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Final Cut Pro X User GuideKApple Inc. Copyright © 2013 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Pro software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Shift-Option-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Note: Because Apple frequently releases new versions and updates to its system software, applications, and Internet sites, images shown in this manual may be slightly different from what you see on your screen. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com Apple, the Apple logo, Aperture, Apple TV, Final Cut, Final Cut Pro, Finder, FireWire, GarageBand, iLife, iMovie, iPad, iPhone, iPhoto, iPod, iSight, iTunes, iWork, Keynote, Logic, Mac, MacOS, OS X, QuickTime, and Xsan are trademarks of Apple Inc., registered in the U.S. and other countries. Multi-Touch is a trademark of Apple Inc. Adobe and Photoshop are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. Intel, Intel Core, and Xeon are trademarks of Intel Corp. in the U.S. and other countries. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the United States and other countries. The YouTube logo is a trademark of Google Inc. Production stills from the film “Koffee House Mayhem” provided courtesy of Jean-Paul Bonjour. “Koffee House Mayhem” © 2004 Jean-Paul Bonjour. All rights reserved. http://www.jeanpaulbonjour.com Audi R8 production stills: Closed course with drivers wearing safety equipment. Do not attempt on public roads; always obey local traffic laws. Audi trademarks are used with permission of Audi of America, Inc. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products. 019-2532Contents 10 Chapter 1: What’s new in Final Cut Pro? 10 What’s new in Final Cut Pro 10.0.6? 11 What’s new in Final Cut Pro 10.0.3? 12 What’s new in Final Cut Pro 10.0.1? 13 Chapter 2: Final Cut Pro basics 13 What is Final Cut Pro? 14 Final Cut Pro workflow overview 15 Final Cut Pro interface overview 17 Media files and clips 18 Events and projects 19 Chapter 3: Import media 19 Importing overview 20 If it’s your first import 20 Import from connected cameras 20 Import from file-based cameras 24 Import spanned clips 26 Import from iPhone, iPad, or iPod touch 28 Import from a digital still camera 29 Import from tape-based cameras 30 If your camera or device isn’t recognized 31 Import from other applications 31 Import from Motion 32 Import from iMovie 32 Import from iPhoto and Aperture 33 Import from iTunes 34 Import from devices 34 Import from a hard disk 36 Access media on an archive or disk image 37 Organize files while importing 39 Import while recording 40 About memory cards and cables 41 Supported media formats 43 Import and adjust REDCODE RAW video files 45 Chapter 4: Analyze media 45 Analyzing media overview 45 Video and still-image analysis options 46 Audio analysis options 47 Analyze your media 48 View analysis keywords on clips 351 Chapter 5: Organize your media 51 Events and clips overview 52 Organize events 52 Create a new event 52 Rename an event 53 Merge or split events 53 Copy or move clips between events 54 Copy or move events 55 Sort events 56 Delete clips or events 57 Organize clips 57 View and sort clips 61 Rename clips 62 Rate clips as Favorite or Rejected 64 Add keywords to clips 67 Add or edit clip notes 68 Organize clips by roles 68 Find clips in the Event Browser 71 Save searches as Smart Collections 72 Organize Keyword and Smart Collections 73 Chapter 6: Play back and skim media 73 Playback and skimming overview 74 Play back media 76 Skim media 78 Play back and skim media in the Event Viewer 78 View playback on a second display 79 View playback on an external video monitor 80 About background rendering 81 Chapter 7: Create and manage projects 81 Create a new project 82 Preview and open a project 83 Modify a project’s name and properties 86 Organize projects in the Project Library 89 Save projects 90 Chapter 8: Edit your project 90 Editing overview 90 Select clips and ranges 90 About selections and filmstrips 91 Select one or more clips 93 Select a range 96 Manage multiple range selections in event clips 99 Add and remove clips 99 Adding clips overview 99 Drag clips to the Timeline 100 Append clips to your project 100 Insert clips in your project 103 Connect clips to add cutaway shots, titles, and synchronized sound effects 108 Overwrite parts of your project Contents 4109 Replace a clip in your project with another clip 111 Add and edit still images 113 Create freeze frames 114 Add clips using video-only or audio-only mode 115 Remove clips from your project 116 Solo, disable, and enable clips 117 Find a Timeline clip’s source clip 117 Arrange clips in the Timeline 123 Cut and trim clips 123 Trimming overview 123 Cut clips with the Blade tool 126 Extend or shorten a clip 132 Make roll edits with the Trim tool 134 Make slip edits with the Trim tool 136 Make slide edits with the Trim tool 138 Show detailed trimming feedback 139 View and navigate 139 Zoom and scroll in the Timeline 141 Adjust Timeline settings 143 Navigate within your project 144 Navigate using timecode 145 Use the Timeline Index to view, navigate, and search your project 149 Work with markers 149 Markers overview 149 Add and remove markers 150 Edit, move, and navigate to markers 152 Manage chapter markers and their thumbnail images 154 Correct excessive shake and rolling shutter issues 157 Chapter 9: Edit audio 157 Audio overview 158 Audio editing basics 158 About audio waveforms 159 About audio channels and audio components 159 Ways to view audio clips 163 View audio waveforms at the audio sample level 164 View and correct audio levels 165 Solo and mute audio clips 166 Add audio 166 Add music and sound 166 Record audio 168 Edit audio clips or audio components 168 Audio editing overview 169 Configure audio channels 172 Adjust volume 174 Fade audio in or out 177 Pan audio 180 Multichannel audio editing examples 186 Use roles to organize clips and export audio files 187 Add and adjust audio effects 187 Add audio effects Contents 5189 Adjust audio effects 192 Adjust audio effects using keyframes 199 Audio tools and techniques 199 Enhance audio 202 Sync audio and video automatically 203 Match audio equalization settings 203 Preserve pitch when retiming clips 204 Chapter 10: Add transitions, titles, effects, and generators 204 Transitions, titles, effects, and generators overview 205 Add and adjust transitions 205 Transitions overview 205 How transitions are created 206 Set transition defaults 207 Add transitions to your project 209 Delete transitions from your project 209 Adjust transitions in the Timeline 211 Adjust transitions in the Transition inspector and Viewer 212 Adjust transitions with multiple images 213 Create specialized versions of transitions in Motion 213 Add and adjust titles 213 Titles overview 213 Add titles to your project 215 Adjust titles 218 Remove titles from your project 218 Find and replace text in your project 219 Adjust built-in effects 219 Built-in effects overview 220 Resize, move, and rotate clips 221 Trim clips 222 Crop clips 224 Pan and zoom clips with the Ken Burns effect 225 Skew a clip’s perspective 226 Work with built-in effects 231 Add and adjust clip effects 231 Clip effects overview 231 Add effects to your project 232 Adjust effects in Final Cut Pro 234 Change clip effect order 235 Copy effects and attributes between clips 236 Turn off or remove an effect from a clip 237 Create specialized versions of the video effects in Motion 237 Add generators 237 Generators overview 238 Use a placeholder 239 Use a timecode counter 239 Use a shape 240 Use a background 241 Create specialized versions of the generators in Motion 241 About themes 242 Use onscreen controls Contents 6242 Onscreen controls overview 242 Show or hide onscreen controls 243 Onscreen control examples 247 Use the Video Animation Editor 247 Video animation overview 247 Adjust video effects using keyframes 253 Adjust effect curves using fade handles or keyframe animation 257 Chapter 11: Advanced editing 257 Group clips with compound clips 257 Compound clips overview 259 Create and break apart compound clips 263 Manage compound clips 265 Add storylines 268 Fine-tune edits with the Precision Editor 271 Create split edits 275 Make three-point edits 275 Three-point editing overview 277 Three-point edit examples 281 Try out clips using auditions 281 Auditions overview 282 Create auditions to try out clips 283 Add and remove clips in auditions 284 Use auditions to try out clips in your project 287 Retime clips to create speed effects 287 Retiming clips overview 288 Change clip speed 292 Reverse or rewind clips 294 Create instant replays 294 Create a hold segment 295 Reset retimed clips to play at normal speeds 296 Conform frame sizes and frame rates 299 Use roles to manage clips 299 Roles overview 300 View and reassign roles 303 Create custom roles and subroles 305 View clips by role in the Timeline 307 Use roles to export media stems 307 Use XML to transfer projects and events 308 Edit with multicam clips 308 Multicam editing overview 309 Multicam editing workflow 310 Import media for a multicam edit 311 Assign camera names and multicam angles 312 Create multicam clips in the Event Browser 316 Cut and switch angles in the Angle Viewer 324 Sync and adjust angles and clips in the Angle Editor 330 Edit multicam clips in the Timeline and the Inspector 332 Multicam editing tips and tricks Contents 7334 Chapter 12: Keying and compositing 334 Keying 334 Keying overview 334 Use chroma keys 343 Use luma keys 348 Finalize the key 351 Compositing 351 Compositing overview 352 Use alpha channels 354 Use Compositing settings 355 Chapter 13: Color correction 355 Color correction overview 356 Analyze and balance color automatically 356 Color balance overview 356 Analyze a clip for color balance 357 Balance a clip’s colors 358 Match color between clips automatically 359 Adjust color manually 359 Manual color correction overview 359 Color correct the whole image 361 Target a specific color using a color mask 363 Target specific areas using shape masks 366 Add shape masks to a color mask 367 Apply multiple color corrections 368 Add a transition between color corrections 368 Save and apply color correction presets 369 Turn iMovie adjustments on or off 369 Turn ARRI Log C processing on or off 370 Measure video levels 370 Video scopes overview 370 Use the video scopes 371 Waveform Monitor display options 374 Vectorscope display options 375 Histogram display options 377 Chapter 14: Share your project 377 Sharing projects overview 378 Share projects, clips, and ranges 383 Modify share attributes 386 Export your project using Compressor 387 Status of shared projects 387 Shared project status overview 388 Visit, announce, and view the location of shared projects 389 Remove shared projects Contents 8390 Chapter 15: Manage media files 390 Media management overview 390 Where your media and project files are located 392 Manage your media files 392 View a clip’s information 393 Relink clips to media files 397 Transcode media files 400 View background tasks 401 Delete render files to free up disk space 402 Manage your events and project files 402 Before you move or copy events and projects 402 Consolidate a project’s media files 403 Back up projects, your Project Library, and events 406 Edit your project on a different computer 410 Use SAN locations for events and projects 411 Create and manage camera archives 414 Solutions to common media management issues 414 Alert icons 416 Common media management issues 417 Chapter 16: Preferences and metadata 417 Preferences and metadata overview 417 Final Cut Pro preferences 417 Change preference settings 418 Editing preferences 419 Playback preferences 420 Import preferences 422 Destinations preferences 427 Work with destinations 432 Work with metadata 432 Display and change clip metadata 433 Modify metadata views 435 Batch rename clips 438 Chapter 17: Keyboard shortcuts and gestures 438 Keyboard shortcuts and Multi-Touch gestures overview 438 Keyboard shortcuts 452 Multi-Touch gestures 452 Customize keyboard shortcuts 452 View keyboard shortcuts in the Command Editor 455 Modify keyboard shortcuts in the Command Editor 456 Export and import command sets in the Command Editor 458 Glossary Contents 910 What’s new in Final Cut Pro 10.0.6? Final Cut Pro 10.0.6 includes numerous new features and enhancements, detailed below. Advanced multichannel audio editing Final Cut Pro automatically groups audio channels into audio components according to how the channels are configured for the clip. You can now expand the audio portion of clips to view and edit audio components down to the individual channel level. You can edit audio components in a variety of ways, including any of the following: • Adjust volume or pan. • Disable or delete ranges within an audio component to quickly edit out unwanted sounds. • Apply and adjust audio effects. • Add or remove audio components in a multicam clip. For more information, see Audio editing overview on page 168. Streamlined sharing and export Sharing your finished work is easier and more flexible in Final Cut Pro 10.0.6. Destinations—sets of preconfigured export settings—allow you to quickly publish a project or clip to a sharing website, export it for viewing on iPad or iPhone, or burn it to a disc. Final Cut Pro comes with a variety of destinations, and you can also modify destinations and create new destinations. The simplified and streamlined sharing workflow includes these enhancements: • Simplified and consolidated menus that you can easily populate with customized destinations • Reusable destination bundles that allow you to share to multiple output formats and locations at once • Automatic sharing of project and clip metadata, with the ability to customize the metadata that is shared • Support for multiple accounts at video-sharing websites such as YouTube • Faster sharing and export using the GPU and background processing • Sharing of a selected range in a project in the Timeline or in a clip in the Event Browser For more information, see Sharing projects overview on page 377. Unified import Simplified and easier to use, the new unified Media Import window provides one place to go for all your importing needs. Final Cut Pro 10.0.6 offers dedicated areas for connected cameras and devices, both file-based and tape-based, as well as a new Favorites section, where you can add frequently used folders for file import from your hard disk or an external drive. Other new import features include list view to see multiple columns of metadata, multiple range selections within individual clips from file-based cameras, and complete archive-management tools. For more information, see Importing overview on page 19. What’s new in Final Cut Pro? 1Chapter 1 What’s new in Final Cut Pro? 11 Dual viewers The Event Viewer is a separate video display that appears next to the main Viewer so you can compare shots to match action and color. With the Event Viewer and the Viewer open, you can display two clips at the same time: one from the Event Browser and one from the Timeline, each with its own video scope display. For more information, see Play back and skim media in the Event Viewer on page 78. Native REDCODE RAW (R3D) support Final Cut Pro 10.0.6 provides native support for REDCODE RAW (R3D) files. You can now import RED files directly, make nondestructive RAW settings adjustments, and save those adjustments as metadata, all within Final Cut Pro. This allows you to take advantage of the full latitude and dynamic range contained in the REDCODE RAW source files. For more information, see Import and adjust REDCODE RAW video files on page 43. Improved range selections Start and end points in clips in the Event Browser now stay in place when you click elsewhere. You can also create multiple range selections in one or more clips. For more information, see Select a range on page 93 and Manage multiple range selections in event clips on page 96. Other notable features • Chapter markers and chapter marker thumbnails allow you to prepare chapters and their representative poster frame images directly within Final Cut Pro for output to DVD, Blu-ray disc, iTunes, QuickTime Player, and Apple devices. • The new Paste Attributes window is a powerful way to transfer specific effects and other settings between clips. • You can now add freeze frames quickly and easily with a single keyboard shortcut. • Titling is significantly improved, including support for the new title markers feature in Motion. • Flexible connection points improve manual control over connected clips as you slip, slide, or move clips in the primary storyline. • New compound clip architecture makes compound clips easier to reuse in multiple projects and provides improved performance. • You can now import and export MXF files using third-party plug-ins. For a list of supported media files, see Supported media formats on page 41. • Final Cut Pro 10.0.6 provides improved support for anamorphic media. What’s new in Final Cut Pro 10.0.3? Final Cut Pro 10.0.3 includes major new features and enhancements, detailed below. Multicam editing You can now use multicam clips to edit footage from multicamera shoots or other synchronized footage in real time. Working with multicam clips in Final Cut Pro is a flexible and fluid process. While the active angle plays in the Viewer, you can also view all angles playing simultaneously in the Angle Viewer and easily cut and switch between them. You can create multicam clips from diverse media sources and modify existing multicam clips during the editing process. For more information, see Multicam editing overview on page 308.Chapter 1 What’s new in Final Cut Pro? 12 A/V output You can now connect your computer to an external video monitor for audio and video (A/V) output. In addition to showing you how video and audio look and sound on an NTSC/PAL or HD broadcast monitor, this feature also allows you to test output with more sophisticated devices such as vectorscopes and waveform monitors. A/V output is available only with OS X Lion v10.7.2 or later and requires compatible thirdparty video interface hardware and software. FireWire DV devices are not supported. For more information, contact the device manufacturer or go to the Final Cut Pro X Resources webpage at http://www.apple.com/finalcutpro/resources. For more information, see View playback on an external video monitor on page 79. Manual relinking of clips to media files Now you can manually relink event clips and project clips to media files. Manual relinking gives you more control over your post-production workflow. For more information, see Relink clips to media files on page 393. Other notable features • Layered graphics files, such as Adobe Photoshop (PSD) files, can now be edited so that each layer appears as a connected clip in the Timeline. • Advanced Keyer controls are now available. • Keyframing controls are improved in the Video and Audio Animation Editors. What’s new in Final Cut Pro 10.0.1? Final Cut Pro 10.0.1 includes a number of new features, enhancements, and changes. The most significant features are introduced below. Roles You can use the new roles metadata labels to organize clips in your events and projects, control the appearance of the Timeline, and export separate video or audio files (also known as media stems) for broadcast delivery, audio mixing, or post-production. For example, you can export roles as media stems in a combined, multitrack QuickTime file, or as separate audio or video files. During the export process you can assign mono, stereo, or surround output for your audio channels. For more information, see Roles overview on page 299 and Destinations preferences on page 422. Storage area network (SAN) locations You can now add network volumes as storage locations for events and projects. When you remove SAN locations in Final Cut Pro, other users on the network can work with the events and projects stored on those locations. For more information, see Use SAN locations for events and projects on page 410. XML export and import Final Cut Pro now supports XML import and export so that you can transfer your project and event information to and from systems and third-party applications that don’t recognize Final Cut Pro projects and events. For more information, see Use XML to transfer projects and events on page 307.13 What is Final Cut Pro? Final Cut Pro X is a revolutionary application for creating, editing, and producing the highestquality video. Final Cut Pro combines high-performance digital editing and native support for virtually any video format with easy-to-use and time-saving features that let you focus on storytelling. In Final Cut Pro, you can: • Edit everything from uncompressed standard-definition video to HDV, DVCPRO HD, and uncompressed high-definition video—as well as file-based formats such as AVC-Intra, AVCHD, and XDCAM HD. • Play back and skim resolution-independent media up to 1920 x1080, 2K, 4K, and even 5K resolution. You can also play your video full screen or on a second display. • Assemble clips with ease using the Magnetic Timeline, which fluidly adjusts clips around the clip you’re dragging to eliminate gaps, collisions, and sync problems. • Edit quickly with the complete set of professional editing and trimming tools. Fine-tune edits with the inline Precision Editor. • Have Final Cut Pro analyze your video and nondestructively fix common problems such as camera shake, excess hum, or loudness. You can also have Final Cut Pro detect the presence of people or the shot type, and automatically apply keywords such as One Person or Wide Shot. • Organize your media using Keyword Collections, which automatically group clips based on keywords, and Smart Collections, which automatically group clips based on criteria you specify. • Try out clips in your project using auditions—sets of alternate takes, effects, or text treatments—and then choose the best clip for the edit. • Create compound clips to group any combination of clips, and nest clips within other clips. Final Cut Pro basics 2Chapter 2 Final Cut Pro basics 14 • Use connected clips and storylines to add cutaway shots, superimposed titles, and sound effects to your project. Connected clips and storylines always stay in sync. • Add special effects to video, audio, and photos, and adjust them using keyframes and onscreen controls. You can also change clip speed to create fast-motion or slow-motion effects. • Automatically balance and match color, or use the color correction tools to precisely control the look of any clip in your project. • Publish your project directly to websites such as YouTube and Facebook, or send your project to iTunes for syncing with Apple devices such as iPhone, iPad, and Apple TV. Final Cut Pro workflow overview To give you an idea of the possibilities, the overall process for putting together a movie with Final Cut Pro is described below. You don’t have to do every step, and you might do others that aren’t listed. The workflow isn’t necessarily linear. You could, for example, go all the way through editing and adding effects, and then import more new media for your project. Import your media into Final Cut Pro To use Final Cut Pro, you need to transfer your media (video, audio, and still images) from your recording device to your computer or an external disk. You can import media from many kinds of cameras and other devices, or from other applications such as iMovie. Organize your media Final Cut Pro automatically organizes your imported media into events. An event is like a folder that contains all the media recorded on a certain date. In Final Cut Pro, your media appears as clips, which link to the media files stored on a disk. You can reorganize your clips by creating or renaming events and moving clips between events. For example, you could create an event for all the media shot for a specific client. As you review your footage, you can easily rate clips as Favorite or Rejected. These ratings make it easier to focus on your best footage. Final Cut Pro also offers other useful organizing tools, such as Keyword Collections and Smart Collections. Create a project and add clips to it Your project is the movie you create using clips from your events and from the Final Cut Pro media browsers. Start creating your movie by adding clips to the Timeline. You make all your edits in the project; your original media files remain untouched (this is known as nondestructive editing). Arrange and edit your clips Now your movie can really begin to take shape. To assemble a rough cut, rearrange and trim clips in the Timeline. You can also try out different clips using auditions. Use connected clips and storylines to add cutaway shots, titles, background music, and sound effects to your project. Create compound clips to group any combination of clips and nest clips within other clips. You can simplify a complicated project by creating a separate compound clip for each major section. Add effects and transitions Add special effects from the ample collection of video and audio effects in the Final Cut Pro media browsers. Give your movie titles and credits, and apply video or audio transitions. Adjust clip speed settings to create fast-motion or slow-motion effects. To further polish your project, you can fine-tune cuts and transitions with the Precision Editor, keyframe video and audio effects, correct color, and composite motion graphics.Chapter 2 Final Cut Pro basics 15 Share your movie When your project is finished, you can publish your movie right from Final Cut Pro to the web, or send it to iTunes, iPhone, iPad, iPod, or Apple TV. You can also burn a disc to give to others. Final Cut Pro interface overview The Final Cut Pro window has three main areas: Viewer: Play back clips and projects. Event Browser: Access all the source media you import. Magnetic Timeline: Edit your movie in this area. Organize media in the Event Library and Event Browser All your imported media is available in the Event Library. (An event is like a folder that contains clips.) When you select an event in the Event Library, its clips appear in the Event Browser on the right. Event Browser: View and sort the clips in the selected event. Event Library: Select an event to view its media on the right. You can reorganize your media however you like at any time, and you can use the Event Library and the Event Browser to manage, rate, sort, and add keywords to your imported media. For more information, see Events and clips overview on page 51. Chapter 2 Final Cut Pro basics 16 Play back clips and projects in the Viewer The Viewer is where you play back your video, including clips and projects with up to 1920 x 1080, 2K, 4K, and even 5K resolution. You can play back events, projects, or individual clips in fullscreen view or on a second display. With the Event Viewer, a separate video display that can be shown next to the main Viewer, you can display two clips at the same time: one from the Event Browser and one from the Timeline. For information about ways to play media, see Play back media on page 74. Resolution-independent playback: Play back video files up to 5K. Full-screen playback: Play your video full screen, or on a second display. Onscreen controls: Adjust effects such as Transform, Crop, and Distort. Dual viewers: Display event clips and project clips side by side. You can also use onscreen controls, superimposed over the video in the Viewer, to adjust settings for a wide array of effects and transitions. Edit your project in the Magnetic Timeline The bottom portion of the Final Cut Pro window contains the Timeline, where you create your movie by adding and arranging clips and making all your edits. The Timeline in Final Cut Pro “magnetically” adjusts clips to fit around clips that you drag into place. If you drag clips out of place, the surrounding clips close up to fill the space. A Final Cut Pro project holds all of the information for your final movie, including your editing decisions and links to all the source clips and events. For more information about editing your project, see Adding clips overview on page 99 and Arrange clips in the Timeline on page 117. Toolbar: Perform common tasks by clicking a button. Connected clips: Add titles and cutaway shots. In the Magnetic Timeline, everything stays in sync. Audio clips: Add music and sound effects as connected clips. Primary storyline: Add and arrange clips to construct your movie.Chapter 2 Final Cut Pro basics 17 Media files and clips After you import media into Final Cut Pro, clips representing the source media files appear in the Event Browser. A large event may hold many clips. Media files are the raw materials you use to create your project. A media file is a video, audio, still-image, or graphics file on your hard disk that contains footage transferred from a camcorder or recording device or originally created on your computer. Media files can contain multiple video and audio components. Because media files—especially video files—tend to be quite large, projects that use a lot of footage require one or more high-capacity hard disks. Clips represent your media, but they are not the media files themselves. The clips in a project simply point to (link to) the source media files on your hard disk. When you modify a clip, you are not modifying the media file, just the clip’s information in the project. This is known as nondestructive editing, because all of the changes and effects you apply to clips in Final Cut Pro never affect the media itself. Trimmed or deleted pieces of clips are removed from your project only, not from the source clips in your Event Library or from the source media files on your hard disk. Project 2 Toy1 Event clips Media files on your hard disk Project 1 Project 3 Toy1.mov Toy1 Toy1 Toy1Chapter 2 Final Cut Pro basics 18 Events and projects In Final Cut Pro X, you use events to collect and organize media. Events are like folders that contain unedited media imported from a camera or some other source. You use projects to edit and construct movies and share them with your audience. A project is a record of the work you do in the Timeline and the editing decisions you make. When you add a clip from an event to a particular project, you create a link between the source event clip and the corresponding project clip (and, by extension, between the event and the project). However, neither the event nor the source clip is contained within the project. You can use that event clip in other projects, and your project can use clips from other events. The illustration below shows the relationship between events and projects: Final Cut Pro X keeps track of the links between project clips and their source event clips, but projects and events remain independent. Project Project Event Event Event Event19 Importing overview Importing media into Final Cut Pro is the first step toward making your movie. With Final Cut Pro, you can: • Import from a file-based (tapeless) camera or device • Import from iPhone, iPad, or iPod touch • Import from a tape-based camcorder or device • Import from iMovie • Import from iPhoto and Aperture • Import from iTunes • Import from a hard disk • Import from a camera archive During import, you assign your media to an event. You can also transcode your media and analyze your media for a variety of issues, such as color balance, the presence of people and shot type, and audio problems. When you import clips (video, audio, or still images), Final Cut Pro assigns one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, and Effects. For more information, see View and reassign roles on page 300. If you want to quickly back up your media (instead of taking the time to import it), you can create an archive. Import media 3Chapter 3 Import media 20 If it’s your firstimport The first time you open Final Cut Pro, it contains no media, no projects, and a single event. Buttons appear in the Event Browser to help you quickly import events from iMovie, media from your hard disk or a connected external storage device, or media directly from a connected camera. Import media into an empty event m To import events from iMovie: Click the Import iMovie Events button and follow the instructions for importing iMovie events. m To import files from a connected camera or from a hard disk: Click the Import Media button and follow the instructions for importing files from a connected file-based camera, from a hard disk, from a tape-based camera, or from a camera archive. Importfrom connected cameras Import from file-based cameras File-based camcorders and cameras can record video, audio, and still images. These kinds of devices, which record to flash-based storage media, hard disk drives (HDD), and so on, usually connect to your computer via a USB cable. Some devices have removable memory cards that you can insert into your computer instead. If your file-based device provides a clip-spanning feature, you can import all of the media as one spanned clip. To check whether your camera is compatible with Final Cut Pro, go to the Final Cut Pro X Supported Cameras webpage at http://help.apple.com/finalcutpro/cameras. Import from a file-based camcorder, camera, or device 1 Do one of the following: • Connect your camcorder, camera, or device to your computer, using the cable that came with the device, and turn it on. If you’re using a camcorder, set it to PC Connect mode. (The name of this transfer mode may be different on your device.) Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your computer. For more information, see the documentation that came with your camcorder. Note: Connecting a DVD camcorder to your Mac can cause the DVD Player application to open. If that happens, simply close DVD Player.Chapter 3 Import media 21 • Remove the memory card from your camcorder or device and insert it into the card slot on your Mac (if it has one) or into an external card reader. For more information about memory cards, see About memory cards and cables on page 40. 2 To open the Media Import window, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left end of the toolbar. 3 If necessary, select your camcorder, camera, or device from the Cameras section on the left. The Media Import window displays all the media on your device. In this window you can preview the media by either playing it using the playback controls or skimming it by moving the pointer forward or backward over a filmstrip. Change the way clips appear using these controls. The media on the device appears here. Playback controls Note: Most modern digital cameras can shoot still images and video interchangeably. In many cases, the video clips and still images in those cameras appear side by side in the Media Import window. 4 Do any of the following: • To change which device to import from: Click the device in the Cameras section. • To change the way the clips appear: Click the Clip Appearance button in the bottom-right corner of the Media Import window. • To switch between filmstrip view and list view: Click the List View and Filmstrip View buttons at the bottom of the Media Import window. (Connected file-based cameras and camera archives only.) Note: When you select a clip in list view, a filmstrip for the selected clip appears at the top of the Event Browser. The filmstrip is fully interactive, allowing access to start and end points, markers, and keywords.Chapter 3 Import media 22 • To sort clips in list view by data such as duration, creation date, rating, keyword, and so on: Click the column headings at the top of list view. For more information about list view, see Import from a hard disk on page 34. • To add folders of frequently used media to the Favorites section: Drag them from list view. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar in the shortcut menu. • To automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • To add a folder to the list view by dragging: Drag the folder from the Finder to the list view and browse its contents in list view. 5 Do one of the following: • To import all clips: Click Import All. • To import only some of the clips: Select each clip you want to import by Command-clicking each clip, and click Import Selected (the Import button changes its name). Tip: To select several clips located together, you can drag around the clips to enclose them with the selection rectangle. • To import portions of clips: Drag inside the filmstrip to select the range that you want, and click Import Selected. You can also select multiple ranges in each clip. For more information, see Select a range on page 93. Tip: You can also select a clip, press the Space bar to play the clip, and press either I to set a start point or O to set an end point. 6 In the window that appears, choose how you want to organize the imported media in the Event Library: • To add the imported clips to an existing event: Select “Add to existing event,” and choose the event from the pop-up menu. • To create a new event: Select “Create new Event” and type a name (for example, “Chris and Kim Wedding”) in the text field; then choose the disk where you want to store the event from the “Save to” pop-up menu. To learn more about events, see Events and clips overview on page 51. 7 If you want to organize your media, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant checkboxes. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later (if necessary) in the Event Browser. 8 Click Import. By default, the Media Import window closes when you click Import. You can begin working with your clips in the Event Browser. Final Cut Pro imports your media in the background. If you selected any options in the previous step, Final Cut Pro transcodes and optimizes the files after the import process is complete. You can view the progress of the import and other background tasks in the Background Tasks window. 9 When background tasks are completed, disconnect the camcorder, camera, or device. You can create an archive from your file-based or tape-based camera or device. For more information, see Create and manage camera archives on page 411.Chapter 3 Import media 23 Reimport a clip Two situations warrant reimporting a clip: • If the clip was not completely imported: If you cancel or quit Final Cut Pro before an import is finished, a Camera icon appears on the bottom-left corner of the clip. This icon indicates that Final Cut Pro is using the media on the camera for playback (instead of using the QuickTime file that was created during import). Camera icon To play a clip with a Camera icon, Final Cut Pro locates the media on either a connected camera or in a connected, available camera archive. (See Access media on an archive or disk image on page 36 for more information.) If Final Cut Pro can’t locate the media in one of those locations, the clip will go offline and display the Missing Camera alert icon. • If the clip’s source media file is not available: If a clip’s source media file is moved or deleted, or the volume it is located on is disconnected from the computer, a Missing File icon is displayed on the clip. To restore the clip, you can reimport it. See Alert icons on page 414 for more information about alert icons. When you reimport a clip, Final Cut Pro automatically connects to the necessary camera or camera archive. There is no need to manually mount a camera archive before reimporting. 1 Do one of the following: • Connect the camera that contains the clip to your computer, and turn it on. This will bring the clip online, but the clip will still display the Camera icon in the lower-left corner. • Insert the memory card that contains the clip in your computer or connected card reader. See About memory cards and cables on page 40 for more information. • Make sure the camera archive that contains the clip is located in one of the Final Cut Pro camera archives. See Create and manage camera archives on page 411 for more information. 2 In Final Cut Pro, do one of the following: • To reimport one clip: Select the clip in the Event Browser. • To reimport all clips in an event: Select the event in the Event Library. 3 Choose File > Import > Reimport from Camera/Archive. The clip or clips are reimported.Chapter 3 Import media 24 Import spanned clips Some file-based camcorders or devices that have more than one memory card slot can record one shot over multiple memory cards. The resulting shot is called a spanned clip. A good way to import a spanned clip into Final Cut Pro is to attach your camera or card reader to your local system and create a camera archive for each memory card. You can store the camera archives on your local system or on an external storage device until you are ready to import the spanned clip. (Even if you are importing the spanned clip immediately, it’s useful to make the camera archive so you have a backup of the footage that makes up the spanned clip.) Then, when you’re ready to import, you can mount all of the camera archives and import the spanned clip. Create a camera archive for each memory card 1 Connect your camcorder or camera to your computer and turn it on, or connect your card reader and memory card to your computer. If you’ll be saving the camera archives to an external storage device, connect that as well. 2 In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left end of the toolbar. The Media Import window appears. 3 Select a memory card to archive from the list of cameras on the left. 4 Click the Create Archive button at the bottom-left corner of the window. 5 In the “Create Camera Archive as” field, type a name for the archive. 6 Choose a location to save the archive from the Destination pop-up menu, and click OK. Note: To protect your media, it is recommended that you save your archive to a disk or partition different from the one where you store the media files used with Final Cut Pro. 7 Repeat steps 3 through 6 to create camera archives for each of the memory cards that contain a portion of the spanned clip. The camera archives appear in the Camera Archives list in the Media Import window. See Create and manage camera archives on page 411 for more information about creating camera archives. Import a spanned clip 1 If your camera archives are stored on an external storage device, make sure that it is connected to your local system. 2 Choose File > Import from Camera. The Media Import window appears, showing all camera archives on your local system (and on any connected external storage devices) in the Camera Archives section on the left. Chapter 3 Import media 25 3 Select each camera archive that makes up the spanned clip. Final Cut Pro mounts all of the camera archives. If all portions of the spanned clip are available, all the mounted camera archives show a clip with the same duration. An icon indicating that the spanned clip is complete appears on the spanned clip. These camera archives contain all portions of the spanned clip. This clip represents the complete spanned clip. This icon indicates that all portions of the spanned clip are available. If one or more camera archives are missing, an icon appears on the spanned clip to indicate which part of the spanned clip is available—the beginning, middle, or end. You can select each camera archive to see the different icons. Indicates that all portions of the spanned clip are available. Indicates that the end portion of the spanned clip is available. Indicates that the beginning portion of the spanned clip is available. Indicates that the middle portion of the spanned clip is available. 4 Click Import All to import the spanned clip. Important: If the camera archives that make up the spanned clip are not all available, you can import each camera archive separately. Each portion of the spanned clip will be imported into Final Cut Pro as a separate clip.Chapter 3 Import media 26 5 Choose how you want to organize the imported media in the Event Library: • To add the imported media to an existing event: Select “Add to existing event,” and choose the event from the pop-up menu. • To create a new event: Select “Create new Event” and type a name (for example, “Chris and Kim Wedding”) in the text field; then choose the disk where you want to store the event from the “Save to” pop-up menu. To learn more about events, see Events and clips overview on page 51. 6 If you want to organize your media, transcode your media, analyze the video, or analyze the audio, select the relevant checkboxes. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later (if necessary) in the Event Browser. 7 Click Import. Final Cut Pro imports your media in the background. If you selected any options in the previous step, Final Cut Pro transcodes and optimizes the files after the import process is complete. You can view the progress of the background tasks in the Background Tasks window. 8 To begin working with your clips, close the Media Import window so you can access the Event Browser. Import from iPhone, iPad, or iPod touch Importing media from iPhone, iPad, or iPod touch is the same as importing it from a file-based camcorder, camera, or device. Import from iPhone, iPad, or iPod touch 1 Connect your iPhone, iPad, or iPod touch to your computer using the Dock Connector to USB cable that came with it. (If another application opens, close it.) Then turn on your device and unlock it. 2 In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left end of the toolbar. The Media Import window appears. 3 If necessary, select your iPhone, iPad, or iPod touch from the Cameras section on the left. The Media Import window displays all the media on your device. In this window you can preview the media by either playing it using the playback controls or skimming it by moving the pointer forward or backward over a filmstrip. You can also do any of the following: • To change which device to import from: Click the device in the Cameras section. • To change the way the clips appear: Click the Clip Appearance button in the bottom-right corner of the Media Import window.Chapter 3 Import media 27 • To switch between filmstrip view and list view: Click the List View and Filmstrip View buttons at the bottom of the Media Import window. (Connected file-based cameras and camera archives only.) Note: When you select a clip in list view, a filmstrip for the selected clip appears at the top of the Event Browser. The filmstrip is fully interactive, allowing access to start and end points, markers, and keywords. • To sort clips in list view by data such as duration, creation date, rating, keyword, and so on: Click the column headings at the top of list view. For more information about list view, see Import from a hard disk on page 34. • To add folders of frequently used media to the Favorites section: Drag them from list view. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar in the shortcut menu. • To automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • To add a folder to the list view by dragging: Drag the folder from the Finder to the list view and browse its contents in list view. 4 Do one of the following: • To import all clips: Click Import All. • To import only some of the clips: Select each clip you want to import by Command-clicking each clip, and click Import Selected (the Import button changes its name). Tip: To select several clips located together, you can drag around the clips to enclose them with the selection rectangle. • To import portions of clips: Drag inside the filmstrip to select the range that you want, and click Import Selected. You can also select multiple ranges in each clip. For more information, see Select a range on page 93. Tip: You can also select a clip, press the Space bar to play the clip, and press either I to set a start point or O to set an end point.Chapter 3 Import media 28 5 In the window that appears, choose how you want to organize the imported media in the Event Library: • To add the imported clips to an existing event: Select “Add to existing event,” and choose the event from the pop-up menu. • To create a new event: Select “Create new Event” and type a name (for example, “Chris and Kim Wedding”) in the text field; then choose the disk where you want to store the event from the “Save to” pop-up menu. To learn more about events, see Events and clips overview on page 51. 6 If you want to create optimized or proxy media, analyze the video, or analyze the audio, select the relevant checkboxes. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later (if necessary) in the Event Browser. 7 Click Import. By default, the Media Import window closes when you click Import. You can begin working with your clips in the Event Browser. Final Cut Pro imports your media in the background. If you selected any options in the previous step, Final Cut Pro transcodes and optimizes the files after the import process is complete. You can view the progress of the import and other background tasks in the Background Tasks window. 8 When background tasks are completed, disconnect the iPhone, iPad, or iPod touch. Import from a digital still camera You can import video and still images from digital still cameras. The steps below describe how to import video and still images directly into Final Cut Pro. You can also import your photos into Aperture or iPhoto and access them through the Photos Browser in Final Cut Pro. To check whether your camera is compatible with Final Cut Pro, go to the Final Cut Pro X Supported Cameras webpage at http://help.apple.com/finalcutpro/cameras. Import still-image clips and video clips from a digital still camera 1 Connect your camera to your computer using the cable that came with the camera, and turn it on. If your camera doesn’t appear on the left side of the Media Import window (either in the Cameras or Devices section), remove the camera’s memory card and insert it into the card slot on your Mac (if it has one) or into an external card reader. 2 In the Finder, locate the DCIM folder inside the camera folder, and then locate the still-image or video files. The files may be in the DCIM folder, or in a folder one or two levels down. Devices and file structures vary by model and manufacturer. 3 In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I) and follow the instructions in Import from a hard disk on page 34. • Drag the files from the Finder into an event or Timeline in Final Cut Pro. The files will be imported using the import settings you configured in Import preferences. See Import from a hard disk on page 34. After import, you may have separate audio files that you want to use to replace the video’s audio track. To do this, you can automatically synchronize the video and audio clips.Chapter 3 Import media 29 Import from tape-based cameras You can import media from a tape-based camcorder or tape-based device. To determine which clips you want to import (rather than importing all of them), you can view them using Final Cut Pro before you import them. Final Cut Pro supports tape-based import of the following formats: DV (including DVCAM, DVCPRO, and DVCPRO50), DVCPRO HD, and HDV. To check whether your camera is compatible with Final Cut Pro, go to the Final Cut Pro X Supported Cameras webpage at http://help.apple.com/finalcutpro/cameras. Import media from a tape-based camcorder or device 1 Connect the camcorder to your computer using the cable that came with it, and configure your device for remote control over FireWire, if necessary. Note: For best results when importing from a tape-based camcorder, it is recommended that you import the video using the same camcorder that you used to record it. 2 Turn on the camcorder and set it to VTR or VCR mode. (This mode may have a different name on your camera. For more information, see the documentation that came with your camcorder.) 