MIDI. Pour en savoir plus, consultez « Utilisation de matériels MIDI avec MainStage » à la page 15. Pour apprendre des assignations de contrôleur : 1 Dans la barre d’outils, cliquez sur le bouton Disposition. MainStage passe en mode Disposition. 2 Dans l’espace de travail, sélectionnez le contrôle d’écran que vous voulez apprendre. Le contrôle sélectionné apparaît en surbrillance bleue. 3 Dans l’inspecteur de disposition, cliquez sur le bouton Apprendre. Le bouton devient rouge pour indiquer que le processus d’apprentissage est actif. 4 Sur votre appareil MIDI, utilisez la commande que vous voulez assigner au contrôle d’écran. Pour les curseurs et les potentiomètres, utilisez toute leur amplitude de mouvement et appuyez trois fois (mais pas trop vite) sur les boutons pour permettre à MainStage de bien assimiler les types de messages MIDI envoyés par ces commandes. Cliquez dessus pour commencer l’apprentissage des assignations matérielles.Chapitre 4 Premiers contacts avec MainStage 33 Les valeurs des menus locaux Assignation de matériel changent pour refléter la commande matérielle apprise par le contrôle d’écran. Pendant l’apprentissage, les messages MIDI entrants apparaissent dans le Moniteur d’activité au-dessus de l’espace de travail. Lorsque l’apprentissage est terminé, le contrôle d’écran répond à la commande maté- rielle correspondante. Cela indique que le contrôle d’écran reçoit l’entrée MIDI et est bien assigné. 5 Tant que le processus d’apprentissage est actif, vous pouvez faire assimiler des assignations de contrôleur complémentaires en sélectionnant un autre contrôle d’écran et en utilisant la commande matérielle que vous voulez lui attribuer.Vous pouvez procéder ainsi pour autant d’assignations que vous voulez, tant que le bouton Apprendre reste rouge. 6 Lorsque vous avez terminé l’assignation de contrôles, cliquez de nouveau sur le bouton Apprendre pour mettre fin à l’apprentissage. Pour en savoir plus sur l’assignation de contrôleurs, consultez « Assignation de contrôles matériels à des contrôles d’écran » à la page 88. Mappage de contrôles d’écran à des paramètres Lorsque vous avez terminé l’apprentissage, vous pouvez passer à l’étape suivante qui consiste à mapper les contrôles d’écran aux paramètres dans les patchs à modifier lors de la représentation. Contrairement à l’assignation de contrôleur par apprentissage, vous pourriez être amené à mapper des contrôles d’écran à des paramètres dans chaque patch afin de pouvoir accéder facilement à ces paramètres et les modifier pendant l’exécution en live. Vous pouvez aussi mapper les paramètres pour tout le concert afin de contrôler le volume du master, voir les niveaux du master et modifier des effets portant sur tout le concert. Vous devez mapper des contrôles d’écran à des paramètres en mode Édition. Lorsque vous passez du mode Disposition au mode Édition, les contrôles d’écran dans l’espace de travail ne répondent pas aux activations de commandes physiques du matériel MIDI tant qu’ils ne sont pas mappés à des paramètres des tranches de console. Il existe deux manières de mapper des contrôles d’écran à des paramètres :en sélectionnant visuellement des paramètres sur la fenêtre de la tranche de console ou du module, ou en choisissant des paramètres dans le navigateur Mappage de paramètres.34 Chapitre 4 Premiers contacts avec MainStage Pour mapper des contrôles d’écran à une tranche de console et à des paramètres de module : 1 Dans la barre d’outils, cliquez sur le bouton Édition. MainStage passe en mode Édition. 2 Dans l’espace de travail, cliquez sur le contrôle d’écran à mapper. Le contrôle d’écran apparaît en surbrillance bleue. L’inspecteur de contrôle d’écran apparaît en dessous de la Liste de patchs et indique les paramètres correspondant au contrôle d’écran sélectionné. Le navigateur Mappage de paramètres s’affiche à la place du navigateur « Réglages de tranche de piste » et indique les tranches de console et les modules pouvant être mappés ainsi que le dossier Actions. 3 Dans l’inspecteur de contrôle d’écran, cliquez sur le bouton Paramètre de mappage. Il s’allume en rouge pour indiquer que le mappage est actif. 4 Pour mapper le contrôle d’écran d’un paramètre de tranche de console, cliquez sur la commande du paramètre sur la tranche de console dans la zone Tranches de console. 5 Pour mapper le contrôle d’écran d’un paramètre de module, double-cliquez sur le module dans la section Insertions de la tranche de console pour ouvrir la fenêtre du module, puis cliquez sur le paramètre. Le contrôle d’écran est alors mappé au paramètre sélectionné. Vous pouvez ensuite mapper d’autres contrôles d’écran en cliquant dessus dans l’espace de travail, puis sur les paramètres correspondants dans la fenêtre d’une tranche de console ou d’un module. 6 Lorsque vous avez terminé, cliquez de nouveau sur le bouton Paramètre de mappage pour mettre fin au mappage. Cliquez sur le contrôle d’écran à mapper. Cliquez sur le paramètre dans la fenêtre d’une tranche de console ou d’un module.Chapitre 4 Premiers contacts avec MainStage 35 Pour mapper des contrôles d’écran à l’aide du navigateur Mappage de paramètres : 1 Dans l’espace de travail, cliquez sur le contrôle d’écran à mapper. Le contrôle d’écran apparaît en surbrillance bleue. L’inspecteur de contrôle d’écran s’affiche en dessous de la Liste de patchs et le navigateur Mappage de paramètres apparaît à la place du navigateur « Réglages de tranche de piste ». 2 Dans la colonne de gauche, sélectionnez la tranche de console avec le paramètre auquel vous voulez mapper le contrôle d’écran. Les paramètres de la tranche de console sélectionnée apparaissent dans les colonnes de droite. Des dossiers supplémentaires pour les instruments et pour les effets dans la tranche peuvent apparaître dans ces colonnes. Cliquez sur un dossier pour voir les paramètres de cet instrument ou effet. 3 Sélectionnez le paramètre à mapper. Le contrôle d’écran est alors mappé au paramètre sélectionné.Vous pouvez mapper d’autres contrôles d’écran en cliquant dessus dans l’espace de travail et en choisissant les paramètres dans le navigateur Mappage de paramètres. À travers ce navigateur, vous pouvez mapper des paramètres qui ne sont pas visibles dans la fenêtre des modules. Vous pouvez aussi mapper des contrôles d’écran à des actions spécifiques de MainStage et à des scripts AppleScript. Pour en savoir plus sur le mappage de contrôles d’écran, consultez « Mappage de contrôles d’écran » à la page 68. Remarque :si vous modifiez le réglage d’une tranche de console sur laquelle vous avez mappé des contrôles d’écran, vous perdez alors tous les mappages des paramètres. Vous pouvez également modifier la sensibilité de la vélocité d’une tranche de console, créer des transformations de contrôleur et filtrer différents messages MIDI. Pour en savoir plus sur l’édition de tranches de console, consultez « Modification de tranches de console dans MainStage » à la page 61. Cliquez sur la tranche de console avec le paramètre de canal à mapper. Cliquez sur le paramètre dans le sous-menu.36 Chapitre 4 Premiers contacts avec MainStage Familiarisation avec les modes Plein écran et Exécution Vous pouvez maintenant lire les patchs comme vous le feriez lors d’une représentation. MainStage propose deux modes :Plein écran et Exécution. Ceux-ci optimisent l’affichage de l’espace de travail lors d’une représentation. Pour passer en mode Plein écran, procédez d’une des façons suivantes : m Choisissez Présentation > Plein écran (ou appuyez sur Commande + 4). m Cliquez sur le bouton Plein écran. Pour passer en mode Exécution, procédez d’une des façons suivantes : m Choisissez Présentation > Exécution (ou appuyez sur Commande + 3). m Cliquez sur le bouton Exécution. Vous pouvez essayer ces deux modes en lisant des patchs ajoutés ou modifiés et en utilisant des contrôles sur votre contrôleur MIDI pour modifier les paramètres que vous avez mappés à des contrôles d’écran. Personnalisation de la fenêtre MainStage Vous pouvez personnaliser la fenêtre MainStage pour l’adapter à votre façon de travailler. Vous pouvez ajuster la hauteur de la Liste de patchs, afficher ou masquer l’inspecteur et la zone Tranches de console, et personnaliser les boutons de la barre d’outils. Redimensionnement de l’espace de travail Vous pouvez ajuster la hauteur et la largeur de l’espace de travail pour laisser plus de place à la Liste de patchs, aux inspecteurs ou au navigateur. Pour élargir l’espace de travail : 1 Déplacez le pointeur sur l’espace entre l’espace de travail et le navigateur. Il se transforme alors en pointeur de redimensionnement. 2 Faites-le glisser verticalement pour redimensionner l’espace de travail. Pour augmenter la hauteur de l’espace de travail : 1 Placez le pointeur sur l’espace entre l’espace de travail et la zone Tranches de console. Il se transforme alors en pointeur de redimensionnement. 2 Faites-le glisser horizontalement pour redimensionner l’espace de travail.Chapitre 4 Premiers contacts avec MainStage 37 Ajustement de la hauteur de la Liste de patchs Vous pouvez ajuster la hauteur de la Liste de patchs pour afficher plus de patchs ou laisser plus de place à l’inspecteur. Pour ajuster la hauteur de la Liste de patchs : 1 Placez le pointeur entre la Liste de patchs et l’inspecteur. Il se transforme alors en pointeur de redimensionnement. 2 Faites glisser le pointeur verticalement pour ajuster la hauteur de la Liste de patchs. La hauteur de l’inspecteur s’ajuste également pour préserver l’espace entre la Liste de sons et l’inspecteur. Affichage et masquage de l’inspecteur Vous pouvez masquer l’inspecteur ou l’afficher s’il a été masqué. Pour cela, effectuez l’une des opérations suivantes : m Choisissez Présentation > Inspecteurs (ou appuyez sur Commande + 5). m Dans la barre d’outils, cliquez sur le bouton Inspecteurs. Masquage et affichage de la zone Tranches de console Vous pouvez masquer la zone Tranches de console ou l’afficher si elle a été masquée. En la masquant, vous laissez plus de place à l’espace de travail. Pour afficher ou masquer la zone Tranches de console, procédez de l’une des manières suivantes : m Choisissez Présentation > Tranches de console (ou appuyez sur Commande + 6). m Dans la barre d’outils, cliquez sur le bouton Tranches de console. Personnalisation de la barre d’outils La barre d’outils en haut de la fenêtre MainStage contient des boutons pour les commandes souvent utilisées. Vous pouvez la personnaliser en ajoutant des boutons pour les fonctions les plus souvent utilisées puis revenir à la configuration par défaut par la suite.38 Chapitre 4 Premiers contacts avec MainStage La configuration par défaut de la barre d’outils comprend des boutons pour sélectionner les différents modes des fenêtres, masquer l’inspecteur et la zone Tranches de console, activer le muet du master et d’autres commandes courantes. Vous pouvez personnaliser la barre d’outils en lui ajoutant le bouton d’autres commandes et ajuster la position et l’espacement des éléments. Il est également possible de la masquer pour optimiser l’espace disponible à l’écran. Vous pouvez personnaliser la barre d’outils en y faisant glisser les éléments de la zone de dialogue « Personnaliser la barre d’outils ». Pour afficher la zone de dialogue de personnalisation, procédez de l’une des manières suivantes : m Choisissez Présentation > Personnaliser la barre d’outils. m Cliquez sur la barre d’outils tout en maintenant la touche Contrôle enfoncée, puis choisissez « Personnaliser la barre d’outils » dans le menu contextuel. La zone de dialogue correspondante apparaît alors et les boutons de la barre d’outils sont entourés en gris. Pour ajouter un bouton à la barre d’outils : m Faites glisser un bouton de la feuille Personnaliser sur la barre d’outils. Si vous faites glisser un bouton entre deux boutons existants, ces derniers s’écartent pour lui céder de la place. Pour déplacer un bouton sur la barre d’outils : m Si la zone de dialogue « Personnaliser la barre d’outils » est visible, faites déplacer le bouton. m Si elle n’est pas visible, faites glisser le bouton tout en maintenant la touche Commande enfoncée pour le déplacer. Vous pouvez également réorganiser la barre d’outils en utilisant des espaces à largeur fixe, des espaces flexibles et des séparateurs. Pour ajouter un espace ou un séparateur dans la barre d’outils : m Faites glisser un espace, un espace flexible ou un séparateur depuis la zone de dialogue « Personnaliser la barre d’outils » sur la barre d’outils. Pour rétablir la configuration par défaut de la barre d’outils : m Faites glisser l’ensemble reprenant les boutons par défaut situé en bas de la zone de dialogue « Personnaliser la barre d’outils » sur la barre d’outils. Vous pouvez aussi modifier la barre d’outils pour qu’elle n’affiche que les icônes ou le texte en choisissant Icône seulement ou Texte seulement dans le menu contextuel.Chapitre 4 Premiers contacts avec MainStage 39 Pour n’afficher que les icônes dans la barre d’outils, procédez de l’une des manières suivantes : m Cliquez sur la barre d’outils tout en maintenant la touche Contrôle enfoncée puis choisissez Icône seulement dans le menu contextuel. m Dans la zone de dialogue « Personnaliser la barre d’outils », choisissez Icône seulement dans le menu contextuel Afficher. Pour afficher à la fois les icônes et le texte, procédez de l’une des manières suivantes : m Cliquez sur la barre d’outils tout en maintenant la touche Contrôle enfoncée puis choisissez Icône et texte dans le menu contextuel. m Dans la zone de dialogue « Personnaliser la barre d’outils », choisissez Icône et texte dans le menu contextuel Afficher. Pour faire disparaître la feuille Personnaliser : m Lorsque vous avez terminé de personnaliser la barre d’outils, cliquez sur Terminer. Pour masquer la barre d’outils : m Choisissez Présentation > Masquer la barre d’outils. Lorsqu’elle est masquée, l’élément de menu correspondant devient « Afficher la barre d’outils ».5 41 5 Utilisation de concerts Les concerts sont des documents dans lesquels vous créez et organisez les sons que vous utilisez dans vos représentations et où vous personnalisez la disposition sur votre écran. Un concert MainStage contient tous les sons à utiliser lors d’une représentation complète ou une série de représentations. Dans un concert, vous pouvez ajouter, modifier et organiser des patchs et pouvez passer de l’un à l’autre pendant la représentation. Vous pouvez réorganiser des patchs dans la Liste de patchs ou les organiser en sets. Les concerts contiennent également des présentations dans lesquelles vous pouvez arranger visuellement les contrôles d’écran dans l’espace de travail et établir des connexions entre MainStage et vos matériels. Vous pouvez ajouter ou arranger des contrôles d’écran et leur attribuer des commandes MIDI matérielles en mode Disposition. Pour en savoir plus sur la personnalisation de la disposition, consultez « Utilisation du mode Disposition » à la page 77. Vous pouvez aussi contrôler le volume d’un concert entier, ajouter des effets portant sur tout le concert ou réaliser d’autres modifications. Ouverture et fermeture de concerts Vous pouvez créer un concert, poursuivre votre travail dans un existant et bien sûr en enregistrer et fermer. Vous pouvez ajouter des patchs à un concert et les organiser dans la Liste de patchs. Le nombre de patchs n’est limité que par la mémoire disponible. Vous pouvez ajouter des tranches de console à un patch existant ou aux nouveaux que vous créez, et pouvez les organiser en sets. Pour en savoir plus sur les patchs et les sets, consultez « Utilisation du mode Édition » à la page 53. Le processus de création d’un concert à partir d’un modèle est détaillé dans « Choix d’un modèle de concert » à la page 25. Vous pouvez ouvrir un concert pour y jouer les patchs ou les y modifier.42 Chapitre 5 Utilisation de concerts Pour ouvrir un concert, procédez d’une des façons suivantes : m Choisissez Fichier > Ouvrir un concert, sélectionnez le concert à ouvrir, puis cliquez sur Ouvrir. m Dans le Finder, double cliquez sur le concert. m Dans le Finder, faites glisser le concert sur l’icône MainStage dans le Dock. Vous pouvez aussi rouvrir un concert récemment ouvert en sélectionnant Fichier > Ouvrir un concert puis en choisissant un concert dans le sous-menu. Par défaut, un concert s’ouvre en mode Édition. Vous pouvez modifier le comportement par défaut dans les préférences de MainStage. Pour en savoir plus, consultez « Réglage des préférences MainStage » à la page 109. Lorsque vous ouvrez un concert pour la première fois, le premier patch (en haut) est sélectionné. Lorsque vous rouvrez un concert, c’est le patch choisi au dernier enregistrement qui est sélectionné. Remarque :vous pouvez avoir plusieurs concerts ouverts en même temps et faire glisser les patchs et les sets de l’un à l’autre. Dans ce cas, des ressources mémoire et processeur supplémentaires sont mises à contribution. En général, vous ne devez avoir qu’un seul concert ouvert pendant la représentation. Pour fermer un concert : m Choisissez Fichier > Fermer le concert. Si vous avez modifié le concert depuis le dernier enregistrement, le système vous invite à enregistrer vos modifications. Enregistrement de concert Lorsque vous enregistrez un concert, toutes les modifications effectuées sur les patchs et les sets ainsi que les réglages sont enregistrés. Pour éviter de les perdre, n’oubliez pas d’enregistrer votre travail régulièrement. Pour enregistrer un concert : 1 Choisissez Fichier > Enregistrer le concert. 2 Lorsque vous enregistrez un concert pour la première fois, la zone de dialogue Enregistrer s’affiche. Attribuez un nom au concert, choisissez l’emplacement de l’enregistrement puis cliquez sur Enregistrer. Vous pouvez aussi enregistrer un concert avec un autre nom en choisissant Fichier > Enregistrer le concert sous.Chapitre 5 Utilisation de concerts 43 Conséquences de l’enregistrement sur les valeurs des paramètres Lorsqu’un concert est ouvert, toutes les modifications apportées aux tranches de console ou aux paramètres des modules sont conservées tant qu’il reste ouvert. Si vous modifiez les paramètres d’un patch, que vous sélectionnez un autre patch puis revenez au premier, les paramètres conservent ainsi les valeurs du premier patch. Si vous enregistrez le concert, toute modification est enregistrée. Si vous fermez le concert sans enregistrer puis le rouvrez, les paramètres reprennent leur valeur lors du dernier enregistrement. Si vous ne souhaitez pas conserver les dernières modifications, vous pouvez revenir à l’état qu’elles avaient lors du dernier enregistrement. Pour revenir au dernier enregistrement d’un concert : m Choisissez Fichier > Rétablir le concert. Toutes les modifications apportées depuis le dernier enregistrement sont perdues lorsque vous rétablissez un concert. Utilisation du Tempo dans un concert MainStage Certains modules disponibles dans MainStage, tels que les effets de retard et de trémolo, les LFO de synthétiseur et le métronome, peuvent exiger un tempo spécifique. Vous pouvez définir le tempo pour un concert et modifier celui d’un patch ou d’un set disposant de ses propres réglages. Vous pouvez aussi modifier le tempo en temps réel en en marquant un nouveau, ou paramétrer MainStage de façon à recevoir les changements de tempo à travers des messages MIDI entrants. Lorsque vous ouvrez un concert MainStage, le réglage du tempo dans l’inspecteur de concert est utilisé jusqu’à ce que vous modifiez le tempo en sélectionnant un patch ou un set disposant de son propre tempo ou en marquant un tempo. Lorsque vous modifiez le tempo, MainStage utilise le nouveau tempo jusqu’à ce que vous le modifiez ou que vous fermiez le concert. Vous pouvez spécifier le tempo dans l’inspecteur de concert qui s’affiche dans le coin inférieur gauche de la fenêtre MainStage lorsque l’icône de concert est sélectionnée dans la Liste de patchs. Par défaut, le tempo des nouveaux concerts est de 120 battements par minute (bpm).44 Chapitre 5 Utilisation de concerts Pour régler le tempo d’un concert : 1 Dans la Liste de patchs, sélectionnez l’icône de concert. 2 Dans l’inspecteur de concert, réglez le tempo à l’aide du curseur de valeur correspondant. Vous pouvez régler le tempo des manières suivantes :  Augmentez ou baissez la valeur en la faisant glisser.  Faites glisser la valeur numérique horizontalement.  Cliquez sur la flèche gauche ou droite.  Sélectionnez la valeur et saisissez-en une autre. 3 Cochez la case Tempo pour activer le tempo. Vous pouvez utiliser des patchs et des sets pour modifier le tempo lorsque vous sélectionnez le patch ou le set en cours de représentation. Pour en savoir plus sur le réglage du tempo des patchs, consultez « Utilisation d’un patch pour changer le tempo » à la page 56. Pour en savoir plus sur le réglage du niveau de tempo, consultez « Utilisation d’un set pour changer le tempo » à la page 71. Marquage du tempo MainStage comprend une fonctionnalité permettant de marquer le tempo en temps réel lors de représentations. Vous pouvez le faire en utilisant le bouton « Tempo des claquettes » de la barre d’outils (si elle est visible) ou un raccourci clavier. Pour marquer le tempo à l’aide du bouton Tempo des claquettes : m Cliquez plusieurs fois sur le bouton Tempo des claquettes de la barre d’outils, pour changer de tempo. Pour en savoir plus sur l’ajout de boutons à la barre d’outils, consultez « Personnalisation de la barre d’outils » à la page 37. Vous pouvez aussi marquer le tempo à l’aide du clavier de votre ordinateur. Pour marquer le tempo avec le clavier d’un ordinateur : m Appuyez plusieurs fois sur Contrôle + T selon le tempo souhaité. Réglez le tempo avec le curseur de valeur. Vous pouvez le faire glisser, cliquer sur les flèches ou cliquer et saisir une valeur.Chapitre 5 Utilisation de concerts 45 Récupération du tempo à partir d’une entrée MIDI MainStage peut également recevoir des changements de tempo à partir des messages MIDI entrants. Lorsque la case « Obtenir le tempo de l’entrée MIDI » est cochée, MainStage écoute les informations de tempo provenant des messages d’horloge MIDI. S’il en reçoit, le tempo du concert adopte la nouvelle valeur. Pour obtenir le tempo des messages entrants d’horloge MIDI : m Dans l’inspecteur de concert, cochez la case « Obtenir le tempo de l’entrée MIDI ». Si les messages MIDI que MainStage reçoit ne contiennent pas de données d’horloge MIDI, MainStage utilise le tempo du concert et le modifie lorsque vous sélectionnez un patch ou un set possédant ses propres réglages de tempo ou que vous marquez un nouveau tempo. Si MainStage ne reçoit plus de messages d’horloge MIDI, il utilise la dernière valeur reçue jusqu’à ce que vous sélectionniez un patch ou un set avec son propre tempo ou que vous en marquiez un nouveau. Désactivation du son de la sortie audio Parfois, lorsque vous jouez ou modifiez des sons, vous pouvez être amené à rapidement couper le son (muet) de toutes les sorties audio du concert. MainStage comprend un bouton Master silence qui désactive le son de la sortie de tous les patchs inclus dans le concert. Pour désactiver rapidement tous les sons, procédez d’une des façons suivantes : m Appuyez sur Contrôle + M. Dans la barre d’outils, cliquez sur le bouton Master Silence. m Si vous avez attribué la fonction Master Silence à un contrôle d’écran, appuyez sur le contrôleur correspondant ou déplacez-le. Le bouton Master Silence indique alors que le son de la sortie est coupé (un trait diagonal rouge barre l’icône du haut-parleur). Le son reste ainsi désactivé jusqu’à ce que vous cliquiez de nouveau sur le bouton.46 Chapitre 5 Utilisation de concerts Pour réactiver tous les sons, procédez de l’une des façons suivantes : m Appuyez de nouveau sur Contrôle + M. m Cliquez une nouvelle fois sur le bouton Master Silence. m Si vous avez attribué la fonction Master Silence à un contrôle d’écran, appuyez sur le contrôleur correspondant ou déplacez-le. Vous pouvez également mapper Master Silence dans le navigateur Mappage de paramètres. Vous pouvez le mapper à un bouton ou un autre contrôleur de vos concerts afin de pouvoir couper rapidement le son de toutes les sorties lorsque vous jouez en live en mode Exécution ou Plein écran. De plus, vous pouvez désactiver le son de la sortie audio d’une seule tranche de console en cliquant sur son bouton Muet (M). Notes MIDI en muet MainStage propose également une fonction Panique similaire à celle de Logic Pro 8. Elle couper immédiatement le son de toutes les notes MIDI en attente. Pour couper le son de toutes les notes MIDI, procédez de l’une des façons suivantes : m Appuyez sur Contrôle + P. m Si le bouton Panique est visible dans la barre d’outils, cliquez dessus. m Si vous avez mappé la fonction Panique à un contrôle d’écran, appuyez sur le contrôleur correspondant ou déplacez-le. Vous pouvez aussi ajouter un bouton Panique à la barre d’outils et l’utiliser pour couper le son des notes MIDI. Pour en savoir plus sur la personnalisation de la barre d’outils, consultez « Personnalisation de la barre d’outils » à la page 37.Chapitre 5 Utilisation de concerts 47 Manipulations par concert Vous pouvez contrôler le volume d’un concert entier et effectuer d’autres modifications générales. Utilisez des bus pour contrôler des effets portant sur le concert tout entier ou sur plusieurs tranches de console attribuées au bus. Vous avez aussi la possibilité d’ajouter des tranches de console au concert entier et les mettre à disposition à n’importe quel patch qu’il contient. Vous ne pouvez mapper des contrôles d’écran sur des bus et des tranches de console qu’à des concerts dans leur intégralité, et pas uniquement à des patchs ou à des sets donnés. Pour apporter des modifications applicables au concert entier : m En mode Édition, sélectionnez l’icône du concert dans la Liste de patchs. Cliquez sur l’icône du concert dans la Liste de patchs pour travailler sur le concert entier.48 Chapitre 5 Utilisation de concerts Contrôle du volume général d’un concert Un concert MainStage contient des tranches de console de sortie et pour le master, que vous pouvez utiliser pour contrôler le volume général du concert. La tranche de console du master commande toujours le volume de sortie du concert entier. S’il contient plusieurs tranches de console de sortie, chacune contrôle le volume d’une sortie physique spécifique (mono ou stéréo). Vous pouvez utiliser les tranches de console de sortie et du master pour commander le volume général, comme dans un projet Logic Pro 8. Pour voir toutes les tranches de console, il se peut que vous deviez redimensionner la zone. Pour contrôler le volume général d’un concert : m Faites glisser le curseur du volume de la sortie 1-2 ou celui du volume du master. Vous pouvez mapper un contrôle d’écran à un paramètre de tranche de console ou à une action portant sur le concert tout entier. Par exemple, vous pouvez mapper le curseur du volume de la sortie 1-2 sur un curseur de contrôle d’écran et utiliser la commande matérielle qui lui est assignée pour ajuster le volume général du concert. La zone des tranches de console du concert affiche les tranches de console de sortie et du master, les bus et toutes les tranches de console applicables au concert entier.Chapitre 5 Utilisation de concerts 49 Pour mapper un contrôle d’écran à un concert entier : 1 Vérifiez que l’icône du concert est sélectionnée dans la Liste de patchs. 2 Cliquez sur le contrôle d’écran à mapper. Le navigateur Mappage de paramètres s’affiche en dessous de l’espace de travail. 3 Dans le navigateur Mappage de paramètre, cliquez sur le paramètre auquel vous voulez mapper un contrôle d’écran. Dans l’exemple précédent, cela reviendrait à cliquer sur le contrôle d’écran du curseur, puis sur la sortie 1-2 de la colonne de gauche du navigateur Mappage de paramètres, puis sur Volume dans la deuxième colonne. Les contrôles d’écran peuvent aussi indiquer visuellement des paramètres, notamment du volume. Par exemple, vous pouvez aussi mapper le curseur de volume de la sortie 1-2 sur un contrôle d’écran de VU-mètre et lui faire afficher le volume général lors d’une représentation. Dans ce cas, vous mappez le VU-mètre à Niveau dans la seconde colonne du navigateur, plutôt qu’à Volume. Lorsque vous mappez un contrôle d’écran s’appliquant à l’intégralité d’un concert, vous ne pouvez pas le mapper aussi pour des patchs et des sets donnés, à moins d’ignorer le mappage pour le concert entier. Pour en savoir plus sur la façon d’ignorer les mappages d’un concert, consultez « Substitution de mappages portant sur un concert ou un set entier » à la page 73.50 Chapitre 5 Utilisation de concerts Ajout d’effets portant sur un concert entier Vous pouvez ajouter des effets, comme de la réverbération ou un retard, portant sur tout le concert en utilisant des envois et des bus. Lorsque vous choisissez un envoi du slot Départ d’une tranche de console, le bus correspondant apparaît pour le concert tout entier. Vous pouvez insérer des effets sur le bus et les appliquer sur toutes les tranches de console en envoyant son signal au bus. Pour envoyer un signal de tranche de console à un bus : 1 Dans la Liste de patchs, sélectionnez le patch à utiliser avec un effet portant sur tout le concert. Les tranches de console pour le patch apparaissent dans la zone Tranches de console. 2 Sur la tranche de console, cliquez sur l’un des slots Départ et choisissez un bus dans le menu. 3 Faites glisser le potentiomètre Départ en regard du slot pour définir l’intensité du signal transmis au bus. Pour appliquer au bus un effet portant sur tout le concert : 1 Dans la Liste de patchs, sélectionnez le concert. Les bus du concert apparaissent dans la zone Tranches de console avec les tranches de console applicables à l’intégralité du concert. 2 Sur le bus, cliquez sur l’un des slots Insérer et choisissez un effet dans le menu. Choisissez le bus de l’un des slots Départs.Chapitre 5 Utilisation de concerts 51 Après avoir ajouté un effet au bus, vous pouvez modifier l’effet tout comme pour n’importe quel autre effet, en double-cliquant dessus pour ouvrir la fenêtre de module et en ajustant les paramètres dans la fenêtre du module. Vous pouvez ajouter plusieurs effets à un bus et ajuster le niveau et la balance du bus en utilisant les contrôles portant sur le bus. Vous pouvez également ajouter des effets sur tout le concert à un bus au niveau du patch si l’option « Afficher les tranches de console pour le cheminement du signal » est active. Pour en savoir plus sur l’affichage des tranches de console dans la zone Tranches de console, consultez « Affichage des tranches de console du cheminement du signal » à la page 62. Utilisation des bus pour contrôler la sortie des tranches de console Vous pouvez aussi envoyer la sortie de plusieurs tranches de console à un bus puis utiliser ce dernier pour contrôler le volume et la balance des tranches de console. L’envoi de la sortie à un bus permet également d’ajouter de la compression ou de l’égalisation à un groupe de patchs. Pour envoyer la sortie d’une tranche de console à un bus : 1 Dans la Liste de patchs, sélectionnez le patch à contrôler par le biais d’un bus. 2 Dans la tranche de console, cliquez sur le slot de sortie et choisissez un bus dans le menu. Lorsque vous envoyez une sortie de tranche de console à un bus, le curseur du volume de la tranche de console influe sur l’intensité du signal envoyé au bus. Pour contrôler la sortie des tranches de console à l’aide d’un bus : 1 Dans la Liste de patchs, cliquez sur le concert. Le concert est alors sélectionné. Les bus ajoutés au concert apparaissent dans la zone Tranches de console avec les tranches de console applicables à l’intégralité du concert. 2 Faites glisser le curseur du volume du bus pour ajuster le volume général en sortie du bus. 3 Faites glisser le potentiomètre Balance sur le bus pour ajuster la balance générale en sortie du bus. Lorsque vous contrôlez la sortie de plusieurs tranches de console à l’aide d’un bus, leurs volume et balance relatifs sont conservés, mais le volume et la balance généraux sont modifiés par le curseur Volume et le potentiomètre Balance.52 Chapitre 5 Utilisation de concerts Ajout de tranches de console à un concert entier Vous pouvez ajouter une tranche de console applicable à l’intégralité d’un concert, et l’utiliser pour un instrument logiciel ou une entrée audio à utiliser sur tous les patchs du concert. Important :lorsque vous ajoutez une tranche de console appliquée à un concert entier, elle prend la priorité sur les tranches de console des patchs et des sets. Par exemple,si vous ajoutez une tranche de console applicable au concert et contenant un instrument logiciel, ce dernier a la priorité sur les instruments logiciels de tous les patchs et sets du concert, pour les notes se trouvant dans sa plage de notes. Aussi, vous n’entendez que le son de l’instrument logiciel appliqué à l’intégralité du concert, et vous ne pouvez lire aucun des instruments d’un patch ou d’un set dont les notes se situent dans la même plage de notes. Pour ajouter une tranche de console applicable à tout le concert : 1 Dans la Liste de patchs, sélectionnez le concert. 2 Cliquez sur le bouton « Ajouter une tranche de console » (+) en haut de la zone Tranches de console. 3 Dans la zone de dialogue « Nouvelle tranche de console », sélectionnez le type de bande à créer. 4 Choisissez la sortie audio de la tranche de console dans le menu local Sortie. 5 Pour les tranches de console audio, choisissez Mono ou Stéréo dans le menu local Format. Important :les tranches de console audio peuvent générer un retour sonore, plus particulièrement si vous utilisez un micro en entrée audio. Lorsque vous ajoutez une tranche de console audio,son volume est coupé par défaut. Pour éliminer rapidement ce retour a posteriori, vous pouvez cliquer sur le bouton Muet de la tranche de console ou appuyer sur Contrôle + M pour activer Silence Master. 6 Cliquez sur Créer. 7 Pour les tranches de console d’instrument logiciel, définissez une plage de notes dans l’inspecteur de tranche de console pour que la tranche du concert entier n’empiète pas sur les instruments logiciels à utiliser dans vos patchs et sets. Lorsque vous ajoutez une tranche de console pour le concert tout entier, vous ne pouvez mapper des contrôles d’écran de la tranche de console que pour l’intégralité du concert et non pour les patchs et sets plus précisément.6 53 6 Utilisation du mode Édition En mode Édition, vous pouvez créer des patchs avec des sons personnalisés, mapper des contrôles d’écran et travailler avec des patchs et des sets repris dans la Liste de patchs. Vous pouvez créer votre collection personnalisée de patchs dans ce mode et organiser ces patchs dans la Liste de patchs pour pouvoir facilement y accéder quand vous êtes sur scène. Utilisation de patchs en mode Édition Les patchs sont chacun des sons que vous jouez à l’aide de votre clavier contrôleur (pour les utilisateurs de claviers MIDI) ainsi que les configurations d’effets que vous utilisez avec votre instrument ou votre micro (pour les guitaristes, les chanteurs et autres instrumentistes). Les patchs MainStage peuvent contenir plusieurs tranches de console, chacune incluant un instrument différent ou une configuration d’effets différente. Dans « Premiers contacts avec MainStage » à la page 25 sont décrites certaines des opérations élémentaires mettant en œuvre les patchs, dont celles qui consistent à sélectionner et lire des patchs, à en ajouter des nouveaux et à leur attribuer un nom. Sélection d’éléments dans la Liste de patchs L’ensemble des patchs et des sets d’un concert apparaissent dans la Liste de patchs, sur la gauche de l’espace de travail. Pour sélectionner un élément dans la Liste des sons en mode Édition, vous pouvez cliquer dessus ou utiliser les raccourcis clavier. Raccourci clavier Sélection Flèche vers le haut Élément précédent (patch ou set) Flèche vers le bas Élément suivant (patch ou set) Commande + Flèche vers le haut Patch précédent Commande + Flèche vers le bas Patch suivant Commande + Flèche gauche Set précédent (ou set actif si un patch est déjà sélectionné) Commande + Flèche droite Set suivant54 Chapitre 6 Utilisation du mode Édition Éléments ignorés dans la Liste de patchs Vous pouvez ignorer des patchs ou des sets de la Liste de patchs. Lorsqu’un patch ou un set est ignoré, vous pouvez toujours le sélectionner en cliquant dessus, mais, si vous utilisez les touches fléchées avec la touche Contrôle pour sélectionner des éléments dans la Liste de patchs, les éléments ignorés sont laissés de côté et l’élément suivant non ignoré est sélectionné. Les éléments ignorés le sont également lorsque vous utilisez le sélecteur de patchs en mode Plein écran ou Exécution. Pour ignorer un patch ou un set : 1 Sélectionnez le patch ou le set dans la Liste de patchs. 2 Choisissez Ignorer dans le menu Action de la Liste de patchs. L’élément apparaît sous la forme d’une fine ligne dans la Liste de patchs. Pour qu’un patch ou un set ignoré ne le soit plus : 1 Sélectionnez l’élément (patch ou set) dans la Liste de patchs. 2 Choisissez Ne pas passer dans le menu Action de la Liste de patchs. L’élément reprend sa taille normale dans la Liste de patchs. Les patchs et les sets ne sont ignorés que lorsque vous utilisez les touches fléchées en combinaison avec la touche Contrôle. Les éléments à ignorer restent sélectionnés lorsque vous utilisez les touches fléchées seules ou quand vous cliquez dessus. Condensation de sets dans la Liste de patchs Vous pouvez condenser des sets dans la Liste de patchs. Une fois condensé un set, vous pouvez l’utiliser ainsi que toute tranche de console ou bus placé sur son niveau, mais vous ne pouvez en revanche pas y sélectionner ou y lire de patchs en mode Édition. Pour condenser un set : 1 Dans la Liste de patchs, cliquez sur le triangle d’affichage du set. Vous pouvez développer le set en cliquant à nouveau sur son triangle d’affichage. Condenser un set ne vous empêche pas d’y sélectionner des patchs en mode Plein écran ou Exécution. Copie et collage de patchs Vous pouvez copier, coller et dupliquer des patchs dans la Liste de patchs en utilisant les raccourcis clavier Mac OS X standard ou en les faisant glisser tout en maintenant la touche Option enfoncée. Lorsque vous collez ou dupliquez un patch, il inclut tous les mappages des paramètres du patch d’origine.Chapitre 6 Utilisation du mode Édition 55 Réagencement des patchs Lorsque vous ajoutez un patch à un concert, il apparaît sous le patch sélectionné dans la Liste de patchs. Vous pouvez réordonner les patchs dans la Liste de patchs. Pour réordonner des patchs dans la Liste de patchs : m Faites glisser dans l’ordre voulu les patchs verticalement dans la Liste de patchs. Modification des numéros de changement de programme Lorsque vous ajoutez un patch à un concert, un numéro de changement de programme MIDI lui est attribué (le plus petit numéro disponible entre 0 et 127). Il en va de même des patchs suivants jusqu’à ce que tous les numéros de changement de programme disponibles aient été épuisés.Vous pouvez utiliser ces numéros pour sélectionner des patchs lors d’une représentation en assignant des boutons d’un matériel MIDI pour envoyer des messages de changement de programme. Pour les modifier, vous pouvez utiliser l’inspecteur de sons. Pour modifier le numéro de changement de programme d’un patch : 1 Sélectionnez le patch dans la Liste de patchs. En sélectionnant un patch, l’inspecteur de sons apparaît sous la Liste de patchs. 2 Dans l’inspecteur de sons, cochez la case Changement de programme. 3 À l’aide du curseur de valeur, définissez le numéro de changement de programme. La norme MIDI autorise les numéros de changement de programme de 0 à 127. Si tous les numéros de changement de programme disponibles d’un concert sont déjà attribués, tout nouveau patch ajouté au concert reçoit alors le numéro de changement de programme zéro (0), mais ce numéro reste actif (la case n’est pas cochée). Si au moins deux patchs partagent un même numéro actif, le patch qui apparaît en premier dans la Liste de patchs ou dans le sélecteur de patchs est celui sélectionné lorsque vous envoyez le message de changement de programme par le biais de la valeur correspondante. Cochez la case puis définissez le numéro de changement de programme à l’aide du curseur de valeur.56 Chapitre 6 Utilisation du mode Édition Vous pouvez réinitialiser les numéros de changement de programme de tous les patchs d’un concert. Lorsque vous réinitialisez ces numéros, ils sont assignés aux patchs en fonction de l’ordre de ces derniers dans la Liste des patchs, de haut en bas. Pour réinitialiser les numéros de changement de programme de tous les patchs d’un concert : m Choisissez « Réinitialiser le numéro de modification de programme » dans le menu Action de la Liste des patchs (ou appuyez sur Commande + Maj + Option + R). Vous pouvez assigner des boutons et autres contrôles pour l’envoi de messages de changement de programme et les utiliser pour sélectionner des patchs dans le concert. Pour en savoir plus sur l’assignation de boutons, consultez « Assignation de boutons » à la page 89. Utilisation d’un patch pour changer le tempo Vous pouvez attribuer à un patch un réglage de tempo propre. Ainsi, quand vous sélectionnez ce patch, son tempo passe alors au tempo qui lui est défini. MainStage utilise le nouveau tempo jusqu’à ce que vous sélectionniez un autre patch ou set et son réglage de tempo, et que vous saisissiez un nouveau tempo, ou jusqu’à ce que MainStage reçoive des informations de tempo à travers les messages MIDI entrants. Pour en savoir plus sur l’utilisation et le changement de tempo dans MainStage, consultez « Utilisation du Tempo dans un concert MainStage » à la page 43. Pour changer de tempo en utilisant un patch : 1 Dans l’inspecteur de sons, définissez le tempo du patch à l’aide du curseur de valeur « Changer le tempo : ». 2 Cochez la case « Changer le tempo : » pour activer le tempo du patch lorsque ce dernier est sélectionné. Changement des icônes des patchs Chaque patch possède une icône qui apparaît près de son nom dans la Liste de patchs. Par défaut, l’icône d’un patch indique le type de tranche de console créé lorsque le patch a été ajouté. Vous pouvez choisir une nouvelle icône pour vos patchs et vous servir des icônes pour les distinguer dans la Liste de patchs. Pour changer l’icône d’un patch : m Dans l’inspecteur de sons, choisissez une icône dans le menu local Icône. Suppression de patchs Vous pouvez supprimer un patch si vous pensez ne plus en avoir besoin dans le concert. Pour supprimer un patch : 1 Sélectionnez le patch dans la Liste de patchs. 2 Choisissez Édition > Supprimer (ou appuyez sur la touche Supprimer).Chapitre 6 Utilisation du mode Édition 57 Utilisation de tranches de console en mode Édition Les tranches de console correspondent aux bases de vos patchs. Elles contiennent les instruments et les effets sonores destinés à être utilisés en représentation. Les tranches de console MainStage utilisent l’interface de tranches de console bien connue de Logic Pro 8. Les tranches de console MainStage partagent les caractéristiques suivantes avec celles de Logic Pro 8 : Dans MainStage, vous pouvez utiliser des tranches de console audio ou d’instruments logiciels dans vos patchs (ou s’appliquant à un set ou un concert entier). Les tranches de console s’utilisent dans MainStage comme c’est le cas dans Logic Pro 8. Vous pouvez ajuster le volume à l’aide de son curseur, ajuster la balance à travers le potentiomètre correspondant et influer sur le son général d’une tranche de console à l’aide de ses boutons Muet et Solo. Tout comme dans Logic Pro 8, vous pouvez ajouter des effets à l’aide des logements d’insertion, envoyer le signal à un bus à l’aide des logements d’envoi et choisir une autre sortie dans le logement Sortie. Pour les tranches de console audio, vous pouvez permuter entre les formats mono et stéréo à l’aide du bouton Format. Pour les tranches de console d’instruments logiciels, vous pouvez changer d’instrument à l’aide du logement Entrée. Menu Réglages Logements d’insertion Logements d’envoi Potentiomètre de balance Curseur de volume et VU-mètre Boutons Muet et Solo Icône Nom58 Chapitre 6 Utilisation du mode Édition MainStage ayant été conçu pour la scène plutôt que pour des contextes d’enregistrement ou d’arrangement, il existe quelques différences entre les tranches de console MainStage et les tranches de console Logic Pro 8 :  Les tranches de console MainStage incluent un cadran Expression qui permet de voir facilement l’expression MIDI active qu’elles reçoivent.  Les tranches de console MainStage ne disposent pas de boutons Enregistrement activé ou Bounce.  Les tranches de console audio MainStage sont dépourvues de bouton de monitoring de l’entrée (i). Vous pouvez utiliser le bouton Muet pour désactiver le son des tranches de console.  Dans MainStage, vous pouvez utiliser le bouton Format pour sélectionner le format mono ou stéréo. MainStage ne prend pas en charge l’entrée de son Surround, pas plus que le traitement Surround.  Les tranches de console MainStage sont dépourvues de menu local Grouper.  Dans MainStage, la tranche de console sélectionnée est entourée d’un rectangle bleu.  Dans MainStage, le nom de la tranche de console change quand vous sélectionnez un autre réglage de tranche de console, à moins que vous ne l’ayez renommée.  Dans MainStage, le numéro de la tranche de console (en bas de cette dernière) reflète sa position dans le patch et non celle qu’elle occupe dans le concert. Par ailleurs, certains modules disponibles dans Logic Pro 8, dont les modules Surround et des modules non optimisés pour les représentations en temps réel (du fait qu’ils induisent un degré élevé de latence), ne le sont pas dans MainStage. Pour en savoir plus sur l’utilisation des tranches de console, consultez le chapitre 10, dans le Manuel de l’utilisateur de Logic Pro 8, intitulé « Utilisation d’instruments et d’effets » et le chapitre 25, intitulé « Mixage ». Pour obtenir des informations complètes sur les instruments et les effets disponibles dans Logic Studio, reportez-vous au manuel Instruments et effets Logic Studio. La procédure à suivre pour ajouter des tranches de console est décrite dans « Ajout d’une tranche de console à un patch » à la page 29.Chapitre 6 Utilisation du mode Édition 59 Sélection de tranches de console Lorsque vous ajoutez une tranche de console à un patch (ou que vous ajoutez une tranche de console s’appliquant à un set ou à un concert entier), elle est sélectionnée dans la zone Tranches de console et les réglages disponibles apparaissent dans le navigateur Réglages de tranche de piste. Vous pouvez sélectionner une tranche de console directement en cliquant dessus dans la zone Tranches de console, et pouvez également en sélectionner une adjacente à l’aide des raccourcis clavier : Sélection de réglages de tranche de console Il est possible de rapidement changer les paramètres d’un instrument, d’un effet et autres pour une tranche de console en choisissant un autre réglage de tranche de console. Il existe deux manières de choisir un autre réglage de tranche de console : en recourant au navigateur Réglages de tranche de piste ou en utilisant le bouton Réglages en haut de la tranche de console. Pour choisir un réglage de tranche de console dans le navigateur Réglages de tranche de piste : 1 Dans la zone Tranches de console, sélectionnez celle à modifier. La tranche sélectionnée apparaît en surbrillance, entourée en bleu, et les réglages disponibles s’affichent dans le navigateur « Réglages de tranche de piste ». Le contenu Logic Studio apparaît alors sous forme d’une série de dossiers numérotés avec différentes catégories d’instruments. Si vous avez installé GarageBand ou si un ou plusieurs Jam Packs sont installés sur votre ordinateur, ces réglages apparaissent en dessous ceux de Logic Studio. 2 Cliquez sur une catégorie de la colonne de gauche puis sur des sous-catégories des colonnes de droite pour atteindre les réglages souhaités. Pour sélectionner un réglage de tranche de console récent, cliquez sur Récent dans la colonne de gauche, puis sélectionnez-en un dans la seconde colonne. Comme dans Logic Pro 8, vous pouvez aussi choisir un autre réglage de tranche de console dans le menu Réglages en haut de la tranche de console. Raccourci clavier Sélection Flèche gauche Tranche de console de gauche Flèche droite Tranche de console de droite60 Chapitre 6 Utilisation du mode Édition Pour choisir un réglage de tranche de console dans le menu Réglages : m Cliquez sur le bouton Réglages en haut de la tranche de console, puis choisissez un autre réglage dans le menu qui apparaît. Remarque :en choisissant un dans le menu Réglages, vous constaterez qu’il n’apparaît cependant pas sélectionné dans le navigateur Réglages de tranche de piste. Vous pouvez aussi rechercher des réglages de tranche de console par leur nom. Pour rechercher des réglages de tranche de console dans le navigateur Réglages de tranche de piste : 1 Choisissez Rechercher dans le menu Action du coin supérieur droit du navigateur Réglages de tranche de piste. 2 Dans la zone de dialogue qui apparaît, tapez le texte à rechercher. La tranche de console dont le nom contient le texte saisi apparaît sélectionnée dans le navigateur. 3 Si plusieurs tranches de console portent un nom contenant le texte saisi, choisissez Poursuivre la recherche dans le menu Action pour les parcourir. 4 Pour modifier le réglage de tranche de console, cliquez sur le nom du nouveau réglage dans le navigateur Réglages de tranche de piste. Le navigateur Réglages de tranche de piste affiche tous les réglages de tranche de console mis à disposition aux applications Logic Studio, y compris les réglages dont l’utilité est moindre dans MainStage comme les réglages Surround et de masterisation. Si vous choisissez un réglage de tranche de console contenant des modules non utilisables dans MainStage, ces derniers apparaissent barrés d’un trait épais diagonal dans la zone Tranches de console. Réinitialisation d’une tranche de console Vous pouvez aussi réinitialiser une tranche de console. Le fait de réinitialiser une tranche de console supprime tous les instruments et effets et la remet dans un état « vierge ». Pour réinitialiser une tranche de console : 1 Dans la zone Tranches de console, sélectionnez la tranche. 2 Dans le navigateur Réglages de tranche de piste, cliquez sur Initialiser. Après avoir réinitialisé la tranche de console, vous pouvez choisir un autre réglage dans le navigateur Réglages de tranche de piste ou y ajouter directement des instruments et des effets.Chapitre 6 Utilisation du mode Édition 61 Modification de tranches de console dans MainStage Vous pouvez ajouter des instruments logiciels à des tranches de console et ajouter des effets aux tranches audio et d’instrument logiciel dans la zone Tranches de console. L’ajout d’instruments et d’effets se fait de la même manière dans MainStage que dans Logic Pro 8. Les effets et instruments de Logic Studio ne sont pas tous utilisables avec MainStage. En particulier, les effets qui entraînent une latence importante ou conçus pour être soumis à une balance Surround ne sont pas exploitables dans MainStage. Si vous choisissez un réglage de tranche de console contenant l’un de ces effets, les effets inutilisés apparaissent désactivés (gris et barrés d’un trait diagonal). Pour modifier les paramètres d’une tranche de console,sélectionnez-la dans la zone Tranches de console, puis sous la Liste de patchs, modifiez les paramètres dans l’inspecteur de tranche de console. Vous pouvez renommer une tranche de console, lui attribuer une couleur, définir une plage et un décalage de vélocité, créer une transformation de contrôleur et filtrer les messages de contrôle MIDI envoyés à la tranche. Attribution d’un nouveau nom à une tranche de console Lorsque vous ajoutez une tranche de console à un patch, cette dernière est pourvue d’un nom par défaut. Vous pouvez alors renommer les tranches pour distinguer vos réglages personnalisés des réglages par défaut. Pour renommer une tranche de console : m Dans l’inspecteur de tranche de console, sélectionnez le nom dans le champ Nom, puis tapez un nouveau nom. Sélection de la couleur d’une tranche de console Chaque tranche de console possède une couleur qui apparaît sous forme de couche par dessus le contrôle d’écran de clavier dans l’espace de travail. Vous pouvez modifier cette couleur pour distinguer les tranches de console lors d’une représentation. Pour changer la couleur d’une tranche de console : m Dans l’inspecteur de tranche de console, choisissez une couleur dans le menu Couleur. Saisissez un autre nom dans le champ. Choisissez une icône dans ce cadre. Choisissez une couleur dans ce menu.62 Chapitre 6 Utilisation du mode Édition Changement de l’icône d’une tranche de console Lorsque vous ajoutez une tranche de console, elle apparaît avec une icône par défaut située au-dessus du menu Réglages. Vous pouvez changer cette icône pour vous aider à distinguer les tranches de console de différents types d’instrument ou faisant l’objet de différents usages. Pour changer l’icône d’une tranche de console : m Dans l’inspecteur de tranche de console, choisissez une icône dans le cadre Icône. Affichage des tranches de console du cheminement du signal En plus des tranches de console d’un patch, vous pouvez afficher et modifier les tranches de console du cheminement du signal dans la zone Tranches de console. Les tranches de console du cheminement du signal incluent les tranches de console Sortie et Master destinées au concert ainsi que tous les bus qui reçoivent le signal d’une tranche du patch. Vous pouvez aussi afficher des tranches de cheminement du signal portant sur un set entier. Vous pouvez aussi ajouter les effets influant sur le concert dans son ensemble à un bus portant sur tout le patch. Pour cela, choisissez « Afficher les tranches de console pour le cheminement du signal » dans le menu Action pour que la zone Tranches de console montre les bus qui reçoivent le signal des tranches du patch, puis ajoutez les effets au bus. Pour afficher des tranches de console du cheminement du signal : m Choisissez « Afficher les tranches de console pour le cheminement du signal » dans le menu Action situé dans le coin supérieur droit de la zone Tranches de console. Création de couches et de scissions de clavier Si vous jouez sur un clavier contrôleur, vous pouvez facilement créer des couches et des scissions de clavier dans vos patchs MainStage. Pour créer des couches et des scissions, il faut ajouter plusieurs tranches de console à un patch et définir des plages de notes pour chaque tranche de console.Chapitre 6 Utilisation du mode Édition 63 Définition d’une plage de notes Sur un clavier, la plage de notes déclenche les sons à partir de l’instrument logiciel d’une tranche de console. Vous pouvez définir des plages de notes de sorte que les tranches de console se chevauchent (pour les sons en couches) ou soient séparées (pour les scissions). Pour définir une plage de notes pour une tranche de console : 1 Dans la zone Tranches de console, sélectionnez la tranche. 2 Dans l’inspecteur de tranche de console, cliquez sur le bouton Apprendre près du curseur de valeur Tons sombres. 3 Sur votre clavier contrôleur, appuyez sur la touche correspondant à la note que vous souhaitez définir comme la note la plus grave de votre plage de notes. 4 Cliquez sur le bouton Apprendre pour désactiver le mode d’apprentissage pour de la note grave. 5 Cliquez sur le bouton Apprendre à côté du curseur de valeurs Tons clairs. 6 Sur votre clavier contrôleur, appuyez sur la touche correspondant à la note que vous souhaitez définir comme la note la plus aiguë de votre plage de notes. 7 Cliquez sur le bouton Apprendre pour désactiver le mode d’apprentissage pour de la note aiguë. Lorsque vous lancez la lecture du patch, vous pouvez entendre le son de la tranche de console quand vous jouez les notes faisant partie de la plage de notes. Les notes en dehors de la plage ne génèrent aucun son à travers la tranche de console. Définissez la touche aiguë et la touche grave à l’aide de ces curseurs de valeurs. Vous pouvez aussi cliquer sur Apprendre et jouer la note correspondante sur votre clavier musical.64 Chapitre 6 Utilisation du mode Édition Définition de points de scission flottants Lorsqu’une plage de notes présente un point de scission flottant, les notes situées aux extrémités de cette dernière varient en fonction des touches que vous jouez près de ces extrémités. Voici une explication de ce que sont les points de scission flottants, exemple à l’appui : si vous définissez la note grave (Tons sombres) d’une plage de notes sur Do1, définissez une valeur de point de scission flottant de 3, puis jouez les notes directement au-dessus de Do1 (par exemple les notes Fa1, Mib1, Ré1), et jouez progressivement vers les graves en dessous de Do1 (par exemple les notes Do1, Sib0, La0) :le point de scission se déplace vers le bas pour inclure ces notes, jusqu’à la valeur du point de scission flottant (3 demi-tons). En revanche,si vous commencez à jouer les notes immédiatement en dessous de la note grave (les notes Sol0, La0, Si0 par exemple) et que vous jouez en remontant vers les aiguës au-dessus de Do1 (les notes Do1, Ré1, Mi1 par exemple), le point de scission se déplace vers le haut pour inclure ces notes, jusqu’à la valeur du point de scission flottant (dans cet exemple, Do1 et Ré1 seraient incluses, mais pas Mi1, qui se trouve quatre demi-tons plus haut que la note grave). Pour définir des points de scission flottants pour une plage de notes : 1 Définissez un point de scission flottant pour la note grave (Tons sombres) en saisissant une valeur dans le curseur de valeur Point de scission flottant correspondant à la note grave. Vous pouvez taper une valeur entière, cliquer sur les flèches pour incrémenter ou décrémenter la valeur, ou faire glisser le curseur pour définir le nombre de notes utilisées pour la scission. 2 Définissez un point de scission flottant pour la note grave (Tons clairs) en saisissant une valeur dans le curseur de valeur Point de scission flottant correspondant à la note aiguë. Vous pouvez taper une valeur entière, cliquer sur les flèches pour incrémenter ou décrémenter la valeur, ou faire glisser le curseur pour définir le nombre de notes utilisées pour la scission. Vous pouvez aussi créer une scission de clavier en ajoutant une tranche de console portant sur un set et en ajustant la plage de notes des tranches de console dans les patchs du set. La tranche de console du set entier prend la priorité sur toutes les tranches de console des patchs du set pour les notes incluses dans sa plage de notes. Pour en savoir plus sur l’ajout d’une tranche de console portant sur un set entier, consultez « Manipulations par set » à la page 72.Chapitre 6 Utilisation du mode Édition 65 Substitution de plages de notes portant sur un concert ou un set entier Si une tranche de console d’instrument logiciel s’applique au concert entier, la tranche de console du concert prend la priorité sur toute tranche de console d’instrument logiciel portant sur un patch et dont les notes se trouvent dans sa plage de notes. Cela signifie que lorsque vous jouez des notes faisant partie de la plage de la tranche de console du concert sur un clavier contrôleur, vous n’entendez que la tranche du concert, même si un patch est sélectionné. De même, si une tranche de console d’instrument logiciel existe pour le set entier, les mêmes conditions s’appliquent à tous les patchs du set. Autrement dit, la tranche de console du set prend la priorité sur celles du patch et dont les notes se situent dans sa plage de notes. Vous pouvez substituer les tranches de console applicables à un concert ou à un set entier par une tranche de console d’un patch particulier de manière à ce que la tranche du patch prenne la priorité sur celles du concert ou du set entier. Pour substituer des plages de notes applicables à un concert ou à un set entier : 1 Dans la Liste de patchs, sélectionnez le patch correspondant à la tranche de console dont vous souhaitez substituer la tranche de console de concert ou de set. 2 Dans la zone Tranches de console, sélectionnez la tranche de console dont vous souhaitez écraser la plage de notes de concert ou de set. Dans l’inspecteur de tranche de console, un message apparaît pour vous demander si vous souhaitez écraser les plages de notes de concert ou de set (le texte indique si les plages de notes s’appliquent au concert, au set ou aux deux). 3 Cochez la case en regard du message. Définition de la plage et du décalage de vélocité Par défaut, la vélocité d’une tranche de console s’étend de 1 à 127. Vous pouvez limiter la plage de vélocité de sorte que la tranche de console ne réponde que si les notes que vous jouez à partir de votre contrôleur sont situées entre les valeurs minimale et maximale que vous avez définies. Cochez la case pour substituer les plages de notes des tranches du concert ou du set.66 Chapitre 6 Utilisation du mode Édition Pour définir la plage de vélocité d’une tranche de console : 1 À l’aide du curseur, définissez la vélocité minimale à partir de laquelle la tranche de console doit se déclencher. 2 À l’aide du curseur, définissez la vélocité maximale en dessous de laquelle la tranche de console doit se déclencher. Un décalage de vélocité signifie que lorsque vous jouez une note à une certaine vélocité, la tranche de console répond comme si cette vélocité était supérieure ou inférieure,selon la valeur du décalage. Si vous avez un décalage de vélocité pour la tranche de console, la force des notes jouées sur votre contrôleur est modifiée selon la valeur de décalage (de façon croissante pour les valeurs de décalage positives, de façon décroissante pour les valeurs de décalage négatives). Pour définir un décalage de vélocité pour une tranche de console, procédez de l’une des manières suivantes : m Faites glisser le curseur de valeur « Décalage de la vélocité » m Double-cliquez sur le curseur de valeur « Décalage de la vélocité », puis tapez une valeur de décalage. Création de transformations du contrôleur Vous pouvez graphiquement remapper (ou transformer) les valeurs de certains messages de contrôle MIDI de sorte que les valeurs d’entrée issues de votre contrôleur produisent des valeurs de sortie différentes pour la tranche de console. On utilise fréquemment les transformations pour l’échelonnement des expressions, pour les besoins duquel des valeurs d’expression MIDI d’entrée sont mappées à différentes valeurs de sortie sur une courbe graphique. Dans MainStage, vous pouvez transformer les valeurs pour les messages d’expression, de modulation, de volume MIDI et de Breath Control. Par ailleurs, vous pouvez remapper les valeurs d’entrée d’un de ces quatre types de message aux valeurs de sortie de l’un des autres types. Par exemple, vous pouvez remapper les valeurs de volume MIDI à partir de votre contrôleur pour envoyer des valeurs d’expression à la tranche de console, ou remapper des valeurs Breath en entrée pour envoyer des valeurs de modulation. La fonction Transformation de contrôleur est un moyen polyvalent de remapper les valeurs et la destination de sortie pour ces messages de contrôle MIDI. La section Transformation de contrôleur, de l’inspecteur de tranche de console, vous permet de choisir les types de message d’entrée et de sortie et de créer graphiquement des courbes de transformation. Dans la zone d’édition graphique Transformation de contrôleur, l’axe horizontal représente les valeurs d’entrée de votre contrôleur tandis que l’axe vertical représente les valeurs de sortie envoyées à la tranche de console.Chapitre 6 Utilisation du mode Édition 67 Pour définir les types de message d’entrée et de sortie d’une transformation de contrôleur : 1 Dans la section Transformation de contrôleur de l’inspecteur de tranche de console, choisissez le type de message d’entrée dans le menu local Entrée. 2 Choisissez le type de message de sortie dans le menu local Sortie. Pour modifier graphiquement la courbe de transformation de contrôleur : 1 Cliquez sur le point de la courbe diagonale de transformation de contrôleur dont vous souhaitez modifier la valeur de sortie. 2 Faites glisser le point verticalement pour changer sa valeur de sortie. 3 Si vous désirez supprimer un point, double-cliquez dessus. Si un patch contient plusieurs tranches de console, les courbes de transformation de contrôleur des autres tranches du patch apparaissent dans l’affichage de transformation de contrôleur derrière la courbe active. Chacune des tranches de console d’un patch peut posséder une transformation de contrôleur propre. Pour réinitialiser la courbe de transformation de contrôleur : m Cliquez sur la zone d’édition graphique tout en maintenant la touche Contrôle enfoncée, puis choisissez « Rétablir les paramètres par défaut » dans le menu contextuel. Filtrage de messages MIDI Vous pouvez filtrer certains messages MIDI pour une tranche de console dans l’inspecteur de tranche de console. Lorsque vous sélectionnez des types de messages MIDI dans la section Filtre de l’inspecteur de tranche de console, toutes les données MIDI entrantes sont filtrées pour ne pas envoyer les messages de ces types à la tranche de console. Vous pouvez filtrer les types de messages MIDI suivants :  Pitch Bend,  Modulation (message de contrôle 1),  Aftertouch,  Sustain (message de contrôle 64),  Expression (message de contrôle 11). Cliquez sur un point de la courbe et faites-le glisser pour définir sa valeur. Choisissez les types de message d’entrée et de sortie dans ces menus.68 Chapitre 6 Utilisation du mode Édition Pour filtrer des messages MIDI entrants : m Dans la section Filtre, cochez la case correspondant au type de messages MIDI que vous désirez filtrer. Si vous avez créé une transformation de contrôleur, vous pouvez filtrer le type de message d’entrée. La transformation de contrôleur envoie alors toujours des messages de sortie de son propre type. Il est également possible de filtrer le type de message de sortie, auquel cas la sortie de la transformation de contrôleur est alors filtrée. Suppression de tranches de console Vous pouvez supprimer une tranche de console que vous ne voulez plus dans un patch. Pour supprimer une tranche de console : 1 Sélectionnez la tranche de console dans la zone Tranches de console. 2 Choisissez Édition > Supprimer (ou appuyez sur la touche Supprimer). Mappage de contrôles d’écran Après avoir choisi les réglages de tranches de console qui vous intéressent, vous pouvez mapper des contrôles d’écran MainStage à des paramètres de tranches de console ou à des actions spécifiques à MainStage ou encore à des scripts AppleScript. Pour en savoir plus sur l’assignation de contrôles physiques à des contrôles d’écran de l’espace de travail, consultez « Assignation de contrôles matériels à des contrôles d’écran » à la page 88. Mappage de contrôles d’écran à des paramètres de tranches de console et de modules Il existe deux manières de mapper des contrôles d’écran à des paramètres de tranches de console et de modules :soit en mappant les contrôles d’écran à des paramètres de la tranche de console ou à la fenêtre d’un module, soit en utilisant le navigateur Mappage de paramètres. Pour retrouver la description de ces deux méthodes de mappage des contrôles d’écran aux paramètres, consultez « Mappage de contrôles d’écran à des paramètres » à la page 33. Mappage de contrôles d’écran à des actions Vous pouvez aussi mapper des contrôles d’écran à des actions spécifiques de MainStage et à des scripts AppleScript. Le dossier Actions, qui apparaît dans le navigateur Mappage de paramètres aux côtés des paramètres disponibles, contient des actions destinées à la sélection de patchs et de sets, à l’affichage du syntoniseur, à l’activation du marquage de tempo (tap tempo), du muet du master ou de la fonction Panique, etc. Le dossier Actions contient également un sous-dossier AppleScript comportant des scripts utiles.Chapitre 6 Utilisation du mode Édition 69 Vous pouvez mapper des contrôles d’écran de bouton à des actions pour sélectionner différents patchs et utiliser des boutons physiques de votre matériel MIDI pour sélectionner des patchs quand vous êtes sur scène. Vous pouvez aussi mapper des boutons à des actions pour sélectionner différents sets ou sélectionner le concert. Pour en savoir plus sur l’assignation de boutons, consultez « Assignation de boutons » à la page 89. Pour mapper un contrôle d’écran à une action : 1 Dans l’espace de travail, cliquez sur le contrôle d’écran à mapper. L’inspecteur de contrôle d’écran apparaît en dessous de la Liste de patchs et indique les réglages correspondant au contrôle d’écran sélectionné. Le dossier Actions est disponible dans le navigateur Mappage de paramètres. 2 Dans la colonne de gauche du navigateur Mappage de paramètres, cliquez sur le dossier Actions. Les actions disponibles apparaissent dans la deuxième colonne du navigateur. 3 Sélectionnez l’action à mapper. Mappage de contrôles d’écran à toutes les tranches de console d’un patch Lorsque vous mappez un contrôle d’écran à un paramètre de tranche de console, tel que le volume ou la balance, vous pouvez lui imposer de contrôler ce même paramètre dans toutes les tranches de console du patch. Cela vous sera particulièrement utile si vous souhaitez contrôler le volume global d’un son en couches, même si les différentes couches sont jouées sur plusieurs claviers. Pour mapper un contrôle d’écran à toutes les tranches de console d’un patch : 1 Mappez le contrôle d’écran en suivant les instructions données dans les rubriques précédentes. 2 Dans l’inspecteur de contrôle d’écran, cochez la case « Envoyer àtoutes les tranches de console ». Cliquez sur le menu Actions pour voir les actions proposées. Cliquez sur l’action que vous désirez mapper dans le sous-menu.70 Chapitre 6 Utilisation du mode Édition Suppression de mappages de contrôles d’écran Si vous souhaitez libérer un contrôle d’écran de tout mappage, vous pouvez supprimer son mappage. Cela peut être utile avec les contrôles qui font transiter des messages au canal MIDI Thru (molettes de pitch bend et de modulation, ou pédales d’expression, par exemple), quand vous ne souhaitez pas qu’ils envoient des messages MIDI pour leur type de contrôle de transmission Thru. Quand vous remappez un contrôle d’écran, il est inutile d’en supprimer le mappage existant. Pour réinitialiser le mappage d’un contrôle d’écran : 1 Dans l’espace de travail, cliquez sur le contrôle d’écran à mapper. 2 Dans la colonne de gauche du navigateur Mappage de paramètres, cliquez sur Aucun. Utilisation de sets en mode Édition Les sets fonctionnent comme des « dossiers » qui vous permettent de regrouper des patchs ensemble. À l’aide des sets, vous pouvez organiser les patchs de toutes les manières possibles. Vous pouvez par exemple placer ensemble tous les patchs que vous désirez utiliser dans la première partie d’une représentation sur scène ou garder tous vos patchs de synthé ensemble. Caractérisés par leur flexibilité, vous pouvez adapter les sets à votre méthode de travail. Vous pouvez notamment utiliser des sets :  pour grouper en « banques » des sons similaires ou en relation ;  pour regrouper plusieurs patchs que vous utilisez dans un morceau ;  pour partager un instrument de set entre les morceaux d’un même groupe. Création de sets Vous pouvez créer un set vierge ou en créer un à partir d’un groupe de patchs sélectionnés. Pour créer un set vierge : m Choisissez Nouveau Set dans le menu Action situé dans le coin supérieur droit de la Liste de patchs. Un nouveau set apparaît dans la Liste de patchs. Pour créer un set à partir d’un groupe de patchs : 1 Dans la Liste de patchs, sélectionnez les patchs à inclure dans le nouveau set. 2 Choisissez « Nouveau Set àpartir de la sélection » dans le menu Action situé dans le coin supérieur droit de la Liste de patchs. Le nouveau set apparaît dans la Liste de patchs contenant les patchs sélectionnés. Vous pouvez ajouter de nouveaux patchs au set ou faire glisser des patchs dans le set.Chapitre 6 Utilisation du mode Édition 71 Attribution d’un autre nom à des sets Lorsque vous créez un set, un nom par défaut lui est attribué. Vous pouvez renommer un set de la même manière que vous renommeriez un patch dans la Liste de patchs. Pour renommer un set : 1 Double-cliquez sur le set dans la Liste de patchs. Un champ de texte apparaît autour du nom du set sélectionné. 2 Saisissez un autre nom dans le champ du nom du set. Utilisation d’un set pour changer le tempo Vous pouvez attribuer à un set un réglage de tempo propre. Ainsi, quand vous sélectionnez ce set, son tempo passe alors au tempo qui lui est défini. MainStage utilise le nouveau tempo jusqu’à ce que vous sélectionniez un autre patch ou set et son réglage de tempo, et que vous saisissiez un nouveau tempo, ou jusqu’à ce que MainStage reçoive des informations de tempo à travers les messages MIDI entrants. Pour en savoir plus sur l’utilisation et le changement de tempo dans MainStage, consultez « Utilisation du Tempo dans un concert MainStage » à la page 43. Pour changer le tempo à l’aide d’un set : 1 Sélectionnez le set dans la Liste de patchs. 2 Dans l’inspecteur de jeu, définissez le tempo du set à l’aide du curseur de valeur « Changer le tempo : ». 3 Cochez la case « Changer le tempo : » pour activer le tempo du set lorsque ce dernier est sélectionné. Substitution de plages de notes portant sur un concert pour un set Si une tranche de console d’instrument logiciel s’applique au concert entier, la tranche de console du concert prend la priorité sur toute tranche de console d’instrument logiciel portant sur un set et dont les notes se trouvent dans sa plage de notes. Cela signifie que lorsque vous jouez des notes faisant partie de la plage de la tranche de console du concert sur un clavier contrôleur, vous n’entendez que la tranche du concert, même si un patch est sélectionné dans un set présentant une tranche de console de set. Vous pouvez substituer la tranche de console portant sur le concert entier par une tranche sur un set de manière à ce qu’elle prenne la priorité sur la tranche de console portant sur le concert. Pour substituer des plages de notes applicables à un concert ou à un set entier : 1 Dans la Liste de patchs, sélectionnez le set correspondant à la tranche de console dont vous souhaitez substituer la tranche de console de concert. 2 Dans la zone Tranches de console, sélectionnez la tranche de console dont vous souhaitez écraser la plage de notes de concert. 3 Cochez la case « Écraser le concert et définir les plages ».72 Chapitre 6 Utilisation du mode Édition Suppression de sets Vous pouvez supprimer un set si vous pensez ne plus en avoir besoin dans le concert. Pour supprimer un set : 1 Sélectionnez le set dans la Liste de patchs. 2 Choisissez Édition > Supprimer (ou appuyez sur la touche Supprimer). En supprimant un set, les patchs qu’il contient sont également supprimés. Si ne souhaitez supprimer que le « dossier » du set, déplacez les patchs hors de ce dernier avant de le supprimer. Manipulations par set Vous avez aussi la possibilité d’ajouter des tranches de console au set entier et jouer les tranches de console de set en même temps que chaque patch du set. Cela peut vous être utile par exemple si vous souhaitez utiliser la même basse dans un morceau ou dans un groupe de morceaux. Vous pouvez placer les patchs de tous les morceaux dans un set, ajouter une tranche de console portant sur un set entier, puis ajouter une basse à la tranche en question. Vous pouvez définir la plage de notes de la basse de sorte que seules les notes des octaves inférieures soient jouées, et que vous puissiez jouer la basse en même temps que vos patchs. Important :si vous ajoutez une tranche de console appliquée à un set entier, elle prend la priorité sur toutes les tranches de console des patchs inclus dans le set. Par exemple, si vous ajoutez une tranche de console applicable au set et contenant un instrument logiciel, ce dernier a la priorité sur les instruments logiciels de tous les patchs du set, pour les notes se trouvant dans la plage de notes définie pour l’instrument logiciel du set. Pour ajouter une tranche de console applicable à tout un set : 1 Sélectionnez le set dans la Liste de patchs. 2 Cliquez sur le bouton « Ajouter une tranche de console » (+) en haut de la zone Tranches de console. 3 Dans la zone de dialogue « Nouvelle tranche de console », sélectionnez le type de bande à créer. 4 Choisissez la sortie audio de la tranche de console dans le menu local Sortie.Chapitre 6 Utilisation du mode Édition 73 5 Pour les tranches de console, choisissez Mono ou Stéréo dans le menu local Format, et l’entrée audio dans le menu local Entrée. Important :les tranches de console audio peuvent générer un retour sonore, plus particulièrement si vous utilisez un micro en entrée audio. Lorsque vous ajoutez une tranche de console audio,son volume est coupé par défaut. Pour éliminer rapidement ce retour a posteriori, vous pouvez cliquer sur le bouton Muet de la tranche de console ou appuyer sur Contrôle + M pour activer Silence Master. 6 Cliquez sur Créer. Substitution de mappages portant sur un concert ou un set entier Par défaut, les mappages que vous réalisez et portant sur un concert entier (mappages à des paramètres et des actions) ont la priorité sur ceux à chaque patch ou chaque set du concert. Si vous mappez un contrôle d’écran à un paramètre portant sur tout le concert (au volume du master, par exemple), ce contrôle d’écran ne peut pas être mappé à un paramètre ou à une action dans un patch ou un set, à moins que vous ne substituiez le mappage du concert. De même, les mappages que vous effectuez et s’appliquant à un set ont priorité sur les mappages de tout patch du set. Si vous mappez un contrôle d’écran à un paramètre portant sur tout le set (à un effet sur une tranche de console de niveau set par exemple), ce contrôle d’écran ne peut pas être mappé à un paramètre ou à une action dans un patch du set, à moins que vous ne substituiez le mappage du set. Si vous tentez de mapper un contrôle d’écran mappé pour le concert ou le set entier, un texte apparaît dans l’inspecteur de contrôle d’écran pour vous informer que le contrôle mappé s’applique à un autre élément d’autre nature et ses paramètres sont estompés dans l’inspecteur de contrôle d’écran. Vous pouvez substituer les mappages d’un patch particulier, portant sur un concert et un set entier, pour mapper le contrôle d’écran en le faisant porter sur un patch. Pour substituer des mappages de concert : m Dans l’inspecteur de contrôle d’écran, cochez la case « Ignorer le mappage de concert ». Les paramètres de l’inspecteur de contrôle d’écran deviennent actifs. Cochez cette case pour ignorer les mappages portant sur l’intégralité du concert.74 Chapitre 6 Utilisation du mode Édition Pour ignorer les mappages portant sur le set et autres paramètres d’un patch : m Dans l’inspecteur de contrôle d’écran, cochez la case « Ignorer le mappage de set ». La section Mappage de paramètre devient active. Vous pouvez alors mapper le paramètre. Partage de patchs et de sets entre concerts Vous pouvez exporter des patchs et des sets à partir d’un concert et les importer dans un autre concert. En important un set, tous les patchs qu’il contient sont également importés. Pour exporter un patch, procédez de l’une des manières suivantes : m Faites glisser le patch de la Liste de patchs vers le Finder. Le patch apparaît en tant que fichier .patch dans le Finder. m Sélectionnez le patch, choisissez Exporter le patch dans le menu Action de la Liste des sons, puis cliquez sur Enregistrer. Le patch est exporté dans le dossier ~/Bibliothèque/Application Support/Logic/ MainStage Patches. Pour exporter un set, procédez de l’une des manières suivantes : m Faites glisser le set de la Liste de patchs vers le Finder. Le set apparaît en tant que fichier .patch dans le Finder. m Sélectionnez le set, choisissez Exporter le set dans le menu Action de la Liste de patchs, puis cliquez sur Enregistrer. Le set est alors exporté dans le dossier des patchs de MainStage. Remarque :vous pouvez aussi exporter l’intégralité d’un concert en tant que set en le sélectionnant et en choisissant Exporter le set dans le menu Action. Vous pouvez exporter plusieurs patchs ou sets. Quand vous exportez plusieurs patchs en les faisant glisser dans le Finder, chacun d’entre eux est exporté en tant que fichier .patch. Quand vous sélectionnez plusieurs patchs et que vous les exportez à l’aide de la commande Exporter le patch, ils sont regroupés dans un seul set exporté. Vous pouvez importer des patchs ou des sets à partir du Finder dans un autre concert ouvert.Chapitre 6 Utilisation du mode Édition 75 Pour importer un patch ou un set, procédez de l’une des manières suivantes : m En mode Édition, faites glisser le patch ou le set du Finder dans la Liste de patchs. m Choisissez Importer dans le menu Action de la Liste de patchs, sélectionnez le patch ou le set à importer, puis cliquez sur Importer. Vous pouvez également ouvrir plusieurs concerts simultanément et faire glisser des patchs et des sets de la Liste de patchs de l’un des concerts sur la Liste de patchs d’un autre concert. Sachez toutefois que des ressources mémoire et processeur supplémentaires sont mises à contribution. Nous vous recommandons de n’ouvrir plusieurs concerts que pour partager des patchs et des sets, et de fermer tous les concerts sauf celui dans lequel vous travaillez quand vous avez terminé de partager les patchs ou les sets entre les concerts. Vous ne devez avoir qu’un seul concert ouvert pendant la représentation en direct.7 77 7 Utilisation du mode Disposition Utilisez le mode Disposition pour agencer l’apparence visuelle de votre affichage et réaliser des connexions entre votre matériel musical et MainStage. Il n’est pas possible de changer la position des curseurs, de potentiomètres et autres contrôles de vos instruments et équipements musicaux mais vous pouvez organiser les contrôles d’écran de votre concert MainStage dans n’importe quel ordre en modifiant la disposition. Vous pouvez modifier une disposition ou en créer une à partir d’un modèle, mais aussi exporter la disposition et l’importer dans un autre concert. Chaque modèle de concert fourni avec MainStage comprend une disposition intégrée, optimisée pour un type d’instrument de musique, un genre ou une utilité. Utilisez le mode Disposition pour modifier la disposition d’un concert. Vous pouvez ajouter et agencer vos contrôles d’écran en fonction de votre matériel musical, optimiser la taille de votre affichage et effectuer des assignations des contrôles de votre matériel MIDI aux contrôles d’écran de votre concert. Pour passer en mode Disposition, procédez de l’une des manières suivantes : m Choisissez Présentation > Disposition (ou appuyez sur les touches Commande + 1). m Cliquez sur le bouton de disposition de la barre d’outils. La fenêtre MainStage passe en mode Disposition. En mode Disposition, l’espace de travail présente une grille dont le rôle est de vous aider à aligner et agencer les contrôles d’écran. Sous l’espace de travail, les palettes de contrô- les de panneau et de ceux de tablette apparaissent, présentant différents types de contrôles d’écran que vous pouvez ajouter à votre disposition. Sur la gauche de l’espace de travail apparaît l’inspecteur de disposition, dans lequel vous pouvez effectuer des assignations de contrôleur et modifier les paramètres de la disposition.78 Chapitre 7 Utilisation du mode Disposition Changement de la résolution de grille Quand vous passez en mode Disposition, MainStage détermine la résolution de grille appropriée pour votre affichage. Dans l’inspecteur de disposition, le menu local Résolution de grille indique la résolution active. La plupart du temps, utilisez celle par défaut à moins que vous n’envisagiez de jouer sous une autre taille d’affichage que celle que vous utilisez pour créer vos concerts. Pour changer la résolution de grille : m Dans l’inspecteur de disposition, choisissez une autre résolution dans le menu local Résolution de grille. Remarque :si vous choisissez une résolution de grille entraînant un déplacement de contrôles d’écran de la disposition hors de la zone visible, un avertissement vous signale alors que certains contrôles d’écran ne sont pas visibles dans la résolution sélectionnée. Les contrôles d’écran concernés par la modification apparaissent en surbrillance dans l’espace de travail. Modification de la disposition d’un concert Vous pouvez modifier une disposition en ajoutant et agençant les contrôles d’écran dans l’espace de travail, en changeant les assignations de contrôleur existantes ou en en créant de nouvelles et en modifiant les paramètres des contrôles d’écran. Les rubriques ci-dessous expliquent comment ajouter et agencer les contrôles à l’écran, effectuer des assignations matérielles, changer l’apparence des contrôles d’écran et modifier les paramètres de disposition. Vous pouvez aussi exporter une disposition et en importer une dans un autre concert. Pour en savoir plus sur l’importation et l’exportation de dispositions, consultez « Exportation d’une disposition » à la page 94. Utilisation des contrôles d’écran Dans un concert MainStage, les contrôles d’écran sont les objets qui correspondent aux contrôles physiques de votre matériel musical. Les contrôles d’écran peuvent afficher des informations sur les patchs, les paramètres et les valeurs de paramètre, ou contenir du texte ou des images. Dans un concert MainStage, les contrôles d’écran apparaissent dans l’espace de travail. Vous pouvez ajouter des contrôles d’écran à l’espace de travail, les déplacer et les redimensionner, les regrouper et les verrouiller pour préserver votre disposition, mais aussi modifier leur apparence de diverses manières.Chapitre 7 Utilisation du mode Disposition 79 Après avoir agencé les contrôles d’écran dans l’espace de travail pour votre concert, vous devez établir des connexions entre votre matériel MIDI et le concert en assignant des contrôles physiques de votre matériel aux contrôles d’écran du concert. Dès lors que vous utilisez le même matériel musical, vous ne devez réaliser les assignations matérielles qu’une seule fois pour un même concert. Après avoir effectué des assignations de contrôleur, vous pouvez mapper les contrô- leurs d’écran à des paramètres de tranches de console dans vos patchs, ou à des actions. Les paramètres se mappent en mode Édition. Pour en savoir plus sur le mappage de paramètres, consultez « Mappage de contrôles d’écran » à la page 68. Types de contrôles d’écran Vous pouvez utiliser deux types de contrôles d’écran dans une disposition MainStage : les contrôles de panneau et les contrôles de tablette. En mode Disposition, chaque type dispose de sa propre palette (la palette de contrôles de panneau d’une part, la palette de contrôles de tablette d’autre part) située sous l’espace de travail. Vous pouvez ajouter des contrôles d’écran à l’espace de travail en les faisant glisser dans ce dernier à partir de l’une des deux palettes. Contrôles de panneau Lorsque vous ajoutez un contrôle de panneau à l’espace de travail, il apparaît entouré d’un panneau plat et brillant. Lorsque vous placez des contrôles de panneau proches les uns des autres, leurs panneaux fusionnent en un seul panneau plus grand. Les contrôles de panneau comprennent :  un potentiomètre rond et un potentiomètre directionnel,  un curseur vertical et un curseur horizontal,  un bouton,  un pad de batterie électronique,  un VU-mètre (qui sert à représenter visuellement le volume ou un autre paramètre),  un texte de paramètre (qui sert à afficher dynamiquement le nom et la valeur des paramètres),  un sélecteur (permettant de sélectionner les patchs pendant que vous jouez),  du texte (qui sert à afficher les paroles des chansons, les notes de la performance sur scène et autres informations statiques),  une image.80 Chapitre 7 Utilisation du mode Disposition Contrôles de tablette Lorsque vous ajoutez un contrôle de tablette, il apparaît sur une tablette tridimensionnelle. Vous pouvez déplacer la tablette, ajuster son angle et placer plusieurs contrôles sur une même tablette. Si vous avez par exemple un contrôle d’écran de clavier dans votre disposition, vous pouvez ajouter des contrôles d’écran, pour la molette du pitch bend et pour la molette de modulation, à la même tablette que celle du contrôle d’écran de clavier. Les contrôles de tablette comprennent :  le clavier,  les molettes de modulation ou de pitch bend,  la pédale Sustain,  la pédale,  l’interrupteur au pied. Ajout de contrôles d’écran En mode Disposition, vous pouvez rapidement ajouter des contrôles d’écran à votre disposition et les agencer dans l’espace de travail. Pour ajouter un contrôle d’écran : m Faites glisser le contrôle d’écran de l’une des palettes de contrôle vers l’espace de travail. Tandis que vous faites glisser le contrôle d’écran sur l’espace de travail, un contour blanc apparaît pour vous montrer où le contrôle est prévu de s’ajouter. Vous pouvez utiliser la grille pour aligner le contrôle d’écran sur d’autres éléments de l’espace de travail. Vous pouvez faire glisser les contrôles d’écran dans n’importe quel ordre dans l’espace de travail. Si vous envisagez d’utiliser un clavier contrôleur, vous pouvez d’abord faire glisser un contrôle d’écran de clavier sur l’espace de travail, le positionner près du centre, puis y faire glisser des contrôles d’écran pour les curseurs, les potentiomètres, les molettes, les boutons et autres contrôles physiques correspondant au clavier contrôleur. Lorsque vous faites glisser un contrôle d’écran sur l’espace de travail, il est alors sélectionné et les assignations au matériel et autres paramètres disponibles qui lui correspondent apparaissent dans l’inspecteur de disposition sur la gauche de l’espace de travail. Chaque type de contrôle d’écran possède ses propres paramètres, décrits dans « Modification des paramètres des contrôles d’écran » à la page 90. Ajout de contrôles d’écran pour les molettes de modulation/hauteur Lorsque vous ajoutez des molettes de modulation/hauteur à une disposition, elles sont configurées par défaut pour recevoir les types de messages MIDI suivants :  La première molette de modulation/hauteur est configurée pour recevoir les messages de modulation.  La seconde molette est configurée pour recevoir les messages de pitch bend.  La troisième molette est configurée de façon à recevoir les messages aftertouch.Chapitre 7 Utilisation du mode Disposition 81 Par défaut, les contrôles d’écran de modulation et de pitch bend passent au travers des messages MIDI correspondant à leur usage commun :les molettes de modulation passent au travers des messages de modulation MIDI et les molettes de pitch bend passent au travers des messages de pitch bend MIDI. Dans la plupart des cas, ce comportement est justifié pour que vous puissiez faire usage de leurs fonctions standard sans aucune configuration supplémentaire. Si vous souhaitez utiliser ces contrôles d’écran pour contrôler d’autres paramètres, choisissez « Ne pas transiter par Thru » dans le menu local MIDI thru de l’inspecteur de disposition. Ajout de contrôles d’écran de pédale Lorsque vous ajoutez des pédales à une disposition, par défaut, la première pédale que vous ajoutez est configurée pour recevoir des messages d’expression et la seconde est configurée pour recevoir des messages de volume. Par défaut, les contrôles d’écran pour les pédales d’expression passent au travers des messages MIDI pour ce qui est de leurs fonctions courantes (expression ou volume). Si vous désirez utiliser un contrôle d’écran pour une pédale d’expression afin de contrôler un autre paramètre, choisissez « Ne pas transiter par Thru » dans le menu local MIDI thru de l’inspecteur de disposition. Copie et collage de contrôles d’écran Vous pouvez couper, copier et coller des contrôles d’écran à l’aide des menus et de raccourcis clavier standard de Mac OS X. Pour coller une copie d’un contrôle d’écran : 1 Sélectionnez le contrôle d’écran à copier. 2 Choisissez Édition > Copier (ou appuyez sur les touches Commande + C). 3 Choisissez Édition > Coller (ou appuyez sur les touches Commande + V). Vous pouvez aussi créer une copie de contrôle d’écran en le faisant glisser tout en maintenant la touche Option enfoncée. La fonction copier-coller peut être particulièrement utile lorsque l’on souhaite ajouter une rangée espacée de manière régulière d’un seul type de contrôle d’écran (un potentiomètre ou un bouton par exemple) à une disposition. Pour ajouter plusieurs instances d’un même contrôle d’écran à une rangée : 1 Faites glisser le contrôle d’écran vers le bord gauche de la zone où vous souhaitez ajouter une rangée. 2 Après avoir sélectionné le contrôle d’écran, choisissez Édition > Copier.82 Chapitre 7 Utilisation du mode Disposition 3 Choisissez Édition > Coller à plusieurs reprises jusqu’à ce que votre rangée contienne le nombre souhaité de copies du contrôle d’écran. Lorsque vous copiez-collez un contrôle d’écran de cette manière, les copies sont alignées et espacées de façon régulière, et leurs panneaux fusionnent en un seul panneau. Déplacement de contrôles d’écran Quand vous êtes en mode Disposition, vous pouvez déplacer les contrôles d’écran. La grille vous aide à aligner et positionner les contrôles d’écran de façon ordonnée. Vous pouvez déplacer plusieurs contrôles simultanément en les sélectionnant (soit en cliquant dessus tout en appuyant sur la touche Maj,soit en « étirant » la sélection pour tous les inclure), puis en les faisant glisser jusqu’à l’emplacement voulu. Si les panneaux des contrôles d’écran sont fusionnés, l’étirement de la zone de sélection a pour effet de sélectionner l’intégralité du panneau obtenu. Un contrôle d’écran que vous déplacez ou redimensionnez ne doit pas chevaucher un autre contrôle d’écran dans l’espace de travail. Si cela se produit, vous risquez de ne plus être en mesure de le déplacer ou le redimensionner complètement tant que vous ne l’avez pas replacé ailleurs dans l’espace de travail. Collez autant de copies que nécessaire dans la rangée voulue. Copiez le contrôle d’écran sélectionné.Chapitre 7 Utilisation du mode Disposition 83 Redimensionnement de contrôles d’écran Vous pouvez redimensionner les contrôles d’écran pour les rendre plus visibles ou pour pouvoir les insérer dans une zone plus petite. Lorsque vous sélectionnez un contrôle d’écran, des guides de redimensionnement bleus y apparaissent. Il vous suffit de les faire glisser pour redimensionner le contrôle. Pour redimensionner un contrôle d’écran : 1 Sélectionnez le contrôle d’écran dans l’espace de travail. Des guides de redimensionnement bleus apparaissent sur le contrôle. 2 Faites glisser les guides pour redimensionner le contrôle d’écran. Pour les contrôles d’écran présentant une zone d’affichage de texte, tels que les potentiomètres ou les curseurs, vous pouvez redimensionner cette dernière indépendamment de son contrôle ou redimensionner les deux simultanément. Pour redimensionner la zone d’affichage de texte d’un contrôle d’écran : 1 Sélectionnez le contrôle d’écran dans l’espace de travail. 2 Faites glisser le guide de redimensionnement intérieur pour agrandir la zone d’affichage de texte. Faites glisser les guides de redimensionnement extérieurs pour redimensionner le contrôle d’écran.84 Chapitre 7 Utilisation du mode Disposition 3 Faites glisser le guide de redimensionnement extérieur pour agrandir la taille du contrôle global. Notez que lorsque vous redimensionnez la zone d’affichage de texte, le reste du contrôle d’écran se réduit en conséquence. Vous pouvez commencer par redimensionner l’intégralité du contrôle, puis redimensionner la zone d’affichage de texte à l’aide du guide de redimensionnement intérieur. Fusion de contrôles d’écran Lorsque vous placez des contrôles d’écran proches les uns des autres, de manière à ce que leurs bords soient adjacents, les panneaux (des contrôles Panneau) ou les tablettes (des contrôles Tablette) fusionnent. Le panneau ou la tablette fusionné « s’agrandit » de façon à englober tous les contrôles d’écran adjacents. La fusion de contrôles d’écran n’a pas d’incidence sur leur mode de fonctionnement. Elle aide cependant à les organiser dans l’espace de travail. Vous pouvez toujours déplacer ou redimensionner un contrôle d’écran fusionné en le sélectionnant puis en le faisant glisser (pour le déplacer) ou en faisant glisser ses guides de redimensionnement. Si vous déplacez ou redimensionnez des contrôles d’écran fusionnés, le panneau ou la tablette fusionné s’ajuste pour englober le contrôle d’écran déplacé ou redimensionné dès lors qu’il occupe toujours une position adjacente par rapport aux autres. Faites glisser le guide de redimensionnement intérieur pour redimensionner la zone de texte. Leurs panneaux ou tablettes fusionnent. Placez des contrôles d’écran proches les uns des autres.Chapitre 7 Utilisation du mode Disposition 85 Lorsque vous sélectionnez un contrôle d’écran fusionné par étirement de sélection, le panneau ou la tablette fusionné ainsi que tous les contrôles d’écran correspondants sont sélectionnés, ce qui facilite leur déplacement simultané. Vous pouvez sélectionner des contrôles fusionnés un par un en cliquant dessus tout en appuyant sur la touche Maj. Ajustement de la tablette d’un contrôle de tablette Lorsque vous ajoutez un contrôle de tablette, tel qu’un clavier, à l’espace de travail, il apparaît sous un angle par défaut, ce qui donne un effet d’apparence en trois dimensions. Vous pouvez ajuster l’angle du contrôle de tablette de manière à ce qu’il apparaisse plus ou moins en trois dimensions. Cela s’avérer utile par exemple si vous désirez voir davantage de touches du clavier ou si vous souhaitez réduire la quantité d’espace que ce dernier occupe à l’écran. Pour ajuster l’angle de la tablette pour un contrôle de tablette : 1 Dans l’espace de travail, sélectionnez le contrôle de tablette. Des guides d’alignement blancs apparaissent pour la tablette du contrôle. 2 Faites glisser le guide d’alignement inférieur (celui qui est aligné avec l’avant du contrôle de tablette). Faites glisser le guide d’alignement inférieur vers le bas pour rendre l’angle plus abrupt (comme si vous observiez le contrôle de tablette d’en haut) ou faites-le glisser vers le haut pour rendre l’angle moins abrupt (comme si vous l’observiez de face). Guides d’alignement Faites glisser le guide d’alignement avant (inférieur) pour modifier l’angle de la tablette.86 Chapitre 7 Utilisation du mode Disposition Déplacement vertical de la tablette Vous pouvez aussi déplacer la tablette verticalement pour changer sa position dans l’espace de travail. Lorsque vous déplacez la tablette verticalement, tous les contrôles d’écran de cette dernière (par exemple, une molette de modulation ou de pitch bend et un clavier) se déplacent avec elle. Pour déplacer une tablette verticalement : 1 Sélectionnez l’un des contrôles d’écran de la tablette. Les guides d’alignement de la tablette apparaissent. 2 Placez le pointeur sur le guide d’alignement supérieur (celui qui est aligné avec l’arrière du contrôle de tablette). Le pointeur se transforme en pointeur de déplacement (une barre horizontale pourvue d’une flèche à ses extrémités verticales). 3 Faites glisser le guide d’alignement supérieur pour déplacer la tablette. Regroupement de contrôles d’écran Vous pouvez regrouper des contrôles d’écran. Une fois que vous avez regroupé des contrôles d’écran, le fait de déplacer ou de redimensionner l’un de ces contrôles a pour effet de déplacer ou de redimensionner les autres dans la même mesure. Regrouper des contrôles d’écran ne change rien à leur fonctionnement mais facilite en revanche leur agencement dans l’espace de travail. Pour regrouper des contrôles d’écran : 1 Sélectionnez les contrôles d’écran que vous désirez regrouper. 2 Choisissez Grouper dans le menu Action de l’espace de travail (ou appuyez sur les touches Commande + Option + G). Les contrôles d’écran sont désormais regroupés. Le fait de déplacer l’un des contrôles regroupés déplace les autres, et le fait d’en redimensionner un influe de même sur les autres. Faites glisser le guide arrière (supérieur) pour déplacer la tablette verticalement.Chapitre 7 Utilisation du mode Disposition 87 Remarque :les contrôles d’écran ne pouvant pas se chevaucher, les mouvements des contrôles regroupés sont parfois restreints. Lorsque vous déplacez des contrôles regroupés, assurez-vous qu’aucun autre contrôle ne se trouve sur leur chemin. Si vous souhaitez déplacer l’un des contrôles regroupés indépendamment, vous pouvez les dissocier. Pour dissocier des contrôles d’écran : 1 Sélectionnez les contrôles regroupés. 2 Choisissez Dissocier dans le menu Action de l’espace de travail (ou appuyez sur les touches Commande + Maj + Option + G). Les boutons Grouper et Dissocier sont également disponibles dans la barre d’outils si vous l’avez personnalisée. Pour en savoir plus sur la personnalisation de la barre d’outils, consultez « Personnalisation de la barre d’outils » à la page 37. Verrouillage des contrôles d’écran Vous pouvez verrouiller les contrôles d’écran pour éviter qu’ils ne soient déplacés ou redimensionnés par erreur. Pour verrouiller un contrôle d’écran : 1 Sélectionnez le ou les contrôles d’écran que vous désirez regrouper. 2 Choisissez Verrouiller dans le menu Action de l’espace de travail (ou appuyez sur les touches Commande + L). Le contrôle d’écran est à présent verrouillé. Si vous souhaitez le déplacer ou le redimensionner par la suite, vous pouvez le déverrouiller. Pour déverrouiller un contrôle d’écran : 1 Sélectionnez le ou les contrôles d’écran verrouillés. 2 Choisissez Déverrouiller dans le menu Action de l’espace de travail (ou appuyez sur les touches Commande + Maj + L). Les boutons Verrouiller et Déverrouiller sont également disponibles dans la barre d’outils si vous l’avez personnalisée. Pour en savoir plus sur la personnalisation de la barre d’outils, consultez « Personnalisation de la barre d’outils » à la page 37.88 Chapitre 7 Utilisation du mode Disposition Suppression de contrôles d’écran Si vous souhaitez vous débarrasser d’un contrôle d’écran dans votre disposition, vous pouvez le supprimer dans l’espace de travail. Pour supprimer un contrôle d’écran : 1 Sélectionnez le contrôle d’écran à supprimer. 2 Choisissez Édition > Supprimer (ou appuyez sur la touche Supprimer). Lorsque vous supprimez un contrôle d’écran, toutes les assignations et autres mappages associés le sont également. Assignation de contrôles matériels à des contrôles d’écran Pour utiliser MainStage avec un contrôleur MIDI, vous devez assigner des contrôles matériels du contrôleur (par exemple, des curseurs, des potentiomètres, des boutons, des pads de batterie électronique, des pédales, etc.) à des contrôles d’écran de l’espace de travail. Une fois que vous avez assigné un contrôle matériel à un contrôle d’écran, ce dernier reçoit les messages MIDI du contrôle matériel. Dès lors que vous utilisez le même matériel, vous ne devez réaliser les assignations de contrôleur qu’une seule fois pour un même concert. Vous devez attribuez des commandes matérielles à des contrôles d’écran à l’aide du processus d’apprentissage, tout comme vous le feriez pour une surface de contrôle dans Logic Pro 8. Le processus d’apprentissage est traité dans « Apprentissage d’assignations de contrôleur » à la page 32. Lorsque vous assignez un contrôle matériel à l’aide du bouton Apprendre, MainStage détermine le type de message MIDI que le contrôle envoie à chaque changement d’état, ainsi que la plage de valeurs qu’il est capable d’envoyer. Lorsque vous mappez le contrôle d’écran à un paramètre de tranche de console ou à une action, MainStage convertit (ou « mappe ») la plage des valeurs envoyées par le contrôle matériel à la plage de valeurs optimales utilisables par le paramètre. De nombreux curseurs, potentiomètres et autres contrôles MIDI envoient par exemple une plage de valeurs numériques allant de 0 à 127. Vous pourriez mapper un potentio mètre matériel doté de cette plage de valeurs pour contrôler le paramètre de fréquence d’un effet d’égalisation, dont la plage de valeurs utilisables s’étend de 20 Hz à 20 kHz. Si vous mappez le contrôle d’écran du potentiomètre au paramètre de fréquence de l’effet d’égalisation, MainStage convertit les valeurs envoyées par le potentiomètre matériel de manière à ce qu’elles soient incluses entre les valeurs minimales (20 Hz) et maximales (20 kHz) du paramètre.Chapitre 7 Utilisation du mode Disposition 89 Assignation de potentiomètres Les contrôleurs MIDI peuvent être dotés de potentiomètres ou de contrôleurs rotatifs de différents types. Les potentiomètres peuvent correspondre soit à des contrôleurs absolus, qui envoient une valeur fixe que détermine la position du potentiomètre, soit à des contrôleurs relatifs, qui incrémentent ou décrémentent la valeur précédente quelle que soit leur position exacte. Les potentiomètres présentent une plage de mouvement fixe ou sont continus (encodeurs rotatifs sans butée). Lorsque vous assignez un contrôle d’écran à un potentiomètre à l’aide du bouton Apprendre, MainStage tente de déterminer quel est le type du potentiomètre ou du contrôle rotatif matériel qui envoie le message MIDI et définit la valeur du menu local Type de l’inspecteur de disposition sur la valeur adéquate. La valeur adaptée aux cas des contrôleurs absolus est Absolue ;pour les contrôleurs relatifs, cette valeur est soit « Relative (complément de 2) », soit « Relative (magnitude de signe) », en fonction du type de commande relative. Lorsque vous assignez un contrôle d’écran à un potentiomètre, veillez à ce que le menu local Type affiche Absolue ou l’une des deux valeurs Relative selon le contrôleur maté- riel dont vous disposez. Tournez le potentiomètre sur toute sa course pour être sûr que MainStage détermine correctement le type de potentiomètre que vous assignez. Assignation de boutons Les contrôleurs MIDI peuvent être dotés de différents types de boutons. Certains boutons envoient une seule valeur chaque fois que vous appuyez dessus, tandis que d’autres alternent entre deux valeurs lorsqu’on les enfonce. D’autres boutons encore peuvent envoyer des valeurs séparées lorsqu’ils sont enfoncés et relâchés (on dit de ces boutons qu’ils sont momentanés ou temporaires). Lorsque vous assignez un contrôle d’écran à un bouton à l’aide du bouton Apprendre, MainStage tente de déterminer quel est le type de bouton matériel qui envoie le message MIDI, et définit la valeur du menu local Type de l’inspecteur de disposition sur la valeur appropriée à ce type de bouton. Pour permettre à MainStage de déterminer la bonne valeur, appuyez sur le bouton exactement trois fois quand vous activez son apprentissage. Ceci garantit que MainStage détermine bien si le bouton est un bouton à valeur unique, à valeur en alternance ou momentané. Vous pouvez changer la fonction d’un bouton momentané de sorte qu’il corresponde à la fonction d’un bouton à valeur unique ou à valeur en alternance.90 Chapitre 7 Utilisation du mode Disposition Pour changer la fonction d’un bouton momentané : 1 En mode Disposition, assurez-vous que le contrôle d’écran de bouton est sélectionné. 2 Dans l’inspecteur de disposition, choisissez soit Valeur simple soit Valeur en alternance dans le menu local Type. Choisissez Valeur simple si vous souhaitez que le bouton fonctionne comme un bouton à n’envoyant qu’une seule valeur, et Valeur en alternance si vous désirez qu’il fonctionne comme un bouton transmettant des valeurs alternées. Il n’est pas possible de changer la fonction d’un bouton à valeur simple ou à valeur en alternance pour qu’il corresponde à la fonction d’un bouton momentané. Modification des paramètres des contrôles d’écran Lorsque vous sélectionnez un contrôle d’écran en mode Disposition, ses paramètres apparaissent dans l’inspecteur de disposition, à partir duquel vous pouvez les modifier. Certains types de contrôles d’écran partagent les mêmes paramètres tandis que d’autres types présentent des paramètres différents. Les paramètres correspondant à chaque type sont décrits dans la section suivante. Pour modifier les paramètres d’un contrôle d’écran : 1 En mode Disposition, sélectionnez le contrôle d’écran (pour cela, faites-le glisser dans l’espace de travail). 2 Dans l’inspecteur de disposition, modifiez les paramètres du contrôle d’écran sélectionné en choisissant leur élément de menu, en leur attribuant du texte, en cliquant sur leur bouton ou en cochant leur case. Paramètres de clavier Vous pouvez modifier les paramètres suivants pour les contrôles d’écran de clavier. Assignation de matériel  Menu local Périphérique : affiche le nom du clavier appris. Le nom de l’appareil peut correspondre au nom du clavier contrôleur ou à un port de ce contrôleur s’il est doté de plusieurs. Vous pouvez choisir un autre matériel ou choisir Tout.  Menu local Canal : affiche le canal MIDI sur lequel MainStage reçoit les données du clavier en entrée. Vous pouvez choisir un autre canal ou choisir Tout.  Curseur « Sensibilité de la vélocité » : définit la sensibilité à la vélocité du clavier. Moins signifie que des vélocités plus élevées sont requises pour déclencher la valeur maximale. À l’inverse, Plus signifie que des vélocités inférieures déclenchent la valeur maximale.Chapitre 7 Utilisation du mode Disposition 91 Réglages  Champ Nom : attribuez dans ce champ un nom au clavier. Ce nom apparaît alors dans le menu local Entrée de l’inspecteur de tranche de console, dans lequel vous pouvez sélectionner le matériel auquel la tranche de console répond.  Curseur de valeur Nombre de notes :saisissez le nombre de touches à afficher sur le contrôle d’écran de clavier.  