3 In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left end of the toolbar. The Media Import window appears. 4 If you have multiple devices connected to your computer, choose the device you want to import from in the list of cameras on the left. The Media Import window displays the image from the current position of the tape. 5 Use the playback controls (or use the J, K, and L keys) to set your tape to the point where you want to begin importing, and click Import.Chapter 3 Import media 30 6 In the window that appears, choose how you want to organize the imported media in the Event Library: • To add the imported clips to an existing event: Select “Add to existing event,” and choose the event from the pop-up menu. • To create a new event: Select “Create new Event” and type a name (for example, “Chris and Kim Wedding”) in the text field; then choose the disk where you want to store the event from the “Save to” pop-up menu. To learn more about events, see Events and clips overview on page 51. 7 If you want to transcode your media, analyze the video, or analyze the audio, select the relevant checkboxes. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later (if necessary) in the Event Browser. 8 Click Import. Final Cut Pro begins importing immediately from the current location on the tape. It will continue to import (and save the resulting media file to the event you specified) until one of the following occurs: • It reaches the end of the tape. • The hard disk you are importing to is full. • You stop the import session by clicking Stop Import or Close (to close the Media Import window). The video plays as it’s being imported. It takes as long to import the video as it takes to watch it at normal speed. 9 When the section of video you want to import has been imported, click Stop Import. Then use the import controls to set your video to a point where you want to begin importing again, and repeat steps 5 through 7. If you selected any options in step 6, Final Cut Pro transcodes and optimizes the files after the import process is complete. You can view the progress of the background tasks in the Background Tasks window. 10 When you’re done importing, click Close to close the Media Import window. You can also create an archive from your tape-based device, recording everything on the tape from beginning to end and saving the captured clips as an archive. For more information, see Create and manage camera archives on page 411. If your camera or device isn’t recognized If you’ve connected your camera or device to your computer but the Media Import window doesn’t open, or Final Cut Pro can’t control your device, there are several things you can do to try to establish the connection. Check your equipment and system 1 Make sure that you’re using the correct equipment configuration: • Your camcorder or camera must be compatible with Final Cut Pro. For a list of compatible devices, go to the Final Cut Pro X Supported Cameras webpage at http://help.apple.com/finalcutpro/cameras. • Your device must be connected properly to your computer.Chapter 3 Import media 31 • Your camcorder must be set to the correct output mode. On some camcorders, this is called VTR or VCR mode, but not all camcorders use the same terminology, so check the documentation that came with your device. On some camcorders you must set the output to DV mode or HDV mode, depending on whether the content is standard (DV) or high definition (HDV). • If you’re connecting a tape-based camcorder to your computer, you should be using a FireWire cable (also called IEEE 1394, or i.LINK), not a USB cable. See About memory cards and cables on page 40 for more information. • If you’re importing video clips from a still camera or other flash memory device, make sure the file format of your video is MPEG-2, MPEG-4, or AVCHD, all of which are compatible with Final Cut Pro. • If your still camera is not supported by Final Cut Pro, try importing the media as files, using a card slot on your Mac computer or an external card reader. See Import from a hard disk on page 34 for more information. • If you’ve enabled Fast User Switching, make sure no one else is trying to use the camcorder from a different account at the same time. 2 If you still can’t import media after checking the items above, try the following: • Turn the device off and on again. • Disconnect the cable from both the device and the computer, and then reconnect it. • Quit and then reopen Final Cut Pro. • Restart your computer. • Try using a different cable. • Try using a different computer with Final Cut Pro installed. • If you’re using a file-based camcorder, use the Finder to copy the mounted volume to a local disk. Then open the files in Final Cut Pro in the same way that you open an archive. Note: When you see red frames and a yellow alert triangle in a Timeline or event, Final Cut Pro is alerting you that part of your project or event is missing. For more information, see Alert icons on page 414. Importfrom other applications Import from Motion You can build and modify video effects, titles, transitions, and generators in Motion 5 for use in Final Cut Pro. When you save a template in Motion, it is “published” and becomes available in its respective media browser in Final Cut Pro. See the information about Final Cut Pro X templates in Motion Help at http://help.apple.com/motion. For more information, see the following: • Create specialized versions of transitions in Motion on page 213 • Create specialized versions of the video effects in Motion on page 237 • Create specialized versions of the generators in Motion on page 241Chapter 3 Import media 32 Import from iMovie You can import any of your existing iMovie projects and your iMovie Event Library into Final Cut Pro. Note: If you want to import an iMovie trailer project, you first need to convert it to a standard iMovie project. For more information, choose Help in iMovie ‘11 and search for “Convert a trailer to a project.” Important: iMovie projects and clips from the iMovie Event Library are not automatically analyzed during import because they retain their original analysis results from iMovie. You can override iMovie analysis by analyzing your clips in Final Cut Pro after import. For more information, see Analyze your media on page 47. Import an iMovie project 1 In Final Cut Pro, choose File > Import > iMovie Project and locate your existing iMovie project, typically found in the Movies folder on your hard disk. 2 Click Import. The project opens in the Timeline and any associated events appear in the Event Library. Import your iMovie Event Library 1 In Final Cut Pro, choose File > Import > iMovie Event Library. 2 Read the message that appears and click OK. The events in your iMovie Event Library appear in the Final Cut Pro Event Library. Import from iPhoto and Aperture When you import photos and video clips from iPhoto or Aperture into Final Cut Pro, the media is imported using the import settings you defined in Import preferences. For more information, see Import from a hard disk on page 34. Import photos and video clips from iPhoto or Aperture 1 In Final Cut Pro, do one of the following: • Choose Window > Media Browser > Photos. • Click the Photos button in the toolbar.Chapter 3 Import media 33 2 If necessary, navigate to the iPhoto or Aperture section of the Photos Browser. 3 To use one or more photos or video clips in your project, drag the items from the Photos Browser to an event icon in the Event Library or a project in the Timeline. To select multiple clips, you can Command-click them or drag a selection rectangle around them. You can also drag photos and video clips from iPhoto or Aperture directly to an event in the Event Library or a project in the Timeline, without using the Photos Browser. Import from iTunes You can import music and sound from your existing iTunes library into Final Cut Pro. Import music and sound from iTunes 1 In Final Cut Pro, do one of the following: • Choose Window > Media Browser > Music and Sound. • Click the Music and Sound button in the toolbar. 2 In the Music and Sound Browser, choose iTunes from the pop-up menu at the top. Tip: If the folder you’re looking for doesn’t appear, you can add it to the source list by dragging it from the Finder or desktop to the Music and Sound Browser. 3 In the list that appears, find the music or sound you want: • To search for an item: Type text in the search field. To filter your search, click the Filter button and choose a filter. • To preview an item: Double-click the item, or select the item and click the Play button . • To select more than one item: Command-click each item. 4 Drag the sound file or files to the Timeline. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to WAV audio files and retains the original MP3 files for future use. For information about where to find original and transcoded media files, see Where your media and project files are located on page 390.Chapter 3 Import media 34 Importfrom devices Import from a hard disk You can import media—video, audio, still images, and graphics files—from your computer’s hard disk, a connected external storage device, a memory card inserted in your computer’s card slot or a card reader, or a network attached volume. You can import media using the Media Import window or by dragging files from the Finder. When you drag media from the Finder into Final Cut Pro, the media is imported using the organize, transcode, and analysis settings you set in Final Cut Pro preferences. If you don’t want to use the Media Import window to manage your import, and if you want to always use the same organize, transcode, and analysis settings, importing by dragging files into Final Cut Pro is a good option. See Import preferences on page 420 for information on the Import preferences. Note: Some file-based devices allow you to copy the recorded media (with its original directory structure) to a folder on your computer’s hard disk via the Finder. To import media copied in this way, see Access media on an archive or disk image on page 36. Import media from a hard disk using the Media Import window 1 If the media you want to import is on an external storage device or memory card, connect the device to your computer and turn it on. 2 To open the Media Import window, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left end of the toolbar. 3 In the Devices section on the left side of the Media Import window, select your computer’s hard disk or the connected external storage device or memory card from which you want to import media. 4 Use the list view at the bottom of the window to navigate to a file or folder and select it. (When you import from a hard disk, filmstrips are visible for individual selected clips only.)Chapter 3 Import media 35 Tip: Command-click to select multiple files or folders to import. Add favorite import folders. Navigate to the files and folders. Play back the selected clip. Skim the selected clip. Click a column heading to sort items by that category. 5 Do any of the following: • To preview the selected clip: Play it using the playback controls or skim it by moving the pointer forward or backward over the filmstrip. • To change which hard disk to import from: Select the hard disk in the Devices section or select the location in the Favorites section. • To sort clips in list view by data such as duration, creation date, rating, keyword, and so on: Click the column headings at the top of list view. • To add folders of frequently used media to the Favorites section: Drag a folder from the list on the right to the Favorites section on the left. To remove a folder from the Favorites section, Control-click the folder and choose Remove from Sidebar in the shortcut menu. • To automatically close the Media Import window when the import begins: Select the “Close window after starting import” checkbox. • To add a folder to the list view by dragging: Drag the folder from the Finder to the list view and browse its contents in list view. 6 When you're ready to import, click Import Selected. 7 In the window that appears, choose how you want to organize the imported media in the Event Library: • To add the imported clips to an existing event: Select “Add to existing event,” and choose the event from the pop-up menu. • To create a new event: Select “Create new Event” and type a name (for example, “Chris and Kim Wedding”) in the text field; then choose the disk where you want to store the event from the “Save to” pop-up menu. To learn more about events, see Events and clips overview on page 51. 8 To have Final Cut Pro copy your media files and add them to the event folder that you specified, select the checkbox.Chapter 3 Import media 36 9 If you want to organize your media, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant checkboxes. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later (if necessary) in the Event Browser. 10 Click Import. By default, the Media Import window closes when you click Import. You can begin working with your clips in the Event Browser. Final Cut Pro imports your media in the background. If you selected any options in the previous step, Final Cut Pro starts to transcode and optimize the files after the import process is complete. You can view the progress of the import and other background tasks in the Background Tasks window. If you imported media from an external device and you chose to have Final Cut Pro copy the media files to the Final Cut Events folder (rather than just refer to them in their original location), you can disconnect the device when the background tasks are completed. Note: For information about restoring events and projects from backups, see Back up projects, your Project Library, and events on page 403. Import media by dragging from the Finder Do one of the following: m Select a file, Command-click to select multiple files, or select a folder of files, and drag the file or files from the Finder to the event. The clip or clips appear in the event. m Select a file, Command-click to select multiple files, or select a folder of files and drag the file or files from the Finder to a Keyword Collection. The clip or clips appear in the event, and the keyword is automatically added to the clip or clips. Important: If you have the “Import folders as Keyword collections” Import preference selected, a Keyword Collection is created for each folder name, and the files inside the folder are assigned that keyword. m Select a file or Command-click to select multiple files and drag the file or files to a project in the Timeline. The clip or clips appear in the Timeline, and in the project’s default events folder. The file or files are imported using your default import settings. Access media on an archive or disk image If you’ve created a camera archive, you can use the media in the archive in two ways: • You can connect to the camera archive, making the media available to Final Cut Pro. Although all available camera archives are always listed in the Media Import window, you can’t use any of the media in an archive until you connect to the camera archive. • You can import the media from the archive, or import media from disk images previously archived with the Final Cut Pro Log and Transfer window in Final Cut Pro 7 or earlier. When you do this, copies of the media are created on your local disk. Note: Some file-based devices allow you to copy the recorded media (with its original directory structure) to a folder on your computer’s hard disk via the Finder. To import media copied in this way, follow the instructions below.Chapter 3 Import media 37 Import media from an archive or disk image 1 To open the Media Import window, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left end of the toolbar. 2 Do one of the following: • To mount a camera archive: In the Camera Archives section on the left side of the Media Import window, select a camera archive to connect to it. Note: To disconnect the camera archive, click the Eject button. Camera archive • To mount a disk image: In the Devices section on the left side of the Media Import window, select your computer’s hard disk or the connected external storage device or memory card from which you want to import media. Then use the list at the bottom of the window to navigate to the disk image and select it. The archive (or disk image) is connected to Final Cut Pro and its media is displayed in the Media Import window. 3 To import the media, see Import from file-based cameras on page 20. Organize files while importing You can choose how to organize your media when you import it into Final Cut Pro. • Copy files to Final Cut Events folder: This option duplicates the media files and places the copy in the Final Cut Events folder on your computer. If you’re importing media from a different disk or volume, or if you want to keep a copy of all the media files that have been imported into Final Cut Pro in the same location (in the Final Cut Events folder), select this checkbox. If you import files with this checkbox deselected, Final Cut Pro creates reference files (file aliases) that simply point to the source media files without copying them. When you back up events and projects that use these files, Final Cut Pro copies the reference files only (not the source media files). If, after you back up your project or event, you want to replace the reference files with the actual source media files, select the events and choose File > Organize Event Files.Chapter 3 Import media 38 • Import folders as Keyword Collections: If you have folders of files that have meaningful folder names, selecting this option creates a keyword for each folder name and applies the keyword to all the files in the folder during import. Additionally, a Keyword Collection is created for each keyword. After import, these clips will have “B-roll” and “Callaway” keywords. After import, these clips will have “Interviews” and “Callaway” keywords. Organize your files during import 1 To import a file, choose File > Import > Files and navigate to the file you want to import. 2 In the window that appears, choose how you want to organize the imported media in the Event Library: • To add the imported media to an existing event: Select “Add to existing event,” and choose the event from the pop-up menu. • To create a new event: Select “Create new Event” and type a name (for example, “Chris and Kim Wedding”) in the text field; then choose the disk where you want to store the event from the “Save to” pop-up menu. To learn more about events, see Events and clips overview on page 51. 3 Select one or both of the organize options (explained above). 4 If you want to transcode your media, analyze the video, or analyze the audio, select the relevant checkboxes. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later (if necessary) in the Event Browser. 5 Click Import. Final Cut Pro imports your media in the background. If you selected any options in the previous step, Final Cut Pro transcodes and optimizes the files after the import process is complete. You can view the progress of the background tasks in the Background Tasks window. 6 To begin working with your clips, close the Media Import window so that you can access the Event Browser. Copy all external media files used by an event to its event folder 1 Select the event in the Event Library. 2 Choose File > Organize Event Files. 3 In the window that appears, click Continue. Final Cut Pro duplicates the media files and places the copy in the Final Cut Events folder on your computer.Chapter 3 Import media 39 Import while recording You can record video directly into Final Cut Pro using your computer’s built-in camera or an external iSight camera. Record live video and audio into Final Cut Pro 1 Do one of the following: • To record using the built-in camera: Click the Import Media button in the toolbar. • To record using an external iSight camera: Connect the iSight camera to your computer with a FireWire cable, and click the Import Media button in the toolbar. 2 In the Cameras list on the left side of the Media Import window, select the camera you want to import from. A live video image from the camera appears in the Media Import window. 3 Click Import. The Event Settings window appears. 4 Choose how you want to organize the imported media in the Event Library: • To add the imported media to an existing event: Select “Add to existing event,” and choose the event from the pop-up menu. • To create a new event: Select “Create new Event” and type a name (for example, “Chris and Kim Wedding”) in the text field; then choose the disk where you want to store the event from the “Save to” pop-up menu. To learn more about events, see Events and clips overview on page 51. 5 If you want to organize your media, create optimized or proxy media, analyze the video, or analyze the audio, select the relevant checkboxes. If you don’t set Final Cut Pro to analyze your media during the import process, you can analyze it later (if necessary) in the Event Browser.Chapter 3 Import media 40 6 When you’re ready to begin recording, click Import. The camera begins recording immediately. 7 When you want to stop recording, click Stop Import. A new video clip is created. You can click Import to begin recording again. You can repeat this process as many times as necessary. Tip: It’s also possible to capture live video from some video camcorders over a FireWire cable using QuickTime X. For more information, see QuickTime Player Help. About memory cards and cables To import media from your recording device to your computer, you need to remove the memory card from your device and insert it into either your computer or a memory card reader. You can also connect your device directly to your computer using the appropriate cable. Then you can import the media on the memory card or device using the Media Import window. For more information, see Import from a hard disk on page 34 and Import from file-based cameras on page 20. • Memory cards: Many file-based camcorders and devices record media on a removable memory card. You can connect a card reader to your computer and use that to transfer the contents of your memory card onto your computer. Some Mac computers feature an SD (Secure Digital) or SDXC (SD extended capacity) card slot that allows these computers to read and write data to SD media inserted in the slot. If your Mac has a card slot, you can remove the card from the camera, insert the card into your Mac, and then import the files. For more information, go to http://support.apple.com/kb/ht3553. You can also connect your device to the computer using a FireWire or USB cable. The kind of cable you need depends on the kind of device you’re using: • USB device: You use a USB cable for file-based camcorders, digital still cameras that record video, and iPhone, iPad, and iPod touch. The USB cable should have at least one connector that plugs into your Mac (at the top in the illustration below). The other end of the USB cable, which plugs into your recording device, might look different (on the bottom in the illustration below).Chapter 3 Import media 41 • FireWire device: For most camcorders that record to tape, you use a FireWire cable with a 6-pin connector on one end that plugs into your Mac (at the top in the illustration below) and a 4-pin connector on the other end that plugs into your camcorder (on the bottom in the illustration below). Or you might have a FireWire 800 cable, with a different end that plugs into your camcorder or computer. • Thunderbolt device: Devices that use Thunderbolt I/O technology use a connector that plugs into the mini display port on your Mac and looks like the connector below. If your device didn’t come with a cable and you’re not sure what kind of device you have, you can check the logo near the cable ports on your device to see if it matches the USB or FireWire logo, both shown above. Otherwise, check the documentation that came with your device. Note: Not all Mac computers include a FireWire port. Check your system configuration to confirm that your Mac includes FireWire support before attempting to connect a standard (DV) or HDV camcorder. To check whether your camera is compatible with Final Cut Pro, go to the Final Cut Pro X Supported Cameras webpage at http://help.apple.com/finalcutpro/cameras. Supported media formats You can import and work with the following video, audio, and still-image formats in Final Cut Pro: Video formats • Apple Animation codec • Apple Intermediate codec • Apple ProRes (all versions) • AVC-Intra • AVCHD (including AVCCAM, AVCHD Lite, and NXCAM) • DV (including DVCAM, DVCPRO, and DVCPRO50) • DVCPRO HD • H.264 • HDV • iFrame • Motion JPEG (OpenDML only)Chapter 3 Import media 42 • MPEG IMX (D-10) • REDCODE RAW (R3D) • Uncompressed 10-bit 4:2:2 • Uncompressed 8-bit 4:2:2 • XAVC • XDCAM HD/EX/HD422 • QuickTime formats Audio formats • AAC • AIFF • BWF • CAF • MP3 • MP4 • WAV Still-image formats • BMP • GIF • JPEG • PNG • PSD (static and layered) • RAW • TGA • TIFF Container formats • 3GP • AVI • MP4 • MXF • QuickTimeChapter 3 Import media 43 Import and adjust REDCODE RAW video files You can import and work with REDCODE RAW (R3D) files in Final Cut Pro. RAW format video files require some additional steps before and after import. After the R3D RAW files are imported, you can make nondestructive color correction adjustments directly within Final Cut Pro. Import REDCODE RAW (R3D) files 1 Install the appropriate plug-in. In order for Final Cut Pro to recognize the R3D RAW files, you must download and install the corresponding plug-in. For more information, go to http://www.red.com. 2 Import the media. Important: When you import the media, make sure to deselect the “Create optimized media” and “Create proxy media” options, because any transcoding work done during import will be discarded if you adjust the RAW settings in the next step. For more information about importing media, see Import from file-based cameras on page 20 and Import from a hard disk on page 34. For more information about transcoding media, see Transcode media files on page 397. Note: If you are importing files from the RED ONE camera, it is recommended that you import the R3D RAW files only. The RED ONE camera typically generates a set of up to four QuickTime reference movie (.mov) files for each R3D RAW file. If you select both the R3D file and the reference movies during the import process, Final Cut Pro imports the R3D file only. If you need to import a reference movie, select only the reference movie, not the R3D file. 3 Adjust the RAW settings (with Final Cut Pro or with an external application such as REDCINE–X PRO). You can apply a nondestructive “one-light” color correction to the R3D RAW clips immediately after import, to give your footage a more finished look for editing and review. If you have a professional production with sophisticated color correction needs, you can revisit these RAW settings during the finishing stage. For more information, see “Adjust RED RAW settings,” below. 4 If you like, generate optimized or proxy media from the R3D RAW files. For more information, see “Transcode clips after import” in Transcode media files on page 397. Note: If you do generate optimized or proxy media, be sure to set Final Cut Pro preferences accordingly. For more information, see Playback preferences on page 419. 5 Add the R3D RAW clips to your project and edit as you would any other clips.Chapter 3 Import media 44 Adjust RED RAW settings You can adjust REDCODE RAW (R3D) files using the RED RAW Settings window. Metadata about REDCODE RAW (R3D) files can be stored in two locations: • Internal (embedded) settings: This is metadata information recorded by the camera and embedded in the R3D RAW file. It always remains with the file. These camera settings can be superseded by settings in the external RMD file, but they are never overwritten. You can revert to these camera settings by deleting any existing RMD file or by choosing Original Camera Settings from the Revert To pop-up menu in the RED RAW Settings window. • External RMD file: This is an external metadata file with the file extension .RMD. This file is created by Final Cut Pro, REDCINE-X PRO, or similar software applications. If you adjust RED RAW settings in Final Cut Pro and an RMD file already exists, the existing file is overwritten when the changes are saved. The embedded camera settings remain intact. 1 Install the appropriate plug-in. In order for Final Cut Pro to recognize the R3D RAW files, you must download and install the corresponding plug-in. For more information, go to http://www.red.com. 2 In the Event Browser or the Timeline, select the clip or clips you want to adjust. Note: Compound clips cannot be adjusted. 3 Do one of the following: • Choose Window > Show Inspector (or press Command-4). • Click the Inspector button in the toolbar. 4 Click the Info button at the top of the pane that appears. 5 In the Info inspector, click the Modify RED RAW Settings button. If the Modify RED RAW Settings button does not appear, choose Show File Status from the Action pop-up menu at the bottom of the Info inspector. 6 In the RED RAW Settings window, adjust the settings. Your changes are saved nondestructively to an external metadata file with the file extension .RMD, overwriting any existing RMD metadata file. Unlike video effects that are applied to a clip, these adjustments are associated with the file (via the RMD metadata file). Any changes you make to these settings are applied to all copies of the selected clip or clips. Note: Final Cut Pro supports the RED ROCKET card, a PCI card that provides a significant boost in performance. For more information about REDCODE RAW (R3D) files and the RED ROCKET card, go to http://www.red.com.45 Analyzing media overview You can have Final Cut Pro analyze your media and automatically correct common problems it may find in your video, still images, and audio. For example, you can stabilize shaky video, balance color, and remove excess hum or loudness. You can also analyze clips to identify their contents. Analysis can detect the number of people in a shot and identify if the shot is a close-up, medium, or wide shot. This is helpful if you need to quickly find a certain type of clip while viewing footage or editing a project. For complete lists of the video and audio analysis options, see Video and still-image analysis options on page 45 and Audio analysis options on page 46. You can analyze media during the import process or after you import the media into Final Cut Pro. You can also set Final Cut Pro to automatically analyze clips you drag directly to the Final Cut Pro Timeline from the Finder. After certain types of analysis, keywords are automatically added to clips or clip ranges to describe the results of the analysis. For example, a clip range with shaky video is assigned the Excessive Shake keyword. In the Event Browser, clips with analysis keywords have a purple line at the top. (Clips with keywords you add manually have a blue line at the top. For more information, see Add keywords to clips on page 64.) Video and still-image analysis options Final Cut Pro provides automatic video and still-image analysis options that can find and correct shaky video, automatically balance color in video, and detect people and shot angles in video or still images. You can analyze video during import, or analyze video clips in the Event Browser after import. Analysis keywords are added to clips or clip ranges based on the results of the analysis. Final Cut Pro provides these video and still-image analysis options: • Analyze for stabilization and rolling shutter: Analyzes video clips and adds the Excessive Shake analysis keyword to clips or clip ranges with excessive shake, rolling shutter, or both. If a clip has an Excessive Shake keyword, you can fix the shaking after you add the clip to the Timeline by turning on Stabilization and Rolling Shutter corrections. See Correct excessive shake and rolling shutter issues on page 154. If a clip doesn’t have stabilization-related issues, the Steady Shot analysis keyword is added. Note: If you’re analyzing for stabilization problems, it’s recommended that you also select the “Create Smart Collections after analysis” checkbox so that you can easily locate clips with the Excessive Shake keyword. Important: Analysis for stabilization and rolling shutter is available only after import. For more information, see Analyze your media on page 47. Analyze media 4Chapter 4 Analyze media 46 • Analyze for balance color: Analyzes video clips to detect color balance and contrast. Color is automatically balanced when you add the clip to the Timeline. You can turn automatic color adjustments on and off at any time. • Remove pulldown: Analyzes video clips and removes pulldown patterns. Important: This option is available only when importing from a tape-based camera or device. • Find people: Analyzes video clips and still images for the number of people present and shot types. After analysis, any of the following keywords are added to the clips or clip ranges: One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. Note: If you’re analyzing to find people, it’s recommended that you also select the “Create Smart Collections after analysis” checkbox so that you can easily locate clips with “find people” analysis keywords. • Consolidate find people results: Consolidates all of the “find people” analysis keywords into one shot type keyword and one people keyword for every 2-minute segment of video. The shot type keyword chosen is the one for the widest shot type, and the people keyword chosen is the one representing the most people. For example, if a video segment contains Medium Shot, Wide Shot, One Person, and Group keywords, the segment's analysis keywords are reduced to Wide Shot and Group during consolidation. • Create Smart Collections after analysis: Creates a Smart Collection for each keyword applied when analyzing video clips for image stabilization problems or analyzing video clips and still images for the presence of people. The Smart Collections are listed alphabetically in a People folder inside the event in the Event Library. When you drag a media file from the Finder to a Final Cut Pro event or the Timeline, the import begins automatically, without displaying a window of import options. You can set automatic import options in the Final Cut Pro Import preferences pane. Audio analysis options Final Cut Pro provides automatic analysis options that can fix common audio problems, analyze and group audio channels, and remove silent channels. You can analyze audio during import, or analyze video clips with audio issues in the Event Browser or in the Timeline. Final Cut Pro provides these audio analysis options: • Analyze and fix audio problems: Analyzes the audio for hum, noise, and loudness. Final Cut Pro automatically fixes problems that are considered severe (marked in red) and flags problems that are considered moderate (marked in yellow). For more information, see Enhance audio on page 199. • Separate mono and group stereo audio: Audio channels are analyzed and grouped as dual mono or stereo, depending on the results of the analysis. Automatically corrected audio channels are marked as Autoselected. For more information about audio channels, see Configure audio channels on page 169. • Remove silent channels: Audio channels are analyzed, and silent channels are automatically removed. Clips that have had channels removed are marked as Autoselected. For more information about audio channels, see Configure audio channels on page 169. When you drag a media file from the Finder to a Final Cut Pro event or the Timeline, the import begins automatically, without displaying a window of import options. You can set automatic import options in the Final Cut Pro Import preferences pane.Chapter 4 Analyze media 47 Analyze your media You can analyze clips during the import process, analyze clips in the Event Browser after import, or set Final Cut Pro to analyze clips automatically when they are dragged to a Final Cut Pro event or the Timeline. Note: Analysis for stabilization and rolling shutter is available only after import. Analyze clips during import 1 Do one of the following: • To import a file from a compatible camcorder or camera, iPad, iPhone, iPod, or other device: Connect the device to your computer, turn on the device, and choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, and click the Import button. • To import a file from a tape-based camcorder: Connect the camcorder to your computer, turn on the camcorder, and set it to VTR or VCR mode. Then choose File > Import > Media (or press Command-I) and click the Import button. • To import a file from a memory card: Insert the memory card into the card slot on your Mac or into a card reader that’s connected to your computer, and choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, and click the Import button. • To import a file located on your hard disk or a connected external storage device: Choose File > Import > Media (or press Command-I). In the window that appears, select the file you want to import, and click the Import button. • To import from an archive: Choose File > Import > Media (or press Command-I). In the window that appears, select a camera archive from the list on the left, click Open Archive, select the files you want to import, and click the Import button. 2 In the window that appears, choose how you want to organize the imported media in the Event Library: • To add the imported media to an existing event: Select “Add to existing Event,” and choose the event from the pop-up menu. • To create a new event: Select “Create new Event” and type a name (for example, “Chris and Kim Wedding”) in the text field. Use the “Save to” pop-up menu to choose the disk where you want to store the event. To learn more about events, see Events and clips overview on page 51. 3 Select any of the video and audio analysis options that you want to apply. For descriptions of the video and audio analysis options, see Video and still-image analysis options on page 45 and Audio analysis options on page 46. Final Cut Pro will analyze the files in the background, after the import process is complete. 4 Click Import. The import may take a while, depending on the options you selected in step 3. You can see the status of all the background processes currently running in the Background Tasks window.Chapter 4 Analyze media 48 Analyze clips after import 1 In the Event Browser, Control-click one or more clips and choose “Analyze and Fix” from the shortcut menu. Tip: To quickly find a clip used in the Timeline, Control-click the clip and choose “Reveal in Event Browser” from the shortcut menu. 2 In the window that appears, select any or all of the video analysis and audio analysis options that you want to apply, and click OK. The transcoding process may take a while, depending on the analysis options you selected. You can see the status of all the background processes currently running in the Background Tasks window. Automatically analyze media files when they are dragged to an event or the Timeline 1 Choose Final Cut Pro > Preferences. 2 In the Preferences window, click Import and select each of the video and audio analysis options that you want to apply. When you’re finished, close the Preferences window. 3 To import one or more files, select a file (or Command-click multiple files) in the Finder and drag the selection to an event or the Timeline. View analysis keywords on clips If you analyzed media to find shaky footage or people, analysis keywords such as Excessive Shake, One Person, Close Up Shot, and so on are automatically added to clips or clip ranges. Clips or ranges with analysis keywords are marked with a purple line in the Event Browser. A clip with a purple line has one or more analysis keywords. You can view a clip’s analysis keywords in several locations in Final Cut Pro.Chapter 4 Analyze media 49 View keywords in the Skimmer Info window 1 Choose View > Show Skimmer Info (or press Control-Y). 2 Skim the clip in the Event Browser. Keywords, including analysis keywords, are displayed in the Skimmer Info window when you hold the pointer over the clip. To turn off Skimmer Info, choose View > Hide Skimmer Info (or press Control-Y). View keywords in list view in the Event Browser 1 Click the List View button. 2 To see a clip’s keywords, click the disclosure triangle next to the clip. The analysis keywords are listed next to the purple gear.Chapter 4 Analyze media 50 View the contents of a Smart Collection If you chose to create Smart Collections after analysis, clips that have analysis keywords are automatically grouped in Smart Collections within the event in the Event Library. A Smart Collection is created for each analysis keyword and placed in either a People folder or a Stabilization folder, depending on the type of analysis. m In the Event Library, select an analysis keyword Smart Collection inside a People folder or Stabilization folder in an event. The clips with that analysis keyword appear in the Event Browser. For example, if you select the Medium Shot Smart Collection, all the clips in the event that have the Medium Shot keyword appear in the Event Browser. Medium Shot Smart Collection These clips contain the Medium Shot analysis keyword.51 Events and clips overview When you import video, audio, and still images, or record directly into Final Cut Pro, the source media files (your raw footage) appear as clips in one or more events in the Event Library. An event is similar to a folder that can hold dozens, hundreds, or even thousands of video clips, audio clips, and still images. Each event in the Event Library refers to a folder on your hard disk that contains the original source media files, any render files related to your media, and a database file that keeps track of where everything is. When you select an event in the Event Library, the media it contains appears as clips in the Event Browser. You select clips or portions of clips in the Event Browser to work with them. You can sort clips in the Event Browser by creation date, as well as by date imported, reel, scene, clip duration, and file type. Select an event in the Event Library. The Event Browser displays the clips in the selected event. When you import video into a new event, you name the event. By giving your events meaningful names, such as “Smith Wedding 2011,” you can organize all of your media so that it’s readily accessible. By default, Final Cut Pro lists the events in the Event Library by the date they were recorded. You can organize the Event Library in other ways, and you can also hide the Event Library to give yourself more room to work. The Event Library is also the home for Final Cut Pro Keyword Collections and Smart Collections which provide a powerful way to organize your video editing projects using keywords and persistent search filters. Organize your media 5Chapter 5 Organize your media 52 Organize events Create a new event After importing your source media files into Final Cut Pro, you may find that you need to create additional events to organize your media. For example, after importing media shot for a specific client, you may decide to split the media into events defined by the location the media was shot in; or split the media by the time of day it was shot, such as morning, afternoon, and evening. Create a new event in the Event Library 1 If you don’t see the Event Library, click the Event Library button at the bottom-left corner of the Event Browser. 2 Choose File > New Event (or press Option-N). A new event appears in the Event Library. 3 Type a name for the event and press Return. 4 Move clips from other events into the new event, as necessary. Rename an event Change an event’s name As your project evolves, you may find that you want to rename an event so that it more accurately reflects the clips it contains. 1 In the Event Library, select the event whose name you want to change. 2 Do one of the following: • Click the event’s name and type a new name. • Press Return and type a new name. Important: Renaming an event also renames the event’s folder on the hard disk where your source media is located.Chapter 5 Organize your media 53 Merge or split events You can merge (combine) two or more events in the Event Library (for example, if the media they contain is very closely related). You can also split a single event into multiple events if you find an event is getting unmanageable. Merge multiple events 1 In the Event Library, do one of the following: • Drag one or more events that you want to combine to a new event. • Select the events you want to combine, and choose File > Merge Events. 2 In the Merge Events window that appears, type a new name for the event. 3 Choose the disk where you want to store the event’s source media files from the Location pop-up menu, and click OK. Final Cut Pro merges the selected events into a single event in the Event Library. The source media files for all the clips are moved into the merged event folder on the hard disk and stored in the location you chose from the pop-up menu. Split an event into multiple events 1 Create the new events you need. 2 Move the clips you want to separate out from the original event to the new events. The source media files for all the clips are moved into the event folders on disk corresponding to the newly created events in the Event Library. Important: If you disconnect the disk where your merged or split events are stored, you will not be able to access the events or their source media files from within Final Cut Pro until you reconnect the disk. Copy or move clips between events You can copy and move clips from one event to another. When you copy a clip from one event to another, the corresponding file is duplicated on disk. When you move a clip from one event to another, the corresponding file is moved from one event folder to the other on disk. Note: When you import media into Final Cut Pro, you have the option to select the “Copy files to Final Cut Events folder” checkbox, which duplicates the source media files on your hard disk. If you import files with this checkbox deselected, Final Cut Pro creates reference files (aliases) that simply point to the source media files without copying them. When you copy or move clips between events, Final Cut Pro copies or moves the reference files only (not the source media files). If, after you have copied or moved the clips, you want to replace the corresponding reference files with the actual source media files, select the events and choose File > Organize Event Files. For more information about files and clips, see Media files and clips on page 17.Chapter 5 Organize your media 54 Copy clips from one event to another 1 In the Event Library, select the event that contains the clips you want to copy. 2 In the Event Browser, select the clip or clips you want to copy. 3 Do one of the following: • If both events are on the same hard disk: Option-drag the clips from one event to the other by first starting to drag and then holding down the Option key as you drag. • If the events are on separate hard disks: Drag the clips from one event to the other. Move clips from one event to another 1 In the Event Library, select the event that contains the clips you want to move. 2 In the Event Browser, select the clip or clips you want to move. 3 Do one of the following: • If both events are on the same hard disk: Drag the clips from one event to the other. • If the events are on separate hard disks: Command-drag the clips from one event to the other. The event to which you copy or move the clips may be re-sorted in the Event Library. It will be listed below the year in which its most recent clip was recorded. If you copy or move a large clip from an event stored on one hard disk to an event stored on another, the move may take a few minutes as the source media files are copied or moved from disk to disk. Copy or move events You can easily copy or move an event from your computer to a hard disk or from one hard disk to another. This is useful if you want to work with your event on another computer that has Final Cut Pro installed or free up space on your computer’s hard disk. Copy an event 1 Make sure another hard disk is connected to your computer. 2 Choose Group Events by Disk from the Action pop-up menu below the Event Library. The connected disk drive’s icon and name appear in the Event Library. 3 Select an event in the Event Library. 4 Do one of the following: • Choose File > Duplicate Event (or press Command-D). • Drag the event to the external drive’s icon. 5 In the Duplicate Event window, type a name for the new event. 6 To store your files in a second location, choose it from the Location pop-up menu. 7 Click OK. Final Cut Pro makes a copy of the event at the location you chose. It also makes copies of the source media files and places them in a new event folder. Keep in mind that copying an event with large source media files can take several minutes.Chapter 5 Organize your media 55 Move an event 1 Make sure another hard disk is connected to your computer. 2 Choose Group Events by Disk from the Action pop-up menu below the Event Library. The connected disk drive’s icon and name appear in the Event Library. 3 Select an event in the Event Library. 