Curseur de valeur Note la plus basse :saisissez le nom de la note correspondant à la note la plus faible.  Bouton d’apprentissage Note la plus basse : cliquez sur le bouton d’apprentissage, puis appuyez sur la touche la plus basse pour que MainStage l’apprenne. Les curseurs « Nombre de notes » et « Note la plus basse » n’influent que sur l’apparence du contrôle d’écran. Ils ne concernent pas les notes reçues de votre clavier contrôleur. Affichage des couches  Case « Afficher les couches de clavier » : lorsque cette case est cochée, une couche s’affiche au-dessus du clavier dans l’espace de travail pour chacune des tranches de console d’instrument logiciel d’un patch. Les couches affichent le nom et la couleur de la tranche de console et répondent quand vous jouez sur le clavier.  Curseur de valeur Hauteur :définit la hauteur de l’affichage de couches qui apparaît au-dessus du clavier. Paramètres communs de contrôles d’écran Vous pouvez modifier les paramètres ci-dessous pour les contrôles d’écran suivants : curseur, potentiomètre, pédale, molette de modulation/hauteur, indicateur et texte du paramètre. Assignation de matériel  Menu local Périphérique : affiche le nom de l’appareil auquel appartient le contrôle assigné. Le nom de l’appareil peut correspondre au nom du contrôleur ou à un port de ce contrôleur s’il est doté de plusieurs. Vous pouvez sélectionner un autre matériel, Tout ou Non affecté.  Menu local Canal : choisissez le canal MIDI sur lequel MainStage les données du contrôleur en entrée.92 Chapitre 7 Utilisation du mode Disposition Si vous envisagez d’utiliser plusieurs claviers lors de la représentation, assurez-vous que les contrôles d’écran tels que les curseurs et les potentiomètres reçoivent leurs données des contrôleurs appropriés en entrée, à l’aide des menus locaux Périphérique et Canal.  Menu local Type : choisissez le type de messages de contrôle auxquels le contrôle répond.  Menu local Numéro : choisissez le numéro de contrôle MIDI que le contrôle envoie. Pour les contrôles MIDI courants, par exemple le volume, le nom du contrôle apparaît dans le menu à côté de son numéro.  Menu local MIDI Thru : choisissez si le contrôle transite ou non automatiquement par le canal MIDI Thru. Apparence  Sélecteur Couleur : choisissez la couleur de la partie active du contrôle d’écran lorsque vous jouez en représentation (ce paramètre n’est pas disponible pour les contrôles d’écran texte ou indicateur).  Menu local Contrôle :choisissez le type du contrôle d’écran. Si vous changez son type, il se peut que vous soyez amené à le redimensionner dans l’espace de travail. Étiquettes textuelles  Menu local Affichage : choisissez les informations à afficher dans la zone d’affichage de texte du contrôle, et combien de lignes ces informations occupent.  Case et champ d’ajout de texte personnalisé :cochez cette case, puis tapez du texte personnalisé dans le champ pour qu’il s’affiche sur la ligne supérieure de l’affichage de texte du contrôle. Paramètres de pad de batterie électronique Vous pouvez modifier les paramètres suivants pour les contrôles d’écran de pad de batterie électronique. Assignation de matériel  Menu local Périphérique : affiche le nom de l’appareil auquel appartient le pad de batterie électronique. Vous pouvez sélectionner un autre matériel, Tout ou Non affecté.  Menu local Canal : choisissez le canal MIDI sur lequel MainStage les données du contrôleur en entrée.  Curseur de valeur Note : définissez la note MIDI à laquelle le pad de batterie électronique répond. Apparence  Sélecteur Couleur : choisissez la couleur de la partie active du contrôle d’écran afin de pouvoir voir facilement quand le pad de batterie électronique est enfoncé.  Menu local Contrôle :choisissez le type du contrôle d’écran. Si vous changez son type, il se peut que vous soyez amené à le redimensionner dans l’espace de travail.Chapitre 7 Utilisation du mode Disposition 93 Étiquettes textuelles  Menu local Affichage : choisissez les informations à afficher dans la zone d’affichage de texte, et combien de lignes ces informations occupent.  Case et champ d’ajout de texte personnalisé :cochez cette case, puis tapez du texte personnalisé dans le champ pour qu’il s’affiche sur la ligne supérieure de l’affichage de texte du contrôle. Paramètres textuels Vous pouvez modifier les paramètres suivants pour les contrôles d’écran textuels.  Bouton Police :cliquez sur ce bouton pour afficher le menu Police vous permettant de sélectionner une police, un style et une taille.  Boutons d’alignement :à l’aide de ces boutons, alignez le texte à gauche, à droite ou au centre, ou justifiez-le.  Champ Texte :saisissez-y le texte que vous souhaitez voir s’afficher à l’écran.  Case Afficher le cadre autour du texte : quand cette case est cochée, un cadre sombre apparaît autour du texte pour montrer les limites du contrôle d’écran. Paramètres d’image Vous pouvez modifier les paramètres suivants pour les contrôles d’écran d’image.  Case à cocher Adapter par étirement :lorsque cette case est cochée, l’image s’étire pour remplir au maximum la zone du contrôle d’écran Image.  Case à cocher Afficher le cadre autour de l’image : quand cette case est cochée, un cadre sombre apparaît autour de l’image pour montrer les limites du contrôle d’écran.  Cadre Image :faites glisser une image dans le cadre pour l’afficher à travers le contrôle d’écran Image.  Bouton Sélection :cliquez sur ce bouton pour ouvrir une zone de dialogue d’ouverture de fichier dans laquelle vous pouvez parcourir vos disques pour sélectionner une image. Paramètres de sélecteur de patchs Vous pouvez modifier les paramètres suivants pour les contrôles d’écran de sélecteur de patchs.  Bouton Sons et jeux : lorsque ce bouton est actif, les patchs et les sets s’affichent dans le sélecteur.  Case « Affichage en deux colonnes » :lorsque cette case est cochée, les sets s’affichent dans la colonne de gauche et les patchs dans celle de droite.  Bouton Sons uniquement :lorsque ce bouton est actif, seuls les patchs s’affichent dans le sélecteur.  Curseur de valeur Éléments à afficher : permet de définir le nombre d’éléments (en d’autres termes, de lignes) visibles dans le sélecteur.94 Chapitre 7 Utilisation du mode Disposition Transition de messages dans le canal MIDI Thru avec MainStage Lorsque MainStage reçoit des messages MIDI de votre clavier contrôleur (ou de tout autre matériel MIDI), ces messages « transitent » si aucun contrôle d’écran de votre disposition n’est assigné pour recevoir ce type de messages MIDI (comme cela est défini dans le menu local Numéro de l’inspecteur de disposition des contrôles d’écran). Si un contrôle d’écran existe pour ce type de message MIDI, les données ne sont pas retransmises si le menu local MIDI Thru est défini sur « Ne pas transiter par Thru ». Ce réglage est le réglage par défaut pour la plupart des contrôles d’écran quand vous les ajoutez à une disposition. Les contrôles d’écran assignés aux types de message MIDI suivants font exception à la règle :modulation, pitch bend, Sustain, expression et aftertouch. Par défaut, quand vous ajoutez l’un de ces contrôles d’écran, le menu local MIDI est défini sur Automatique. En effet, si vous ajoutez un contrôle d’écran pour une molette de modulation ou une pédale Sustain par exemple, il répond « automatiquement » au type de message MIDI approprié, sans que vous ayez à le configurer davantage. Si vous souhaitez que le contrôle d’écran réponde à un autre type de message MIDI, vous pouvez le choisir dans le menu local Numéro de l’inspecteur de disposition. Les messages MIDI entrants « transitant » sont transmis à toutes les tranches de console mappées au matériel qui envoie ces messages (autrement dit, au clavier contrôleur que vous utilisez pour « jouer » ces tranches de console). En l’absence de matériel correspondant, les messages MIDI sont envoyés à toutes les tranches de console. Vous pouvez aussi filtrer les messages MIDI entrants pour les distribuer aux différentes tranches de console. Pour en savoir plus sur le filtrage des messages MIDI, consultez « Filtrage de messages MIDI » à la page 67. Exportation d’une disposition Vous pouvez exporter une disposition et l’enregistrer sans qu’elle soit dépendente du concert, puis l’importer dans d’autres concerts. Pour exporter une disposition : 1 Choisissez Fichier > Export disposition (ou appuyez sur les touches Commande + Maj + Contrôle + S). 2 Dans la zone de dialogue Enregistrer sous, attribuez un nom à la disposition et indiquez l’emplacement où l’enregistrer (ou utilisez l’emplacement par défaut). 3 Cliquez sur Enregistrer.Chapitre 7 Utilisation du mode Disposition 95 Importation d’une disposition Vous pouvez importer dans un concert une disposition exportée, puis la régler de façon à travailler avec ses mappages dans le concert. Pour importer une disposition dans un concert : 1 Choisissez Fichier > Import disposition (ou appuyez sur les touches Commande + Contrôle + O). 2 Dans la zone de dialogue Ouvrir, sélectionnez la disposition à importer. 3 Cliquez sur Ouvrir. La disposition du concert est remplacée par la disposition importée. Lorsque vous importez une disposition dans un concert, MainStage l’analyse et tente de convertir ses assignations et ses mappages afin de les adapter au concert. Les règles suivantes sont celles qui régissent la conversion d’assignations et de mappages importés :  Les contrôles d’écran sont assignés et mappés à des contrôles d’écran du même type s’ils existent dans la disposition importée.  Les contrôles d’écran pour clavier sont exclusivement assignés à des contrôles d’écran pour clavier.  Si l’agencement des contrôles d’écran dans le concert est similaire à celui dans la disposition importée, les contrôles d’écran sont assignés et mappés à des contrô- les d’écran occupant les mêmes emplacements dans l’espace de travail.  Si l’agencement des contrôles d’écran dans le concert est différente, MainStage tente de les assigner et de les mapper, en partant du coin supérieur gauche vers le coin inférieur droit de l’espace de travail. Du fait de la grande variété des dispositions, il se peut que vous ne puissiez pas convertir toutes les assignations et tous les mappages comme prévu. Des différences existent en effet entre les dispositions. Après avoir importé une disposition dans un concert, veillez à tester les contrôles d’écran dans ce dernier afin de vérifier qu’ils fonctionnent comme prévu. Une fois la disposition importée, il se peut que vous deviez réassigner manuellement certains contrôles, puis remapper les contrôles d’écran dans vos patchs pour que le concert fonctionne avec la nouvelle disposition. Si la disposition importée présente moins de contrôles d’écran que l’ancienne disposition ou si elle comprend des types de contrôles d’écran différents, vous devrez probablement ajouter de nouveaux contrôles d’écran après l’importation et assigner à ces derniers des contrôles physiques afin de maintenir le même niveau de fonctionnalité.8 97 8 Représentation en direct avec MainStage Maintenant que vous avez créé et organisé vos sons et configuré votre disposition, il ne vous reste plus qu’à vous produire. MainStage propose deux modes pour cela (Plein écran et Exécution), spécialement adaptés pour la représentation en direct. Avant de commencer à jouer Voici quelques vérifications à effectuer avant de commencer l’exécution sur scène :  Vérifiez que vos contrôleurs MIDI, instruments, micros et autres équipements musicaux sont raccordés à votre ordinateur et fonctionnent.  Sélectionnez un patch avec une tranche de console d’instrument logiciel et jouez du clavier. Consultez le Moniteur d’activité pour vérifier que MainStage reçoit bien l’entrée MIDI du clavier et que vous entendez la sortie audio.  Vérifiez que tous les instruments et micros que vous avez l’intention d’utiliser avec les tranches de console sont branchés sur les bonnes entrées de l’interface audio. Sélectionnez un patch avec une tranche de console et jouez ou chantez pour vérifier que vous entendez bien la sortie audio.  Pour de meilleurs résultats, fermez toutes les applications dont vous n’avez pas besoin pendant la représentation, tout particulièrement les applications qui sollicitent beaucoup le processeur ou la mémoire. Utilisation des modes Plein écran et Exécution En représentation, vous pouvez utiliser le mode Plein écran ou Exécution en fonction de vos besoins. Chacun de ces modes présente des avantages suivant le type de performance sur scène à réaliser.98 Chapitre 8 Représentation en direct avec MainStage Utilisation en mode Plein écran En mode Plein écran, l’espace de travail de MainStage occupe tout l’écran et les contrôles d’écran adoptent la taille maximale possible pour permettre une visualisation facile. MainStage reçoit toutes les commandes de clavier (aussi, aucun autre raccourci clavier, notamment ceux de Mac OS X, n’est actif). Vous pouvez accéder aux fonctions Silence Master et Panique par le biais des raccourcis clavier à moins que vous n’ayez mappé un contrôle d’écran à ces fonctions. Pour passer en mode Plein écran, procédez d’une des façons suivantes : m Choisissez Présentation > Plein écran (ou appuyez sur Commande + 4). m Cliquez sur le bouton Plein écran dans la barre d’outils. Pour quitter le mode Plein écran, procédez d’une des façons suivantes : m Appuyez sur la touche Échap. m Cliquez sur l’icône de fermeture (croix) placée dans le coin supérieur gauche de l’écran. m Utilisez le raccourci clavier pour un des autres modes (de Commande + 1 à Commande + 3). Utilisation du mode Exécution En mode Exécution, l’espace de travail occupe toute la fenêtre MainStage, mais la barre d’outils reste visible pour vous permettre l’accès aux boutons Silence Master, Panique, Syntoniseur et aux autres éléments de la barre d’outils. Vous pouvez redimensionner la fenêtre de MainStage, mais aussi modifier la taille de l’espace de travail dans la fenêtre, à l’aide du curseur de zoom. Vous pouvez accéder au Finder et aux autres applications ouvertes en cliquant en dehors de la fenêtre MainStage. Pour passer en mode Exécution, procédez d’une des façons suivantes : m Choisissez Présentation > Exécution (ou appuyez sur Commande + 3). m Cliquez sur le bouton Exécution de la barre d’outils. Par défaut, MainStage s’ouvre en mode Édition au lancement de l’application.Vous pouvez modifier son comportement par défaut dans la sous-fenêtre Générales des préférences MainStage pour que l’application s’ouvre en mode Exécution ou Plein écran. Pour en savoir plus, consultez « Réglage des préférences MainStage » à la page 109.Chapitre 8 Représentation en direct avec MainStage 99 Sélection de patchs pendant la représentation En mode Plein écran ou Exécution vous pouvez visualiser et sélectionner des patchs à l’aide du contrôle d’écran de sélection de sons dans votre disposition. Les patchs et les sets s’affichent dans cet outil dans le même ordre que dans la Liste de patchs du mode Édition. Les éléments ignorés n’apparaissent pas dans l’outil de sélection de sons et ne peuvent pas être sélectionnés, mais les patchs dans les sets condensés apparaissent quant à eux, ce qui les rend sélectionnables. Pour en savoir plus sur la manière d’ignorer des éléments, consultez « Éléments ignorés dans la Liste de patchs » à la page 54. Lorsque vous sélectionnez un patch, vous pouvez en lancer la lecture immédiatement. Si vous tenez des notes du patch précédent, rien ne change tant que vous ne les libérez pas ou que vous ne relâchez pas la pédale Sustain. Si le patch précédent contient des effets (comme des effets de réverbération ou de retard) avec une queue de relâchement, cette dernière continue de résonner pendant le temps défini dans le menu local « Couper le son du patch précédent » dans les préférences MainStage. Pour en savoir plus, consultez « Réglage des préférences MainStage » à la page 109. Lorsque vous jouez, gardez à l’esprit la différence entre les paramètres de patch et les paramètres contrôlés sur l’intégralité d’un concert. Lorsque vous sélectionnez un patch, ses paramètres correspondent au dernier enregistrement. Si vous avez joué le patch depuis que vous avez ouvert le concert, les paramètres de la dernière lecture sont conservés. Les paramètres du concert, en revanche, conservent leur valeur lorsque vous sélectionnez d’autres patchs. Par exemple,si vous sélectionnez un patch avec une tranche de console dont le volume est de 0 dB, mais que le curseur de volume du master portant sur tout le concert est réglé sur – 96 dB, vous n’entendez alors aucun son, et non pas le volume d’origine. De même, les paramètres contrôlés au niveau du set gardent leur valeur lorsque vous choisissez un autre patch du set. De plus, n’oubliez pas que lorsque vous sélectionnez un patch, les contrôles d’écran des potentiomètres, des curseurs et autres commandes de l’espace de travail indiquent les paramètres du patch, qui peuvent être différents de l’état des commandes physiques de votre contrôleur. Lorsque vous utilisez les commandes physiques, les contrôles d’écran s’actualisent instantanément pour indiquer la valeur active. Sélection de patchs à l’aide des raccourcis clavier Vous pouvez sélectionner les patchs dans l’outil de sélection en utilisant les raccourcis clavier suivants : Raccourci clavier Sélection Flèche vers le haut Patch précédent Flèche vers le bas Patch suivant Flèche gauche Premier patch du set précédent Flèche droite Premier patch du set suivant100 Chapitre 8 Représentation en direct avec MainStage Sélection de patchs à l’aide d’actions Si vous avez mappé des contrôles d’écran à des actions pour sélectionner des patchs, comme la sélection du patch précédent ou suivant, vous pouvez utiliser les commandes matérielles assignées à ces contrôles d’écran lors de la représentation. De même, vous pouvez sélectionner des sets ou le concert à l’aide d’actions. Les boutons s’avèrent tout particulièrement utiles pour sélectionner les patchs, les sets ou les concerts à travers des actions. Dans ce cas, les patchs ignorés restent ignorés. Par exemple, si vous utilisez un contrôle d’écran mappé pour sélectionner les dix patchs suivants, tous les patchs ignorés ne font alors pas partie des dix patchs suivants. Sélection de patchs en utilisant les messages de changement de programme Si votre matériel MIDI dispose de boutons ou d’autres commandes qui envoient des messages de changement de programme, vous pouvez sélectionner les patchs dans votre concert par numéro de changement de programme. Vous pouvez utiliser les messages de changement de programme pour sélectionner des patchs, mais non des sets. Pour en savoir plus sur la façon dont votre matériel MIDI envoie des messages de changement de programme, consultez la documentation de celui-ci ou le site Internet du fabricant. Pour en savoir plus sur la façon de modifier le numéro de changement de programme pour un patch, consultez « Modification des numéros de changement de programme » à la page 55. Utilisation des contrôles d’écran pendant l’interprétation Pendant la représentation, vous devez utiliser les commandes de vos appareils MIDI assignées aux contrôles d’écran pour manipuler les paramètres mappés à ces contrôles. Lorsque vous sélectionnez un autre patch,ses paramètres mappés restent immédiatement modifiables. Lorsque vous actionnez une commande matérielle, le contrôle d’écran se déplace instantanément pour refléter la position active de la commande physique et le paramètre mappé à ce contrôle s’actualise automatiquement. Les contrôles d’écran MainStage ne se verrouillent pas sur une valeur spécifique et relative en fonction de la commande maté- rielle. Ils reflètent en fait la valeur active.Chapitre 8 Représentation en direct avec MainStage 101 Gestion des changements de tempo pendant l’interprétation Lorsque vous ouvrez le concert que vous souhaitez utiliser pour une représentation, MainStage utilise le tempo du concert défini dans l’inspecteur de concert. Si la case « Obtenir le tempo de l’entrée MIDI » est cochée, MainStage utilise les messages de tempo MIDI pour déterminer le tempo. Pour en savoir plus sur le réglage et le changement de tempo dans un concert, consultez « Utilisation du Tempo dans un concert MainStage » à la page 43. Si vous sélectionnez un patch ou un set possédant son propre tempo, ce dernier se calque alors sur le nouveau réglage. Vous pouvez également modifier le tempo en temps réel pendant l’interprétation à l’aide de la fonctionnalité Tempo des claquettes, que ce soit en marquant le tempo à l’aide des touches Contrôle + T, ou en cliquant en rythme sur le bouton Tempo des claquettes de la barre d’outils. Utilisation de guitares et autres instruments Vous pouvez jouer de la guitare électrique ou tout autre instrument de musique raccordé à votre ordinateur en utilisant MainStage comme processeur multi-effets. Vous devez choisir l’entrée audio sur laquelle l’instrument est raccordé dans les tranches de console audio que vous voulez utiliser avec l’instrument. Vous pouvez utiliser l’amplification de guitare ou de basse ainsi que d’autres effets courants de guitare, ou essayer différents effets pour des possibilités sonores uniques. MainStage comprend des modèles de concert conçus pour l’utilisation de guitares. Parmi ces modèles, vous trouverez des patchs avec des contrôles d’écran de type pédale que vous pouvez attribuer à un interrupteur au pied, ce qui vous permet de contourner différents effets dans la tranche de console. Certains patchs vous permettent aussi de passer d’une tranche de console à l’autre à l’aide d’une pédale expression. Lorsque vous jouez de la guitare ou d’un autre instrument à faible impédance, vérifiez qu’il est bien connecté à une entrée audio qui correspond à l’impédance de l’instrument. Le branchement d’une guitare à une entrée audio de niveau standard peut entraîner un volume inférieur à ce que vous escomptiez pour la sortie guitare. Vous pouvez aussi utiliser MainStage avec des voix, ou tout son capturé avec un micro, à travers l’interface connectée à votre ordinateur et en choisissant un canal d’entrée audio dans des tranches de console audio de vos patchs.102 Chapitre 8 Représentation en direct avec MainStage Utilisation du syntoniseur MainStage comprend un syntoniseur que vous pouvez utiliser pour accorder les guitares et autres instruments dont vous jouez à travers la tranche de console audio. Il indique la tonalité sur une échelle circulaire avec le nom de la note et de l’octave en son centre. Lorsque vous jouez une note sur votre instrument, la tonalité est indiquée en fonction de la bonne tonalité de la note affichée. Pour accorder un instrument avec le syntoniseur : 1 Sélectionnez la tranche de console audio sur laquelle est branché l’instrument que vous voulez accorder. 2 Cliquez sur l’icône Syntoniseur dans la barre d’outils (ou appuyez sur Contrôle + T). Le syntoniseur apparaît dans l’espace de travail. 3 Jouez une seule note sur votre instrument et regardez l’affichage du syntoniseur. En jouant, le syntoniseur affiche le nom de la note la plus proche. Si elle n’est pas juste, son nom et le syntoniseur s’allument en rouge et une barre rouge verticale apparaît pour indiquer si la note est trop haute ou trop basse. La barre apparaît sur la droite du nom de la note si elle est trop haute et sur la gauche si elle est trop basse. Lorsque la note est juste, son nom et le syntoniseur deviennent bleus et la barre verticale disparaît. Veillez à ne jouer qu’une seule note à la fois lorsque vous accordez l’instrument. Le syntoniseur ne peut pas accorder un accord polyphonique ou un intervalle ou si vous jouez rapidement plusieurs notes différentes. Pour en savoir plus sur le syntoniseur, reportez-vous au manuel Instruments et effets Logic Studio.Chapitre 8 Représentation en direct avec MainStage 103 Conseils pour la configuration complexe de matériel Il est vivement recommandé de tester votre concert de façon exhaustive en utilisant la même configuration que vous souhaitez utiliser au moment de la représentation, sur les lieux si possible. C’est extrêmement important pour les configurations matérielles complexes. Utilisation de plusieurs claviers pour une représentation Si vous avez l’intention d’utiliser plusieurs claviers, vous pouvez choisir si les contrôles d’écran doivent répondre aux messages MIDI de tous les claviers ou d’un en particulier, et si les tranches de console reçoivent une entrée de tous les claviers ou d’un seul. En mode Disposition, les contrôles d’écran peuvent être configurés pour répondre à l’entrée MIDI sur tous les ports et canaux MIDI ou à un seul appareil ou canal spécifique. Pour qu’un contrôle d’écran réponde à l’entrée MIDI de tous les claviers, choisissez Tous dans les menus locaux Périphérique et Canal dans l’inspecteur de disposition. Pour qu’un contrôle d’écran réponde à un clavier spécifique, choisissez-le dans le menu local Périphérique ou sur le même canal que le contrôle d’écran de clavier. En mode Édition, vous pouvez définir le matériel à partir duquel une tranche de console reçoit une entrée MIDI dans la section Plage de notes de l’inspecteur de tranche de console. Par défaut, les tranches de console reçoivent une entrée du premier contrôleur de la disposition. Vous pouvez configurer une tranche de console pour qu’elle reçoive une entrée d’un autre appareil repris dans le menu local Entrée. Utilisation d’une autre configuration matérielle pour l’interprétation Si vous utilisez MainStage avec une configuration matérielle complexe, avec plusieurs contrôleurs ou interfaces par exemple, ou avec plusieurs entrées audio, vous obtiendrez de meilleurs résultats en utilisant exactement la même configuration matérielle que lorsque vous avez créé le concert. Si vous envisagez d’utiliser MainStage avec des contrôleurs, interfaces ou autres matériels différents de ceux utilisés au moment de la création du concert, vous devrez refaire l’apprentissage des assignations matérielles avec la configuration matérielle de la représentation. Dans ce cas, pour vous faciliter le travail, vous pouvez créer deux dispositions distinctes :l’une pour la configuration studio et l’autre pour la configuration représentation avec les contrôles d’écran correspondants dans chacune des dispositions. Avant la représentation, importez la disposition correspondante dans votre concert. Les assignations matérielles pour la configuration de la représentation sont importées avec la disposition et les mappages sont conservés. 105 A Annexe A Raccourcis clavier Les tableaux ci-après indiquent les raccourcis clavier de MainStage, regroupés par fonction. Concerts et dispositions Patchs et sets (mode Édition) Raccourci clavier Fonction Commande + N Nouveau concert Commande + O Ouvrir un concert Commande + W Fermer le concert Commande + S Enregistrer le concert Commande + Maj + S Enregistrer le concert sous Commande + Contrôle + O Importer la disposition Commande + Maj + S Exporter la disposition Raccourci clavier Fonction Commande + I Importer des patchs ou des sets Commande + E Exporter un patch, exporter un set, ou exporter en tant que set Commande + Flèche gauche Sélectionner le patch précédent Commande + Flèche droite Sélectionner le patch suivant Commande + Flèche vers le haut Sélectionner le set précédent Commande + Flèche vers le bas Sélectionner le set suivant Commande + Maj + Option + S Créer un set à partir des patchs sélectionnés106 Annexe A Raccourcis clavier Édition Actions Mappage de paramètres(mode Édition) Tranches de console (mode Édition) Raccourci clavier Fonction Commande + Z Annuler la dernière commande Commande + Maj + Z Rétablir la dernière commande Commande + X Couper Commande + C Copier Commande + V Coller Commande + D Dupliquer Commande + A Tout sélectionner Raccourci clavier Fonction Contrôle + P Panique Contrôle + T Tempo des claquettes (Marquer le tempo) Contrôle + M Master Silence Raccourci clavier Fonction Commande + L Mapper le paramètre sélectionné (activer le mappage) Commande + F Rechercher dans le navigateur Mappage de paramètres Commande + G Rechercher de nouveau Raccourci clavier Fonction Commande + Option + A Ajouter une tranche de console audio Commande + Option + I Ajouter une tranche de console d’instrument logicielAnnexe A Raccourcis clavier 107 Contrôles d’écran (mode Disposition) Fenêtre et présentation Aide et assistance Raccourci clavier Fonction Commande + L Apprendre l’assignation de contrôleur (activer le processus d’apprentissage) Commande + Option + G Grouper Commande + Maj + Option + G Dégrouper Commande + Maj + L Verrouiller Commande + Maj + Option + L Déverrouiller Raccourci clavier Fonction Commande + 1 Mode Disposition Commande + 2 Mode Édition Commande + 3 Mode Exécution Commande + 4 Mode Plein écran Commande + 5 Afficher/Masquer les inspecteurs Commande + 6 Afficher/Masquer la zone Tranches de console Commande + M Placer dans le Dock Commande + , (virgule) Ouvrir les préférences MainStage Raccourci clavier Fonction Commande + ? (point d’interrogation) Manuel de l’utilisateur de MainStage 109 B Annexe B Réglage des préférences MainStage Préférences générales Ces préférences vous permettent d’accorder les instruments logiciels, de choisir le type d’ouverture de MainStage, différents réglages de performances graphiques et de définir si les contrôles d’écran se mettent en surbrillance lorsque leurs paramètres changent.  Curseur Accord : définit l’accord de tous les instruments logiciels de MainStage. Il est paramétré autour de 440 Hz, à plus ou moins 100 centièmes.  Menu local Action de démarrage : choisissez l’action de démarrage qui a lieu lorsque vous ouvrez MainStage. Les choix sont les suivants :  Ne rien faire :ouvre la zone de dialogue Sélectionner le modèle pour choisir un modèle de concert pour en créer un.  Ouvrir le concert le plus récent :ouvre le dernier concert ouvert dans le même mode qu’à sa fermeture.  Ouvrir le concert le plus récent en mode Exécution/Plein écran :ouvre le dernier concert ouvert dans le mode choisi, à savoir : Exécution ou Plein écran.  Au lancement, ouvrir le concert en mode Exécution/Plein écran :si vous ouvrez MainStage en double-cliquant sur un concert dans le Finder, celui-ci s’ouvre dans le mode choisi, à savoir :Exécution ou Plein écran.  Menu local Performances graphiques : indiquez le réglage pour une meilleure qualité graphique ou de meilleures performances graphiques, ou encore Automatique pour que MainStage sélectionne le réglage approprié selon votre ordinateur. Dans la plupart des cas, Automatique vous permet d’obtenir des résultats optimaux.  Case « Mettre en surbrillance les objets dont les valeurs changent » : lorsqu’ils sont sélectionnés, les contrôles d’écran dans l’espace de travail apparaissent brièvement en surbrillance lorsque leurs valeurs de paramétrage changent.110 Annexe B Réglage des préférences MainStage Préférences Audio/MIDI Ces préférences vous permettent de régler la sortie audio et les gestionnaires d’entrée, de définir la taille de la mémoire tampon E/S, de définir la fréquence d’échantillonnage audio et de choisir la note qui s’affiche comme do central. Audio  Menu local Sortie audio :choisissez le matériel à utiliser pour écouter la sortie audio de MainStage.  Menu local Entrée audio : choisissez l’appareil à utiliser comme source d’entrée audio.  Menu local Taille buffer E/S :choisissez la taille de la mémoire tampon pour l’entrée et la sortie audio des échantillons. Réduire cette valeur réduit aussi le temps de latence mais cela sollicite plus le processeur, ce qui peut occasionner des parasites sonores. Il est donc conseillé d’essayer plusieurs réglages pour déterminer la plus faible valeur qui n’engendre aucun parasite.  Menu local Fréquence d’échantillonnage :choisissez la fréquence d’échantillonnage de l’entrée audio. Si vous utilisez une interface audio ou tout autre matériel audio avec MainStage, la fréquence d’échantillonnage doit correspondre à celle de votre matériel.  Couper le son du patch précédent :choisissez la durée de tenue des notes et des queues d’effets avant d’atteindre le silence complet lorsque vous sélectionnez un nouveau patch. MIDI  Menu local « Afficher do central sur » :choisissez si le do central doit être le do 3 ou le do 4.  Affichage État MIDI : affiche le nombre d’entrées MIDI détectées. 111 Index Index A Action, menu de la Liste de patchs22 de la Liste des patchs54, 56 Disposition, mode86 pour la zone Tranches de console62 pour le navigateur Réglages de tranche de piste60 Actions, dossier68 actions, mappage de contrôles d’écran à des68 aide, à l’écran12 Apple Store14 assignations de contrôleurs32, 88 B Barre d’outils boutons38 personnalisation37–39 C claviers contrôleurs, utilisation8 concert entier ajout d’effets50 manipulations applicables au47 mappage des contrôles d’écran à48 concerts8, 41 contrôle du volume général48 création à partir d’un modèle25 enregistrement42 fermeture42 ouverture41 contrôles d’écran8, 20 ajout80 ajustement de la tablette85 collage81 copie81 déplacement82 fusion de panneaux et de tablettes84 mappage à des paramètres33, 68 modification de paramètres90 panneau79 redimensionnement83 regroupement86 suppression88 tablette80 types79 utilisation78 verrouillage87 contrôles matériels, assignation88 contrôleurs MIDI, assignation de contrôles88 D décalage de la vélocité65 Disposition, mode description21 passage en77 dispositions8 exportation94 importation95 E Édition, mode10, 22 espace de travail20 Exécution, mode23 passage en36 utilisation98 G guitares, utilisation avec MainStage9, 101 I icônes, affichage dans la barre d’outils39 inspecteur de concert22 inspecteur de contrôle d’écran22 inspecteur de disposition21 inspecteur de jeu22 inspecteur de sons22 inspecteur de tranche de console22 intégralité du concert ajout de tranches de console52 substitution de plages de notes65 intégralité du set, utilisation sur72112 Index L Liste des patchs réagencement des patchs dans55 vue d’ensemble22 Logic Studio, en savoir plus sur13 M MainStage, aide à l’écran12 Manuel de l’utilisateur12 Mappage de paramètres, navigateur23 Master Silence45 micros, utilisation9 MIDI filtrage67 transition de messages dans le canal MIDI Thru94 modèle de concert, choix25 N navigateur Réglages de tranche de piste modification des réglages à travers le59 numéros de changement de programme modification55 sélection de patchs avec100 P Panique46 patchs8 ajout28 attribution de nom29 changement d’icône56 changement du tempo avec des56 exportation74 importation74 lecture27 modification du numéro de changement de programme55 réagencement55 sélection27 substitution de plages de notes portant sur un concert65 suppression56 Personnaliser, feuille38, 39 plage de vélocité65 Plein écran, mode24 passage en36 utilisation98 Q QuickTime13 R réglages de tranche de console modification61 modification des paramètres61 recherche de60 sélection59 réglages de tranche de piste sélection31 Réglages de tranche de piste, navigateur vue d’ensemble22 résolution de grille, changement78 S scissions de clavier création62 définition d’une plage de notes63 définition de points de scission flottants64 sets attribution de nom71 changement du tempo avec des71 création70 importation74 suppression72 utilisation de70 sites web Apple Store14 FireWire13 page d’accueil Apple13 QuickTime13 service et assistance Apple13 sites web d’Apple14 Sites web d’Apple13–14 site web FireWire13 spécifications13 syntoniseur, utilisation102 T tempo changement pendant la représentation101 définition pour un patch56 marquage44 récupération de l’entrée MIDI45 utilisation dans un concert43 tranches de console57 ajout29 ajout à un concert entier52 ajout à un set entier72 attribution d’un nouveau nom61 changement de l’icône62 changement de la couleur61 création d’une transformation de contrôleur66 définition de la plage de vélocité65 définition du décalage de la vélocité65 différences avec Logic58 filtrage de messages MIDI67 mappage de contrôles d’écran à des paramètres68 réinitialisation60 suppression68Index 113 Tranches de console, zone affichage37 description23 tranches de console du cheminement du signal62 transformation de contrôleur, création66 transformations, création66 U utilisateurs étudiants13114 Index Trackpad Multi-Touch Finder Dock MagSafe 2 USB 3 USB 3 Thunderbolt Vamos começar Quando você inicia o MacBook Air pela primeira vez, o Assistente de Configuração abre para lhe ajudar. Basta seguir alguns passos simples para conectar rapidamente à sua rede Wi-Fi, transferir seus dados a partir de outro Mac ou PC e criar uma conta de usuário para o seu Mac. Você também poderá iniciar uma sessão com seu ID Apple para transferir aplicativos da App Store, fazer compras na iTunes Store e na Apple Online Store, acessar o iCloud e fazer videoconferências com o FaceTime. Se você não possui um ID Apple, pode criar um facilmente e gratuitamente. Gestos Multi-Touch Você pode fazer muitas coisas no MacBook Air usando gestos simples no trackpad. Aqui estão alguns dos gestos mais populares. Conheça a sua mesa A Mesa é onde você encontra e faz tudo em seu Mac. O Dock, na parte inferior da tela, é um lugar prático para acessar os aplicativos mais usados. Também é onde você abre as Preferências do Sistema, que permitem personalizar a Mesa e outros ajustes do seu Mac. Clique no ícone do Finder para acessar rapidamente todos os seus arquivos e pastas. A barra de menus no topo da tela possui diversas informações importantes sobre o seu Mac. Para verificar o estado da sua conexão à Internet sem fio, clique no ícone de Wi-Fi. O seu Mac se conecta automaticamente à rede que você escolheu durante a configuração. Olá. Conector de alimentação MagSafe 2 Adaptador de alimentação Cabo de alimentação CA Botão de Força iCloud O iCloud armazena suas músicas, fotos, e-mails e muito mais. E ele envia os documentos (sem fio) para seu Mac, iPad, iPhone, iPod touch e até mesmo para seu PC. Ele faz isso sem ter que utilizar a base de conexão ou a sincronização. Assim, quando você compra uma música em um dispositivo, ela é transferida automaticamente para todos os seus outros dispositivos. E com o serviço Compartilhar Fotos, suas fotos mais recentes aparecem em todo lugar onde queira vê-las. Para personalizar os ajustes do iCloud, abra o menu Apple, selecione as Preferências do Sistema e, em seguida, clique em iCloud. Depois inicie a sessão com o seu ID Apple e escolha os recursos do iCloud que deseja usar. Uma nota importante Leia este documento e as informações de segurança do Manual de Informações Importantes do Produto cuidadosamente antes de usar o computador pela primeira vez. Mais informações Você pode encontrar mais informações, assistir a demonstrações e aprender muito mais sobre os recursos do MacBook Air em www.apple.com/br/ macbookair. Ajuda Quase sempre você pode encontrar respostas às suas perguntas, bem como instruções e informações sobre solução de problemas, na Central de Ajuda. Clique no ícone do Finder, depois clique em Ajuda na barra de menus e escolha Central de Ajuda. Utilitários do Mac OS X Se você tiver algum problema com o seu Mac, os Utilitários do Mac OS X poderão ajudá-lo a reparar o armazenamento em memória flash do computador, a restaurar o software e os dados a partir de um backup do Time Machine ou a apagar o armazenamento na memória flash e reinstalar o OS X Lion e os aplicativos da Apple. Você também pode usar o Safari para obter ajuda on-line. Se o seu Mac detectar um problema, ele abre os Utilitários do Mac OS X automaticamente. Ou você pode abri-lo manualmente reiniciando o seu computador enquanto mantém pressionadas as teclas Comando e R. Suporte Seu MacBook Air é fornecido com 90 dias de garantia para suporte técnico e um ano de cobertura de garantia para reparações de hardware, que podem ser solicitadas em uma loja de varejo Apple ou em um fornecedor de serviços autorizado Apple. Visite www.apple.com/br/support/macbookair para obter suporte técnico para o MacBook Air. Ou ligue para 0800-761-0880. www.apple.com/support/country Nem todos os recursos estão disponíveis em todas as áreas. TM e © 2012 Apple Inc. Todos os direitos reservados. Designed by Apple in California. Printed in XXXX. BR034-6354-A Plugue de CA Menu Ajuda Barra de menus Preferências do Sistema Guia de Início Rápido Vamos nos mudar É fácil mover arquivos como documentos, e-mails, fotos, músicas e filmes para o seu novo Mac, a partir de outro Mac ou de um PC. Na primeira vez em que você iniciar o Mac, ele lhe guiará passo a passo pelo processo. Você apenas tem que seguir as instruções da tela. Bem-vindo ao seu novo MacBook Air. Gostaríamos de ser o seu guia. Câmera HD FaceTime Estado da Wi-Fi Fone de ouvido Clique Pressione em qualquer lugar do trackpad para clicar. Ou, com a função Tocar para Clicar ativada, basta tocar na superfície. Clique secundário (clique com o botão direito do mouse) Clique com dois dedos para abrir os menus de atalhos. Ou, com a função Tocar para Clicar ativada, toque com dois dedos em qualquer lugar. Passe os dedos para navegar Passe dois dedos para virar as páginas da web, de documentos e mais. Clique duplo Pressione duas vezes em qualquer lugar do trackpad. Ou, com a função Tocar para Clicar ativada, toque duas vezes na superfície. Rolagem com dois dedos Passe dois dedos pelo trackpad para rolar em qualquer direção - para cima, para baixo ou lateralmente. Zoom inteligente Toque duas vezes no trackpad com dois dedos para ampliar rapidamente uma página web. Junte ou separe dois dedos para reduzir ou ampliar Amplie e reduza fotos e páginas web de forma precisa unindo ou separando os dedos polegar e indicador. Alterne entre aplicativos de tela cheia Passe três dedos para mover de um aplicativo de tela cheia para outro. Visualize o Launchpad Junte quatro dedos para visualizar todos os seus aplicativos no Launchpad. Gire Gire os dedos polegar e indicador no sentido horário ou anti-horário para girar uma imagem. Visualize o Mission Control Passe três dedos para cima para ver todas as janelas abertas do seu Mac. Mais informações Escolha as Preferências do Sistema no Menu Apple e clique em Trackpad para obter mais informações sobre os gestos. Launchpad Mission Control Navegador Safari Mail iTunes iCal FaceTime iPhoto iMovie Mac App Store *Requer um dispositivo ativado para o FaceTime tanto para a pessoa que realiza a ligação, quanto para o destinatário. Não está disponível em todas as áreas. Clique no ícone no Dock e navegue pela web com facilidade e rapidez usando os gestos Multi-Touch. Role para cima ou para baixo com dois dedos no trackpad. Passe dois dedos para a direita ou para a esquerda no trackpad para avançar e retroceder Top Sites Obtenha um panorama geral dos sites que você visita com maior frequência. E-mail em um só lugar Visualize todas as suas contas no Mail para acessá-las com um único clique. Visualização de conversa Visualize todas os e-mails do encadeamento de uma conversa. Busque Faça uma busca precisa e rápida para encontrar exatamente o que deseja. O Mail permite que você gerencie suas contas de e-mail a partir de uma caixa de entrada única, livre de anúncios, mesmo quando não estiver conectado à Internet. Ele funciona com a maioria dos padrões de e-mail, incluindo POP3, IMAP e serviços populares como Gmail, nas páginas. Toque duas vezes com dois dedos para ampliar uma página e depois toque duas vezes novamente para retornar ao tamanho original. Ou junte e separe dois dedos para ampliar ou reduzir. Yahoo! Mail e AOL Mail. Você também pode usar o Mail com a conta de e-mail gratuita do me.com que você obtém com o iCloud. Na primeira vez que você iniciar o Mail, o Assistente de Configuração o ajudará a começar. Abra o Launchpad Clique no ícone do Launchpad no Dock. Pastas Agrupe aplicativos em pastas arrastando um aplicativo sobre outro. O Launchpad é a casa de todos os aplicativos do seu Mac. Basta clicar no ícone do Launchpad no Dock. Suas janelas abertas serão substituídas por uma tela cheia de todos os seus aplicativos. Organize seus aplicativos da forma que quiser, agrupe-os em pastas ou apague-os do seu Mac. Quando você transferir um aplicativo da Mac App Store, ele aparecerá automatica-mente no Launchpad. O Mission Control lhe dá uma visão geral de tudo o que está sendo executado no seu Mac. Clique no ícone do Mission Control no Dock e a sua mesa se reduzirá para exibir todas as janelas abertas de cada aplicativo, todos os aplicativos em tela cheia e o Dashboard, a casa dos mini-aplicativos chamados widgets. Clique em qualquer coisa para ampliá-la. Pense no Mission Control como o centro do seu sistema - visualize tudo e dirija-se a qualquer lugar com apenas um clique. Abra o Mission Control Clique no ícone do Mission Control no Dock. Adicione spaces Clique no botão + à direita da linha superior para adicionar um novo space. Dashboard Localizado na parte superior esquerda para acessá-lo facilmente. Lista de Leitura Clique no ícone dos óculos para salvar páginas para uma leitura posterior. A Mac App Store é a melhor maneira de encontrar e transferir milhares de aplicativos para o seu Mac, desde jogos e redes sociais, até aplicativos de produtividades e muito mais. Os aplicativos novos se instalam com um passo no Launchpad. Você pode instalar aplicativos em cada Mac autorizado para o seu uso pessoal e até transferi-los novamente. A Mac App Store permite que você saiba quando as atualizações dos aplicativos estão disponíveis, assim você sempre possuirá as versões mais recentes. Abra a Mac App Store clicando no seu ícone do Dock. Com o iTunes, você pode organizar e reproduzir seus vídeos e músicas digitais no seu Mac. E você pode comprar novas músicas, filmes, programas de TV, livros e muito mais na iTunes Store. No iTunes você também encontrará a App Store para iPad, iPhone e iPod touch. iTunes Store Descubra e compre novas músicas, filmes e mais. Seleções Genius Deixe que o iTunes busque na sua biblioteca musical e agrupe músicas que combinem melhor entre si. Vários calendários Acesse todos os seus calendário a partir de um lugar. Controle sua ocupada programação com o iCal. Você pode criar calendários separados para a casa, para a escola e outro para o trabalho. Visualize todos os seus calendários em uma única janela ou escolha visualizar somente os calendários que deseja. Crie e envie convites usando as informações de contato da sua Agenda e depois veja quem respondeu. Utilize o iCloud para atualizar calendários de todos os seus dispositivos automaticamente ou compartilhe calendários com outros usuários do iCloud. Crie Crie livros, cartões e calendários. Rostos O iPhoto pode organizar suas fotos com base nas pessoas que aparecem nela. Eventos Clique duas vezes em qualquer Evento para navegar pelas fotos. O iPhoto é a melhor maneira de organizar, navegar, editar e compartilhar suas fotos no seu Mac. Você pode organizar sua fototeca por Rostos, Lugares e Eventos. Para enviar fotos por e-mail ou publicá-las no Facebook, basta selecionar a foto e clicar em Compartilhar na parte inferior direita da sua tela. Ou clique em Criar para transformar seus retratos favoritos em livros de fotos, calendários e cartões. Navegador de eventos Seus vídeos importados aparecem aqui, assim você pode acessar todos os seus clipes. Navegador de projetos Simplesmente solte a sua seleção em um projeto para criar um filme incrível. O iMovie reúne todos os seus clipes de vídeo em um só lugar e oferece todas as ferramentas de edição, temas e efeitos especiais necessários para transformá-los em algo especial. Você pode criar filmes belíssimos ou até mesmo trailers no estilo de Hollywood com apenas alguns cliques. E o iMovie permite que você importe vídeos das câmeras de vídeo digital mais populares, do seu iPad, iPhone ou iPod touch ou da câmera do FaceTime do seu Mac. O FaceTime para Mac permite que você converse cara a cara com qualquer pessoa em um iPad, iPhone, iPod touch ou Mac - a partir do seu Mac.* Para configurar o FaceTime, você só precisa do seu ID Apple e do seu e-mail. Para iniciar uma videoconferência, basta clicar em uma entrada da lista de contatos da sua Agenda. Favoritos Adicione seus contatos frequentes aos Favoritos para acessá-los facilmente. Visualização de calendário Selecione a visualização que preferir - por dia, semana, mês ou ano. Visualização de tela cheia Clique no botão tela cheia para ir à tela cheia. Sempre atualizado As atualizações dos seus aplicativos comprados aparecem automaticamente. Adicione um evento Clique duas vezes para criar um evento novo. Descubra novos aplicativos Navegue por milhares de aplicativos e transfira-os diretamente para o Launchpad. Important Product Information Guide MacBook Prosure the AC plug or AC power cord is fully inserted into the power adapter before plugging the adapter into a power outlet. The power adapter may become very warm during normal use. The MagSafe Power Adapter complies with the user-accessible surface temperature limits defined by the International Standard for Safety of Information Technology Equipment (IEC 60950-1). To reduce the possibility of overheating the power adapter or of heat-related injuries, do one of the following:  Plug the power adapter directly into a power outlet. AC plug MagSafe connector MagSafe Power Adapter  If you’re using the AC power cord, place the power adapter on a desk, table, or on the floor in a well-ventilated location. MagSafe connector MagSafe Power Adapter AC power cord Disconnect the power adapter and disconnect any other cables if any of the following conditions exists:  You want to clean the case (use only the recommended procedure described on the next page).  The power cord or plug becomes frayed or otherwise damaged.  Your MacBook Pro or power adapter is exposed to rain, excessive moisture, or liquid spilled into the case.  Your MacBook Pro or power adapter has been dropped, the case has been damaged, or you suspect that service or repair is required. The MagSafe power port (where you plug in the MagSafe connector) contains a magnet that can erase data on a credit card, iPod, or other device. To preserve your data, do not place these or other magnetically sensitive material or devices within 1 inch (25 mm) of this port. If debris gets into the MagSafe power port, remove it gently with a dry cotton swab. MagSafe power specifications: Frequency: 50 to 60 Hz, single phase Line Voltage: 100 to 240 V Output Voltage: 16.5 V DC, 3.65 A This Important Product Information Guide contains safety, handling, disposal and recycling, regulatory, and software license information, as well as the one-year limited warranty for your 13-inch MacBook Pro. ±Read all safety information and operating instructions below before using MacBook Pro to avoid injury. For a downloadable version of the MacBook Pro Quick Start guide and the latest version of this Important Product Information Guide, visit: support.apple.com/manuals/macbookpro Important Safety and Handling Information WARNING:??Failure to follow these safety instructions could result in fire, electric shock, or other injury or damage to MacBook Pro or other property. Built-in battery Do not remove the battery from your MacBook Pro. The battery should be replaced only by an Apple Authorized Service Provider. Discontinue use of your MacBook Pro if it’s dropped or appears crushed, bent, deformed, or damaged. Do not expose your MacBook Pro to extreme heat sources, such as radiators or fireplaces, where temperatures might exceed 212°F (100°C). Proper handling The bottom of your MacBook Pro may become very warm during normal use. The MacBook Pro complies with the user-accessible surface temperature limits defined by the International Standard for Safety of Information Technology Equipment (IEC 60950-1). To operate the computer safely and reduce the possibility of heat-related injuries, follow these guidelines:  Set up your MacBook Pro on a stable work surface that allows for adequate air circulation under and around the computer.  Do not operate your MacBook Pro on a pillow, blanket, or other soft material, because the material can block the airflow vents.  Never place anything over the keyboard when operating your MacBook Pro.  Do not push objects into the ventilation openings.  If your MacBook Pro is on your lap and gets uncomfortably warm, remove it from your lap and place it on a stable work surface. Water and wet locations Keep your MacBook Pro away from sources of liquid, such as drinks, washbasins, bathtubs, shower stalls, and so on. Protect your MacBook Pro from dampness or wet weather, such as rain, snow, and fog. 60W MagSafe Power Adapter Use only the power adapter that came with your MacBook Pro, or an Apple-authorized power adapter that is compatible with this product. Make openings. Do not spray liquid directly on the computer. Do not use aerosol sprays, solvents, or abrasives that might damage the finish. Cleaning the MacBook Pro screen To clean your MacBook Pro screen, first shut down your MacBook Pro and unplug the power adapter. Then dampen the included cleaning cloth with just water and wipe the screen. Do not spray liquid directly on the screen. Understanding Ergonomics Here are some tips for setting up a healthy work environment. Keyboard and Trackpad When you use the keyboard and trackpad, your shoulders should be relaxed. Your upper arm and forearm should form an angle that is slightly greater than a right angle, with your wrist and hand in roughly a straight line. This Not this Use a light touch when typing or using the trackpad and keep your hands and fingers relaxed. Avoid rolling your thumbs under your palms. This Not this Change hand positions often to avoid fatigue. Some computer users might develop discomfort in their hands, wrists, or arms after intensive work without breaks. If you begin to develop chronic pain or discomfort in your hands, wrists, or arms, consult a qualified health specialist. External Mouse If you use an external mouse, position the mouse at the same height as the keyboard and within a comfortable reach. Chair An adjustable chair that provides firm, comfortable support is best. Adjust the height of the chair so your thighs are horizontal and your feet are flat on the floor. The back of the chair should support your lower back (lumbar region). Follow the manufacturer’s instructions for adjusting the backrest to fit your body properly. Hearing damage 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 that may sound normal but can be damaging to your hearing. If you experience ringing in your ears or muffled speech, stop listening and have your hearing checked. The louder the volume, the less time is required before your hearing could be affected. Hearing experts suggest that to protect your hearing:  Limit the amount of time you use earbuds or headphones at high volume.  Avoid turning up the volume to block out noisy surroundings.  Turn the volume down if you can’t hear people speaking near you. High-risk activities This computer is not intended for use in the operation of nuclear facilities, aircraft navigation or communications systems, air traffic control systems, or for any other uses where a failure of the computer system could lead to death, personal injury, or severe environmental damage. Operating environment Operating your MacBook Pro outside these ranges may affect performance: Operating temperature: 50° to 95° F (10° to 35° C) Storage temperature: -4° to 113° F (-20° to 45° C) Relative humidity: 5% to 90% (noncondensing) Operating altitude: 0 to 10,000 feet (0 to 3048 meters) Carrying your MacBook Pro If you carry your MacBook Pro in a bag or briefcase, make sure that there are no loose items (such as paper clips or coins) that could accidentally get inside the computer through vent openings or get stuck inside a port. Also, keep magnetically sensitive items away from the MagSafe power port. Using connectors and ports Never force a connector into a port. When connecting a device, make sure the port is free of debris, that the connector matches the port, and that you have positioned the connector correctly in relation to the port. Handling glass parts Your MacBook Pro contains glass components, including the display and trackpad. If they are damaged, don’t use your MacBook Pro until it has been repaired by an Apple Authorized Service Provider. Storing your MacBook Pro If you are going to store your MacBook Pro for an extended period of time, keep it in a cool location (ideally, 71° F or 22° C) and discharge the battery to 50 percent. When storing your computer for longer than five months, discharge the battery to approximately 50 percent. To maintain the capacity of the battery, recharge the battery to 50 percent every six months or so. Cleaning your MacBook Pro When cleaning the outside of your MacBook Pro and its components, first shut down your MacBook Pro, and then unplug the power adapter. Then dampen the included cleaning cloth to wipe the MacBook Pro exterior. Avoid getting moisture in any Apple Hardware Test You can use the Apple Hardware Test (AHT) application to help determine if there’s a problem with one of the computer’s components, such as the memory or processor. To use Apple Hardware Test: Disconnect all external devices from your computer except the power adapter. Restart your computer and hold down the D key as it starts up. When the AHT chooser screen appears, select the language for your location. Press the Return key or click the right arrow button. When the AHT main screen appears (after about 45 seconds), follow the onscreen instructions. If AHT detects a problem, it displays an error code. Make a note of the error code before pursuing support options. If AHT doesn’t detect a hardware failure, the problem might be software related. AppleCare Service and Support Your MacBook Pro comes with 90 days of technical support and one year of hardware repair warranty coverage at an Apple Retail Store or an Apple-authorized repair center, such as an Apple Authorized Service Provider. You can extend your coverage by purchasing the AppleCare Protection Plan. For information, visit www.apple.com/support/products or visit the website address for your country listed later in this section. If you need assistance, AppleCare telephone support representatives can help you with installing and opening applications, and troubleshooting. Call the support center number nearest you (the first 90 days are complimentary). Have the purchase date and your MacBook Pro serial number ready when you call. Your 90 days of complimentary telephone support begins on the date of purchase. United States: 1-800-275-2273 www.apple.com/support Australia: (61) 1-300-321-456 www.apple.com/au/support Canada: 1-800-263-3394 (English) www.apple.com/ca/support (French) www.apple.com/ca/fr/support Ireland: (353) 1850 946 191 www.apple.com/ie/support New Zealand: 00800-7666-7666 www.apple.com/nz/support United Kingdom: (44) 0844 209 0611 www.apple.com/uk/support Telephone numbers are subject to change, and local and national telephone rates may apply. A complete list is available on the web: www.apple.com/support/contact/phone_contacts.html You might have to raise your chair so that your forearms and hands are at the proper angle to the keyboard. If this makes it impossible to rest your feet flat on the floor, you can use a footrest with adjustable height and tilt to make up for any gap between the floor and your feet. Or you can lower the desktop to eliminate the need for a footrest. Another option is to use a desk with a keyboard tray that’s lower than the regular work surface. Built-In Display Adjust the angle of the display to minimize glare and reflections from overhead lights and windows. Do not force the display if you meet resistance. The display is not designed to open past 135 degrees. You can adjust the brightness of the screen when you take the computer from one work location to another, or if the lighting in your work area changes. More information about ergonomics is available on the web: www.apple.com/about/ergonomics Apple and the Environment Apple Inc. recognizes its responsibility to minimize the environmental impacts of its operations and products. More information is available on the web: www.apple.com/environment Learning More, Service, and Support Your MacBook Pro does not have any user-serviceable parts, except the hard drive and memory. If you need service, contact Apple or take your MacBook Pro to an Apple Authorized Service Provider. You can find more information about your MacBook Pro through Help Center, online resources, System Information, and Apple Hardware Test. Help Center You can often find answers to your questions, as well as instructions and troubleshooting information, in Help Center on your Mac. Choose Help > Help Center from the menu bar. Online Resources For online service and support information, go to www.apple.com/support and choose your country from the pop-up menu. You can search the AppleCare Knowledge Base, check for software updates, or get help from Apple’s discussion forums. System Information To get information about your MacBook Pro, use System Information. It shows you what hardware and software is installed, the serial number and operating system version, how much memory is installed, and more. To open System Information, choose Apple (?) > About This Mac from the menu bar and then click More Info.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 91-1EMC 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 AirPort Extreme technology is below the FCC and EU 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. 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. Regulatory Compliance Information FCC Compliance Statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. See instructions if interference to radio or television reception is suspected. Radio and Television Interference This computer equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures:  Turn the television or radio antenna until the interference stops.  Move the computer to one side or the other of the television or radio.  Move the computer farther away from the television or radio.  Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple Authorized Service Provider or Apple. See the service and support information that came with your Apple product. Or consult an experienced radio/ television technician for additional suggestions. Important: Changes or modifications to this product not authorized by Apple Inc. could void the EMC compliance and negate your authority to operate the product. This product 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 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-htigijiet essenzjali u ma provvedimenti ohrajn relevanti li hemm fid-Dirrettiva 1999/5/EC. 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. oswiadcza, ze ten MacBook Pro sa zgodne z zasadniczymi wymogami oraz pozostalymi 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. Româna Prin prezenta, Apple Inc. declara ca acest aparat MacBook Pro este în conformitate cu cerintele esentiale si 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 dolocili direktive 1999/5/ES. Slovensky Apple Inc. týmto vyhlasuje, že toto MacBook Pro splna 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: European Community Restrictions Français Pour usage en intérieur uniquement. Consultez l’Autorité de Régulation des Communications Electroniques et des Postes (ARCEP) pour connaître les limites d’utilisation des canaux 1 à 13. www.arcep.fr European Compliance Statement This product complies with the requirements of European Directives 2006/95/EC, 2004/108/EC, and 1999/5/EC. Europe–EU Declaration of Conformity ????????? Apple Inc. ?????????, ?? ???? MacBook Pro ? ? ???????????? ??? ???????????? ?????????? ? ??????? ????????? ??????? ?? ????????? 1999/5/??. Cesky Spolecnost Apple Inc. tímto prohlašuje, že tento MacBook Pro je ve shode se základními požadavky a dalšími príslušnými ustanoveními smernice 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. English Hereby, Apple Inc. declares that this MacBook Pro is in compliance with the essential requirements and other relevant provisions of Directive 1999/5/EC. Español Por medio de la presente Apple Inc. declara que este MacBook Pro cumple con los requisitos esenciales y cualesquiera otras disposiciones aplicables o exigibles de la Directiva 1999/5/CE. ???????? Me t?? pa???sa, ? Apple Inc. d????e? ?t? a?t? ? s?s?e?? MacBook Pro s?µµ??f??eta? p??? t?? ßas???? apa?t?se?? ?a? t?? ???p?? s?et???? d?ata´?e?? t?? ?d???a? 1999/5/??. 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. deklare, ka MacBook Pro ierice atbilst Direktivas 1999/5/EK butiskajam prasibam un citiem ar to saistitajiem noteikumiem. Lietuviu Šiuo „Apple Inc.“ deklaruoja, kad šis MacBook Pro atitinka esminius reikalavimus ir kitas 1999/5/EB Direktyvos nuostatas.Japan VCCI Class B Statement Russia External USB Modem Information When connecting your MacBook Pro to the phone line using an external USB modem, refer to the telecommunications agency information in the documentation that came with your modem. 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 energy-efficient 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 button or press any key on the keyboard. For more information about ENERGY STAR®, visit: www.energystar.gov Korea Warning Statements B???(??????????) ???????(B?) ??????????? ????????????????, ??? ???????????. ???????????? ???????????????????? ???????????????????????? ???? ?? ? ?? Singapore Wireless Certification Taiwan Wireless Statements Taiwan Class B Statement ?? ????????????????? ???????????????China Battery Statement Taiwan Battery Statement Battery Replacement The rechargeable battery should be replaced only by Apple or an Apple Authorized Service Provider. For more information about battery replacement services, go to: http://www.apple.com/batteries/replacements.html Battery Charger Efficiency 020-5563-A EFUP15china Disposal and Recycling Information This symbol indicates that your product must be disposed of properly according to local laws and regulations. When your product reaches its end of life, contact Apple or your local authorities to learn about recycling options. For information about Apple’s recycling program, go to: www.apple.com/recycling European Union—Disposal Information The symbol above means that according to local laws and regulations your product should be disposed of separately from household waste. When this product reaches its end of life, take it to a collection point designated by local authorities. Some collection points accept products for free. The separate collection and recycling of your product at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. Türkiye EEE yönetmeligine (Elektrikli ve Elektronik Esyalarda Bazi Zararli Maddelerin Kullaniminin Sinirlandirilmasina 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. Battery Disposal Information Dispose of batteries according to your local environmental laws and guidelines. 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.the operation of the Apple Product will be uninterrupted or error-free. Apple is not responsible for damage arising from failure to follow instructions relating to the Apple Product’s use. This warranty does not apply: (a) to consumable parts, such as batteries, unless failure has occurred due to a defect in materials or workmanship; (b) to cosmetic damage, including but not limited to scratches, dents and broken plastic on ports; (c) to damage caused by use with another product; (d) to damage caused by accident, abuse, misuse, liquid contact, fire, earthquake or other external cause; (e) to damage caused by operating the Apple Product outside Apple’s published guidelines; (f) to damage caused by service (including upgrades and expansions) performed by anyone who is not a representative of Apple or an Apple Authorized Service Provider (“AASP”); (g) to an Apple Product that has been modified to alter functionality or capability without the written permission of Apple; (h) to defects caused by normal wear and tear or otherwise due to the normal aging of the Apple Product, or (i) if any serial number has been removed or defaced from the Apple Product. YOUR RESPONSIBILITIES IF YOUR APPLE PRODUCT IS CAPABLE OF STORING SOFTWARE PROGRAMS, DATA AND OTHER INFORMATION, YOU SHOULD MAKE PERIODIC BACKUP COPIES OF THE INFORMATION CONTAINED ON THE STORAGE MEDIA TO PROTECT THE CONTENTS AND AS A PRECAUTION AGAINST POSSIBLE OPERATIONAL FAILURES. Before receiving warranty service, Apple or its agents may require that you furnish proof of purchase details, respond to questions designed to assist with diagnosing potential issues and follow Apple’s procedures for obtaining warranty service. Before submitting your Apple Product for warranty service you should maintain a separate backup copy of the contents of its storage media, remove all personal information that you want to protect and disable all security passwords. DURING WARRANTY SERVICE IT IS POSSIBLE THAT THE CONTENTS OF THE APPLE PRODUCT’S STORAGE MEDIA WILL BE LOST, REPLACED OR REFORMATTED. IN SUCH AN EVENT APPLE AND ITS AGENTS ARE NOT RESPONSIBLE FOR ANY LOSS OF SOFTWARE PROGRAMS, DATA OR OTHER INFORMATION CONTAINED ON THE STORAGE MEDIA OR ANY OTHER PART OF THE APPLE PRODUCT SERVICED. Following warranty service your Apple Product or a replacement product will be returned to you as your Apple Product was configured when originally purchased, subject to applicable updates. You will be responsible for reinstalling all other software programs, data and information. Recovery and reinstallation of other software programs, data and information are not covered under this warranty. Software License Agreement Use of MacBook Pro constitutes acceptance of the Apple and third-party software license terms found at: www.apple.com/legal/sla Apple One (1) Year Limited Warranty - Mac For Apple Branded Products Only HOW CONSUMER LAW RELATES TO THIS WARRANTY THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY HAVE OTHER RIGHTS THAT VARY FROM STATE TO STATE (OR BY COUNTRY OR PROVINCE). OTHER THAN AS PERMITTED BY LAW, APPLE DOES NOT EXCLUDE, LIMIT OR SUSPEND OTHER RIGHTS YOU MAY HAVE, INCLUDING THOSE THAT MAY ARISE FROM THE NONCONFORMITY OF A SALES CONTRACT. FOR A FULL UNDERSTANDING OF YOUR RIGHTS YOU SHOULD CONSULT THE LAWS OF YOUR COUNTRY, PROVINCE OR STATE. WARRANTY LIMITATIONS THAT MAY AFFECT CONSUMER LAW TO THE EXTENT PERMITTED BY LAW, THIS WARRANTY AND THE REMEDIES SET FORTH ARE EXCLUSIVE AND IN LIEU OF ALL OTHER WARRANTIES, REMEDIES AND CONDITIONS, WHETHER ORAL, WRITTEN, STATUTORY, EXPRESS OR IMPLIED. APPLE DISCLAIMS ALL STATUTORY AND IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE AND WARRANTIES AGAINST HIDDEN OR LATENT DEFECTS, TO THE EXTENT PERMITTED BY LAW. IN SO FAR AS SUCH WARRANTIES CANNOT BE DISCLAIMED, APPLE LIMITS THE DURATION AND REMEDIES OF SUCH WARRANTIES TO THE DURATION OF THIS EXPRESS WARRANTY AND, AT APPLE’S OPTION, THE REPAIR OR REPLACEMENT SERVICES DESCRIBED BELOW. SOME STATES (COUNTRIES AND PROVINCES) DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY (OR CONDITION) MAY LAST, SO THE LIMITATION DESCRIBED ABOVE MAY NOT APPLY TO YOU. WHAT IS COVERED BY THIS WARRANTY? Apple warrants the Apple-branded hardware product and accessories contained in the original packaging (“Apple Product”) against defects in materials and workmanship when used normally in accordance with Apple’s published guidelines for a period of ONE (1) YEAR from the date of original retail purchase by the end-user purchaser (“Warranty Period”). Apple’s published guidelines include but are not limited to information contained in technical specifications, user manuals and service communications. WHAT IS NOT COVERED BY THIS WARRANTY? This warranty does not apply to any non-Apple branded hardware products or any software, even if packaged or sold with Apple hardware. Manufacturers, suppliers, or publishers, other than Apple, may provide their own warranties to you but Apple, in so far as permitted by law, provides their products “AS IS”. Software distributed by Apple with or without the Apple brand (including, but not limited to system software) is not covered by this warranty. Please refer to the licensing agreement accompanying the software for details of your rights with respect to its use. Apple does not warrant that (iii) Do-it-yourself (DIY) parts service. DIY parts service allows you to service your own Apple Product. If DIY parts service is available in the circumstances, the following process will apply. (a) Service where Apple requires return of the replaced product or part. Apple may require a credit card authorization as security for the retail price of the replacement product or part and applicable shipping costs. If you are unable to provide credit card authorization, DIY parts service may not be available to you and Apple will offer alternative arrangements for service. Apple will ship a replacement product or part to you with installation instructions, if applicable, and any requirements for the return of the replaced product or part. If you follow the instructions, Apple will cancel the credit card authorization, so you will not be charged for the product or part and shipping to and from your location. If you fail to return the replaced product or part as instructed or return a replaced product or part that is ineligible for service, Apple will charge your credit card for the authorized amount. (b) Service where Apple does not require return of the replaced product or part. Apple will ship you free of charge a replacement product or part accompanied by instructions on installation, if applicable, and any requirements for the disposal of the replaced product or part. (c) Apple is not responsible for any labor costs you incur relating to DIY parts service. Should you require further assistance, contact Apple at the telephone number listed below. Apple reserves the right to change the method by which Apple may provide warranty service to you, and your Apple Product’s eligibility to receive a particular method of service. Service will be limited to the options available in the country where service is requested. Service options, parts availability and response times may vary according to country. You may be responsible for shipping and handling charges if the Apple Product cannot be serviced in the country it is in. If you seek service in a country that is not the country of purchase, you will comply with all applicable import and export laws and regulations and be responsible for all custom duties, V.A.T. and other associated taxes and charges. For international service, Apple may repair or replace products and parts with comparable products and parts that comply with local standards. LIMITATION OF LIABILITY EXCEPT AS PROVIDED IN THIS WARRANTY AND TO THE MAXIMUM EXTENT PERMITTED BY LAW, APPLE IS NOT RESPONSIBLE FOR DIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF WARRANTY OR CONDITION, OR UNDER ANY OTHER LEGAL THEORY, INCLUDING BUT NOT LIMITED TO LOSS OF USE; LOSS OF REVENUE; LOSS OF ACTUAL OR ANTICIPATED PROFITS (INCLUDING LOSS OF PROFITS ON CONTRACTS); LOSS OF THE USE OF MONEY; LOSS OF ANTICIPATED SAVINGS; LOSS OF BUSINESS; LOSS OF OPPORTUNITY; LOSS OF GOODWILL; LOSS OF REPUTATION; LOSS OF, DAMAGE TO, COMPROMISE OR CORRUPTION WHAT WILL APPLE DO IN THE EVENT THE WARRANTY IS BREACHED? If during the Warranty Period you submit a valid claim to Apple or an AASP, Apple will, at its option, (i) repair the Apple Product using new or previously used parts that are equivalent to new in performance and reliability, (ii) replace the Apple Product with a product that is at least functionally equivalent to the Apple Product and is formed from new and/or previously used parts that are equivalent to new in performance and reliability, or (iii) exchange the Apple Product for a refund of your purchase price. Apple may request that you replace certain user-installable parts or products. A replacement part or product, including a user-installable part that has been installed in accordance with instructions provided by Apple, assumes the remaining warranty of the Apple Product or ninety (90) days from the date of replacement or repair, whichever provides longer coverage for you. When a product or part is replaced or a refund provided, any replacement item becomes your property and the replaced or refunded item becomes Apple’s property. HOW TO OBTAIN WARRANTY SERVICE? Please access and review the online help resources described below before seeking warranty service. If the Apple Product is still not functioning properly after making use of these resources, please contact an Apple representative or, if applicable, an Apple owned retail store (“Apple Retail”) or AASP, using the information provided below. An Apple representative or AASP will help determine whether your Apple Product requires service and, if it does, will inform you how Apple will provide it. When contacting Apple via telephone, other charges may apply depending on your location. Online information with details on obtaining warranty service is provided below. WARRANTY SERVICE OPTIONS Apple will provide warranty service through one or more of the following options: (i) Carry-in service. You may return your Apple Product to an Apple Retail or AASP location offering carry-in service. Service will be performed at the location, or Apple Retail or an AASP may send your Apple Product to an Apple Repair Service (“ARS”) location to be serviced. Once you are notified that service is complete, you will promptly retrieve the Apple Product from the Apple Retail or AASP location, or the Apple Product will be sent directly to your location from the ARS location. (ii) Mail-in service. If Apple determines that your Apple Product is eligible for mail-in service, Apple will send you prepaid waybills and if applicable, packaging material, so that you may ship your Apple Product to an ARS or AASP location in accordance with Apple’s instructions. Once service is complete, the ARS or AASP location will return the Apple Product to you. Apple will pay for shipping to and from your location if all instructions are followed.OF ALL OTHER WARRANTIES, REMEDIES AND CONDITIONS, WHETHER ORAL, WRITTEN, STATUTORY, EXPRESS OR IMPLIED. APPLE DISCLAIMS ALL STATUTORY AND IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE AND WARRANTIES AGAINST HIDDEN OR LATENT DEFECTS, TO THE EXTENT PERMITTED BY LAW. IN SO FAR AS SUCH WARRANTIES CANNOT BE DISCLAIMED, APPLE LIMITS THE DURATION AND REMEDIES OF SUCH WARRANTIES TO THE DURATION OF THIS EXPRESS WARRANTY AND, AT APPLE’S OPTION, THE REPAIR OR REPLACEMENT SERVICES DESCRIBED BELOW. SOME PROVINCES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY (OR CONDITION) MAY LAST, SO THE LIMITATION DESCRIBED ABOVE MAY NOT APPLY TO YOU. WHAT IS COVERED BY THIS WARRANTY? Apple warrants the Apple-branded hardware product and accessories contained in the original packaging (“Apple Product”) against defects in materials and workmanship when used normally in accordance with Apple’s published guidelines for a period of ONE (1) YEAR from the date of original retail purchase by the end-user purchaser (“Warranty Period”). Apple’s published guidelines include but are not limited to information contained in technical specifications, user manuals and service communications. WHAT IS NOT COVERED BY THIS WARRANTY? This warranty does not apply to any non-Apple branded hardware products or any software, even if packaged or sold with Apple hardware. Manufacturers, suppliers, or publishers, other than Apple, may provide their own warranties to you but Apple, in so far as permitted by law, provides their products “AS IS”. Software distributed by Apple with or without the Apple brand (including, but not limited to system software) is not covered by this warranty. Please refer to the licensing agreement accompanying the software for details of your rights with respect to its use. Apple does not warrant that the operation of the Apple Product will be uninterrupted or error-free. Apple is not responsible for damage arising from failure to follow instructions relating to the Apple Product’s use. This warranty does not apply: (a) to consumable parts, such as batteries, unless failure has occurred due to a defect in materials or workmanship; (b) to cosmetic damage, including but not limited to scratches, dents and broken plastic on ports; (c) to damage caused by use with another product; (d) to damage caused by accident, abuse, misuse, liquid contact, fire, earthquake or other external cause; (e) to damage caused by operating the Apple Product outside Apple’s published guidelines; (f) to damage caused by service (including upgrades and expansions) performed by anyone who is not a representative of Apple or an Apple Authorized Service Provider (“AASP”); (g) to an Apple Product that has been modified to alter functionality or capability without the written permission of Apple; (h) to defects caused by normal wear and tear or otherwise due to the normal aging of the Apple Product; or (i) if any OF DATA; OR ANY INDIRECT OR CONSEQUENTIAL LOSS OR DAMAGE HOWSOEVER CAUSED INCLUDING THE REPLACEMENT OF EQUIPMENT AND PROPERTY, ANY COSTS OF RECOVERING, PROGRAMMING, OR REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH THE APPLE PRODUCT OR ANY FAILURE TO MAINTAIN THE CONFIDENTIALITY OF INFORMATION STORED IN THE APPLE PRODUCT. THE FOREGOING LIMITATION SHALL NOT APPLY TO DEATH OR PERSONAL INJURY CLAIMS, OR ANY STATUTORY LIABILITY FOR INTENTIONAL AND GROSS NEGLIGENT ACTS AND/OR OMISSIONS. APPLE DISCLAIMS ANY REPRESENTATION THAT IT WILL BE ABLE TO REPAIR ANY APPLE PRODUCT UNDER THIS WARRANTY OR REPLACE THE APPLE PRODUCT WITHOUT RISK TO OR LOSS OF INFORMATION STORED ON THE APPLE PRODUCT. SOME STATES (COUNTRIES AND PROVINCES) DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION OR EXCLUSION MAY NOT APPLY TO YOU. PRIVACY Apple will maintain and use customer information in accordance with the Apple Customer Privacy Policy available at www.apple.com/legal/warranty/privacy. GENERAL No Apple reseller, agent, or employee is authorized to make any modification, extension, or addition to this warranty. If any term is held to be illegal or unenforceable, the legality or enforceability of the remaining terms shall not be affected or impaired. This warranty is governed by and construed under the laws of the country in which the Apple Product purchase took place. Apple is identified at the end of this document according to the country or region in which the Apple Product purchase took place. Apple or its successor in title is the warrantor under this warranty. 032212 Mac Warranty English v2 CANADA Apple One (1) Year Limited Warranty - Mac For Apple Branded Products Only HOW CONSUMER LAW RELATES TO THIS WARRANTY THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY HAVE OTHER RIGHTS THAT VARY FROM PROVINCE TO PROVINCE. OTHER THAN AS PERMITTED BY LAW, APPLE DOES NOT EXCLUDE, LIMIT OR SUSPEND OTHER RIGHTS YOU MAY HAVE, INCLUDING THOSE THAT MAY ARISE FROM THE NONCONFORMITY OF A SALES CONTRACT. FOR A FULL UNDERSTANDING OF YOUR RIGHTS YOU SHOULD CONSULT THE LAWS OF YOUR PROVINCE. RESIDENTS OF QUEBEC ARE GOVERNED BY THAT PROVINCE’S CONSUMER PROTECTION LEGISLATION. WARRANTY LIMITATIONS THAT MAY AFFECT CONSUMER LAW APPLICABLE TO ALL OF CANADA, EXCEPT QUEBEC: TO THE EXTENT PERMITTED BY LAW, THIS WARRANTY AND THE REMEDIES SET FORTH ARE EXCLUSIVE AND IN LIEU an Apple owned retail store (“Apple Retail”) or AASP, using the information provided below. An Apple representative or AASP will help determine whether your Apple Product requires service and, if it does, will inform you how Apple will provide it. When contacting Apple via telephone, other charges may apply depending on your location. Online information with details on obtaining warranty service is provided below. WARRANTY SERVICE OPTIONS Apple will provide warranty service through one or more of the following options: (i) Carry-in service. You may return your Apple Product to an Apple Retail or AASP location offering carry-in service. Service will be performed at the location, or Apple Retail or an AASP may send your Apple Product to an Apple Repair Service (“ARS”) location to be serviced. Once you are notified that service is complete, you will promptly retrieve the Apple Product from the Apple Retail or AASP location, or the Apple Product will be sent directly to your location from the ARS location. (ii) Mail-in service. If Apple determines that your Apple Product is eligible for mail-in service, Apple will send you prepaid waybills and if applicable, packaging material, so that you may ship your Apple Product to an ARS or AASP location in accordance with Apple’s instructions. Once service is complete, the ARS or AASP location will return the Apple Product to you. Apple will pay for shipping to and from your location if all instructions are followed. (iii) Do-it-yourself (DIY) parts service. DIY parts service allows you to service your own Apple Product. If DIY parts service is available in the circumstances, the following process will apply. (a) Service where Apple requires return of the replaced product or part. Apple may require a credit card authorization as security for the retail price of the replacement product or part and applicable shipping costs. If you are unable to provide credit card authorization, DIY parts service may not be available to you and Apple will offer alternative arrangements for service. Apple will ship a replacement product or part to you with installation instructions, if applicable, and any requirements for the return of the replaced product or part. If you follow the instructions, Apple will cancel the credit card authorization, so you will not be charged for the product or part and shipping to and from your location. If you fail to return the replaced product or part as instructed or return a replaced product or part that is ineligible for service, Apple will charge your credit card for the authorized amount. (b) Service where Apple does not require return of the replaced product or part. Apple will ship you free of charge a replacement product or part accompanied by instructions on installation, if applicable, and any requirements for the disposal of the replaced product or part. serial number has been removed or defaced from the Apple Product. YOUR RESPONSIBILITIES IF YOUR APPLE PRODUCT IS CAPABLE OF STORING SOFTWARE PROGRAMS, DATA AND OTHER INFORMATION, YOU SHOULD MAKE PERIODIC BACKUP COPIES OF THE INFORMATION CONTAINED ON THE STORAGE MEDIA TO PROTECT THE CONTENTS AND AS A PRECAUTION AGAINST POSSIBLE OPERATIONAL FAILURES. Before receiving warranty service, Apple or its agents may require that you furnish proof of purchase details, respond to questions designed to assist with diagnosing potential issues and follow Apple’s procedures for obtaining warranty service. Before submitting your Apple Product for warranty service you should maintain a separate backup copy of the contents of its storage media, remove all personal information that you want to protect and disable all security passwords. DURING WARRANTY SERVICE IT IS POSSIBLE THAT THE CONTENTS OF THE APPLE PRODUCT’S STORAGE MEDIA WILL BE LOST, REPLACED OR REFORMATTED. IN SUCH AN EVENT APPLE AND ITS AGENTS ARE NOT RESPONSIBLE FOR ANY LOSS OF SOFTWARE PROGRAMS, DATA OR OTHER INFORMATION CONTAINED ON THE STORAGE MEDIA OR ANY OTHER PART OF THE APPLE PRODUCT SERVICED. Following warranty service your Apple Product or a replacement product will be returned to you as your Apple Product was configured when originally purchased, subject to applicable updates. You will be responsible for reinstalling all other software programs, data and information. Recovery and reinstallation of other software programs, data and information are not covered under this warranty. WHAT WILL APPLE DO IN THE EVENT THE WARRANTY IS BREACHED? If during the Warranty Period you submit a valid claim to Apple or an AASP, Apple will, at its option: (i) repair the Apple Product using new or previously used parts that are equivalent to new in performance and reliability; (ii) replace the Apple Product with a product that is at least functionally equivalent to the Apple Product and is formed from new and/or previously used parts that are equivalent to new in performance and reliability; or (iii) exchange the Apple Product for a refund of your purchase price. Apple may request that you replace certain user-installable parts or products. A replacement part or product, including a user-installable part that has been installed in accordance with instructions provided by Apple, assumes the remaining warranty of the Apple Product or ninety (90) days from the date of replacement or repair, whichever provides longer coverage for you. When a product or part is replaced or a refund provided, any replacement item becomes your property and the replaced or refunded item becomes Apple’s property. HOW TO OBTAIN WARRANTY SERVICE? Please access and review the online help resources described below before seeking warranty service. If the Apple Product is still not functioning properly after making use of these resources, please contact an Apple representative or, if applicable, GENERAL No Apple reseller, agent, or employee is authorized to make any modification, extension, or addition to this warranty. If any term is held to be illegal or unenforceable, the legality or enforceability of the remaining terms shall not be affected or impaired. This warranty is governed by and construed under the laws of the country in which the Apple Product purchase took place. Apple is identified at the end of this document according to the country or region in which the Apple Product purchase took place. Apple or its successor in title is the warrantor under this warranty. Mac Warranty v2 070511 ONLINE INFORMATION More information of the following is available online: International Support Information www.apple.com/support/country Apple Authorized Service Providers support.apple.com/kb/HT1434 Apple Retail Store www.apple.com/retail/storelist/ Apple Support and Service support.apple.com/kb/HE57 Apple Complimentary Support www.apple.com/support/country/index. html?dest=complimentary Warranty Obligor for Region or Country of Purchase Region/Country of Purchase Address AMERICAS Brazil Apple Computer Brasil Ltda Av. Cidade Jardim 400, 2 Andar, Sao Paulo, SP Brasil 01454-901 Canada Apple Canada Inc. 7495 Birchmount Rd.; Markham, Ontario, Canada; L3R 5G2 Canada Mexico Apple Operations Mexico, S.A. de C.V. Prolongación Paseo de la Reforma #600, Suite 132, Colonia Peña Blanca, Santa Fé, Delegación Álvaro Obregón, México D. F., CP 01210, Mexico United States and Other Americas Countries Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, U.S.A. (c) Apple is not responsible for any labour costs you incur relating to DIY parts service. Should you require further assistance, contact Apple at the telephone number listed below. Apple reserves the right to change the method by which Apple may provide warranty service to you, and your Apple Product’s eligibility to receive a particular method of service. Service will be limited to the options available in the country where service is requested. Service options, parts availability and response times may vary according to country. You may be responsible for shipping and handling charges if the Apple Product cannot be serviced in the country it is in. If you seek service in a country that is not the country of purchase, you will comply with all applicable import and export laws and regulations and be responsible for all custom duties, V.A.T. and other associated taxes and charges. For international service, Apple may repair or replace products and parts with comparable products and parts that comply with local standards. LIMITATION OF LIABILITY EXCEPT AS PROVIDED IN THIS WARRANTY AND TO THE MAXIMUM EXTENT PERMITTED BY LAW, APPLE IS NOT RESPONSIBLE FOR DIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF WARRANTY OR CONDITION, OR UNDER ANY OTHER LEGAL THEORY, INCLUDING BUT NOT LIMITED TO LOSS OF USE; LOSS OF REVENUE; LOSS OF ACTUAL OR ANTICIPATED PROFITS (INCLUDING LOSS OF PROFITS ON CONTRACTS); LOSS OF THE USE OF MONEY; LOSS OF ANTICIPATED SAVINGS; LOSS OF BUSINESS; LOSS OF OPPORTUNITY; LOSS OF GOODWILL; LOSS OF REPUTATION; LOSS OF, DAMAGE TO, COMPROMISE OR CORRUPTION OF DATA; OR ANY INDIRECT OR CONSEQUENTIAL LOSS OR DAMAGE HOWSOEVER CAUSED INCLUDING THE REPLACEMENT OF EQUIPMENT AND PROPERTY, ANY COSTS OF RECOVERING, PROGRAMMING, OR REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH THE APPLE PRODUCT OR ANY FAILURE TO MAINTAIN THE CONFIDENTIALITY OF INFORMATION STORED IN THE APPLE PRODUCT. THE FOREGOING LIMITATION SHALL NOT APPLY TO DEATH OR PERSONAL INJURY CLAIMS, OR ANY STATUTORY LIABILITY FOR INTENTIONAL AND GROSS NEGLIGENT ACTS AND/OR OMISSIONS. APPLE DISCLAIMS ANY REPRESENTATION THAT IT WILL BE ABLE TO REPAIR ANY APPLE PRODUCT UNDER THIS WARRANTY OR REPLACE THE APPLE PRODUCT WITHOUT RISK TO OR LOSS OF INFORMATION STORED ON THE APPLE PRODUCT. SOME PROVINCES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION OR EXCLUSION MAY NOT APPLY TO YOU. RESIDENTS OF QUEBEC ARE GOVERNED BY THAT PROVINCE’S CONSUMER PROTECTION LEGISLATION. PRIVACY Apple will maintain and use customer information in accordance with the Apple Customer Privacy Policy available at www.apple.com/legal/warranty/privacy.Region/Country of Purchase Address EUROPE, MIDDLE EAST AND AFRICA All Countries Apple Distribution International Hollyhill Industrial Estate Hollyhill, Cork, Republic of Ireland ASIA PACIFIC Australia; New Zealand; Fiji, Papua New Guinea; Vanuatu Apple Pty. Limited. PO Box A2629, Sydney South, NSW 1235, Australia Hong Kong Apple Asia Limited 2401 Tower One, Times Square, Causeway Bay; Hong Kong India Apple India Private Ltd. 19th Floor, Concorde Tower C, UB City No 24, Vittal Mallya Road, Bangalore 560-001, India Japan Apple Japan Inc. 3-20-2 Nishishinjuku, Shinjuku-ku, Tokyo, Japan Korea Apple Korea Ltd. 3201, ASEM Tower; 159, Samsung-dong, Gangnam-Gu; Seoul 135-798, Republic of Korea Afghanistan, Bangladesh, Bhutan, Brunei, Cambodia, Guam, Indonesia, Laos, Singapore, Malaysia, Nepal, Pakistan, Philippines, Sri Lanka, Vietnam Apple South Asia Pte. Ltd. 7 Ang Mo Kio Street 64 Singapore 569086 People’s Republic of China Apple Computer Trading (Shanghai) Co. Ltd. Room 1815, No. 1 Jilong Road, Waigaoqiao Free Trade Zone, Shanghai 200131 China Thailand Apple South Asia (Thailand) Limited 25th Floor, Suite B2, Siam Tower, 989 Rama 1 Road, Pataumwan, Bangkok, 10330 Taiwan Apple Asia LLC 16A, No. 333 Tun Hwa S. Road. Sec. 2, Taipei, Taiwan 106 Other Asian Pacific Countries Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, U.S.A.© 2012 Apple Inc. All rights reserved. Apple, the Apple logo, AirPort Extreme, iPod, Mac, MacBook, and MagSafe are trademarks of Apple Inc., registered in the U.S. and other countries. Apple Store and AppleCare are service marks of Apple Inc., registered in the U.S. and other countries. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Apple Inc. is under license. ENERGY STAR® is a U.S. registered trademark. 034-6465-A Printed in XXXX Manual de Informações Importantes do Produto MacBook ProÁguas e locais úmidos Mantenha o seu MacBook Pro longe de fontes de líquidos, tais como bebidas, banheiras, pias, boxes e outros. Proteja o seu MacBook Pro da umidade ou do tempo úmido, como chuva, neve e nevoeiros. Adaptador de Alimentação MagSafe 2 de 85 W Use somente o adaptador de alimentação fornecido com o MacBook Pro, ou um adaptador de alimentação autorizado pela Apple que seja compatível com este produto. Certifiquese de que o plugue de corrente alternada ou o cabo de corrente alternada estejam inseridos completamente no adaptador de alimentação antes de conectar o adaptador a uma tomada elétrica. O adaptador de alimentação pode se aquecer bastante durante o uso normal. O Adaptador de Alimentação MagSafe 2 cumpre com os limites de temperatura de superfície acessível ao usuário definidos pelo Padrão Internacional de Segurança do Equipamento de Tecnologia de Informação (IEC 60950-1). Para reduzir a possibilidade do sobreaquecimento do adaptador de alimentação ou danos relacionados ao calor, realize uma das seguintes ações:  Conecte o adaptador de alimentação diretamente a uma tomada elétrica. Conector MagSafe 2 Plugue de corrente alternada Adaptador de Alimentação MagSafe 2  Se você estiver utilizando um cabo de alimentação de corrente alternada, coloque o adaptador de alimentação sobre uma escrivaninha, mesa ou no chão em um local com boa ventilação. Conector MagSafe 2 Adaptador de Alimentação MagSafe 2 Cabo de alimentação de corrente alternada Desconecte o adaptador de alimentação e todos os outros cabos caso ocorra uma destas condições:  Você deseja limpar o gabinete (use somente o procedimento recomendado descrito na próxima página).  Se o cabo de alimentação ou o plugue estiverem danificados.  O seu MacBook Pro ou o adaptador de alimentação foram expostos à chuva, umidade excessiva ou de algum líquido foi derramado dentro do gabinete. Este Manual de Informações Importantes do Produto contém informações normativas, de uso, descarte, reciclagem e informações sobre a licença do software, assim como a garantia limitada de um ano do seu MacBook Pro de 15 polegadas. ±Leia todas as informações de segurança e as instruções de funcionamento abaixo, antes de usar o seu MacBook Pro para evitar danos. Para obter uma versão transferível do MacBook Pro Manual de Início Rápido e a última versão deste Manual de Informações Importantes do Produto, visite: support.apple.com/pt_BR/manuals/ macbookpro Informações Importantes de Uso e Segurança ADVERTÊNCIA:??A omissão do seguimento destas instruções de segurança pode resultar em incêndio, choque elétrico ou outros danos e prejuízos ao MacBook Pro ou a outras propriedades. Bateria integrada Não remova a bateria do seu MacBook Pro. A bateria só pode ser substituída por um fornecedor de serviços autorizado Apple. Interrompa o uso do seu MacBook Pro se ele cair ou for amassado, dobrado, deformado ou danificado. Não exponha seu MacBook Pro a fontes de calor extremas, tais como radiadores ou lareiras, onde as temperaturas podem exceder 100ºC. Utilização adequada A parte inferior do seu MacBook Pro pode se aquecer bastante durante o uso normal. O MacBook Pro cumpre com os limites de temperatura de superfície acessível ao usuário definidos pelo Padrão Internacional de Segurança do Equipamento de Tecnologia de Informação (IEC 60950-1). Para utilizar o computador de forma segura e reduzir a possibilidade de danos relacionados com a saúde, siga estas diretrizes:  Configure o seu MacBook Pro sobre uma superfície de trabalho estável que permita uma adequada circulação de ar sob e ao redor do computador.  Não use o seu MacBook Pro sobre um travesseiro ou outro material macio, pois o material pode bloquear a ventilação do fluxo de ar.  Não coloque nunca nada sobre o teclado ao usar o seu MacBook Pro.  Nunca coloque objetos nas aberturas de ventilação.  Se o seu MacBook Pro estiver no seu colo e se aquecer de forma inconfortável, retire-o do seu colo e coloque-o sobre uma superfície de trabalho estável.através das aberturas de ventilação ou do slot da unidade óptica ou que poderiam ficar presos dentro de uma porta. Inclusive, mantenha os itens magneticamente sensíveis longe da porta de alimentação MagSafe 2. Como usar conectores e portas Nunca force um conector em uma porta. Ao conectar um dispositivo, certifique-se de que a porta esteja livre de fragmentos, que o conector coincide com a porta e que você posicionou o conector corretamente em relação à porta. Como cuidar das peças de vidro O seu MacBook Pro contém componentes de vidro, incluindo a tela e o trackpad. Se elas forem danificadas, não utilize o seu MacBook Pro até que ele tenha sido reparado por um fornecedor de serviços autorizado Apple. Como guardar o seu MacBook Pro Se você for guardar o seu MacBook Pro por um período prolongado, mantenha-o em um local fresco (idealmente 22° C) e descarregue a bateria até alcançar 50 por cento ou menos. Ao guardar o seu computador por mais de cinco meses, descarregue a bateria até alcançar 50 por cento aproximadamente. Para manter a capacidade da bateria, recarregue-a em 50 por cento a cada seis meses, mais ou menos. Como limpar o seu MacBook Pro Ao limpar o exterior do seu MacBook Pro e seus componentes, primeiramente desligue o MacBook Pro e desconecte o adaptador de alimentação. Em seguida, umedeça o pano de limpeza incluído para limpar o exterior do MacBook Pro. Evite deixar entrar umidade nas aberturas. Não utilize líquidos em spray diretamente no seu computador. Não utilize aerossóis, solventes ou abrasivos que possam danificar o acabamento. Como limpar a tela do MacBook Pro Para limpar a tela do MacBook Pro primeiramente desligue o MacBook Pro e desconecte o adaptador de alimentação. Em seguida, umedeça o pano de limpeza fornecido com um pouco de água e limpe a tela. Não borrife líquidos diretamente na sua tela. Dicas sobre Ergonomia Aqui estão algumas dicas para ajustar o seu ambiente de trabalho e torná-lo saudável. Teclado e Trackpad Ao usar o teclado e o trackpad, seus ombros devem estar relaxados. O seu braço e o antebraço devem formar um ângulo pouco maior que 90 graus, com o seu pulso e sua mão quase em uma linha reta. Este Este não  Se o seu MacBook Pro ou adaptador de alimentação foi derrubado, o gabinete foi danificado ou você acha que é necessário obter serviço ou reparação. A porta de alimentação do MagSafe 2 (a qual você conecta o conector MagSafe 2) contém um ímã que pode apagar os dados de um cartão de crédito, do iPod ou de outro dispositivo. Para preservar seus dados, não coloque estes ou outro material ou dispositivo magneticamente sensível a menos de 25 mm de distância desta porta. Se cair algum fragmento dentro da porta de alimentação MagSafe 2, remova-o cuidadosamente com um cotonete seco. Especificações de potência do MagSafe 2: Frequência: 50 a 60 Hz, fase única Voltagem de Linha: 100 a 240 V Voltagem de Saída: 20 V DC, 4,25 A Danos à audição É possível ocorrer a perda permanente da audição se os fones de ouvido normais ou do tipo auricular forem usados em alto volume. Com o tempo, você pode adaptar-se a ouvir um volume elevado de som, que pode parecer normal, mas que pode danificar a sua audição. Se você sentir um zumbido nos ouvidos ou um som abafado, interrompa o uso e consulte um médico especialista em audição. Quanto mais alto o volume, menor o tempo requerido antes que a sua audição seja afetada. Os especialistas em audição sugerem que para proteger a sua audição, você deve:  Limitar o tempo que você usa os fones de ouvido normais ou do tipo auriculares em alto volume.  Evite aumentar o volume para bloquear os ruídos do ambiente.  Abaixe o volume caso não consiga escutar as pessoas falando próximas a você. Atividades de alto risco Este computador não foi feito para ser usado na operação de instalações nucleares, navegação de aeronaves ou sistemas de comunicação, sistemas de controle de tráfico aéreo ou qualquer outro uso onde uma falha do sistema do computador poderia causar a morte, danos pessoais ou danos graves ao meio ambiente. Ambiente operacional O funcionamento do seu MacBook Pro fora destes limites pode afetar o desempenho: Temperatura de funcionamento: 10° a 35° C Temperatura de armazenamento: -20° a 45° C Umidade relativa: 5% a 90% (não condensação) Altitude de funcionamento: 0 a 3048 metros Como carregar o seu MacBook Pro Se você carrega o seu MacBook Pro em uma bolsa ou pasta, certifique-se de que não haja itens soltos (tais como clipes ou moedas) que poderiam entrar de forma acidental dentro do computador Apple e o Meio-Ambiente A Apple Inc. reconhece que tem grande responsabilidade na minimização do impacto ambiental causado por seus produtos e operações. Mais informações estão disponíveis na web: www.apple.com/br/environment Mais Informações Sobre Serviço e Suporte Seu MacBook Pro não possui peças que possam ser reparadas pelo usuário. Se precisar de serviço, entre em contato com a Apple ou leve o seu MacBook Pro a um fornecedor de serviços autorizado da Apple. Você pode encontrar mais informações sobre o MacBook Pro através da Central da Ajuda, dos recursos on-line, das Informações do Sistema e do Apple Hardware Test. Central de Ajuda Geralmente você pode encontrar respostas às suas perguntas, bem como instruções e informações sobre solução de problemas, na Central de Ajuda do seu Mac. Clique no ícone do Finder, clique em Ajuda na barra de menus e escolha Central de Ajuda. Recursos on-line Para obter informações de serviço e suporte on-line, visite o site www.apple.com/support e escolha seu país no menu local. Você pode pesquisar a AppleCare Knowledge Base, verificar atualizações de software ou obter ajuda nos fóruns de discussão da Apple. Informações do Sistema Para obter informações sobre o seu MacBook Pro, utilize as Informações do Sistema. Mostra quais hardwares e softwares estão instalados, o número de série e a versão do sistema operacional, a quantidade de memória instalada e mais. Para abrir as Informações do Sistema, escolha Apple (?) > Sobre este Mac na barra de menus e clique em Mais Informações. Apple Hardware Test Você pode usar o aplicativo Apple Hardware Test (AHT) para ajudar a determinar se existe um problema com um dos componentes do computador, como a memória ou o processador. Para utilizar o Apple Hardware Test: Desconecte todos os dispositivos externos do seu computador, exceto o adaptador de alimentação. Reinicie o seu computador e mantenha pressionada a tecla D até que ele se inicialize. Quando a tela do seletor do AHT aparecer, selecione o idioma para a sua localização. Pressione a tecla Retorno ou clique no botão de seta direita. Quando a tela principal do AHT (depois de 45 segundos), siga as instruções da tela. Se o AHT detectar um problema, ele exibirá um código de erro. Anote o código do erro antes de buscar alternativas de suporte. Se o AHT não detectar uma falha de hardware, talvez o problema esteja relacionado com o software. Toque levemente o teclado ao digitar ou usar o trackpad e mantenha suas mãos e dedos relaxados. Evite rolar seus polegares sob as palmas das mãos. Este Este não Altere sempre a posição das mãos para evitar fatiga. Alguns usuários de computadores podem desenvolver desconfortos em suas mãos, pulsos ou braços após o uso intensivo sem intervalos. Se começar a desenvolver uma dor crônica ou desconforto nas suas mãos, pulsos e ombros, consulte um médico especialista qualificado. Mouse Externo Se você usa um mouse externo, coloque o mouse na mesma altura que o teclado e em um alcance confortável. Cadeira É preferível utilizar uma cadeira ajustável que forneça um suporte firme e cômodo. Ajuste a altura da cadeira para que as suas pernas estejam na posição horizontal e seus pés estejam apoiados no chão. O encosto da cadeira deve apoiar a parte inferior de suas costas (a região lombar). Siga as instruções do fabricante para ajustar o encosto da cadeira de forma que se adapte perfeitamente ao seu corpo. Talvez você tenha que abaixar a sua cadeira para que os seus antebraços e mãos estejam em um ângulo adequado com o teclado. Se isso impedir que você coloque os seus pés apoiados completamente no chão, você pode usar um apoio para os pés com altura regulável para eliminar o espaço entre o chão e seus pés. Ou você também pode abaixar a área de trabalho para eliminar a necessidade de um apoio para os pés. Outra opção é usar uma mesa com uma bandeja para o teclado que seja mais baixa que a superfície normal de trabalho. Tela Integrada Ajuste o ângulo da tela para minimizar brilhos e reflexos de luzes superiores e janelas. Não force a tela se encontrar resistência. A tela não foi desenhada para abrir-se mais do que 135 graus. Você pode ajustar o brilho da tela ao levar o computador de um local a outro, ou se a luz da sua área de trabalho for alterada. Na Internet você poderá encontrar mais informações sobre ergonomia: www.apple.com/about/ergonomicsInformações de Conformidade Regulamentares FCC Compliance Statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. See instructions if interference to radio or television reception is suspected. Radio and Television Interference This computer equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures:  Turn the television or radio antenna until the interference stops.  Move the computer to one side or the other of the television or radio.  Move the computer farther away from the television or radio.  Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple Authorized Service Provider or Apple. See the service and support information that came with your Apple product. Or consult an experienced radio/ television technician for additional suggestions. Important: Changes or modifications to this product not authorized by Apple Inc. could void the EMC compliance and negate your authority to operate the product. This product 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 Suporte e Serviço AppleCare Seu MacBook Pro é fornecido com 90 dias de garantia para suporte técnico e um ano de cobertura de garantia para reparações de hardware. As reparações em garantia podem ser solicitadas em uma loja de varejo Apple ou em um centro de reparos autorizado Apple, como por exemplo, um fornecedor de serviços autorizado Apple. Você pode aumentar o prazo de cobertura da garantia comprando um plano AppleCare Protection Plan. Para obter informações, visite o site www.apple.com/br/support/products ou visite o endereço do site do seu país listado posteriormente nesta seção. Se precisar de assistência, os representantes do suporte telefônico AppleCare poderão ajudá-lo com a instalação e abertura de aplicativos, e com a solução de problemas. Ligue para a central de suporte mais próxima de você (os primeiros 90 dias são gratuitos). Tenha a data de compra e o número de série do MacBook Pro quando fizer sua chamada. Os 90 dias de suporte telefônico gratuitos começam na data de compra. Brasil: 0800-761-0880 www.apple.com/support/country Os números de telefone podem mudar e as taxas de chamadas telefônicas nacionais podem ser aplicadas. Uma lista completa está disponível na web: www.apple.com/br/support/contactEurope–EU Declaration of Conformity ????????? Apple Inc. ?????????, ?? ???? MacBook Pro ? ? ???????????? ??? ???????????? ?????????? ? ??????? ????????? ??????? ?? ????????? 