4 Do one of the following: • Choose File > Move Event. • Command-drag the event to the drive’s icon. 5 To store your files in a second location, choose it from the Location pop-up menu. 6 Click OK. Final Cut Pro moves the event to the location you chose. It also moves the event folder that contains the source media files. Keep in mind that moving an event with large source media files can take several minutes. Important: If you disconnect the disk containing the event you moved, you will no longer have access to the event or its source media files from within Final Cut Pro until you reconnect the disk. Sort events In the Event Library, you can view your events in a number of ways, including by the disk they’re stored on and the date when they were recorded. Sort events by storage location or date m To view events by the hard disk where they’re stored: Choose Group Events by Disk from the Action pop-up menu below the Event Library.Chapter 5 Organize your media 56 m To view events by the date they were recorded: Choose Group Events by Date from the Action pop-up menu, and choose an option from the submenu. Show event date ranges Final Cut Pro can display the date ranges for the source media files within each event. m Choose Show Date Ranges in Event Library from the Action pop-up menu . Sort events by most recent m Choose Arrange Events by Most Recent from the Action pop-up menu . Delete clips or events You can delete unwanted clips from an event, and you can delete an entire event in order to free up space on your hard disk. When you delete a clip from an event or an entire event, Final Cut Pro moves the source media to the Trash. Note: The Event Library must contain at least one event. Delete clips from an event or an entire event 1 In the Event Library, select the event you want to delete or delete clips from. 2 Do either of the following: • To delete clips from the event: Select the clips you want to remove, and choose File > Move to Trash (or press Command-Delete). • To delete the entire event: Choose File > Move Event to Trash (or press Command-Delete).Chapter 5 Organize your media 57 The selected clips’ source media files, or the event and all its associated source media files, are moved to the Finder Trash. To permanently delete the source media files from your hard disk, empty the Trash. WARNING: After the Trash is emptied, the deleted clips or event and all their source media files cannot be restored. Organize clips View and sort clips You can display your clips in the Event Browser in two views: • Filmstrip view: Displays the clips in the selected event as a connected series of thumbnail images. Filmstrip view is useful when you want to visually locate your clips. • List view: Displays a list of your clips with associated file information. Use this view when you want to view or sort clips by data such as duration, creation date, rating, keyword, and so on. When you select a clip in list view, a filmstrip for the selected clip appears at the top of the Event Browser. The filmstrip is fully interactive, allowing access to start and end points, markers, and keywords.Chapter 5 Organize your media 58 Switch between filmstrip and list views Do one of the following: m Click the Filmstrip View button in the bottom-left corner of the Event Browser. m Click the List View button in the bottom-left corner of the Event Browser. Customize filmstrip view m To adjust the time represented by each thumbnail in a clip’s filmstrip: At the bottom-right corner of the Event Browser, drag the Duration slider. Slider set to 5 seconds Slider set to 30 seconds Adjusting the Duration slider expands and contracts the amount of detail shown in each clip’s filmstrip. The longer each thumbnail’s duration, the fewer thumbnails each clip displays, and the more clips are displayed in the Event Browser.Chapter 5 Organize your media 59 m To adjust the filmstrip height: At the bottom-right corner of the Event Browser, click the Clip Appearance button and drag the Clip Height slider. m To turn audio waveforms on and off: At the bottom-right corner of the Event Browser, click the Clip Appearance button and deselect the Show Waveforms checkbox in the window that appears. When audio waveforms are on, they appear at the bottom of each clip’s filmstrip, increasing the height of all clips in the Event Browser.Chapter 5 Organize your media 60 Customize list view m To choose what type of information is displayed in list view columns as well as customize the columns themselves: In the Event Browser, Control-click a column heading, and choose a category option from the shortcut menu. m To rearrange columns in list view: In the Event Browser, drag a column heading to move the column to a new position. m To sort clips in list view by a category: Click a column heading in the Event Browser to sort clips by that category. m To view a clip’s rating and keywords in list view: Click the disclosure triangle to the left of the clip’s name. Keyword Rating If a disclosure triangle appears to the left of a clip in list view, it means a rating, keyword, or both have been applied to that clip. Sort clips in the Event Browser You can sort clips in the Event Browser into an order that makes it easier to visually locate them. 1 In the Event Library, select the event whose clips you want to sort. 2 Do one or both of the following: • To group clips by category: Choose Group Clips By from the Action pop-up menu below the Event Library, and choose a category from the submenu. Choose to set the sort order as Ascending or Descending from the same submenu. • To set the sort order of the clips in the event without grouping them: Choose Arrange Clips By from the Action pop-up menu below the Event Library, and choose a category from the submenu. Note: You can both group clips and set their sort order (arrangement) independently. Reset the sort order in the Event Browser to its default state 1 In the Event Library, select the event that contains the clips whose sort order you want to reset. 2 Choose Group Clips By > None and Group Clips By > Ascending from the Action pop-up menu below the Event Library. 3 Choose Arrange Clips By > Content Created and Arrange Clips By > Ascending from the Action pop-up menu.Chapter 5 Organize your media 61 Rename clips You can rename clips in the Event Browser, the Timeline Index, or the Info inspector at any time. Renaming a clip affects only that instance of the clip. For example, if you add a clip from the Event Browser to the Timeline, copy clips between events, or copy clips within the Timeline, each of these clip instances (copies) is independent of the others and can have its own name. Important: Renaming a clip in Final Cut Pro does not rename the clip’s source media file on disk. Rename a clip in the Event Browser m To rename a clip in filmstrip view: Select a clip’s name, and type a new name. m To rename a clip in list view: Select a clip’s name, press Return, and type a new name. Rename a clip in the Timeline Index 1 To open the Timeline Index, click the Timeline Index button in the lower-left corner of the Final Cut Pro main window (or press Command-Shift-2). 2 Click the Clips button at the top of the Timeline Index. Clips button 3 Click the Name field for a clip, and type a new name. Rename a clip in the Info inspector 1 Select a clip in the Event Browser or the Timeline. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. 3 In the Name section of the Info inspector, click the Name field and type a new name.Chapter 5 Organize your media 62 Rate clips as Favorite or Rejected If your clips contain sections that you don’t like or that you might never want to use in a project—because they’re blurry, for example—you can mark them as Rejected. You can easily rate the clips you like and the clips you don’t like as you review them. When you’re ready to make a project or play your clip for your client, you can focus on your best footage by choosing to display only those clips you marked as Favorite. You can also delete your rejected clips’ source media files to free up space on your hard disk. Favorite Rejected Rate clips 1 In the Event Browser, select a range, a clip, or multiple clips you want to rate. 2 Do one of the following: • If you like the selection: Press the F key or click the Favorite button in the toolbar. In the Event Browser, a green line appears at the top of frames you’ve marked as Favorite. • If you don’t like the selection: Press the Delete key or click the Reject button in the toolbar. A red line appears at the top of frames you’ve marked as Rejected. Note: If you chose Hide Rejected from the Filter pop-up menu at the top of the Event Browser, clips marked as Rejected disappear from view.Chapter 5 Organize your media 63 Remove ratings from clips 1 Make sure the clips you want to work with appear in the Event Browser. You might need to choose a new option, such as All Clips, from the Filter pop-up menu at the top-left corner of the Event Browser so that all the clips you need to access are visible. Choose All Clips to show all the clips in the event regardless of rating. 2 In the Event Browser, select the clips whose rating you want to remove, and press the U key or click the Clear Rating button in the toolbar. The green or red line at the top of the clips disappears. Clips with all ratings removedChapter 5 Organize your media 64 Add keywords to clips You can apply keywords to your clips to help you quickly locate the clips you need to compose your movie. After you apply a keyword to a clip or clip range, the clip or range is marked with a blue line in the Event Browser. (Clips that have analysis keywords, which are automatically applied after certain types of analysis, are marked with a purple line. For more information, see Analyzing media overview on page 45.) Additionally, when a keyword is applied to a clip or clip range, a Keyword Collection appears in the Event Library. A Keyword Collection contains pointers (aliases) to clips tagged with a specific keyword. For example, if you apply the keyword “Nicholas” to all clips containing Nicholas, you can then select the Nicholas Keyword Collection in the Event Library to view all clips containing the “Nicholas” keyword in the Event Browser. Keyword Collections A blue line indicates that a clip has keywords. You can apply one or more keywords to a range within a clip, a whole clip, or a group of clips in an event. Apply keywords using the Keyword Editor 1 In the Event Browser, select a range or one or more clips to which you want to add keywords. 2 To open the Keyword Editor, click the Keywords button in the toolbar. 3 At the top of the Keyword Editor, type the keyword or keyword phrase you want to apply to the selection, and press Return. Type a keyword or keyword phrase, and press Return.Chapter 5 Organize your media 65 4 Repeat step 3 for each keyword or keyword phrase you want added to the selection. A blue line appears at the top of the selection in the Event Browser, indicating that keywords have been applied to it. 5 When you’re finished adding keywords, close the Keyword Editor. Assign keywords using keyboard shortcuts To add keyword phrases to your clips using keyboard shortcuts, you must first assign keywords and keyword phrases to the keyboard shortcuts. 1 If the Keyword Editor isn’t open, click the Keywords button in the toolbar. 2 In the Keyword Editor, click the disclosure triangle to the left of Keyword Shortcuts. 3 Type a keyword or phrase in each shortcut field, and press Return. To reassign a keyboard shortcut, select the shortcut text in the field and type the new keyword. Enter keywords or a keyword phrase here to assign them to keyboard shortcuts. 4 To use a keyboard shortcut, select a range or one or more clips to which you want to add keywords, and press Control and the corresponding number key (1 through 9).Chapter 5 Organize your media 66 View keywords applied to clips m To quickly identify clips that have keywords: Select an event in the Event Library. Clips that have one or more keywords appear in the Event Browser marked with a blue line at the top. m To view all keywords applied to a clip: Choose View > Show Skimmer Info (or press Control-Y), and skim the clip in the Event Browser. You can also view a clip’s keywords by selecting the clip in the Event Browser and clicking the Keywords button in the toolbar. The keywords applied to the clip are shown in the Keyword Editor. m To view all the clips that have a specific keyword: Select a Keyword Collection in the Event Library. The clips with that keyword appear in the Event Browser. Remove all keywords from a selection 1 In the Event Browser, select a range or one or more clips from which you want to remove keywords. A blue line at the top of the clips indicates the portions of the clips that have keywords applied. 2 Choose Mark > Remove All Keywords (or press Control-0). Remove a subset of keywords from a selection 1 In the Event Browser, select a range or one or more clips from which you want to remove specific keywords. A blue line at the top of the clips indicates the portions of the clips that have keywords applied. Each keyword assigned to a clip is also shown in list view. 2 Click the Keywords button in the toolbar to open the Keyword Editor, select the keyword or keywords you want to remove, and press Delete. Select the keyword or keywords that you want to remove from the selection, and press Delete.Chapter 5 Organize your media 67 Add or edit clip notes As you review your clips, you can add and edit notes about them in the Event Browser or the Timeline Index. You can quickly find your clips by entering the note text in the search field in the Event Browser or the Timeline Index, or the Text field in the Filter window. Note: You can add notes to each instance of a clip. For example, if you add a clip from the Event Browser to the Timeline, copy clips between events, or copy clips within the Timeline, each of these clip instances (copies) is independent of the others. Add or edit clip notes in the Event Browser 1 Click the List View button in the bottom-left corner of the Event Browser. 2 Select the clip for which you want to add or edit notes. Note: Notes are applied to the whole clip, not to range selections. 3 Click the Notes field for the clip, and type or edit the notes for that clip. Add or edit clip notes in the Timeline Index 1 To open the Timeline Index, click the Timeline Index button in the lower-left corner of the Final Cut Pro main window (or press Command-Shift-2). 2 To open the Clips pane, click the Clips button at the top of the Timeline Index. Clips buttonChapter 5 Organize your media 68 3 If the Notes column is not visible in the Clips pane, Control-click a column heading and choose Notes from the shortcut menu. 4 Click the Notes field for the clip, and type or edit the notes for that clip. Enter notes for a clip here. Organize clips by roles You can organize clips by roles, which are metadata text labels assigned to clips. When you import clips (video, audio, or still images), Final Cut Pro automatically assigns one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, and Effects. You can also create custom roles and subroles and assign them to clips. You can view and reassign roles in the Event Browser, the Timeline Index, or the Info inspector. For example, you could easily identify all your dialogue clips and play them back in isolation from other audio clips. See View and reassign roles on page 300. Find clips in the Event Browser In Final Cut Pro, you can search for media in two ways: • Quickly filter clips by marking: Use the Filter pop-up menu in the Event Browser to quickly locate individual clips by rating, or the absence of ratings and keywords. • Search by a combination of criteria using the Filter window: Use the Filter window to perform complex searches for clips, also known as a weighted search. You can use a wide variety of criteria to search with, including clip name, rating, media type, excessive shake, keywords, the presence of people, format information, and date.Chapter 5 Organize your media 69 Filter clips quickly by rating Use the Filter pop-up menu in the Event Browser to quickly find clips by rating. 1 In the Event Library, select one or more events you want to search. 2 Choose an option from the Filter pop-up menu at the top of the Event Browser. • All Clips: Shows all clips in the event. • Hide Rejected: Shows all clips or range selections except those you’ve rated Reject. • No Ratings or Keywords: Shows only the clips or range selections without ratings or keywords. • Favorites: Shows only the clips or range selections you’ve rated Favorite. • Rejected: Shows only the clips or range selections you’ve rated Reject. Search for clips by a combination of criteria The Filter window allows you to combine multiple search criteria. For example, you can search for video clips that contain the text “exterior” in their metadata. 1 In the Event Library, select the event or folder you want to search. 2 Click the Filter button at the top of the Event Browser. 3 In the Filter window, choose search criteria, or rules, from the Add Rule pop-up menu. Add Rule pop-up menu • Text: Find clips by their name or any notes applied to them in list view using text. You can add multiple Text rules to search by more than one word or phrase, as well as eliminate specific words and phrases from the search. • Ratings: Find clips based on the rating (Favorite or Reject) assigned to them. • Media Type: Find clips whose source media files are of a specific type, such as video, audio, or stills. • Stabilization: Find video clips that Final Cut Pro has identified as having excessive shake. • Keywords: Find clips by any of the keywords that you’ve assigned to them. You can select one or more keywords to search for.Chapter 5 Organize your media 70 • People: Find clips that Final Cut Pro has identified as having people in them. • Format Info: Find clips using format information, such as video frame rate or scene number. • Date: Find clips by either the date the clip’s media file was created or the date the media was imported into Final Cut Pro. • Roles: Find clips by their assigned roles. To remove a rule, click the Remove button to the right of the rule. To exclude a rule from your search without removing it, deselect the checkbox to the left of the rule. 4 Further refine your search by choosing items from the pop-up menus for the rules you’ve added. 5 Do one of the following: • To specify that a clip must match at least one of the criteria or keywords: Choose Any from the pop-up menu in the upper-left corner of the Filter window. • To specify that a clip must match all the criteria and keywords: Choose All from the pop-up menu. The clips that match the search criteria are displayed in the Event Browser, and icons indicating the search status appear to the right of the Filter button at the top of the Event Browser. If you wish, you can save your search results as a Smart Collection, which gathers clips automatically based on the search criteria. Clear a weighted search m Click the Reset button to the right of the search status icons in the upper-right corner of the Event Browser. Tip: If clips still appear to be missing from view, make sure to choose either All Clips or Hide Rejected from the Filter pop-up menu in the upper-left corner of the Event Browser. Search for clips by clip name and notes You can use the search field to quickly find clips by name and any notes (applied in list view) without having to open the Filter window. 1 In the Event Library, select one or more events you want to search. 2 In the search field, enter the clip’s name or notes applied to the clip you’re looking for. Conduct a filter and search workflow Performing a weighted search and then filtering the clips in the Event Browser by rating is a powerful way to quickly find clips. This is also the best method of finding specific clips that you haven’t rated and comparing them against the clips you have rated. 1 In the Event Library, select the event or folder you want to search. 2 Search for clips using a combination of search criteria as described in the “Search for clips by a combination of criteria” steps above. However, do not apply a ratings filter using the Filter window.Chapter 5 Organize your media 71 3 Use the Filter pop-up menu, as described in the “Filter clips quickly by rating” steps above, to quickly filter the clips by rating. 4 Repeat step 3 until you find the clips you’re looking for. Save searches as Smart Collections When you search for clips in an event using the Filter window, you can save your results by creating a new Smart Collection that gathers clips matching the search criteria. Anytime a new clip that matches the Smart Collection’s search criteria is brought into the event, the new clip is automatically added to the Smart Collection. Clips that appear in Smart Collections are not duplicates. Smart Collections filter clips in an event to help you focus on the clips you need to use for a specific task. Create a Smart Collection based on search criteria 1 In the Event Library, select an event. 2 Use the Filter window to search for clips based on specified criteria. 3 In the Filter window, click the New Smart Collection button. A new, untitled Smart Collection appears in the Event Library. 4 Type a name for the Smart Collection, and press Return. When you add clips to the event that match the Smart Collection’s search criteria, they’re automatically added to the Smart Collection. Change the contents of a Smart Collection 1 In the Event Library, double-click the Smart Collection whose contents you want to change. The Filter window for the Smart Collection appears. Smart Collection 2 Revise the search criteria in the Filter window. 3 When you’re finished specifying search criteria, close the Filter window. Note: Modifying a clip’s ratings or keywords in such a way that it no longer matches a Smart Collection’s search criteria results in the clip no longer appearing in the Smart Collection.Chapter 5 Organize your media 72 Delete a Smart Collection m In the Event Library, select the Smart Collection you want to delete, and choose File > Delete Smart Collection (or press Command-Delete). The Smart Collection is removed from the Event Library, but its associated clips (the clips that appeared in it) are unaffected. Organize Keyword and Smart Collections You can organize Keyword Collections and Smart Collections in the Event Library with folders. Organize collections with folders 1 In the Event Library, select the event containing the collections you want to organize, and choose File > New Folder. 2 Type a name for the new folder that appears within the event. 3 Select the Smart Collections and Keyword Collections you want to organize, and drag them into the new folder. You can show and hide the contents of the folder by clicking the disclosure triangle to the left of the folder’s name.73 Playback and skimming overview Final Cut Pro makes it easy to view and listen to your media, whether it’s located in the Event Browser, the Project Library, or the Timeline. Its dynamic previewing capabilities let you find what you need quickly without being distracted from the task at hand. You use two tools to preview and play back media in Final Cut Pro: • The playhead marks the current position in the Timeline or the Event Browser. You can move the playhead by dragging it or clicking another area of the Timeline or Event Browser. You use the playhead to scrub, or play back from its current position. The playhead appears as a gray vertical line that is fixed in place unless you move it or click elsewhere. • The skimmer lets you preview clips in the Timeline, Event Browser, or Project Library, without affecting the playhead position. You use the skimmer to skim, or freely move over clips to play back at the position and speed of the pointer. The skimmer appears as a pink vertical line as you move the pointer over the area you’re skimming. If you have snapping turned on, the skimmer turns orange when it snaps to a position. Playhead Playhead Skimmer Skimmer When skimming is turned on, you can skim to see what’s in other clips, but still keep your playhead position in the Timeline. If both the playhead and skimmer are present in the same clip, the skimmer becomes the default position for playback or editing. When skimming is turned off or the skimmer is not present in a clip, the playhead assumes the default position. Play back and skim media 6Chapter 6 Play back and skim media 74 Play back media You can play back projects and clips in Final Cut Pro. Playback options include playing from the beginning, playing from a certain point, looping playback, and playing at different speeds. You can also play back video in full-screen view. Whether Final Cut Pro uses proxy media or your original or optimized media during playback is determined by the playback setting you select in the Final Cut Pro Editing preferences. See Playback preferences on page 419 for more information. Play back video and audio clips m To play a project or clip from the beginning: Select the project or clip and choose View > Playback > Play from Beginning (or press Shift-Control-I). m To play a section of a project, selected clips, or a frame range from the beginning: Select the project, clips, or all or part of a clip, and choose View > Playback > Play Selection, or press the Slash (/) key. When you select a clip or a portion of a clip or project, the selected area is marked with a yellow border. Yellow border m To play a project or clip from a specific point: In the Event Browser or the Timeline, click a point in a project or within a clip where you want to begin (or move the playhead to the point in the Timeline), and either press the Space bar or click the Play button in the Viewer (or press L). The clip or project begins playing at the skimmer or playhead position. m To play around the playhead or skimmer: Choose View > Playback > Play Around, or press ShiftQuestion Mark (?). Skimmer m To stop playback: Press the Space bar.Chapter 6 Play back and skim media 75 Use the J, K, and L keys for playback You can use the J, K, and L keys on your keyboard to play through a project or clip. Playback begins at the location of the playhead (on a project) or the skimmer (on a clip). You can also use the J, K, and L keys to control a video playback device. Moves through forward speeds Moves through reverse speeds Pause You can use these keys to speed playback up to 32x normal speed. m To begin forward playback at normal (1x) speed: Press L. m To begin reverse playback at normal (1x) speed: Press J. m To pause playback: Press K. m To double the current playback speed: Press L or J twice. m To immediately reverse the playback direction: Press J to play in reverse, or press L to play forward. m To move the playhead one frame at a time: Hold down the K key, and press J or L. m To move the playhead at 1/2x speed: Hold down the K key while holding down J or L. When you use keyboard shortcuts to control a device (like a camcorder or camera), the speed of forward (L) and reverse (J) playback may differ depending on your video equipment. Play back media in a loop You can turn on looping so that a project (or any portion of it) plays in a continuous loop. 1 To turn on looping, do one of the following: • Choose View > Playback > Loop Playback (or press Command-L). • Click the Loop Playback button. 2 Do one of the following: • To loop your entire project: Press the Space bar. • To loop a portion of your project: Select a range or a clip in the Timeline, and choose View > Playback > Selection, or press the Slash (/) key.Chapter 6 Play back and skim media 76 Play video in full-screen view 1 Select or open a project in the Project Library or open a clip in the Event Browser, and position the playhead where you want the video to begin. 2 Do one of the following: • Choose View > Playback > Play Full Screen (or press Command-Shift-F). • Click the Play Full Screen button below the Viewer. The item plays in full-screen view starting at the playhead position. 3 To leave full-screen view, press the Esc (Escape) key. When you play back clips, the frames under the playhead or skimmer play in the Viewer. If you need to compare two clips at once, you can use the Event Viewer, a separate viewer for playing back event clips only. The Event Viewer appears to the left of the main Viewer. For more information, see Play back and skim media in the Event Viewer on page 78. Skim media You can quickly skim your video and audio to preview it, search for a particular shot, or make an edit. When skimming is turned on and you move the pointer forward or backward over a clip in the Event Browser or the Timeline, the content under the pointer plays in the Viewer. You can also use the Blade, Trim, and Range Selection editing tools to skim clips in the Timeline or in the Precision Editor. As you’re editing in Final Cut Pro, you may find skimming distracting when you move the pointer from one location to another. You can disable all skimming (or just audio skimming). Skim clips m Move the pointer forward or backward over a clip in the Event Browser or the Timeline. The skimmer (a vertical pink line) indicates exactly where the pointer is as you skim, and the corresponding frames are displayed in the Viewer. Skimmer Tip: You can also press the Space bar at any time to play forward from the skimmer position.Chapter 6 Play back and skim media 77 Skim clips with editing tools You can skim clips when you use the Blade, Trim, and Range Selection tools in the Timeline or in the Precision Editor. The tools behave as skimmers as you move the pointer over a clip. 1 Select a clip in the Timeline or open the Precision Editor. 2 Select either the Blade, Trim, or Range Selection tool from the Tools pop-up menu in the toolbar. 3 Move the tool forward or backward over a clip. When using an editing tool as a skimmer, you can skim and add markers to clips under connected clips in the Timeline. Turn skimming on and off m To turn all skimming on or off: Click the Skimming button, choose View > Skimming, or press S. m To turn audio skimming on or off: Click the Audio Skimming button, choose View > Audio Skimming, or press Shift-S. When skimming is turned on, the skimming buttons appear blue. Audio skimming is turned off. Skimming is turned on. Note: When skimming is turned off, you can still skim with the Blade, Trim, and Range Selection editing tools. Skim audio for individual clips or audio components You can turn on clip skimming to limit audio skimming to an individual clip. This is useful if you have a connected clip in the Timeline and want to skim it without also hearing audio from the clip in the primary storyline. Important: Audio skimming must also be turned on in order to use this feature. You can also use clip skimming to skim and listen to an individual audio component when editing clips that show expanded audio components. If clip skimming is turned off, you hear combined audio for all components in the clip as you skim. Tip: To view expanded audio components, select the clip in the Timeline and choose Clip > Expand Audio Components (or press Option-Control-S). m To turn clip skimming on or off, choose View > Clip Skimming (or press Command-Option-S).Chapter 6 Play back and skim media 78 Play back and skim media in the EventViewer Sometimes, you may need two viewers so that you can play back and skim event clips separately from Timeline clips. The Event Viewer is a separate video display that appears next to the main Viewer. With the Event Viewer and the Viewer open, you can display two clips at the same time: one in the Event Browser and one in the Timeline. Event Viewer Viewer You use the Event Viewer to play clips in the Event Browser only. As with the main Viewer, you can show video scopes, color channels, title and action safe zones, and multicam angles (with the Event Viewer set to show angles). Playback and adjustment controls are identical in the Viewer and the Event Viewer. Other viewer-related operations (including onscreen controls and built-in effects) are done with the main Viewer. The dual-viewer interface is derived from linear tape-based systems, which included both source and record monitors. The source monitor was for previewing source clips and making selections in them. The record monitor was for playing back the edited program. Open the Event Viewer m Choose Window > Show Event Viewer (or press Command-Control-3). To close the Event Viewer, choose Window > Hide Event Viewer (or press Command-Control-3). Note: If you’re using video scopes with the Event Viewer, you may find it convenient to display the scopes below the video image rather than on the left side (the default). To display scopes below the video image, choose Vertical Layout from the Settings pop-up menu in the Event Viewer. For more information, see Use the video scopes on page 370. View playback on a second display If you have a second display connected to your computer, you can show the Viewer on the second display to play video, or the Event Browser on the second display to view clips in an event, thereby expanding your workspace in the Final Cut Pro main window. Show the Viewer on a second display 1 Connect a second display (a second computer monitor connected to the PCI video card), and make sure it is connected to power and turned on. 2 In Final Cut Pro, choose Window > Show Viewers on Second Display. The Viewer appears on the second display. All Viewer features (including onscreen controls) are now available on the second display.Chapter 6 Play back and skim media 79 Note: If the Event Viewer is also visible, both viewers appear on the second display. 3 To return the Viewer to the Final Cut Pro main window, choose Window > Show Viewers in the Main Window. Show the Event Library and the Event Browser on a second display 1 Connect a second display (a second computer monitor connected to the PCI video card), and make sure it is connected to power and turned on. 2 In Final Cut Pro, choose Window > Show Events on Second Display. The Event Library and Event Browser appear on the second display. All event features (including selection capabilities, markers, keywords, and so on) are now available on the second display. To return the Event Library and Event Browser to the Final Cut Pro main window, choose Window > Show Events in the Main Window. View playback on an external video monitor Final Cut Pro includes an A/V Output option to send video and audio from your computer to an external video monitor. In addition to showing you how video and audio look and sound on an NTSC/PAL or HD broadcast monitor, this feature also allows you to test output with more sophisticated devices such as vectorscopes and waveform monitors. A/V output is available only with OS X Lion v10.7.2 or later and requires compatible thirdparty video interface hardware and software. FireWire DV devices are not supported. For more information, contact the device manufacturer or go to the Final Cut Pro X Resources webpage at http://www.apple.com/finalcutpro/resources. Play video and audio on an external video monitor 1 Install the video interface hardware and software according to the manufacturer’s instructions. 2 Connect an external video monitor to the video interface and make sure it’s connected to power and turned on. 3 To select an A/V output device, choose Final Cut Pro > Preferences (or press Command-Comma), click Playback, and choose a device in the Playback preferences pane.Chapter 6 Play back and skim media 80 4 In Final Cut Pro, choose Window > A/V Output. The Viewer contents appear on the broadcast monitor. Viewer features (such as onscreen controls and the title-safe and action-safe overlays) can be viewed only in Final Cut Pro. Note: Video and audio are synced at the video frame (not audio sample) level. To turn off A/V output, choose Window > A/V Output. About background rendering When you add effects, transitions, generators, titles, and other items that require rendering before playback, the background render indicator (an orange bar) appears below the timecode in the Timeline. Background render indicator By default, background rendering begins 5 seconds after you stop working and moving the pointer in Final Cut Pro. Background rendering continues while you work in a different application. You can change this setting in the Final Cut Pro preferences.81 Create a new project To create a movie in Final Cut Pro, you first create a project, which provides a record of your editing decisions and the media you use. Then you add clips to the project Timeline and edit them. When you create a new Final Cut Pro project, you do the following: • Name the project. • Specify a default event for the project. The default event stores media that’s dragged to the project from the Finder or a Final Cut Pro media browser. If you drag media from the Finder to the project’s Timeline, that media is automatically located in the project’s default event. Optionally, you can also set the starting timecode and define the video, audio, and render properties for the project. After creating your project, you add clips to it from the Event Library. Note: If you’re creating a project and you haven’t yet imported media into Final Cut Pro, you should do so. See Importing overview on page 19 for information. Start a project 1 Do one of the following: • In Final Cut Pro, choose File > New Project (or press Command-N). • Make sure the Project Library is open, and click the New Project button. 2 In the window that appears, type a name for the project in the Name field. 3 Choose a default event for the project. If you drag any media files from the Finder directly to the project’s Timeline, or add media to the project from one of the media browsers, that media is automatically added to the project’s default event. 4 If you want to further customize settings for your project, click Use Custom Settings. Note: Final Cut Pro shows the Automatic Settings by default, but it will remember the settings you used last, so this step may be unnecessary. 5 If you want your project’s timecode to start at a value other than 00:00:00:00, type a starting timecode value in the Starting Timecode field. Create and manage projects 7Chapter 7 Create and manage projects 82 6 If you want to make any changes to the project’s video or audio properties, select Custom and use the pop-up menus. Unless you have a specific requirement for the project you’re creating, it’s best to leave “Set automatically based on first video clip” selected. 7 Click OK. The new project appears in the Project Library with the name you gave it in step 2. New project You can now add clips from the Event Browser and begin to edit your project in other ways, adding titles, special effects, background music, sound effects, and more. You can change a project’s name, default event, and project properties at any time. See Modify a project’s name and properties on page 83 for more information. Preview and open a project If you want to see the contents of a project, you can preview the project before opening it. Preview a project 1 If the Project Library is not already open, click the Project Library button at the bottom-left corner of the Final Cut Pro main window. 2 Select a project in the Project Library. 3 To preview a project in the Viewer, select it and do one of the following: • To skim the project: Move the pointer over the filmstrip (to the right of the project’s name). • To play the project from the skimmer (the pink vertical line): Press the Space bar; press it again to stop playing the project. Open a project 1 Open the Project Library. 2 Locate the project you want to open and double-click it.Chapter 7 Create and manage projects 83 Modify a project’s name and properties As your project evolves, you may decide you want to rename it or change its properties. Rename a project 1 If the Project Library is not already open, click the Project Library button at the bottom-left corner of the Final Cut Pro main window. 2 Select a project, and click the project’s name to highlight it. 3 Type a new name in the project Name field, and press Return. Depending on how you have the Project Library organized, the project’s position in the project list may change after you rename it. Change a project’s default event and properties When you create a project, you set the project properties and assign the project a default event to hold media that is dragged directly into the project’s Timeline from a Final Cut Pro media browser or the Finder. In most cases, Final Cut Pro manages project properties automatically based on the properties of the first clip you add to a project, but you can change almost all properties of an existing project. If you must modify the project properties, choose video and audio project properties based on how you intend to share your final movie with your audience. 1 Open the Project Library and select a project. 2 Do one of the following: • Choose File > Project Properties (or press Command-J). • If the Inspector pane is hidden, click the Inspector button in the toolbar. Then click the Properties button at the top of the pane. Properties button 3 Click the Project Properties button . Project Properties buttonChapter 7 Create and manage projects 84 4 In the window that appears, change the settings as appropriate. Choose a default Event from the pop-up menu. Change the project’s video, audio, and render properties. Name • Name: Type a name for the project. Default Event • Default Event: Choose the default event for the project. Starting Timecode • Starting Timecode: If you want your project’s timecode to start at a value other than 00:00:00:00, type a starting timecode value. Drop Frame Timecode • Drop Frame:Select the checkbox to turn on drop frame timecode (this option appears only for 29.97 and 59.94 fps media). In non-drop frame timecode, the timecode counter counts at a consistent rate without dropping any numbers from the count. Non-drop frame timecode is available as a display option for every frame rate. In drop frame timecode, frames 0 and 1 are skipped the first second of every minute, unless the minute number is exactly divisible by 10. Video Properties • Format:Choose the video format (a specific method of encoding the video). • Resolution:Choose the frame size of the video. • Rate:Choose the frames per second (fps). Note: Unless the Timeline is completely empty, you cannot change the frame rate of an existing project. Audio and Render Properties • Audio Channels:Choose whether to present the audio as multichannel surround sound or as stereo. • Audio Sample Rate:Choose the audio sample rate for your project (the number of times a signal is measured—or sampled—per second). A higher sample rate produces higher-quality audio and larger file sizes, and a lower sample rate produces lower-quality audio and smaller file sizes. Which sample rate you choose to work with depends on the source material you’re working with, and the final destination of your audio. • Render Format:Choose the codec to use for your project’s background rendering. 5 Click OK.Chapter 7 Create and manage projects 85 Define the order in which events are referenced by a project If you have duplicate clips in different events, you can define the order in which Final Cut Pro looks for the clips. 1 Open the Project Library and select a project. 2 Do one of the following: • Choose File > Project Properties (or press Command-J). • If the Inspector pane is hidden, click the Inspector button in the toolbar. Then click the Properties button at the top of the pane. Properties button 3 Click the Modify Event References button in the Referenced Events section. 4 In the window that appears, drag the events to set the order in which Final Cut Pro will look for clips. 5 When you’ve set the order, click OK.Chapter 7 Create and manage projects 86 Organize projectsin the Project Library All your Final Cut Pro video projects are listed in the Project Library. You can start organizing your projects by connecting additional hard disks, creating folders to hold projects, and giving your projects clear and specific names. As your Project Library grows, you can rename, copy, move, and delete your projects as necessary. Use folders to sort projects 1 If the Project Library is not already open, click the Project Library button at the bottom-left corner of the Final Cut Pro main window. 2 Select a disk, folder, or project to which you want to add a folder, and click the New Folder button at the bottom-left corner of the Final Cut Pro main window. A new folder called New Folder appears inside the disk or folder you selected, or at the same level as the project you selected. 3 Do any of the following: • To rename the folder: Select the folder, click the folder name, and type a new name. • To add a project to the folder: Drag the project to the folder. • To open or close the folder: Click the disclosure triangle to the left of the folder name. Copy a project Copying a project is useful if you want to work on a new version of a project or transfer a copy to another computer. 1 Open the Project Library and select a project. 2 Choose File > Duplicate Project. 3 In the window that appears, choose a location for the duplicated file from the Location pop-up menu.Chapter 7 Create and manage projects 87 4 Select an option to specify what is duplicated: • Duplicate Project Only: Duplicates only the project file. • Duplicate Project and Referenced Events: Duplicates the project file, any events referred to by the project file, and all of the media in the referenced events. • Duplicate Project + Used Clips Only: Duplicates the project file and the media files for any clips used in the project. • Include Render Files: Select this checkbox to include render files for the clips and projects. If you want to free up hard disk space, deselect this checkbox. Choose a location to put the copied project. Select a duplicate option. 5 Click OK. Final Cut Pro copies the project to the location you chose using the option you specified. The project is given an appended name (for example, “Bill’s movie1”), and the project appears in the Project Library. Quickly copy a project to a connected external storage device m Open the Project Library, select a project, and drag the project to another hard disk’s icon in the Project Library. Move a project You can easily move a project to a connected hard disk or another computer. Moving a project file is useful if you want to work on a project using another computer that has Final Cut Pro installed, or if you want to free up space on your computer’s hard disk. Important: You cannot undo a project move with the Undo command. 1 Open the Project Library and select a project. 2 Do one of the following: • Choose File > Move Project. • Hold down the Command key while you drag the project to another hard disk’s icon in the Project Library. 3 In the window that appears, choose where you want to move the project (to a hard disk or computer) from the Location pop-up menu.Chapter 7 Create and manage projects 88 4 Select an option to specify what is moved: • Move Project Only: Moves only the project file. • Move Project and Referenced Events: Moves the project file, any events referred to by the project file, and all of the media in the referenced events. Choose a location to which you want to move the project. Select a move option. 5 Click OK. Final Cut Pro moves the project to the location you chose using the option you specified. See Where your media and project files are located on page 390 for information about the default location of Final Cut Pro projects and events. Delete a project or project folder Deleting a project folder deletes the folder and all of the projects it contains. Your media is not deleted because media is stored in events. 1 Open the Project Library and select a project. 2 Do one of the following: • To delete a project: Select the project and choose File > Move Project to Trash (or press Command-Delete). • To delete a folder and any projects the folder contains: Select the folder and choose File > Move Folder to Trash (or press Command-Delete). The project or project folder (and the projects the folder contains) is removed from the Project Library and moved into the Finder Trash. 