1999/5/??. Cesky Spolecnost Apple Inc. tímto prohlašuje, že tento MacBook Pro je ve shode se základními požadavky a dalšími príslušnými ustanoveními smernice 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. English Hereby, Apple Inc. declares that this MacBook Pro is in compliance with the essential requirements and other relevant provisions of Directive 1999/5/EC. Español Por medio de la presente Apple Inc. declara que este MacBook Pro cumple con los requisitos esenciales y cualesquiera otras disposiciones aplicables o exigibles de la Directiva 1999/5/CE. ???????? Me t?? pa???sa, ? Apple Inc. d????e? ?t? a?t? ? s?s?e?? MacBook Pro s?µµ??f??eta? p??? t?? ßas???? apa?t?se?? ?a? t?? ???p?? s?et???? d?ata´?e?? t?? ?d???a? 1999/5/??. 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. deklare, ka MacBook Pro ierice atbilst Direktivas 1999/5/EK butiskajam prasibam un citiem ar to saistitajiem noteikumiem. Lietuviu 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. 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 91-1EMC 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 AirPort Extreme technology is below the FCC and EU 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. 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. European Compliance Statement This product complies with the requirements of European Directives 2006/95/EC, 2004/108/EC, and 1999/5/EC.Korea Warning Statements B???(??????????) ???????(B?) ??????????? ????????????????, ??? ???????????. ???????????? ???????????????????? ???????????????????????? ???? ?? ? ?? Singapore Wireless Certification Taiwan Wireless Statements Taiwan Class B Statement ?? ????????????????? ??????????????? Malti Hawnhekk, Apple Inc., jiddikjara li dan MacBook Pro jikkonforma mal-htigijiet essenzjali u ma provvedimenti ohrajn relevanti li hemm fid-Dirrettiva 1999/5/EC. 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. oswiadcza, ze ten MacBook Pro sa zgodne z zasadniczymi wymogami oraz pozostalymi 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. Româna Prin prezenta, Apple Inc. declara ca acest aparat MacBook Pro este în conformitate cu cerintele esentiale si 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 dolocili direktive 1999/5/ES. Slovensky Apple Inc. týmto vyhlasuje, že toto MacBook Pro splna 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: European Community Restrictions Français Pour usage en intérieur uniquement. Consultez l’Autorité de Régulation des Communications Electroniques et des Postes (ARCEP) pour connaître les limites d’utilisation des canaux 1 à 13. www.arcep.frInformações sobre Descarte e Reciclagem Este símbolo indica que o seu produto deve ser descartado de modo apropriado de acordo com as leis e regulamentações locais. Quando seu produto atingir o fim de sua vida útil, entre em contato com a Apple ou com as autoridades locais para saber sobre as opções de reciclagem. Para obter informações sobre o programa de reciclagem da Apple, visite o site: www.apple.com/br/recycling European Union—Disposal Information The symbol above means that according to local laws and regulations your product should be disposed of separately from household waste. When this product reaches its end of life, take it to a collection point designated by local authorities. Some collection points accept products for free. The separate collection and recycling of your product at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. Türkiye EEE yönetmeligine (Elektrikli ve Elektronik Esyalarda Bazi Zararli Maddelerin Kullaniminin Sinirlandirilmasina 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. Informações sobre o descarte da bateria Descarte as baterias de acordo com suas leis e diretrizes ambientais locais. 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. Japan VCCI Class B Statement Russia Informações de Modem Externo USB Ao conectar o seu MacBook Pro à linha telefônica usando um modem USB externo, consulte as informações da agência de telecomunicações na documentação fornecida com o seu modem. 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 energy-efficient 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 button or press any key on the keyboard. For more information about ENERGY STAR®, visit: www.energystar.govContrato de Licença de Software O uso do MacBook Pro constitui uma aceitação dos termos da licença de software da Apple e de terceiros, que podem ser encontrados em: www.apple.com/legal/sla Garantia Limitada da Apple pelo Prazo de 1 (Um) Ano - Mac Somente para Produtos da Marca Apple COMO A LEI CONSUMERISTA SE APLICA A ESTA GARANTIA ESTA GARANTIA CONCEDE AO ADQUIRENTE DETERMINADOS DIREITOS. NO ENTANTO, O CLIENTE TAMBÉM PODERÁ TER OUTROS DIREITOS QUE VARIAM DE ESTADO PARA ESTADO (OU DE PAÍS OU PROVÍNCIA). COM EXCEÇÃO DO PERMITIDO POR LEI, A APPLE NÃO EXCLUI, LIMITA OU SUSPENDE QUAISQUER DIREITOS DO CLIENTE, INCLUINDO AQUELES DECORRENTES DA NÃO CONFORMIDADE COM O CONTRATO DE VENDA. PARA INFORMAÇÃO DE SEUS DIREITOS, O CLIENTE DEVE CONSULTAR AS LEIS APLICÁVEIS DE SEU PAÍS, PROVÍNCIA OU ESTADO. LIMITAÇÕES DA GARANTIA DESDE QUE PERMITIDO POR LEI, ESTA GARANTIA E AS CONDIÇÕES ORA PREVISTAS SÃO EXCLUSIVAS E SUBSTITUEM TODAS AS OUTRAS GARANTIAS, REPARAÇÕES E CONDIÇÕES, SEJAM VERBAIS, ESCRITAS, ESTATUTÁRIAS, EXPRESSAS OU IMPLÍCITAS. A APPLE NAO RECONHECE GARANTIAS ESTATUTÁRIAS E IMPLÍCITAS, INCLUINDO, MAS NÃO SE LIMITANDO A: GARANTIAS MERCANTIS E DE APTIDÃO PARA USO ESPECÍFICO E GARANTIAS CONTRA DEFEITOS OCULTOS OU NÃO APARENTES, NA EXTENSÃO PERMITIDA POR LEI. NA MEDIDA EM QUE TAIS GARANTIAS NÃO POSSAM SER DESCONSIDERADAS, A APPLE RESPEITARÁ O PRAZO PREVISTO EM LEI, LIMITADO AO PRAZO DE DURAÇÃO DA GARANTIA EXPRESSA E DOS SERVIÇOS DE REPARO OU SUBSTITUIÇÃO DESCRITOS ABAIXO, A SEU EXCLUSIVO CRITÉRIO. ALGUNS ESTADOS (PAÍSES E PROVÍNCIAS) NÃO PERMITEM LIMITAÇÕES DURANTE A VIGÊNCIA DE UMA GARANTIA IMPLÍCITA (OU CONDIÇÃO), CASO EM QUE AS LIMITAÇÕES ACIMA NÃO SE APLICARÃO. O QUE ESTÁ COBERTO POR ESTA GARANTIA? A Apple garante o produto de hardware da marca Apple e os acessórios contidos na embalagem original (“Produto Apple”), contra defeitos nos materiais e mão-de-obra quando utilizados sob condições normais, de acordo com as diretrizes da Apple, pelo prazo de 1 (UM) ANO, contado da data da compra do produto Cliente (“Prazo de Garantia”). As diretrizes da Apple incluem, mas não se limitam a informações contidas nas especificações técnicas, nos manuais de uso e nas comunicações de suporte. O Prazo de Garantia já inclui o prazo de garantia legal previsto pelo Código de Defesa do Consumidor. O QUE NÃO ESTÁ COBERTO POR ESTA GARANTIA? Esta garantia não é aplicável a nenhum produto de hardware que não seja da marca Apple e a nenhum software, ainda que embalado ou vendido com o hardware da Apple. Fabricantes, China Battery Statement Taiwan Battery Statement Substituição da Bateria A bateria recarregável só pode ser substituída pela Apple ou por um fornecedor de serviços autorizado Apple. Para obter mais informações sobre os serviços de substituição da bateria, consulte: http://www.apple.com/batteries/replacements.html Battery Charger Efficiency 020-5563-A EFUP15chinaHIPÓTESE, A APPLE E SEUS PREPOSTOS NÃO SÃO RESPONSÁVEIS POR QUALQUER PERDA DE PROGRAMAS DE SOFTWARE, DADOS OU OUTRAS INFORMAÇÕES CONTIDAS NA MÍDIA DE ARMAZENAMENTO OU EM QUALQUER OUTRA PARTE DO PRODUTO APPLE. Após a realização do suporte em garantia, será entregue ao Cliente o produto Apple ou um produto da marca Apple, em substituição, nas mesmas condições ou similar ao produto inicialmente adquirido, com configurações idênticas ou similar, estando sujeito, no entanto, às atualizações aplicáveis. O Cliente será responsável por reinstalar todos os outros programas de software, dados e informações. Recuperação e reinstalação de outros programas de software, dados e informações não estão cobertas por esta garantia. QUAIS MEDIDAS SERÃO ADOTADAS PELA APPLE, CASO UM REPARO EM GARANTIA SEJA NECESSÁRIO ? Se durante o Prazo de Garantia o Cliente submeter uma solicitação de suporte válida para a Apple ou para uma AASP, a Apple irá, a seu exclusivo critério, (i) reparar o produto Apple utilizando peças novas ou, mediante autorização expressa do Cliente, peças recondicionadas e equivalentes a novas em termos de desempenho e confiabilidade, (ii) substituir o produto Apple por outro com funcionalidade equivalente a do produto Apple e com partes e peças novas e/ou, mediante autorização expressa do Cliente, recondicionadas e/ou equivalentes a novas, em termos de desempenho e confiabilidade, ou (iii) efetuar o reembolso do valor do produto Apple pelo seu preço de compra. A Apple poderá solicitar ao Cliente a substituição de certas peças ou produtos cuja instalação possa ser feita diretamente pelo Cliente. A peça ou produto de reposição, incluindo a peça que venha a ser instalada pelo Cliente, de acordo com as instruções da Apple estarão cobertos pela garantia por um prazo equivalente ao restante do período da garantia do produto original ou por 90 (noventa) dias, contados da data da substituição ou reparo, o que for maior. Na hipótese de troca do produto ou de partes e peças, bem como de reembolso do valor do produto ou de partes e peças, qualquer que seja o item de reposição, tal passará a ser de propriedade do Cliente, sendo que o item substituído passará a ser de propriedade da Apple. COMO OBTER SUPORTE EM GARANTIA? O Cliente deverá acessar e verificar os recursos de ajuda online abaixo descritos, antes de solicitar um suporte em garantia. Caso o produto Apple não esteja funcionando adequadamente após a adoção das medidas informadas, o Cliente deverá entrar em contato com um representante da Apple ou, se aplicável, contatar a loja autorizada Apple (“Loja Apple”), onde o produto foi adquirido ou uma AASP, conforme instruções abaixo. Um representante da Apple ou de uma AASP verificará se o produto Apple necessita ou não de suporte e, caso positivo, informará o Cliente como a Apple realizará o suporte. Ao contatar a Apple por telefone, tarifas telefônicas poderão ser cobradas, dependendo da localidade do Cliente. Informações online com os detalhes sobre a obtenção de suporte em garantia constam ao final deste documento. fornecedores ou editores que não fazem parte do grupo Apple poderão fornecer suas próprias garantias ao Cliente. A Apple, na medida permitida por lei, fornece os produtos “NO ESTADO EM QUE SE ENCONTRAM”. O software distribuído pela Apple, da marca Apple ou não (incluindo, mas, não se limitando ao software de sistema) não está coberto por esta garantia. O Cliente deverá verificar o contrato de licença que acompanha o software para obter informações mais detalhadas sobre os direitos de uso do referido software. A Apple não garante que o funcionamento do produto será ininterrupto ou livre de erros. A Apple não é responsável por danos decorrentes de falha no cumprimento das instruções relacionadas ao uso dos Produtos Apple. Esta garantia não é aplicável: (a) a peças consumíveis, tais como baterias, a não ser que o dano tenha ocorrido devido a um defeito no material ou mão-de-obra; (b) a danos cosméticos, que incluem mas, não se limitam a, arranhões, amassados e plástico quebrado nas portas; (c) a danos causados pelo uso em conjunto com outros produtos; (d) a danos causados por acidente, abuso, mau uso, contato com líquidos, incêndio, terremoto ou outras causas de origem externa; (e) a danos causados pelo uso do produto em desacordo com as diretrizes publicadas pela Apple; (f) a danos causados por serviços (incluindo upgrades e expansões) prestados por qualquer pessoa que não seja um representante da Apple ou uma Assistência Técnica Autorizada Apple (“AASP”); (g) a um Produto Apple que tenha sido modificado de modo a alterar a sua funcionalidade ou a sua capacidade, sem a permissão por escrito da Apple; (h) a defeitos causados por desgaste natural ou de outra maneira devido ao desgaste normal do Produto Apple; ou (i) se qualquer número de série do produto Apple tiver sido removido ou alterado. RESPONSABILIDADES DO CLIENTE CASO HAJA POSSIBILIDADE DE ARMAZENAR PROGRAMAS DE SOFTWARE DADOS OU QUALQUER OUTRA INFORMAÇÃO EM SEU PRODUTO APPLE, O CLIENTE DEVERÁ EFETUAR CÓPIAS DE PROTEÇÃO (BACKUP) PERIÓDICAS DAS INFORMAÇÕES CONTIDAS NA MÍDIA DE ARMAZENAMENTO DO PRODUTO APPLE COMO FORMA DE PROTEÇÃO DOS CONTEÚDOS E DE PRECAUÇÃO CONTRA EVENTUAIS FALHAS OPERACIONAIS. Antes de receber um suporte em garantia, a Apple ou seus prepostos poderão solicitar ao Cliente que o mesmo forneça a prova de compra (nota fiscal), responda às perguntas formuladas para auxílio no diagnóstico de potenciais problemas e siga os procedimentos da Apple para obtenção de suporte em garantia. Antes de enviar seu produto Apple para reparo em garantia, o Cliente deverá: manter em separado uma cópia (backup) dos conteúdos da mídia de armazenamento, remover todas as informações pessoais que pretenda proteger e desabilitar todas as senhas de segurança. DURANTE A REALIZAÇÃO DO REPARO EM GARANTIA É POSSÍVEL QUE O CONTEÚDO DA MÍDIA DE ARMAZENAMENTO DO PRODUTO APPLE SEJAM PERDIDOS, SUBSTITUÍDOS OU REFORMATADOS. EM QUALQUER A Apple se reserva o direito de alterar seus critérios de suporte em garantia. O suporte fica limitado às opções disponíveis no País em que o suporte é solicitado. Opções de suporte, disponibilidade de partes e peças e tempo de resposta podem variar de País para País. O Cliente poderá ser responsável pelas despesas de envio e mão de obra, se o produto Apple não puder ser reparado no País em que estiver. Se o Cliente solicitar suporte em um país que não seja o país da compra do produto Apple, o Cliente deverá cumprir com todas as leis e regulamentos de importação e exportação aplicáveis e se responsabilizar por todas as taxas alfandegárias, impostos adicionais e outras cobranças e tributos associados. Para locais em que o serviço internacional estiver disponível, a Apple poderá reparar ou substituir produto, partes e peças com produtos e peças similares que atendam os padrões locais. LIMITAÇÃO DE RESPONSABILIDADE EXCETO CONFORME PREVISTO NESTA GARANTIA E NA MEDIDA MÁXIMA PERMITIDA PELA LEGISLAÇÃO APLICÁVEL, A APPLE NÃO É RESPONSÁVEL POR DANOS DIRETOS, ESPECIAIS, INCIDENTAIS OU SUPERVENIENTES RESULTANTES DE QUALQUER VIOLAÇÃO DE GARANTIA OU CONDIÇÃO, OU SOB QUALQUER OUTRA TEORIA LEGAL, INCLUINDO MAS, NÃO SE LIMITANDO A PERDA DE UTILIDADE; PERDA DE RENDA; LUCROS CESSANTES PRESENTES OU ANTECIPADOS (INCLUINDO LUCROS CESSANTES EM CONTRATOS); PERDA DO USO DO DINHEIRO; PERDA DE POUPANÇA ANTECIPADA; PERDA DO NEGÓCIO; PERDA DE OPORTUNIDADE; PERDA DE FUNDO DE COMÉRCIO (GOODWILL); PERDA DE REPUTAÇÃO; PERDA, DANOS, COMPROMETIMENTO OU CORRUPÇÃO DE DADOS OU QUAISQUER PERDAS OU DANOS INDIRETOS OU SUPERVENIENTES, INDEPENDENTEMENTE DA FORMA COMO FORAM CAUSADOS, INCLUINDO A SUBSTITUIÇÃO DE EQUIPAMENTO E PROPRIEDADE, QUAISQUER CUSTOS DE RECUPERAÇÃO, PROGRAMAÇÃO OU REPRODUÇÃO DE QUALQUER PROGRAMA OU DADO ARMAZENADO OU UTILIZADO COM O PRODUTO APPLE OU QUALQUER FALHA EM MANTER A CONFIDENCIALIDADE DOS DADOS ARMAZENADOS NO PRODUTO APPLE. A RESTRIÇÃO ACIMA NÃO SE APLICA ÀS REIVINDICAÇÕES POR MORTE OU LESÃO CORPORAL OU A QUALQUER OBRIGAÇÃO ESTATUTÁRIA POR ATOS E/OU OMISSÕES INTENCIONAIS. A APPLE NÃO FORNECE QUALQUER GARANTIA DE QUE REPARARÁ QUALQUER PRODUTO APPLE SOB ESTA GARANTIA OU DE QUE FARÁ A TROCA DE PRODUTO APPLE SEM RISCO OU PERDA DE INFORMAÇÕES ARMAZENADAS NO PRODUTO APPLE. ALGUNS ESTADOS (PAÍSES E PROVÍNCIAS) NÃO PERMITEM A EXCLUSÃO OU LIMITAÇÃO DE DANOS INCIDENTAIS OU INDIRETOS, DE FORMA QUE A LIMITAÇÃO OU EXCLUSÃO ACIMA PODE NÃO SER APLICÁVEL. PRIVACIDADE A Apple irá manter e usar as informações do Cliente de acordo com a Política da Apple referente de Privacidade do Cliente, disponível no endereço www.apple.com/legal/warranty/privacy. OPÇÕES DE SUPORTE EM GARANTIA A Apple fornecerá suporte em garantia por meio de uma das seguintes opções: (i) Suporte mediante entrega pessoal. O Cliente poderá enviar o produto Apple para uma Loja Apple ou AASP mediante entrega pessoal. O serviço será realizado no próprio local, ou a Loja Apple ou a AASP poderão enviar o produto Apple para reparo em um Centro de Reparo Apple (“ARS”). Quando o Cliente for notificado acerca da conclusão do serviço, o Cliente deve, imediatamente, retirar o Produto Apple da Loja Apple ou da AASP ou o Produto Apple será enviado diretamente do ARS para o endereço previamente informado pelo Cliente. (ii) Suporte mediante postagem. Caso a Apple determine que o produto Apple do Cliente é elegível ao suporte mediante postagem, a Apple enviará os documentos de postagem pré-pago ao Cliente e, se aplicável, material de embalagem, para que o Cliente possa enviar o Produto Apple para um ARS ou uma AASP, de acordo com as instruções da Apple. Quando da finalização do serviço, o ARS ou a AASP devolverá o produto Apple ao cliente. A Apple efetuará o pagamento dos custos de envio de e para a localidade do Cliente, se todas as instruções forem seguidas. (iii) Auto-Suporte (“Serviço DIY”). O Serviço DIY permite que o Cliente repare seu próprio Produto Apple. Se o Serviço DIY estiver disponível, o seguinte procedimento será aplicável. (a) Suporte em que a Apple solicita o retorno do produto ou parte(s) substituída(s). A Apple poderá solicitar, por segurança, uma autorização de cobrança em cartão de crédito, no valor de varejo do produto ou da peça de substituição e custos de envio aplicáveis. Caso o Cliente não possa fornecer a autorização de cobrança em cartão de crédito, o Serviço DIY poderá não estar disponível ao Cliente e a Apple oferecerá meios alternativos de suporte. A Apple irá enviar um produto ou uma peça de substituição para o Cliente com instruções de instalação, se aplicável, e quaisquer outras instruções para o retorno do produto ou da(s) peça(s) substituída(s). Se o Cliente seguir as instruções, a Apple irá cancelar a autorização de cobrança em cartão de crédito e o Cliente não será cobrado pelo produto ou pela peça, bem como pelo envio de e para sua localização. Se o Cliente não retornar o produto ou a(s) peça(s) substituída(s) como instruído ou se devolver um produto ou uma peça que não seja elegível para suporte, a Apple irá debitar no cartão de crédito do Cliente o valor autorizado. (b) Suporte em que a Apple não solicita o retorno do produto ou parte(s) substituída(s). A Apple irá enviar ao Cliente, sem custos, um produto ou uma peça de substituição acompanhada de instruções de instalação, se aplicável, e quaisquer outras instruções. (c) A Apple não é responsável por quaisquer custos de mão de obra que o Cliente venha a incorrer com relação ao Serviço DIY. Caso o Cliente necessite de assistência adicional, deverá contatar a Apple através do número de telefone listado abaixo.Região/País de Aquisição Endereço ÁSIA - PACÍFICO Austrália; Nova Zelândia; Fiji, Papua Nova Guiné; Vanuatu Apple Pty. Limited. PO Box A2629, Sydney South, NSW 1235, Australia Hong Kong Apple Asia Limited 2401 Tower One, Times Square, Causeway Bay; Hong Kong Índia Apple India Private Ltd. 19th Floor, Concorde Tower C, UB City No 24, Vittal Mallya Road, Bangalore 560-001, India Japão Apple Japan Inc. 3-20-2 Nishishinjuku, Shinjuku-ku, Tokyo, Japan Coreia Apple Korea Ltd. 3201, ASEM Tower; 159, Samsung-dong, Gangnam-Gu; Seoul 135-798, Republic of Korea Afeganistão, Bangladesh, Butão, Brunei, Camboja, Guam, Indonésia, Laos, Singapura, Malásia, Nepal, Paquistão, Filipinas, Sri Lanka, Vietnã Apple South Asia Pte. Ltd. 7 Ang Mo Kio Street 64 Singapore 569086 República Popular da China Apple Computer Trading (Shanghai) Co. Ltd. Room 1815, No. 1 Jilong Road, Waigaoqiao Free Trade Zone, Shanghai 200131 China Tailândia Apple South Asia (Thailand) Limited 25th Floor, Suite B2, Siam Tower, 989 Rama 1 Road, Pataumwan, Bangkok, 10330 Taiwan Apple Asia LLC 16A, No. 333 Tun Hwa S. Road. Sec. 2, Taipei, Taiwan 106 Outros Países da Ásia - Pacífico Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, U.S.A. 032212 Mac Warranty LatAM Portuguese v2 DISPOSIÇÕES GERAIS Nenhum revendedor, agente ou empregado da Apple está autorizado a efetuar qualquer modificação, extensão ou adição a esta garantia. Se qualquer termo for considerado ilegal ou inaplicável, a legalidade ou a aplicabilidade dos termos restantes não serão afetadas ou prejudicadas. Esta garantia é regida e interpretada de acordo com as leis do País em que a compra do Produto Apple foi realizada. A Apple está identificada no final deste documento, de acordo com o País ou região em que a compra do produto Apple foi realizada. A Apple ou seus sucessores são os garantidores desta garantia. INFORMAÇÕES ONLINE Maiores informações estão disponíveis online: Informações de Suporte Internacional www.apple.com/support/country Assistências Técnicas Autorizadas Apple support.apple.com/kb/HT1434 Loja de Varejo Apple www.apple.com/retail/storelist/ Suporte e Serviço da Apple support.apple.com/kb/HE57 Suporte Complementar da Apple www.apple.com/support/country/ index.html?dest=complimentary Localidade Da Garantia Por Região Ou País De Aquisição Do Produto Apple Região/País de Aquisição Endereço AMÉRICAS Brasil Apple Computer Brasil Ltda Av. Cidade Jardim 400, 2 Andar, Sao Paulo, SP Brasil 01454-901 Canadá Apple Canada Inc. 7495 Birchmount Rd.; Markham, Ontario, Canada; L3R 5G2 Canada México Apple Operations Mexico, S.A. de C.V. Prolongación Paseo de la Reforma #600, Suite 132, Colonia Peña Blanca, Santa Fé, Delegación Álvaro Obregón, México D. F., CP 01210, Mexico Estados Unidos da América e demais países do continente Americano Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, U.S.A. EUROPA, ORIENTE MÉDIO E ÁFRICA Todos os Países Apple Distribution International Hollyhill Industrial Estate Hollyhill, Cork, Republic of Ireland© 2012 Apple Inc. Todos os direitos reservados. Apple, o lgotipo da Apple, AirPort Extreme, iPod, Mac, MacBook e MagSafe são marcas comerciais da Apple Inc., registradas nos EUA e em outros países. Apple Store e AppleCare são marcas de serviço da Apple Inc., registradas nos EUA e em outros países. A marca Bluetooth® e seus logotipos são marcas registradas de propriedade da Bluetooth SIG, Inc. e qualquer uso de tais marcas pela Apple Inc. se realiza sob licença. ENERGY STAR® é uma marca registrada nos EUA. BR034-6359-A Printed in XXXX ????????? ??????? MacBook Air???????????????????????????? MagSafe 2 ????????IT?????????????? (International Standard for Safety of Information Technology Equipment?IEC 60950-1)????????????????? ??????????????????? ?????????????????????????????? ????????  ??????????????????????????? ????? MagSafe 2 ???? MagSafe 2 ??????  ????????????????????????????? ??????????????????????? MagSafe 2 ?????? ????? MagSafe 2 ???? ??????????????????????????????? ??????:  ?????????????(??????????????? ???????????)?  ????????????????????????????  MacBook Air ?????????????????????? ???????????????????  MacBook Air??????????????????????? ???????????????????????? MagSafe 2 ?????(??? MagSafe 2 ??????????) ???????????????????????????iPod?? ?????????????????????????????? ??????????????????????????????? ???????? 25 mm(1???)??????????????? MagSafe 2????????????????????????? ?????????????? MagSafe 2 ?????: ???:50~ 60 Hz??? ????:100 ~ 240 V ????:14.85 V DC?3.05 A ????? ????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ???????????????????????MacBook Air ? ??????????????????????????????? ???????????1????????????????? ?????????MacBook Air ?????????? ???????????????????????? ????????????????????? ?MacBook Air ????????????????? ?????????????????????????? ???? Web ????????????: support.apple.com/ja_JP/manuals/#macbookair ??????????????????? ??:????????????????????????? MacBook Air ?????????????????????? ??????????? ??????? ?????? MacBook Air ?????????? ?????????? Apple????????????????? ????MacBook Air ?????????????????????? ??????????????????????????????? ???????? 100°C(212°F)?????????????? ??????????? MacBook Air ???????????? ??????? MacBook Air????????????????? ?????????????????MacBook Air ??IT???? ??????????(International Standard for Safety of Information Technology Equipment?IEC 60950-1)????? ??????????????????????????????? ??????????????????????????????? ??????????????  ???? MacBook Air ??????????????????? ????????????????????????????? ??????  ?????????????????? MacBook Air ????? ????????????????????????????? ???  MacBook Air ??????????????????????? ???????????  ???????????????????????????  MacBook Air ??????????????????????? ???????????????????????????? ????????? ????????????????????? ????? MacBook Air ??????????????????? ??????????????????? MacBook Air ????? ??????? MagSafe 2 ??????(45W)MacBook Air???????? ????????????????? Apple?????????? ??????????????????????????????? ??????????????????????????????? ?????????????????????? ????????????????????????????? ????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ?????? ??? ??? ??????????????????????????????? ??????????????????????????????? ???????????????????? ??? ??? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ???????? ?????? ??????????????????????????????? ?????????????????????????????? ?? ??????????????????????????????? ?????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ???????????????????????????????? ????????????????????????? ?????????????????????????????? ??:  ??????????????????????????????  ??????????????????????????  ????????????????????????? ???????? ???????????????·?????? ???????·??????????????????????? ??????????????????????????????? ???????????????????????? ???? ???????????? MacBook Air ??????? ???????????????????: ?????:10°~ 35° C(50°~ 95° F) ?????:-20°~ 45° C(-4°~ 113° F) ????:5%~ 90%(???????) ????:0~ 3048????(0~ 10,000 ????) MacBook Air????? MacBook Air???????????? ???????????????(??????????)???? ??????????????????????????????? ??????????????????????????????? ?????????????? MagSafe 2 ??????????? ?????? ????????????? ????????????????? ??????????????????????????????? ??????????????????????????????? ????????????????????????? ?????????? ???? MacBook Air ????????? ??????????????????????????????? ???????????MacBook Air ????????Apple?? ?????????????????????? MacBook Air????? ??? MacBook Air ????????? ?????(???? 22°C??? 71°F)??????????? ??? 50???????????????????? 5????? ??????????????????? 50?????????? ?????????????????????6?????????? ? 50????????????????? MacBook Air????? MacBook Air???????????? ???????? MacBook Air ???????????????? ??????????????????????????????? ???? MacBook Air ???????????????????? ??????????????????????????????? ???????????????????????????????? ????????????????????????????? MacBook Air???????? MacBook Air????????? ?????? MacBook Air ?????????????????? ??????????????????????????????? ?????????????????????????????????????????????????????Return??????? ??????????????AHT?????????????(? 45??)?????????????????????AHT??? ??????????????????????????????? ????????????????????????AHT?????? ??????????????????????????????? ??????????? AppleCare ?????????? ???? MacBook Air ???90????????????? Apple Retail Store(Apple Store???)???? Apple???? ?????????? Apple?????????? 1?????? ????????????????AppleCare Protection Plan? ??????????????????????? www.apple.com/jp/support/products???????????? ??????????? Web ????????????? ??????????????????????????????? ??????????????AppleCare ??????????? ???????????????????????????(??? 90?????)?????????????????? MacBook Air ????????????????? 90????????????????????????????? ??:0120-27753-5 Outside Japan: (81) 3-5334-2096 www.apple.com/support/country ??????????????????????????????? ??????????????????????????? Web ? ???????????: www.apple.com/jp/support/contact ???????????? 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. ???????? ??????????????????????????????? ??????????????????????????????? ????????????????????????135????? ??????????????? ??????????????????????????????? ??????????????????????????????? ?????? ??????????????? Web ????????????: www.apple.com/about/ergonomics ?????????? Apple Inc.?????????????????????????? ????????????????? ??????? Web ????????????: www.apple.com/jp/environment ????????????? MacBook Air ?????? ?????????????????? ???????????????Apple?????????Apple ???????????? MacBook Air????????????? ???????????????????????????????Apple Hardware Test????MacBook Air ????????????? ?????????? ??????? ??????????????????????????????? ???????????? Mac???????????????? ????????Finder????????????????????? ??????????????????????????????? ????????? ????????????????????????? www.apple.com/jp/support??????????AppleCare ? ???????????????????·??????????? ??Apple????????????????????????? ?????? ???? MacBook Air ???????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ???????????????????(?)????>??? Mac?????????????????????????? Apple Hardware Test ?Apple Hardware Test(AHT)???????????????? ??????????????????????????????? ??????????????? Apple Hardware Test???????:???????????? ??????????????????????????????? ?????? D?????????????AHT????????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. 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. European Compliance Statement This product complies with the requirements of European Directives 2006/95/EC, 2004/108/EC, and 1999/5/EC. Europe–EU Declaration of Conformity ????????? Apple Inc. ?????????, ?? ???? MacBook Air ? ? ???????????? ??? ???????????? ?????????? ? ??????? ????????? ??????? ?? ????????? 1999/5/??. Cesky Spolecnost Apple Inc. tímto prohlašuje, že tento MacBook Air je ve shode se základními požadavky a dalšími príslušnými ustanoveními smernice 1999/5/ES. Dansk Undertegnede Apple Inc. erklærer herved, at følgende udstyr MacBook Air overholder de væsentlige krav og øvrige relevante krav i direktiv 1999/5/EF. Deutsch Hiermit erklärt Apple Inc., dass sich das MacBook Air in Übereinstimmung mit den grundlegenden Anforderungen und den übrigen einschlägigen Bestimmungen der Richtlinie 1999/5/EG befinden. 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 91-1EMC 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 AirPort Extreme technology is below the FCC and EU 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.Slovensko Apple Inc. izjavlja, da je ta MacBook Air skladne z bistvenimi zahtevami in ostalimi ustreznimi dolocili direktive 1999/5/ES. Slovensky Apple Inc. týmto vyhlasuje, že toto MacBook Air splna základné požiadavky a všetky príslušné ustanovenia Smernice 1999/5/ES. Suomi Apple Inc. vakuuttaa täten, että tämä MacBook Air tyyppinen laite on direktiivin 1999/5/EY oleellisten vaatimusten ja sitä koskevien direktiivin muiden ehtojen mukainen. Svenska Härmed intygar Apple Inc. att denna MacBook Air 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: European Community Restrictions Français Pour usage en intérieur uniquement. Consultez l’Autorité de Régulation des Communications Electroniques et des Postes (ARCEP) pour connaître les limites d’utilisation des canaux 1 à 13. www.arcep.fr Korea Warning Statements B???(??????????) ???????(B?) ??????????? ????????????????, ??? ???????????. ???????????? ???????????????????? ???????????????????????? ???? ?? ? ?? Singapore Wireless Certification Eesti Käesolevaga kinnitab Apple Inc., et see MacBook Air vastab direktiivi 1999/5/EÜ põhinõuetele ja nimetatud direktiivist tulenevatele teistele asjakohastele sätetele. English Hereby, Apple Inc. declares that this MacBook Air is in compliance with the essential requirements and other relevant provisions of Directive 1999/5/EC. Español Por medio de la presente Apple Inc. declara que este MacBook Air cumple con los requisitos esenciales y cualesquiera otras disposiciones aplicables o exigibles de la Directiva 1999/5/CE. ???????? Me t?? pa???sa, ? Apple Inc. d????e? ?t? a?t? ? s?s?e?? MacBook Air s?µµ??f??eta? p??? t?? ßas???? apa?t?se?? ?a? t?? ???p?? s?et???? d?ata´?e?? t?? ?d???a? 1999/5/??. Français Par la présente Apple Inc. déclare que l’appareil MacBook Air 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 Air fullnægir lágmarkskröfum og öðrum viðeigandi ákvæðum Evróputilskipunar 1999/5/EC. Italiano Con la presente Apple Inc. dichiara che questo dispositivo MacBook Air è conforme ai requisiti essenziali ed alle altre disposizioni pertinenti stabilite dalla direttiva 1999/5/CE. Latviski Ar šo Apple Inc. deklare, ka MacBook Air ierice atbilst Direktivas 1999/5/EK butiskajam prasibam un citiem ar to saistitajiem noteikumiem. Lietuviu Šiuo „Apple Inc.“ deklaruoja, kad šis MacBook Air atitinka esminius reikalavimus ir kitas 1999/5/EB Direktyvos nuostatas. Magyar Alulírott, Apple Inc. nyilatkozom, hogy a MacBook Air megfelel a vonatkozó alapvetõ követelményeknek és az 1999/5/EC irányelv egyéb elõírásainak. Malti Hawnhekk, Apple Inc., jiddikjara li dan MacBook Air jikkonforma mal-htigijiet essenzjali u ma provvedimenti ohrajn relevanti li hemm fid-Dirrettiva 1999/5/EC. Nederlands Hierbij verklaart Apple Inc. dat het toestel MacBook Air in overeenstemming is met de essentiële eisen en de andere bepalingen van richtlijn 1999/5/EG. Norsk Apple Inc. erklærer herved at dette MacBook Air -apparatet er i samsvar med de grunnleggende kravene og øvrige relevante krav i EU-direktivet 1999/5/EF. Polski Niniejszym Apple Inc. oswiadcza, ze ten MacBook Air sa zgodne z zasadniczymi wymogami oraz pozostalymi stosownymi postanowieniami Dyrektywy 1999/5/EC. Português Apple Inc. declara que este dispositivo MacBook Air está em conformidade com os requisitos essenciais e outras disposições da Directiva 1999/5/CE. Româna Prin prezenta, Apple Inc. declara ca acest aparat MacBook Air este în conformitate cu cerintele esentiale si cu celelalte prevederi relevante ale Directivei 1999/5/CE.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 energy-efficient 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 button or press any key on the keyboard. For more information about ENERGY STAR®, visit: www.energystar.gov ?????????????? ??????????????????????????????? ??????????????????????????????? ?????Apple??????????????????????? ????????????????? Apple??????????????????? Web ?????? ??????:www.apple.com/jp/recycling European Union—Disposal Information The symbol above means that according to local laws and regulations your product should be disposed of separately from household waste. When this product reaches its end of life, take it to a collection point designated by local authorities. Some collection points accept products for free. The separate collection and recycling of your product at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. Türkiye EEE yönetmeligine (Elektrikli ve Elektronik Esyalarda Bazi Zararli Maddelerin Kullaniminin Sinirlandirilmasina Dair Yönetmelik) uygundur. Taiwan Wireless Statements Taiwan Class B Statement ?? ????????????????? ??????????????? Japan VCCI Class B Statement Russia ?? USB????????? ?? USB???????? MacBook Air ??????????? ??????????????????????????????? ??????020-5563-A EFUP1??5china ?????????? MacBook Air ??????? Web ??????????? Apple ??????????????????????????????? ?:www.apple.com/jp/legal/sla Apple?? 1????? - Mac Apple?????? ??????????? ??????????????: ??? ???????????? Competition and Consumer Act 2010 ???????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??????? 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. ?????????????? ??????????????????????????????? ???????? 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 ???????? ????????? Apple??? Apple???????????? ????????????????????????????? http://www.apple.com/jp/batteries/replacements.html??? ??????? Battery Charger E?ciency?????? ???? Apple????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ?? Apple???????????????????????????? ??????????????????????????????? ???????????????????? Apple??????? ??????????????????????????????? Apple???????????????????????????? ???????????????????????????????? ????????????????????????????? ?????????? Apple????????????????? ??????????????????????????????? ?????????????Apple?????????????? ?????????????? Apple????????????? ??????????????????????????????? ??????????????? ????????????? Apple?????????????? ???????????? Apple??????????????? ???????????????????????????????? ??????????????????????????????? ??????????????????????????????? ???????????????????????????? ???????? Apple????? ?????????? Apple ??? AASP???????????????Apple?????? ?????????????????:(1)?? Apple????? ??????????????????????????????? ?????????????????(2)?? Apple?????? ????? Apple?????????????????????? ??????????????????????????????? ?????????????(3)?? Apple?????????? ???????????????? Apple???????????????????????????? ????????????????????Apple???????? ??????????????????????????????? ??????? Apple???????????????????? ???? 90 ????????????????????????? ??????????????????????????????? ??????????????????????????????? ????????? Apple?????????????? ???????????? ?????????????????? ??????????????????????????????? ?????????????????????? Apple????? ??????????????????????????Apple?? ????????????Apple????????(???Apple ?????????)??? AASP?????????Apple?? ???? AASP???????????????????????? ??????????????????????????????? ???????Apple?????????????????????? ???? Apple??????????????????????? ????????????? ??????????????????????????????? ????? ??????????????????????????????(? ?????)????????????????????????? ???????????????Apple????????????? ??????????????????????????????? ??????????????????????????????? ?????????????????????? ??????????????? ??????????????? ???????????????????????????????? ??????????????????????????????? ??????????????????????????????? ?????????????????Apple??????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ???????Apple???????????????????? ???????????? Apple??????????????? ??????????????????(??????)?????? ????(?????)???????????????????? ??????????????????????? ?????? Apple???????????????? Apple? ?????????????????(???Apple??????? ?)?????Apple????????????????????? ??????????????????????????????? ??????????????????? 1 ??(???????? ?????)??????Apple???????????????? ????????????????????·?????????? ??????????????????????? ????????? ???? Apple?????????????? ???????????????????? Apple?????? ????????????????????????????Apple ??????????????????????????????? ???????????????????Apple???????? ???????????????????????????Apple ???? Apple???????????? Apple???????? ??????????(???????????????????? ??????)???????????????????????? ?????????????????????????????? ???????????????????????Apple?? Apple??????????????????????????? ???????Apple??Apple??????????????? ??????????????????????? ???????????????????????????:(a) ?? ??????????????????????????????? ????????????????????(b) ?????????? ??????????????????????????????? ??????????????????(c)??????????? ????????????????(d)????????????? ?????????????????????????(e) Apple? ???????????????????? Apple??????? ???????????????(f) Apple??????? Apple ???????????(???AASP??????)?????? ???????(???????????????)??????? ??????(g) Apple???????????????????? ??????? Apple???????????(h)???????? Apple????????????????(i)Apple??????? ???????????????????????????? ????????????????????????? ??????????????Apple????????????? ??????????????????????????????? ?????????????????????????????;? ????;??????????????(??????????? ???);???????;???????;???????;?? ???;??????;?????;?????????????? ?????;???????????????????????? Apple???????????? Apple???????????? ??????????????????????????????? ???????Apple???????????????????? ??????????????????????????????? ????? ??????????????????????????????? ??????????????????????????????? ??????????????Apple??Apple???????? ?????????????????????????? Apple? ???????? Apple?????????????? Apple?? ???????????????????????????(??? ???)??????????????????????????? ??????????????????????????????? ???????? ?????? Apple??http://www.apple.com/legal/warranty/ privacy???????Apple?????????????????? ????????????????? ???? Apple??????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ??Apple?????????????????????????? ????Apple???Apple????????????????? ???????????????Apple??? Apple?????? ???????????? ??????? ??????????????????????? ??? ?????????? ????? http://www.apple.com/support/ country Apple??????? ???? http://support.apple.com/kb/HT1434 Apple??? http://www.apple.com/retail/storelist/ Apple??????? ???? http://support.apple.com/kb/HE57 Apple?????? http://www.apple.com/support/ country/index. html?dest=complimentary ???????????? Apple????????? 1 ????? ??????????????????? : (i) ??????(????)??????????Apple?????? ?????????????? Apple?????? AASP???? ???????????????????????????????? ??? Apple??????? AASP????? Apple??? Apple??????(???ARS??????)????????? ??????????????????????????????? ????????? Apple?????? AASP????????? ? Apple????????????????? Apple????? ARS??????????????? (ii) ??????????Apple????? Apple???????? ?????????????????????Apple ?????? Apple??????? ARS??? AASP??????? Apple? ???????????Apple????????????????? ????????????????????ARS??? AASP???? ?????????????????Apple??????????? ????????????????????????????? (iii) Do-It-Yourself(DIY)??????(????????)???? ???????????? DIY????????????????? ????? Apple?????????????????DIY???? ?????????????????????????????? (a)??????????????????Apple??????? ??????????????????????????????? ??????????????????????????????? ?????????DIY???????????????????? ????Apple??????????????Apple?????? ??????????????????????????????? ??????????????????????????????? ???????Apple????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ???????Apple????????????????????? ????? (b)???????????????????Apple?????? ??????????????????????????????? ?????????????????????????? (c)Apple??DIY?????????????????????? ??????????????????????????????? ? Apple??????????????? Apple??Apple?????????????????????? ???? Apple??????????????????????? ??????????????????????????????? ??????????????????????????????? ??????????????????????????????? ???????????????? Apple??????????? ??????????????????????????????? ?????????????????????????????? ??????????????????????????????? ??????????????????????????????? ????????????????????????Apple???? ??????????????????????????????? ???????????????????? /?? ??? ?? Apple Japan Inc. 3-20-2 Nishishinjuku, Shinjuku-ku, Tokyo, Japan ?? Apple Korea Ltd. 3201, ASEM Tower; 159, Samsung-dong, Gangnam-Gu; Seoul 135-798, Republic of Kore ????????????? ????????????? ????????????? ????????????? ????????????? ????????????? ????????? Apple South Asia Pte. Ltd. 7 Ang Mo Kio Street 64 Singapore 569086 ??????? Apple Computer Trading (Shanghai) Co. Ltd. Room 1815, Tower Building, No. 1, Ji Long Road, Wai Gao Qiao Free Trade Zone, Shanghai, P.R.C. ?? Apple South Asia (Thailand) Limited 25th Floor, Suite B2, Siam Tower, 989 Rama 1 Road, Pataumwan, Bangkok, 10330 ?? Apple Asia LLC 16A, No. 333 Tun Hwa S. Road. Sec. 2, Taipei, Taiwan 106 ????????? ?? Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, U.S.A. 032212 Mac Warranty Japanese v2 ???????????????? ??? /?? ??? ?????? ???? Apple Computer Brasil Ltda Av. Cidade Jardim 400, 2 Andar, Sao Paulo, SP Brasil 01454-901 ??? Apple Canada Inc. 7495 Birchmount Rd.; Markham, Ontario, Canada; L3R 5G2 Canada ???? Apple Operations Mexico, S.A. de C.V. Prolongación Paseo de la Reforma #600, Suite 132, Colonia Peña Blanca, Santa Fé, Delegación Álvaro Obregón, México D. F., CP 01210, Mexico ????????????? ???? Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, U.S.A. ????????????? ????? Apple Distribution International Hollyhill Industrial Estate Hollyhill, Cork, Republic of Ireland ?????? ????????????? ???????????? ??????????? Apple Pty. Ltd. PO Box A2629, South Sydney, NSW 1235, Australia ?? Apple Asia Limited 2401 Tower One, Times Square, Causeway Bay; Hong Kong ??? Apple India Private Ltd. 19th Floor, Concorde Tower C, UB City No 24, Vittal Mallya Road, Bangalore 560-001, India© 2012 Apple Inc. All rights reserved. Apple?Apple???iPod?Mac?MacBook???? MagSafe ??????????????? Apple Inc.??????AirMac Extreme ? Apple Inc.??????Apple Store??? AppleCare ??????????????? Apple Inc.???????????Bluetooth® ??????????? Bluetooth SIG, Inc.?????????????????Apple Inc.????????????????????? ?????ENERGY STAR®??????????? J034-6356-A Printed in XXXX Congratulations, you and your MacBook Air were made for each other.Mission Control A bird’s-eye view of what’s running on your Mac. Help Center mission control OS X Lion www.apple.com/macosx Full screen Make apps full screen with a click. Help Center full screen Mac App Store The best way to discover and download Mac apps. Help Center mac app store launchpad Launchpad Instant access to all your apps in one place. Help Center iPhoto Organize, edit, and share your photos. iPhoto Help photos iMovie Turn home videos into home blockbusters. iMovie Help movie GarageBand Create greatsounding songs with ease. GarageBand Help record Mail Group your messages by conversations. Help Center mail HELLO FROM CUPERTINO, CA Pinch to zoom Rotate images Scroll up or down View Mission Control Swipe between full-screen apps Click anywhere Welcome to your MacBook Air. www.apple.com/macbookair Multi-Touch trackpad Use gestures like these to control your Mac. Help Center gestures facetime Built-in FaceTime camera Make video calls to the latest iPad, iPhone, iPod touch, or Mac. Help Center Thunderbolt high-speed I/O Connect high-performance devices and displays. Help Center thunderbolt MacBook AirMission Control A bird’s-eye view of what’s running on your Mac. Help Center mission control OS X Lion www.apple.com/macosx Full screen Make apps full screen with a click. Help Center full screen Mac App Store The best way to discover and download Mac apps. Help Center mac app store launchpad Launchpad Instant access to all your apps in one place. Help Center iPhoto Organize, edit, and share your photos. iPhoto Help photos iMovie Turn home videos into home blockbusters. iMovie Help movie GarageBand Create greatsounding songs with ease. GarageBand Help record Mail Group your messages by conversations. Help Center mail HELLO FROM CUPERTINO, CA Pinch to zoom Rotate images Scroll up or down View Mission Control Swipe between full-screen apps Click anywhere Welcome to your MacBook Air. www.apple.com/macbookair Multi-Touch trackpad Use gestures like these to control your Mac. Help Center gestures facetime Built-in FaceTime camera Make video calls to the latest iPad, iPhone, iPod touch, or Mac. Help Center Thunderbolt high-speed I/O Connect high-performance devices and displays. Help Center thunderbolt MacBook AirContents 5 Contents Chapter 1: Ready, Set Up, Go 8 Welcome 9 What’s in the Box 9 Setting Up Your MacBook Air 15 Getting Additional Information onto Your MacBook Air 18 Putting Your MacBook Air to Sleep or Shutting It Down Chapter 2: Life with Your MacBook Air 22 Basic Features of Your MacBook Air 24 Keyboard Features of Your MacBook Air 26 Ports on Your MacBook Air 28 Using the Multi-Touch Trackpad 32 Running Your MacBook Air on Battery Power 33 Getting Answers Chapter 3: Problem, Meet Solution 38 An Ounce of Prevention 39 Problems That Prevent You from Using Your MacBook Air 42 Repairing, Restoring, or Reinstalling Mac OS X Software 46 Checking for a Hardware Problem6 Contents 47 Problems with Your Internet Connection 48 Problems with Wi-Fi Communication 49 Keeping Your Software Up to Date 50 Learning More, Service, and Support 52 Locating Your Product Serial Number Chapter 4: Last, but Not Least 54 Important Safety Information 59 Important Handling Information 61 Understanding Ergonomics 63 Apple and the Environment 64 Regulatory Compliance Information Looking for Something? 70 IndexMac Help Migration Assistant www.apple.com/macosx Help Center Migration Assistant www.apple.com/macbookair Ready, Set Up, Go 18 Chapter 1 Ready, Set Up, Go Welcome Congratulations on purchasing a MacBook Air. Your MacBook Air is streamlined for portability and a completely wireless experience. Read this chapter for help setting up and using your MacBook Air.  If you know you won’t be migrating information from another Mac or Windows computer (PC), and you’d like to get started using your MacBook Air right away, you can follow the Setup Assistant to set up your MacBook Air quickly. For more information, see page 12.  If you want to migrate information from another Mac or PC to your MacBook Air, you can use Setup Assistant to specify the Mac or PC whose information you want to transfer. For more information, see page 12.  After you set up your MacBook Air, if you want to get content from DVDs or CDs onto your MacBook Air, you can set up one or more Macs or PCs to partner with your MacBook Air. For more information, see page 15. You can browse and download free or purchased applications from the Mac App Store, which you can open from Launchpad or your Dock. Important: Read all the installation instructions (and the safety information starting on page 54) carefully before you first use your MacBook Air. Many answers to questions can be found on your MacBook Air in Help Center. For information about using Help Center, see “Getting Answers” on page 33. Apple may release new versions and updates to its system software, so the images shown in this book may be slightly different from what you see onscreen.Chapter 1 Ready, Set Up, Go 9 What’s in the Box AC power cord AC plug 45W MagSafe Power Adapter Important: Remove the protective film covering the 45W MagSafe Power Adapter before setting up your MacBook Air. Setting Up Your MacBook Air Your MacBook Air is designed so that you can set it up quickly and start using it right away. The following pages take you through the setup process, including these tasks:  Plugging in the 45W MagSafe Power Adapter  Turning on your MacBook Air  Using Setup Assistant to access a network and configure a user account and other settings  Setting up the Mac OS X desktop and preferences10 Chapter 1 Ready, Set Up, Go Step 1: Plug in the 45W MagSafe Power Adapter to provide power to the MacBook Air and charge the battery. Make sure the AC plug is fully inserted into the power adapter and the electrical prongs on your AC plug are in their completely extended position. Insert the AC plug of your power adapter into a power outlet and the MagSafe connector into the MagSafe power port. As the MagSafe connector gets close to the port, you’ll feel a magnetic pull drawing it in. ¯ AC power cord AC plug MagSafe connector MagSafe power port To extend the reach of your power adapter, replace the AC plug with the included AC power cord. First pull the AC plug up to remove it from the adapter, and then attach the AC power cord to the adapter, making sure it’s seated firmly. Plug the other end into a power outlet. When disconnecting the power adapter from an outlet or from your MacBook Air, pull the plug, not the cord.Chapter 1 Ready, Set Up, Go 11 When you connect the power adapter to your MacBook Air, the indicator light on the MagSafe connector starts to glow. An amber light indicates that the battery is charging. A green light indicates that the battery is fully charged. If you don’t see a light, make sure the connector is seated properly and the power adapter is plugged into a working power outlet. Step 2: Press the power button (®) briefly to turn on your MacBook Air. The power button is located in the upper right corner of your keyboard.When you turn on your MacBook Air, you hear a startup tone. ® Power button It takes your MacBook Air a few moments to start up. After it starts up, Setup Assistant opens automatically. If your MacBook Air doesn’t turn on, see page 40.12 Chapter 1 Ready, Set Up, Go Step 3: Configure your MacBook Air with Setup Assistant. The first time you turn on your MacBook Air, Setup Assistant starts. Setup Assistant helps you specify your Wi-Fi network, set up a user account, and transfer information from another Mac or PC. You can also transfer information from a Time Machine backup or other disk. If you’re migrating from another Mac, you might have to update software if the other Mac doesn’t have Mac OS X version 10.5.3 or later installed. To migrate from a PC, download the Migration Assistant from www.apple.com/migrate-to-mac, and install it on the PC you want to migrate from. After you start Setup Assistant on your MacBook Air, you can leave it midprocess without quitting, move to the other computer if you need to update its software, and then return to your MacBook Air to complete the setup. Note: If you don’t use Setup Assistant to transfer information when you first start up your MacBook Air, you can do it later using Migration Assistant. Open Migration Assistant in the Utilities folder in Launchpad. For help using Migration Assistant, open Help Center and search for“Migration Assistant.” To set up your MacBook Air: 1 In Setup Assistant, follow the onscreen instructions until you get to the “Transfer Information to This Mac”screen. 2 Do a basic setup, a setup with migration, or transfer information from a Time Machine backup or other disk:  To do a basic setup, select“Don’t transfer now” and click Continue. Follow the remaining prompts to select your wired or wireless network, set up an account, and exit Setup Assistant.Chapter 1 Ready, Set Up, Go 13  To do a setup with migration, select“From another Mac or PC” and click Continue. Follow the onscreen instructions to select the Mac or PC you want to migrate from. Your Mac or PC must be on the same wired or wireless network. Follow the onscreen instructions for migrating.  To transfer information from a Time Machine backup or another disk, select“From a Time Machine backup or other disk” and click Continue. Select the backup or the other disk that you want to migrate from. Follow the onscreen instructions. If you don’t intend to keep or use your other computer, it’s best to deauthorize it from playing music, videos, or audiobooks that you’ve purchased from the iTunes Store. Deauthorizing a computer prevents any songs, videos, or audiobooks you’ve purchased from being played by someone else, and frees up another authorization for use. For information about deauthorizing, choose iTunes Help from the Help menu in iTunes.14 Chapter 1 Ready, Set Up, Go Step 4: Customize the Mac OS X desktop and set preferences. You can quickly make the desktop look the way you want using System Preferences, your command center for most settings on your MacBook Air. Choose Apple (?) > System Preferences from the menu bar or click the System Preferences icon in the Dock. Menu bar Help menu Spotlight search icon Finder icon Dock System Preferences iconChapter 1 Ready, Set Up, Go 15 Important: You can set an option to reset your password in Users & Groups preferences, in case you forget your login password. For help with system preferences, open Help Center and search for“system preferences” or for the specific preference you want help for. Getting Additional Information onto Your MacBook Air Your MacBook Air comes with several applications installed, including the iLife suite. Many other applications can be downloaded from the Mac App Store or the Internet. If you want to install third-party applications from a DVD or CD, you can:  Install applications onto your MacBook Air or share information using the optical disc drive on another Mac or PC (if DVD or CD Sharing is set up and enabled). For more information, see the next section.  