3 To permanently delete the project or project folder and its files and free up space on your hard disk, empty the Finder Trash. WARNING: After the Trash is emptied, the file or folder cannot be restored. You can also delete a project’s render files. See View background tasks on page 400 for more information.Chapter 7 Create and manage projects 89 Save projects Final Cut Pro automatically saves all the changes you make as you work on a project, which means you never have to save changes manually. Also, you can undo all of your changes up to the last time you quit and reopened Final Cut Pro by choosing Edit > Undo (or pressing Command-Z). You can create multiple versions of a project by duplicating it. For more information about duplicating projects, see Organize projects in the Project Library on page 86. Changes you make to a clip in a project do not affect the clip’s source file. Thus, if you’ve made a lot of changes to a clip but want to start fresh, you can easily restore the clip to its original state by adding a new copy of the clip (located in the Event Library) to your project.90 Editing overview The term video editing refers both to broader stages of a project workflow and to very specific manual tasks that you do with clips in a project Timeline. • Make selections and add clips to the Timeline: Adding and arranging clips in your project is the fundamental step in creating a movie with Final Cut Pro. You move and reorder clips in the Timeline. See Adding clips overview on page 99, Arrange clips in the Timeline on page 117, and Audio overview on page 157. • Cut and trim clips: Final Cut Pro provides a wide variety of tools for adjusting the start and end points of clips in the Timeline and for controlling pacing from one shot to the next. See Trimming overview on page 123. • Further refine and adjust your project: Final Cut Pro provides many advanced editing tools to finish a highly polished movie with ease. See topics in the advanced editing section. • Add effects and color correction: Finishing touches include visual effects and color correction. See Transitions, titles, effects, and generators overview on page 204 and Color correction overview on page 355. Select clips and ranges About selections and filmstrips A fundamental step in editing a video project is choosing what you want to include in your final movie. In Final Cut Pro you indicate what clips or portions of clips you want to act on by making a selection. Final Cut Pro provides a variety of powerful tools for making selections with both speed and precision, including filmstrips, which are connected series of thumbnail images. Your video clips appear as filmstrips in the Timeline (where you build projects) and in the Event Browser (where your source media is displayed). A single video filmstrip might represent several seconds of video encompassing hundreds of video frames (individual images). Audio-only clips appear as audio waveforms, showing the change in the audio volume over time. When you add clips from the Event Browser to a project in the Timeline, you can add one or more whole clips, or you can add a range within a clip. Then you can fine-tune the clips individually in the Timeline, adding video effects to them, for example, or inserting transitions between them. Edit your project 8Chapter 8 Edit your project 91 You can adjust the appearance of filmstrips in the Event Browser and the Timeline so that it’s easier to make selections. For example, expanding the width of a filmstrip (by showing shorter durations per thumbnail) helps you make more precise selections. Filmstrip expanded in the Event Browser for precise selections You can also adjust the filmstrip appearance in the Timeline to make it easier to view and select audio waveforms. Filmstrip appearance changed for easy viewing and selection of audio waveforms Select one or more clips Clips represent your video, audio, and graphics files and allow you to work with your media in Final Cut Pro without changing the files themselves. To add clips to your project, rearrange them, or trim them, you first need to select them. You can select a single clip or multiple clips at a time. Selecting multiple clips allows you to move them as a group within your project, or from one event to another. It’s also useful if you’ve made adjustments to a clip and you want to paste the same adjustments onto several other clips.Chapter 8 Edit your project 92 Select an entire clip Do one of the following: m Click the clip once. m Move the skimmer (or the playhead) over a clip and press X. Note: This results in a range selection that matches the boundaries of the clip. m In the Event Browser, press Up Arrow or Down Arrow to move the selection to a neighboring clip. m In the Event Browser, Option-drag from the start point to the end point of the clip. m In the Timeline, move the skimmer (or the playhead if skimming is turned off) over the clip you want to select and press C. This method selects the clip in the primary storyline. Connected clips and storylines are attached to clips in the primary storyline, and they appear above and below the primary storyline. To select a connected clip or storyline with this keyboard shortcut method, position the pointer on the connected clip and press C. For more information, see Connect clips to add cutaway shots, titles, and synchronized sound effects on page 103 and Add storylines on page 265. A yellow border appears around the clip, indicating that it is selected. Note: A Timeline clip selection (shown above) is different from a Timeline range selection, which has visibly distinct range handles for adjusting the selection start point and end point. All selections in the Event Browser are actually range selections (with adjustable start and end points). Select multiple clips in the Event Browser or the Timeline m To select a number of individual clips: Hold down the Command key as you click the clips you want to select. Note: Command-clicking an Event Browser clip with preexisting ranges selects the ranges rather than the whole clip. m To select all clips and ranges in the Event Browser or the Timeline: Click the Event Browser or Timeline to make it active, and choose Edit > Select All (or press Command-A).Chapter 8 Edit your project 93 m To select multiple clips by dragging: Drag a selection rectangle over the Timeline or event clips you want to select. Deselect clips in the Event Browser or the Timeline m To deselect a single selected clip: Command-click the clip or click outside it (or select a different clip). m To deselect multiple selected clips: Hold down the Command key and click the clips you don’t want selected. m To deselect all clips and ranges: Choose Edit > Select > None (or press Command-Shift-A). m To deselect all clips and clear all selected ranges in the Event Browser: Press Option-X. Select a range Instead of selecting whole clips, you can select a range within any clip in the Timeline or in the Event Browser. In the Timeline, you can also select a range that spans multiple clips. You can trim range selections, mark them with ratings and keywords, and modify them in other ways. You can adjust the range selection start and end points by dragging either side of the selection. You can also create multiple range selections in one or more clips in the Event Browser. Range handles Note: This illustration shows a Timeline range selection. Event Browser range selections have straight range handles.Chapter 8 Edit your project 94 Select a range Do one of the following: m In the Event Browser, drag across any clip (filmstrip). A yellow border appears around the range you selected. If the filmstrip wraps onto two lines, you can select a range extending over the break simply by continuing to drag across the break. When you reach the edge, the pointer jumps to the next line. Tip: In the Event Browser, Option-drag across any clip (filmstrip) with existing ranges to replace those ranges with a new range. m In the Timeline, choose Range Selection from the Tools pop-up menu in the toolbar (or press R). The pointer changes to the Range Selection tool . Drag the Range Selection tool across one or more clips in the Timeline to select a range. To adjust the range selection start and end points, drag the range handles on either side of the range. Tip: To temporarily turn on the Range Selection tool, hold down the R key. When you release the R key, the tool reverts to the previously active tool. Range handles m Use the I and O keys to set the range selection start and end points. For more information, see the instructions below. m In the Event Browser or the Timeline, move the skimmer (or the playhead) over a clip and press X. Final Cut Pro sets the range selection start and end points at the clip start and end points. Tip: To use this X key method with connected clips or clips in a connected storyline, position the pointer on the clip and press X.Chapter 8 Edit your project 95 m Command-click a colored marker line at the top of a clip. These marker lines can indicate any of the following: Favorite (green), Rejected (red), manually applied keywords (blue), or analysis keywords (purple). Set a range start point or end point m To set the start point: Position the skimmer (or the playhead, if skimming is turned off) where you want the selection to start, and choose Mark > Set Range Start (or press I). To remove the range start point, press Option-I. m To set the end point: Position the skimmer (or the playhead, if skimming is turned off) where you want the range to end, and choose Mark > Set Range End (or press O). To remove the range end point, press Option-O. m To set the range start point or end point while a clip or your project is playing back: Press the Space bar to start playback, and then press the I or O key when you want to set the start or end point. Tip: In the Event Browser, you can press Command-Shift-I and Command-Shift-O to set multiple ranges during playback. If you’re using the Blade, Trim, and Range Selection tools in the Timeline or in the Precision Editor, you can use the I and O keys to set selection start and end points in a connected clip or storyline, as well as in clips underneath connected clips and storylines. Move the pointer directly over a clip and press I to set a selection start point or O to set a selection end point. Extend or shorten the range selection m To adjust where the range starts or ends: Drag the left or right edge of the yellow selection border. m To reset the start point or end point for a range within the same event clip or project: Move the skimmer and press I or O. Tip: You can also press the I or O key while a clip is playing back. m To extend or shorten a range within an event clip: Move the skimmer to any frame that you want the range to begin or end with, and then hold down the Shift key and click (or drag). m To extend or shorten a range using timecode: Choose Modify > Change Duration (or press Control-D), and enter a new duration. (This method works with single range selections only.) The range selection is lengthened or shortened accordingly. If you require the skimmer and it is not present, you can turn on skimming at any time. Set multiple ranges in event clips during playback You can set multiple ranges in clips in the Event Browser during playback. 1 Play back an event clip. 2 While the clip is playing, do either of the following: • To add a range start point: Press Command-Shift-I. • To add a range end point: Press Command-Shift-O. Note: To set multiple ranges in the same clip, repeat these keyboard shortcuts while continuing playback.Chapter 8 Edit your project 96 Set the range selection to match the boundaries of the clip m Move the skimmer (or the playhead) over a clip and press X. Final Cut Pro sets a range selection from the start point to the end point of the clip. Any preexisting ranges are removed. Clear ranges You can remove one or more ranges from the Event Browser or the Timeline. Note: This operation does not affect the clip media in either the Event Browser or the Timeline. m To remove an individual range in an event: Option-click the range. m To remove a range in the Timeline: Click outside of the range or select a different range. m To clear one or more ranges in the Event Browser or the Timeline: Select the range or ranges and choose Mark > Clear Selected Ranges (or press Option-X). Note: Selected ranges have a thick yellow border. Unselected ranges (available only in the Event Browser) have a thin orange border. m To remove all ranges in an event: Choose Edit > Select All (or press Command-A) to select all ranges in the current event, and choose Mark > Clear Selected Ranges (or press Option-X). Manage multiple range selections in event clips In the Event Browser, you can set multiple ranges within one or more clips, and you can select and deselect ranges after you set them. For example, you might set multiple ranges in a long event clip, and then deselect some of the ranges before adding all of the selected ranges to the Timeline at once. Note: Selected ranges have a thick yellow border. Unselected ranges have a thin orange border. Editing commands operate on yellow selections only. Selected ranges Unselected ranges Note: The commands described in this section require the Event Browser to be the active portion of the Final Cut Pro interface. You can make the Event Browser active by moving the pointer over it or clicking it. When the Event Browser is active, its background has a lighter gray color.Chapter 8 Edit your project 97 Set multiple ranges in an event clip 1 In the Event Browser, select a range within a clip. 2 To set an additional range, do one of the following: • Command-drag in a different section of the clip. • Move the skimmer (or the playhead) to the frame where you want the additional range to start and press Command-Shift-I. Move the skimmer or playhead to the frame where you want the additional range to end and press Command-Shift-O. Note: These keyboard shortcuts also work during playback, so you can set additional ranges on the fly. • Option-drag over or within existing ranges to replace them with a new range. • Command-click a colored marker line at the top of a clip. These marker lines can indicate any of the following: Favorite (green), Rejected (red), manually applied keywords (blue), or analysis keywords (purple). The additional range selection appears in the clip. To remove a range selection, Option-click it.Chapter 8 Edit your project 98 Select and deselect ranges and clips in an event You can set, select, or deselect multiple ranges within event clips or within events. Important: Editing commands operate on yellow selections only. Editing commands ignore orange (unselected) ranges. Selected ranges Unselected ranges m To select an individual range: Click the range. m To select or deselect a range: Command-click the range. m To select all ranges in a clip: Click an area of the clip that has no range. m To select all ranges and clips in the current event: Choose Edit > Select All (or press Command-A). The ranges (and all clips with no ranges) are selected with a yellow border. m To deselect all ranges and clips in the current event: Choose Edit > Deselect All (or press Command-Shift-A). The ranges turn orange. Remove ranges from clips in an event You can remove individual ranges, multiple ranges, or all ranges from the current event. m To remove an individual range in an event: Option-click the range. m To remove selected ranges in an event: Select the ranges you want to remove, and choose Mark > Clear Selected Ranges (or press Option-X). m To remove all ranges in an event: Choose Edit > Select All (or press Command-A) to select all ranges in the current event, and choose Mark > Clear Selected Ranges (or press Option-X). Navigate between selections in an event m To go to the start of the range selection: Choose Mark > Go to > Range Start (or press Shift-I). Repeat this command to go to the start of the previous range selection, or to the start of the clip. m To go to the end of the range selection: Choose Mark > Go to > Range End (or press Shift-O). Repeat this command to go to the end of the next range selection, or to the end of the clip. m To select the previous clip (or its ranges): Press Up Arrow. To add to the selection, press Shift–Up Arrow. m To select the next clip (or its ranges): Press Down Arrow. To add to the selection, press Shift–Down Arrow. Chapter 8 Edit your project 99 Add and remove clips Adding clips overview You build a movie project by adding clips to the Timeline in a chronological arrangement. To suit your particular editing style or need, you can choose from a wide variety of tools and techniques for adding clips. You can change the arrangement of the clips in the Timeline at any time. In Final Cut Pro, you can edit your projects without worrying about maintaining clip connection or synchronization. For example, when you drag a clip into the Timeline, Final Cut Pro automatically rearranges the Timeline to fit each new clip without disturbing your existing work. This is true for all kinds of clips: video, audio, titles, generators, still images, and so on. You can use clips from multiple events in a single project. You can also add clips from the Final Cut Pro media browsers and from the Finder. Deleting clips from the Timeline does not affect clips or files in the Event Browser, the media browsers, or the Finder. Connected clips and storylines remain attached to, and synchronized with, clips in the primary storyline until you explicitly move or remove them. Connected clip Connected audio-only clip Primary storyline Drag clips to the Timeline You can add clips to the Timeline by dragging them from the Event Browser, from a Final Cut Pro media browser (such as the Photos Browser or the Generators Browser), or from the Finder. Drag clips from the Event Browser or a media browser 1 Do one of the following: • In the Event Library, select an event containing the clips you want to add to your project. • Open the media browser containing the media you want to add to your project. 2 Drag one or more clips to the Timeline from the Event Browser or a media browser. Depending on where you drag the clips in the Timeline, your actions may result in an append, an insert, a connect, or a replace edit. Final Cut Pro automatically adjusts surrounding clips to fit in place around any clips you’ve dragged. Tip: You can add one clip to your project at a time, or sometimes it’s easier to add a number of clips to the project at once, and then rearrange them in the Timeline.Chapter 8 Edit your project 100 Drag files from the Finder 1 Arrange the windows onscreen so that you can see both the Final Cut Pro main window and the files in the Finder. 2 Drag the files from the Finder to the Timeline. Depending on where you drag the clips in the Timeline, your actions may result in an append, an insert, a connect, or a replace edit. Note: If you add clips to the Timeline from a Final Cut Pro media browser or the Finder, you are effectively importing the media into the default event associated with the current project. You can configure the default event in the project settings window. In this scenario, Final Cut Pro applies the default optimization and analysis settings to the new clips. You can set default optimization and analysis processes in Final Cut Pro preferences. If you add still images to the Timeline, they will have a duration of 4 seconds by default. You can change this default duration in Final Cut Pro preferences. Append clips to your project A simple way to add a clip to your project is an append edit, in which you add one or more clips to the end of a project or storyline. Append clips to your project in the Timeline 1 Select one or more clips in the Event Browser. 2 To add the clips to the Timeline, do one of the following: • Choose Edit > Append to End (or press E). • Click the Append button in the toolbar. If there is no selection, the clip appears at the end of the primary storyline in the Timeline. If a storyline is selected, the clip appears at the end of the selected storyline. Insert clips in your project An insert edit places the source clip so that all clips after the insertion point are moved forward (or rippled) in the Timeline to make room for the clip being added. No clips are removed from your project. An insert edit makes the project longer by the duration of the inserted clip. D A B C A D B C After edit Before edit You might use insert edits when you want to add a new shot in the beginning or the middle of your project. You can also use an insert edit to interrupt the action in an existing clip with the action in the newly inserted clip. The action in the original clip then resumes after the inserted clip. Note: You can use three-point editing to make insert edits. For more information, see Three-point editing overview on page 275.Chapter 8 Edit your project 101 Insert Event Browser clips in the Timeline 1 Select one or more clips in the Event Browser. 2 Move the playhead to the point in the primary storyline or a selected storyline (or make a range selection) where you want to insert the clip. 3 Do one of the following: • Choose Edit > Insert (or press W). Note: If you use the keyboard shortcut and the skimmer is present in the Timeline, the edit will occur at the skimmer position. • Click the Insert button in the toolbar. The clip appears in the Timeline and all clips after the insertion point are rippled forward. If the skimmer is not present, the clips are inserted at the playhead position. If you perform an insert edit in the middle of an existing Timeline clip, that clip is cut at the insertion point, and the second half is moved to the end of the newly inserted clip, along with the rest of the footage to the right of the insertion point. Insert a gap clip or a placeholder clip in the Timeline Sometimes you need to reserve space in the Timeline for a clip that you don’t yet have. Final Cut Pro provides two possible solutions to this problem: placeholder imagery or a blank and silent clip called a gap clip that can be adjusted to any duration. 1 Move the playhead to the point in the primary storyline or a selected storyline (or make a range selection) where you want to insert the gap clip or placeholder clip. 2 Do either of the following: • To insert a placeholder clip: Choose Edit > Insert Placeholder (or press Command-Option-W). Final Cut Pro inserts gray placeholder imagery that you can customize. For more information, see Use a placeholder on page 238. You can adjust placeholder clips to any duration. Placeholder clipChapter 8 Edit your project 102 • To insert a gap clip: Choose Edit > Insert Gap (or press Option-W). Final Cut Pro inserts a blank clip (containing blank video and silent audio) that you can adjust to any duration. (The film industry term for this is slug.) Gap clip Note: Gap clip color is determined by the current background color in Final Cut Pro. To adjust the background color, choose a Player Background option in the Playback pane of the Final Cut Pro Preferences window. If you want a different color, consider using a solid generator. The clip appears in the Timeline, and all clips after the insertion point are rippled forward (to the right). Insert clips by dragging them from the Event Browser, a media browser, or the Finder You can insert clips between clips in the Timeline by dragging them from the Event Browser, another Final Cut Pro media browser, or the Finder. m Drag the clip you want to insert to an edit point (between two clips) in the Timeline. The clip appears in the Timeline, and all clips after the insertion point are rippled forward (to the right).Chapter 8 Edit your project 103 Connect clips to add cutaway shots, titles, and synchronized sound effects You can attach clips to other clips in the Timeline. Connected clips remain attached and synchronized until you explicitly move or remove them. A B C D A B C D After edit Before edit Some uses for connected clips include: • Cutaway shots: Add a cutaway shot by connecting it to a video clip in the Timeline. • Superimpose titles: Add a title or a lower third to a video clip or range. • Spot sound effects and background music: Synchronize audio clips to clips in the primary storyline. The clips will remain synchronized even if you move the primary storyline clips. When you use the Connect menu command, keyboard shortcut, or toolbar button, video clips (blue) are connected above the primary storyline and audio clips (green) are connected below the primary storyline: Connected clip Connected audio-only clip Primary storyline Note: You can use three-point editing to make connect edits. For more information, see Threepoint editing overview on page 275.Chapter 8 Edit your project 104 Connect clips in the Timeline 1 If your project is empty, add clips to the dark gray primary storyline area in the Timeline to build your initial sequence. The clips in the primary storyline serve as a foundation on which you connect (attach) clips to further build your project. Connect edits are slightly different than the other edit types in that they never add clips to the primary storyline. If you perform a connect edit in an empty Timeline, Final Cut Pro first adds a gap clip to the primary storyline and attaches the new connected clip to it. 2 Select one or more clips or a range in the Event Browser. 3 Do one of the following to indicate where you want to connect the selected source clip: • Position the playhead over the frame of the clip in the primary storyline. • Make a range selection in the primary storyline. 4 To connect the selected clips to the clips in the primary storyline, do one of the following: • Choose Edit > Connect to Primary Storyline (or press Q). Note: If you use the keyboard shortcut and the skimmer is present in the Timeline, the clip will be connected at the skimmer position. • Click the Connect button in the toolbar. • Drag the clips to the gray area above or below the primary storyline.Chapter 8 Edit your project 105 The first frame of the source selection is connected to the clip in the primary storyline at the playhead or skimmer position. If you dragged the selection to the Timeline, the first frame of the source selection is connected to the primary storyline at the point where you released the mouse button. Connection point Connected clip Primary storyline When you rearrange, move, ripple, or remove clips in the primary storyline, any clips connected to them will move (or be deleted) along with the primary storyline clips. Chapter 8 Edit your project 106 When you connect clips by dragging them, you have the option to put video clips below the primary storyline or put audio clips above the primary storyline. Connected audio-only clip Connected audio/video clip Title Note: In Final Cut Pro, if you connect clips, the topmost video clips block out any video clips below them. Exceptions to this rule are clips with some type of transparency, keying, or compositing settings. For more information, see Compositing overview on page 351. Audio clips never affect video output, even when they are placed above video clips in the Timeline. Adjust the connection point of a connected clip By default, connected clips and storylines are connected to the primary storyline at their first frame, but you can move the “connection point” of a connected clip or storyline. This is useful when you want to connect a specific frame or audio sample in the connected clip or storyline with a specific frame or audio sample in the primary storyline. m Hold down the Command and Option keys, and click the connected clip (or the gray border of the storyline) at the point where you want to position the connection point. The connection point is moved to the point where you clicked. Default connection point New connection point positionChapter 8 Edit your project 107 Move, trim, or delete clips in the primary storyline without affecting connected clips If you need to move or trim clips in the primary storyline but want to keep any connected clips where they are, you can hold down the Grave Accent (`) key while editing to preserve the timing and position of connected clips. m To move a clip without affecting connected clips: While holding down the Grave Accent (`) key,drag the clip to another location in the Timeline (using either the Select tool or the Position tool). Hold down the Grave Accent (`) key and drag the clip. The connected clip remains in place. m To trim a clip without affecting connected clips: While holding down the Grave Accent (`) key,trim the clip using any method, including ripple edits, roll edits, slip edits, and slide edits. m To delete a clip without affecting connected clips: While holding down the Grave Accent (`) key, select the clip and press Delete (or press Command-Option-Delete). For more information about removing clips or ranges that have connected clips, see Remove clips from your project on page 115. m To switch to an alternate clip in an audition without affecting connected clips: While holding down the Grave Accent (`) key,select the pick in the Audition window. For more information, see Use auditions to try out clips in your project on page 284. In all of these cases, the connected clip (or clips) remains exactly in the same position, with its timing preserved. If you remove clips or ranges involved with connected clips and storylines without holding down the Grave Accent (`) key, special rules apply. For more information, see Remove clips from your project on page 115.Chapter 8 Edit your project 108 Overwrite parts of your project In an overwrite edit, one or more source clips overwrite any clips in the primary storyline or a selected storyline, starting at a range selection start point or at the playhead or skimmer position. No clip items are rippled forward, so the duration of your project remains the same. A B C A D B C D After edit Before edit Overwriting media is different from replacing it. Overwriting works with range selections only, not entire clips, and it is not constrained by clip boundaries. Use an overwrite edit when you want to edit media for a specific span of time, rather than specific shots. Note: You can use three-point editing to make overwrite edits. For more information, see Threepoint editing overview on page 275. Overwrite clips in the Timeline with clips from the Event Browser 1 Select one or more clips in the Event Browser. If there are multiple source clips in the selection, the clips will appear in the Timeline in the order in which they were selected. 2 To define where you want the overwrite clip to start in the Timeline, do one of the following in the primary storyline or a selected storyline: • Position the playhead. • Select a range involving one or more clips in the Timeline. Note: The overwrite command ignores whole clip selections in the Timeline. If you don’t select a range in the Timeline, Final Cut Pro positions the start of the overwrite clip at the playhead or skimmer position. 3 Choose Edit > Overwrite (or press D). The source clip appears in the primary storyline and overwrites any clips for the duration of the source clip. Note: If you use the keyboard shortcut and the skimmer is present in the Timeline, the edit will occur at the skimmer position. To overwrite from the playhead back, so that the overwrite clip’s end point (rather than its start point) is aligned at the target position, press Shift-D.Chapter 8 Edit your project 109 Replace a clip in your project with another clip You can replace clips in your project with clips from the Event Browser, other Final Cut Pro media browsers, or the Finder. In contrast to overwrite edits, replacing works on whole Timeline clips only and can change the duration of your project. A B C A D C D After edit Before edit Replace options include using the start or end of the source clip, as well as automatically creating or adding to auditions. Replace a clip in the Timeline with one or more clips by dragging 1 Do one of the following to make a source selection: • Select a clip or range in the Event Browser. • Select a media item in one of the Final Cut Pro media browsers or in the Finder. 2 Drag the source selection over the clip in the Timeline you want to replace. The target clip in the Timeline is highlighted with a white outline.Chapter 8 Edit your project 110 3 Release the mouse button and choose an option from the shortcut menu: • Replace: The target clip is replaced with the source clip selection. The duration is determined by the duration of the source clip selection. If the source clip selection and the target clip have different durations, the subsequent clips ripple. • Replace from Start: The target clip is replaced with the source clip selection, starting from the beginning of the source selection. The duration is determined by the duration of the Timeline clip. • Replace from End: The target clip is replaced with the source clip selection, starting from the end of the source selection. The duration is determined by the duration of the Timeline clip. • Replace and add to Audition: The target clip is replaced with an audition that has the source clip selection as the pick and the target clip as an alternate. The duration is determined by the source clip selection. If the source clip and the target clip have different durations, the subsequent clips ripple. • Add to Audition: The target clip is replaced with an audition that has the target clip as the pick and the source clip selection as an alternate. • Cancel: The replace edit is canceled. The source clip selection appears in the Timeline, in place of the original clip. The source clip selection appears in the Timeline. Note: In the case of Replace from Start and Replace from End, if the source clip selection is a range selection with a shorter duration than that of the target clip and there is sufficient extra media, Final Cut Pro extends the duration of the source selection to match the target clip duration. The resulting storyline duration does not change.Chapter 8 Edit your project 111 Replace a clip in the Timeline using keyboard shortcuts 1 In the Event Browser, select the source clip or range. 2 In the Timeline, select the clip you want to replace. Note: This must be a whole clip selection, not a range selection. For more information, see About selections and filmstrips on page 90. 3 Do one of the following: • To perform a standard replace edit: Press Shift-R. The target clip is replaced with the source clip selection. The duration is determined by the duration of the source clip selection. If the source clip selection and the target clip have different durations, the subsequent clips ripple. • To perform a Replace from Start edit: Press Option-R. The target clip is replaced with the source clip, starting from the beginning of the source clip. The duration is determined by the duration of the Timeline clip. Note: In the case of Replace from Start, if the source clip selection is a range selection with a shorter duration than that of the target clip and there is sufficient extra media, Final Cut Pro extends the source selection to match the target clip duration. The resulting storyline duration does not change. The source clip selection appears in the Timeline, in place of the original clip. Add and edit still images In Final Cut Pro, you can add and edit a variety of still-image formats in your projects, including photos and graphics files. Add a still image to the Timeline You can add still images to your project from the Event Browser or the Photos Browser. m To add a still image from the Event Browser: Import the still image into an event, and then select all or part of the still-image clip and drag it from the Event Browser to the Timeline. Note: Once a still image is imported, it functions like any other clip in Final Cut Pro. You can use any of the techniques described in this chapter to add still-image clips to the Timeline. m To add a still image from the Photos Browser: Open the Photos Browser, select a still image, and drag it directly into the Timeline. The default initial duration for range selections in still images is 4 seconds, but you can change this setting in the Editing pane of Final Cut Pro preferences. There is no limit on the duration of a still-image clip. To adjust the duration of a still-image clip in the Timeline, use any of the trimming techniques described in this chapter. To adjust the duration of multiple still-image clips at once, select the clips and choose Modify > Change Duration (or press Control-D).Chapter 8 Edit your project 112 Add layered graphics files to the Timeline You can add layered graphics files, such as Adobe Photoshop (PSD) files, created with another image editing application to the Timeline. 1 Import the layered graphics file into an event. Important: If the layered graphics file has a transparent background, make sure your project’s render format is set to Apple ProRes 4444 to preserve the transparency when rendering. See Modify a project’s name and properties on page 83. 2 In the Event Browser, Control-click the layered graphics image and choose Open in Timeline from the shortcut menu. Each layer appears in the Timeline as a connected clip that you can edit as you would any other clip. For example, you can animate layers by fading them in or out. Layered graphics image in the Viewer Clips representing individual layers The default duration for a layered graphics file is one minute. To adjust the duration of one of the layers in the Timeline, use any of the trimming techniques described in this chapter. To adjust the duration of all the layers, select them and choose Modify > Change Duration (or press Control-D). For more information on creating layered graphics files for Final Cut Pro, go to http://support.apple.com/kb/HT5152. Edit a still image with an external image editing application You can modify a still image with an external image editing application, and the changes appear automatically in the clip in Final Cut Pro. 1 To add a still-image clip to the Timeline, follow the steps above. 2 To locate the clip’s source media file in the Finder, press Command-Shift-R. 3 Open the source media file in the external image editing application. 4 In the image editing application, modify the image and save the changes. 5 Switch back to Final Cut Pro. The changes appear automatically in the still-image clip in Final Cut Pro.Chapter 8 Edit your project 113 You can also create freeze frames from your video clips. For more information, see Create freeze frames on page 113. Create freeze frames You can easily create freeze-frame clips from any video clip. Freeze-frame clips hold a particular frame in place, temporarily stopping the action onscreen. You can create freeze-frame clips from clips in the Timeline or the Event Browser. If you create a freeze-frame clip from the Event Browser, it is attached to the primary storyline at the playhead location as a connected clip. You can create freeze frames on the fly during playback or by navigating to a specific frame in a clip. Note: A freeze-frame clip preserves any attributes that were applied to the source clip, such as settings and effects. Create a freeze-frame clip 1 In the Timeline or the Event Browser, do one of the following: • Move the skimmer or playhead to the frame you want to freeze. • Begin playback of the clip. 2 Choose Edit > Add Freeze Frame (or press Option-F). How the freeze frame is added to the project depends on whether the freeze frame was created from the Timeline or the Event Browser. • If you created the freeze frame from a clip in the Timeline: A new freeze-frame clip is inserted at the skimmer or playhead location in the Timeline. • If you created the freeze frame from a clip in the Event Browser: A new freeze-frame clip is attached as a connected clip at the playhead location in the Timeline.Chapter 8 Edit your project 114 Change the default duration of freeze-frame clips Freeze-frame clips have the same default duration as still-image clips: 4 seconds. You can change the default duration in Final Cut Pro preferences. 1 Choose Final Cut Pro > Preferences (or press Command-Comma), and click the Editing button at the top of the window. 2 Adjust the Still Images value slider. If you don’t want to create a separate clip for freeze frames, you can create a hold segment using the Retime pop-up menu. For more information, see Create a hold segment on page 294. Add clips using video-only or audio-only mode By default, whenever you add clips from an event to the Timeline, all of the video and audio components of the event clip are included in the edit. However, you can also add just the video portion or just the audio portion of event clips to the Timeline, even if the event clips contain both video and audio. Make video-only or audio-only edits 1 To set the edit mode, do one of the following: • To add just the video from your selection to the Timeline: Choose Video Only from the Edit pop-up menu in the toolbar (or press Shift-2). • To add just the audio from your selection to the Timeline: Choose Audio Only from the Edit pop-up menu in the toolbar (or press Shift-3). The edit buttons in the toolbar change their appearance to indicate the mode you selected: Video-only mode Audio-only mode 2 Add clips to the Timeline as you normally would. The video-only or audio-only clip appears in the Timeline. To return to the default (video and audio) mode, choose All from the Edit pop-up menu in the toolbar (or press Shift-1).Chapter 8 Edit your project 115 Remove clips from your project When you remove clips from a project in the Timeline, the source media in events, the Final Cut Pro media browsers, and the Finder is not affected. Delete clips or ranges from the Timeline 1 In the Timeline, select the clips or the range you want to remove. 2 Choose Edit > Delete (or press the Delete key). The selected clips or portions of clips are removed from the Timeline and any clips to the right of the selection ripple to close the resulting gap. To undo the deletion immediately, choose Edit > Undo (or press Command-Z). Note: Normally, if you select an entire Timeline clip (for example, with the C key) or a range that consists of an entire clip (for example, with the X key) and delete it, any connected clips or storylines are also deleted. However, it’s possible to delete a clip without affecting its connected clips by holding down the Grave Accent (`) key while pressing the Delete key. For more information, see “Move, trim, or delete clips in the primary storyline without affecting connected clips” in Connect clips to add cutaway shots, titles, and synchronized sound effects on page 103. Also, if you delete a partial range of a clip that includes a connected clip or storyline, the connected items are not deleted but are instead shifted to the closest primary storyline clip. Delete clips or ranges without affecting the total project duration and timing If you want to remove clips from the Timeline but still maintain the total project duration and timing, you can replace clips with gap clips. This method prevents any ripple edits. 1 Select the clips or range you want to remove. 2 Choose Edit > Replace with Gap (or press Shift-Delete). Final Cut Pro replaces the selection in the Timeline with a gap clip. Note: This method preserves connected clips. When you replace a clip with a gap clip, any connected clips will be attached to the resulting gap clip.Chapter 8 Edit your project 116 Solo, disable, and enable clips Sometimes, it’s helpful to compare how a sequence plays with and without certain clips. In Final Cut Pro, you can quickly play one clip’s audio, excluding audio from other clips. This feature, called solo, works by disabling the audio in all unselected clips in the Timeline. You can also disable (rather than delete) selected clips, making them invisible and silent during playback. Disabled clips do not appear in any output. You can just as easily reenable them. Solo selected items When you want to focus on a subset of clips in the Timeline in isolation, you can select the clips and solo them. 1 In the Timeline, select the clips you want to isolate. 2 Do one of the following: • Choose Clip > Solo (or press Option-S). • Click the Solo button in the upper-right corner of the Timeline. When solo is turned on, the Solo button turns yellow, and nonsoloed clips are shown in black and white, making the soloed clips outlined in yellow easy to identify. 3 To turn off solo, click the Solo button again. Disable and reenable one or more clips 1 Select one or more clips in the Timeline. 2 Choose Clip > Disable (or press V). Disabled clips are dimmed in the Timeline and are invisible and silent during playback. Disabled clip Enabled clip 3 To reenable the disabled clips, select them in the Timeline and choose Clip > Disable (or press V). Chapter 8 Edit your project 117 Find a Timeline clip’s source clip You can quickly find the source event clip for any clip you’re using in your project in the Timeline. This is particularly useful if you want to duplicate a clip in your project or add the same clip to a different project. Find and reveal the source event clip for a Timeline clip 1 In the Timeline, select the clip whose source event clip you want to locate. 2 Do one of the following: • Choose Clip > Reveal in Event Browser (or press Shift-F). • Control-click the clip and choose Reveal in Event Browser from the shortcut menu. A selection border appears around the source clip in the Event Browser, and the playhead position in the source clip matches the playhead position in the Timeline clip. Arrange clipsin the Timeline In Final Cut Pro, you can arrange and reorder the clips in your project however you want. If you add or move a clip in the Timeline by dragging, Final Cut Pro moves other clips to make room for it. Other reordering techniques include moving clips numerically by entering a timecode value, nudging clips with keyboard shortcuts, overwriting with the Position tool, and moving clips vertically from and to the primary storyline. Move clips by dragging horizontally m In the Timeline, select one or more clips and drag them to a new location in the project. As you drag your clips, you see an outline of your selection at the new position in the Timeline. When you release the mouse button, the repositioned clip (or clips) appears at the new location. Final Cut Pro ripples clips (and any connected clips) in the Timeline to make room for the repositioned clips and to close the gap left by the clips that were repositioned. You can also drag clips vertically in and out of the primary storyline. Note: This method of moving clips horizontally is the functional equivalent of a shuffle edit in Final Cut Pro 7, just easier.Chapter 8 Edit your project 118 Move clips by entering a timecode value You can move selected clips in the Timeline by entering an amount of time you want the clips to move. 1 Select one or more clips in the Timeline. 2 Do either or both of the following: • To move the clips forward: Press the Plus Sign (+) key, and type a timecode duration for the move. • To move the clips back: Press the Hyphen (-) key, and type a timecode duration for the move. Note: For more information and tips on entering timecode, see Navigate using timecode on page 144. The timecode entry field (with blue numbers) appears in the Dashboard in the toolbar as you type. Timecode entry field in the Dashboard 3 Press Return. The clips move forward or back by the duration you entered and overwrite any clips at the new location. If the selected clips are in a storyline, a gap clip fills in vacated parts of the storyline. The clip moves forward or back by the duration you entered. A gap clip fills the vacated part of the storyline.Chapter 8 Edit your project 119 Nudge clips with keyboard shortcuts The nudging feature in Final Cut Pro allows you to move selected items by very small amounts, such as frames or subframes (for connected audio-only clips). 1 Select one or more clips in the Timeline. 2 To nudge the clips, do any of the following: • To move the selection left by one frame: Press Comma (,). • To move the selection left by 10 frames: Press Shift-Comma (,). • To move the selection right by one frame: Press Period (.). • To move the selection right by 10 frames: Press Shift-Period (.). 3 If you want to nudge connected audio clips by one or more subframes, do any of the following: • To move the selection left by one subframe: Press Option-Comma (,). • To move the selection left by 10 subframes: Press Shift-Option-Comma (,). • To move the selection right by one subframe: Press Option-Period (.). • To move the selection right by 10 subframes: Press Shift-Option-Period (.). For more information about subframes, see View audio waveforms at the audio sample level on page 163. The moved clips overwrite any clips at the new location. A gap clip fills in vacated parts of the Timeline. Overwrite clips using the Position tool You can move clips by dragging them in the Timeline to overwrite other clips. This allows you to place clips precisely without causing other clips to move to make room. 1 Choose the Position tool from the Tools pop-up menu in the toolbar (or press P). The pointer changes to the Position tool icon. Tip: To switch to the Position tool temporarily, hold down the P key. When you release the P key, the tool reverts to the previously active tool.Chapter 8 Edit your project 120 2 Select the clip you want to move. 3 Drag the clip to a new position in the Timeline. The moved clip overwrites any clips at the new position. A gap clip fills in the vacated part of the Timeline. Note: If you prefer to move clips left or right in the Timeline without leaving a gap, you may want to perform a slide edit. To return to the Select tool (the default), choose it from the Tools pop-up menu in the toolbar (or press A). Drag clips from and to the primary storyline You can drag clips from and to the primary storyline. This technique employs ripple edits, which affect the total duration of your project. When you move a clip out of the primary storyline, it becomes either an individual connected clip or part of a connected storyline. 1 If the Select tool is not the active tool, choose it from the Tools pop-up menu in the toolbar (or press A). 2 Select one or more clips (either clips in the primary storyline or connected clips).Chapter 8 Edit your project 121 3 Do either of the following: • To move clips out of the primary storyline: Drag the clips from the primary storyline to their new position as connected clips (above or below the primary storyline). The subsequent clips in the primary storyline ripple left to close the gap left by the clips you moved. Drag the clip to its new position as a connected clip. Subsequent clips ripple left to close the gap. • To move clips to the primary storyline: Drag the clips from their position as connected clips to an edit point between two clips in the primary storyline. The result is effectively an insert edit: the former connected clips are inserted in the primary storyline and subsequent clips ripple right to make room for the new clips.Chapter 8 Edit your project 122 Note: You can drag clips from and to the primary storyline as long as there are no clips connected to them. If there is a connected clip, you must first move or remove the connected clip or use the Lift from Primary Storyline or Overwrite to Primary Storyline command. Move clips from and to the primary storyline without rippling the project You can move clips from and to the primary storyline without affecting the total duration of your project. 1 Select the clips you want to move. 2 Do either of the following: • To move selected clips from the primary storyline to connected clips at the same Timeline position: Choose Edit > Lift from Primary Storyline (or press Command-Option-Up Arrow). New connected clip at the same Timeline position A gap clip fills in the vacated part of the primary storyline. Gap clips fill in the vacated parts of the primary storyline, as needed. • To move selected connected clips to the primary storyline: Choose Edit > Overwrite to Primary Storyline (or press Command-Option-Down Arrow). Depending on the amount of overlap on the connected clip, the Overwrite to Primary Storyline command either creates a split edit or overwrites any video clips at the new location and converts the audio portion of the overwritten clip to a connected clip. The Overwrite to Primary Storyline command is not available for audio-only clips. Note: The Overwrite to Primary Storyline command works on individual connected clips only.To use this command on a clip in a connected storyline, first move the clip out of the storyline. You can achieve the same results by dragging clips with the Position tool.Chapter 8 Edit your project 123 Cut and trim clips Trimming overview After you’ve roughly assembled your clips in chronological order in the Timeline, you begin to fine-tune the cut point (or edit point) between each pair of contiguous clips. Any time you make a clip in a project longer or shorter, you’re trimming that clip. However, trimming generally refers to precision adjustments of anywhere from one frame to several seconds. If you’re adjusting clip durations by much larger amounts, you’re still trimming, but you may not be in the fine-tuning phase of editing yet. In Final Cut Pro, you can use a variety of techniques to trim Timeline clips and edit points, including ripple edits, roll edits, slip edits, and slide edits. No matter how you trim or make other edits in Final Cut Pro, the underlying media is never touched. Trimmed or deleted pieces of clips are removed from your project only, not from the source clips in your Event Library or from the source media files on your hard disk. Tip: You can see a “two-up” display in the Viewer as you trim edit points in the Timeline. For more information, see Show detailed trimming feedback on page 138. Cut clips with the Blade tool Once you’ve added clips to the Timeline, you can easily cut them to adjust their durations or to remove unwanted sections. The most basic edit is a straight cut. The term comes from the film editing process of cutting a filmstrip with a razor and attaching a new “clip” with glue. Each time you cut a clip in your project, it is split into two clips. You can cut one clip at a time or multiple clips at a time. Cut a clip in the Timeline 1 Choose the Blade tool from the Tools pop-up menu in the toolbar (or press B). The pointer changes to the Blade tool icon . Tip: To switch to the Blade tool temporarily, hold down the B key. When you release the B key, the tool reverts to the previously active tool.Chapter 8 Edit your project 124 2 Move the skimmer to the frame in the clip where you want to cut, and click. Blade tool Tip: You can also cut clips while playing back your project. To cut clips on the fly, press Command-B at any time while your project plays back. An edit point appears where you clicked, and the clip is divided into two clips. New edit point Cut all clips at once You can use the Blade All command to cut all primary storyline clips and connected clips at the skimmer or playhead location simultaneously. 1 In the Timeline, move the skimmer to the frame where you want to cut. 2 Choose Edit > Blade All (or press Command-Shift-B). All clips at the skimmer position are cut.Chapter 8 Edit your project 125 Cut multiple selected clips at once You can use the Blade command to cut selected primary storyline clips and connected clips simultaneously. 1 In the Timeline, select the clips you want to cut. 2 Move the skimmer to the frame where you want to cut. 3 Choose Edit > Blade (or press Command-B). The selected clips are cut at the skimmer position. Note: If you don’t make a selection, this command acts only on the clip in the primary storyline.Chapter 8 Edit your project 126 Extend or shorten a clip You can trim a clip in your project by adjusting the start point or end point of the clip. The default type of trim in Final Cut Pro is a ripple trim, which adjusts a clip’s start point or end point without leaving a gap in the Timeline. The change in the clip’s duration ripples outward, moving all subsequent clips earlier or later in the Timeline. A B C A B C Before edit After edit Similarly, if you delete a clip from the Timeline, subsequent clips ripple earlier to close the gap. Ripple edits affect the trimmed clip, the position of all subsequent clips in the Timeline, and the total duration of your project. You can see a “two-up” display in the Viewer as you trim edit points in the Timeline. This display shows a more detailed view of each side of an edit point. For more information, see Show detailed trimming feedback on page 138. Drag edit points with the Select tool 1 In the Timeline, move the pointer to the start point or the end point of the clip you want to trim. The pointer changes from an arrow icon to a trim icon. The look of the trim icon changes to indicate whether the trim will affect the end point of the left clip or the start point of the right clip. Trim the left clip’s end point. Trim the right clip’s start point. 2 Drag the start point or the end point in the direction you want to trim the clip. As you drag, the clip shortens or lengthens. Numerical timecode fields indicate the duration of the clip and the amount of time you are moving the edit point. Any clips to the right of the edit point are rippled accordingly. Chapter 8 Edit your project 127 When you extend a clip to its maximum length in either direction, the clip edge turns red. Enter a new duration for a clip using timecode You can change the total duration of one or more selected clips by entering a timecode value. 1 Select one or more clips in the Timeline. 2 Do one of the following: • Choose Modify > Change Duration (or press Control-D). • Double-click in the center of the Dashboard in the toolbar. The timecode entry field appears in the Dashboard. 3 Enter a new duration for the selected clip. Final Cut Pro moves the end point of the clip to the duration you entered, and any subsequent Timeline clips ripple accordingly. For more information about entering timecode values, see Navigate using timecode on page 144. Note: If you enter a duration longer than the available media in the clip, Final Cut Pro extends the duration to the maximum length of the clip. Trim to a selection 1 In the Timeline, select the part of a clip that you want to keep. Original clip Range selection For information about making range selections, see Select a range on page 93.Chapter 8 Edit your project 128 2 Choose Edit >Trim to Selection. Final Cut Pro trims the clip start and end points to the range selection. Trimmed clip The unwanted sections are removed from the clip and the project, and the subsequent clips in the project ripple accordingly. Nudge edit points with keyboard shortcuts You can fine-tune the start or end point of a clip using keyboard shortcuts. You can move the edit point by one or more video frames, and you can also move the edit points of connected audio clips (those not in the primary storyline) by subframes. 1 In the Timeline, select the start or end point of the clip you want to trim. 2 To move the edit point, do any of the following: • To move the edit point left by one frame: Press Comma (,). • To move the edit point left by 10 frames: Press Shift-Comma (,). • To move the edit point right by one frame: Press Period (.). • To move the edit point right by 10 frames: Press Shift-Period (.). 3 If you want to move the edit point of connected audio clips by one or more subframes, do any of the following: • To move the edit point left by one subframe: Press Option-Comma (,). • To move the edit point left by 10 subframes: Press Shift-Option-Comma (,). • To move the edit point right by one subframe: Press Option-Period (.). • To move the edit point right by 10 subframes: Press Shift-Option-Period (.). For more information about subframes, see View audio waveforms at the audio sample level on page 163. The clip is trimmed and the Timeline updates accordingly.Chapter 8 Edit your project 129 Move edit points to the playhead You can adjust selected edit points in the Timeline, either as a ripple edit or a roll edit, using keyboard shortcuts. 1 In the Timeline, select the edit point you want to adjust. Selected end point Note: For a roll edit, select both sides of the edit point with the Trim tool. 2 Position the playhead or the skimmer at the point in the Timeline to which you want to move the edit point. Skimmer 3 Choose Edit > Extend Edit (or press Shift-X). The edit point is extended (or shortened) to the playhead or skimmer position. The clip’s end point is extended to the skimmer position, and subsequent clips ripple right. In the example above, if you selected the end point of the clip, subsequent clips in the Timeline are rippled accordingly. If you selected both sides of the edit point with the Trim tool, the right clip is shortened (with a roll edit) and no clips ripple.Chapter 8 Edit your project 130 Trim edit points using timecode You can trim clips numerically by entering timecode values. 1 If the Select tool is not the active tool, choose it from the Tools pop-up menu in the toolbar (or press A). 2 In the Timeline, select the start point or the end point of the clip you want to trim. 3 To trim the edit point, do one of the following: • To move the edit point forward: Press the Plus Sign (+) key, type a timecode duration for the trim, and press Enter. • To move the edit point back: Press the Minus Sign (–) key, type a timecode duration for the trim, and press Enter. The timecode entry field (with blue numbers and the plus or minus sign) appears in the Dashboard in the toolbar as you type. Timecode entry field The clip is shortened or extended by the amount of time you entered, and subsequent clips in the Timeline are rippled accordingly. Note: You cannot use this feature to extend a clip beyond its maximum duration. For more information and tips on entering timecode, see Navigate using timecode on page 144.Chapter 8 Edit your project 131 Cut the start or end of a clip at the playhead Some of your video clips may have sections at the beginning or the end that you don’t want to include in your project. You can easily trim off these ranges with a single command, even while playing back the project. No selections are required. This type of edit is sometimes called a top and tail edit. 1 In the Timeline, position the playhead or the skimmer on the frame at which you want to trim the clip. Skimmer Original clip 2 Do one of the following: • To trim off the start of the clip: Choose Edit > Trim Start, or press Option-Left Bracket ([). • To trim off the end of the clip: Choose Edit > Trim End, or press Option-Right Bracket (]). The clip is trimmed to the playhead (or skimmer) position, and the Timeline updates accordingly. New end point of the trimmed clip Trimmed clip In the case of connected clips or storylines, Final Cut Pro trims the selected clip. If there is no selection, Final Cut Pro trims the topmost clip.Chapter 8 Edit your project 132 Make roll edits with the Trim tool A roll edit adjusts the start point and the end point of two adjacent clips simultaneously. If you like where two clips are placed in the Timeline, but you want to change when the cut point happens, you can use the Trim tool to roll the edit point between the two clips. No clips move in the Timeline as a result; only the edit point between the two clips moves. No other clips in the project are affected. When you perform a roll edit, the overall duration of the project stays the same, but both clips change duration. One gets longer while the other gets shorter to compensate. A B C A B C Before edit After edit In the example above, clip B gets shorter while clip C becomes longer, but the combined duration of the two clips stays the same. You can see a “two-up” display in the Viewer as you trim edit points in the Timeline. This display shows a more detailed view of each side of an edit point. For more information, see Show detailed trimming feedback on page 138. Roll an edit point 1 Choose the Trim tool from the Tools pop-up menu in the toolbar (or press T). The pointer changes to the Trim tool icon . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool.Chapter 8 Edit your project 133 2 In the Timeline, click the center of the edit point you want to roll so that both sides of the edit point are selected. 3 Do one of the following: • Drag the edit point left or right. • Press the Plus Sign (+) key or the Minus Sign (–) key followed by the timecode duration to add or subtract from the current edit, and press Return. The timecode entry field (with blue numbers) appears in the Dashboard in the toolbar as you type. For more information about entering timecode values, see Navigate using timecode on page 144. • Position the playhead or skimmer at a point in the Timeline to which you want to move the edit point, and choose Edit > Extend Edit (or press Shift-X). The edit point is rolled to the new location. The combined duration of the two clips stays the same. If you can’t roll the edit point any farther and one side of the edit point appears red, you’ve reached the end of the media for one of the two clips.Chapter 8 Edit your project 134 Make slip edits with the Trim tool Performing a slip edit doesn’t change a clip’s position or duration in the Timeline, but instead changes what portion of the clip’s media appears in the Timeline. A slip edit allows you to change a clip’s start and end points simultaneously. Whenever you arrange clips in the Timeline so that edit points line up with musical beats or other fixed sync points in a movie, you want to keep your clips in position to maintain the alignment. These situations leave you with very little room to adjust a clip because you cannot change its duration or move it elsewhere in the Timeline. All you can do is move both the start and end points of the clip simultaneously, keeping the clip’s position and duration fixed. The portion of the clip seen in the project changes, but its position in the Timeline stays the same. Surrounding clips are not affected, and the overall duration of your project doesn’t change. 00:00:10:00 00:00:30:00 A B C Before edit 00:00:17:00 00:00:37:00 After edit A B C In the example above, the slip edit changes the start and end points of clip B, but not its duration or position in the Timeline. When the project plays back, a different portion of clip B’s media is shown. Note: To slip a clip, it must have media handles on both sides, meaning that there must be additional media available on both the head and the tail of the clip. If you’re having trouble slipping a clip, check that the clip has media handles on both sides. You can double-click any edit point to view or adjust its media handles in the Precision Editor. If there are no media handles available, consider using the Position tool instead. For more information about the Position tool, see Arrange clips in the Timeline on page 117. For more accurate visual feedback on edits involving contiguous clips, you can turn on “Show detailed trimming feedback” in Final Cut Pro preferences. For a slip edit, this “two-up” display in the Viewer shows the start and end points of the clip you’re slipping. For more information, see Show detailed trimming feedback on page 138.Chapter 8 Edit your project 135 Slip a clip in the Timeline 1 Choose the Trim tool from the Tools pop-up menu in the toolbar (or press T). The pointer changes to the Trim tool icon . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 2 Drag a clip left or right. As you drag, a timecode field indicates the amount of time you’re moving the start point and the end point. Yellow edge selections on the start point and end point indicate a slip edit. New position of frame Yellow edge selections on the start point and end point indicate a slip edit. Original position of frame When you release the mouse button, the slipped clip appears in the Timeline with a new start point and a new end point.Chapter 8 Edit your project 136 With the current selection, you can also slip the clip with keyboard shortcuts by doing either of the following: • Nudge the start and end points (one frame or 10 frames) to the left or right. • Enter an amount of time to slip the clip left or right. Note: If either the start point or the end point turns red as you drag, you’ve reached the end of the available media for that side of the clip. Make slide edits with the Trim tool Performing a slide edit allows you to move a clip’s position in the Timeline between two other clips without creating a gap. The clip’s content and duration remain the same; only its position in the Timeline changes. When you slide a clip, the adjacent clips get longer and shorter to accommodate the change in the clip’s position. The combined duration of these three clips stays the same, and the project’s total duration remains unchanged as well. A B C A B C Before edit After edit Note: To slide a clip between two others, the preceding clip and the following clip must have media handles, additional media available beyond the edit point. You can double-click any edit point to view or adjust its media handles in the Precision Editor. If there are no media handles available, consider using the Position tool instead. For more information about the Position tool, see Arrange clips in the Timeline on page 117. For more accurate visual feedback on edits involving contiguous clips, you can turn on “Show detailed trimming feedback” in Final Cut Pro preferences. For a slide edit, this “two-up” display in the Viewer shows the two edit points you are adjusting: the end point of the preceding clip and the start point of the subsequent clip. For more information, see Show detailed trimming feedback on page 138.Chapter 8 Edit your project 137 Slide a clip in the Timeline 1 Choose the Trim tool from the Tools pop-up menu in the toolbar (or press T). The pointer changes to the Trim tool icon . Tip: To switch to the Trim tool temporarily, hold down the T key. When you release the T key, the tool reverts to the previously active tool. 2 Option-drag a clip to the left or right. Yellow selections on the neighboring clips indicate a slide edit. Original Timeline position Yellow selections on the neighboring clips indicate a slide edit. As you drag, a timecode field indicates the amount of time you’re moving the clip in the Timeline. This clip’s duration is the same. This clip is longer. This clip is shorter. New Timeline position When you release the mouse button, the slide clip appears at the new position in the Timeline. The adjacent clips are trimmed to accommodate the change in the clip’s position.Chapter 8 Edit your project 138 With the current selection, you can also slide the clip with keyboard shortcuts by doing either of the following: • Nudge it (one frame or 10 frames) to the left or right. • Enter an amount of time to slide the clip left or right. For more information, see Arrange clips in the Timeline on page 117. Note: If either edit point turns red as you drag, you’ve reached the end of the available media for that side of the clip. Show detailed trimming feedback For more accurate visual feedback on edits involving contiguous or connected clips, you can turn on “Show detailed trimming feedback” in Final Cut Pro preferences. For example, for a simple ripple trim, this “two-up” display in the Viewer shows the end point of the left clip and the start point of the right clip. This display is available for ripple, roll, slip, and slide edits as well as for trimming in the Precision Editor. Turn on detailed trimming feedback 1 Choose Final Cut Pro > Preferences, or press Command-Comma (,). 2 Click Editing. 3 In the Timeline section, select the “Show detailed trimming feedback” checkbox. The “two-up” display appears in the Viewer whenever you use a supported edit type or when trimming in the Precision Editor.Chapter 8 Edit your project 139 Tip: You can use the Option key to change the detailed trimming feedback display on the fly. If detailed trimming feedback is enabled, press the Option key to disable it. If detailed trimming feedback is disabled, press the Option key to switch the view between the end point of the left clip and the start point of the right clip. View and navigate Zoom and scroll in the Timeline Being able to see and get to any point in your project is critical to efficient editing and storytelling. There are many ways to adjust the view of the Timeline. Learning keyboard shortcuts can save you time. Fit the entire contents of the Timeline into the available window size Whether you’re zoomed in to a single clip or zoomed out so far that all the clips in your project appear on the left side of the Timeline, you can quickly change the view so that all the clips fill the visible part of the Timeline and no scrolling is required. m Choose View > Zoom to Fit (or press Shift–Z). Before choosing Zoom to Fit After choosing Zoom to Fit Zoom in to and out of the Timeline using the Zoom slider m To zoom in to the Timeline: Drag the Zoom slider to the right, or press Command–Plus Sign (+). m To zoom out of the Timeline: Drag the Zoom slider to the left, or press Command–Minus Sign (–).Chapter 8 Edit your project 140 Zoom in to and out of the Timeline using the Zoom tool 1 Choose the Zoom tool from the Tools pop-up menu in the toolbar (or press Z). The pointer changes to the Zoom tool icon . Tip: To switch to the Zoom tool temporarily, hold down the Z key. When you release the Z key, the tool reverts to the previously active tool. 2 Do one of the following: • To zoom in to the Timeline: Click the section of the Timeline you want to zoom in to. (You can also drag over an area of the Timeline to zoom in to just that area.) Click multiple times to continue zooming in. • To zoom out of the Timeline: Option-click the section of the Timeline you want to zoom out of. Option-click multiple times to continue zooming out. Scroll a zoomed-in Timeline 1 Zoom in to the Timeline until you see a portion of the project only. 2 Do one of the following: • Drag the slider at the bottom of the Timeline left or right. • Drag the slider at the right side of the Timeline up or down. • Choose the Hand tool from the Tools pop-up menu in the toolbar (or press H), and drag in the Timeline. Tip: To switch to the Hand tool temporarily, hold down the H key. When you release the H key, the tool reverts to the previously active tool.Chapter 8 Edit your project 141 Adjust Timeline settings In Final Cut Pro, it’s very easy to adjust the Timeline display options. For example, you can show clips with or without video filmstrips or audio waveforms. Or you can change the vertical height of the clips or the size of filmstrips or audio waveforms in relation to the video thumbnails that appear in the filmstrip of each clip in the Timeline. You can also show only the clip labels. The snapping behavior makes it easier and quicker to do things like line up a video clip with an audio clip, or align the playhead to a particular marker. When snapping is turned on, items you move in the Timeline appear to jump, or “snap,” directly to certain points in the Timeline. This can help you quickly line up edits with other items in the project. Snapping affects the functions of many of the editing tools in Final Cut Pro, including the Select tool, the Trim tool, the Position tool, the Range Selection tool, and the Blade tool. Several elements trigger snapping in the Timeline: • Clip boundaries (start and end points) • The playhead and the skimmer • Markers • Keyframes • Range selections Adjust Timeline clip appearance and height 1 Click the Clip Appearance button in the lower-right corner of the Timeline. The Clip Appearance window appears. 2 Do one of the following: • To display clips with large audio waveforms only: Click the leftmost Clip Appearance button (or press Option-Control-1). • To display clips with large audio waveforms and small filmstrips: Click the second Clip Appearance button from the left (or press Option-Control-2).Chapter 8 Edit your project 142 • To display clips with audio waveforms and video filmstrips of equal size: Click the third Clip Appearance button from the left (or press Option-Control-3). • To display clips with small audio waveforms and large filmstrips: Click the third Clip Appearance button from the right (or press Option-Control-4). • To display clips with large filmstrips only: Click the second Clip Appearance button from the right (or press Option-Control-5). • To display clip labels only: Click the rightmost Clip Appearance button (or press Option-Control-6). Tip: To increase the size of audio waveforms for Timeline clips, press Option–Control–Up Arrow. To decrease the size of audio waveforms for Timeline clips, press Option–Control–Down Arrow. 3 To adjust the vertical height of clips in the Timeline, drag the Clip Height slider to the left to decrease the clip height, or to the right to increase the clip height. 4 To turn connection lines for connected clips and storylines on or off, select or deselect the Show Connections checkbox. 5 To adjust the clip label display, choose an option from the Show pop-up menu: • To view clips by name: Choose Clip Names. • To view clips by role: Choose Clip Roles. • To view multicam clips by the name of the active video angle and the active audio angle: Choose Clip Names or Angles. Enable or disable snapping While snapping is extremely useful, it can also be a hindrance if you’re trying to move a clip only a few frames among a series of markers and clip boundaries, and you don’t want it to snap to any of these points. Fortunately, you can turn snapping on or off at any time, even while you’re dragging a clip. Do one of the following: m Choose View > Snapping (or press N). A checkmark indicates that snapping is on. You can press N to turn snapping on or off while you’re dragging a clip. m Click the Snapping button in the upper-right corner of the Timeline.Chapter 8 Edit your project 143 When snapping is on, the Snapping button appears blue. Tip: To turn snapping on or off temporarily, hold down the N key. When you release the N key, snapping reverts to the previous state. Navigate within your project The ability to jump to any point in the Timeline instantly is one of the main benefits of a nonlinear editing environment. Final Cut Pro provides a variety of quick and easy ways to navigate your project. You can also use a text-based view of the Timeline to navigate and search your project. For more information, see Use the Timeline Index to view, navigate, and search your project on page 145. You can use the J, K, and L keys to play through a project with different speeds or directions. For more information, see Play back media on page 74. Navigate by skimming, clicking, or dragging m To skim to a frame in your project: Move the skimmer left and right over the clips in the Timeline to quickly view them in the Viewer. m To move the playhead to a frame in your project: Move the playhead by clicking or dragging in the ruler at the top of the Timeline, or by clicking in the Timeline background. Tip: To prevent the playhead from moving while you select a clip in the Timeline, press Option as you click. Navigate frame by frame To make it easier to find specific frames in a clip, you can step through the filmstrip frame by frame, rather than skimming it. 1 In the Timeline or the Event Browser, move your pointer over a filmstrip and click. 2 Do either of the following: • To move backward in one-frame increments: Choose Mark > Previous > Frame (or press the Left Arrow key). • To move forward in one-frame increments: Choose Mark > Next > Frame (or press the Right Arrow key). Navigate by subframe You can navigate clips by subframe. A subframe has 1/80 the duration of a video frame and is a more precise unit of reference when viewing or editing audio waveforms that are zoomed in to the sample level. Note: You can’t make edits to video at the subframe level. 1 In the Timeline or the Event Browser, move your pointer over a clip and click. 2 Do either of the following: • To move backward in one-subframe increments: Press Command-Left Arrow. • To move forward in one-subframe increments: Press Command-Right Arrow. Note: You can change the time display in the Dashboard to show subframes. For more information, see Editing preferences on page 418.Chapter 8 Edit your project 144 Navigate by jumping Use the following techniques to move the playhead quickly from point to point in the Timeline. m To go to the next edit point: Choose Mark > Next > Edit (or press the Down Arrow key), or click the Next Edit button below the Viewer. m To go to the previous edit point: Choose Mark > Previous > Edit (or press the Up Arrow key), or click the Previous Edit button below the Viewer. m To go to the start of the project: Choose Mark > Go to > Beginning (or press the Home key). m To go to the end of the project: Choose Mark > Go to > End (or press the End key). m To go to the next marker: Choose Mark > Next > Marker, or press Control–Apostrophe (’). m To go to the previous marker: Choose Mark > Previous > Marker, or press Control–Semicolon (;). For more information about markers, see Markers overview on page 149. Navigate using timecode Timecode is a signal recorded with your video that uniquely identifies each video frame. When you play a clip from the Event Browser, its timecode signal appears in the Dashboard, in the center of the Final Cut Pro toolbar, using this format: Timecode Hours Minutes Seconds Frames Timecode supports a variety of functions in Final Cut Pro, including Timeline playback, synchronizing video and audio clip items, and adding, trimming, and moving clips. In addition, timecode allows you to navigate through projects in the Timeline and see the duration of clips, range selections, and projects. Navigate by entering timecode To move the playhead to a new Timeline location, do either of the following: m To move the playhead to a specific Timeline location: Click once in the center of the Dashboard (or press Control-P), enter the new timecode value, and press Return. For example, to move the playhead to 01:40:31:03, press Control-P, and then enter “1403103” and press Return. m To move the playhead by a timecode duration: Make sure no clips are selected, and press the Plus Sign (+) or Minus Sign (–) key, enter the number of frames, seconds, or minutes you want to move the playhead, and press Return. For example, if you type “+1612” and press Return, the playhead moves ahead 16 seconds and 12 frames. Chapter 8 Edit your project 145 The new timecode values appear in the Dashboard as you enter them. When you press Return, the playhead moves to the new Timeline location. Here are some tips for entering timecode values: • You don’t have to enter the separator characters (colons). Final Cut Pro adds them automatically after each set of two digits. For example, if you enter “01221419,” Final Cut Pro interprets it as 01:22:14:19 (1 hour, 22 minutes, 14 seconds, and 19 frames). • If the leftmost fields are zeroes, you don’t have to enter them. For example, if you enter “1419,” Final Cut Pro interprets it as 00:00:14:19. If you enter “253407,” Final Cut Pro interprets it as 00:25:34:07. • If the rightmost fields are zeroes, you can use periods instead. For example, to move to timecode 00:00:03:00, type “3.” (3 and a period). To move to 03:00:00:00, type “3...” (3 and three periods). Instead of a period, you can also use a comma, plus sign, minus sign, colon, semicolon, or ampersand. Note: You can change the time display in the Dashboard to show timecode, timecode and subframes, just frames, or just seconds. For more information, see Editing preferences on page 418. Use the Timeline Index to view, navigate, and search your project The Timeline Index provides a text-based view of the clips and tags (various kinds of markers and keywords) used in your project in the Timeline. You can easily filter the Timeline Index to show only the items you want to see. Clips are listed in their order of appearance in the Timeline. You can also use the Timeline Index to navigate in the Timeline. The Timeline Index playhead appears in the list of items. When you play a project, the playhead moves down the list of items in the Timeline Index. When you select an item in the Timeline Index, the playhead automatically moves to the beginning of the item. Chapter 8 Edit your project 146 Show or hide the Timeline Index m Click the Timeline Index button in the lower-left corner of the Final Cut Pro main window (or press Command-Shift-2). The Timeline Index appears in the lower-left corner of the Final Cut Pro window. The Timeline Index playhead moves in tandem with the Timeline playhead. Timeline playhead View a list of items in the Timeline Index 1 If the Timeline Index is not already open, click the Timeline Index button in the lower-left corner of the Final Cut Pro main window (or press Command-Shift-2). 2 Do any of the following: • To view a list of the clips used in the Timeline, ordered chronologically: Click the Clips button at the top. You can do any of the following: • Rename clips. • See a list of clips by timecode in the Position column. • View, reassign, and edit roles in the Roles column. • View and add notes in the Notes column. • View the active angles of multicam clips in the Active Angle column.Chapter 8 Edit your project 147 You can specify which columns are displayed by Control-clicking a column heading and choosing an option from the shortcut menu. You can specify which items are displayed by clicking the All, Video, Audio, or Titles button at the bottom of the Timeline Index. • To view a list of all the tags on the clips in the Timeline, ordered chronologically: Click the Tags button at the top. Incomplete to-do item Keyword Completed to-do item Chapter marker Standard marker All of the tags are shown by default. You can specify which items are displayed by clicking a button at the bottom of the Timeline Index. You can show markers, keywords, analysis keywords, incomplete to-do items, completed to-do items, and chapter markers. Note: To-do items are types of markers.Chapter 8 Edit your project 148 • To view a list of clips in the Timeline, organized by role: Click the Roles button at the top. Select a role name in the list to highlight all clips in the Timeline with that role assigned. Select or deselect the checkboxes next to the roles you want to turn on or off in the Timeline. When a checkbox is deselected, you can’t see or hear clips with that assigned role when you play back your project. For more information, see View clips by role in the Timeline on page 305. Change a To Do marker In the Timeline Index, you can quickly change a To Do marker’s state from incomplete to completed. 1 If the Timeline Index is not already open, click the Timeline Index button in the lower-left corner of the Final Cut Pro main window (or press Command-Shift-2). 2 Click the checkbox for the To Do marker. • If the marker was red (an incomplete to-do item), it turns green (completed). • If the marker was green (a completed to-do item), it turns red (incomplete). Search for items in the Timeline Index 1 If the Timeline Index is not already open, click the Timeline Index button in the lower-left corner of the Final Cut Pro main window (or press Command-Shift-2). 2 Click Clips to search for clips, or click Tags to search for tags. 3 Enter a term in the search field at the top of the Timeline Index. You can search for clips, keywords, and markers (including to-do items). Tip: With the Timeline active, choose Edit > Find (or press Command-F). The Timeline Index opens with the search field active and ready for your search term.Chapter 8 Edit your project 149 Work with markers Markers overview Markers are reference points you can place within clips to locate, identify, annotate, and navigate to specific frames. In editing, markers are particularly useful for synchronizing two or more clips at a specific point. For example, you can use a marker to label the frame where a door slams and then snap a sound effect to that marker. You can use markers to flag a specific location in a clip with editing notes or other descriptive information. When you add chapter markers to specific points in your project, viewers can use the markers to quickly jump to those points in the movie after it’s been exported or burned to DVD or Blu-ray disc. You can also use markers for task management. Markers are classified as standard markers (blue), chapter markers (orange), to-do items (red), or completed to-do items (green). Standard marker Chapter marker To-do item Completed to-do item You work with markers in the same way for clips in the Event Browser and clips in the Timeline. Add and remove markers It’s easy to add and remove markers. If you add markers to clips in the Event Browser, the markers are visible in both filmstrip view and list view. When you add clips with markers to the Timeline, the markers are visible in both the Timeline and the Timeline Index. Add a marker to a clip in the Event Browser or the Timeline 1 To specify where you want to add a marker, do one of the following: • Skim to the location. • Play the clip, and when the playhead reaches the location where you want to add a marker, press the Space bar to stop playback. For more information about positioning the skimmer and the playhead, see Navigate within your project on page 143.Chapter 8 Edit your project 150 2 Do one of the following: • To add a marker: Choose Mark > Markers > Add Marker (or press M). Tip: To add markers on the fly, just press M while playing a clip. • To add a marker and show the marker’s information: Choose Mark > Markers > Add Marker and Modify (or press Option-M). Adding a marker this way automatically shows the marker’s information. The marker appears at the top of the clip in the Event Browser or the Timeline. Note: Event clip markers also appear in the list view filmstrip and text list. Remove a marker Do one of the following: m Navigate to a marker and choose Mark > Markers > Delete Marker (or press Control-M). m Select one or more clips, and choose Mark > Markers > Delete Markers in Selection. m Double-click a marker to open the Marker window, and click the Delete button. m Control-click the marker you want to remove, and choose Delete Marker from the shortcut menu. Edit, move, and navigate to markers You can view and edit marker information, and you can move markers within a clip or to different clips. Edit marker information and change marker types By default, new markers are blue standard markers with placeholder text. You can change the text at any time, and you can change the marker type to other marker types, including chapter markers, to-do items, and completed to-do items.Chapter 8 Edit your project 151 1 To view a marker’s information, do one of the following: • Select the marker and choose Mark > Markers > Modify Marker (or press Shift-M). • Control-click the marker and choose Modify Marker from the shortcut menu. • Double-click the marker. The marker’s information appears above the marker. Chapter Marker button To-Do Item button Standard Marker button 2 To modify the marker, do any of the following: • To change the descriptive text for the marker: Type the new text in the text field. (The text is automatically selected when the marker information appears, so you don’t need to select it.) • To make the marker a chapter marker: Click the Chapter Marker button. The marker turns into an orange chapter marker. For more information, see Manage chapter markers and their thumbnail images on page 152. • To make the marker a to-do item: Click the To-Do Item button. The marker turns red. • To indicate that a to-do item is completed: Select the Completed checkbox. The marker turns green. Select the Completed checkbox. To-Do Item button • To make the marker a standard marker: Click the Standard Marker button. The marker turns blue. 3 Click Done.Chapter 8 Edit your project 152 Move or copy a marker You can move or copy markers with the familiar Mac commands Cut, Copy, and Paste. 1 Control-click the marker you want to move or copy, and choose an option from the shortcut menu. • To move the marker: Choose Cut Marker. • To copy the marker: Choose Copy Marker. 2 Position the skimmer or the playhead where you want to move or copy the marker. 3 Choose Edit > Paste (or press Command-V). The marker appears at the new location. Nudge a marker one frame at a time 1 Click a marker to select it. 2 Do one of the following: • To nudge the marker one frame to the right: Choose Mark > Markers > Nudge Marker Right, or press Control-Period (.). • To nudge the marker one frame to the left: Choose Mark > Markers > Nudge Marker Left, or press Control-Comma (,). Move between markers You can move quickly from marker to marker in the Timeline or the Event Browser. m To go to the next marker: Choose Mark > Next > Marker, or press Control-Apostrophe (’). m To go to the previous marker: Choose Mark > Previous > Marker, or press Control-Semicolon (;). Manage chapter markers and their thumbnail images Chapter markers are a standard feature in DVDs, Blu-ray discs, and podcasts. You can add chapter markers to your project so that when you share your finished movie, viewers can use the markers to quickly jump to those points in the movie. Applications and devices that recognize Final Cut Pro chapter markers during playback include iTunes, iPod, iPhone, iPad, Apple TV, QuickTime Player, DVD Player, and most standard DVD and Blu-ray players. Chapter markers make it easy for viewers to skip ahead to the section they want. They also allow Compressor, Apple’s professional transcoding application, and other DVD and Blu-ray authoring applications to create a navigable chapter list or menu, such as a chapter index menu. But even in simple projects without menus (such as podcasts), chapter markers provide viewers and listeners with the ability to quickly skip through sections of a program by using the Previous and Next buttons on their playback application or device. A chapter marker thumbnail is a still image that represents a particular chapter. Final Cut Pro allows you to choose a specific video frame from the clip or storyline you’re marking as the chapter marker thumbnail image. In supported playback applications or devices, the chapter marker thumbnail images represent their corresponding chapters.Chapter 8 Edit your project 153 Create a chapter marker 1 Add a marker to a clip in the Timeline where you want the chapter to begin. By default, Final Cut Pro creates a blue standard marker. 2 To change the marker to a chapter marker, double-click it and, when the marker's information appears, click the Chapter Marker button. Chapter Marker button To-Do Item button Standard Marker button The marker changes to an orange chapter marker. Set the chapter marker thumbnail image After you set a chapter marker, you can choose an appropriate video frame to represent that particular chapter. 1 Click the chapter marker once in the Timeline to select it. The marker enlarges slightly to show that it's selected, and a chapter marker thumbnail pin appears to the right of the selected chapter marker. By default, the chapter marker thumbnail pin appears 11 frames after the chapter marker. Chapter marker Chapter marker thumbnail pinChapter 8 Edit your project 154 2 To set the video frame for the chapter marker thumbnail image, drag the pin left or right in the Timeline. As you drag, the Viewer displays the corresponding video frame. Drag the pin left or right in the Timeline. Note: The chapter marker thumbnail image is the composited image from that location in the Timeline and includes titles and any other superimposed imagery. If the chapter marker is in the primary storyline, you can drag the chapter marker thumbnail pin as far as the beginning or the end of the primary storyline. If the chapter marker is in a connected storyline, you can drag the chapter marker thumbnail pin as far as the beginning or the end of the connected storyline. For information about sharing your completed movie, see Sharing projects overview on page 377. Correct excessive shake and rolling shutterissues You can smooth a clip’s shaky footage by correcting the stabilization, rolling shutter, or both. The stabilization feature in Final Cut Pro reduces the camera motion in your video so that shaky parts can be played back more smoothly. At any time, you can turn off stabilization for any clip so that it plays as originally recorded. Many camcorders and still cameras include CMOS image sensors that expose the picture they’re recording progressively, instead of all at once. As a result, if the camera moves a lot during recording, or if the camera is recording fast motion, image distortion can occur. This causes the picture to appear wobbly or skewed. Final Cut Pro has a rolling shutter feature that can reduce this motion distortion. Fix a clip with excessive shake or rolling shutter distortion 1 If the clip is not already in your project, add it to the Timeline and select it. Note: These operations act on whole clip selections, not on range selections. To get the highestquality and fastest results, isolate the problem section by cutting the clip with the Blade tool in the Timeline. Then apply the correction to just the video footage that needs correcting. 2 To open the Video inspector, click the Inspector button in the toolbar (shown below), and click the Video button at the top of the pane that appears. 3 In the Video inspector, do either of the following:Chapter 8 Edit your project 155 • To reduce the shake: Select the Stabilization checkbox. • To reduce rolling shutter distortion: Select the Rolling Shutter checkbox. When you turn on Stabilization or Rolling Shutter, its checkbox turns blue. 4 To view the fix, play the clip in the Timeline. To turn off stabilization or rolling shutter corrections for a clip, deselect the Stabilization or Rolling Shutter checkbox. You can refine the corrections by adjusting the stabilization settings or the Rolling Shutter Amount setting. Adjust stabilization settings You can adjust how much of a correction is applied by the stabilization feature. The stabilization feature has two independent phases: • When you apply the stabilization feature to a clip, Final Cut Pro analyzes the pixels in successive frames to determine the direction of camera movement. • During playback and rendering, Final Cut Pro uses the motion analysis data to apply a transform effect to each frame, compensating for camera movement. Use any of the three independent stabilization parameter sliders in the Video inspector to control the steadiness of your shot. When you apply stabilization to a clip, all three parameters are set to an average value of 2.5 by default. Each parameter can be set to a value between 0.0 and 5.0. A value of 0.0 turns off the parameter, and a value of 5.0 applies the strongest possible transformation. The higher you set each parameter, the more camera motion is compensated for in that axis. x Translation y x Rotation y x Scale y zChapter 8 Edit your project 156 1 Select a clip in the Timeline, and open the Video inspector. 2 Do any of the following: • To adjust left, right, up, and down movement of a shot (x and y axes): Drag the Translation Smooth slider. • To adjust rotation around the center point of the image: Drag the Rotation Smooth slider. • To adjust forward or backward camera or lens movement (z axis): Drag the Scale Smooth slider. For example, if you want to remove horizontal, vertical, and rotational shake, you should set the Translation Smooth and Rotation Smooth parameters to a value above 0. You may need to experiment to see which values steady your shot the best. Note: When a clip has too much motion (excessive panning, for example), stabilizing the clip may result in black bars on the edges of the video. To avoid the black bars, you can: • Reduce the values for the Translation Smooth, Rotation Smooth, and Scale Smooth parameters. • Cut or trim the clip in the Timeline to remove the sections with the most shake. (You can locate the sections with excessive shake in the Tags pane of the Timeline Index. Click the individual Excessive Shake tags to select the corresponding ranges in the Timeline.) • Crop the edges of the stabilized video to remove the black bars.157 Audio overview Final Cut Pro has many features designed to make processing and editing audio easier. For example, you can use Final Cut Pro to analyze and automatically enhance audio to address problems such as noise or hum, add effects to your clips, synchronize video and audio clips automatically, and match audio between two clips. You can make the following changes to clips or to audio components within a clip: • Edit multiple audio channels: You can expand the audio portion of clips to reveal and edit audio components down to the single channel level. This allows you to apply different effects to different components or channels, and streamlines the process for making quick sound cutouts or other adjustments. See Audio editing overview on page 168. • Adjust volume: Quickly adjust a clip’s volume directly in the Timeline or in the Audio inspector. See Adjust volume on page 172. • Pan audio: Take advantage of built-in pan presets for both stereo and surround sound. See Pan audio on page 177. • Add audio effects: Add Audio Units effects, Logic Effects, or custom effects included with Final Cut Pro, such as reverb, to clips. See Add audio effects on page 187. • Add keyframes to automate volume and effects: Vary volume or effect settings as a clip plays. See Adjust audio effects using keyframes on page 192. Note: You can create fades in clips only. To fade clips in or out with easy-to-use fade handles, see Fade audio in or out on page 174. You use the same tools used for video editing when you edit audio clips in Final Cut Pro. The following editing features are covered elsewhere in Final Cut Pro Help: • Change edit mode: Set the edit mode for a clip to video only or audio only. See Add clips using video-only or audio-only mode on page 114. • Add markers to clips: Add markers to mark specific reference points within an audio clip. For more information, see Markers overview on page 149. • Trim audio: Make precision edits to the audio waveform—for example, to take out an unwanted sound in the recording. See Trimming overview on page 123. • Add audio crossfades: Create a smooth transition when connecting two separate audio waveforms. See Add transitions to your project on page 207. • Use compound clips: Compound clips let you combine any video or audio clips into a single compound clip. From an audio standpoint, compound clips let you apply the same audio effect or enhancement to a group of clips, similar to applying an effect or adjustment to the overall mix. See Compound clips overview on page 257. • Export audio: You can export your project as an audio file in either mono, stereo, or surround sound. You can also export media by role. See Sharing projects overview on page 377. Edit audio 9Chapter 9 Edit audio 158 Audio editing basics About audio waveforms Audio waveforms are visual representations of the actual sound. Audio waveforms appear in clips in the following ways: • As the bottom portion of a video clip, colored blue • As a detached or an audio-only clip, colored green Audio portion of a video clip Audio-only clip An audio waveform’s amplitude and length change according to the underlying sound’s volume and duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas low-level crowd noise has a lower, more uniform waveform. These properties make it easier to find specific edit points when trimming clips or keyframing effects. In Final Cut Pro, audio waveforms change according to a clip’s volume level or applied effects. The waveform appears larger when the volume is high and smaller when the volume is low. You edit audio clips in the Timeline by first listening to a clip’s audio through playback and skimming, and then applying changes to the clip, using the waveform as a reference.Chapter 9 Edit audio 159 About audio channels and audio components Audio files can contain a single audio channel or multiple audio channels. Channels usually correspond to microphone inputs during recording or to speakers for multichannel output. For example, a stereo audio file usually contains left and right channels that match what you hear from the left and right speakers during playback. Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. You can expand the audio portion of clips to view and edit audio components down to the individual channel level. You can then make separate volume or pan adjustments or apply and keyframe different audio effects for each component. For more information, see Audio editing overview on page 168. The number of audio components you see corresponds to the number of channels you’ve configured in your source clip. Note: Many popular digital audio file formats, such as AAC and MP3, use interleaved stereo files, which do not contain separate left and right channels. A stereo clip with interleaved left and right channels appears as a single audio component in the Audio inspector and the Timeline. If you change the clip’s channel configuration from Stereo to Dual Mono, the channels appear as two separate audio components. Audio components For more information about configuring audio channels, see Configure audio channels on page 169. Ways to view audio clips When you work with audio waveforms in the Timeline, you can zoom in or out or change the clip appearance to make the waveform taller or shorter. Final Cut Pro also includes several ways of viewing and working with audio and video within clips. You can: • Expand a clip to view and edit audio components down to the individual channel level. • Expand a clip to see separate audio and video. • Detach audio from a video clip to work on the audio and video as separate clips. • Change the background appearance of a clip to show reference waveforms, which make it easier to see audio waveforms when the volume is diminished.Chapter 9 Edit audio 160 Show expanded audio components You can expand the audio portion of clips in Final Cut Pro to view and edit audio components. You can show expanded audio components for synchronized clips, multicam clips, and compound clips. Do one of the following: m Select the clip in the Timeline, and choose Clip > Expand Audio Components (or press Option-Control-S). m Double-click the audio portion of the clip in the Timeline while holding down the Option key. Normal clip view Audio components Collapse audio components Do one of the following: m Select either the clip or one of its audio components in the Timeline, and choose Clip > Collapse Audio Components (or press Option-Control-S). m Double-click any of the audio components in the Timeline while holding down the Option key.Chapter 9 Edit audio 161 Show expanded audio and video You can view audio and video separately in the same clip in the Timeline by expanding clips that have both audio and video. This can be useful if you need to zoom in to the audio portion to make edits. Note: If you create a split edit so that audio portions overlap, you won’t clearly see the overlapped waveforms unless you choose to show expanded audio for split clips. m To expand a single clip: Double-click the audio waveform of the clip. m To expand a clip or clips you’ve selected in the Timeline: Choose Clip > Expand Audio/Video (or press Control-S). m To expand all clips in the Timeline: Choose View > Expand Audio/Video Clips, and choose for all clips or for split clips. Normal clip view Clip with expanded audio When you show expanded audio, the audio and video portions of the clip remain attached to each other. To create a separate connected audio clip, detach the audio. You can also use the Precision Editor to see a detached view of the video and audio portions of the clip. Collapse audio and video You can collapse the expanded audio/video view for a single clip, multiple clips, or all clips in the Timeline. m To collapse a single clip: Double-click the audio waveform of the clip. m To collapse a clip or clips you’ve selected in the Timeline: Choose Clip > Collapse Audio/Video (or press Control-S). m To collapse all expanded clips in the Timeline: Choose View > Collapse All Clips.Chapter 9 Edit audio 162 Detach audio from video By default, Final Cut Pro imports audio and video from the same source into one clip. You can easily detach the audio from a video clip so that you can edit the audio clip separately in the Timeline. m Select the clip in the Timeline, and choose Clip > Detach Audio. A new audio clip appears as a connected clip beneath the video clip. Detached audio To reattach an audio clip to its original video clip, you need to create a compound clip. Show or hide reference waveforms A reference waveform shows the maximum visual resolution possible for the actual audio waveform. By factoring out loudness changes, reference waveforms let you see the details of the sound more clearly. 