Attach the MacBook Air SuperDrive (an external USB optical disc drive available separately at www.apple.com/store) to the USB port on your MacBook Air, and insert your installation disc. Setting Up DVD or CD Sharing You can partner your MacBook Air with another Mac or PC that has an optical disc drive and is on the same wired or wireless network. Use this other computer to:  Migrate information to your MacBook Air after setup using Migration Assistant (for information about using Migration Assistant, open Help Center and search for “Migration Assistant”)  Share the contents of DVDs or CDs or install applications (see the next section)16 Chapter 1 Ready, Set Up, Go The computer with the optical drive can be a Mac with Mac OS X v10.4.11 or later, or a Windows 7, Windows XP, or Windows Vista computer. If the Mac has Mac OS X v10.5.3 or later, DVD or CD Sharing is already installed. You can partner with more than one other computer, but you can use only one partner computer at a time. Mac or Windows computer MacBook Air If the other computer is a PC or a Mac with a Mac OS X version earlier than 10.5.3, download the DVD or CD Sharing Setup software for your partner computer:  If the other computer is a PC, go to support.apple.com/kb/DL112 and download the DVD or CD Sharing Setup for Windows installer.  If the other computer is a Mac with Mac OS X v10.4.11–10.5.2, go to support.apple.com/kb/DL113 and download the DVD or CD Sharing Setup for Mac Installer. After you download the software, follow the steps in the next section to enable DVD or CD Sharing, or read detailed instructions in support.apple.com/kb/HT1777.Chapter 1 Ready, Set Up, Go 17 Important: After you install the DVD or CD Sharing Setup package on your other Mac, make sure you have the latest software by choosing Apple (?) > Software Update. Install any available Mac OS X updates. Sharing Discs with DVD or CD Sharing You can enable DVD or CD Sharing on a Mac or PC to use the Remote Disc feature of MacBook Air. Remote Disc allows you to share the discs you insert into the optical disc drive of the other computer. Some discs, such as DVD movies and game discs, may be copy-protected and therefore unusable through DVD or CD Sharing. Make sure DVD or CD Sharing is already set up on any Mac or PC you want to partner with. For information, see page 15. To enable DVD or CD Sharing, if your other computer is a Mac: 1 Make sure your MacBook Air and the other Mac are on the same wireless network. On the other Mac, choose Apple (?) > System Preferences and then open Sharing. 2 In the Sharing pane, select“DVD or CD Sharing”in the Service list. If you want other users to request permission to share a DVD or CD, select“Ask me before allowing others to use my DVD drive.” To enable DVD or CD Sharing, if your other computer is a PC: 1 Make sure your MacBook Air and the PC are on the same wireless network. 2 On the PC, open the DVD or CD Sharing control panel. 3 Select“Enable Remote DVD or CD.”If you want other users to request permission to share a DVD or CD, select“Ask me before allowing others to use my DVD drive.”18 Chapter 1 Ready, Set Up, Go To use a shared DVD or CD: 1 On the other computer, insert a DVD or CD into the optical disc drive. 2 On your MacBook Air, select Remote Disc when it appears under Devices in the Finder sidebar. If you see the “Ask to use” button, click it. 3 On the other computer, when prompted, click Accept to allow your MacBook Air to use the DVD or CD. 4 On your MacBook Air, use the disc as you normally would once it becomes available. If you try to shut down the other computer or eject the shared DVD or CD while your MacBook Air is using it, you see a message telling you that the disc is in use. To proceed, click Continue. Putting Your MacBook Air to Sleep or Shutting It Down When you finish working with your MacBook Air, you can put it to sleep or shut it down. Putting Your MacBook Air to Sleep If you’ll be away from your MacBook Air for only a short time, put it to sleep.When it’s in sleep, you can quickly wake it and bypass the startup process. To put your MacBook Air to sleep, do one of the following:  Close the display.  Choose Apple (?) > Sleep from the menu bar.  Press the power button (®) and click Sleep in the dialog that appears.  Choose Apple (?) > System Preferences, click Energy Saver, and set a sleep timer.Chapter 1 Ready, Set Up, Go 19 To wake your MacBook Air:  If the display is closed, simply open it to wake your MacBook Air.  If the display is already open, press the power button (®) or any key on the keyboard. When your MacBook Air wakes from sleep, your applications, documents, and computer settings are exactly as you left them. Shutting Down Your MacBook Air If you aren’t going to use your MacBook Air for an extended period of time, it’s best to shut it down. To shut down your MacBook Air, do one of the following:  Choose Apple (?) > Shut Down from the menu bar.  Press the power button (®) and click Shut Down in the dialog that appears. If you plan to store your MacBook Air for an extended period of time, see “Important Handling Information” on page 59 for information about how to prevent your battery from draining completely.www.apple.com/macosx Help Center Mac OS X www.apple.com/macosx Life with Your MacBook Air 222 Chapter 2 Life with Your MacBook Air Basic Features of Your MacBook Air Battery (built-in) Camera indicator light FaceTime camera Stereo speakers (under keyboard) TrackpadChapter 2 Life with Your MacBook Air 23 Built-in FaceTime camera and camera indicator light Use the included FaceTime application to make video calls to other FaceTime users (on any iPhone 4, iPad 2, new iPod touch, or Mac with FaceTime), take pictures with Photo Booth, or capture video with iMovie. The indicator light glows when the FaceTime camera is operating. Built-in stereo speakers Listen to music, movies, games, and multimedia files. Built-in rechargeable battery Use battery power when you’re away from a power outlet. Trackpad Click or double-click anywhere on the trackpad. Touch the trackpad with one or more fingers to move the pointer and use Multi-Touch gestures (see page 28).24 Chapter 2 Life with Your MacBook Air Keyboard Features of Your MacBook Air Function (fn) key Mute key Media keys Power button Mission Control key Launchpad key Volume keys Brightness keys Keyboard illumination keysChapter 2 Life with Your MacBook Air 25 Function (fn) key Press and hold this key to activate customized actions assigned to the function keys (F1 to F12). To learn how to customize function keys, search for“function keys”in Help Center. Brightness keys (F1, F2) Increase ( ) or decrease ( ) the brightness of the screen. Mission Control key (F3) Open Mission Control to get a comprehensive view of what’s running on your MacBook Air, including Dashboard, all your spaces, and all open windows. Launchpad key (F4) Open Launchpad to instantly see all the applications on your MacBook Air. Click an application to open it. o Keyboard illumination keys (F5, F6) Increase (o) or decrease (ø) the brightness of the keyboard illumination. ’ Media keys (F7, F8, F9) Rewind ( ), play or pause (’), or fast-forward ( ) a song, movie, or slideshow. — Mute key (F10) Mute the sound coming from the built-in speakers and headphone port. - Volume keys (F11, F12) Increase (-) or decrease (–) the volume of sound coming from the built-in speakers or headphone port. ® Power button Turn your MacBook Air on or off, or put it to sleep.26 Chapter 2 Life with Your MacBook Air Ports on Your MacBook Air d USB 2.0 port d USB 2.0 port Microphone ¯MagSafe power port Headphone port f Thunderbolt portChapter 2 Life with Your MacBook Air 27 ¯ MagSafe power port Plug in the included 45W MagSafe Power Adapter to recharge the MacBook Air battery. d USB (Universal Serial Bus) 2.0 ports Connect a MacBook Air SuperDrive, USB to Ethernet adapter, iPod, iPhone, iPad, mouse, keyboard, printer, disk drive, digital camera, joystick, modem, and more to your MacBook Air. f Headphone port Connect external speakers and headphones. Built-in microphone Capture sounds with the microphone (located on the left side, next to the headphone port) or talk with friends live over broadband using the included FaceTime application. Thunderbolt port (high-speed data, video, and audio) Connect Thunderbolt-compatible devices for high-speed data transfer, or connect an external display that uses Mini DisplayPort. You can purchase adapters to connect displays that use DVI, HDMI, or VGA. Note: Adapters and other accessories are sold separately at www.apple.com/store or your local Apple Retail Store.28 Chapter 2 Life with Your MacBook Air Using the Multi-Touch Trackpad Use the trackpad to move the pointer and to perform a variety of Multi-Touch gestures. Unlike typical trackpads, the entire MacBook Air trackpad is a button, and you can click anywhere on the trackpad. To enable Multi-Touch gestures, view instructional videos of the gestures, and set other trackpad options, choose Apple (?) > System Preferences, and then click Trackpad. Here are ways to use your MacBook Air trackpad:  Two-finger scrolling lets you drag to scroll quickly up, down, or sideways in the active window.Chapter 2 Life with Your MacBook Air 29  Secondary-clicking or “right-clicking” lets you access shortcut menu commands. • To set up two-finger secondary-clicking anywhere on the trackpad, select “Secondary click”in the Point & Click pane of Trackpad preferences. • To set up a one-finger secondary-click zone in the bottom left or right corner of the trackpad, select“Secondary click”in the Point & Click pane of Trackpad preferences, and choose an option from the pop-up menu. Secondary-click zone Note: You can also secondary-click by holding down the Control key while you click.30 Chapter 2 Life with Your MacBook Air The following trackpad gestures work in certain applications.When you perform these gestures, slide your fingers lightly on the surface of the trackpad. For more information, see Trackpad preferences or choose Help > Help Center and search for“trackpad.”  Two-finger pinching lets you zoom in or out on PDFs, images, photos, and more.  Two-finger rotating lets you rotate photos, pages, and more.Chapter 2 Life with Your MacBook Air 31  Three-finger swiping works in the Finder and all applications. Swiping three fingers to the left or right lets you cycle through full-screen applications. Swiping three fingers up opens Mission Control. You can also set these options to work with four fingers.  Four-finger pinching displays Launchpad when you pinch your thumb and three fingers together. Spread the same fingers apart to return to the desktop. Note: You can specify other functions for many gestures. For details about all available gestures, choose Apple (?) > System Preferences, and then click Trackpad. Click the checkboxes to turn gestures on or off, and explore the pop-up menus to see the options for each gesture.32 Chapter 2 Life with Your MacBook Air Running Your MacBook Air on Battery Power When the MagSafe power adapter isn’t connected, your MacBook Air draws power from its built-in battery. The length of time that you can run your MacBook Air varies, depending on the applications you use and the external devices connected to your MacBook Air. Turning off features such as Wi-Fi or Bluetooth® wireless technology and reducing screen brightness can help conserve battery charge. Many of your system preferences are automatically set to optimize battery life. Charging the Battery You can determine whether the battery needs to be charged by looking at the indicator light on the MagSafe connector. If the light is glowing amber, the battery needs to be charged. If the light is glowing green, the battery is fully charged. You can also check the amount of battery charge left by viewing the Battery status icon ( ) in the menu bar. The battery charge level displayed is based on the amount of power left in the battery with the applications, peripheral devices, and system settings you are currently using. To conserve battery power, close applications and disconnect peripheral devices not in use, and adjust your Energy Saver settings. For more information about battery conservation and performance tips, go to www.apple.com/batteries/notebooks.html. When the power adapter that came with your MacBook Air is connected, the battery recharges whether the computer is on, off, or in sleep. The battery recharges more quickly, however, when the computer is off or in sleep.Chapter 2 Life with Your MacBook Air 33 The battery in your MacBook Air can be replaced only by an Apple Authorized Service Provider or at an Apple Retail Store. Getting Answers Much more information about using your MacBook Air is available in Help Center, and on the Internet at www.apple.com/support/macbookair. To get help from Help Center: 1 Click the Finder icon in the Dock (the bar of icons along the edge of the screen). 2 Click the Help menu in the menu bar and do one of the following:  Type a question or term in the Search field, and choose a topic from the results list or choose Show All Help Topics to see all topics.  Choose Help Center to open the Help Center window, where you can browse or search topics.34 Chapter 2 Life with Your MacBook Air More Information For more information about using your MacBook Air, see the following: To learn about See Troubleshooting your MacBook Air if you have a problem Chapter 3,“Problem, Meet Solution” on page 37. Finding service and support for your MacBook Air “Learning More, Service, and Support” on page 50. Or go to the Apple Support website at www.apple.com/support/macbookair. Using Mac OS X The Mac OS X website at www.apple.com/macosx. Or search for“Mac OS X”in Help Center. Moving from a PC to a Mac “Why You’ll Love a Mac” at www.apple.com/getamac/whyamac. Migration Assistant Help Center and search for“Migration Assistant.” Using iLife applications The iLife website at www.apple.com/ilife. Or open an iLife application, open Help for the application, and then type a question or term in the search field. Changing System Preferences System Preferences by choosing Apple (K) > System Preferences. Or search for“system preferences”in Help Center. Using the trackpad System Preferences, and then click Trackpad. Using the keyboard Help Center and search for“keyboard.” Using the FaceTime camera Help Center and search for“camera.” Using Wi-Fi technology Help Center and search for“wi-fi.” Using Bluetooth wireless technology The Bluetooth Support page at www.apple.com/support/ bluetooth. Or open the Bluetooth File Exchange application (in the Utilities folder in Launchpad) and choose Help > Bluetooth Help.Chapter 2 Life with Your MacBook Air 35 To learn about See Caring for the battery Help Center and search for“battery.” Connecting a printer Help Center and search for“printing.” USB connections Help Center and search for“USB”. Connecting to the Internet Help Center and search for“Internet.” Using the Thunderbolt port Help Center and search for“Thunderbolt.” Connecting an external display Help Center and search for“display port.” Specifications The Specifications page at support.apple.com/specs. Or open System Information by choosing Apple (K) > About This Mac from the menu bar, and then click More Info. Apple news The Apple website at www.apple.com. Software downloads The Mac App Store (choose Apple (K) > App Store or click the App Store icon in the Dock). Instructions, technical support, and manuals for Apple products The Apple Support website at www.apple.com/support.www.apple.com/macosx Help Center help www.apple.com/support Problem, Meet Solution 338 Chapter 3 Problem, Meet Solution Occasionally, you may have problems while working with your MacBook Air. Read on for troubleshooting tips to try when you have a problem. You can also find more troubleshooting information in Help Center and on the MacBook Air Support website at www.apple.com/support/macbookair. If you experience a problem with your MacBook Air, there’s usually a simple and quick solution. Think about the conditions that led up to the problem. Making a note of things you did before the problem occurred will help you narrow down possible causes and find the answers you need. Things to note include:  The applications you were using when the problem occurred. Problems that occur only with a specific application might indicate that the application is not compatible with the version of the Mac OS installed on your MacBook Air.  Any new software that you installed, especially software that added items to the System folder. An Ounce of Prevention If you have a problem with your computer or software, having kept up-to-date Time Machine backups ensures that your data won’t be lost. If you make regular Time Machine backups, you can restore your software and all your data to exactly the way it was at the time of the backup. Even serious issues are of less concern when you safeguard your information with Time Machine.Chapter 3 Problem, Meet Solution 39 Problems That Prevent You from Using Your MacBook Air If your MacBook Air doesn’t respond or the pointer doesn’t move On rare occasion, an application might“freeze” on the screen. Mac OS X provides a way to quit a frozen application without restarting the computer. To force an application to quit: 1 Press Command (x)-Option-Esc or choose Apple (?) > Force Quit from the menu bar. The Force Quit Applications dialog appears with the application selected. 2 Click Force Quit. The application quits, leaving all other applications open. If you need to, you can also restart the Finder from this dialog. Next, restart your MacBook Air to make sure the problem is entirely cleared up. If the problem occurs frequently, choose Help > Help Center from the menu bar at the top of the screen. Search for the word “freeze”to get help for times when the computer freezes or doesn’t respond. If the problem occurs only when you use a particular application, check with the application’s manufacturer to see if the application is compatible with your MacBook Air. To get information for the software that came with your MacBook Air, go to www.apple.com/downloads. If you know an application is compatible, you might need to reinstall the application.40 Chapter 3 Problem, Meet Solution If your MacBook Air freezes during startup, or you see a flashing question mark, or the display is dark The flashing question mark usually means that your MacBook Air can’t find the system software on the internal flash storage or on any external disks that are attached. Wait a few seconds. If your MacBook Air still doesn’t start up, shut it down by holding down the power button (®) for about 8 to 10 seconds. Disconnect all external peripherals and try restarting by pressing the power button (®) while holding down the Option key.When your MacBook Air starts up, click the internal flash storage icon, and then click the right arrow. After it starts up, open System Preferences and click Startup Disk. Select a local Mac OS X system folder. If your MacBook Air doesn’t turn on or start up Try the following suggestions in order until your MacBook Air turns on:  Make sure the power adapter is plugged into your MacBook Air and into a functioning power outlet. Be sure to use the 45W MagSafe Power Adapter that came with your MacBook Air. If the power adapter stops charging and you don’t see the indicator light on the power adapter turn on when you plug in the power cord, try unplugging and replugging the power cord to reseat it.  Check whether the battery needs to be recharged. If the light on the power adapter glows amber, the battery is charging. See “Charging the Battery” on page 32.  If the problem persists, reset the MacBook Air power manager (while still preserving your files) by pressing the left Shift key, left Option key, left Control key, and the power button (®) simultaneously for five seconds until your MacBook Air restarts.Chapter 3 Problem, Meet Solution 41  Press and release the power button (®) and immediately hold down the Command (x), Option, P, and R keys simultaneously until you hear the startup sound a second time. This resets the parameter RAM (PRAM).  If you still can’t start up your MacBook Air, see “Learning More, Service, and Support” on page 50 for information about contacting Apple for service. If the screen suddenly goes black or your MacBook Air freezes Try restarting your MacBook Air. 1 Unplug any devices that are connected to your MacBook Air, except the power adapter. 2 Press the power button (®) to restart the system. 3 Let the battery charge to at least 10 percent before plugging in any external devices and resuming your work. To see how much the battery has charged, look at the Battery status icon ( ) in the menu bar. The screen might also darken if you have energy saver features set for the battery. If your MacBook Air can’t connect to another computer’s optical disc drive To use services such as Migration Assistant, DVD or CD Sharing, and iTunes music sharing, both your MacBook Air and the other computer must be connected to the same network. If your MacBook Air is connected wirelessly and the other computer is connected to a third-party router by Ethernet, check your router documentation to make sure it supports bridging a wireless to wired connection.42 Chapter 3 Problem, Meet Solution Repairing, Restoring, or Reinstalling Mac OS X Software If you have a problem with your Mac software or hardware, Mac OS X provides repair and restore utilities that may eliminate problems and can even restore your software to its original factory settings. You can access these utilities from the Mac OS X Utilities application, even if your computer isn’t starting up correctly. Use the Mac OS X Utilities application to:  Repair your computer’s disk using Disk Utility.  Restore your software and data from a Time Machine backup.Chapter 3 Problem, Meet Solution 43  Reinstall Mac OS X and Apple applications.  Restore your computer to its factory settings by erasing its disk and reinstalling Mac OS X and your Apple applications. If your computer detects a problem, it opens the Mac OS X Utilities application automatically. You can also open it manually by restarting your computer. To open the Mac OS X Utilities application: m Restart your computer while holding down the Command (x) and R keys. The Mac OS X Utilities pane appears. Important: If the Mac OS X Utilities application doesn’t open after restarting, hold down Command (x)-Option-R and restart the computer to access the Mac OS X Utilities software from the Internet. Your computer must be connected to a network that has access to the Internet. Some utilities in the Mac OS X Utilities application require access to the Internet and the Mac App Store. You may need to make sure your computer is connected to the Internet by using your Ethernet or Wi-Fi network. To connect by using a Wi-Fi network: 1 Choose a network from the Wi-Fi status menu in the upper right corner of the screen. 2 If necessary, type the network password. To join a closed network, choose Join Other Network. Enter the network’s name and password.44 Chapter 3 Problem, Meet Solution Repairing a Disk with Disk Utility If you have a problem with your computer, or if you start your computer and see the Mac OS X Utilities application, you may need to repair your computer’s disk. 1 Select Disk Utility in the Mac OS X Utilities pane and click Continue. 2 Select the disk or partition in the list on the left, and then click the First Aid tab. 3 Click Repair Disk. If Disk Utility can’t repair the disk, back up as much of your information as possible, and then follow the instructions in “Reinstalling Mac OS X and Apple Applications” on page 45. For information about Disk Utility and its options, see Help Center, or open Disk Utility (in the Utilities folder in Launchpad) and choose Help > Disk Utility Help. Restoring Information Using a Time Machine Backup If you previously created a Time Machine backup, use the Restore utility to restore everything on your computer to its previous state. Use your Time Machine backup to restore information only to the computer that was the source of the backup. If you want to transfer information to a new computer, use Migration Assistant (in the Utilities folder in Launchpad). 1 If your backup is on a Time Capsule, make sure you’re connected to an Ethernet or Wi-Fi network. (To connect to a Wi-Fi network, follow the instructions on page 43.) 2 In the Mac OS X Utilities pane, select Restore From Time Machine Backup and click Continue. 3 Select the disk that contains the Time Machine backup, and then follow the onscreen instructions.Chapter 3 Problem, Meet Solution 45 Reinstalling Mac OS X and Apple Applications Under some circumstances, you may need to reinstall Mac OS X and Apple applications. You can reinstall while keeping your files and user settings intact. 1 Make sure your MacBook Air is connected to the Internet by using an Ethernet or Wi-Fi network. (To connect to a Wi-Fi network, follow the instructions on page 43.) 2 In the Mac OS X Utilities pane, select Reinstall Mac OS X and click Continue. 3 In the pane where you’re asked to select a disk, select your current Mac OS X disk (in most cases, it is the only one available). 4 To select or deselect optional software, click Customize. 5 Click Install. You can install Mac OS X without erasing the disk, which saves your existing files and settings, or you can erase the disk first, which erases all your data and leaves the computer ready for you to reinstall Mac OS X and Apple applications. After installing Mac OS X, you can go to the Mac App Store and re-download your Apple applications. Important: Apple recommends that you back up the data on the disk before restoring software. Apple is not responsible for any lost data. Restoring Your Computer to Its Factory Settings When you restore your computer to its factory settings, everything on your computer (your user accounts, network settings, and all of your files and folders) is deleted. Before you restore, back up any files you want to keep by copying them to another disk. Write down your network settings from Network preferences to make it easier to get connected again after reinstalling Mac OS X.46 Chapter 3 Problem, Meet Solution 1 Make sure your MacBook Air is connected to the Internet by using an Ethernet or Wi-Fi network. (To connect to a Wi-Fi network, follow the instructions on page 43.) 2 In the Mac OS X Utilities pane, select Disk Utility and click Continue. 3 Select the disk in the list on the left, and then click the Erase tab. 4 Select Mac OS Extended (Journaled) from the Format pop-up menu, type a name for the disk, and then click Erase. 5 After the disk is erased, choose Disk Utility > Quit Disk Utility. 6 In the Mac OS X Utilities pane, select Reinstall Mac OS X and click Continue. 7 To reinstall Mac OS X and your applications, follow the instructions in the Mac OS X Installer. After restoring Mac OS X and your Apple applications, you can selectively restore your other data and applications from a Time Machine backup. Checking for a Hardware Problem If you suspect a hardware problem, use the Apple Hardware Test application to help determine if there’s a problem with one of the MacBook Air components, such as the memory or processor. To use Apple Hardware Test: 1 Disconnect all external devices from your MacBook Air except the power adapter. 2 Restart your MacBook Air while holding down the D key. 3 When the Apple Hardware Test chooser screen appears, select the language you want to use. 4 Press the Return key or click the right arrow button.Chapter 3 Problem, Meet Solution 47 5 When the Apple Hardware Test main screen appears (after about 45 seconds), follow the onscreen instructions. 6 If Apple Hardware Test detects a problem, it displays an error code. Make a note of the error code before pursuing support options. If Apple Hardware Test doesn’t detect a hardware failure, the problem may be software related. Important: If the Apple Hardware Test doesn’t appear after restarting, hold down Option-D and restart the computer to access the Apple Hardware Test software from the Internet. Your computer must be connected to a network that has access to the Internet. Problems with Your Internet Connection Your MacBook Air has a Network Setup Assistant application to help you set up an Internet connection. Open System Preferences and click Network. Click the “Assist me” button to open Network Setup Assistant. If you have trouble with your Internet connection, try using Network Diagnostics. To use Network Diagnostics: 1 Choose Apple (?) > System Preferences. 2 Click Network and then click “Assist me.” 3 Click Diagnostics to open Network Diagnostics. 4 Follow the onscreen instructions. If Network Diagnostics can’t resolve the problem, there may be a problem with the Internet service provider (ISP) you are trying to connect to, with an external device you are using to connect to your ISP, or with the server you are trying to access.48 Chapter 3 Problem, Meet Solution If you have two or more computers sharing an Internet connection, be sure that your wireless network is set up properly. You need to know if your ISP provides only one IP address or if it provides multiple IP addresses, one for each computer. If only one IP address is provided, then you must have a router capable of sharing the connection, also known as network address translation (NAT) or“IP masquerading.” For setup information, check the documentation provided with your router or ask the person who set up your network. You can use an AirPort base station to share one IP address among multiple computers. For information about using an AirPort base station, check Help Center or visit the Apple AirPort website at www.apple.com/support/airport. If you cannot resolve the issue using these steps, contact your ISP or network administrator. Problems with Wi-Fi Communication If you have trouble using Wi-Fi (wireless communication):  Make sure the computer or network you’re trying to connect to is running and has a wireless access point.  Make sure you’ve properly configured the software according to the instructions that came with your base station or access point.  Make sure you’re within range of the other computer or the network’s access point. Nearby electronic devices or metal structures can interfere with wireless communication and reduce this range. Repositioning or rotating the computer might improve reception.Chapter 3 Problem, Meet Solution 49  Check the Wi-Fi status icon (Z) in the menu bar. Up to four bars appear, indicating signal strength. If signal strength is low, try changing your location.  Get help online by choosing Help > Help Center, and then searching for“wi-fi”. Also see the instructions that came with the wireless device for more information. Keeping Your Software Up to Date You can connect to the Internet and automatically download and install the latest free software versions, drivers, and other enhancements from Apple. When you’re connected to the Internet, Software Update checks to see if any updates are available. You can set your MacBook Air to check for updates periodically, and download and install updated software. To check for updated software: 1 Choose Apple (?) > System Preferences. 2 Click the Software Update icon and follow the onscreen instructions.  For more information, search for“Software Update”in Help Center.  For the latest information about Mac OS X, go to www.apple.com/macosx. You’ll also get notices from the Mac App Store when application updates are available. A small number indicating the number of updates appears on the right edge of the App Store icon. You can update one or more applications at a time.50 Chapter 3 Problem, Meet Solution Learning More, Service, and Support Your MacBook Air does not have any user-serviceable or user-replaceable parts. If you need service, contact Apple or take your MacBook Air to an Apple Authorized Service Provider. You can find more information about your MacBook Air through online resources, onscreen help, System Information, and Apple Hardware Test. Online Resources For online service and support information, go to www.apple.com/support and choose your country from the pop-up menu. You can search the AppleCare Knowledge Base, check for software updates, or get help from Apple’s discussion forums. Onscreen Help You can often find answers to your questions, as well as instructions and troubleshooting information, in Help Center. Choose Help > Help Center. System Information To get information about your MacBook Air, use System Information. It shows you what hardware and software is installed, the serial number and operating system version, how much memory is installed, and more. To open System Information, choose Apple (?) > About This Mac from the menu bar and then click More Info. AppleCare Service and Support Your MacBook Air comes with 90 days of technical support and one year of hardware repair warranty coverage at an Apple Retail Store or an Apple-authorized repair center, such as an Apple Authorized Service Provider. You can extend your coverage by purchasing the AppleCare Protection Plan. For information, visit www.apple.com/support/products or visit the website address for your country listed later in the section.Chapter 3 Problem, Meet Solution 51 If you need assistance, AppleCare telephone support representatives can help you with installing and opening applications, and basic troubleshooting. Call the support center number nearest you (the first 90 days are complimentary). Have the purchase date and your MacBook Air serial number ready when you call. Your 90 days of complimentary telephone support begins on the date of purchase. Country Phone Website United States 1-800-275-2273 www.apple.com/support Australia (61) 1-300-321-456 www.apple.com/au/support Canada (English) (French) 1-800-263-3394 www.apple.com/ca/support www.apple.com/ca/fr/support Ireland (353) 1850 946 191 www.apple.com/ie/support New Zealand 00800-7666-7666 www.apple.com/nz/support United Kingdom (44) 0844 209 0611 www.apple.com/uk/support Telephone numbers are subject to change, and local and national telephone rates may apply. A complete list is available on the web: www.apple.com/support/contact/phone_contacts.html52 Chapter 3 Problem, Meet Solution Locating Your Product Serial Number Use one of these methods to find your MacBook Air serial number:  Turn over your MacBook Air. The serial number is etched into the case near the hinge. Serial number  Choose Apple (?) > About This Mac. Click the version number beneath the words “Mac OS X”to cycle through the Mac OS X version number, the build version, and the serial number.  Open System Information (in the Utilities folder in Launchpad). In the Contents pane, click Hardware.www.apple.com/macosx Last, but Not Least 4 Help Center ergonomics www.apple.com/environment54 Chapter 4 Last, but Not Least For your safety and that of your equipment, follow these rules for handling and cleaning your MacBook Air and for working more comfortably. Keep these instructions handy for reference by you and others. NOTICE: Incorrect storage or use of your MacBook Air may void the manufacturer’s warranty. Important Safety Information WARNING: Failure to follow these safety instructions could result in fire, electric shock, or other injury or damage. Built-in battery Do not remove the battery from your MacBook Air. The battery should be replaced only by an Apple Authorized Service Provider. Discontinue use of your MacBook Air if it’s dropped or appears crushed, bent, deformed, or damaged. Do not expose your MacBook Air to extreme heat sources, such as radiators or fireplaces, where temperatures might exceed 212°F or 100°C. Proper handling The bottom of your MacBook Air may become very warm during normal use. The MacBook Air complies with the user-accessible surface temperature limits defined by the International Standard for Safety of Information Technology Equipment (IEC 60950-1).Chapter 4 Last, but Not Least 55 To operate the computer safely and reduce the possibility of heat-related injuries, follow these guidelines:  Set up your MacBook Air on a stable work surface that allows for adequate air circulation under and around the computer.  Do not operate your MacBook Air on a pillow, blanket, or other soft material, because the material can block the airflow vents.  Never place anything over the keyboard when operating your MacBook Air.  Do not push objects into the ventilation openings.  If your MacBook Air is on your lap and gets uncomfortably warm, remove it from your lap and place it on a stable work surface. Water and wet locations Keep your MacBook Air away from sources of liquid, such as drinks, washbasins, bathtubs, shower stalls, and so on. Protect your MacBook Air from dampness or wet weather, such as rain, snow, and fog. 45W MagSafe Power Adapter Use only the power adapter that came with your MacBook Air, or an Apple-authorized power adapter that is compatible with this product. Make sure the AC plug or AC power cord is fully inserted into the power adapter before plugging the adapter into a power outlet. The power adapter may become very warm during normal use. The MagSafe Power Adapter complies with the user-accessible surface temperature limits defined by the International Standard for Safety of Information Technology Equipment (IEC 60950-1).56 Chapter 4 Last, but Not Least To reduce the possibility of overheating the power adapter or of heat-related injuries, do one of the following:  Plug the power adapter directly into a power outlet. AC plug MagSafe connector MagSafe Power Adapter  If you’re using the AC power cord, place the power adapter on a desk, table, or on the floor in a well-ventilated location. MagSafe connector MagSafe Power Adapter AC power cordChapter 4 Last, but Not Least 57 Disconnect the power adapter and disconnect any other cables if any of the following conditions exists:  You want to clean the case (use only the recommended procedure described on page 60).  The power cord or plug becomes frayed or otherwise damaged.  Your MacBook Air or power adapter is exposed to rain, excessive moisture, or liquid spilled into the case.  Your MacBook Air or power adapter has been dropped, the case has been damaged, or you suspect that service or repair is required. The MagSafe power port contains a magnet that can erase data on a credit card, iPod, or other device. To preserve your data, do not place these or other magnetically sensitive material or devices within 1 inch (25 mm) of this port. If debris gets into the MagSafe power port, remove it gently with a dry cotton swab. MagSafe power specifications:  Frequency: 50 to 60 Hz, single phase  Line Voltage: 100 to 240 V  Output Voltage: 14.5 V DC, 3.1 A58 Chapter 4 Last, but Not Least Hearing damage 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 that may sound normal but can be damaging to your hearing. If you experience ringing in your ears or muffled speech, stop listening and have your hearing checked. The louder the volume, the less time is required before your hearing could be affected. Hearing experts suggest that to protect your hearing:  Limit the amount of time you use earbuds or headphones at high volume.  Avoid turning up the volume to block out noisy surroundings.  Turn the volume down if you can’t hear people speaking near you. High-risk activities This computer is not intended for use in the operation of nuclear facilities, aircraft navigation or communications systems, air traffic control systems, or for any other uses where a failure of the computer system could lead to death, personal injury, or severe environmental damage.Chapter 4 Last, but Not Least 59 Important Handling Information NOTICE: Failure to follow these handling instructions could result in damage to your MacBook Air or other property. Operating environment Operating your MacBook Air outside these ranges may affect performance:  Operating temperature: 50° to 95° F (10° to 35° C)  Storage temperature: -4° to 113° F (-20° to 45° C)  Relative humidity: 5% to 90% (noncondensing)  Operating altitude: 0 to 10,000 feet (0 to 3048 meters) Carrying your MacBook Air If you carry your MacBook Air in a bag or briefcase, make sure that there are no loose items (such as paper clips or coins) that could accidentally get inside the computer through vent openings or get stuck inside a port. Also, keep magnetically sensitive items away from the MagSafe power port. Using connectors and ports Never force a connector into a port.When connecting a device, make sure the port is free of debris, that the connector matches the port, and that you have positioned the connector correctly in relation to the port. Handling glass parts Your MacBook Air contains glass components, including the display and trackpad. If they are damaged, don’t use your MacBook Air until it has been repaired by an Apple Authorized Service Provider.60 Chapter 4 Last, but Not Least Storing your MacBook Air If you are going to store your MacBook Air for an extended period of time, keep it in a cool location (ideally, 71° F or 22° C) and discharge the battery to 50 percent.When storing your computer for longer than five months, discharge the battery to approximately 50 percent. To maintain the capacity of the battery, recharge the battery to 50 percent every six months or so. Cleaning your MacBook Air When cleaning the outside of your MacBook Air and its components, first shut down your MacBook Air, and then unplug the power adapter. Then use a damp, soft, lint-free cloth to clean the MacBook Air exterior. Avoid getting moisture in any openings. Do not spray liquid directly on the computer. Do not use aerosol sprays, solvents, or abrasives that might damage the finish. Cleaning the MacBook Air screen To clean your MacBook Air screen, first shut down your MacBook Air and unplug the power adapter. Then use a soft, lint-free cloth dampened with just water and wipe the screen. Do not spray liquid directly on the screen.Chapter 4 Last, but Not Least 61 Understanding Ergonomics Here are some tips for setting up a healthy work environment. Keyboard and Trackpad When you use the keyboard and trackpad, your shoulders should be relaxed. Your upper arm and forearm should form an angle that is slightly greater than a right angle, with your wrist and hand in roughly a straight line. This Not this Use a light touch when typing or using the trackpad and keep your hands and fingers relaxed. Avoid rolling your thumbs under your palms. This Not this62 Chapter 4 Last, but Not Least Change hand positions often to avoid fatigue. Some computer users might develop discomfort in their hands, wrists, or arms after intensive work without breaks. If you begin to develop chronic pain or discomfort in your hands, wrists, or arms, consult a qualified health specialist. External Mouse If you use an external mouse, position the mouse at the same height as the keyboard and within a comfortable reach. Chair An adjustable chair that provides firm, comfortable support is best. Adjust the height of the chair so your thighs are horizontal and your feet are flat on the floor. The back of the chair should support your lower back (lumbar region). Follow the manufacturer’s instructions for adjusting the backrest to fit your body properly. You might have to raise your chair so that your forearms and hands are at the proper angle to the keyboard. If this makes it impossible to rest your feet flat on the floor, you can use a footrest with adjustable height and tilt to make up for any gap between the floor and your feet. Or you can lower the desktop to eliminate the need for a footrest. Another option is to use a desk with a keyboard tray that’s lower than the regular work surface.Chapter 4 Last, but Not Least 63 Built-In Display Adjust the angle of the display to minimize glare and reflections from overhead lights and windows. Do not force the display if you meet resistance. The display is not designed to open past 135 degrees. You can adjust the brightness of the screen when you take the computer from one work location to another, or if the lighting in your work area changes. More information about ergonomics is available on the web: www.apple.com/about/ergonomics Apple and the Environment Apple Inc. recognizes its responsibility to minimize the environmental impacts of its operations and products. More information is available on the web: www.apple.com/environment64 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 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. 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 AirPort Extreme technology is below the FCC and EU 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.65 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 ????????? Apple Inc. ?????????, ?? ???? MacBook Air ? ? ???????????? ??? ???????????? ?????????? ? ??????? ????????? ??????? ?? ????????? 1999/5/??. Cesky Spolecnost Apple Inc. tímto prohlašuje, že tento MacBook Air je ve shode se základními požadavky a dalšími príslušnými ustanoveními smernice 1999/5/ES. Dansk Undertegnede Apple Inc. erklærer herved, at følgende udstyr MacBook Air overholder de væsentlige krav og øvrige relevante krav i direktiv 1999/5/EF. Deutsch Hiermit erklärt Apple Inc., dass sich das MacBook Air 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 Air vastab direktiivi 1999/5/EÜ põhinõuetele ja nimetatud direktiivist tulenevatele teistele asjakohastele sätetele. English Hereby, Apple Inc. declares that this MacBook Air is in compliance with the essential requirements and other relevant provisions of Directive 1999/5/EC. Español Por medio de la presente Apple Inc. declara que este MacBook Air cumple con los requisitos esenciales y cualesquiera otras disposiciones aplicables o exigibles de la Directiva 1999/5/CE. ???????? Me t?? pa???sa, ? Apple Inc. d????e? ?t? a?t? ? s?s?e?? MacBook Air s?µµ??f??eta? p??? t?? ßas???? apa?t?se?? ?a? t?? ???p?? s?et???? d?ata´?e?? t?? ?d???a? 1999/5/??. Français Par la présente Apple Inc. déclare que l’appareil MacBook Air 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 Air fullnægir lágmarkskröfum og öðrum viðeigandi ákvæðum Evróputilskipunar 1999/5/EC. Italiano Con la presente Apple Inc. dichiara che questo dispositivo MacBook Air è conforme ai requisiti essenziali ed alle altre disposizioni pertinenti stabilite dalla direttiva 1999/5/CE. Latviski Ar šo Apple Inc. deklare, ka MacBook Air ierice atbilst Direktivas 1999/5/EK butiskajam prasibam un citiem ar to saistitajiem noteikumiem. Lietuviu Šiuo „Apple Inc.“ deklaruoja, kad šis MacBook Air atitinka esminius reikalavimus ir kitas 1999/5/EB Direktyvos nuostatas. Magyar Alulírott, Apple Inc. nyilatkozom, hogy a MacBook Air megfelel a vonatkozó alapvetõ követelményeknek és az 1999/5/EC irányelv egyéb elõírásainak. Malti Hawnhekk, Apple Inc., jiddikjara li dan MacBook Air jikkonforma mal-htigijiet essenzjali u ma provvedimenti ohrajn relevanti li hemm fid-Dirrettiva 1999/5/EC. Nederlands Hierbij verklaart Apple Inc. dat het toestel MacBook Air in overeenstemming is met de essentiële eisen en de andere bepalingen van richtlijn 1999/5/EG. Norsk Apple Inc. erklærer herved at dette MacBook Air -apparatet er i samsvar med de grunnleggende kravene og øvrige relevante krav i EU-direktivet 1999/5/EF. Polski Niniejszym Apple Inc. oswiadcza, ze ten MacBook Air sa zgodne z zasadniczymi wymogami oraz pozostalymi stosownymi postanowieniami Dyrektywy 1999/5/EC. 66 Português Apple Inc. declara que este dispositivo MacBook Air está em conformidade com os requisitos essenciais e outras disposições da Directiva 1999/5/CE. Româna Prin prezenta, Apple Inc. declara ca acest aparat MacBook Air este în conformitate cu cerintele esentiale si cu celelalte prevederi relevante ale Directivei 1999/5/CE. Slovensko Apple Inc. izjavlja, da je ta MacBook Air skladne z bistvenimi zahtevami in ostalimi ustreznimi dolocili direktive 1999/5/ES. Slovensky Apple Inc. týmto vyhlasuje, že toto MacBook Air splna základné požiadavky a všetky príslušné ustanovenia Smernice 1999/5/ES. Suomi Apple Inc. vakuuttaa täten, että tämä MacBook Air tyyppinen laite on direktiivin 1999/5/EY oleellisten vaatimusten ja sitä koskevien direktiivin muiden ehtojen mukainen. Svenska Härmed intygar Apple Inc. att denna MacBook Air 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 ?? ????????????????? ??????????????? Japan VCCI Class B Statement67 Russia External USB Modem Information When connecting your MacBook Air to the phone line using an external USB modem, refer to the telecommunications agency information in the documentation that came with your modem. 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 button or press any key on the keyboard. For more information about ENERGY STAR ® , visit: www.energystar.gov Disposal and Recycling Information This symbol indicates that your product must be disposed of properly according to local laws and regulations.When your product reaches its end of life, contact Apple or your local authorities to learn about recycling options. For information about Apple’s recycling program, go to: www.apple.com/recycling. European Union—Disposal Information The symbol above means that according to local laws and regulations your product should be disposed of separately from household waste.When this product reaches its end of life, take it to a collection point designated by local authorities. Some collection points accept products for free. The separate collection and recycling of your product at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. Türkiye EEE yönetmeligine (Elektrikli ve Elektronik Esyalarda Bazi Zararli Maddelerin Kullaniminin Sinirlandirilmasina 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. Battery Disposal Information Dispose of batteries according to your local environmental laws and guidelines. 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.68 China Battery Statement Taiwan Battery Statement 020-5563-A EFUP15chinaLooking for Something?70 Looking for Something? Index A AC plug 10 AC power adapter. See power adapter AC power cord 10 AppleCare 50 application freeze 39 applications Apple Hardware Test 46 FaceTime 23 force quitting 39 iLife 34 installing 15 Migration Assistant 12 Network Setup Assistant 47 Photo Booth 23 System Information 50 B battery charging 32 disposal 68 location 23 performance 32 storing 61 blinking question mark 40 brightness keys 25 built-in speaker 23 button, power 11, 25 C carrying your computer 60 changing System Preferences 14 the desktop 14 charging the battery 32 cleaning the display 61 your computer 61 computer disposing of 68 freezes 40 putting to sleep 18 shutting down 19 specifications 35 turning on 11 waking 19 won’t turn on 40 connection problems with another computer 41 Control-click 29 cord, AC power 10 D desktop, customizing 14 display adjusting brightness 25 cleaning 61 goes black 41 display, external 27 See also screen disposing of your computer 68 Dock 33 downloading software 49 DVD or CD Sharing installing software 16 overview 17 with Windows computer 17 E Energy Saver preferences 18 environmental impact 64 ergonomics 62 F F1 to F12 function keys 25 FaceTime application 23 FaceTime video camera 23 Fast-forward key 25 flashing question mark 40 Force Quit 39Looking for Something? 71 four-finger pinching 31 four-finger swiping 31 frozen application 39 Function (fn) key 25 H hand positions, recommended 62 headphone port 27 Help Center 33 Help, finding answers 33 high-speed data transfer 27 I iLife applications 34 installing DVD or CD Sharing Setup 16 IP masquerading 48 K keyboard ergonomics 62 features 24 illumination keys 25 shortcuts 29 See also keys keys brightness 25 Function (fn) 25 keyboard illumination 25 Launchpad 25 media 25 Mission Control 25 Mute 25 volume control 25 L Launchpad key 25 M Mac App Store 35 Mac OS X Utilities application 12 Mac OS X website 34 MagSafe power adapter. See power adapter MagSafe power port 27 media keys 25 microphone 27 Migration Assistant 12 Mini DisplayPort technology 27 Mission Control key 25 mouse 27, 63 See also trackpad Mute key 25 N network address translation (NAT) 48 Network Diagnostics 47 Network Setup Assistant 47 O online resources 50 optical disc sharing. See DVD or CD sharing P partner computer connection problems 41 DVD or CD Sharing Setup software 16 password, resetting 15 Photo Booth application 23 pinching to zoom 30 Play/Pause key 25 plug, AC 10 ports headphone 27 MagSafe power 27 Thunderbolt 27 USB 2.0 27 power adapter port 27 safety information 56 safety tips 56 setup 10 power button 11, 25 problems. See troubleshooting putting your computer to sleep 1872 Looking for Something? Q question mark, flashing 40 quitting an application 39 R Remote Disc 17, 18 resetting password 15 Rewind key 25 right-clicking 29 rotating objects using trackpad 30 S safety general instructions 55 handling information 60 important information 8 power adapter 56 screen. See display scrolling with two fingers 28 secondary-clicking 29 serial number, locating 52 service and support 50 Setup Assistant 12 shared optical disc 17 sharing files 17 shutting down 19 sleep mode 18 software installing DVD or CD sharing 16 updating 49 Software Update preferences 49 speakers 23 specifications 35 stopping an application 39 the computer 19 storing your computer 61 support contact information 50 System Information 50 System Preferences customizing the desktop 14 Energy Saver 18 Software Update 49 T three-finger swiping 31 Thunderbolt port 27 trackpad pinching 30 rotating 30 scrolling 28 zooming 30 troubleshooting AirPort 48 AppleCare 50 computer freezes 40 computer won’t turn on 40 connecting to partner computer 41 display goes black 41 hardware problems 46 pointer won’t move 39 service and support 50 using AirPort 48 using Help Center 33, 50 Wi-Fi 48 turning on your computer 11 two-finger pinching 30 two-finger rotating 30 typing position 62 U updating software 49 USB connections 35 ports 27 V video camera indicator light 23 video port 27 volume control keys 25 W waking your computer 19 Wi-Fi troubleshooting 48 Z zooming using the trackpad 30K Apple Inc. © 2011 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. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the “keyboard”Apple logo (OptionShift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Apple, the Apple logo, AirPort, AirPort Extreme, FaceTime, Finder, GarageBand, iChat, iLife, iMovie, iPhone, iPhoto, iPod, iTunes, Keynote, Mac, Mac OS, MacBook, MacBook Air, MagSafe, Photo Booth, Safari, SuperDrive, Time Capsule, and Time Machine are trademarks of Apple Inc., registered in the U.S. and other countries. iPad and Multi-Touch are trademarks of Apple Inc. Apple, AppleCare, Apple Store, and iTunes Store are service marks of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc. ENERGY STAR® is a U.S. registered trademark. Thunderbolt and the Thunderbolt logo are trademarks of Intel Corp. in the U.S. and other countries. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Apple Inc. is under license. 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. 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. Simultaneously published in the United States and Canada. Compressor 4 BenutzerhandbuchCopyright © 2012 Apple Inc. Alle Rechte vorbehalten Alle weiteren Rechte an der Software sind in den mitgelieferten Lizenzbestimmungen festgelegt. Der Eigentümer oder berechtigte Benutzer eines rechtmäßig erworbenen Exemplars der Compressor-Software darf diese Veröffentlichung zum Zweck der Schulung in der Verwendung dieser Software vervielfältigen. Das Vervielfältigen oder Übertragen dieser Publikation oder Teilen davon zu kommerziellen Zwecken, wie etwa zum Verkauf von Kopien dieser Publikation oder zum Anbieten entgeltlicher Support-Dienstleistungen, ist untersagt. Das Apple-Logo ist eine in den USA und weiteren Ländern eingetragene Marke der Apple Inc. Die Verwendung des über die Tastatur erzeugten Apple-Logos (Umschalt-Wahl-K) für kommerzielle Zwecke ohne vorherige Genehmigung von Apple kann als Markenmissbrauch und unlauterer Wettbewerb gerichtlich verfolgt werden. Ansprüche gegenüber Apple Inc. in Anlehnung an die in diesem Handbuch beschriebenen Hard- oder Softwareprodukte richten sich ausschließlich nach den Bestimmungen der Garantiekarte. Apple übernimmt keine Gewähr für die Richtigkeit des Inhalts dieses Handbuchs. Hinweis: Da Apple häufig neue Versionen und Aktualisierungen für Systemsoftware, Programme und Internetseiten herausgibt, können sich die in diesem Handbuch verwendeten Bilder geringfügig von Ihrer Bildschirmanzeige unterscheiden. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com Apple, das Apple-Logo, AppleScript, Apple TV, Bonjour, DVD Studio Pro, Final Cut, Final Cut Pro, Finder, FireWire, iPhone, iPod, iTunes, Mac, Mac OS, QuickTime, Shake und Xsan sind Marken der Apple Inc., die in den USA und weiteren Ländern eingetragen sind. iPad und NetInfo sind Marken der Apple Inc. AppleCare ist eine Dienstleistungsmarke der Apple Inc., die in den USA und weiteren Ländern eingetragen ist. “Dolby“, „Pro Logic“ und das Doppel-D-Symbol sind Marken der Dolby Laboratories. Confidential Unpublished Works, © 1992–1997 Dolby Laboratories, Inc. Alle Rechte vorbehalten. UNIX ist eine eingetragene Marke von The Open Group. Das YouTube-Logo ist eine Marke der Google Inc. Die Rechte an anderen in diesem Handbuch erwähnten Marken- und Produktnamen liegen bei ihren Inhabern und werden hiermit anerkannt. Die Nennung von Produkten, die nicht von Apple sind, dient ausschließlich Informationszwecken und stellt keine Werbung dar. Apple übernimmt hinsichtlich der Auswahl, Leistung oder Verwendbarkeit dieser Produkte keine Gewähr. Produktionsstandbilder des Films „Koffee House Mayhem“ freundlicherweise zur Verfügung gestellt von Jean-Paul Bonjour. “Koffee House Mayhem“ © 2004 Jean-Paul Bonjour. Alle Rechte vorbehalten. http://www.jeanpaulbonjour.com Produktionsstandbilder des Films „A Sus Ordenes“ freundlicherweise zur Verfügung gestellt von Eric Escobar. “A Sus Ordenes“ © 2004 Eric Escobar. Alle Rechte vorbehalten. http://www.kontentfilms.comVorwort 9 Compressor 9 Das Programm „Compressor“ 10 Die Compressor-Dokumentation 10 Weitere Ressourcen Kapitel 1 11 Schneller Einstieg 11 In Compressor verwendete Begriffe 12 Compressor-Arbeitsablauf im Überblick: Verwenden von Stapelvorlagen 17 Compressor-Arbeitsablauf im Überblick: Manuelles Verfahren 24 Optionale Aufgaben, die Sie vor dem Senden eines Stapels ausführen können Kapitel 2 27 Einsatzmöglichkeiten für Compressor 28 Typische Compressor-Szenarien 29 Leistungsmerkmale der Compressor-Software Kapitel 3 33 Der grundlegende Arbeitsablauf beim Umcodieren 33 Compressor-Grundlagen und Terminologie 37 Vorbereiten von Compressor zur Umcodierung mit eigenen Voreinstellungen 39 Wählen eines Ausgabeformats 40 Erstellen eines Compressor-Stapels 43 Anzeigen des Status beim Umcodieren 43 Optionale Compressor-Kurzbefehle Kapitel 4 45 Die Benutzeroberfläche von Compressor 46 Compressor-Fenster und der Umcodierungs-Arbeitsablauf 47 Erstellen und Verwalten von Fensteranordnungen in Compressor 50 Arbeiten mit den Compressor-Fenstern 54 Fenster „Stapel“ 58 Bereich „Voreinstellungen“ 59 Bereich „Zielorte“ 60 Fenster „Informationen“ 70 Fenster „Verlauf“ 71 Fenster „Vorschau“ 73 Fenster „Apple Qmaster - Sharing“ 3 Inhalt74 Share-Monitor 75 Droplet-Fenster 75 Informationen zum Ändern von Werten und Timecode-Einträgen 78 Kurzbefehle Kapitel 5 79 Festlegen von Compressor-Einstellungen 79 Compressor-Einstellungen 82 Verwenden von Compressor-Einstellungen Kapitel 6 85 Importieren von Ausgangsmedien 86 Das Fenster „Stapel“ 89 Erstellen von Aufträgen durch Hinzufügen von Ausgangsmedien zu einem Stapel 99 Verwenden des Fensters „Informationen“ mit Ausgangsmediendateien 102 Tipps zum Importieren von Ausgangsmediendateien Kapitel 7 105 Erstellen, Ansehen und Ändern von Voreinstellungen 106 Der Bereich „Voreinstellungen“ 110 Verwenden des Fensters „Informationen“ zum Arbeiten mit Einstellungen 111 Duplizieren von Voreinstellungen 112 Erstellen einer eigenen Voreinstellung 114 Suchen nach einer Voreinstellung 114 Anzeigen einer Voreinstellung in der Vorschau 116 Löschen von Voreinstellungen 117 Erstellen von Gruppen mit Voreinstellungen 119 Bereitstellen von Voreinstellungen 120 Beispiel: Erstellen eigener Gruppen und Voreinstellungen für eine DVD Kapitel 8 123 Fertigstellen von Aufträgen und Senden von Stapeln 123 Zuweisen von Voreinstellungen 129 Zuweisen von Zielorten 132 Allgemeine Informationen über Aufträge und Ziele 134 Allgemeine Informationen über Stapel 141 Verwenden von Final Cut Pro und Motion in Verbindung mit Compressor 144 Verwenden der verteilten Verarbeitung mit Compressor Kapitel 9 147 Erstellen von AIFF-Dateien 147 Erstellen von AIFF-Ausgabedateien 148 Bereich „Codierer“ für das Format „AIFF“ 148 Dialogfenster „Toneinstellungen“ 150 Sample-Größen und Abtastraten von QuickTime-Audiodateien 150 Auswählen eines Audio-Codecs für die Verteilung 150 Konfigurieren von AIFF-Einstellungen 4 InhaltKapitel 10 153 Erstellen von Dateien für gängige Audioformate 153 Erstellen von Dateien für gängige Audioformate 154 Bereich „Allgemeine Audioformate“ 155 Konfigurieren der Voreinstellung „Allgemeine Audioformate“ Kapitel 11 157 Erstellen von Ausgabedateien im Format „DV-Stream“ 157 Bereich „Codierer“ für das Format „DV-Stream“ 158 Arbeitsablauf beim Umcodieren in das DV-Format Kapitel 12 159 Erstellen von Ausgabedateien im Format „Dolby Digital Professional“ 160 Bereich „Codierer“ für das Format „Dolby Digital Professional“ 166 Allgemeine Informationen über das Erstellen von Dolby Digital Professional-Dateien 168 Umwandeln von Stereo-Audiodateien in das Format „Dolby Digital Professional „ 169 Zuweisen von Dateien zu Surround-Sound-Kanälen (manuelle Methode) 171 Zuweisen von Dateien zu Surround-Sound-Kanälen (automatische Methoden) 174 Zuweisen von Dateien zu Surround-Sound-Kanälen mithilfe von Droplets 174 Optionen für räumliches Mischen Kapitel 13 177 Erstellen von Ausgabedateien im Format „H.264 für Apple-Geräte“ 178 Bereich „Codierer“ für das Format „H.264 für Apple-Geräte“ 182 Kapitel- und Podcast-Marker für Apple-Geräte 182 Seitenverhältnisse für Apple-Geräte 183 H.264-Arbeitsabläufe für Apple-Geräte Konfigurieren von Einstellungen für Ausgabedateien mit dem Format „H.264 für Apple-Geräte“ 184 Kapitel 14 185 Erstellen von Ausgabedaten im Format „H.264 für Blu-ray“ 186 Bereich „Codierer“ für das Format „H.264 für Blu-ray“ 189 H.264-Arbeitsabläufe für optische Medien Kapitel 15 191 Erstellen von Bildsequenzdateien 191 Erstellen von Ausgabedateien im Format „Bildsequenz“ 192 Bereich „Codierer“ für das Format „Bildsequenz“ 194 Konfigurieren von Voreinstellungen für das Format „Bildsequenz“ Kapitel 16 197 Erstellen von MP3-Ausgabedateien 197 Generelle Einsatzmöglichkeiten für MP3 198 Bereich „Codierer“ für das Format „MP3“ 200 Arbeitsablauf beim Umcodieren in das MP3-Format Kapitel 17 201 Erstellen von MPEG-1-Ausgabedateien 201 Generelle Einsatzmöglichkeiten für MPEG-1 202 Technische Daten von MPEG-1 Inhalt 5204 Bereich „Codierer“ für das Format „MPEG-1“ 205 Der Bereich „Video“ 206 Der Bereich „Audio“ 207 Systemstreams und Elementarstreams 208 Arbeitsablauf beim Umcodieren in das MPEG-1-Format 209 Konfigurieren des MPEG-1-Dateiformats für das Internet 211 Konfigurieren des MPEG-1-Dateiformats für DVDs 211 Erstellen der Voreinstellung „MPEG-1-Video für DVD“ 213 Erstellen der Voreinstellung „MPEG-1-Audio für DVD“ 215 Optional—Erstellen einer Gruppe und eines Zielorts für „MPEG-1 für DVD“ Kapitel 18 217 Erstellen von MPEG-2-Ausgabedateien 217 MPEG-2-Format (Standard Definition) 218 HD-Ausgangsdateien und MPEG-2 219 Elementar-, Transport- und Programmstreams 220 Bereich „Codierer“ für das Format „MPEG-2“ 233 MPEG-2-Referenzinformationen 238 Arbeitsablauf beim Umcodieren in das MPEG-2-Format 244 Beispiel für MPEG-2-Einstellungen Kapitel 19 247 Erstellen von MPEG-4-Ausgabedateien 247 MPEG-4 Part 2 248 Der Bereich „Codierer“ für das Format „MPEG-4 Part 2“ 253 Verwenden der standardmäßigen MPEG-4 Part 2-Einstellungen 254 Anpassen der MPEG-4 Part 2-Einstellungen 256 Arbeitsablauf beim Audio-Podcasting 260 Hinzufügen zusätzlicher Einstellungen und Voreinstellungen Kapitel 20 261 Erstellen von Dateien mit dem QuickTime-Export-Komponenten-Codierer 261 Erstellen von Ausgabedateien mit dem QuickTime-Export-Komponenten-Codierer 262 Installieren von QuickTime-Export-Komponenten-Plug-Ins 262 iPod-Plug-In 263 Bereich „Codierer“ für das Format „QuickTime-Export-Komponenten“ 263 Konfigurieren der Exporteinstellungen Kapitel 21 265 Erstellen von QuickTime-Ausgabedateien 265 Erstellen von QuickTime-Ausgabedateien 266 Bereich „Codierer“ für das Format „QuickTime-Film“ 273 Arbeitsablauf beim Umcodieren in das QuickTime-Format 277 Funktionsweise von Codecs 277 QuickTime-Video-Codecs 279 QuickTime-Audio-Codecs 6 InhaltKapitel 22 281 Hinzufügen von Filtern zu einer Voreinstellung 281 Arbeiten mit Filtern 283 Bereich „Filter“ 284 Bereich für „Video“ 292 Bereich „Audio“ 295 Bereich „Farbe“ 295 Hinzufügen von Filtern zu einer Voreinstellung Kapitel 23 299 Arbeiten mit Bildsteuerungen 299 Bereich „Bildsteuerungen“ 305 Hinzufügen von Bildsteuerungen zu einer Voreinstellung 306 Deinterlacing 307 Reverse Telecine-Funktion 310 Verwenden der Retiming-Steuerelemente Kapitel 24 313 Hinzufügen von Geometrieeinstellungen 313 Beschneiden, Skalieren und Padding 316 Bereich „Geometrie“ 321 Geometrie-Anpassungen an einer Voreinstellung Kapitel 25 325 Hinzufügen von Aktionen 325 Aktionen nach der Umcodierung 325 Hinzufügen von Aktionen für Voreinstellungen 327 Hinzufügen von Aktionen für Aufträge Kapitel 26 343 Verwenden des Fensters „Vorschau“ 343 Fenster „Vorschau“ 351 Anzeigen eines Clips in der Vorschau 357 Umcodieren eines Clipausschnitts im Fenster „Vorschau“ 358 Arbeiten mit Markern und Posterbildern 366 Kurzbefehle im Fenster „Vorschau“ Kapitel 27 367 Erstellen und Ändern von Zielorten 368 Bereich „Zielorte“ 369 Verwenden des Fensters „Informationen“ für Zielorte 370 Erstellen eines Zielorts 372 Warnsymbole 372 Löschen und Duplizieren eines Zielorts Kapitel 28 375 Arbeiten mit Droplets 376 Erstellen von Droplets 378 Fenster „Droplet“ 381 Überprüfen der Droplet-Einstellungen Inhalt 7383 Verwenden eines Droplets zum Umcodieren von Ausgangsmedien 385 Verwenden von Droplets zur Erstellung von Aufträgen und Voreinstellungen in Compressor 386 Tipps zu Droplets Kapitel 29 387 Apple Qmaster und die verteilte Verarbeitung 387 Grundlagen der verteilten Verarbeitung 389 Grundlegende Komponenten des Apple Qmaster-Systems für die verteilte Verarbeitung 397 Schneller Einstieg mit der Option „Dieser Computer und“ 399 Schneller Einstieg mit der Option „QuickCluster“ 401 Die Oberflächen des Apple Qmaster-Systems für die verteilte Verarbeitung 408 Fenster „Apple Qmaster - Sharing“ in Compressor 413 Allgemeine Informationen zu Clustern 426 Erstellen von Clustern mit Apple Qadministrator 429 Einrichten der zeitweiligen verteilten Verarbeitung mit Shake Anhang A 433 Tastaturkurzbefehle 433 Allgemeine Kurzbefehle in Compressor 434 Kurzbefehle des Fensters „Vorschau“ Anhang B 437 Fehlerbeseitigung 437 Ressourcen für die Fehlerbeseitigung 438 Lösungsvorschläge für häufig auftretende Probleme 439 Kontaktaufnahme mit dem AppleCare Support Anhang C 441 Unterstützung für die Befehlszeile 441 Shell-Befehle für das Senden von Compressor-Aufträgen 8 InhaltCompressor spielt eine bedeutende Rolle bei der Videokomprimierung. Dank zahlreicher Komprimierungseinstellungen und einer breiten Palette unterstützter Ausgabeformate wird die Komprimierung damit zu einem schnellen, effizienten und unkomplizierten Prozess. Dieses Vorwort behandelt die folgenden Themen: • Das Programm „Compressor“ (S. 9) • Die Compressor-Dokumentation (S. 10) • Weitere Ressourcen (S. 10) Das Programm „Compressor“ Compressor wurde für Spezialisten im Bereich Videopostproduktion und -komprimierung entwickelt, die Leistungsstärke und umfassende Steuerungsmöglichkeiten benötigen, um den endgültigen digitalen Inhalt für das DVD-Authoring, für Streaming-Media-Server und drahtlose Geräte vorzubereiten. Compressor bietet Ihnen Optionen zum Ändern der Größe, zum Beschneiden und Verarbeiten von Bildern, zum Codieren und zur Bereitstellung digitaler Inhalte. Außerdem werden Funktionen für die Stapelverarbeitung und H.264-Codierung bereitgestellt ebenso wie VBR-Optionen. Sie können u. a. Droplets und AppleScript verwenden, Voreinstellungen für die Umcodierung angeben und sichern, Filter verwenden und Zielorte angeben. Compressor bietet auch eine Vielzahl von Ausgabeformaten für Geräte von Apple, DVDs, das Internet, CDs und Kiosksysteme. Wichtig: Compressor 4 ist für die Zusammenarbeit mit Final Cut Pro X (und neuer) und Motion 5 (und neuer) konzipiert und ist für die Funktion „An Compressor senden“ erforderlich. Alle Verweise auf Final Cut Pro und Motion in diesem Dokument beziehen sich auf die genannten Versionen. 9 Compressor VorwortDie Compressor-Dokumentation Mit Compressor werden verschiedene Dokumente geliefert, die die Arbeit mit dem Programm erleichtern und detaillierte Informationen darüber enthalten. (Zugriff auf die Online-Hilfe für Compressor erhalten Sie, indem Sie Compressor öffnen und „Hilfe“ > „Compressor-Hilfe“ wählen.) • Compressor-Benutzerhandbuch: In diesem umfassenden Handbuch werden die Benutzeroberfläche, Befehle und Menüs von Compressor beschrieben und schrittweise Anleitungen für den Einsatz der Software für bestimmte Arbeiten gegeben. Es enthält darüber hinaus Informationen zum Konfigurieren eines Apple Qmaster-Systems für die verteilte Verarbeitung, das ein effizienteres Umcodieren und Rendern ermöglicht. Es richtet sich an Benutzer aller Kenntnisstufen. • Apple Qadministrator-Benutzerhandbuch: In diesem Dokument wird die manuelle Konfiguration und Verwaltung von Clustern beschrieben, die in einem Apple Qmaster-System für die verteilte Verarbeitung eingesetzt werden. • Apple Qmaster User Manual: In diesem Dokument wird erklärt, wie Apple Qmaster als Client für das Senden von Renderaufträgen aus Shake, Maya und anderen Programmen an ein System für die verteilte Verarbeitung eingesetzt wird. • Share-Monitor-Benutzerhandbuch: Dieses Dokument beschreibt, wie mit dem Share-Monitor der Status der Umcodierung von Stapeln und Aufträgen überwacht werden kann. Weitere Ressourcen Neben der mit Compressor gelieferten Dokumentation gibt es eine Vielzahl anderer Ressourcen, denen Sie Informationen über Compressor entnehmen können. Website für Compressor Allgemeine Informationen und Aktualisierungen sowie aktuelle Informationen zu Compressor finden Sie hier: • http://www.apple.com/de/finalcutpro/compressor Service & Support-Website von Apple Auf der Support-Website von Apple finden Sie Softwareaktualisierungen und Antworten auf häufig gestellte Fragen zu allen Apple-Produkten. Außerdem haben Sie Zugriff auf technische Daten zu Produkten, Referenz-Dokumentationen und technische Artikel zu Produkten von Apple und Drittanbietern. • http://www.apple.com/de/support Softwareaktualisierungen, Dokumentation, Diskussionsforen und Antworten auf häufig gestellte Fragen zu Compressor finden Sie auf folgender Seite: • http://www.apple.com/de/support/compressor 10 Vorwort CompressorCompressor enthält zahlreiche vordefinierte Einstellungen, mit denen Sie unmittelbar mit dem Umcodieren beginnen können. Sie können mit dem Umcodieren von Mediendateien beginnen, sobald Sie Compressor installiert haben. Voraussetzung ist, dass Sie mindestens eine Ausgangsmediendatei haben und dass die vorhandenen Stapelvorlagen oder Voreinstellungen und Zielorte von Compressor Ihren Umcodierungsanforderungen entsprechen. Im vorliegenden Kapitel werden folgende Themen behandelt: • In Compressor verwendete Begriffe (S. 11) • Compressor-Arbeitsablauf im Überblick: Verwenden von Stapelvorlagen (S. 12) • Compressor-Arbeitsablauf im Überblick: Manuelles Verfahren (S. 17) • Optionale Aufgaben, die Sie vor dem Senden eines Stapels ausführen können (S. 24) In Compressor verwendete Begriffe In Compressor werden einige Begriffe verwendet, die Ihnen geläufig sein sollten, bevor Sie beginnen, mit dem Programm zu arbeiten. Im Mittelpunkt des Umcodierungsprozesses steht ein Stapel. Er enthält mindestens eine Ausgangsmediendatei, also die Datei(en), die Sie in ein anderes Format umwandeln oder umcodieren wollen. Zu jeder Ausgangsmediendatei wird ein eigener Auftrag erstellt. Ein Stapel kann also mehrere Aufträge enthalten, wobei jeder Auftrag auf seiner eigenen Ausgangsmediendatei basiert. Außerdem hat jeder Auftrag mindestens ein Ziel. Die Ziele legen fest, welche Art von Ausgabedatei durch den Umcodierungsprozess erstellt und wo die Datei gespeichert werden soll. Einem Auftrag können mehrere Ziele zugewiesen sein, was bedeutet, dass Sie auf einfache Weise mehrere Ausgabedateien erstellen können, von denen jede ein unterschiedliches Format hat. 11 Schneller Einstieg 1Jedes Ziel besteht aus drei Komponenten. • Voreinstellung: Die Komponente Voreinstellung eines Ziels definiert den zu verwendenden Umcodierungsprozess, u. a. das Codierungsformat, sowie eine Vielzahl von Filtern und Geometrieattributen. • Zielort: Die Komponente Zielort eines Ziels legt fest, wo die Ausgabedatei gesichert wird. Darüber hinaus definiert sie die Regeln, die beim Festlegen des Namens der Ausgabedatei verwendet werden. Compressor umfasst eine vordefinierte Voreinstellung, die es Ihnen ermöglicht, einen Standardzielort anzugeben. • Name der Ausgabedatei: Sie können den Ausgabedateinamen (die dritte Komponente des Ziels) ändern, wenn Sie nicht den Namen verwenden wollen, der auf der Basis des Zielorts generiert wurde. Hinweis: Sie können einen Auftrag erst umcodieren, nachdem ihm mindestens eine Voreinstellung zugewiesen wurde. Wenn Sie Ihre eigenen Voreinstellungen erstellen oder vorhandene (im Lieferumfang der Compressor-Software enthaltene) Voreinstellungen ändern müssen, finden Sie entsprechende Informationen unter Der grundlegende Arbeitsablauf beim Umcodieren und Erstellen, Ansehen und Ändern von Voreinstellungen. Compressor-Arbeitsablauf im Überblick: Verwenden von Stapelvorlagen Stapelvorlagen vereinfachen und beschleunigen den Umcodierungs-Arbeitsablauf. Der folgende Arbeitsablauf zeigt eine schnelle und einfache Möglichkeit zur Verwendung von Compressor mit Stapelvorlagen. • Schritt 1: Auswahl einer Stapelvorlage • Schritt 2: Hinzufügen einer Ausgangsmediendatei • Schritt 3: Senden des Stapels • Schritt 4: Verwenden von Aktionen, die nach der Umcodierung ausgeführt werden • Schritt 5: Sichern eigener Stapelvorlagen - optional Schritt 1: Auswahl einer Stapelvorlage Damit Sie Compressor mit diesem Arbeitsablauf verwenden können, müssen Sie eine Stapelvorlage auswählen. Compressor öffnen und eine Stapelvorlage auswählen 1 Wählen Sie das Compressor-Symbol im Ordner „Programme“ durch Doppelklicken aus. Compressor wird mit dem Auswahlfenster für Stapelvorlagen und einem leeren Stapel ohne Titel mit einem Platzhalterauftrag angezeigt. 12 Kapitel 1 Schneller EinstiegHinweis: Das Auswahlfenster für Stapelvorlagen wird nicht angezeigt, wenn Sie zuvor das Feld „Nicht erneut anzeigen“ markiert oder in den Einstellungen für Compressor die Option „Leere Vorlage verwenden“ ausgewählt haben. Markieren Sie in den Einstellungen für Compressor die Option „Vorlagenauswahl einblenden“, damit das Auswahlfenster für Stapelvorlagen beim Erstellen neuer Stapel angezeigt wird. Sie können auch „Ablage“ > „Neuer Stapel aus Vorlage“ wählen, damit beim Erstellen neuer Stapel das Auswahlfenster für Stapelvorlagen eingeblendet wird. Das Auswahlfenster für Stapelvorlagen enthält Optionen für die standardmäßigen Apple-Stapelvorlagen (die in Schritt 2 beschrieben werden). Es können auch eigene Stapelvorlagen hinzugefügt werden. Weitere Informationen hierzu finden Sie unter Erstellen einer eigenen Stapelvorlage. Hinweis: Wählen Sie im Menü „Fenster“ > „Anordnungen“ eine Standardanordnung der Fenster, damit die Compressor-Benutzeroberfläche mit einer ähnlichen Anordnung angezeigt wird wie in diesem Dokument. Kapitel 1 Schneller Einstieg 132 Klicken Sie auf eine der Optionen im Auswahlfenster für Stapelvorlagen, um sie auszuwählen. Die Standard-Apple-Stapelvorlagen sind unten aufgeführt. • Audio-Podcast erstellen: Mit dieser Vorlage kann eine für Podcasting verwendbare AAC-Audiodatei erzeugt und der iTunes-Mediathek hinzugefügt werden. • Blu-ray-Disc erstellen: Verwenden Sie diese Vorlage, um BD H.264-Videodateien und Dolby Digital Professional-Audiodateien (.ac3) zu erstellen und sie automatisch auf eine Blu-ray- oder AVCHD-DVD zu brennen (AVCHD-DVDs lassen sich mit Blu-ray-Disc-Playern abspielen, die mit dem AVCHD-Format kompatibel sind). • DVD erstellen: Mit dieser Vorlage kann eine SD-DVD (Standard Definition) mit Videodaten im MPEG-2-Format (.m2v) und Audiodaten im Dolby Digital Professional-Format (.ac3) erzeugt und automatisch gebrannt werden. • HTTP-Live-Streaming: Mit dieser Vorlage können Sie eine Gruppe von Dateien erstellen, die für das Streaming eines Films auf ein iPhone oder iPad, einen iPod touch oder einen Mac mit einem normalen Server verwendet werden können. • Auf Apple TV veröffentlichen: Mit dieser Vorlage kann eine für die Wiedergabe mit Apple TV geeignete Videodatei erzeugt und der iTunes-Mediathek hinzugefügt werden. • Auf YouTube veröffentlichen: Mit dieser Vorlage kann eine Videodatei, die auf YouTube angezeigt werden kann, erzeugt und auf einen YouTube-Account geladen werden. Hinweis: Welche Vorlage Sie wählen, hängt von der beabsichtigten Verwendung der erstellten Ausgabemediendatei ab. Wenn keine geeignete Vorlage für den gewünschten Arbeitsablauf vorhanden ist, können Sie das manuelle Verfahren verwenden. Weitere Informationen hierzu finden Sie unter Compressor-Arbeitsablauf im Überblick: Manuelles Verfahren. Weitere Informationen zur Erstellung eigener Vorlagen finden Sie unter Erstellen einer eigenen Stapelvorlage. 3 Klicken Sie auf „Auswählen“. 14 Kapitel 1 Schneller EinstiegCompressor wendet ein Ziel auf den Platzhalterauftrag an. Das Ziel enthält die geeignete Umcodierungsvoreinstellung (auf der Basis der gewählten Vorlage), den Standardzielort (Original) und einen Vorschlag für den Ausgabedateinamen auf der Basis des Ausgangsdateinamens und des Namens der verwendeten Voreinstellung. Standardmäßig verwenden Stapelvorlagen „Original“ (den gleichen Ordner, aus dem die Ausgangsmediendateien stammen) als Zielort für die codierten Dateien. Weitere Informationen zum Auswählen anderer Zielorte finden Sie unter Erstellen und Ändern von Zielorten. Schritt 2: Hinzufügen einer Ausgangsmediendatei Bewegen Sie eine Ausgangsdatei aus dem Finder oder vom Schreibtisch zum Platzhalterauftrag im Fenster „Stapel“. Hinweis: Es kann nur eine einzige Ausgangsdatei hierher bewegt werden, weil Stapelvorlagen lediglich einen Auftrag enthalten. Wenn Sie mehrere Dateien auf den Auftrag bewegen, wird dem Auftrag nur die letzte Datei hinzugefügt und alle anderen Dateien werden ignoriert. Schritt 3: Senden des Stapels Wenn für den Auftrag eine Ausgangsmediendatei, eine Voreinstellung, ein Zielort und ein Ausgabedateinamen angegeben sind, kann er verarbeitet werden. Stapel zur Verarbeitung senden µ Klicken Sie auf die Taste „Senden“, um den Stapel mit Ihrem Auftrag zu senden. Kapitel 1 Schneller Einstieg 15Daraufhin wird ein Dialogfenster angezeigt, in dem Sie den aktuellen Sendevorgang benennen können. Außerdem können Sie dort festlegen, ob eine verteilte Verarbeitung erfolgen soll, und die Priorität für das Senden festlegen. In der Regel können Sie die Einstellungen unverändert lassen und einfach auf „Senden“ klicken. Weitere Informationen über das Dialogfenster „Senden“ finden Sie unter Senden eines Stapels. Nachdem Sie einen Stapel gesendet haben, können Sie im Verlaufsfenster von Compressor oder im Programm „Share-Monitor“ den Status der Umcodierung Ihres Stapels überwachen. Sie können auch in den Compressor-Einstellungen festlegen, dass das Programm „Share-Monitor“ automatisch geöffnet wird. Schritt 4: Verwenden von Aktionen, die nach der Umcodierung ausgeführt werden Fast jede Stapelvorlage enthält eine Aktion, die automatisch nach der Umcodierung ausgeführt wird. Wenn Compressor die Umcodierung eines dieser Stapelvorlagenaufträge in eine Ausgabemediendatei beendet hat, wird eine entsprechende automatische Aktion wie das Laden der Datei auf einen YouTube-Account, das Ausführen eines Automator-Arbeitsablaufs oder das Brennen einer DVD ausgeführt. Weitere Informationen zu Aktionen für Aufträge finden Sie unter Bereich „Auftragseigenschaft“ und unter Hinzufügen von Aktionen. Im Folgenden sind die für die einzelnen Stapelvorlagen von Compressor nach der Umcodierung standardmäßig ausgeführten Aktionen aufgeführt. • Audio-Podcast erstellen: Compressor fügt die Datei zur iTunes-Mediathek hinzu. • Blu-ray-Disc erstellen: Compressor erstellt eine Blu-ray-Disc. • DVD erstellen: Compressor erstellt eine DVD. • HTTP-Live-Streaming: Compressor bereit die Ausgabe für das HTTP-Live-Streaming vor. • Auf Apple TV veröffentlichen: Compressor fügt die Datei zur iTunes-Mediathek hinzu. • Auf YouTube veröffentlichen: Die Datei wird auf YouTube veröffentlicht. 16 Kapitel 1 Schneller EinstiegSchritt 5: Sichern eigener Stapelvorlagen - optional Informationen über die optionale Erstellung von eigenen Vorlagen finden Sie unter Erstellen einer eigenen Stapelvorlage. Compressor-Arbeitsablauf im Überblick: Manuelles Verfahren Der folgende Arbeitsablauf zeigt eine einfache Möglichkeit zum manuellen Erstellen und Verarbeiten eines Stapels in Compressor. • Schritt 1: Hinzufügen von Ausgangsmediendateien • Schritt 2: Zuweisen von Voreinstellungen und Zielorten • Schritt 3: Senden des Stapels Schritt 1: Hinzufügen von Ausgangsmediendateien Wenn Sie Compressor verwenden wollen, müssen Sie zunächst Ausgangsmediendateien im Fenster „Stapel“ hinzufügen. Compressor öffnen und Ausgangsmediendateien im Fenster „Stapel“ hinzufügen 1 Wählen Sie das Compressor-Symbol im Ordner „Programme“ durch Doppelklicken aus. Compressor wird mit dem Auswahlfenster für Stapelvorlagen und einem leeren Stapel ohne Titel mit einem Platzhalterauftrag angezeigt. 2 Da dieser Arbeitsablauf auf das manuelle Verfahren ausgerichtet ist und nicht auf die Verwendung einer Stapelvorlage, klicken Sie im Auswahlfenster für Stapelvorlagen auf „Abbrechen“, um es zu schließen. Kapitel 1 Schneller Einstieg 17Wenn Sie verhindern wollen, dass das Auswahlfenster für Stapelvorlagen künftig geöffnet wird, markieren Sie das Feld „Nicht erneut an zeigen“ oder wählen Sie „Leere Vorlage verwenden“ in den Compressor-Einstellungen. Weitere Informationen zur Verwendung einer Stapelvorlage finden Sie unter Compressor-Arbeitsablauf im Überblick: Verwenden von Stapelvorlagen. In der nachfolgenden Abbildung sind die restlichen Fenster der Compressor-Oberfläche dargestellt. Hinweis: Wählen Sie im Menü „Fenster“ > „Anordnungen“ eine Standardanordnung der Fenster, damit die Compressor-Benutzeroberfläche mit einer ähnlichen Anordnung angezeigt wird wie oben abgebildet. 3 Bewegen Sie eine oder mehrere Ausgangsdateien aus dem Finder oder vom Schreibtisch in einen leeren Bereich des Fensters „Stapel“ (in diesem Beispiel direkt unter den leeren Auftrag). Hinweis: Wenn Sie mehrere Dateien auf den leeren Auftrag bewegen, wird dem Auftrag nur die letzte Datei hinzugefügt und alle anderen Dateien werden ignoriert. 18 Kapitel 1 Schneller EinstiegFür jede Ausgangsdatei, die Sie in den Stapel bewegt haben, wird jeweils ein neuer Auftrag erstellt. Each source file creates a job in the batch. Target area (empty in this case) of a job Weitere Informationen zu den Steuerelementen im Fenster „Stapel“ finden Sie unter Das Fenster „Stapel“. Schritt 2: Zuweisen von Voreinstellungen und Zielorten Sie müssen jedem für eine Ausgangsmediendatei erstellten Auftrag mindestens eine Voreinstellung zuweisen, bevor Sie den Stapel zum Umcodieren senden können. Sie können demselben Auftrag jedoch mehrere Voreinstellungen hinzufügen, um ihn in mehrere Versionen der Mediendatei umzucodieren. Die Kombination aus Voreinstellung und Zielort wird in Compressor als Ziel bezeichnet. Kapitel 1 Schneller Einstieg 19Einem Auftrag eine Voreinstellung und einen Zielort zuweisen 1 Wählen Sie eine der folgenden Möglichkeiten, um den Aufträgen für die Ausgangsmedien eine Voreinstellung zuzuweisen. • Unterschiedliche Voreinstellungen unterschiedlichen Aufträgen zuweisen: Bewegen Sie Voreinstellungen aus dem Bereich „Voreinstellungen“ auf einzelne Aufträge im Fenster „Stapel“. Select one or more (two in this case) settings to apply to the job. A job with a source media file in the Batch window • Einzelne Voreinstellung mehreren ausgewählten Aufträgen zuweisen: Wählen Sie die Aufträge (Ausgangsmediendateien) im Fenster „Stapel“ aus und wählen Sie „Ziel“ > „Neues Ziel mit Voreinstellung“. Daraufhin wird über dem Fenster „Stapel“ ein Dialogfenster zur Auswahl der Voreinstellung angezeigt. 20 Kapitel 1 Schneller EinstiegClick Add to assign the settings to the selected jobs. Select the settings to apply to the selected jobs. Select the jobs in the Batch window. Wählen Sie mindestens eine Voreinstellung. Klicken Sie dabei auf die Dreiecksymbole, um die einzelnen Voreinstellungen anzuzeigen, und anschließend auf „Hinzufügen“. Die gewählten Voreinstellungen werden allen ausgewählten Aufträgen zugewiesen. New targets are added for each setting you drag to the job. Sie können auch mittels „Bearbeiten“ > „Alles auswählen“ alle Aufträge auswählen, bevor Sie die Voreinstellungen anwenden. Weitere Informationen zu Voreinstellungen finden Sie unter Erstellen, Ansehen und Ändern von Voreinstellungen. Weitere Informationen zur Arbeit mit Aufträgen und Zielen finden Sie unter Fertigstellen von Aufträgen und Senden von Stapeln. Im nächsten Schritt wird der Zielort angegeben. Standardmäßig wird „Original“ als Zielort verwendet. In diesem Fall werden die Ausgabedateien im gleichen Ordner wie die zugehörigen Ausgangsmediendateien abgelegt. Sie können den Zielort ändern, wenn Sie eine andere Ablagestruktur bevorzugen. Zudem haben Sie auch die Möglichkeit, größere oder schnellere Festplatten zu verwenden. Kapitel 1 Schneller Einstieg 21Hinweis: Sie können in Compressor im Fenster „Einstellungen“ einen Standardzielort wählen. Weitere Informationen hierzu finden Sie unter Festlegen von Compressor-Einstellungen. Legen Sie den Zielort für jedes einzelne Ziel oder für eine ausgewählte Gruppe von Zielen fest. 2 Verwenden Sie eine der folgenden Möglichkeiten, um einen Zielort für die Ziele Ihres Auftrags auszuwählen. • Keine Aktion: Akzeptieren Sie den Standardzielordner „Original“ (derselbe Ordner, aus dem die Ausgangsmedien stammen), der in der Spalte „Zielort“ angegeben ist. • Kontextmenü des Ziels verwenden, um jeweils eine Einstellung zu ändern: Klicken Sie bei gedrückter Taste „ctrl“ auf das Ziel, das Sie ändern wollen, und wählen Sie einen der vordefinierten Zielorte, der im Untermenü „Zielort“ angeboten wird. Use the target’s shortcut menu to change the destination for the selected targets. Sie können im Kontextmenü auch „Andere“ wählen. Daraufhin wird ein Dialogfenster geöffnet, in dem Sie als Zielort einen beliebigen Speicherort wählen können, auf den Sie mit Ihrem Computer zugreifen können. Hinweis: Wenn Sie „Andere“ wählen, können Sie jede beliebige Umgebung wählen, die von Ihrem Schreibtisch aus gerade zugänglich ist, einschließlich eines aktivierten verfügbaren Volumes. Dieses Volume muss jedoch verfügbar bleiben, bis der Stapel umcodiert ist. Mit derselben Methode können Sie auch mehrere Ziele auswählen und deren Zielorte alle auf einmal ändern. Darüber hinaus haben Sie die Möglichkeit, aus dem Kontextmenü des Ziels einen Zielort auszuwählen oder einen Zielort aus dem Bereich „Zielorte“ zum Ziel zu bewegen. Weitere Informationen zu Zielorten finden Sie unter Erstellen und Ändern von Zielorten. 3 Sie können den Stapel benennen und anschließend sichern. Wählen Sie dazu „Ablage“ > „Sichern“. Schritt 3: Senden des Stapels Sobald jeder Mediendatei mindestens eine Voreinstellung und ein Zielort zugeordnet sind, wird dies als Auftrag bezeichnet. Ihr Stapel kann nun gesendet werden. 22 Kapitel 1 Schneller EinstiegStapel zur Verarbeitung senden µ Klicken Sie auf „Senden“. Daraufhin wird ein Dialogfenster angezeigt, in dem Sie den aktuellen Sendevorgang benennen können. Außerdem können Sie dort festlegen, ob eine verteilte Verarbeitung erfolgen soll, und die Priorität für das Senden festlegen. In der Regel können Sie die Einstellungen unverändert lassen und einfach auf „Senden“ klicken. Weitere Informationen über das Dialogfenster „Senden“ finden Sie unter Senden eines Stapels. Nachdem Sie einen Stapel gesendet haben, können Sie das Programm „Share-Monitor“ öffnen, um den Fortschritt beim Umcodieren Ihres Stapels zu überwachen. Sie können auch festlegen, dass der Share-Monitor automatisch geöffnet wird (im Fenster mit den Compressor-Einstellungen). Hinweis: Sie können den Share-Monitor jederzeit durch Doppelklicken auf das entsprechende Symbol im Dock öffnen. Sie können auch im Fenster „Stapel“ auf das entsprechende Symbol klicken. Kapitel 1 Schneller Einstieg 23Sie haben auch die Möglichkeit, den Fortschritt des Codierungsvorgangs im Fenster „Verlauf“ zu überwachen. Weitere Informationen zu Aufträgen und Stapeln finden Sie unter Fertigstellen von Aufträgen und Senden von Stapeln. Optionale Aufgaben, die Sie vor dem Senden eines Stapels ausführen können Die im vorherigen Abschnitt beschriebenen Schritte zeigen Ihnen die schnellste Möglichkeit zum Umcodieren von Mediendateien. Obwohl Sie bei dieser Vorgehensweise vorhandene Einstellungen ändern können, können Sie keine Vorschau Ihrer Dateien anzeigen und auch keine Feinabstimmung der Einstellungen vornehmen. In den folgenden Kapiteln werden zusätzliche Schritte genannt, die Sie auf der Basis der Voreinstellung für einen beliebigen Auftrag durchführen können, bevor dieser gesendet wird: • Erstellen, Ansehen und Ändern von Voreinstellungen • Fertigstellen von Aufträgen und Senden von Stapeln • Hinzufügen von Filtern zu einer Voreinstellung • Arbeiten mit Bildsteuerungen • Hinzufügen von Geometrieeinstellungen • Hinzufügen von Aktionen • Verwenden des Fensters „Vorschau“ • Erstellen und Ändern von Zielorten Die folgenden Kapitel enthalten nähere Einzelheiten zu Einstellungen im Hinblick auf Ausgabeformate und zu verschiedenen Optionen für das Umcodieren: • Erstellen von AIFF-Dateien • Erstellen von Dateien für gängige Audioformate • Erstellen von Ausgabedateien im Format „DV-Stream“ • Erstellen von Ausgabedateien im Format „Dolby Digital Professional“ • Erstellen von Ausgabedateien im Format „H.264 für Apple-Geräte“ 24 Kapitel 1 Schneller Einstieg• Erstellen von Ausgabedaten im Format „H.264 für Blu-ray“ • Erstellen von Bildsequenzdateien • Erstellen von MP3-Ausgabedateien • Erstellen von MPEG-1-Ausgabedateien • Erstellen von MPEG-2-Ausgabedateien • Erstellen von MPEG-4-Ausgabedateien • Erstellen von Dateien mit dem QuickTime-Export-Komponenten-Codierer • Erstellen von QuickTime-Ausgabedateien Kapitel 1 Schneller Einstieg 25Compressor ist eine leistungsstarke und flexible Software, mit der Sie die gewünschten Ergebnisse auf viele Arten erreichen können. Im vorliegenden Kapitel werden folgende Themen behandelt: • Typische Compressor-Szenarien (S. 28) • Leistungsmerkmale der Compressor-Software (S. 29) 27 Einsatzmöglichkeiten für Compressor 2Typische Compressor-Szenarien Die folgenden Szenarien sind typische Einsatzbereiche für Compressor. • Konvertieren von Ausgangsmedien in ein oder mehrere unterschiedliche Ausgabeformate: Mit Compressor können Sie eine oder mehrere Mediendateien in ein oder mehrere unterschiedliche Ausgabeformate konvertieren. Weitere Informationen hierzu finden Sie unter Compressor-Arbeitsablauf im Überblick: Manuelles Verfahren. Apple TV DVD video CD-ROM iPhone iPad iPod iTunes H.264 MP3 AC-3 MP3 MPEG-1 MPEG-4 QuickTime AC-3 AIFF H.264 MPEG-1 MPEG-2 AIFF MP3 QuickTime Blu-ray Disc H.264 AC-3 Source media or Final Cut Pro project To web QuickTime movie (for broadband and lowband) • Exportieren von Sequenzen oder Clips in ein oder mehrere Formate direkt aus anderen Programmen: Compressor bietet Ihnen die Möglichkeit, Sequenzen oder Clips direkt aus anderen Programmen, wie zum Beispiel Final Cut Pro, in eines oder mehrere Dateiformate zu konvertieren. Dieser Arbeitsablauf ist derselbe, der detailliert unter Senden eines Projekts zur Umcodierung beschrieben wird. 28 Kapitel 2 Einsatzmöglichkeiten für CompressorDiese Integration mit Final Cut Pro und Motion beschleunigt und vereinfacht die Umcodierung (das Konvertieren von Dateien aus ihrem Originalformat in Ausgabedateien, die in einem anderen Format bereitgestellt werden). Die Integration spart auch Festplattenspeicher, da zwischengespeicherte Mediendateien nicht mehr exportiert werden müssen, bevor sie verarbeitet werden können. Da bei einem Großteil der Verarbeitungsschritte die Technologien für die Videoverarbeitung der anderen Programme genutzt werden, wird die Qualität der codierten Bilder optimiert. Gleichzeitig werden Qualitätsverluste aufgrund wiederholter Komprimierungs- und Dekomprimierungsvorgänge vermieden. • Erstellen DVD-kompatibler Dateien: Damit Sie Ihre vorhandenen Mediendateien in ein DVD-Projekt umwandeln können, müssen Sie das Videomaterial in Dateien im Format MPEG-1 (nur SD-Projekte), MPEG-2 (SD- und HD-Projekte) oder H.264 (nur HD-Projekte) konvertieren. Compressor kann Audiodateien im Format „Dolby Digital Professional“ (auch AC-3 genannt) codieren. Dolby Digital Professional ist ein sehr gängiges komprimiertes Audioformat für DVDs. Compressor bietet auch für die folgenden beiden Sonderfälle Unterstützung: • Wenn Sie HD-Material (High Definition) in Final Cut Pro bearbeiten und eine DVD im SD-Format daraus erstellen möchten, bietet sich die Compressor-Funktion für die Abwärtskonvertierung in hoher Qualität an. Aus HD-Ausgangsmaterial mit einer Auflösung von 1080i oder 720p entstehen mithilfe einer Umcodierung SD-MPEG-2-Videoausgabedateien in hoher Qualität. • Für Fälle, bei denen Sie möglichst viel Videomaterial auf einer DVD unterbringen müssen und keine TV-Qualität benötigt wird, bietet sich die Compressor-Funktion zum Export von DVD-Video-kompatiblen MPEG-1-Dateien an. Leistungsmerkmale der Compressor-Software Compressor kann als eigenständiges Programm verwendet werden oder auch in die Abläufe anderer Programme, wie zum Beispiel Final Cut Pro, integriert werden. Daher akzeptiert Compressor die gleiche umfassende Palette an Dateitypen für Ausgangsmedien wie Final Cut Pro. Compressor bietet folgende Funktionen. • Stapelverarbeitung: Dieser hoch effiziente Prozess erlaubt es Ihnen, aus einzelnen Ausgangsmediendateien mehrere Ausgabedateien zu erstellen. • VBR-Optionen: Mithilfe des MPEG-2-Codierers können Sie für Ihre Ausgabedateien eine variable Bitrate (VBR) entweder als 1-Pass-VBR oder als 2-Pass-VBR festlegen. Diese Einstellung beeinflusst die Bildqualität der Videodatei. Kapitel 2 Einsatzmöglichkeiten für Compressor 29• H.264-Codierung: H.264 produziert Videos in höherer Qualität mit niedrigeren Datenraten für den universellen Einsatz - von Handys bis hin zu HD (High Definition). H.264 arbeitet besonders gut mit dem Apple QuickTime Player zusammen. Compressor unterstützt die H.264-Formate, die speziell für Blu-ray Discs, iTunes, iPhone, iPad, iPod und Apple TV konzipiert sind. • Droplets: Diese eigenständigen Programme können für Umcodierungsvorgänge per Drag&Drop verwendet und direkt von Ihrem Schreibtisch aus gestartet werden. Sind sie einmal erstellt, vereinfachen und automatisieren Droplets den Umcodierungsprozess. Sie können sogar verwendet werden, ohne dass Compressor geöffnet ist. • Voreinstellungen: Die Voreinstellungen enthalten alle notwendigen Dateiformat-, Filterund Geometrieeinstellungen, die beim Umcodieren benötigt werden. Sie können die von Apple zur Verfügung gestellten Voreinstellungen anpassen und ändern oder neue erstellen. So können Sie eine Bibliothek mit spezialisierten Voreinstellungen aufbauen und sichern, die jederzeit wieder verwendet werden können. • Filter: Die große Auswahl an Compressor-Filtern sichert Ihnen dynamische, kreative Steuerungsmöglichkeiten beim Konvertieren Ihrer Ausgangsmedien in andere Formate. So können Sie sicherstellen, dass das Endprodukt genau Ihren Vorstellungen entspricht. Zu den verfügbaren Filtern gehören: Ein-/Ausblenden, Timecode-Überlagerungen, Gamma-Korrektur, Entfernen von Rauschen, Letterbox, Wasserzeichen, Farbanpassung und andere. Darüber hinaus gibt es Audiofilter zur Steuerung von Dynamikbereich, Spitzenpegeln, Frequenzkurven-Entzerrung und Ein-/Ausblendungen. • Vorschau: Sie können sich im Fenster „Vorschau“ eine Vorschau Ihrer Filtereinstellungen in Echtzeit ansehen, während Sie diese im Fenster „Informationen“ anpassen. Damit können Sie die Einstellungen so optimieren, dass sie Ihren Wünschen entsprechen, bevor Sie die Ausgangsmediendatei umcodieren. • Zielorte: Sie können Zielorte (Speicherorte) für Ihre Ausgabedateien definieren und sichern. Diese können dann dem Ziel der Ausgangsmediendatei zugewiesen werden. Als Zielorte können sogar FTP- und iDisk-Server festgelegt werden. Ein Zielort kann auch die Konventionen für die Benennung von Dateien vorgeben. • Geometrie: Sie können die Bildgröße mithilfe der Geometrie-Steuerelemente im Fenster „Informationen“ und mit den grafischen Steuerelementen im Fenster „Vorschau“ anpassen. Mit diesen Funktionen können Sie unerwünschte Bildbereiche in Ihrer Ausgangsmediendatei beschneiden und die Dateigröße reduzieren. Außerdem können Sie mit Compressor die Bildgröße auch an andere Seitenverhältnisse wie z. B. 4:3, 16:9 und 2,35:1 anpassen, wenn die Bereitstellung der Mediendateien für andere Plattformen wie DVD oder einen iPod erfolgt. • Freigeben: Sie können Compressor verwenden, um Ausgabedateien auf einen QuickTime Streaming Server oder andere Umgebungen für das DVD-Authoring zu laden. 30 Kapitel 2 Einsatzmöglichkeiten für Compressor• Verwendung von AppleScript-Skripten: Sie können zu jeder Ausgabedatei spezialisierte Informationen in Form von AppleScript-Skripten hinzufügen. Dadurch haben Sie die Möglichkeit, alle Arbeitsschritte nach der Codierung zu automatisieren und anzupassen. • Interoperabilität: Compressor ist integraler Bestandteil anderer professioneller Apple-Programme für die Videobearbeitung wie Final Cut Pro und Motion. Sie können beispielsweise Sequenzen direkt aus Final Cut Pro in Compressor zum Umcodieren exportieren. • Umcodieren im Hintergrund: In Compressor muss die Umcodierung eines Stapels nur gestartet werden. Die eigentliche Verarbeitung findet anschließend im Hintergrund statt, sodass Sie gleichzeitig andere Aufgaben erledigen können. • Benachrichtigung per E-Mail: Sie können Compressor so konfigurieren, dass das Programm eine Benachrichtigung per E-Mail an eine bestimmte Adresse schickt, sobald die Umcodierung des Stapels abgeschlossen ist. • Verteilte Verarbeitung: Compressor bietet die Möglichkeit der verteilten Verarbeitung, bei der die Arbeit auf mehrere zuvor ausgewählte Computer verteilt wird, sodass mehr Verarbeitungsleistung zur Verfügung steht. Die Funktion für die verteilte Verarbeitung ist auf Computer beschränkt, auf denen Compressor installiert ist. Weitere Informationen finden Sie unter Apple Qmaster und die verteilte Verarbeitung. • Verwenden der Befehlszeile: Compressor verfügt über eine Reihe von Befehlszeilen-Optionen für das Senden von Aufträgen, das Aktivieren und Deaktivieren von Dienstknoten- und Cluster-Controller-Diensten sowie für das Überwachen von Stapeln. Weitere Informationen hierzu finden Sie unter Unterstützung für die Befehlszeile. Kapitel 2 Einsatzmöglichkeiten für Compressor 31Compressor macht es Ihnen leicht, Medien in mehrere Formate umzucodieren. Darüber hinaus ist Compressor in Final Cut Pro und Motion integriert. Bei einfachen Arbeitsabläufen oder solchen, die sich wiederholen, können Sie auch die Funktion „Senden“ in Final Cut Pro und Motion verwenden. Mithilfe der Funktion „Senden“ können Sie per Mausklick Ihre Arbeit ohne genauere Kenntnisse über Umcodierung, Sendeformate oder FTP-Protokolle an Kunden, Freunde und andere Personen schicken. Im Fenster „Senden“ von Final Cut Pro und Motion können Sie sehr schnell Ausgabemediendateien in Formaten für iPhone, iPod, Apple TV, DVD, Blu-ray-Disc und YouTube erzeugen und bereitstellen, ohne dass Sie weitere Programme öffnen müssen. Weitere Informationen über die Funktion „Senden“ erhalten Sie im Final Cut Pro-Benutzerhandbuch und im Motion-Benutzerhandbuch. Im vorliegenden Kapitel werden folgende Themen behandelt: • Compressor-Grundlagen und Terminologie (S. 33) • Vorbereiten von Compressor zur Umcodierung mit eigenen Voreinstellungen (S. 37) • Wählen eines Ausgabeformats (S. 39) • Erstellen eines Compressor-Stapels (S. 40) • Anzeigen des Status beim Umcodieren (S. 43) • Optionale Compressor-Kurzbefehle (S. 43) Compressor-Grundlagen und Terminologie Nachfolgend finden Sie einige allgemeine Begriffe, die Ihnen bei der Arbeit mit Compressor begegnen können. 33 Der grundlegende Arbeitsablauf beim Umcodieren 3Die Abbildung unten illustriert den Standardablauf beim Umcodieren mit Compressor. Die größte Komponente im Umcodierungsprozess ist ein Stapel. Der Stapel repräsentiert alle Komponenten, die zum Umcodieren Ihrer aktuellen Medien benötigt werden. Er muss mindestens einen Auftrag enthalten. Ein Auftrag besteht aus mindestens einer Ausgangsmediendatei, der mindestens ein Ziel zugewiesen ist. Zu jedem Ziel gehört eine Voreinstellung und ein Zielort. Wenn der Vorgang des Umcodierens abgeschlossen ist, wird die resultierende Datei als Ausgabedatei bezeichnet. Für jede Voreinstellung, die einer Ausgangsmediendatei zugewiesen ist, wird eine Ausgabedatei erstellt. In der nachfolgenden Abbildung enthält der Stapel zwei Ausgangsmediendateien, von denen jede einen Auftrag darstellt. Diese Aufträge enthalten wiederum je zwei Ziele (Kombinationen aus einer Voreinstellung und einem Zielort). Insgesamt werden beim Umcodieren dieses Stapels vier Ausgabedateien erstellt. Auftrag 1 erstellt zwei Ausgabedateien, ebenso Auftrag 2. Job 2 Job1 Output media file (Job 1, Target 1) Output media file (Job 1, Target 2) Output media file (Job 2, Target 1) Output media file (Job 2, Target 2) Source media file 1 Source media file 2 Target 1 Setting Destination Target 2 Setting Destination Target 1 Setting Destination Target 2 Setting Destination Batch Machen Sie sich mit den folgenden Begriffen vertraut: • Codec: Kurz für COmpression/DECompression. Ein mathematisches Modell zur Reduzierung der Daten einer Ausgangsmediendatei. • Dateiformat: Entspricht dem Ausgabeformat, das Sie zum Umcodieren Ihrer Ausgangsmediendatei verwenden. • Gruppe: Enthält zugewiesene Voreinstellungen, die in einem Ordner im Bereich „Voreinstellungen“ abgelegt sind. Gruppen helfen Ihnen beim Strukturieren Ihrer Voreinstellungen und können den Erstellungsprozess für Aufträge vereinfachen. 34 Kapitel 3 Der grundlegende Arbeitsablauf beim Umcodieren• Umcodieren: Der Prozess der Konvertierung von Dateien aus ihrem Originalformat in Ausgabedateien, die in einem anderen Format weitergegeben werden können. Hängt eng mit den Begriffen Komprimierung (Reduzierung von Daten) und Codieren (ähnlich wie „Umcodieren“, allerdings ohne Schwerpunkt auf dem Konvertierungsprozess) zusammen. • Ausgangsmediendatei: Der Umcodierungsprozess beginnt immer mit einer Ausgangsmediendatei (die Datei, die umcodiert werden soll, in ihrem Ausgangsformat). Ausgangsmediendateien liegen immer in einer der folgenden Formen vor: • Filme: Filme enthalten Video-, Audio- und andere Daten (wie Marker). • Standbilder: Diese Mediendateien werden als Teil einer Sequenz von Standbildern für bestimmte Videoproduktionen verwendet. • QuickTime: QuickTime ist eine plattformübergreifende Multimedia-Technologie, mit der Mac OS- und Windows-Programme Video- und Audiomaterial sowie Standbilder aufnehmen und abspielen können. QuickTime-Dateien können viele verschiedene Arten von Medien und Codecs enthalten. Über Codecs erhält QuickTime Anweisungen, wie die Medien wiedergegeben werden sollen. Kapitel 3 Der grundlegende Arbeitsablauf beim Umcodieren 35Bei einem typischen Umcodierungsprozess mit Compressor sind folgende Komponenten und Einstellungen relevant. • Voreinstellung: Nachdem Sie Ihre Ausgangsmediendatei importiert haben, müssen Sie ihr mindestens eine Voreinstellung zuweisen. Eine Voreinstellung ist eine Kombination aus Umcodierungsattributen (wie Ausgabeformat, Filter und Geometrieeinstellungen), die während des Umcodierungsprozesses auf die Ausgangsmediendatei angewendet werden. • Ausgabe(datei)format: Entspricht dem Codierer, den Sie für die Konvertierung Ihrer Ausgangsmediendatei wählen. Wählen Sie eines der folgenden Ausgabeformate - je nachdem, welches die beabsichtigte Wiedergabemethode und -umgebung Ihrer umcodierten Mediendatei ist: AIFF, Dolby Digital Professional, DV-Stream, H.264 für Apple-Geräte (enthält Voreinstellungen für die Verwendung mit einem iPhone, iPad, iPod oder Apple TV), Bildsequenz (unterstützt TIFF- und TARGA-Bilder), MPEG-1, MPEG-2, MPEG-4, QuickTime-Film oder QuickTime-Export-Komponenten. • Filter: Ermöglichen Ihnen das Anpassen verschiedener Merkmale Ihres Videos wie Farbe, Helligkeit und Schärfe. Dadurch können Sie die Qualität Ihres Videos beim Komprimieren der Datei optimieren. • Geometrieeinstellungen: Ermöglichen Ihnen das Beschneiden von Bildern und das Anpassen der Bildgröße. • Aktionseinstellungen: Ermöglichen das Erstellen automatischer Aktionen zum Ausführen nach der Umcodierung und ihr Anwenden auf Aufträge und Einstellungen. Erstellen Sie ganz einfach Ausgabemediendateien und stellen Sie diese bereit. Senden Sie E-Mail-Benachrichtigungen und führen Sie mit Automator Arbeiten nach der Umcodierung aus. • Zielort: Auch der Ausgangsmediendatei muss ein Zielort zugewiesen werden. Das ist der Ort, an dem Ihre umcodierte Mediendatei gespeichert wird. Hierfür können Sie entweder den Standard-Zielordner „Original“ verwenden (derselbe Ordner, in dem sich die Ausgangsmediendatei befindet), oder Sie bestimmen einen beliebigen anderen Speicherort, auf den Sie uneingeschränkt Zugriff haben. Sie können den Standardzielort auch in den Compressor-Einstellungen ändern. Der Zielort bestimmt außerdem, wie die umcodierte Mediendatei benannt wird. • Ziel: Eine Vorlage für die Erstellung einer Ausgabemediendatei, die eine Voreinstellung, einen Zielort und einen Ausgabedateinamen umfasst. • Auftrag: Sobald Sie der Ausgangsmediendatei mindestens ein Ziel zuweisen, wird sie zu einem Auftrag, der umcodiert werden kann. • Stapel: Ein Stapel besteht aus einem oder mehreren Aufträgen, die gleichzeitig verarbeitet werden. Alle Aufträge, die im Stapel enthalten sind, werden gemeinsam gesendet, wenn Sie auf die Taste „Senden“ klicken. 