1 Choose Final Cut Pro > Preferences, and click Editing. 2 Select the “Show reference waveforms” checkbox. Reference waveform When the actual waveform changes shape (for example, when it is diminished because a clip’s volume level is low), its full reference waveform is still visible for easy reference when editing. Tip: You can place any clip with audio either above or below the primary storyline in the Timeline. If your clip contains video and is placed below the primary storyline, the video may be obscured by the video in the primary storyline, but the audio will play. If you put the clip above the primary storyline, the audio plays and the video also plays (instead of the video in the primary storyline).Chapter 9 Edit audio 163 View audio waveforms at the audio sample level For even more precise editing, you can zoom in to audio clips at the audio sample level. Audio samples show the audio waveform at a fraction of a second (for example, 1/48,000 for audio recorded at a sample rate of 48 kHz). Sample-accurate editing resolution is available only for connected audio clips (that is, audio clips not in the primary storyline) or compound clips that contain only audio. Tip: For reference when working with video, you can view subframes (1/80 the duration of a video frame) in the timecode display of the Dashboard. In the Editing pane of Final Cut Pro preferences, choose the subframe option in the Time Display pop-up menu. Zoom to audio samples 1 Choose View > Zoom to Samples (or press Option-Z). 2 Select the clip in the Timeline. 3 Zoom in until the clip shows the waveform within the borders of a video frame. Frame borders You can continue to zoom in for closer detail of the waveform. Frame borders 4 Make edits to the clip or adjustments to audio effects using keyframes. To turn off zooming to audio samples, choose View > Zoom to Samples (or press Option-Z). Navigate by subframe 1 In the Timeline or the Event Browser, move your pointer over a clip and click. 2 Do either of the following: • To move backward in one-subframe increments: Press Command-Left Arrow. • To move forward in one-subframe increments: Press Command-Right Arrow.Chapter 9 Edit audio 164 View and correct audio levels The Audio meters let you see and track the audio levels of clips in Final Cut Pro and warn you if a particular clip or section of a clip reaches peak levels, which may result in audible distortion. The number of audio meters you see depends on how many channels are configured for the clip you’re playing. For example, when you play back a surround clip in the Event Browser, six surround audio meters are displayed, but if you drag that same clip into a stereo project in the Timeline, Final Cut Pro automatically mixes down the surround audio into stereo, and only two audio meters are displayed. For more information, see Configure audio channels on page 169. When an audio clip is approaching peak levels during playback, the level color changes from green to yellow. When an audio clip exceeds peak levels, the level color changes from yellow to red, and the peak indicator lights red for the respective audio channel or channels. The peak indicators reset when you stop and start playback again. To avoid having clip volume exceed peak levels, adjust the volume. Although the proper level for a clip depends upon the overall mix you want, it’s important to make sure that the combined level for all concurrent clips does not exceed 0 dB during the loudest sections. Final Cut Pro includes two meters, a small Audio Meter icon in the Dashboard in the toolbar and a larger Audio Meters pane. Show or hide the Audio meters To show the Audio meters, do one of the following: m Choose Window > Show Audio Meters. m Click the Audio Meter icon in the Dashboard in the toolbar. You can drag the edges of the meters to see an expanded view with additional information. Level Surround channels Peak indicators To hide the Audio meters, choose Window > Hide Audio Meters, or click the Audio Meter icon in the Dashboard in the toolbar.Chapter 9 Edit audio 165 Reset and correct peak levels m Select the clip in the Timeline, readjust the level, and play back the clip again to test for peaks. In the Timeline and Event Browser, the waveform section or sections of a clip turn yellow when a level is approaching peak levels or red when a level exceeds 0 dB. Solo and mute audio clips The solo feature temporarily disables audio playback of all clips in the Timeline except for selected ones. It is especially useful in audio editing if you have more than one audio clip layered in the Timeline (dialogue and background music, for example) but need to listen and make edits to just certain clips. You can also mute clips by disabling them. Disabled clips are both invisible and silent and will not appear in any output. Solo clips in the Timeline 1 Select one or more clips in the Timeline. 2 Do one of the following: • Choose Clip > Solo (or press Option-S). • Click the Solo button in the Timeline. Solo button The soloed clip appears highlighted, while other clips appear dimmed. Soloed clip To turn off solo, click the Solo button, or choose Clip > Solo (or press Option-S) again. Disable clips 1 Select one or more clips in the Timeline. Note: If the selected clips contain both video and audio, and you want to mute the audio only, choose Clip > Detach Audio, and select the detached audio portion only. 2 Choose Clip > Disable (or press V). Disabled clips are silent and appear dimmed in the Timeline. 3 To reenable the disabled clips, select them in the Timeline and choose Clip > Disable (or press V). You can solo video clips in Final Cut Pro. For more information, see Solo, disable, and enable clips on page 116.Chapter 9 Edit audio 166 Add audio Add music and sound You can add music and sound files directly to your project from your iTunes library or other sources. Final Cut Pro also includes a number of built-in Foley and other sound effects that you can insert as connected audio clips. If you have a clip that contains both audio and video, you can change the edit mode to audio only to insert only the audio portion of the clip. Add music and sound to a project in the Timeline 1 Click the Music and Sound button in the toolbar. 2 In the Music and Sound Browser, choose a source folder from the pop-up menu at the top. For example, choose iTunes to browse your iTunes collection. Tip: If the folder you’re looking for doesn’t appear, you can add it to the source list by dragging it from the Finder or desktop to the Music and Sound Browser. 3 In the sound list that appears, find the sound or music you want: • To search for an item: Type text in the search field. To filter your search, click the Filter button , and choose a filter. • To preview an item: Double-click the item, or select the item and click the Play button . • To select more than one item: Command-click each item. 4 Drag the sound file or files to the Timeline. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to WAV audio files and retains the original MP3 files for future use. For information about where to find original and transcoded media files, see Where your media and project files are located on page 390. Record audio You can record audio directly in Final Cut Pro from input sources such as built-in and external microphones. The recorded audio file appears both in the Event Browser and as a connected clip in the Timeline. This function is particularly useful for recording voiceover narration.Chapter 9 Edit audio 167 Record live audio 1 Position the playhead where you want to start recording in the Timeline. 2 Choose Window > Record Audio. Click the Record button to start or stop recording. 3 If necessary, adjust the input parameters by doing any of the following: • To change where the recording is saved: Choose an Event folder from the Destination pop-up menu. • To change the input device or number of input channels (mono or stereo): Choose an option from the Input Device pop-up menu. • To adjust the input level of the microphone: Drag the Gain slider right to increase the input level, or left to decrease it, using the Audio meters to view and correct audio levels. 4 If necessary, adjust the output parameters by doing any of the following: • To hear output while recording: Select the Monitor checkbox. Note: If both input and output sources are near each other (such as the built-in microphone and built-in speakers), you may experience feedback. • To change the output device or number of output channels (mono or stereo): Choose an option from the Monitor pop-up menu. • To adjust the output level: Drag the Gain slider right to increase the output level, or left to decrease it. 5 To start recording, click the Record button. 6 To stop recording, click the Record button again (or press the Space bar). Your audio recordings are attached to the primary storyline at the playhead position.Chapter 9 Edit audio 168 Edit audio clips or audio components Audio editing overview You edit audio in Final Cut Pro in two ways, detailed below. Clip-level audio editing You can make audio adjustments and edits to whole clips. At this level, audio adjustments and effects are applied to the entire clip, including any audio channels within the clip. Final Cut Pro preserves any adjustments you make to individual audio channels. This means that if you reduce the volume for a single channel but raise the volume for the whole clip, the volume of the single channel is raised but stays in proportion to the volume of other channels in the clip. If your source media contains only one or two audio channels or you’re editing an audio-only clip, you’ll probably only need to make adjustments and edits at this level. Advanced multichannel audio editing Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. You can expand the audio portion of clips to reveal and edit audio components down to the individual channel level. This allows you to apply different effects to different components and streamlines the process for making quick sound cutouts to a single microphone input or other fine adjustments. Important: Many digital audio file formats, such as AAC and MP3, use interleaved stereo files, which do not contain separate left and right channels. These files appear as a single audio component unless you change the clip’s channel configuration. Keep in mind the following when editing audio components in Final Cut Pro: • You view and change the audio channel configuration of your clips in the Audio inspector. You can change audio component names, add or remove audio components, and configure channels in mono, stereo, and surround formats. See Configure audio channels on page 169. • With the Range Selection tool (the default editing tool), you can quickly select ranges within an audio component to target the audio you want to edit. • You can edit audio components for synchronized clips, multicam clips, and compound clips. • You edit audio components in the same way you edit whole clips. You can: • Skim individual components when clip skimming and audio skimming are turned on. See Skim media on page 76. • Adjust the volume of a component. See Adjust volume on page 172. • Mute a component’s audio by disabling all or a portion of the component. This is the fastest way to remove unwanted sounds from a component. See Solo, disable, and enable clips on page 116. • Pan the sound for individual components. See Pan audio on page 177. • Assign a role such as Dialogue, Music, or Effects to a component in the Info inspector (or by using the Modify menu when the clip that contains the audio component is in the Timeline). See Use roles to organize clips and export audio files on page 186. • Add or adjust audio effects for individual components. See Add audio effects on page 187 or Adjust audio effects on page 189. • Adjust audio effects for individual components using keyframes. See Adjust audio effects using keyframes on page 192. For examples of multichannel audio editing workflows, see Multichannel audio editing examples on page 180.Chapter 9 Edit audio 169 Configure audio channels Final Cut Pro assigns a default channel configuration for audio clips when they are imported or added to a project. You can change the channel configuration if, for example, you want to convert a stereo dialogue clip to two mono channels. Final Cut Pro automatically groups channels into audio components according to how the channels are configured for the clip. For more information, see About audio channels and audio components on page 159. In addition to changing the channel configuration, you can view and listen to audio components, add or remove audio components from a clip, and rename audio components. Change the channel configuration The number of channel options you can configure depends upon how many channels are in your source clip or compound clip. You can configure channels in several formats, including: • Mono: Single channel. In a surround sound setup, you can assign a mono channel to any surround channel. • Stereo: Left and right channels. • 5.1 surround: Left, center, right, left surround, right surround, and low-frequency effects (subwoofer bass) channels. • 7.1 surround: Left, center, right, left surround, right surround, left back, right back, and lowfrequency effects (subwoofer bass) channels. If you configure more than six surround channels, Final Cut Pro automatically adjusts the channel mix down to 5.1 surround during playback. Important: Changing the channel configuration resets all adjustments and edits made to audio components (including applied effects, disabled ranges, keyframe adjustments, and custom names). 1 Select the clip in the Timeline. 2 In the Channel Configuration section of the Audio inspector, choose an option from the Channels pop-up menu. The channels appear in the Audio inspector as separate audio components, each with its own waveform. If you have a clip with surround channels and want to assign a mono channel to a specific surround channel, select the mono channel waveform and choose a surround channel from the Channels pop-up menu.Chapter 9 Edit audio 170 Note: To change the channel configuration of a compound clip, first deselect Use Event Clip Layout from the Channels pop-up menu, and then choose another configuration. To reset a configuration, click the Reset button . View and listen to an audio component 1 Select the clip in the Timeline. 2 In the Channel Configuration section of the Audio inspector, click the disclosure triangle next to the clip name to reveal its audio components, and then skim over a component or play it back using the Space bar or the J, K, and L keys. Skim to preview. Add or remove an audio component You can add or remove audio components in a clip. For example, you may want to remove unused components from a clip, or add components from inactive angles to the active angle in a multicam clip. By default, all active audio components in a clip appear as selected in the Audio inspector and are arranged in the same order when the clip is expanded to show audio components in the Timeline. To learn more about viewing audio components, see Ways to view audio clips on page 159. When you remove an audio component, it appears dimmed in the Audio inspector but is removed from the clip’s component arrangement in the Timeline. 1 Select the clip in the Timeline. 2 In the Channel Configuration section of the Audio inspector, click the disclosure triangle next to the clip name to reveal the clip’s audio components. 3 Do one of the following: • To remove a component: Deselect the checkbox next to a component waveform. • To add a component: Select the checkbox next to a component waveform. Select to add or remove an audio component.Chapter 9 Edit audio 171 Rename a component Do one of the following: m In the Channel Configuration section of the Audio inspector: Click the disclosure triangle next to the clip name to reveal the clip’s audio components, and then double-click a component’s name and type a new name. Type a new audio component name in the field. m In a clip in the Timeline with expanded audio components shown: Control-click the audio component, choose Rename Component from the shortcut menu, and type a new name. To learn more about viewing audio components, see Ways to view audio clips on page 159. Important: If you subsequently change the channel configuration, all custom audio component names are reset to the original name. You can also choose a channel configuration when exporting roles as audio stems for mixing or post-production. For more information, see Use roles to organize clips and export audio files on page 186. If you choose an export file channel configuration that is different from that of your source files, the channels are exported in the following ways: • Stereo source exported as surround: The left and right channels are exported to the left and right channels of the surround file. • Surround source exported as stereo: The surround source is exported as a stereo (left and right channel) mix. • Stereo or surround source exported as mono: The stereo or surround source is exported as a mono (one channel) mix.Chapter 9 Edit audio 172 Adjust volume You can adjust the volume levels of audio clips from the Event Browser, the Timeline, the Audio inspector, or the Modify menu. Volume adjustments you make in the Audio inspector or from the Modify menu are applied to the entire selection. To make more precise adjustments, you can create keyframes in the clip, and then make adjustments to points between keyframes. See Adjust audio effects using keyframes on page 192. You can make sure the volume doesn’t exceed peak levels, which may result in audible distortion, by using the Audio meters.Adjust volume in the Timeline m Drag the volume control (the horizontal line across the audio waveform) up or down. As you drag, the level reading in dB appears, and the waveform changes shape to reflect your adjustments. Volume control If you adjust the volume between two keyframes, the volume line slopes to show the change in volume between the keyframes. Adjust volume from the Modify menu or the keyboard 1 Select one or more audio clips or video clips with audio in the Timeline. 2 Choose Modify > Volume, and choose Up or Down, or press Control-Equal Sign (=) or Control-Hyphen (-). The volume is adjusted in +1 or –1 dB increments. If multiple clips are selected, the volume is adjusted for all clips.Chapter 9 Edit audio 173 Adjust volume in the Audio inspector 1 Select one or more audio clips or video clips with audio in the Event Browser or the Timeline. 2 In the Audio inspector, do one of the following: • Enter a value in the Volume field. If multiple clips are selected, the volume for all clips is set to the value you entered. • Drag the Volume slider right to increase the volume, or left to decrease it. If multiple clips are selected, the volume for all clips is adjusted relative to each clip’s original volume. Volume slider Adjust volume automatically across a selected area For volume adjustments of a clip in the Timeline, you can use the Range Selection tool to add keyframes automatically across a selected range. 1 Select the clip in the Timeline. 2 Choose Range Selection from the Tools pop-up menu in the toolbar (or press R). The pointer changes to the Range Selection tool icon . 3 Drag across the area where you want to adjust the volume. 4 Adjust the volume within the range by dragging the horizontal control up or down. Keyframes are automatically created along the adjustment points within the range. Reset all volume adjustments 1 Select an audio clip or video clip with audio in the Event Browser or the Timeline. 2 Click the Reset button in the Volume and Pan section of the Audio inspector.Chapter 9 Edit audio 174 Fade audio in or out There are several ways to create fade-ins or fade-outs to the audio portion of clips in Final Cut Pro: • Automatic crossfades during transitions: When you add a transition to a video clip with attached audio, Final Cut Pro automatically applies a crossfade transition to the audio. If the audio is detached or expanded from the video, the audio is not affected by the video transition. See Add transitions to your project on page 207. • Crossfades: When trimming the audio waveform in clips, you can apply a crossfade to the edit point. See Trimming overview on page 123. • Fade handles: You can quickly create fade-ins and fade-outs to the audio portion of clips in the Timeline by using fade handles, which appear when you place the pointer over the top-left or top-right corner of the audio waveform. Fade handle Fade handle You can also change the fade’s shape by choosing one of several predefined options. Changing the fade shape changes the sound of the fade. Note: Fades created using fade handles override crossfades created by a transition. Create a fade using fade handles m Drag the fade handle to the point in the clip where you want the fade to begin or end. Fade handles from the beginning of a clip create a fade-in, while fade handles at the end of a clip create a fade-out. Fade-in Fade-out Fades complement any volume adjustments you’ve already made to a clip. For example, if you previously adjusted the volume lower at the beginning of a clip, the fade-in increases the volume from silence (–∞ dB) to the level you’ve already specified.Chapter 9 Edit audio 175 Create a crossfade manually using fade handles 1 Select two adjacent clips in the Timeline, and choose Clip > Expand Audio/Video (or press Control-S). The clips appear expanded. 2 Drag the end point of the first clip to the right and the start point of the second clip to the left so that the audio portions of the clips overlap. Note: Make sure to adjust the audio overlap to the length you want. 3 Drag the fade handles of each clip to the points where you want the fade to begin and end. Crossfade Fade handle To change the fade shape for each clip, follow the instructions immediately below.Chapter 9 Edit audio 176 Change the fade shape when using fade handles m Control-click a fade handle, and choose a fade option from the shortcut menu: • Linear: Maintains a constant rate of change over the length of the fade. • S-curve: Eases in and out of the fade with the midpoint at 0 dB. • +3dB: Starts quickly and then slowly tapers off toward the end. This is the most useful setting for quick fades. • –3dB: Starts slowly and then moves quickly toward the end. This is the default setting and is best for maintaining a natural volume when crossfading between two adjacent clips. Change the fade shape of a transition crossfade 1 Select a transition in the Timeline, and do one of the following: • Choose Window > Show Inspector (or press Command-4). • Click the Inspector button in the toolbar. 2 In the Audio Crossfade section of the Transition inspector, choose a fade option from the Fade In Type and Fade Out Type pop-up menus: • Linear: Maintains a constant rate of change over the length of the fade. • S-curve: Eases in and out of the fade with the midpoint at 0 dB. • +3dB: Starts quickly and then slowly tapers off toward the end. This is the most useful setting for quick fades. • –3dB: Starts slowly and then moves quickly toward the end. This is the default setting and is best for maintaining a natural volume when crossfading between two adjacent clips.Chapter 9 Edit audio 177 Pan audio Panning audio lets you distribute sound across the stereo or surround spectrum to create balance or a special effect. For example, you can place more sound in the right channel of a stereo clip or less sound in the center channel of a surround clip. Final Cut Pro includes a built-in surround sound decoder that lets you choose among several stereo and surround preset pan modes that you can apply to clips from the Audio inspector. Using the pan mode presets, you can dynamically re-create surround sound fields from stereo source content. When you change the pan mode in the Audio inspector, the setting is applied to the entire selection. To make more precise adjustments, you can add keyframes using the Audio Animation Editor or the Audio inspector, and then make adjustments to them in the Audio inspector. Pan audio for stereo 1 Select the audio clip. 2 In the Audio inspector, choose Stereo Left/Right from the Pan Mode pop-up menu. 3 Move the sound left or right by doing one of the following: • Type a value in the Pan Amount field. • Drag the Pan Amount slider left or right. Pan audio for surround sound 1 Select the audio clip. 2 In the Audio inspector, choose one of the following options from the Pan Mode pop-up menu: • Create Space: Distributes the signal across the surround spectrum, with more signal to the center and front left and right channels. This setting is useful for making a general-purpose surround mix from any stereo source. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Dialogue: Pans more signal to the center channel of the surround spectrum so that the direct sound is in the center, while ambient sound is distributed to the other channels. This setting is best used for voiceover or other dialogue clips. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (all sound to the center channel). • Music: Distributes a stereo mix signal evenly across the surround spectrum. This setting is best used for converting stereo music to a surround mix. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Ambience: Pans across the surround spectrum with more signal toward the surround channels and less signal to the front and center channels. This setting is useful for effects such as crowd noise or other outdoor environments. The Pan Amount slider setting can be adjusted from 0 (no effect) to 100 (total surround field). • Circle: Pans the sound in a circle around the surround spectrum like a bee buzzing around the listener’s head. The Pan Amount slider adjusts the direction to the listener in degrees (–180 to 180). • Rotate: Pans around the surround spectrum as if the listener is turning in a circle. The Pan Amount slider adjusts the listener rotation in degrees (–180 to 180). • Back to Front: Pans from back to front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (back) to 100 (front). • Left Surround to Right Front: Pans from left surround to right front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (left surround) to 100 (right front). • Right Surround to Left Front: Pans from right surround to left front across the surround spectrum. The Pan Amount slider setting can be adjusted from –100 (right surround) to 100 (left front).Chapter 9 Edit audio 178 3 If you want to adjust the pan amount, do one of the following: • Type a value in the Pan Amount field. • Drag the Pan Amount slider left or right. The Pan Amount settings vary according to the pan mode you choose. Adjust surround sound using the Surround Panner In the Audio inspector, you can use the Surround Panner to change the surround sound field or make advanced adjustments using sliders. Using the Surround Panner, you can change the panning levels by moving a control that represents where the sound would appear to originate in an actual surround sound speaker setup. 1 Choose a surround preset from the Pan Mode pop-up menu. 2 To open the Surround Panner, click the disclosure triangle next to Surround Panner in the Volume and Pan section of the Audio inspector. Click to display the Surround Panner. 3 Do either of the following: • To make adjustments in the Surround Panner: Drag the control within the surround field to pan toward or away from any of the surround channels (left, center, right, left surround, or right surround) represented by the speaker icons. Click a speaker icon to turn it on or off. Drag to move the sound source. To move the control back to the center position, double-click it.Chapter 9 Edit audio 179 • To make advanced adjustments: Click the Advanced disclosure triangle below the Surround Panner, and drag the sliders left or right for any of the following parameters: • Original/Decoded: Adjusts the balance between the original and decoded signals. The slider can be adjusted from –100 (original signal only) to 100 (decoded center and surround signals only). At 0, the signal is balanced evenly between the original and decoded signals. • Ambient/Direct: Adjusts the balance between decoded surround and center signals. The slider can be adjusted from –100 (surround signal only) to 100 (center signal only). At 0, the signal is balanced evenly between the center and surround signals. • Surround Width: Specifies how much separation (in dB) is between the decoded surround signals. At 0 dB, there is complete separation between the center and surround signals, but each surround signal is mono. To increase the stereo effect in the left and right surround channels, you can increase the parameter value. This also results in some signal being diverted from the center channel to the surround channels. • LFE Balance: Adjusts the low-frequency effects (subwoofer) signal from –1 (no signal sent to the LFE channel) to 1 (all signal sent to the LFE channel). When the slider is centered at 0, the signal is distributed evenly among the five channels and the LFE channel. • Rotation: Rotates all surround signals to the left or right in a circular manner. When the slider is at the extreme left or right (–180 degrees or 180 degrees, respectively), the surround signal is rotated to the center channel and the center signal is rotated to the surround channels. At 0 degrees (the center of the slider), there is no rotation. • Stereo Spread: Adjusts the amount of stereo effect from the left and right channels to the center and surround speakers. • Attenuate/Collapse: Adjusts the way the panning effect is implemented. At 0, the source signals are attenuated (meaning that the original channel signals get louder and softer but are not actually diverted to other channels). At 100, the source signals are collapsed (meaning that the original channel signals aren't changed in volume, but instead are moved to other channels in the panning direction). • Center Balance: Adjusts the balance between the center and surround signals. The slider can be adjusted from –100 (all center signal sent to the surround channels) to 100 (all surround signals sent to the center channel). At 0, the signal is balanced evenly between the center and surround channels. When you make adjustments to advanced parameters, the Pan Mode indicates that it has been edited. Reset pan adjustments m To reset an edited pan mode: Choose another preset from the Pan Mode pop-up menu. The Pan Amount slider is not affected. m To reset adjustments to the Surround Panner only: Click the Reset button in the Surround Panner section of the Audio inspector. m To reset all adjustments: Click the Reset button at the top of the Volume and Pan section of the Audio inspector. You can monitor stereo and surround sound channel levels using the Audio meters.Chapter 9 Edit audio 180 Multichannel audio editing examples Below are examples of some multichannel audio editing workflows in Final Cut Pro. Example: Remove unwanted noise from a specific audio component Note: To skim audio for an individual audio component, make sure both clip skimming and audio skimming are turned on. For more information, see Skim media on page 76. 1 Select a clip in the Timeline, and choose Clip > Expand Audio Components (or press Option-Control-S). Audio components 2 Skim or play back the audio component to find the specific place where the noise occurs. 3 Drag within the component to select the range where the noise occurs.Chapter 9 Edit audio 181 4 Do one of the following: • To disable the portion of the component where the noise occurs: Press the V key (or press the Delete key). Disabling a selected range mutes all sound within the range. Note: To unmute (enable) the range, press the V key (or press Command-Z). • To adjust the volume within the range: Drag the horizontal control up or down. Keyframes are automatically created along the adjustment points within the range. 5 Play back the clip to listen to your adjustments. 6 To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Option-Control-S).Chapter 9 Edit audio 182 Example: Trim audio within an audio component 1 Select a clip in the Timeline, and choose Clip > Expand Audio Components (or press Option-Control-S). Audio components 2 Position the pointer at the edge of the audio component you want to trim. The pointer changes to the Trim tool icon . 3 Drag to trim that section. The trimmed section is disabled (muting all sound in that section) and appears dimmed in the Timeline. To undo your trim, press Command-Z. 4 Play back the clip to listen to your adjustments. 5 To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Option-Control-S).Chapter 9 Edit audio 183 Example: Make a roll edit to all audio components 1 Select a clip in the Timeline, and choose Clip > Expand Audio Components (or press Option-Control-S). Audio components 2 Position the pointer at the edge of the audio portion of the clip you want to roll. The pointer changes to the Trim tool icon . 3 Hold down the Shift key and drag to roll back the edit point for the audio portion of the clip. The edit point is rolled to the new location, cutting the audio at the end of the clip. The video portion of the clip is not affected. To undo your edit, press Command-Z. 4 Play back the clip to listen to your adjustments. 5 To collapse the audio components after you complete your adjustments, choose Clip > Collapse Audio Components (or press Option-Control-S).Chapter 9 Edit audio 184 Example: Add or remove audio components in a multicam clip When you create a multicam clip that contains multiple audio components, you can use the Angle Viewer or the Audio inspector to add audio components from inactive angles to the active angle. This makes it easy to add audio from different source clips in your multicam clip while maintaining the active video angle. You can also remove audio components from the active angle to eliminate unwanted or unused audio. Before you start, you can make adjustments to the channel configuration of audio components in your source clips in the Event Browser using the Audio inspector. For more information, see Configure audio channels on page 169. 1 Drag a multicam clip from the Event Browser to the Timeline. 2 To open the Angle Viewer, do one of the following: • Choose Window > Viewer Display > Show Angles (or press Command-Shift-7). • Choose Show Angles from the Viewer Options pop-up menu in the top-right corner of the Viewer. The active angle appears highlighted in yellow. Active angle in the Angle Viewer 3 To enable audio-only switching in the Angle Viewer, click the right switch mode button in the upper-left corner. Click to enable audio-only switching. 4 To open the Audio inspector, do one of the following: • Choose Window > Show Inspector (or press Command-4), and click the Audio button at the top of the Inspector pane. • Click the Inspector button in the toolbar (shown below), and click the Audio button at the top of the Inspector pane. The audio corresponding to the active angle in the Angle Viewer appears highlighted in the Channel Configuration section of the Audio inspector.Chapter 9 Edit audio 185 5 To reveal the audio components for the active angle, click the disclosure triangle next to the active angle’s source clip name. Click to reveal audio components for the active angle. 6 To add audio components from inactive angles, do one of the following: • In the Angle Viewer: Hold down the Command and Option keys and click an inactive angle or angles. • In the Audio inspector: Select the checkbox next to each audio component you want to add. In this example, the angle whose audio you added is highlighted in green in the Angle Viewer, and the audio components you added are highlighted in the Audio inspector. Audio components added to the active angle Audio components added to the active angleChapter 9 Edit audio 186 The added audio components also appear in the multicam clip’s component arrangement in the Timeline. (To show expanded audio components, choose Clip > Expand Audio Components, or press Option-Control-S.) Audio components added to the Timeline 7 To remove an audio component from the active angle, do one of the following: • In the Angle Viewer: Hold down the Command and Option keys and click the angle (highlighted in green) whose audio you want to remove. • In the Audio inspector: Deselect the checkbox next to the audio component you want to remove. When a component is removed, it appears dimmed in the Audio inspector and the angle is no longer highlighted in green in the Angle Viewer. The component also disappears from the multicam clip’s component arrangement in the Timeline. Use roles to organize clips and export audio files Final Cut Pro assigns an audio role (Dialogue, Music, or Effects) to the audio portion of all clips on import. Role assignments make it easy to organize clips by audio type, but their most powerful benefit is the ease with which you can export separate files (called media stems) from Final Cut Pro for all dialogue, music, or effects clips. This process is often used when delivering stems to match broadcast specifications or when handing off stems for mixing or post-production. You can use roles for the following workflows: • Reassign roles: You can view and reassign clip roles in the Timeline Index, the Event Browser, the Info inspector, or the Modify menu. You can also view and reassign a role for an audio component in the Info inspector (or by using the Modify menu when the clip that contains the audio component is in the Timeline). See View and reassign roles on page 300. You can also create custom roles and subroles to further organize your clips. • View and organize clips by role: In the Timeline Index, you can organize clips by role, turn roles on or off, and highlight or minimize clips for viewing in the Timeline. For example, you could easily identify all your dialogue clips and play them back in isolation from other audio clips. See View clips by role in the Timeline on page 305. • Export media stems: You can export roles as media stems in a combined, multitrack QuickTime file, or as separate audio or video files. During the export process you can assign mono, stereo, or surround output for your audio channels. See Sharing projects overview on page 377.Chapter 9 Edit audio 187 Add and adjust audio effects Add audio effects In addition to the built-in audio enhancement features of Final Cut Pro, you can take advantage of 64-bitOS X built-in and third-party Audio Units (AU) effects for your audio processing tasks. Final Cut Pro also comes with an extensive range of custom audio effects and professional Logic Effects, which are digital signal processing (DSP) effects and processors that are used to color or tonally shape existing audio recordings and audio sources—in real time. Some of the most common processing options include noise reduction, pitch correction, EQs, dynamic processors, and reverbs. Further advanced features include delays, modulations, distortions, bass enhancement, and time-altering processors and utilities. Some custom effects included with Final Cut Pro combine multiple effects to create a particular sound environment, such as a cathedral. You can add effects to individual clips or to a compound clip. Once you add an effect, you can adjust its settings using the Audio inspector. Add audio effects to a clip 1 Click the Effects button in the toolbar. 2 In the Effects Browser, select an audio effect, and do any of the following to help you make the selection: • To preview what the effect sounds like using the audio from the currently selected Timeline clip: Move the pointer over the audio effect thumbnails. • To preview changing the effect’s primary control: Hold down the Option key while moving the pointer over an audio effect thumbnail. • To filter the list of effects that appear: Type text in the Effects Browser search field. 3 Do one of the following: • Drag the effect to an audio clip (or a video clip with audio) in the Timeline. • Double-click the effect icon to apply it to the selected clip. The effect appears in the Effects section of the Audio inspector and in the Audio Animation Editor. You can now adjust the effect. Turn off a clip effect After you apply an audio effect to a clip, you can turn off the effect (but retain its settings) in the Audio inspector or the Audio Animation Editor. 1 Select the clip with the effect in the Timeline. 2 Do one of the following: • In the Effects section of the Audio inspector, select the effect and click its blue checkbox. • In the Audio Animation Editor, select the effect and click its green checkbox.Chapter 9 Edit audio 188 Remove a clip effect After you apply an audio effect to a clip, you can remove the effect from the clip in the Audio inspector or the Audio Animation Editor. 1 Select the clip with the effect in the Timeline. 2 Do one of the following: • In the Effects section of the Audio inspector, select the effect and press Delete. • In the Audio Animation Editor, select the effect and press Delete. Change the order of effects After you apply audio effects to a clip, you can change the order in which they appear in the Audio inspector or the Audio Animation Editor. 1 In the Timeline, select a clip for which you’ve added effects. 2 Do one of the following: • In the Effects section of the Audio inspector, drag an effect up or down. • In the Audio Animation Editor, drag an effect up or down. Copy all of a clip’s effects to another clip You can copy effects and their settings from one clip to another. This can be especially useful if you’ve made adjustments to effects in a clip that you want to preserve and use with other clips. 1 Select a clip in the Timeline, and choose Edit > Copy (or press Command-C). 2 Select the clip or clips to which you want to apply the effects, and choose Edit > Paste Effects (or press Command-Option-V). If a clip has more than one effect applied to it, all of the effects and their settings are applied to the other clip. Copy selected clip attributes to another clip You can copy a clip’s audio attributes, such as settings and effects, from one clip to another. For example, you can copy pan settings, or any effects you’ve added to a clip, including any keyframe adjustments. This feature lets you select which clip attributes you want to apply. 1 Select a clip in the Timeline, and choose Edit > Copy (or press Command-C). 2 Select the clip or clips to which you want to apply the attributes, and choose Edit > Paste Attributes (or press Command-Shift-V). 3 Do any of the following: • To apply all audio attributes from the source clip: Select the Audio Attributes checkbox. • To apply individual attributes: Select the checkbox or checkboxes for each attribute you want to apply.Chapter 9 Edit audio 189 • If you made any keyframe adjustments to the source clip: Choose either Maintain Timing or Stretch to Fit from the Keyframes pop-up menu. If you choose Stretch to Fit, Final Cut Pro adjusts the keyframes in time to match the duration of the destination clip. 4 Click Paste. For more information about using the Logic Effects that are included with Final Cut Pro, see the Final Cut Pro X Logic Effects Reference at http://help.apple.com/finalcutpro-logiceffects/mac. Adjust audio effects You can adjust an effect’s parameters using controls in the Audio inspector or the effect’s window. If you’re using Audio Units effects or Logic Effects, you can show an expanded interface by opening the effect’s window. For more information about using the Logic Effects that are included with Final Cut Pro, see the Final Cut Pro X Logic Effects Reference at http://help.apple.com/finalcutpro-logiceffects/mac. Adjust an audio effect 1 In the Timeline, select the clip with the effect you want to adjust. 2 Locate the effect in the Effects section of the Audio inspector. Controls buttonChapter 9 Edit audio 190 3 To see an effect’s parameters, do one of the following: • Click the Controls button (to the right of the effect’s name) to show a larger window with advanced controls. • Click the disclosure triangle next to Parameters to show controls in the Audio inspector. Tip: You can adjust effects over time using keyframes in the Audio inspector or in the Audio Animation Editor. 4 Select effect parameters and adjust their settings as needed. You can preview your adjustments by using the skimmer or playing the clip in the Timeline. To return the effect’s values to their default settings, click the effect’s Reset button . Use effect presets Many Audio Units and Logic effects include built-in presets that are tailored for specific settings or environments, such as reverb presets that simulate the acoustics of a small room or a large cathedral. Presets make it easy to preview and apply effects quickly. 1 Locate the effect in the Effects section of the Audio inspector. 2 Choose a preset from the Preset pop-up menu. You can preview your presets by using the skimmer or playing the clip in the Timeline. To return the effect to its default settings, choose Default from the Preset pop-up menu.Chapter 9 Edit audio 191 Edit and save custom presets You can edit preset parameters by adjusting the effect’s controls. If you want to keep your changes, you can save them as as a custom preset. 1 Locate the effect in the Effects section of the Audio inspector. 2 Choose a preset from the Preset pop-up menu. 3 To see an effect’s parameters, do one of the following: • Click the Controls button (to the right of the effect’s name) to show a larger window with advanced controls. • Click the disclosure triangle next to Parameters to show controls in the Audio inspector. 4 Select effect parameters and adjust their settings as needed. You can preview your adjustments by using the skimmer or playing the clip in the Timeline. When you adjust a preset’s parameters, the Preset pop-up menu indicates that the preset has been edited. Edited preset 5 To save an edited preset, choose Save Preset from the Preset pop-up menu, and type a name for the new preset.Chapter 9 Edit audio 192 Saved presets appear in the Preset pop-up menu. To return the effect to its default settings, choose Default from the Preset pop-up menu. Delete custom presets 1 Locate the effect in the Effects section of the Audio inspector. 2 Choose Reveal User Presets in Finder from the Preset pop-up menu. 3 Select the preset or presets you want to delete in the Finder window, and drag them to the Trash. After a custom preset has been deleted, it no longer appears in the Preset pop-up menu. Adjust audio effects using keyframes With Final Cut Pro, you can use keyframes to create simple changes to audio over time, such as fading the volume or an effect in or out in the middle of a clip. You place keyframes at specific points in a clip to change the parameter value of an audio enhancement or effect at those points. For example, you can keyframe specific points for volume or for an effect such as reverb or distortion. You can set keyframes to adjust a clip’s volume directly in the Timeline or in the Audio inspector. To see keyframes in the Timeline for all other effects, you need to display the Audio Animation Editor. For information about keyframes for video clips, see Adjust video effects using keyframes on page 247.Chapter 9 Edit audio 193 Add keyframes to a clip 1 Do one of the following: • Select the clip in the Timeline, and choose Clip > Show Audio Animation (or press Control-A). • Control-click the clip in the Timeline, and choose Show Audio Animation from the shortcut menu. If you’re adding keyframes for volume adjustment only, go to step 4. Each effect in the Audio Animation Editor has a separate area for adding keyframes. Some effects have more than one parameter and allow you to add keyframes to individual parameters separately. They appear in the Audio Animation Editor with a triangle next to the effect’s name or in the Audio inspector as additional parameter controls. 2 Select the effect for which you want to add keyframes in either the Audio Animation Editor or the Effects section of the Audio inspector. 3 Do one of the following: • To see expanded parameters in the Audio Animation Editor: Click the triangle to choose an individual parameter from the pop-up menu, or choose All to see all keyframes. • To see expanded parameters in the Audio inspector: Click the disclosure triangle next to Parameters for the effect. 4 Do one of the following for each effect parameter: • In the Audio Animation Editor (or the audio clip for volume only): Option-click (or press Option-K) at a point on the horizontal effect control where you want to add a keyframe. Keyframes for volume adjustment appear as white diamonds. Keyframe marking where a change in volume level occurredChapter 9 Edit audio 194 For effects with more than one parameter, keyframes for the selected parameter appear as white diamonds, while keyframes for other parameters appear gray. Keyframes appear as white diamonds for all parameters when you choose All from the effect pop-up menu. Double diamonds indicate that you added a keyframe for more than one parameter at that point. • In the Audio inspector: Position the playhead in the Timeline at the point where you want to add a keyframe, and click the Keyframe button (or press Option-K). Keyframe button Once you add a keyframe, the Keyframe button changes to yellow, indicating that the playhead currently sits on this keyframe. When you move the playhead in the Timeline, arrows appear next to the Keyframe button in the Audio inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow or press Option-Semicolon (;). To go to the next keyframe, click the right arrow or press Option-Apostrophe (’). Click an arrow to go to the previous or next keyframe. 5 Add keyframes as needed. Tip: After you’ve added one keyframe, you can add another automatically by moving the playhead in the Timeline and then adjusting the effect parameter (or the Volume slider when keyframing volume) in the Audio inspector.Chapter 9 Edit audio 195 Add keyframes automatically across a selected area For volume adjustments to a clip in the Timeline, you can use the Range Selection tool to add keyframes automatically across a selected range. If an effect appears in the Audio Animation Editor with a disclosure button, you can use either the Select or Range Selection tool to add keyframes across a selected area. 1 Do one of the following: • Select the clip in the Timeline, and choose Clip > Show Audio Animation (or press Control-A). • Control-click the clip in the Timeline, and choose Show Audio Animation from the shortcut menu. If you’re adding keyframes for volume adjustment only, go to step 3. 2 Select an effect, and click the disclosure button to expand it in the Audio Animation Editor. Disclosure button 3 In the Timeline, do one of the following: • If you’re adjusting volume only: Choose Range Selection from the Tools pop-up menu in the toolbar (or press R). The pointer changes to the Range Selection tool icon . • If you’re adjusting an effect in the Audio Animation Editor: Choose either Select or Range Selection from the Tools pop-up menu in the toolbar (or press A for Select, or R for Range Selection).Chapter 9 Edit audio 196 4 Drag across the area where you want to adjust the volume or effect. 5 Adjust the volume or effect within the range by dragging the effect’s horizontal control up or down. Keyframes are automatically created along the adjustment points within the range.Chapter 9 Edit audio 197 Adjust keyframes in the Audio Animation Editor You can move keyframes left or right in the Audio Animation Editor. If an effect appears with a disclosure button, you can expand the effect view and move keyframes up or down to change the parameter value. 1 Select a keyframe. 2 Do one of the following: • To change its position in the Audio Animation Editor, drag a keyframe left or right. As you drag, the timecode value appears. • If an effect appears with a disclosure button, click the button (or double-click the effect) to expand the effect view. Disclosure button With the effect view expanded, you can drag the keyframe up or down to change the effect’s parameter value. Tip: To adjust values with greater precision, hold down the Command key while dragging the keyframe up or down. To add another keyframe, Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. To add a keyframe and change the effect’s parameter value at the same time, Option-click while dragging the effect control up or down. Adjust keyframes in the Audio inspector For many effects, you adjust the parameter value of individual keyframes using the Audio inspector. 1 Select a keyframe or position the playhead on a keyframe, and adjust the parameter value in the Audio inspector. 2 To change the value at the next keyframe, go to the next keyframe and adjust the value again.Chapter 9 Edit audio 198 Adjust all keyframes at once in the Audio Animation Editor m Hold down the Command and Option keys, and drag either a keyframe or the effect control up or down. All keyframes are adjusted by the same amount, preserving the original shape created by any keyframe adjustments. Before After View only one effect at a time in the Audio Animation Editor You can collapse the Audio Animation Editor to view only one effect at a time. This can be useful if you have multiple effects applied to a clip and want to preserve screen space. 1 Choose Clip > Solo Animation (or press Shift-Control-V). 2 In the Audio Animation Editor, click the triangle next to the displayed effect’s name to choose an effect from the pop-up menu. Note: When Solo Animation is turned on, you can’t delete effects from the Audio Animation Editor. To turn off Solo Animation, choose Clip > Solo Animation (or press Shift-Control-V). Delete keyframes Do one of the following: m Select a keyframe in the Audio Animation Editor, and press the Delete key. m Navigate to a keyframe in the Audio inspector, and click the Keyframe button. Keyframe buttonChapter 9 Edit audio 199 Hide audio animation Do one of the following: m Select the clip in the Timeline, and choose Clip > Hide Audio Animation (or press Control-A). m Click the close button in the upper-left corner of the Audio Animation Editor. m Control-click the clip in the Timeline, and choose Hide Audio Animation from the shortcut menu. Audio tools and techniques Enhance audio Final Cut Pro includes several powerful tools for both analyzing and enhancing the audio portion of clips, including: • Loudness: Improves the main audio signal and makes it more uniform. • Background Noise Removal: Reduces background noise. • Hum Removal: Reduces common electrical hum noise at either 50 or 60 Hz. You can analyze audio and adjust loudness, background noise, and hum using the Audio Enhancements inspector. You can also analyze and fix audio problems when you import a clip. The Audio Enhancements section of the Audio inspector also includes: • Equalization: Enhances the high-end (treble), midrange, or low-end (bass) frequencies. All enhancements are designed to correct most common audio problems automatically or with minor adjustments. Note: When you import a clip, the analyze and fix audio function only corrects severe audio problems. If the clip contains moderate problems, these appear in yellow next to Audio Analysis in the Audio Enhancements section of the Audio inspector after the clip is imported. To correct these, you need to automatically enhance audio in the Audio Enhancements inspector. Analyze audio 1 Select an audio clip or video clip with audio in the Timeline. 2 To analyze the audio, do one of the following: • Choose Window > Go To > Audio Enhancements (or press Command-8). • Choose Show Audio Enhancements from the Enhancements pop-up menu in the toolbar. • In the Audio inspector, click the Audio Enhancements Inspector button next to Audio Analysis in the Audio Enhancements section. (The button changes color if any adjustments have been made.) The Audio Enhancements inspector appears. After analysis, indicators appear next to each enhancement to show results: • A red sign indicates severe problems. • A yellow warning triangle indicates potential problems. • A green checkmark indicates OK. 3 To close the Audio Enhancements inspector, click the back button . You can automatically or manually change enhancement settings to correct any problems. Chapter 9 Edit audio 200 Automatically enhance audio You can automatically enhance audio to analyze for and correct loudness, background noise, and hum. 1 Select an audio clip or video clip with audio in the Timeline. 2 Do one of the following: • Choose Modify > Auto Enhance Audio. • Choose Auto Enhance Audio from the Enhancements pop-up menu in the toolbar. • Click the Auto Enhance button at the bottom of the Audio Enhancements inspector. 3 To close the Audio Enhancements inspector, click the back button . After analysis, a green checkmark next to an enhancement indicates that the clip was analyzed for that enhancement. Details appear if a correction was automatically applied. A blue checkbox appears next to each enhancement that was turned on to apply a correction. Deselect the checkbox to turn off an enhancement. Apply enhancements manually After you analyze audio, you can adjust the enhancements manually. 1 Select an audio clip or video clip with audio in the Timeline. 2 To show the Audio Enhancements inspector, do one of the following: • Choose Window > Go To > Audio Enhancements (or press Command-8). • Choose Show Audio Enhancements from the Enhancements pop-up menu in the toolbar. • In the Audio inspector, click the Audio Enhancements Inspector button next to Audio Analysis in the Audio Enhancements section. (After you make any adjustments, the button changes color.)Chapter 9 Edit audio 201 3 To turn on an enhancement, click its icon or select its checkbox (when the enhancement is turned on, its checkbox is blue). Blue checkbox 4 If necessary, do any of the following: • To change Loudness settings: Drag the Amount and Uniformity percentage sliders. The Amount slider increases or decreases the overall loudness (compression) of the clip, while the Uniformity slider increases or decreases the dynamic range affected. • To change the percentage of Background Noise Removal: Drag the Amount slider. • To remove hum: Select either 50 Hz or 60 Hz for Hum Removal. 5 To close the Audio Enhancements inspector, click the back button . Adjust equalization 1 Select the clip in the Timeline. 2 In the Audio Enhancements section of the Audio inspector, choose an Equalization preset from the Equalization pop-up menu, or click the Controls button to make manual adjustments. Controls button Choose a preset from this pop-up menu. If you want a clip to sound like another clip, you can match the audio.Chapter 9 Edit audio 202 Sync audio and video automatically Final Cut Pro can automatically analyze and sync the audio and video clips in your project. For example, if you select two video clips and three separate audio clips from different sources that were all recorded during the same take, Final Cut Pro automatically analyzes and syncs the clips together into a new clip in the Event Browser. Final Cut Pro analyzes the clips for sync points such as markers you’ve added, timecode, file creation date, and audio content. If no sync points can be found, the clips are synced at their respective starting points. Selected clips in the Event Browser New clip containing synchronized clips Synchronized clip contents Primary storyline for the synchronized clip Connected clips Synchronize clips 1 Select the audio and video clips you want to sync in the Event Browser. 2 Choose Clip > Synchronize Clips (or press Command-Option-G). Synced clips are labeled “Synchronized Clip” in the Event Browser. The original clips are not affected. If your synchronized clip contains audio channels that aren’t being used, you can turn them off. See Configure audio channels on page 169.Chapter 9 Edit audio 203 Match audio equalization settings The Match Audio function uses equalization (EQ) to let you match a selected clip’s sound to another clip. This is particularly useful when you have multiple audio clips recorded in different environments but want the clips to sound similar to each other. Match audio 1 Select the clip or clips you want changed in the Timeline. 2 Do one of the following: • Choose Modify > Match Audio. • Choose Match from the Equalization pop-up menu in the Audio Enhancements section of the Audio inspector. • Choose Match Audio from the Enhancements pop-up menu in the toolbar. 3 Click to select the clip whose sound you want to match. 4 Click Apply Match. Once you match a clip, you can make adjustments to settings in the Audio Enhancements section of the Audio inspector. Remove audio matching 1 Select the clip in the Timeline. 2 In the Audio Enhancements section of the Audio inspector, choose a different equalization setting from the Equalization pop-up menu. To remove all equalization, choose the Flat setting. Preserve pitch when retiming clips By default, Final Cut Pro preserves pitch when retiming clips so that the pitch doesn’t sound higher when the clip is faster or lower when the clip is slower. You can turn this feature on or off before or after a clip has been retimed. Turn Preserve Pitch on or off 1 In the Timeline, select an entire clip, or a range within a clip, whose speed you plan to change. 2 Choose Preserve Pitch from the Retime pop-up menu in the toolbar. A checkmark to the left of the command name indicates that Preserve Pitch is turned on. To turn it off, choose Preserve Pitch again.204 Transitions,titles, effects, and generators overview You can easily add special effects to video, audio, and photos in your projects. Final Cut Pro provides several kinds of effects and controls: • Transitions: Add an effect between clips to control how they change from one to the next. See Transitions overview on page 205. • Titles: Use to add text at any point in your project. See Titles overview on page 213. • Effects: Use to do a wide variety of things to your video and audio clips, from subtle (add film grain or a color effect to the video, or a graphic equalizer to the audio) to not so subtle (add droplet ripples or an insect-eye view to the video, or apply an exaggerated pitch shift to the audio). There are two main types of effects: • Built-in effects: Use these standard effects to resize, move, rotate, trim, skew, crop, or apply the Ken Burns zooming effect to a video clip. These effects are already part of each Timeline clip—you just need to adjust them. See Built-in effects overview on page 219. • Clip effects: Use these effects to change your video and audio clips to either correct issues or create stunning new looks or sounds. See Clip effects overview on page 231. • Generators: Add a special element like a placeholder clip, a timecode generator, or a countdown timer, or add colors, patterns, or animated backgrounds to your project. See Generators overview on page 237. • Onscreen controls: Customize many of your effects using onscreen controls. See Onscreen controls overview on page 242. • Video Animation: Vary effect settings as a clip plays. See Video animation overview on page 247. Effects can be added to any clips in the Timeline. Once they have been added (or in the case of built-in effects, adjusted), you can customize the effects using controls in an inspector, onscreen controls in the Viewer, and controls in the Video Animation Editor and Audio Animation Editor. You can also try out multiple versions of an effect using auditions. Most of the effects and generators can be opened in Motion, an Apple application designed to work with Final Cut Pro, where you can customize and save specialized versions of them. Add transitions, titles, effects, and generators 10Chapter 10 Add transitions,titles, effects, and generators 205 Add and adjusttransitions Transitions overview You can add cross dissolves and other transition effects between cuts to make your program more interesting. Transitions replace one shot with another over a specified period of time; when one shot ends, another one replaces it. Three very common video transitions occur over time: fades, cross dissolves, and wipes. You can add audio-only transitions to audio edits in a connected storyline. These transitions can be either a fade-in, fade-out, or crossfade. Note: When a transition is added to a video clip with attached audio, a crossfade transition is automatically applied to the audio. If the audio is detached or expanded from the video, the audio is not affected by the video transition. How transitions are created Transitions require overlapping video from the clips on each side of the edit point. A onesecond transition requires one second of video from the end of the left clip and one second of video from the start of the right clip. When you apply a transition to an edit point, Final Cut Pro attempts to use additional video from each of the clips to create the overlap. These additional (unused) sections of clips are known as media handles. The following image shows a clip with media handles on each end and a clip with no extra video, or media handle, at its start. Clip selected in the Event Browser No start media handle Start media handle End media handle End media handle The media handle video may not be appropriate for use in a transition. For example, if the video includes unusable video such as a slate, it will be visible in the project. You can set the default duration for transitions. See Set transition defaults on page 206.Chapter 10 Add transitions,titles, effects, and generators 206 The illustration below shows how transitions are created when the clips on either side of the edit point have media handles. The transition is placed so that it spans the clips; one half of the transition overlaps each clip. Unused media from the end of each clip is added to fill out the transition. The total duration of your project is unchanged. Edit with no transition Media handle Clip 1 Clip 2 Clip 1 Clip 2 Media handle Edit with transition (media handles used) If one or both of the clips do not have enough extra content (media handles) to support a transition of the default duration, you are given the option to overlap media in your project to create the transition. Final Cut Pro uses any available media handles and then overlaps media as necessary to create the transition. The illustration below shows a transition created without media handles. The two clips are made to overlap, and the transition is placed over the overlapping region. This is effectively a ripple trim edit, and the total duration of your project decreases. Edit with no transition Clip 1 Clip 2 Clip 1 Clip 2 Edit with transition (no media handles used) Set transition defaults You can set the default transition that is used with the Command-T keyboard shortcut. You can also set the default duration for transitions. Set the default transition 1 Click the Transitions button in the toolbar. 2 Control-click a transition, and choose Make Default from the shortcut menu. Set the default duration You set the default duration for transitions in Final Cut Pro preferences. 1 Choose Final Cut Pro > Preferences, or press Command-Comma (,), and click Editing. 2 Use the “Duration is x seconds” value slider to set the duration, in seconds, of all transitions you add to the Timeline. You can adjust the duration of a transition after it is in the Timeline. Note: Some transitions have a set duration and are not affected by this setting.Chapter 10 Add transitions,titles, effects, and generators 207 Add transitions to your project There are several methods you can use to add transitions to your project. Once a transition is added, you can adjust its parameters. You can also modify the transition effect in Motion. Add a cross dissolve 1 Choose the Select tool from the Tools pop-up menu in the toolbar (shown below), and click the edge of a clip (an edit point) in the Timeline. One or both clip edges are highlighted. Note: If you select a whole clip in the Timeline instead of just an edit point, transitions are added at each end of the selected clip. 2 Choose Edit > Add Cross Dissolve (or press Command-T). The cross dissolve is inserted using the “Apply transitions using” setting. For more information, see Set transition defaults on page 206. If the video clip has attached audio, a crossfade transition is applied to the audio.Chapter 10 Add transitions,titles, effects, and generators 208 Add or change a transition using the Transitions Browser 1 Click the Transitions button in the toolbar. 2 Select a transition. Move the pointer over the transition thumbnails to see an example of what the transition looks like. Additionally, you can type text in the search field to filter the list of transitions that appear. 3 Do one of the following: • To apply the transition to an edit point: Drag the transition to it. • To replace an existing transition in your project: Drag the transition to it. Tip: Alternatively, you can select the edit point first, and double-click a transition in the Transitions Browser to apply it. The transition is added to the edit using the “Apply transitions using” setting. For more information, see Set transition defaults on page 206. If the video clip has attached audio, a crossfade transition is applied to the audio. Add an automatic audio crossfade When a video clip has attached audio, the audio automatically has a crossfade transition applied when a video transition is applied. If the audio is detached or expanded from the video, the audio is not affected by the video transition. Follow these steps to add an audio crossfade between detached audio clips that are in a connected storyline. 1 Create an audio-only storyline that is connected to the primary storyline. For information on creating storylines, see Add storylines on page 265. 2 Using the Select tool, click the edge of a clip (an edit point) in the storyline. One or both clip edges are highlighted. Note: If you select a whole clip in the storyline instead of just an edit point, transitions are added at each end of the selected clip. 3 To insert a crossfade, choose Edit > Add Cross Dissolve (or press Command-T). The crossfade is inserted using the “Apply transitions using” setting. For more information, see Set transition defaults on page 206. You can configure the fade-in and fade-out settings in the Transition inspector.Chapter 10 Add transitions,titles, effects, and generators 209 Copy a transition to other edit points using the Edit menu 1 Select a transition in the Timeline, and choose Edit > Copy (or press Command-C). 2 Using the Select tool, click the edge of a clip (an edit point) in the Timeline, and choose Edit > Paste (or press Command-V). Note: If you copy a transition to an edit point that already has a transition, the existing transition is overwritten. Copy a transition to other edit points by dragging m Select a transition in the Timeline, press the Option key, and drag the transition to another edit point. Note: If you copy a transition to an edit point that already has a transition, the existing transition is overwritten. Delete transitions from your project You can easily delete a transition, restoring the edit point to a simple cut. Delete a transition 1 Select one or more transitions in the Timeline. 2 Press Delete. The selected transitions are removed and their edit points are converted to simple cuts. Important: If a transition you deleted used Full Overlap, the edit point is now at the center point of the transition that was removed, not at its original location before the transition was applied. You can use Edit > Undo to remove the transition and return the clips to their original length. For more information, see How transitions are created on page 205. Adjust transitions in the Timeline You can adjust a transition’s duration and move it in the Timeline. You can also trim either of the clips under the transition. Change the transition duration 1 Select a transition in the Timeline. 2 Do one of the following: • Choose Modify > Change Duration (or press Control-D), type the duration (it appears in the Dashboard in the toolbar), and press Return. • Drag one end of the transition away from the transition’s center to make it longer or toward the center to shorten it. Drag either transition edge to trim its duration. The transition maintains its center point and equally trims both ends, with the number showing how many frames have been added to or subtracted from the transition duration.Chapter 10 Add transitions,titles, effects, and generators 210 Move the transition Moving a transition actually rolls the edit under the transition, adding content to one underlying clip while removing content from the other clip. The overall duration of the project is not affected. Additionally, you can only move the transition as long as sufficient media handles are available for the clip that is being extended. Clip 2 Media handle Edit with transition Media handle Clip 1 Clip 2 Media handle Media handle Clip 1 Edit with transition moved right 1 Select a transition in the Timeline. 2 Drag the transition trim icon in the upper-center area of the transition. Drag to roll the edit under the transition. The edit under the transition is rolled, with one clip being extended and the other shortened. A number appears showing the number of frames to the left (negative numbers) or to the right (positive numbers) you have rolled the transition. You can also use the Precision Editor to roll the transition. Trim a clip under a transition The transition includes icons that make it easy to trim the left or right clip without affecting the transition. 1 Select a transition in the Timeline. 2 Drag one of the trim icons in the upper-left or upper-right area of the transition. Drag to trim the start point of the clip on the right. Drag to trim the end point of the clip on the left.Chapter 10 Add transitions,titles, effects, and generators 211 Dragging the trim icon in the upper left adjusts the right clip’s start point, and dragging the trim icon in the upper right adjusts the left clip’s end point. A number appears showing how many frames you have added to (negative numbers) or subtracted from (positive numbers) the clip’s duration. Trimming the clip doesn’t affect the transition’s duration, but it does affect the project’s duration. You can also use the Precision Editor to trim the clips under the transition. Adjust transitions in the Transition inspector and Viewer You can adjust a transition using the controls in the Transition inspector and Viewer. Adjust a transition using the Transition inspector and Viewer 1 If the Transition inspector is not already visible, choose Window > Show Inspector (or press Command-4). 2 In the Timeline, select the transition to adjust. For this example, use the Circle transition. The Viewer shows any onscreen adjustments you can make by dragging the handles. The Transition inspector shows the other parameters available for you to adjust. Additionally, some transitions have an image well for you to select a video frame that appears as part of the transition. Drag onscreen controls to adjust selected transition settings. In the above example, you can drag the white circle in the Viewer (an onscreen control) to position the circle wipe’s center and the square to set the border width (in this case, its softness). The Transition inspector includes a setting for the circle wipe’s aspect ratio and edge treatment (including the border color if you choose a hard edge). Additionally, many transitions have parameters that you can animate using keyframes. For example, you could have the center of the Circle transition move as you play the clip. For more information on adjusting audio crossfades in the Transition inspector, see Fade audio in or out on page 174.Chapter 10 Add transitions,titles, effects, and generators 212 Adjust transitions with multiple images Several transitions include areas that are filled with still images from the clips on either side of the transition. For example, this is the Pan Far Right transition (one of the Bulletin Board transitions). This image is set by handle number 4 in the Timeline. The areas are numbered and correlate to numbered points around the transition in the Timeline. Adjust transitions with numbered points 1 Select the transition with numbered points in the Timeline. 2 Move the playhead over the transition until you see an area with the same number as one of the numbered handles in the Timeline. 3 Drag the numbered handle to select the image to fill the area. 4 Continue until you have selected images for all of the areas.Chapter 10 Add transitions,titles, effects, and generators 213 Create specialized versions of transitions in Motion Many of the transitions were created using Motion, an Apple application designed to work with Final Cut Pro. You can open these transitions in Motion, make modifications, and save the changes as a new transition file that appears in the Transitions Browser. Important: The following steps require you to have Motion 5 installed on your computer. Modify a transition in Motion 1 Click the Transitions button in the toolbar. 2 In the Transitions Browser, Control-click the transition you want to modify, and choose “Open a copy in Motion” from the shortcut menu. Motion opens and the transition’s project appears. 3 Modify the transition project. For more information, see Motion Help at http://help.apple.com/motion. 4 Choose File > Save As (or press Command-Shift-S), enter a name for this new transition (referred to as a Template in Motion), assign it to a category (or create a new category), choose a theme (if needed), and click Publish. Note: If you choose File > Save, the transition is saved using the same name with “copy” appended to its end. Add and adjusttitles Titles overview Titles play a critical role in movies, providing important bookends (such as opening titles and closing credits) and conveying time and dates within the movie. Titles, especially in the lower third of the screen, are also used in documentaries and informational videos to convey details about subjects or products onscreen. You can also add notes and placeholders within your project while you edit. Subtitles can be a critical element for movies originating in a different language. You can create titles and credits within Final Cut Pro with title effects. Titles are synthesized clips (similar to generators) generated by Final Cut Pro. Title clips don’t refer to any media on your hard disk. When you add a title as a connected clip directly above another clip, the underlying clip appears as the title’s background, sparing you the need to perform any further compositing to create that effect. Add titles to your project You add titles to clips in your project using the Titles Browser. Once you have added text, you can modify the title’s text style. Add a title to a project clip 1 Drag the playhead in the Timeline to the point where you want to add the title. 2 Click the Titles button in the toolbar (or press Command-5).Chapter 10 Add transitions,titles, effects, and generators 214 3 Do any of the following: • To add a title from the Titles Browser: Double-click the title. A title clip is added at the playhead location. • To add a basic title: Choose Edit > Connect Title > Basic Title (or press Control-T). A title clip named Basic Title (with no effects or animations) is added at the playhead location. • To add a lower-third title: Choose Edit > Connect Title > Basic Lower Third (or press Shift-Control-T). A lower-third title clip named Basic Lower Third (with no effects or animations) is added at the playhead location. The title clip is connected to the clip in the primary storyline at the position of the playhead. Visually, the title is superimposed over the clip in the primary storyline at the playhead position. If the playhead is not over a clip, the title is superimposed over the default background. Add a title as a clip in the primary storyline There are two ways to add a title as a clip in the primary storyline. You can either insert a title clip at the edit point between two clips or replace an existing clip in the primary storyline with a title clip. m To add a title between clips in the Timeline: Drag a title from the Titles Browser to the edit point between the clips where you want the title clip to appear. m To replace an existing Timeline clip with a title clip: Drag a title from the Titles Browser to the clip in the Timeline that you want to replace, and choose Replace from the shortcut menu. Enter text for your title After you add a title clip to your project in the Timeline, you can type text for your title in the Viewer. 1 Select a title clip in the Timeline. 2 Move the playhead over the selected title clip. 3 In the Viewer, double-click the title text, and type text for your title. Double-click the text box Next Text Layer button to type text for the title. Previous Text Layer buttonChapter 10 Add transitions,titles, effects, and generators 215 4 To select a different text object, do one of the following: • Click the Previous Text Layer or Next Text Layer button. • Double-click a different text object. 5 Type new text as necessary. 6 To exit text editing, press Command-Return. Note: The Previous Text Layer and Next Text Layer buttons also support Motion text edit markers. For more information, see Motion Help at http://help.apple.com/motion. Adjust titles You can edit text in the Viewer, and adjust a title’s text appearance using the Title and Video inspectors. For example, you can adjust a title’s opacity or modify the text’s font, alignment, color, glow, and drop shadow. Edit title text 1 Double-click a title clip in the Timeline. 2 Do one of the following: • Double-click a text object in the Viewer. • Select the text in the Text inspector. 3 Edit the text. 4 To exit text editing, press Command-Return. Adjust a title’s position onscreen 1 Select a title clip in the Timeline. 2 Move the playhead over the selected title clip. 3 Do one of the following: • In the Viewer, drag the text object to the new position. • Double-click the text object and drag the position button to the new position. Click the position button (the small circle) and drag the title to the new position.Chapter 10 Add transitions,titles, effects, and generators 216 Adjust a title’s opacity If you’re placing a title over an existing clip, you can adjust the title’s transparency. 1 Double-click a title clip in the Timeline. 2 Choose Window > Show Inspector (or press Command-4), and click the Video button at the top of the pane that appears. Opacity slider 3 In the Compositing section, adjust the opacity settings. 4 To edit text editing, press Command-Return. Note: You can also keyframe a title’s opacity setting. Adjust a title’s settings You can modify a title’s settings in the Title inspector. 1 Select a title clip in the Timeline. 2 Choose Window > Show Inspector (or press Command-4), and click the Title button at the top of the pane that appears. 3 Adjust the available settings as needed. Note: You can also keyframe many of the settings in both the Title and Text inspectors.Chapter 10 Add transitions,titles, effects, and generators 217 Modify a title’s text style You can modify the text style for a title. 1 Double-click a title clip in the Timeline. The title appears in the Viewer, and the text in the first text object in the title clip is selected. 2 To modify another text object, select it in the Viewer. 3 Choose Window > Show Inspector (or press Command-4). 4 Adjust the available settings as needed. 5 To exit text editing, press Command-Return. Note: You can also keyframe many of the settings in both the Title and Text inspectors. Adjust multiple text objects in a title clip at once You can adjust the settings of more than one text object at once. 1 Select a title clip in the Timeline. 2 Move the playhead over the selected title clip. 3 In the Viewer, do one of the following: • Holding down the Command key, select the text objects you want to modify. • Drag to select the text objects you want to modify. 4 Choose Window > Show Inspector (or press Command-4). 5 Adjust the available settings as needed. Use the ruler to lay out and align paragraph text objects Text created in Motion and some titles in the Titles Browser contain paragraph text. You can use a ruler and tabs to control the layout of paragraph text. For more information, see Motion Help at http://help.apple.com/motion. 1 Double-click a paragraph text object in the Viewer. 2 In the Viewer, click the Show Ruler button. Note: The Show Ruler button appears only when you edit a paragraph text object.Chapter 10 Add transitions,titles, effects, and generators 218 A ruler appears above the paragraph text object in the Viewer. Tabs in the ruler show how tabbed text will be aligned in the selected text. Left tab Center tab Decimal tab Right tab 3 Do any of the following: • To add a tab: Click in the ruler. • To change the type of tab added when you click in the ruler: Control-click in the ruler and choose a tab type from the shortcut menu. • To move a tab: Drag it to another position on the ruler. • To delete a tab: Drag it out of the ruler. • To change a tab to another tab type: Control-click the tab and choose a tab type from the shortcut menu. Remove titles from your project You can remove a title from your project at any time. Remove a title m In the Timeline, select the title you want to remove, and press Delete. Find and replace text in your project If your project contains multiple instances of a particular word or phrase displayed in multiple title clips, such as names, company names, or job titles, you can find the specific word or phrase and quickly change each instance of it. Find and replace title text 1 Choose Edit > Find and Replace Title Text. 2 In the Find and Replace Title Text window that appears, type the text you want to search for in the Find field. 3 In the Replace field, type the text you want to replace the text you’re looking for.Chapter 10 Add transitions,titles, effects, and generators 219 4 To choose where to search, do one of the following: • To search for text in the selected title clip: Choose Selected Title from the “Search in” pop-up menu. This option is useful for searching in title clips that have a lot of text, such as credits. • To search for text across all the title clips in your project: Choose All Titles In Project from the “Search in” pop-up menu. 5 Do any of the following: • To match how letters are capitalized in your search string: Select the “Match case” checkbox. • To locate whole words rather than a group of letters within words: Select the “Whole words” checkbox. • To have the search start over from the beginning of the searched item once it’s reached the end: Select the “Loop search” checkbox. 6 Do one of the following: • To replace all instances of the text at once: Click the Replace All button. • To replace this single instance of the text only: Click the Replace button. • To replace this instance of the text and locate the next place the text appears: Click the Replace & Find button. • To cycle forward and backward through each instance of the text you’re looking for: Click the Previous and Next buttons. Adjust built-in effects Built-in effects overview Final Cut Pro includes several video effects that are part of each Timeline clip and directly accessible from the Viewer—all you need to do is select them and start making adjustments. You can use these to: • Create a composited image from several clips • Reposition or reframe a clip by zooming in on it • Crop a clip to remove unwanted items, such as microphones or lighting equipment, that accidentally appear in the video • Configure a Ken Burns effect to add life to your still images (and video clips as well) You can use more than one of the built-in effects at the same time. For example, you can use Transform to reduce the image’s size and position, Trim to remove a portion of the video, and Distort to give the video a skewed look. You can animate any of these effects so that they change as the clip plays. For example, you can have an image shrink and move offscreen. To configure an animation, you change settings at two or more points in the clip. When you play the clip, Final Cut Pro creates smooth animated transitions between the points.Chapter 10 Add transitions,titles, effects, and generators 220 Resize, move, and rotate clips The Transform built-in effect allows you to resize, move, and rotate an image. This effect is commonly used on a clip placed over a primary storyline clip, which becomes the background of the resized clip. It is also often used to zoom in on a clip, allowing you to reframe a shot if needed. Adjust the Transform effect Controls in the Viewer and Video inspector allow you to adjust this effect. However, some controls are found in only one or the other. 1 Select a clip in the Timeline. 2 To access the Transform controls, do one of the following: • Choose Transform from the pop-up menu in the lower-left corner of the Viewer (or press Shift-T). • Control-click in the Viewer and choose Transform from the shortcut menu. 3 To adjust the effect using the onscreen controls: • Blue handles at each corner: Drag these to adjust the image’s size while maintaining its current aspect ratio. • Blue handles in the middle of each side: Drag these to independently adjust the vertical and horizontal image size, changing the aspect ratio of the image. Note: These controls aren’t available in the Video inspector. • White circle in the center: Shows the rotation anchor point. Drag anywhere inside the image to adjust the image’s position. • Blue handle extending from the center circle: Drag this to rotate the image. Tip: For finer precision when rotating the image, drag the rotation handle farther away from the anchor point in the center. Drag a corner handle to change the image’s size without changing its aspect ratio. Drag a side’s handle to change the aspect ratio of the image. Drag anywhere inside the image to set its position. Drag this handle to rotate the image.Chapter 10 Add transitions,titles, effects, and generators 221 4 Use the Transform controls in the Video inspector as follows: • Position X and Y: Use these to move the image left and right (X) and up and down (Y). • Rotation: Use this to rotate the image around its anchor point. • Scale: Use this to change the image’s size. • Anchor X and Y: Use these to move the image’s center point. This defines the point that the image rotates around. Note: This control isn’t available in the onscreen controls. 5 When you are finished adjusting the effect and no longer need the onscreen controls, click Done. You can animate the effect and have it appear over a background. For details on working with built-in effects, see Work with built-in effects on page 226. Trim clips Trim controls allow you to independently trim each of the image edges, creating a window look. This effect, often used along with the Transform effect, is commonly used on a clip placed over a primary storyline clip, which becomes the background of the trimmed clip. Adjust the Trim effect 1 Select a clip in the Timeline. 2 To access the Trim controls, do one of the following: • Choose Crop from the pop-up menu in the lower-left corner of the Viewer (or press Shift-C). • Control-click in the Viewer and choose Crop from the shortcut menu. 3 Click the Trim button at the bottom of the Viewer.Chapter 10 Add transitions,titles, effects, and generators 222 4 To adjust the effect using the onscreen controls: • Blue handles at each corner: Drag these to adjust the position of two trim window sides at the same time. • Blue handles in the middle of each side: Drag these to independently adjust the position of each side. • Anywhere inside the window: Drag anywhere inside the window to adjust its position. Drag a handle in the middle of a side to change only one side. Drag a corner handle to change two sides at once. Drag anywhere in the image to position the trim window. 5 To individually adjust each edge using the Crop area of the Video inspector, use the Trim controls. 6 When you are finished adjusting the effect and no longer need the onscreen controls, click Done. You can animate the effect and have it appear over a background. For details on working with built-in effects, see Work with built-in effects on page 226. Crop clips The Crop effect makes it easy to remove unwanted areas of the image. It automatically expands the cropped image so that it fills the screen. Adjust the Crop effect 1 Select a clip in the Timeline. 2 To access the Crop controls, do one of the following: • Choose Crop from the pop-up menu in the lower-left corner of the Viewer (or press Shift-C). • Control-click in the Viewer and choose Crop from the shortcut menu. 3 Click the Crop button at the bottom of the Viewer.Chapter 10 Add transitions,titles, effects, and generators 223 4 To adjust the effect using the onscreen controls: • Blue handles at each corner: Drag these to adjust the crop of that corner. The cropped image always maintains the original aspect ratio. • Anywhere inside the window: Drag anywhere inside the crop window to adjust its position. Drag a corner handle to change the crop window’s size (but not its aspect ratio). Drag anywhere inside the image to position the crop window. Click Done to crop the image and expand it to full size. 5 To individually adjust each edge using the Crop area of the Video inspector, use the Crop controls. Note: While you can use these controls to change the crop window’s aspect ratio, the final image still matches the original image’s aspect ratio, with additional content being cropped out so that the final image fits the original aspect ratio. 6 Click Done to have the crop applied and see the image zoomed to fill the screen. You can animate the effect, creating the illusion of a pan and zoom camera move (effectively, a manual Ken Burns effect). For details on working with built-in effects, see Work with built-in effects on page 226.Chapter 10 Add transitions,titles, effects, and generators 224 Pan and zoom clips with the Ken Burns effect The Ken Burns effect creates a pan and zoom effect using the start and end positions you define. The Ken Burns effect is actually a Crop effect with two crop settings, one at the clip start and another at its end. Adjust the Ken Burns effect 1 Select a clip in the Timeline. 2 To access the Ken Burns controls, do one of the following: • Choose Crop from the pop-up menu in the lower-left corner of the Viewer (or press Shift-C). • Control-click in the Viewer and choose Crop from the shortcut menu. 3 Click the Ken Burns button at the bottom of the Viewer. Two rectangles appear in the Viewer: a green one that defines the position and size for the start of the clip and a red one that defines the position and size for the end of the clip. An arrow is superimposed to show the direction the image travels when the clip is played. Select the green Start or red End rectangle to adjust the crop size and position. Click the Swap button to exchange the Start and End positions. Click the Play Loop button to play the clip in a loop. The default start and end settings result in a small zoom to the center of the image. 4 To choose the part of the image that appears at the start of the effect, drag the green handles to change the crop size of the image and drag the window to set its position. 5 To choose the part of the image that appears at the end of the effect, drag the red handles to change the crop size of the image and drag the window to set its position. 6 To have the clip with the effect play in a loop, click the Play Loop button. 7 To exchange the start and end positions, click the Swap button. 8 Click Done.Chapter 10 Add transitions,titles, effects, and generators 225 Tip: Use the Crop effect and intermediate keyframes to create a Ken Burns-style effect that follows a more complicated path. For details on working with built-in effects, see Work with built-in effects on page 226. Skew a clip’s perspective The Distort effect is similar to the Transform effect, except that you can drag each of the corners independently of the others, allowing you to create a skewed look or add a 3D perspective to the image. Note: The Distort effect alters the shape of the video but does not actually move the video. To move the video to a different position, use the Transform effect. Adjust the Distort effect 1 Select a clip in the Timeline. 2 To access the Distort controls, do one of the following: • Choose Distort from the pop-up menu in the lower-left corner of the Viewer (or press Command-Shift-D). • Control-click in the Viewer and choose Distort from the shortcut menu. 3 To adjust the effect using the onscreen controls: • Blue handles at each corner: Drag these to adjust the position of each corner, adding a 3D perspective to the image by making parts of it appear closer to you than other parts. • Blue handles in the middle of each side: Drag these to adjust the position of each side. You can create a skewed look by dragging them in the same direction as their edge (as opposed to toward or away from the center). • Anywhere inside the window: Drag anywhere inside the window to adjust its position. Drag each corner to set its position. Drag the center handles to set a side’s position.Chapter 10 Add transitions,titles, effects, and generators 226 4 To individually adjust each corner using the Video inspector, use the Distort controls. 5 When you are finished adjusting the effect and no longer need the onscreen controls, click Done. You can animate the effect and have it appear over a background. For details on working with built-in effects, see Work with built-in effects on page 226. Work with built-in effects Following are ways you can work with built-in effects. Turn off or reset the effect 1 Select the clip with the effect in the Timeline. 2 Do one of the following: • To turn off the effect and retain its settings: Click the blue checkbox next to the effect used (Transform, Crop, or Distort) in the Video inspector. You can click the checkbox again to turn the effect back on, making it easy to compare how the clip looks with and without the effect. Move the pointer to this area and click Show to see an effect’s settings. Click a checkbox to turn an effect on or off. Click an effect’s icon to show or hide its onscreen controls. Click an effect’s Reset button to return its settings to their default values. • To return all values for that effect to their default state: Click the Reset button .Chapter 10 Add transitions,titles, effects, and generators 227 • To turn off the effect in the Video Animation Editor: Open the Video Animation Editor by choosing Clip > Show Video Animation (or pressing Control-V), and click the checkbox next to the effect you want to turn off. Click an effect’s checkbox to turn the effect on or off. Animate built-in effects Use keyframes to have the effect’s settings change as the clip plays. This applies to all built-in effects except the Ken Burns effect. 1 Select a clip in the Timeline. 2 Choose the effect you want to animate from the pop-up menu in the lower-left corner of the Viewer. For this example, choose Transform (or press Shift-T). 3 Place the Timeline’s playhead at the start of the clip. 4 Adjust the effect’s onscreen controls to set the start position. 5 Click the Add Keyframe button in the upper part of the Viewer. Click the Add Keyframe button to add the first keyframe to the animation.Chapter 10 Add transitions,titles, effects, and generators 228 6 Move the playhead to the end of the clip. 7 Adjust the effect’s controls to set the end position. A keyframe is automatically added. Additionally, for Transform effects, a line showing the image’s path appears. Click the Left Arrow button to jump back to the first keyframe. Click Done when you are finished creating the animation. The red line shows the path of the image’s center. 8 To finish, click Done in the upper-right corner of the Viewer. When you play the clip, the video moves smoothly between the keyframes, creating an animated effect. You can actually add multiple keyframes by moving the playhead to a new position and changing the effect’s controls. For more information on working with keyframes, see Video animation overview on page 247. Adjust the Transform effect animation path Transform animations have additional keyframe controls you can use to fine-tune the animation path. To show these, you first need to create a simple three-corner effect. The Add Keyframe button changes to a Delete Keyframe button when you are positioned on a keyframe. The center keyframeChapter 10 Add transitions,titles, effects, and generators 229 1 Select a clip in the Timeline and put the playhead at its start. 2 Choose Transform from the pop-up menu in the lower-left corner of the Viewer (or press Shift-T), and drag the onscreen controls to reduce the image’s size and place it in the upper-left corner. 3 Click the Add Keyframe button. 4 Move the Timeline playhead to the middle of the clip. 5 Use the Transform onscreen controls to move the image to the upper-right corner. A keyframe is automatically added, and a red line appears showing the animation’s path so far. 6 Move the Timeline playhead to the end of the clip. 7 Use the Transform onscreen controls to move the image to the bottom center. A keyframe is automatically added, and the red line extends to this new point. 8 To jump between the keyframes, click the white squares along the red line. The first and last keyframes have white arrows. By default, the red line indicates a smooth path (indicated by how it curves). 