36 Kapitel 3 Der grundlegende Arbeitsablauf beim Umcodieren• Ausgabedatei: Die umcodierten Mediendateien, die erstellt werden, nachdem der Stapel gesendet und verarbeitet ist, werden als Ausgabedateien bezeichnet. Eine Ausgabedatei ist das Ergebnis einer erfolgreichen Umcodierung einer Ausgangsmediendatei (die eine Voreinstellung und einen Zielort enthält). Sie können jeweils so viele Ausgabedateien erstellen, wie unterschiedliche Voreinstellungen auf die verschiedenen Ausgangsmedien im Stapel angewendet sind. Vorbereiten von Compressor zur Umcodierung mit eigenen Voreinstellungen Compressor enthält zahlreiche vorkonfigurierte Einstellungen, mit denen Sie unmittelbar mit dem Umcodieren beginnen können. Wenn Sie Ihre Ausgangsmediendateien sofort umcodieren wollen, ohne eigene Voreinstellungen zu erzeugen, können Sie die Schritte unter Compressor-Arbeitsablauf im Überblick: Verwenden von Stapelvorlagen ausführen. Wenn zu Ihrem Arbeitsablauf keine passende Stapelvorlage vorhanden ist und Sie sofort mit der Umcodierung beginnen wollen, können Sie auch die Schritte unter Compressor-Arbeitsablauf im Überblick: Manuelles Verfahren befolgen. Wenn Sie jedoch Ihre eigenen Voreinstellungen und Zielorte erstellen wollen und weitere Attribute (wie Einstellungen für Filter, Beschneiden, Ändern der Bildgröße und Aktionen) anpassen möchten, folgen Sie bitte den weiter unten beschriebenen Schritten. Wenn die eigenen Voreinstellungen, die Sie hier erstellen, allen Aspekten Ihrer Umcodierungsanforderungen Rechnung tragen, müssen Sie die folgenden Anleitungen nicht erneut ausführen. Wenn Sie jedoch für jedes Umcodierungsprojekt neue Voreinstellungen oder Zielorte erstellen müssen, müssen auch die folgenden Schritte jedes Mal wiederholt werden. Schritt 1: Erstellen einer Voreinstellung Falls Sie nicht eine der vorhandenen und mit Compressor gelieferten Voreinstellungen oder Stapelvorlagen verwenden, müssen Sie Ihre eigenen Voreinstellungen erstellen. Hierzu verwenden Sie den Bereich „Voreinstellungen“. Wählen Sie zunächst ein Ausgabeformat aus dem Einblendmenü „Dateiformat“ aus, das geöffnet wird, wenn Sie im Bereich „Voreinstellungen“ auf die Taste „Hinzufügen“ (+) klicken. Weitere Informationen hierzu finden Sie unter Wählen eines Ausgabeformats. Zusätzlich haben Sie die Möglichkeit, Filter, Geometrieeinstellungen und Aktionen für die Nachbearbeitung der umcodierten Dateien hinzuzufügen. Anschließend können Sie die Voreinstellung in einer Vorschau ansehen, um sicherzustellen, dass sie Ihren Vorstellungen entspricht. Weitere Informationen hierzu finden Sie unter Erstellen einer eigenen Voreinstellung. Sie können Ihren Arbeitsablauf auch optimieren, indem Sie Ihre Voreinstellungen in Gruppen zusammenfassen. Weitere Informationen hierzu finden Sie unter Erstellen von Gruppen mit Voreinstellungen. Kapitel 3 Der grundlegende Arbeitsablauf beim Umcodieren 37Nachdem Sie eine Voreinstellung erstellt haben, können Sie diese mithilfe von Filtern (zum Optimieren der Bildqualität oder zum Hinzufügen von Effekten wie Letterbox), einer Änderung der Pixelgröße (Geometriewerte) und Nachbearbeitungsoptionen für die umcodierten Dateien weiter anpassen. All diese zusätzlichen Anpassungen werden im Fenster „Informationen“ vorgenommen. Weitere Informationen hierzu finden Sie in den Kapiteln Hinzufügen von Filtern zu einer Voreinstellung, Arbeiten mit Bildsteuerungen, Hinzufügen von Geometrieeinstellungen und Hinzufügen von Aktionen. Schritt 2: Anzeigen einer Vorschau Ihrer Voreinstellung Wenn Sie sich eine Vorschau Ihrer Voreinstellung ansehen, bevor Sie den Stapel senden, können Sie unter Umständen viel Zeit sparen. Verwenden Sie dazu das Fenster „Vorschau“. Auf diese Weise können Sie sicherstellen, dass die Qualität der Ausgabedatei Ihren Vorstellungen entspricht. Das Fenster „Vorschau“ ist in zwei Hälften geteilt: in der einen Hälfte wird der Originalinhalt Ihrer Ausgangsmediendatei angezeigt, in der anderen Hälfte der Inhalt Ihrer Ausgabedatei. Im Fenster „Vorschau“ können Sie folgende Aufgaben ausführen: • Wiedergabe der Mediendatei • Anzeige einer dynamischen Vorschau der Effekte (in Echtzeit) • Ändern der Effekte von Filtern und Geometrieeinstellungen Ihrer Voreinstellung • Vergleichen von Ausgangs- oder Ausgabeversionen • Beschneiden der Bildgröße für die Ausgabedatei • Ändern des Seitenverhältnisses • Hinzufügen verschiedener Marker (Kompressions-, Kapitel- oder Podcast-Marker) Hinweis: Für die Einstellungen im Bereich „Bildsteuerungen“ kann im Fenster „Vorschau“ keine Vorschau angezeigt werden. Führen Sie erst eine probeweise Umcodierung eines kleinen Ausschnitts Ihrer Ausgangsmediendatei durch, um eine Vorschau der Einstellungen für die Bildsteuerungen anzuzeigen. (Weitere Informationen hierzu finden Sie unter Umcodieren eines Clipausschnitts im Fenster „Vorschau“.) Weitere Informationen finden Sie unter Anzeigen einer Voreinstellung in der Vorschau und Verwenden des Fensters „Vorschau“. Schritt 3: Erstellen eines Zielorts Standardmäßig wird Ihre umcodierte Datei im selben Ordner gesichert wie Ihre Ausgangsmediendatei (“Original“). Wenn Sie jedoch Ihre umcodierten Dateien an einem anderen Ort speichern möchten, können Sie im Bereich „Zielorte“ einen neuen Zielort erstellen. In diesem Bereich können Sie als Zielort jeden Ordner, jedes Volume oder jeden entfernten Server wählen, auf das bzw. den Sie Zugriff haben. Außerdem können Sie nützliche Dateikennungen für Ihre umcodierte Ausgabedatei hinzufügen. Wenn Sie alle erforderlichen Zielorte erstellt haben, müssen Sie den Bereich „Zielorte“ nicht mehr öffnen. 38 Kapitel 3 Der grundlegende Arbeitsablauf beim UmcodierenWeitere Informationen hierzu finden Sie unter Erstellen und Ändern von Zielorten. Wählen eines Ausgabeformats Bevor Sie eine Ausgangsmediendatei in ein anderes Ausgabeformat komprimieren, müssen Sie die relevante Wiedergabeplattform (Geräte von Apple, DVD, Web, CD oder Kiosksystem) auswählen. Wenn Sie sich für eine Plattform entschieden haben, können Sie das geeignete Ausgabeformat für diese Plattform wählen. Unabhängig vom Format Ihres digitalen Videomaterials in der Ausgangsmediendatei können Sie die Datei mithilfe eines der vielen Codierer umcodieren, die zum Lieferumfang von Compressor gehören. Die folgenden Standardformate werden unterstützt und verfügen jeweils über eigene Attribute: • AIFF: Vorgesehen für Audio (einschließlich DVD- oder CD-Authoring) mit angepassten Einstellungen. Weitere Einzelheiten zum Format AIFF finden Sie unter Erstellen von AIFF-Dateien. • Allgemeine Audioformate: Vorgesehen für den einfachen Zugriff auf die meisten gängigen Audioformate wie AIFF, Apple CAF-Dateien und WAVE. Weitere Informationen finden Sie unter Erstellen von Dateien für gängige Audioformate. • DV-Stream: Ein für SD-Projekte häufig verwendetes Format. Weitere Informationen hierzu finden Sie unter Erstellen von Ausgabedateien im Format „DV-Stream“. • Dolby Digital Professional: Auch bekannt als AC-3. Normalerweise für das DVD-Authoring vorgesehen. Weitere Einzelheiten zum Format AC-3 finden Sie unter Erstellen von Ausgabedateien im Format „Dolby Digital Professional“. • Film exportieren: Vorgesehen für das Bereitstellen von Filmmaterial (nur für Final Cut Pro und Motion). Verwenden Sie „QuickTime-Film“ zum Exportieren eines Films. • H.264 für Apple-Geräte: Vorgesehen für das Erstellen von Videodateien, die für die Wiedergabe mit iTunes, iPhone, iPad, iPod und Apple TV geeignet sind. Weitere Informationen zum Format H.264 für Apple-Geräte finden Sie unter Erstellen von Ausgabedateien im Format „H.264 für Apple-Geräte“. • H.264 für Blu-ray: Vorgesehen für die Erstellung von H.264-Voreinstellungen, die speziell für Blu-ray-Discs konfiguriert sind. Weitere Informationen zum Format H.264 für Blu-ray-Discs finden Sie unter Erstellen von Ausgabedaten im Format „H.264 für Blu-ray“. • Bildsequenz: Kompatibel mit zahlreichen Compositing- und Bildverarbeitungsprogrammen. Weitere Informationen hierzu finden Sie unter Erstellen von Bildsequenzdateien. • MP3: Vorgesehen für die Komprimierung von Audiomaterial. Das MP3-Format erzeugt Audiodateien, die mit einer breiten Palette von Wiedergabegeräten kompatibel sind. Weitere Einzelheiten zum Format MP3 finden Sie unter Erstellen von MP3-Ausgabedateien. Kapitel 3 Der grundlegende Arbeitsablauf beim Umcodieren 39• MPEG-1: Vorgesehen für das Internet, CD-ROMs und DVD-spezifische Verwendungszwecke. Weitere Einzelheiten zum Format MPEG-1 finden Sie unter Erstellen von MPEG-1-Ausgabedateien. • MPEG-2: Vorgesehen für die Verwendung mit DVDs im SD- und HD-Format. Weitere Einzelheiten zum Format MPEG-2 finden Sie unter Erstellen von MPEG-2-Ausgabedateien. • MPEG-4, Part-2: Vorgesehen für zahlreiche Verwendungszwecke, beispielsweise im Web oder für drahtlose Geräte. Weitere Einzelheiten zum Format MPEG-4 finden Sie unter Erstellen von MPEG-4-Ausgabedateien. • QuickTime-Export-Komponenten: Compressor nutzt die Komponenten-Plug-In-Architektur von QuickTime und unterstützt so die Ausgabe in zahlreiche zusätzliche Codec-Optionen und Formate von Drittanbietern wie Windows Media, RealPlayer, 3G und AVI. Die Option „QuickTime-Export-Komponenten“ ermöglicht Ihnen die Steuerung der Drittanbieter-Codierungs-Engine, ohne dass ein anderes Programm geöffnet werden muss. Weitere Informationen zu QuickTime-Export-Komponenten finden Sie unter Erstellen von Ausgabedateien mit dem QuickTime-Export-Komponenten-Codierer. • QuickTime-Film: Vorgesehen für die Verwendung mit QuickTime in einer Vielzahl von Wiedergabe-Umgebungen. Da QuickTime eine Multimedia-Technologie ist, die plattformübergreifend arbeitet, können Sie damit sowohl mit Mac OS- als auch mit Windows-basierten Programmen Video- und Audiomaterial sowie Dateien mit Standbildern aufnehmen und abspielen. Weitere Einzelheiten zum Format QuickTime finden Sie unter Erstellen von QuickTime-Ausgabedateien. Erstellen eines Compressor-Stapels In diesem Abschnitt werden die Schritte zum manuellen Erstellen und Senden eines vollständigen Compressor-Stapels beschrieben. Informationen zu einer schnelleren und einfachen Methode, für die allerdings einige Einschränkungen gelten, finden Sie unter Compressor-Arbeitsablauf im Überblick: Verwenden von Stapelvorlagen. Sobald Ihnen die notwendigen Voreinstellungen und Zielorte zur Verfügung stehen, können Sie damit beginnen, den Stapel zu erstellen, der umcodiert werden soll. Ein Stapel enthält mindestens einen Auftrag. Ein Auftrag besteht aus einer Ausgangsmediendatei mit mindestens einem Ziel, das wiederum die Voreinstellungen und Zielorte enthält. Sie können einen Stapel erst zum Umcodieren senden, nachdem Sie jedem Auftrag (jeder Ausgangsmediendatei) im Stapel mindestens ein Ziel (Voreinstellung und Zielort) zugewiesen haben. Alle Aufträge, die sich im Stapel befinden, werden gemeinsam gesendet. Stellen Sie sich Stapel als Dokumente vor, die gesichert, geschlossen und erneut geöffnet werden können. Ähnlich wie bei den Projekten in Final Cut Pro befindet sich jeder Compressor-Stapel in einem eigenen Bereich, der beliebig platziert werden kann. 40 Kapitel 3 Der grundlegende Arbeitsablauf beim UmcodierenSchritt 1: Importieren einer Ausgangsmediendatei in Compressor Zum Importieren von Ausgangsmediendateien in einen Stapel verwenden Sie entweder das Dialogfenster für die Dateiauswahl oder Sie bewegen die Dateien aus dem Finder in das Fenster „Stapel“ in Compressor. Sie können Ausgangsmedien von jedem Ordner aus importieren, auf den Sie Zugriff haben. Weitere Informationen hierzu finden Sie unter Importieren von Ausgangsmedien. Schritt 2: Zuweisen einer Voreinstellung Nachdem Sie Ihre Ausgangsmediendatei in das Fenster „Stapel“ importiert haben, müssen Sie ihr mindestens eine Voreinstellung zuweisen. Dadurch entsteht ein Auftrag. Eine Ausgangsmediendatei kann erst umcodiert werden, wenn ihr mindestens eine Voreinstellung zugewiesen ist. Sie können einer Ausgangsmediendatei nur dann eine Voreinstellung hinzufügen, wenn Sie entweder eine bereits vorhandene Voreinstellung ausgewählt oder eine neue erstellt haben. Ihrer Voreinstellung muss ein Ausgabedateiformat zugeordnet sein. • Wenn Sie eine bereits vorhandene Voreinstellung auswählen: Das Ausgabedateiformat wurde bereits zugewiesen. • Wenn Sie eine eigene Voreinstellung erzeugen: Sie müssen ein Ausgabedateiformat aus dem Einblendmenü „Dateiformat“ wählen, das Sie durch Klicken auf die Taste „Hinzufügen“ (+) im Bereich „Voreinstellungen“ öffnen. Sie können eine Voreinstellung in einem Arbeitsschritt mehreren Aufträgen zuweisen. Wählen Sie hierzu die Aufträge im Fenster „Stapel“ aus und wählen Sie eine Voreinstellung aus dem Dialogfenster aus, das angezeigt wird, wenn Sie „Ziel“ > „Neues Ziel mit Voreinstellung“ wählen. Alternativ können Sie bei gedrückter Taste „ctrl“ auf einen der ausgewählten Aufträge klicken, woraufhin ein Kontextmenü geöffnet wird. Wählen Sie dort eine Voreinstellung aus dem Untermenü „Neues Ziel mit Voreinstellung“ aus. Falls Sie eine bevorzugte Voreinstellung haben (ganz gleich, ob sie schon vorhanden war oder ob Sie sie angepasst haben), können Sie Ihren Arbeitsablauf optimieren, indem Sie ein eigenständiges Programm erstellen, das als Droplet bezeichnet wird. Ein solches Droplet enthält mehrere Voreinstellungen und kann zum Senden von Stapeln verwendet werden, ohne dass das Programm „Compressor“ geöffnet werden muss. Weitere Informationen hierzu finden Sie unter Erstellen eines Droplets im Bereich „Voreinstellungen“. Hinweis: Eine weitere Möglichkeit ist das Erstellen von Gruppen mit Voreinstellungen, wodurch Sie schnell und bequem einer Ausgangsmediendatei mehrere Voreinstellungen zuweisen können. Weitere Informationen hierzu finden Sie unter Erstellen von Gruppen mit Voreinstellungen. Kapitel 3 Der grundlegende Arbeitsablauf beim Umcodieren 41Schritt 3: Anzeigen der Voreinstellung im Fenster „Vorschau“ Sie können entweder eine Vorschau der Ausgangsmediendatei oder der Ausgangsmediendatei mitsamt der zugewiesenen Voreinstellung anzeigen. Im Fenster „Vorschau“ können Sie eine dynamische Vorschau (in Echtzeit) anzeigen und die Effekte von vorgenommenen Filter- und Geometrie-Anpassungen ändern. Ferner können Sie die Mediendatei abspielen, sich Original- oder Ausgabeversionen ansehen, die Bildgröße der Ausgabedatei beschneiden, das Seitenverhältnis ändern und diverse Marker hinzufügen, die für die Dateiformate „MPEG-1“, „MPEG-2“ und „H.264 für Apple-Geräte“ von Bedeutung sind. Weitere Informationen hierzu finden Sie unter Anzeigen einer Voreinstellung in der Vorschau und Anzeigen eines Clips in der Vorschau. Schritt 4: Zuweisen eines Zielorts Sie können den Speicherort für Ihre Ausgabemediendateien festlegen, indem Sie jedem Ziel einen Zielort zuweisen. Der Zielort definiert außerdem diverse Aspekte im Hinblick darauf, wie die Ausgabemediendatei benannt wird. Der Bereich „Zielorte“ enthält mehrere von Apple vordefinierte Zielorte, unter denen Sie wählen können. Sie können aber auch eigene Zielorte festlegen. Sie können einen Zielort auf verschiedene Arten zuweisen: Entweder Sie bewegen einen Zielort aus dem Bereich „Zielorte“ auf das Ziel eines Auftrags oder Sie verwenden den Menübefehl „Ziel“ > „Zielort“ oder das Kontextmenü, das geöffnet wird, wenn Sie bei gedrückter Taste „ctrl“ auf ein Ziel klicken. Darüber hinaus haben Sie die Möglichkeit, einen Speicherort zu wählen, der nicht als Zielort definiert ist. Wählen Sie hierzu „Andere“ in den beiden zuvor genannten Menüs. Weitere Informationen hierzu finden Sie unter Zuweisen von Zielorten zu Ausgangsmediendateien. Schritt 5: Senden des Stapels zum Umcodieren Sobald Sie alle Aufträge, die im Stapel enthalten sein sollen, erstellt haben und mit den Voreinstellungen und der Qualität der Ausgabedateien zufrieden sind (nachdem Sie sich eine Vorschau angesehen haben), können Sie den Stapel senden. Klicken Sie zu diesem Zweck im Fenster „Stapel“ auf die Taste „Senden“. Hinweis: Falls Sie einen großen Stapel umcodieren, sollten Sie den Bildschirmschoner auf Ihrem Computer deaktivieren. Dies erhöht die Geschwindigkeit beim Umcodieren, weil keine Ressourcen durch den Bildschirmschoner in Anspruch genommen werden. Weitere Informationen hierzu finden Sie unter Senden eines Stapels. 42 Kapitel 3 Der grundlegende Arbeitsablauf beim UmcodierenAnzeigen des Status beim Umcodieren Verwenden Sie das Programm „Share-Monitor“ und das Fenster „Verlauf“, um den aktuellen Status eines gesendeten Stapels und aller darin enthaltenen Aufträge anzuzeigen. Der Share-Monitor ist ein eigenständiges Programm, das sowohl mit Compressor als auch mit Droplets arbeiten kann. Dabei spielt es keine Rolle, ob Compressor geöffnet ist und ob Sie etwas gesendet haben. Weitere Informationen über Droplets finden Sie unter Erstellen eines Droplets im Bereich „Voreinstellungen“. Schritt 1: Anzeigen des Status beim Umcodieren des Stapels Nachdem Sie einen Stapel gesendet haben, können Sie das Fenster „Share-Monitor“ öffnen, um sich den Status beim Umcodieren Ihres Stapels anzusehen. Sie können so leicht überwachen, wann der Umcodierungsprozess Ihres Stapels abgeschlossen ist und ob während der Verarbeitung Fehler aufgetreten sind. Sie können in den Compressor-Einstellungen festlegen, dass das Programm „Share-Monitor“ automatisch geöffnet wird. Weitere Informationen hierzu finden Sie unter Festlegen von Compressor-Einstellungen und im Share-Monitor-Benutzerhandbuch. Alternativ können Sie sich das Fenster „Verlauf“ in Compressor ansehen. Neben einem Fortschrittsbalken finden Sie hier auch Angaben dazu, ob ein gesendeter Stapel erfolgreich umcodiert wurde (ähnlich wie im Share-Monitor). Schritt 2: Bestätigen des Abschlusses der Umcodierung Es ist ratsam, den Zielordner der umcodierten Mediendatei zu öffnen und sicherzustellen, dass die Umcodierung der Mediendatei erfolgreich war und die Ausgabedatei an diesem Ort gespeichert worden ist. Optionale Compressor-Kurzbefehle Bei der Konzeption von Compressor stand ein möglichst optimaler Arbeitsablauf im Vordergrund. Abhängig von Ihren Anforderungen gibt es mehrere Möglichkeiten, den Umcodierungsprozess mit Compressor zu beschleunigen. Verwenden vorhandener Voreinstellungen Compressor bietet zahlreiche vordefinierte Voreinstellungen, die eine sofortige Umcodierung ermöglichen. Wenn diese vorhandenen Voreinstellungen für Ihre Anforderungen geeignet sind, können Sie sofort mit dem Umcodieren Ihrer Ausgangsmedien beginnen. Weitere Informationen hierzu finden Sie unter Compressor-Arbeitsablauf im Überblick: Manuelles Verfahren. Kapitel 3 Der grundlegende Arbeitsablauf beim Umcodieren 43Selbst wenn es erforderlich ist, dass Sie angepasste Voreinstellungen erstellen, können Sie diese in einer Gruppe zusammenfassen, sodass Sie sie leicht auf Ziele anwenden können. Weitere Informationen hierzu finden Sie unter Erstellen, Ansehen und Ändern von Voreinstellungen. Verwenden von Standardvoreinstellungen und -zielorten Wenn Sie feststellen, dass Sie immer wieder die gleichen Voreinstellungen und Zielorte auf Ausgangsmediendateien anwenden, können Sie in den Compressor-Einstellungen festlegen, dass diese Voreinstellungen und Zielorte automatisch angewendet werden. Weitere Informationen hierzu finden Sie unter Festlegen von Compressor-Einstellungen. Arbeiten mit Droplets Mit Droplets können Sie schnell und bequem Material umcodieren, ohne dass Compressor dabei geöffnet sein muss. Sie erstellen ein Droplet, indem Sie eine Voreinstellung oder eine Gruppe von Voreinstellungen und Zielorten als ausführbares Symbol sichern. Sobald Sie eine oder mehrere Ausgangsmedien auf dieses Symbol bewegen, startet das Droplet automatisch den Umcodierungsprozess. Weitere Informationen hierzu finden Sie unter Erstellen eines Droplets im Bereich „Voreinstellungen“. 44 Kapitel 3 Der grundlegende Arbeitsablauf beim UmcodierenDie Benutzeroberfläche von Compressor besteht aus einer Reihe von Fenstern, in denen Sie einen Großteil der Vorbereitungsarbeiten für die Umcodierung ausführen. Im vorliegenden Kapitel werden folgende Themen behandelt: • Compressor-Fenster und der Umcodierungs-Arbeitsablauf (S. 46) • Erstellen und Verwalten von Fensteranordnungen in Compressor (S. 47) • Arbeiten mit den Compressor-Fenstern (S. 50) • Fenster „Stapel“ (S. 54) • Bereich „Voreinstellungen“ (S. 58) • Bereich „Zielorte“ (S. 59) • Fenster „Informationen“ (S. 60) • Fenster „Verlauf“ (S. 70) • Fenster „Vorschau“ (S. 71) • Fenster „Apple Qmaster - Sharing“ (S. 73) • Share-Monitor (S. 74) • Droplet-Fenster (S. 75) • Informationen zum Ändern von Werten und Timecode-Einträgen (S. 75) • Kurzbefehle (S. 78) 45 Die Benutzeroberfläche von Compressor 4Compressor-Fenster und der Umcodierungs-Arbeitsablauf Jedes Compressor-Fenster repräsentiert einen Teil des Umcodierungs-Arbeitsablaufs. Settings and Destinations tabs Batch window Preview window History window Inspector window • Fenster „Stapel“: In diesem Fenster können Sie Ausgangsmedien importieren, Voreinstellungen und Zielorte hinzufügen und dem Stapel einen Namen geben. • Bereiche „Voreinstellungen“ und „Zielorte“: Im Bereich „Voreinstellungen“ können Sie an einem zentralen Ort Apple-Voreinstellungen und angepasste Voreinstellungen verwalten. Im Bereich „Zielorte“ können Sie Einstellungen für den Zielort erstellen, ändern oder löschen, einen Standardzielort festlegen und den Dateinamen Ihrer Ausgabemedien Dateikennungen hinzufügen. • Fenster „Informationen“: In diesem Fenster können Sie bequem auf allgemeine Steuerelemente für die Umcodierung und eine detaillierte Zusammenfassung der Einzelheiten für jede Voreinstellung zugreifen. Sie können das Fenster „Informationen“ auch verwenden, um Informationen über Ausgangsclips zu sammeln und interaktiv im Fenster „Vorschau“ dynamische Änderungen vorzunehmen. • Fenster „Vorschau“: In diesem Fenster können Sie Ihre Ausgangsmediendatei im Originalformat wiedergeben oder diese Datei mit den zugewiesenen Voreinstellungen in der Vorschau anzeigen. Ferner können Sie die Effekte bestimmter Einstellungen (wie Filter und Änderungen der Bildgröße) ansehen und Anpassungen an diesen Attributen vornehmen, während eine Vorschau der Mediendatei in Echtzeit angezeigt wird. Außerdem haben Sie im Fenster „Vorschau“ die Möglichkeit, verschiedene Arten von Markern hinzuzufügen und anzusehen. 46 Kapitel 4 Die Benutzeroberfläche von Compressor• Fenster „Verlauf“: Im Fenster „Verlauf“ können Sie sich ein vollständiges Protokoll aller Stapel ansehen, die von Ihrem Computer aus gesendet wurden, einschließlich der Fortschrittsbalken für Stapel, die gerade umcodiert werden. Außerdem können Sie jeden im Protokoll aufgelisteten Stapel anhalten oder erneut senden. • Fenster „Droplet“ (nicht abgebildet): In diesem Fenster können Sie eine oder mehrere Voreinstellungen oder Gruppen von Voreinstellungen als Droplet sichern. Ein Droplet ist eine eigenständige Voreinstellung, die in ein per Drag&Drop zu startendes Programm integriert und als Symbol gesichert wird. • Share-Monitor (nicht abgebildet): Hier sehen Sie den Status aller Stapel, die verarbeitet werden. (Weitere Informationen hierzu finden Sie im Share-Monitor-Benutzerhandbuch.) Erstellen und Verwalten von Fensteranordnungen in Compressor Bei der Arbeit mit Compressor werden Sie feststellen, dass sich die Anordnung der diversen Compressor-Fenster darauf auswirkt, wie komfortabel Sie das Programm nutzen können. Hierbei spielt auch die jeweils anstehende Codierungsaufgabe, mit der Sie sich befassen, eine Rolle. Zu Ihrer Unterstützung bietet Compressor darum Funktionen, mit denen Sie die Anordnung von Fenstern konfigurieren und sichern können. Die Anordnungen definieren, welche Fenster sichtbar sind, welche Größe und Position diese Fenster haben und welche Symbole in der Symbolleiste des Fensters „Stapel“ angezeigt werden. Compressor enthält zwei Anordnungen, die Sie als Grundlage für die Erstellung eigener Fensteranordnungen verwenden können. Hinweis: Jede Anordnung ist in mehreren Größen verfügbar, sodass Sie die Größe wählen können, die am besten für Ihren Monitor geeignet ist. Sie können jede beliebige Anordnung ändern und dann als eigene, angepasste Anordnung sichern. Kapitel 4 Die Benutzeroberfläche von Compressor 47Standardanordnung In der Standardanordnung werden alle Compressor-Fenster angezeigt, wobei die Bereiche „Voreinstellungen“ und „Zielorte“ gemeinsam in einem Fenster angeordnet sind. Diese Anordnung ist perfekt geeignet für den Fall, dass Sie eine einzelne Ausgangsmediendatei umcodieren. Stapelanordnung Bei der Stapelanordnung liegt der Schwerpunkt auf dem Fenster „Stapel“. Diese Anordnung ist perfekt geeignet für den Fall, dass Sie mehrere ähnliche Ausgangsmediendateien umcodieren. Wählen, Sichern und Verwalten von Anordnungen In Compressor ist es denkbar einfach, eine Fensteranordnung zu wählen. 48 Kapitel 4 Die Benutzeroberfläche von CompressorAnordnung wählen µ Wählen Sie „Fenster“ > „Anordnungen“. Wählen Sie anschließend eine Anordnung aus der angezeigten Liste aus. Sobald Sie eine Fensteranordnung gewählt haben, passt sich die Compressor-Benutzeroberfläche entsprechend an. Sie können auch eigene, angepasste Anordnungen erstellen und sichern. Anordnung sichern 1 Ordnen Sie die Fenster der Compressor-Benutzeroberfläche so an, wie Sie sie sichern möchten. Weitere Informationen zur Arbeit mit den verschiedenen Fenstern finden Sie unter Arbeiten mit den Compressor-Fenstern. 2 Wählen Sie „Fenster“ > „Anordnung sichern“. 3 Geben Sie im daraufhin angezeigten Dialogfenster einen Namen für die Anordnung ein und klicken Sie auf „Sichern“. Die Anordnung wird gesichert und danach im Menü „Fenster“ > „Anordnungen“ angezeigt. Sie können die Liste mit den Anordnungen verwalten, indem Sie vorhandene Anordnungen löschen oder umbenennen. Fensteranordnungen verwalten 1 Wählen Sie „Fenster“ > „Anordnungen verwalten“. Das Dialogfenster „Fensteranordnungen verwalten“ wird angezeigt. 2 Führen Sie einen der folgenden Schritte aus: • Anordnung umbenennen: Wählen Sie die Anordnung durch Doppelklicken aus und geben Sie den neuen Namen ein. • Anordnung löschen: Wählen Sie die Anordnung aus und klicken Sie auf die Taste „Löschen“ (–) . Kapitel 4 Die Benutzeroberfläche von Compressor 49• Aktuelle Konfiguration der Benutzeroberfläche als neue Anordnung sichern: Klicken Sie auf die Taste „Hinzufügen“ (+) und geben Sie einen Namen für die Anordnung ein. • Anordnung auswählen und auf die aktuelle Compressor-Oberfläche anwenden: Wählen Sie die Anordnung aus und klicken Sie auf die Taste „Anwenden“. 3 Klicken Sie auf „Fertig“, wenn Sie mit dem Verwalten der Fensteranordnungen fertig sind. Das Fenster „Fensteranordnung verwalten“ wird geschlossen und die Compressor-Benutzeroberfläche wird entsprechend der ausgewählten Anordnung angepasst. Hinweis: Genau genommen ist die Liste mit den Fensteranordnungen in zwei Abschnitte unterteilt: Ein Abschnitt enthält die von Apple bereitgestellten Anordnungen, der zweite diejenigen, die Sie selbst erstellt haben. Die von Apple bereitgestellten Anordnungen können nicht umbenannt oder gelöscht werden. Die von Ihnen erstellten Anordnungen werden in alphabetischer Reihenfolge aufgelistet. Denken Sie daran, beim Benennen Ihrer Anordnungen Namen zu verwenden, die Ihnen ein leichtes Wiederauffinden in der Liste ermöglichen. Dateien für die Fensteranordnungen Wenn Sie mehrere Workstations haben, auf denen Sie Compressor verwenden, ist es für Sie möglicherweise von Vorteil, auf allen Systemen dieselben Fensteranordnungen zur Verfügung zu haben. Dies erreichen Sie, indem Sie die Dateien mit den Anordnungsinformationen von einem System auf ein anderes kopieren. Achten Sie dabei darauf, die Dateien am richtigen Speicherort abzulegen. Die Fensteranordnungen werden an folgendem Pfad gespeichert: Benutzer/Benutzername/Library/Application Support/Compressor/Layouts. Alle Dateien mit Informationen zur Fensteranordnung haben die Erweiterung „.moduleLayout“. Wichtig: Anordnungsdateien dürfen nicht manuell hinzugefügt oder gelöscht werden, während Compressor geöffnet ist. Compressor sucht beim Programmstart an dem genannten Speicherort nach verfügbaren Anordnungseinstellungen. Sie müssen Compressor neu starten, bevor die Software etwaige Änderungen, die Sie an diesen Dateien vorgenommen haben, erkennt. Arbeiten mit den Compressor-Fenstern Die Fensteranordnungen für den Standard- und den Stapel-Arbeitsablauf präsentieren die Benutzeroberfläche von Compressor als ein einzelnes großes Element. Tatsächlich besteht sie jedoch aus einer Reihe von individuellen Fenstern, deren Position und Größe Sie Ihren Anforderungen entsprechend anpassen können. 50 Kapitel 4 Die Benutzeroberfläche von CompressorVerdeckte Fenster Die Compressor-Benutzeroberfläche setzt sich aus einzelnen Fenstern zusammen. Wenn Sie von Compressor zu einem anderen Programm und dann wieder zurück wechseln, indem Sie auf eines der Compressor-Fenster klicken, kann es vorkommen, dass nur das entsprechende Fenster eingeblendet wird, während die übrigen von anderen möglicherweise geöffneten Fenstern verdeckt sind. Alle Compressor-Fenster im Vordergrund anzeigen Führen Sie einen der folgenden Schritte aus: µ Nutzen Sie beim Wechseln zwischen Programmen die integrierte Programmumschaltfunktion von Mac OS X. Drücken Sie die Tastenkombination „Befehl-Tabulator“, um ein Dialogfenster für die Programmauswahl anzuzeigen. Halten Sie die Befehlstaste gedrückt und wechseln Sie durch wiederholtes Drücken der Tabulatortaste zwischen den gerade geöffneten Programmen, bis das Compressor-Symbol ausgewählt ist. Lassen Sie dann die Befehlstaste los. Auf diese Weise stellen Sie sicher, dass alle Compressor-Fenster angezeigt werden. µ Wählen Sie „Fenster“ > „Alle nach vorne bringen“. µ Klicken Sie auf das Compressor-Programmsymbol im Dock. Hinweis: Mit der Compressor-Symbolleiste, die sich am oberen Rand des Fensters „Stapel“ befindet, ist es denkbar einfach, zu den wichtigsten Compressor-Fenstern und zum Share-Monitor zu navigieren. Ändern der Größe von Compressor-Fenstern Mit Ausnahme des Fensters „Informationen“, dem eine feste Größe zugewiesen ist, können Sie die Größe aller Compressor-Fenster ändern. Jedes Fenster hat eine horizontale sowie eine vertikale Mindestgröße, die bestimmt, wie stark Sie ein Fenster verkleinern können. Größe eines Fensters ändern µ Bewegen Sie die rechte untere Ecke des Fensters, um es horizontal oder vertikal zu vergrößern bzw. zu verkleinern. Drag this corner to resize the window. Kapitel 4 Die Benutzeroberfläche von Compressor 51Hinweis: Wenn Sie die Position oder die Größe eines Fensters ändern, rastet das Fenster an einem benachbarten Fenster ein, sobald Sie es in die Nähe des anderen Fensters bewegen. Dies erleichtert Ihnen eine übersichtliche Anordnung der Fenster, ohne dass Lücken entstehen oder sich Fenster überlappen. Bereiche Das Fenster „Stapel“ und die Fenster „Voreinstellungen“ und „Zielorte“ können mehrere Titel (Bereiche) beinhalten. • Das Fenster „Stapel“: Wenn Sie mit einem großen Bildschirm arbeiten und mehrere Stapel geöffnet haben, möchten Sie vielleicht jeden Stapel in einem eigenen Fenster anzeigen. • Die Bereiche „Voreinstellungen“ und „Zielorte“: Standardmäßig befinden sich der Bereich „Voreinstellungen“ und der Bereich „Zielorte“ im selben Fenster. Wenn Sie möchten, können Sie jeden der beiden Bereiche in einem eigenen Fenster anzeigen oder einen der Bereiche schließen. Sie haben sogar die Möglichkeit, dem Fenster andere Fenster als zusätzliche Titel hinzuzufügen (dies gilt für alle Fenster mit Ausnahme des Fensters „Stapel“). In beiden Fällen können Sie die Reihenfolge, in der die Titel angeordnet sind, ändern. Titel (bzw. Bereich) per Drag&Drop in ein eigenes Fenster bewegen 1 Bewegen Sie den Titel aus seiner aktuellen Position heraus. 52 Kapitel 4 Die Benutzeroberfläche von Compressor2 Lassen Sie die Maustaste los, damit der Bereich in einem eigenen Fenster angezeigt wird. Titel mithilfe des Kontextmenüs in ein eigenes Fenster bewegen µ Klicken Sie bei gedrückter Taste „ctrl“ auf den Titel und wählen Sie „Titel freistellen“ aus dem Kontextmenü aus. Der Titel bzw. Bereich wird in einem eigenen Fenster geöffnet. Titel per Drag&Drop von einem Fenster in ein anderes bewegen 1 Bewegen Sie den Titel in den Titelbereich des Fensters, dem er hinzugefügt werden soll. Der Fensterabschnitt, in dem die Titel angezeigt werden, wird optisch hervorgehoben. Kapitel 4 Die Benutzeroberfläche von Compressor 532 Lassen Sie die Maustaste los. Daraufhin rastet der Titel im Bereich mit den Titeln ein und das Fenster, in dem er ursprünglich angezeigt wurde, wird geschlossen. Titel mithilfe des Kontextmenüs von einem Fenster in ein anderes bewegen µ Klicken Sie bei gedrückter Taste „ctrl“ auf die Stelle des Titelbereichs, an der das Fenster erscheinen soll. Wählen Sie anschließend den Titel aus der im Kontextmenü angezeigten Liste aus. Hinweis: Dies ist die einzige Methode, die es Ihnen ermöglicht, dem Fenster die Titel „Verlauf“, „Vorschau“ oder „Informationen“ hinzuzufügen. Reihenfolge der Titel in ihrem aktuellen Fenster ändern µ Bewegen Sie den Titel nach links oder rechts an seine neue Position. Die anderen Titel werden entsprechend verschoben, um Platz zu schaffen. Nachdem Sie die Compressor-Benutzeroberfläche Ihren Wünschen entsprechend konfiguriert haben, können Sie die Einstellungen als Anordnung sichern. Auf diese Weise können Sie die Anordnung leicht wiederherstellen oder zwischen dieser Anordnung und anderen wechseln. Weitere Informationen hierzu finden Sie unter Erstellen und Verwalten von Fensteranordnungen in Compressor. Fenster „Stapel“ Beim ersten Öffnen von Compressor wird das Fenster „Stapel“ angezeigt. Im Fenster „Stapel“ können Sie Ausgangsmedien für die Komprimierung importieren, Voreinstellungen und Zielorte hinzufügen, dem Stapel einen Namen geben und wählen, wo er gesichert werden soll. Das Fenster „Stapel“ ist der Ort, an dem Sie alle Ausgangsmedien platzieren, während Sie deren Umcodierung vorbereiten. Hinweis: Grundsätzlich wird das Fenster „Stapel“ immer angezeigt. Wenn Sie es schließen, wird es erneut geöffnet, sobald Sie einen neuen Stapel erstellen (“Ablage“ > „Neuer Stapel“) oder einen vorhandenen Stapel öffnen (“Ablage“ > „Öffnen“). 54 Kapitel 4 Die Benutzeroberfläche von CompressorVerwenden Sie die Compressor-Menüleiste oder die Symbolleiste oben im Fenster „Stapel“, um alle anderen Fenster zu öffnen. (Möglicherweise wird die Symbolleiste nicht angezeigt, wenn Sie Compressor öffnen. Klicken Sie in diesem Fall auf die Taste in der rechten oberen Ecke des Fensters „Stapel“, um die Symbolleiste einzublenden.) Job area Toolbar Batch tabs Batch status Show/hide toolbar button Batch submission button Neben der Compressor-Symbolleiste und der Taste „Senden“ enthält das Fenster „Stapel“ die Bereiche für die geöffneten Stapel und einen Bereich, in dem die Aufträge eines Stapels angezeigt und konfiguriert werden können. Weitere Informationen zum Hinzufügen von Ausgangsmediendateien zu einem Stapel finden Sie unter Erstellen von Aufträgen durch Hinzufügen von Ausgangsmedien zu einem Stapel. Weitere Informationen zur Arbeit mit Aufträgen und Zielen finden Sie unter Fertigstellen von Aufträgen und Senden von Stapeln. Anpassen der Symbolleiste Das Fenster „Stapel“ enthält eine Symbolleiste, die Sie Ihren Anforderungen entsprechend anpassen können. Hinweis: Möglicherweise wird die Symbolleiste nicht angezeigt, wenn Sie das Programm „Compressor“ öffnen. Klicken Sie in diesem Fall auf die Taste in der rechten oberen Ecke des Fensters „Stapel“, um die Symbolleiste einzublenden. Symbolleiste im Fenster „Stapel“ anpassen 1 Führen Sie einen der folgenden Schritte aus, um die Palette zum Anpassen der Symbolleiste zu öffnen: • Wählen Sie „Darstellung“ > „Symbolleiste anpassen“. • Klicken Sie bei gedrückter Taste „ctrl“ auf die Symbolleiste und wählen Sie „Symbolleiste anpassen“ aus dem Kontextmenü aus. • Klicken Sie in der Symbolleiste auf das Symbol „Anpassen“ (falls vorhanden). Kapitel 4 Die Benutzeroberfläche von Compressor 55Die Palette mit den verfügbaren Werkzeugen wird geöffnet. 2 Führen Sie beliebige der folgenden Schritte aus, um die Symbolleiste anzupassen: • Objekte aus der Symbolleiste entfernen: Bewegen Sie die Objekte aus der Leiste heraus. • Objekte zur Symbolleiste hinzufügen: Bewegen Sie die Objekte aus der Palette der verfügbaren Werkzeuge an die gewünschte Position in der Symbolleiste. • Objekte in der Symbolleiste neu anordnen: Bewegen Sie die Objekte von ihrer aktuellen Position zur gewünschten neuen Position. • Standardkonfiguration der Symbolleiste wiederherstellen: Bewegen Sie den Standardsatz (am unteren Rand der Palette) in die Symbolleiste. • Anzeige von Objekten in der Symbolleiste konfigurieren: Wählen Sie eine Option aus dem Einblendmenü „Zeigen“ aus. Sie können wählen, ob Symbol und Text, nur das Symbol oder nur der Text angezeigt werden soll. 3 Klicken Sie auf „Fertig“, wenn Sie fertig sind. Hinweis: Die Symbolleistenkonfiguration wird als Teil der Fensteranordnung gesichert. Weitere Informationen zu Anordnungen finden Sie unter Erstellen und Verwalten von Fensteranordnungen in Compressor. 56 Kapitel 4 Die Benutzeroberfläche von CompressorSie können der Symbolleiste mehr Objekte hinzufügen, als vom Platz her angezeigt werden können. In diesem Fall wird am rechten Rand der Symbolleiste ein Doppelpfeil angezeigt. Durch Klicken auf diesen Pfeil können Sie eine Liste mit den Symbolen einblenden, die nicht in die Symbolleiste passen. Click these arrows to see items that did not fit in the toolbar. Die Objekte der Symbolleiste Die meisten Objekte, die Sie der Symbolleiste hinzufügen können, können nur einmal hinzugefügt werden. Es gibt jedoch einige, die mehrfach hinzugefügt werden können, wie z. B. die Trennlinie, der Zwischenraum und der flexible Zwischenraum. • Neuer Stapel: Erstellt einen neuen Stapel ohne Titel. • Stapel öffnen: Öffnet ein Dialogfenster, mit dessen Hilfe Sie einen gesicherten Stapel finden und auswählen können, um ihn zu öffnen. • Schließen: Schließt den aktuell ausgewählten Stapel. Hinweis: Ein Stapel lässt sich nicht schließen, wenn es sich dabei um den einzigen geöffneten Stapel handelt. • Datei hinzufügen: Öffnet ein Dialogfenster, mit dessen Hilfe Sie eine Ausgangsmediendatei oder mehrere Dateien finden und auswählen können, um sie in den aktuellen Stapel zu importieren. • Surround Sound hinzufügen: Öffnet das Dialogfenster für die Audiodateizuweisung, in dem Sie jedem Audiokanal in einer Surround-Sound-Konfiguration manuell Dateien zuweisen können. • Bildsequenz hinzufügen: Öffnet ein Dialogfenster, in dem Sie den Ordner mit den Ausgangsmedien für die Bildsequenzdateien suchen und auswählen können. • Mit vorherigen Einstellungen senden: Sendet den Stapel unter Verwendung der Einstellungen, die beim Senden vorheriger Stapel verwendet wurden. In diesem Fall wird das Dialogfenster zum Senden übersprungen. • Verlauf: Öffnet das Fenster „Verlauf“. • Informationen: Öffnet das Fenster „Informationen“. • Voreinstellungen: Öffnet den Bereich „Voreinstellungen“. Kapitel 4 Die Benutzeroberfläche von Compressor 57• Zielorte: Öffnet den Bereich „Zielorte“. • Vorschau: Öffnet das Fenster „Vorschau“. • Share-Monitor: Startet das Programm „Share-Monitor“. • Droplet erstellen: Öffnet ein Dialogfenster zum Auswählen von Einstellungen für das Droplet. • Trennlinie: Fügt der Symbolleiste eine senkrechte Linie hinzu, die Sie zum Gruppieren von Objekten verwenden können. • Zwischenraum: Fügt der Symbolleiste einen Zwischenraum mit fester Breite hinzu. • Flexibler Zwischenraum: Fügt der Symbolleiste einen Zwischenraum mit flexibler Breite hinzu. Mithilfe des Zwischenraums können Sie Objekte an den linken und rechten Rand der Symbolleiste verschieben. Dabei dehnt sich der Zwischenraum aus, um ungenutzte Bereiche gleichmäßig zu füllen. • Anpassen: Öffnet die Palette zum Anpassen der Symbolleiste. Bereich „Voreinstellungen“ Im Bereich „Voreinstellungen“ können Sie an einem zentralen Ort Apple-Voreinstellungen und angepasste Voreinstellungen verwalten. In den Bereichen „Voreinstellungen“ und „Informationen“ erstellen und ändern Sie Voreinstellungen und entscheiden, welche Voreinstellungen für das Umcodieren Ihrer Ausgangsmediendatei verwendet werden sollen und in welches Ausgabeformat die umcodierte Datei konvertiert werden soll. Bereich „Voreinstellungen“ öffnen Führen Sie einen der folgenden Schritte aus: µ Wählen Sie „Fenster“ > „Voreinstellungen“ (oder drücken Sie die Tastenkombination „Befehl-3“). µ Klicken Sie auf das Symbol „Voreinstellungen“ in der Symbolleiste des Fensters „Stapel“ (falls vorhanden). µ Klicken Sie auf den Titel „Voreinstellungen“ (falls vorhanden). 58 Kapitel 4 Die Benutzeroberfläche von CompressorDer Bereich „Voreinstellungen“ enthält eine Liste der vorhandenen Voreinstellungen sowie Tasten zum Hinzufügen, Löschen und Duplizieren einer Voreinstellung und zum Erstellen von Gruppen und Droplets. Weitere Informationen zum Erstellen, Verwalten und Auswählen von Voreinstellungen im Bereich „Voreinstellungen“ finden Sie unter Erstellen, Ansehen und Ändern von Voreinstellungen. Bereich „Zielorte“ Im Bereich „Zielorte“ können Sie Einstellungen für den Zielort erstellen, ändern oder löschen, einen Standardzielort festlegen und den Dateinamen Ihrer Ausgabemedien Dateikennungen hinzufügen. Bereich „Zielorte“ öffnen Führen Sie einen der folgenden Schritte aus: µ Wählen Sie „Fenster“ > „Zielorte“ (oder drücken Sie die Tastenkombination „Befehl-4“). µ Klicken Sie auf das Symbol „Zielorte“ in der Symbolleiste des Fensters „Stapel“ (falls vorhanden). Kapitel 4 Die Benutzeroberfläche von Compressor 59µ Klicken Sie auf den Titel „Zielorte“ (falls vorhanden). Weitere Informationen zum Konfigurieren von Zielorten zur Vereinfachung des Compressor-Arbeitsablaufs finden Sie unter Erstellen und Ändern von Zielorten Fenster „Informationen“ Das Fenster „Informationen“ bietet einfachen Zugriff auf häufig verwendete Steuerelemente für den Codierungsprozess (zum Erstellen und Ändern von Voreinstellungen und Zielorten), eine Übersicht mit allen Details zu jeder Voreinstellung sowie Informationen zu den Ausgangsmediendateien, u. a. A/V-Attribute, Daten zu erweiterten Untertiteln, Anmerkungen und Aktionen für Aufträge. Fenster „Informationen“ öffnen Führen Sie einen der folgenden Schritte aus: µ Wählen Sie „Fenster“ > „Informationen einblenden“. µ Klicken Sie auf das Symbol „Informationen“ in der Symbolleiste des Fensters „Stapel“. Hinweis: Im Gegensatz zu den anderen Compressor-Fenstern kann die Größe des Fensters „Informationen“ nicht geändert werden. 60 Kapitel 4 Die Benutzeroberfläche von CompressorAutomatische Einstellungen Für viele Einstellungen steht ein optionaler automatischer Modus zur Verfügung. Wenn der automatische Modus aktiviert ist, bestimmt Compressor den optimalen Wert für die Einstellung. The Automatic button is dark when active, and its item is dimmed. The Automatic button is dimmed when inactive, and its item is selectable. Generell gilt: Wenn der automatische Modus aktiviert ist, wird die Option im Einblendmenü grau dargestellt und kann nicht geändert werden. • Wurde eine Voreinstellung noch keiner Ausgangsmediendatei zugewiesen: Im Einblendmenü für die betreffende Einstellung wird „Automatisch“ angezeigt. Eine Ausnahme bildet der Bereich „Bildsteuerungen“ im Fenster „Informationen“, der so lange den Status „unbestimmt“ hat, bis die Voreinstellung auf eine Ausgangsmediendatei angewendet wurde. • Wurde die Voreinstellung einer Ausgangsmediendatei zugewiesen: Die Option wird weiterhin grau dargestellt, zeigt aber den Wert an, der verwendet wird. Wenn der automatische Modus nicht aktiviert ist, wird die zugehörige Taste grau dargestellt und Sie können wie gewohnt Werte aus den Einblendmenüs auswählen. Sie können durch Klicken auf die Taste „Automatisch“ zwischen aktiviertem (Taste wird dunkel) und deaktiviertem Modus (Taste wird heller) wechseln. Kapitel 4 Die Benutzeroberfläche von Compressor 61Tipp: Es empfiehlt sich, die Werte im Fenster „Informationen“ für diejenigen Einstellungen zu prüfen, für die der automatische Modus aktiviert ist. Im Normalfall ist Compressor in der Lage, die Werte korrekt festzulegen. Es kann jedoch vorkommen, dass nicht genügend Informationen in der Ausgangsmediendatei vorliegen, um den richtigen Wert zu bestimmen. So kann beispielsweise der Fall eintreten, dass für einige QuickTime-Clips keine zugehörigen Metadaten vorliegen oder dass die Metadaten nicht korrekt sind. Darüber hinaus ist es möglich, dass eine Ausgangsmediendatei keine standardmäßigen Einstellungen verwendet (z. B. Videobildgröße oder Bildrate). In diesen Fällen wählt Compressor den am ehesten zutreffenden Standardwert aus. Ausgangsmediendateien und das Fenster „Informationen“ Wenn Sie einen Auftrag im Fenster „Stapel“ auswählen, zeigt das Fenster „Informationen“ Ihnen Informationen über die Ausgangsmediendatei des Auftrags und ermöglicht das Hinzufügen von Anmerkungen, Dateien mit erweiterten Untertiteln und Aktionen für Aufträge (Auftragseigenschaften). Das Fenster „Informationen“ enthält drei Bereiche: “A/V-Attribute“, „Zusätzliche Infos“ und „Auftragseigenschaft“. Bereich „A/V-Attribute“ Der Bereich „A/V-Attribute“ umfasst allgemeine Informationen über die Ausgangsmediendatei und ist in drei Abschnitte unterteilt. • Dateiinformationen: In diesem Abschnitt werden der Dateiname, der Speicherort und der Dateityp angezeigt. • Videoinformationen: In diesem Abschnitt werden gegebenenfalls alle videospezifischen Angaben zur Datei angezeigt. Hierzu gehören Bildgröße, Bildrate und Timecode-Informationen. 62 Kapitel 4 Die Benutzeroberfläche von Compressor• Audioinformationen: In diesem Abschnitt werden gegebenenfalls alle audiospezifischen Angaben zur Datei angezeigt. Hierzu gehören Sample-Größe und Abtastrate. Bereich „Zusätzliche Infos“ Im Bereich „Zusätzliche Infos“ können Sie verschiedene Metadatenobjekte ansehen und ändern, die möglicherweise in anderen Programmen wie Final Cut Pro oder QuickTime hinzugefügt wurden. Hier können Sie der Ausgabemediendatei auch Metadatenobjekte hinzufügen Außerdem können Sie der Datei eine Datei mit Untertiteln (erweiterte Untertitel) zuordnen. Weitere Informationen zum Verwalten von Dateien mit erweiterten Untertiteln und Anmerkungen finden Sie unter Bereich „Zusätzliche Infos“. • Feld „Erweiterte-Untertitel“: Zeigt den Namen der Datei mit erweiterten Untertiteln an, die derzeit der Ausgangsmediendatei zugewiesen ist. • Taste „Auswählen“: Mit dieser Taste öffnen Sie ein Dialogfenster zur Auswahl der Datei mit erweiterten Untertiteln, die Sie der Ausgangsmediendatei zuweisen wollen. • Taste „Löschen“: Verwenden Sie diese Taste, um die zugehörige Datei mit erweiterten Untertiteln zu löschen. • Tabelle „Anmerkungen“: Hier werden die aktuellen Anmerkungstypen und ihr Anmerkungstext angezeigt. • Einblendmenü „Anmerkung hinzufügen“: Aus diesem Einblendmenü wählen Sie den Typ der Anmerkung aus, die Sie der Ausgangsmediendatei hinzufügen wollen. • Taste „Entfernen“: Mit dieser Taste können Sie die ausgewählte Anmerkung entfernen. Kapitel 4 Die Benutzeroberfläche von Compressor 63Bereich „Auftragseigenschaft“ Der Bereich „Auftragseigenschaft“ erlaubt das Anwenden und Anpassen von Aktionen, die nach der Umcodierung auf komplette Aufträge angewendet werden können. Weitere Informationen hierzu finden Sie unter Hinzufügen von Aktionen. • Einblendmenü „Wenn Auftrag abgeschlossen“: Mit diesem Einblendmenü können Sie nach einer Umcodierung eine Aktion für einen im Fenster „Stapel“ gewählten Auftrag auswählen und darauf anwenden. Bereiche mit Einstellungen Wenn Sie im Bereich „Voreinstellungen“ eine Voreinstellung oder im Auftrag eines Stapels ein Ziel auswählen, wird im Fenster „Informationen“ einer von sechs Bereichen angezeigt. 64 Kapitel 4 Die Benutzeroberfläche von CompressorBereich „Übersicht“ Der Bereich „Übersicht“ enthält eine Übersicht, in der alle Einstellungen beschrieben sind (Video- und Audioeinstellungen, Geometrie- und Filtereinstellungen), die der Voreinstellung zugeordnet sind, die im Bereich „Voreinstellungen“ ausgewählt ist. Die Angaben in der Übersicht werden automatisch aktualisiert, sobald eine Voreinstellung geändert wird. Der Bereich „Übersicht“ enthält folgende Angaben: • Name: Der Name der Voreinstellung, die im Bereich „Voreinstellungen“ ausgewählt ist. • Beschreibung: Eine Beschreibung der Voreinstellung, die im Bereich „Voreinstellungen“ ausgewählt ist. • Suffix: Das Suffix (bzw. die Erweiterung), das der umcodierten Mediendatei zugewiesen ist. Dies kennzeichnet, in welches Format Ihre Ausgangsmediendatei konvertiert wird. • Geschätzte Größe: Ist die Voreinstellung einer Ausgangsmediendatei zugewiesen, wird hier die geschätzte Gesamtgröße der Datei angezeigt. Ist die Voreinstellung keiner Ausgangsmediendatei zugewiesen, wird hier eine geschätzte Größe pro Stunde der Ausgangsmediendatei angezeigt. Hinweis: Die geschätzte Gesamtgröße einer Datei ist nicht für alle Ausgabeformate verfügbar. • Audio-Codierer: Angaben zum Format der Audioausgabedatei sowie andere Einstellungen für die Umcodierung, wie Abtastrate, Kanäle, Bit pro Sample und Komprimierungsmethode. Kapitel 4 Die Benutzeroberfläche von Compressor 65• Video-Codierer: Angaben zum Format der Videoausgabedatei sowie andere Einstellungen für die Umcodierung, wie Bildbreite und -höhe, Umfang des Beschnitts (in Pixeln), Bildrate, Seitenverhältnis, Komprimierungsmethode, Pixeltiefe, Qualität der spationalen Komprimierung, Mindestqualität der spationalen Komprimierung, Keyframe-Intervall, Qualität der temporären Komprimierung, Mindestqualität der temporären Komprimierung und Datenrate (in Bit pro Sekunde). • Filter: Angaben zu allen oder einigen Compressor-Filtern (je nachdem, wie viele Filter Sie im Bereich „Filter“ ausgewählt haben) bzw. keine Angabe zu Filtern. Bereich „Codierer“ Verwenden Sie den Bereich „Codierer“, um die Einstellungen für das Ausgabedateiformat und andere Einstellungen auszuwählen und zu konfigurieren. Die Optionen und Attribute für das Dateiformat sind für jedes Format unterschiedlich. • Dateiformat: Verwenden Sie dieses Einblendmenü, um ein Ausgabedateiformat auszuwählen. Weitere Informationen zu den möglichen Ausgabeformaten finden Sie unter Wählen eines Ausgabeformats. • Feld „Suffix“: Die folgenden Dateisuffixe werden auf der Basis des Formats, das Sie im Einblendmenü „Dateiformat“ ausgewählt haben, und wenn Video- und Audiospuren aktiviert sind, in diesem Feld automatisch angezeigt. Ändern Sie den Inhalt dieses Felds nach Möglichkeit nicht, da sonst unter Umständen Ihre Datei nicht mehr erkannt wird. • aiff: Steht für das Format „AIFF“. • ac3: Steht für das Format „Dolby Digital Professional“. • caf: Steht für Apple CAF-Dateien. • dv: Steht für das Videoformat „Digital Video“ (DV). • mpg: Steht für MPEG-1-Multiplexed-Stream (Video und Audio gebündelt). • m1v: Steht für MPEG-1-Videoelementarstream. 66 Kapitel 4 Die Benutzeroberfläche von Compressor• m1a: Steht für MPEG-1-Audioelementarstream. • m2v: Steht für MPEG-2-Videoelementarstream. • m2t: Steht für MPEG-2-Transportstream. • mpeg: Steht für MPEG-2-Programmstream. • m4v: Steht für das Format „H.264 für Apple-Geräte“. • mp4: Steht für das Format „MPEG-4“. • mov: Steht für QuickTime. • tga: Steht für das Format „TARGA“. • tiff: Steht für das Format „TIFF“. • Feld „Auftragssegmentierung erlauben“: Durch Klicken auf dieses Feld können Sie die Segmentierung von Aufträgen aktivieren bzw. deaktivieren. Dies ist nur relevant, wenn Sie Compressor mit verteilter Verarbeitung und mit 2-Pass- oder Multi-Pass-Codierung verwenden. Weitere Informationen hierzu finden Sie unter Auftragssegmentierung und 2-Pass-Codierung oder Multi-Pass-Codierung. Bereich „Bildsteuerungen“ Dieser Bereich des Fensters „Informationen“ bietet automatische und angepasste Einstellungen für die erweiterte Bildanalyse bei der Skalierung und beim Retiming. Das Skalieren der Bildgröße ist erforderlich, wenn eine Umcodierung von einem HD-Format wie 1080i in ein SD-Format wie DV-NTSC erfolgt. Ein Beispiel für das Retiming (die Änderung des Zeitverhaltens) ist die Umcodierung zwischen Videoformaten mit unterschiedlichen Bildraten wie NTSC (29,97 fps) und PAL (25 fps). Weitere Informationen zum Bereich „Bildsteuerungen“ erhalten Sie unter Bereich „Bildsteuerungen“. Kapitel 4 Die Benutzeroberfläche von Compressor 67Bereich „Filter“ Sie verwenden den Bereich „Filter“, um Ihrer Voreinstellung Filter hinzuzufügen. Hiermit können Sie eine Gamma-Korrektur durchführen oder störendes Bildrauschen entfernen. Wählen Sie die Markierungsfelder neben den Filtern aus, die Sie in eine bestimmte Voreinstellung integrieren möchten. Verwenden Sie die Schieberegler oder die Pfeile für den jeweiligen Filter, um die Einstellungen dieses Filters bei Bedarf anzupassen. Die Filter werden in der Reihenfolge auf die Ausgangsmediendatei angewendet, in der Sie sie in der Liste „Filter“ angeordnet haben. Sie können die Reihenfolge verändern, indem Sie Filter in dieser Liste aufwärts oder abwärts bewegen. Weitere Informationen zum Bereich „Filter“ erhalten Sie unter Bereich „Filter“. 68 Kapitel 4 Die Benutzeroberfläche von CompressorBereich „Geometrie“ Verwenden Sie die Optionen im Bereich „Geometrie“, um die Mediendatei, die komprimiert werden soll, zu beschneiden und Änderungen an der Größe vorzunehmen sowie um ihr Seitenverhältnis festzulegen. Der Bereich „Geometrie“ besteht aus drei Abschnitten: • Original einsetzen (Beschneiden): Verwenden Sie die vier Felder, um die Anzahl der Pixel einzugeben, um die die Größe der Ausgangsmediendatei reduziert werden soll. Alternativ können Sie eine Einstellung aus dem Einblendmenü „Beschneiden auf“ auswählen, damit Compressor die Werte für das Beschneiden basierend auf dem Videoinhalt der Ausgangsmediendatei festlegt. • Abmessungen (Codierte Pixel): Verwenden Sie das Einblendmenü „Bildgröße“ bzw. die zugehörigen Felder, um für die Ausgabedatei eine geeignete Bildgröße und ein geeignetes Seitenverhältnis festzulegen. Verwenden Sie das Einblendmenü „Pixelformat“, um die Werte für die Breite und Höhe so einzustellen, dass sie einem bestimmten Pixelformat entsprechen. • Ausgabebild anpassen (Padding): Sie verwenden das Einblendmenü „Rand“, um die Werte für die Breite und Höhe in der Ausgabedatei zu berechnen. Ist die Option „Anpassen“ aktiviert, können Sie in den Feldern Werte eingeben. Weitere Informationen zum Bereich „Geometrie“ erhalten Sie unter Hinzufügen von Geometrieeinstellungen. Kapitel 4 Die Benutzeroberfläche von Compressor 69Bereich „Aktionen“ Im Bereich „Aktionen“ können Sie E-Mail-Benachrichtigungen nach Abschluss der Umcodierung aktivieren und einen Standardzielort für diese Voreinstellung festlegen. • Markierungsfeld und Feld „E-Mail-Benachrichtigung an“: Tragen Sie hier die Adresse ein, an die eine Benachrichtigung per E-Mail geschickt werden soll, wenn die Mediendatei fertig umcodiert wurde bzw. ein Fehler aufgetreten ist. • Standardziel: Wählen Sie aus dem Einblendmenü den Zielort aus, den diese Voreinstellung als Standardspeicherort verwenden soll. Weitere Informationen zum Bereich „Aktionen“ erhalten Sie unter Hinzufügen von Aktionen. Fenster „Verlauf“ Über das Fenster „Verlauf“ erhalten Sie schnellen Zugriff auf zuvor gesendete Stapel und einige Informationen zu diesen Stapeln. Sie können hier einen Umcodierungsvorgang anhalten, Stapel erneut senden, indem Sie sie in das Fenster „Stapel“ bewegen, oder Sendedetails zu bestimmten Stapeln anzeigen. Zudem können Sie das Fenster verwenden, um nach den Ausgabemediendateien von zuvor gesendeten Stapeln zu suchen. Das Fenster „Verlauf“ enthält außerdem einen Fortschrittsbalken, mit dessen Hilfe Sie den Status von bereits gesendeten Stapeln überwachen können. Das Fenster „Verlauf“ öffnen und schließen Führen Sie einen der folgenden Schritte aus: µ Wählen Sie „Fenster“ > „Verlauf“ (oder drücken Sie die Tastenkombination „Befehl-1“). 70 Kapitel 4 Die Benutzeroberfläche von Compressorµ Klicken Sie in der Symbolleiste des Fensters „Stapel“ auf die Taste „Verlauf“. Hinweis: Das Fenster „Verlauf“ wird automatisch geöffnet, falls es geschlossen ist, wenn Sie einen Stapel zum Umcodieren senden. Das Fenster „Verlauf“ enthält Einträge, in denen Informationen zum Stapelnamen sowie zu Datum und Uhrzeit der ursprünglichen Umcodierung angezeigt werden. Die Einträge sind nach Datum geordnet, wobei der älteste Eintrag an erster Stelle steht. Wenn Sie einen Stapel per Drag&Drop in das Fenster „Stapel“ bewegen, um ihn erneut zu senden, wird dafür ein neuer Stapel ohne Titel erstellt (etwaige vorhandene Stapel bleiben davon unberührt). Weitere Informationen zu den Steuerelementen und Voreinstellungen im Fenster „Verlauf“ finden Sie unter Das Fenster „Verlauf“ Fenster „Vorschau“ Das Fenster „Vorschau“ ist in zwei Hälften unterteilt. Links zeigt es die ausgewählte Ausgangsmediendatei in ihrer Originalform an und rechts eine Vorschau, wie Ihre Ausgabedatei aussehen wird. Dadurch wird Ihnen ermöglicht, die Originalversion mit der umcodierten Version zu vergleichen und bei Bedarf Ihre Einstellungen anzupassen. Mithilfe der Optionen in diesem Fenster können Sie ein Bild beschneiden, Keyframes hinzufügen und das Seitenverhältnis ändern. Fenster „Vorschau“ öffnen Führen Sie einen der folgenden Schritte aus: µ Wählen Sie „Fenster“ > „Vorschau“ (oder drücken Sie die Tastenkombination „Befehl-2“). Kapitel 4 Die Benutzeroberfläche von Compressor 71µ Klicken Sie in der Symbolleiste des Fensters „Stapel“ auf die Taste „Vorschau“.