9 To control the curve of the path, click the starting or middle keyframe and drag the curve handles. Drag these handles on a middle keyframe to adjust the path’s curve. The starting keyframe The ending keyframe 10 Control-click a keyframe and choose an option from the shortcut menu: • Linear: Use for direct, non-curved paths in and out of that keyframe. • Smooth: Use for curved paths in and out of that keyframe, providing a more natural movement. • Delete Point: Use to delete that keyframe. • Lock Point: Use to prevent that keyframe from being adjusted. It changes to Unlock Point once set. • Disable Point: Use to ignore that keyframe, but keep the keyframe in place in case you want to use it later. It changes to Enable Point once set.Chapter 10 Add transitions,titles, effects, and generators 230 Composite effects over a background Often, Transform, Trim, and Distort effects result in the image being less than full size, with the empty areas filled with black. You can replace the black with a background by placing the transformed clip over a background clip, known as compositing. Do one of the following: m Add a clip to the Timeline as a connected clip and then add the effect to that clip. This places the clip above the primary storyline clip, which automatically becomes the effect’s background. A clip that’s composited over the primary storyline The clip in the primary storyline that is the background m If the clip is already in the primary storyline, drag it above the primary storyline, positioning it over the clip you want to be the background. The result is a composited image. The Transform and Trim effects were used to composite this image over the background. For more information about working with connected clips, see Add storylines on page 265. For more information about compositing clips, see Compositing overview on page 351.Chapter 10 Add transitions,titles, effects, and generators 231 Add and adjust clip effects Clip effects overview In addition to the built-in effects, Final Cut Pro includes a wide variety of video effects that you can apply to your project’s video clips. Many of the effects modify the look of your video, from adding a blur or glow to severe distortions. Some effects overlay camcorder or timecode graphics. There is also an effect for keying one video clip over another. Final Cut Pro also includes a broad range of audio effects that you can apply to your project’s audio clips. Many of the effects modify the sound of your audio, from subtle echoes to severe pitch distortions. Once you have added an effect, you can adjust its parameters. Some effects have few adjustments, while others provide a comprehensive set, allowing you a lot of control over how the effects look. Effects can even be animated, with their settings changing as the clip plays. You can apply multiple effects to your clips, creating a stack of effects. The order that you apply the effects, however, can affect how the final video looks. Additionally, many of the video effects can be opened and changed in Motion, allowing you to create specialized versions for use in your projects. Add effects to your project You add effects to clips in your project using the Effects Browser. Add an effect to a project clip 1 Select a clip in the Timeline and click the Effects button in the toolbar. 2 In the Effects Browser, select an effect, using any of the following to help you make the selection: • To preview what the effect looks like using the video from the currently selected Timeline clip: Move the pointer over the video effect thumbnails. • To preview changing the effect’s primary control: Hold down the Option key while moving the pointer over a video effect thumbnail. • To filter the list of effects that appear: Type text in the Effects Browser search field. 3 Do one of the following: • Drag the effect to the Timeline clip to which you want to apply it. • Double-click the effect thumbnail to apply it to the selected clip. You can now adjust the effect.Chapter 10 Add transitions,titles, effects, and generators 232 Adjust effects in Final Cut Pro Most effects have one or more parameters that you can adjust using the Video inspector or Audio inspector, the Viewer, or the Video Animation Editor or Audio Animation Editor. You can also control how the effect is applied to the clip, either gradually or constantly. Adjust an effect in the Video inspector and Viewer 1 In the Timeline, select the clip with the effect you want to adjust. 2 Locate the effect in the Video inspector or Audio inspector. Click to turn the effect on and off. Click to reset the effect’s adjustments. In the above example, there are several settings for the Censor effect. Many effects also have adjustments that appear in the Viewer, known as onscreen controls. Tip: For audio effects, you can click the Controls button (to the right of the effect’s name) to show a custom control window. Click to show the effect’s custom control window. 3 Select effect parameters and adjust their settings as needed. To return the effect’s values to their default settings, you can click the effect’s Reset button . Adjust an effect in the Video Animation Editor Many effect parameters can be adjusted in the Video Animation Editor. Additionally, you can set these parameters to fade in and out, allowing you to gradually apply the effect’s settings. 1 Select the clip with the video effect in the Timeline. 2 Choose Clip > Show Video Animation (or press Control-V).Chapter 10 Add transitions,titles, effects, and generators 233 The effect appears as one of the animations in the Video Animation Editor above the clip. You can click its checkbox to turn the effect off and on. Effects that have more than one adjustable attribute also have a pop-up menu for you to choose the attribute to show and adjust. Double-click effects with this icon to vertically expand them. Choose a specific effect adjustment from this pop-up menu. Click to turn the effect on and off. 3 To vertically expand the effect’s adjustment area, choose a specific effect adjustment from the pop-up menu (if present) and double-click it. This applies only to effect adjustments that have a single value. An icon appears on the right side of the effect’s section if the adjustment can be expanded. 4 To have the effect’s setting fade in and out of the clip, drag the handles on either end of the effect. Drag the fade handles to gradually apply the effect. Drag this line to adjust the selected value. You can also drag the horizontal line up and down to control the effect’s selected setting (Amount, in the above example). Any keyframes you add also appear.Chapter 10 Add transitions,titles, effects, and generators 234 Show the audio effects applied to a clip 1 Select the clip with the audio effect in the Timeline. 2 Choose Clip > Show Audio Animation (or press Control-A). The audio effect appears as one of the animations in the Audio Animation Editor. You can click its green checkbox to turn the effect off and on. Change clip effect order You can apply multiple clip effects to a Timeline clip. The order that you apply them can affect the final output. For example, applying the Artifacts effect, which by default adds random white circles to the video, before the Aged Paper effect results in the white circles also being aged; applying it after Aged Paper results in the circles remaining white. You can easily change the order of the clip effects in the Video inspector, Audio inspector, Video Animation Editor, or Audio Animation Editor. Note: You cannot change the order of the built-in effects or color correction. Change video and audio clip effect order using the Video or Audio inspector 1 Select a clip in the Timeline that has multiple video or audio clip effects applied, and do one of the following: • To see the video effects: Open the Video inspector. • To see the audio effects: Open the Audio inspector. 2 In the Video inspector or Audio inspector, drag the effects to change their order. Built-in effects and color correction cannot be rearranged. Drag clip effects to rearrange their order.Chapter 10 Add transitions,titles, effects, and generators 235 Change video and audio clip effect order using the Video Animation or Audio Animation Editor 1 Select a clip in the Timeline that has multiple video or audio clip effects applied, and do one of the following: • To see the video effects: Choose Clip > Show Video Animation (or press Control-V). • To see the audio effects: Choose Clip > Show Audio Animation (or press Control-A). 2 In the Video Animation Editor or Audio Animation Editor, drag the effects to change their order. Built-in effects and color correction cannot be rearranged. Drag clip effects to rearrange their order. Copy effects and attributes between clips Final Cut Pro offers two ways to copy effects between clips. The Paste Attributes command lets you copy selected clip attributes to another clip and provides more control over individual effects, settings, and keyframes. The Paste Effects command lets you copy all of a clip’s effects to another clip and is the fastest way to copy effects and attributes. Copy selected clip attributes to another clip You can copy a clip’s attributes, such as settings and effects, from one clip to another. For example, you can copy video crop settings, audio pan settings, or any effects you’ve added to a clip, including any keyframe adjustments. The Paste Attributes feature allows you to select which clip attributes you want to apply. 1 Select a clip in the Timeline, and choose Edit > Copy (or press Command-C). 2 Select the clip or clips to which you want to apply the attributes, and choose Edit > Paste Attributes (or press Command-Shift-V).Chapter 10 Add transitions,titles, effects, and generators 236 3 Do either of the following: • To apply all video or all audio attributes from the source clip: Select the Video Attributes or Audio Attributes checkbox. • To apply individual attributes: Select the checkbox or checkboxes for each attribute you want to apply. 4 If you made any keyframe adjustments to the source clip, choose either Maintain Timing or Stretch to Fit from the Keyframes pop-up menu. If you choose Stretch to Fit, Final Cut Pro adjusts the keyframes in time to match the duration of the destination clip. 5 Click Paste. Copy all of a clip’s effects to another clip 1 In the Timeline, select the clip you want to copy the effects from, and choose Edit > Copy (or press Command-C). 2 Select the clip or clips to which you want to apply the effects, and choose Edit > Paste Effects (or press Command-Option-V). All the source clip’s effects and their settings are applied to the destination clip. For more control over individual attributes, follow the instructions in “Copy selected clip attributes to another clip,” above. Turn off or remove an effect from a clip When you apply an effect to a clip, you can either turn off the effect (but retain its settings) or remove the effect from the clip. Turn off a clip effect 1 Select the clip with the effect in the Timeline. 2 Do one of the following: • Choose Clip > Show Video Animation (or press Control-V) to see video effects or choose Clip > Show Audio Animation (or press Control-A) to see audio effects, select the effect, and click its checkbox. • Select the effect in the Video inspector or Audio inspector, and click its blue checkbox. The effect no longer affects the video or audio. You can click the checkbox again to turn the effect back on, with its settings still intact.Chapter 10 Add transitions,titles, effects, and generators 237 Remove an effect from a clip 1 Select the clip with the effect in the Timeline. 2 Do one of the following: • Choose Clip > Show Video Animation (or press Control-V) to see video effects or choose Clip > Show Audio Animation to see audio effects, select the effect, and press Delete. • Select the effect in the Video inspector or Audio inspector, and press Delete. Create specialized versions of the video effects in Motion Many of the supplied video effects were created using Motion, an Apple application designed to work with Final Cut Pro. You can open any of these effects in Motion, make modifications, and save the changes as a new effect that appears in the Effects Browser. Important: The following steps require you to have Motion 5 installed on your computer. Modify a video effect in Motion 1 Click the Effects button in the toolbar. 2 In the Effects Browser, Control-click the effect you want to modify, and choose “Open a copy in Motion” from the shortcut menu. Motion opens and the effect’s project appears. 3 Modify the effect’s project. For more information, see Motion Help at http://help.apple.com/motion. 4 Choose File > Save As (or press Command-Shift-S), enter a name for this new effect (referred to as a Template in Motion), assign it to a category (or create a new category), choose a theme (if needed), and click Publish. Note: If you choose File > Save, the effect is saved using the same name with “copy” appended to its end. Add generators Generators overview Final Cut Pro includes a number of video clips, called generators, that you can use in your project for a variety of purposes. For example, you can use generators to add the following elements: • Placeholder content: If your project is missing content that hasn’t yet been shot or delivered, you can add a placeholder clip. The placeholder generator allows you to add a clip to the Timeline with a suitable silhouette to represent the missing content. See Use a placeholder on page 238. • Timecode counter: You can add a generated timecode clip to your project to superimpose a timecode counter over a portion or the entire project. See Use a timecode counter on page 239.Chapter 10 Add transitions,titles, effects, and generators 238 • Shape clip: You can choose from a wide variety of shapes for adding graphical elements to your project. See Use a shape on page 239. • General-purpose background clip: Final Cut Pro includes a variety of still and animated backgrounds over which you can superimpose titles or keying effects. See Use a background on page 240. All of the generators are added as clips to the project, using their default duration. You can change their duration and position the same way you would any other video clip in the Timeline. Note: Generator clips do not appear in the Effects Browser. Use a placeholder Generated placeholders are useful in many situations where you want to fill a gap in the project with something that provides a hint about what the final content will include. You can configure placeholder clips to represent a wide variety of standard shots, such as close-ups, groups, wide shots, and so on. Insert and configure a placeholder clip 1 Drag the playhead in the Timeline to the point where you want to add the placeholder clip. 2 Do one of the following: • Choose Edit > Insert Placeholder. • Open the Generators Browser by clicking the Generators button in the toolbar, and doubleclick the thumbnail named Placeholder. 3 Select the placeholder clip in the Timeline. 4 Configure the shot for the clip to represent using the settings in the Generator inspector. 5 Select View Notes to add a text area in the Viewer where you can type text that pertains to this clip. If you prefer to fill a gap in your Timeline with a blank clip, you can insert a gap clip. For more information, see Insert clips in your project on page 100.Chapter 10 Add transitions,titles, effects, and generators 239 Use a timecode counter When sending your project for review, it can be useful to superimpose timecode over it, making it easier for the reviewer to precisely specify sections when providing feedback. Insert and configure a timecode counter 1 Open the Generators Browser by clicking the Generators button in the toolbar. 2 Drag the Timecode generator above the primary storyline. Usually the Timecode generator clip is placed at the start of the project, but you can place it anywhere you want it to appear and adjust its length to match the project’s length. 3 Configure the Timecode settings in the Generator inspector. You can click the Reset button to return the generator to its default settings. Use a shape You can configure the Shapes generator to be any of a number of shapes, such as a star, a diamond, an arrow, and a heart. These are most often used above the primary storyline to add a graphical element to your project that you can animate. Insert and configure a shape 1 Open the Generators Browser by clicking the Generators button in the toolbar. 2 Drag the Shapes generator above the primary storyline so that it is over the video clip you want the shape to appear over. The default shape is a white circle. 3 Choose the shape to use from the Shape pop-up menu in the Generator inspector. 4 Set the shape’s fill color, outline color and width, and drop shadow. You can click the Reset button to return the generator to its default settings.Chapter 10 Add transitions,titles, effects, and generators 240 5 To change the shape’s size, position, and rotation, use the Transform or Distort built-in effect. Use the Transform effect to change the size, position, and rotation of the shape. Using these effects also makes it possible to animate the shape. For example, you can have an arrow follow a person across a room. 6 To make the shape partially transparent, select it in the Timeline and adjust its Opacity setting in the Video inspector. Use a background Many of the generators provide a general background over which you can place built-in effects, titles, keys, and clips with an alpha channel. Some are solid colors while others are textures such as wood or stone. Some generators even have animated movement, providing a more interesting background. Insert and configure a background clip 1 Drag the playhead in the Timeline to the point where you want to add the background clip. 2 Open the Generators Browser by clicking the Generators button in the toolbar. 3 In the Generators Browser, double-click the background thumbnail you want to use. 4 Select the background clip in the Timeline. 5 Configure the background (if applicable) using the settings in the Generator inspector.Chapter 10 Add transitions,titles, effects, and generators 241 Create specialized versions of the generators in Motion Many of the generators were created using Motion, an Apple application designed to work with Final Cut Pro. To further customize the generators, you can open them in Motion, make modifications, and save the changes as a new file that appears in the Generators Browser. Important: The following steps require you to have Motion 5 installed on your computer. Modify a generator or background in Motion 1 Open the Generators Browser by clicking the Generators button in the toolbar. 2 In the Generators Browser, Control-click a thumbnail, and choose “Open a copy in Motion” from the shortcut menu. Motion opens and the clip’s project appears. 3 Modify the clip’s project. For more information, see Motion Help at http://help.apple.com/motion. 4 Choose File > Save As (or press Command-Shift-S), enter a name for this new generator, and click Save. Note: If you choose File > Save, the generator is saved using the same name with “copy” appended to its end. About themes Final Cut Pro includes a number of generators, transitions, and titles, grouped into themes. The generators, transitions, and titles in each theme use related shapes and colors, which result in a visual style unique to each theme. Theme names—such as Boxes, Comic Book, or Documentary—suggest elements used by the theme, or the type of project in which a theme might be used. Each theme may contain multiple video generators, video transitions, and titles. To access the Themes Browser, click the Themes button in the toolbar. For more information about video generators, see Generators overview on page 237. For more information about video transitions, see Transitions overview on page 205. For more information about titles, see Titles overview on page 213.Chapter 10 Add transitions,titles, effects, and generators 242 Use onscreen controls Onscreen controls overview Many effects, transitions, and other items use onscreen controls, superimposed over the video in the Viewer, to make it easier to adjust a variety of parameters. In many cases, these onscreen controls duplicate controls in the inspectors, although in some cases the controls are unique and provide the only way to adjust a particular parameter. The controls can be as simple as defining the center of a fisheye effect or defining the more complex diameter, width, and position of a vignette effect. This section focuses on the types of onscreen controls found in clip effects and transitions. Onscreen controls are also available in other areas of Final Cut Pro, including the following: • Built-in effects: Onscreen controls are used extensively for all built-in effects. See Built-in effects overview on page 219. • Chroma keying: You use specialized onscreen controls when configuring a chroma keyer. See Use chroma keys on page 334. • Color corrections: Color corrections can contain onscreen controls used for creating color masks and shape masks. See Manual color correction overview on page 359. Show or hide onscreen controls The onscreen controls for transitions appear when a transition is selected. The onscreen controls for clip effects appear when an effect is selected, or when the playhead is positioned over a clip or title in the Timeline that has a video effect applied. You can also show or hide the onscreen controls. Note: Onscreen controls are always hidden when you play clips in the Timeline. Show or hide a transition’s onscreen controls m To show the transition’s onscreen controls: Select the transition in the Timeline. m To hide the transition’s onscreen controls: Deselect the transition in the Timeline. Show or hide a clip effect’s onscreen controls m To show the effect’s onscreen controls: Position the playhead over a clip with the effect, or select the clip with the effect in the Timeline, and then select the effect in either the Video Animation Editor or the Video inspector. m To hide the effect’s onscreen controls: Deselect the clip with the effect in the Timeline, or deselect the effect in the Video Animation Editor or Video inspector. Note: If a clip contains multiple effects that use onscreen controls, only the topmost effect’s onscreen controls appear when the playhead is positioned over the clip containing the effects.Chapter 10 Add transitions,titles, effects, and generators 243 Onscreen control examples Following are a few examples of the onscreen controls you might use while working with clip effects and transitions. Many other clip effects and transitions use these same or similar controls—the examples are intended to provide general information about using the onscreen controls. Keep the following in mind while going through these examples: • These examples assume you are familiar with applying clip effects to clips in the Timeline. • You can apply multiple clip effects to the same clip, but for the purpose of these examples, it’s best to either apply each clip effect to a different Timeline clip or remove the clip effect before applying a different one. • These examples also assume you are familiar with adding transitions to edit points in the Timeline. • Most of the effects and transitions have additional adjustments in the Video inspector or Transition inspector. Example: Use onscreen controls to apply a Censor effect 1 Open the Effects Browser and drag the Censor effect to a clip in the Timeline. 2 To adjust the effect’s onscreen controls, do either of the following: • To position the effect: Drag the center circle. • To set the effect’s size: Drag the outer circle. Drag this center circle to position the effect. Drag this circle to set the effect’s size.Chapter 10 Add transitions,titles, effects, and generators 244 Example: Use onscreen controls to apply a Droplet effect 1 Open the Effects Browser and drag the Droplet effect to a clip in the Timeline. 2 To adjust the effect’s onscreen controls, do any of the following: • To position the effect: Drag the center circle. • To set the effect’s outer limit: Drag the outer circle. • To set the effect’s inner limit: Drag the inner circle. • To set the effect’s overall size: Drag any area in between the inner and outer circles. A shaded area appears when the pointer is in this area. Drag this center circle to position the effect. Drag any area between the circles (becomes shaded) to set the overall effect size. Drag the inner circle to set the inner boundary. Drag the outer circle to set the outer boundary. Example: Use onscreen controls to apply a Prism effect 1 Open the Effects Browser and drag the Prism effect to a clip in the Timeline. 2 To adjust the direction of the effect, drag the arrow. Because the effect has no center setting, the circle in the center cannot be dragged. Drag the arrow to set the effect’s direction. This center circle cannot be dragged since the effect has no center setting.Chapter 10 Add transitions,titles, effects, and generators 245 Example: Use onscreen controls to apply a Scrape effect 1 Open the Effects Browser and drag the Scrape effect to a clip in the Timeline. 2 To adjust the effect’s onscreen controls, do either of the following: • To position the effect: Drag the center circle. • To set the effect’s direction: Drag the rotation handle. Drag this handle to rotate the effect’s direction. Drag the center circle to set the effect’s start position. Example: Use onscreen controls to apply a Center transition 1 Open the Transitions Browser and drag the Center transition to an edit point in the Timeline. 2 To adjust the transition’s onscreen controls, do any of the following: • To position the transition: Drag the center circle. • To set the transition’s direction: Drag the arrow. • To set the transition’s border width (softness in this case): Drag the outer handle toward or away from the center circle. Drag this arrow to set the transition’s direction. Drag this center circle to position the transition. Drag this handle to set the border width (softness amount in this case).Chapter 10 Add transitions,titles, effects, and generators 246 Example: Use onscreen controls to apply a Star transition 1 Open the Transitions Browser and drag the Star transition to an edit point in the Timeline. 2 To adjust the transition’s onscreen controls, do any of the following: • To position the transition: Drag the center circle. • To set the number of points on the star: Drag the longer handle. • To rotate the star: Drag the shorter handle. Drag this center circle to set the transition’s position. Drag this handle to set the number of points on the star. Drag this handle to rotate the star transition. Example: Use onscreen controls to apply a Zoom & Pan transition 1 Open the Transitions Browser and drag the Zoom & Pan transition to an edit point in the Timeline. 2 To adjust the transition’s onscreen controls, do either of the following: • To set the transition’s start point: Drag the green circle. • To set the transition’s end point: Drag the red circle. Drag the red circle to set the end point. Drag the green circle to set the start point.Chapter 10 Add transitions,titles, effects, and generators 247 Use the Video Animation Editor Video animation overview With Final Cut Pro, you can create simple changes to video over time, such as fading the video from invisible to visible at the beginning of a movie. Or you can make sophisticated and precise adjustments over time to many individual parameters of video effects, transitions, motion paths, and so on. In Final Cut Pro, you use keyframes and fade handles in the Video Animation Editor to change effects over time. The word keyframe comes from the traditional workflow in the animation industry, where only important (key) frames of an animated sequence were drawn to sketch a character’s motion over time. Once the keyframes were determined, an in-between artist drew all the frames between the keyframes. With Final Cut Pro, you can set parameters to specific values at specific times (represented by keyframes) and Final Cut Pro acts as an automatic, real-time in-between artist, calculating all the values between your keyframes. For example, to animate a parameter, such as a rotation or scale setting, you need to create at least two keyframes in the clip. Final Cut Pro figures out the setting’s value between the keyframes, creating a smooth motion as the setting changes. You can keyframe and animate both video and audio effects in Final Cut Pro, including individual effect parameters and clip properties. To learn more about keyframing audio, see Adjust audio effects using keyframes on page 192. Adjust video effects using keyframes You place keyframes at specific points in a clip to change parameter values at those points. For example, if you want a clip in your project to fade to black, you set two opacity keyframes at two different times: one with the value of 100 (fully visible) and a second with the value of 0 (fully transparent). Final Cut Pro interpolates the values between 100 and 0, creating a smooth fade to black. You can set keyframes in the Timeline or in the Video inspector. To see keyframes in the Timeline, you need to display the Video Animation Editor for the clip. Additional keyframing controls appear with the Final Cut Pro built-in effects. See Work with built-in effects on page 226. For information about keyframes for audio clips, see Adjust audio effects using keyframes on page 192.Chapter 10 Add transitions,titles, effects, and generators 248 Add keyframes 1 Do one of the following: • Select a clip in the Timeline, and choose Clip > Show Video Animation (or press Control-V). • Control-click a clip in the Timeline, and choose Show Video Animation from the shortcut menu. Each effect in the Video Animation Editor has a separate area for adding keyframes. Some effects have more than one parameter and allow you to add keyframes to individual parameters separately. They appear in the Video Animation Editor with a triangle next to the effect’s name or in the Video inspector as additional parameter controls. 2 Select the effect for which you want to add keyframes in either the Video Animation Editor or the Effects section of the Video inspector. 3 Do one of the following: • To see expanded parameters in the Video Animation Editor: Click the triangle to choose an individual parameter from the pop-up menu, or choose All to add keyframes for all parameters. • To see expanded parameters in the Video inspector: Click Show when you position the pointer over the effect. 4 Do one of the following for each effect: • In the Video Animation Editor: Option-click (or press Option-K) at a point on the horizontal effect control where you want to add the keyframe. Keyframes for the parameter you chose appear as white diamonds, while keyframes for other effect parameters appear gray. Keyframe for the selected parameterChapter 10 Add transitions,titles, effects, and generators 249 When you choose to view all parameters in the Video Animation Editor, keyframes appear as white diamonds for all parameters. Double diamonds indicate you added a keyframe for more than one parameter at that point. Double diamonds • In the Video inspector: Position the playhead in the Timeline at the point where you want to add a keyframe, and click the Keyframe button (or press Option-K). Once you add a keyframe, the Keyframe button changes to yellow, indicating that the playhead currently sits on this keyframe. Keyframe button When you move the playhead in the Timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow or press Option-Semicolon (;). To go to the next keyframe, click the right arrow or press Option-Apostrophe (’). Arrows 5 Add keyframes as needed. Tip: After you’ve added one keyframe, you can add another automatically by moving the playhead in the Timeline and then adjusting the effect parameter value in the Video inspector. Add keyframes automatically across a selected area If an effect appears in the Video Animation Editor with a disclosure button, you can use either the Select or Range Selection tool to add keyframes automatically across a selected area. 1 Do one of the following: • Select a clip in the Timeline, and choose Clip > Show Video Animation (or press Control-V). • Control-click a clip, and choose Show Video Animation from the shortcut menu. 2 Select an effect, and click the disclosure button to expand it in the Video Animation Editor. Disclosure buttonChapter 10 Add transitions,titles, effects, and generators 250 3 In the Timeline, choose either Select or Range Selection from the Tools pop-up menu in the toolbar (or press A for Select, or R for Range Selection). 4 Drag across the area in the Video Animation Editor where you want to adjust the effect. 5 Adjust the effect within the range by dragging the effect’s horizontal control up or down. Keyframes are automatically created along the adjustment points within the range.Chapter 10 Add transitions,titles, effects, and generators 251 Adjust keyframes in the Video Animation Editor You can move keyframes left or right in the Video Animation Editor. If an effect appears with a disclosure button, you can expand the effect view and move keyframes up or down to change the parameter value. 1 Select a keyframe. 2 Do one of the following: • To change its position in the Video Animation Editor, drag a keyframe left or right. As you drag, the timecode value appears. Drag the keyframe left or right. • If an effect appears with a disclosure button, click the button (or double-click the effect) to expand it. Disclosure button With the effect expanded, you can drag the keyframe up or down to change the effect’s parameter value.Chapter 10 Add transitions,titles, effects, and generators 252 Tip: To adjust values with greater precision, hold down the Command key while dragging the keyframe up or down. Drag the keyframe up or down. To add another keyframe, Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. To add a keyframe and change the effect’s parameter value at the same time, Option-click while dragging the effect control up or down. If an effect appears with a disclosure button in the Video Animation Editor, you can also fade video effects in or out, or change the shape of the effect curve between keyframes. Adjust keyframes in the Video inspector For many effects, you adjust the parameter value of individual keyframes using the Video inspector. When you move the playhead in the Timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow or press Option-Semicolon (;). To go to the next keyframe, click the right arrow or press Option-Apostrophe (’). Arrows 1 Select a keyframe or position the playhead on a keyframe, and adjust the parameter value in the Video inspector. 2 To change the value at the next keyframe, go to the next keyframe and adjust the value again.Chapter 10 Add transitions,titles, effects, and generators 253 View only one effect at a time in the Video Animation Editor You can collapse the Video Animation Editor to view only one effect at a time. This can be useful if you have multiple effects applied to a clip and want to preserve screen space. 1 Choose Clip > Solo Animation (or press Shift-Control-V). 2 In the Video Animation Editor, click the triangle next to the displayed effect’s name to choose an effect from the pop-up menu. Note: When Solo Animation is turned on, you can’t delete effects from the Video Animation Editor. To turn off Solo Animation, choose Clip > Solo Animation (or press Shift-Control-V). Delete keyframes Do one of the following: m Select a keyframe in the Video Animation Editor, and press the Delete key. m Navigate to a keyframe in the Video inspector, and click the Keyframe button. After navigating to a keyframe, click the Keyframe button to delete the keyframe. Hide video animation for a clip Do one of the following: m Select the clip in the Timeline, and choose Clip > Hide Video Animation (or press Control-V). m Click the close button in the upper-left corner of the Video Animation Editor. m Control-click the clip in the Timeline, and choose Hide Video Animation from the shortcut menu. Adjust effect curves using fade handles or keyframe animation Some effects in the Video Animation Editor include fade handles, which allow you to adjust how long it takes for an effect to fade in or out. For example, you can use fade handles to adjust how long it takes for an opacity effect to fade in, how long it takes to fade up from black, or how long it takes to fade to black. You can also move keyframes up or down to create a curve for the effect parameter and change the curve shape (interpolation) between keyframes. Creating a fade or an effect curve smooths the transition so that the effect changes appear more natural when the clip plays. Change an effect using fade handles 1 Click the disclosure button to expand the effect in the Video Animation Editor. Disclosure button Note: If an effect doesn’t have a disclosure button, it doesn’t have fade handles.Chapter 10 Add transitions,titles, effects, and generators 254 2 Drag the fade handle to the point in the clip where you want the fade to begin or end. Fade handles from the beginning of a clip create a fade-in, while fade handles at the end of a clip create a fade-out. Fade-in Fade-out Change an effect using keyframes m Click the disclosure button to expand the effect in the Video Animation Editor, and do either of the following: Disclosure button Note: If an effect doesn’t have a disclosure button, you can’t move keyframes up or down. • To add a keyframe: Option-click (or press Option-K) at a point on the effect control where you want to add the keyframe. Tip: To add a keyframe and change the effect’s parameter value at the same time, Option-click while dragging the effect control up or down. • To change the effect’s parameter value at a particular keyframe: Select a keyframe and drag it up or down.Chapter 10 Add transitions,titles, effects, and generators 255 Tip: To adjust values with greater precision, hold down the Command key while dragging the keyframe up or down. Drag the keyframe up or down. Change the curve shape (interpolation) between keyframes Do one of the following: m Drag the line horizontally between the keyframes to create a curve. To adjust the curve with greater precision, hold down the Command key while dragging. m Control-click the line between keyframes, and choose a curve option from the shortcut menu. • Linear: Maintains a constant rate of change over the duration of the fade. • Ease: Eases in and out of the fade with the midpoint set between the beginning and end values. • Ease In: Starts slowly from the beginning value and then moves quickly toward the end value. • Ease Out: Starts quickly from the beginning value and then slowly tapers off toward the end value. Note: You can change the curve shape between keyframes for video effects only. For audio volume only, you can change the curve shape for fades created using fade handles, but not keyframes. See Fade audio in or out on page 174.Chapter 10 Add transitions,titles, effects, and generators 256 Adjust all keyframes on a curve m Hold down the Command and Option keys, and drag either a keyframe or the curve up or down. All keyframes are adjusted by the same amount, preserving the original shape of the curve. Before After257 Group clips with compound clips Compound clips overview With Final Cut Pro, you can create compound clips, which allow you to group any combination of clips in the Timeline or the Event Browser and nest clips within other clips. Compound clips can contain video and audio clip components, clips, and other compound clips. Effectively, each compound clip can be considered a mini project, with its own distinct project properties. Compound clips function just like other clips: you can add them to your project, trim them, retime them, and add effects and transitions. Icons appear on compound clips in the Event Browser and the Timeline. Compound clip icon for a clip in the Event Browser Compound clip icon for a clip in the Timeline Compound clips have many uses. You can: • Simplify a complicated project by creating a separate compound clip for each major section. • Synchronize a video clip with one or more audio clips and then combine the clips into a compound clip, to avoid inadvertently moving them out of sync. • Open any clip, edit its contents in the Timeline, and then close it. • Quickly create a compound clip containing the clips in an event, based on the Event Browser sort order. • Use a compound clip to create a section of a project with settings different from those of the main project. Advanced editing 11Chapter 11 Advanced editing 258 The following diagram shows how a project in the Timeline could be simplified using compound clips: Selected clips in the Timeline New compound clip Compound clips have the following characteristics: • You create compound clips in the Event Browser or in the Timeline. • Every compound clip in the Timeline has a “parent” compound clip in the Event Browser. Event clips Project 1 Project 3 Child clip Child clips Child clip Project 2 Parent compound clip • When you edit the contents of any compound clip, you are in fact editing the parent compound clip from the Event Browser. Any changes you make to the compound clip are inherited by all of its child clips. For example, if you delete a title clip from the contents of a parent compound clip, the title clip is deleted from all child clips. You can create an independent compound clip from an existing compound clip. For example, you might have a compound clip of a standard title sequence for your TV or podcast series. You can create unique (independent) instances of the compound clip for each episode without affecting other instances of the title sequence. Note: Compound clips in Final Cut Pro X provide all the functionality of the nested sequence feature in Final Cut Pro 7, with more flexibility and ease of use.Chapter 11 Advanced editing 259 Create and break apart compound clips You can create a compound clip from existing clips in the Timeline or the Event Browser, or you can create a new, empty compound clip in the Event Browser and add clips to it in the Timeline. You can also break a compound clip into its component parts in the Timeline, so that the items are no longer grouped. Create a compound clip from existing clips 1 Select one or more clips in the Timeline or the Event Browser. The selected clips can be any combination of contiguous or noncontiguous clips, compound clips, primary storyline clips, or connected clips. 2 Do one of the following: • Choose File > New Compound Clip (or press Option-G). • Control-click the selection and choose New Compound Clip from the shortcut menu. Note: When you add a compound clip to the Timeline or create a compound clip from existing clips in the Timeline, you create a direct and active relationship between a parent compound clip in the Event Browser and the child compound clip in the Timeline. If the parent clip doesn't already exist in the Event Browser, Final Cut Pro creates one automatically. When you edit the contents of a compound clip (for example, by trimming or adding effects to clips within the compound clip) you are in fact editing all instances of that compound clip, including the parent compound clip in the Event Browser.Chapter 11 Advanced editing 260 The way clips are grouped within the compound clip depends on where you selected the clips: • If you selected clips in an event: Final Cut Pro creates a new compound clip in the event (in addition to the selected clips) and places duplicates of the selected clips in the new compound clip horizontally, in the order in which you selected them. (For further instructions on creating a compound clip in the Event Browser, see “Create an empty compound clip,” below.) Selected clips in the Event Browser New compound clip Compound clip contentsChapter 11 Advanced editing 261 • If you selected clips in the Timeline: Final Cut Pro places the selected clips in the new compound clip exactly as they are laid out in the Timeline. The new compound clip inherits the frame size and frame rate of the current Timeline. Selected clips in the Timeline New compound clip Compound clip contents Create an independent compound clip from an existing compound clip 1 Select a compound clip in the Timeline. 2 Choose Clip > Reference New Parent Clip. Final Cut Pro creates a new parent compound clip in the Event Browser. This command breaks the relationship between the selected compound clip in the Timeline and its original parent compound clip (as well as any child clips of the original parent clip, in all projects). Note: You can also select multiple clips in step 1 and Final Cut Pro will make one or more parent clips, depending on the existing parent clip references.Chapter 11 Advanced editing 262 Create an empty compound clip You can create new, empty compound clips and then add clips to them. Each compound clip can be considered a mini project, with its own distinct project properties. 1 In the Event Library, select an event to which you want to add the compound clip. 2 Choose File > New Compound Clip. In the window that appears, type a name for the compound clip in the Name field. 3 Click Use Custom Settings to further customize settings for your compound clip. Note: Final Cut Pro shows the Automatic Settings by default, but it will remember the settings you used last, so this step may be unnecessary. 4 By default, Final Cut Pro sets the Starting Timecode field to the lowest timecode value in the selected clips. If you want the compound clip’s timecode to start at a different value, type that starting timecode value in the Starting Timecode field. 5 To adjust video, audio, and render settings, click Custom. Unless you have a specific requirement for the compound clip you’re creating, it’s best to leave “Set automatically based on first video clip” and “Use default settings” selected. 6 Click OK. The new compound clip appears in the event. Edit the contents of a standard clip in the Timeline You can edit the contents of a standard clip. m Select a clip in the Event Browser or the Timeline, and choose Clip > Open in Timeline. The Timeline displays the contents of the clip. Most standard clips include a video component, an audio component, or both. You cannot edit the contents of these video and audio components. You can add media to the contents of this clip (by adding clips to this Timeline). To close this clip, navigate up one level in the Timeline history. Note: Because editing in Final Cut Pro is nondestructive, any changes you make to the contents of standard or compound clips do not affect the corresponding source media files, which remain unchanged on your computer’s hard disk. For more information about the difference between media files and clips, see Media files and clips on page 17. Break apart clip items You can break apart a compound clip or a standard clip to convert its contents to individual clips in the Timeline. m Select a compound clip or a standard clip in the Timeline, and choose Clip > Break Apart Clip Items (or press Command-Shift-G). Final Cut Pro replaces the clip selected in the Timeline with the individual items that made up the clip. If you selected a compound clip, its contents revert back to the original clips that made up the compound clip. However, the parent compound clip remains in the Event Browser. If the selected clip is a standard clip, the contents appear as individual clips in the Timeline. Most standard clips include a video component or an audio component or both. The audio will appear as a connected clip.Chapter 11 Advanced editing 263 Manage compound clips There are many ways to manage and edit compound clips. For example, you can open up compound clips (and edit their component parts) in a separate Timeline. You can easily navigate up and down a series of compound clip levels. And you can open and edit a compound clip from within an event. Note: When you edit the contents of a compound clip (for example, by trimming or adding effects to clips within the compound clip) you are in fact editing all instances of that compound clip, including the parent compound clip in the Event Browser. Any changes you make to the internal parts of the compound clip are inherited by all of its child clips, in all projects. These changes can include added or deleted clips, trimming adjustments, and video or audio effects such as color correction, clip speed retiming, and so on. For example, if you delete a title clip from a parent compound clip, the title clip is deleted from all child compound clips. Open a compound clip for editing Do one of the following: m Select a compound clip in the Timeline or the Event Browser, and choose Clip > Open in Timeline. m Double-click the video portion of a compound clip in the Timeline or the Event Browser. m Click the compound clip icon in the upper-left corner of a compound clip in the Timeline. The compound clip opens in a new Timeline view, with its contents ready for editing. Compound clip in a project in the Timeline Compound clip opened in a new Timeline view Project Compound clip Project Note: Because editing in Final Cut Pro is nondestructive, any changes you make to the contents of standard or compound clips do not affect the corresponding source media files, which remain unchanged on your computer’s hard disk. For more information about the difference between media files and clips, see Media files and clips on page 17.Chapter 11 Advanced editing 264 Navigate compound clip levels using menu commands and keyboard shortcuts You can navigate up or down one or more levels of a compound clip. m To move forward (down one level): Choose View > Timeline History Forward, or press Command–Right Bracket (]). m To move back (up one level): Choose View > Timeline History Back, or press Command–Left Bracket ([). Navigate compound clip levels using the arrow buttons Do one of the following: m Click the left and right arrows in the upper-left corner of the Timeline. m Click and hold the right or left arrow in the upper-left corner of the Timeline, and choose a level from the pop-up menu. The left arrow effectively closes the current compound clip and opens its parent, with the top level being the project or event containing the compound clip. If there is no history available to navigate, both the left and right arrows are dimmed. Make sure all contents of a compound clip appear in your movie When you’re editing the contents of a compound clip, Final Cut Pro indicates the boundary of the compound clip with a dark gray, cross-hatched area to the left of the start point of the clip and to the right of the end point of the clip. If you add clips to the contents of the compound clip, any parts of any clips that extend into the dark gray area do not appear in your project. Any clips in the dark gray, cross-hatched area do not appear in your final movie.Chapter 11 Advanced editing 265 To have the new clip material appear in your project, do one of the following to make room for the new material: m Reduce the total duration of the other clips inside the compound clip. For example, you could trim one or more clips inside the compound clip. m Close the compound clip to navigate up one level, and extend the total duration of the parent clip (the “outside shell” of the compound clip) in the Timeline. For more information, see Trimming overview on page 123. Add storylines Storylines are sequences of clips connected to the primary storyline. They combine the convenience of connected clips with the precision editing capabilities of the primary storyline. You can use storylines for the same purposes as connected clips (such as creating cutaways, compositing titles and other graphics, and adding sound effects and music). The unique advantage of storylines is the ability to edit a sequence of connected clips within the context of the other clips in the Timeline. For example, you can add cross dissolve transitions to a series of superimposed titles in a storyline and then adjust the timing of the titles to match clips in the primary storyline. Like connected clips, storylines can contain both video and audio, or they can be video only or audio only. For more information about connected clips, see Connect clips to add cutaway shots, titles, and synchronized sound effects on page 103. Storyline Primary storyline Audio-only storylineChapter 11 Advanced editing 266 You edit storylines using the same methods you use to edit the primary storyline. You can: • Add clips: Drag clips to the storyline to add them, or use the standard append, insert, replace, and overwrite commands. • Add transitions, titles, effects, and generators: Add effects to a storyline by dragging them or by using any of the standard commands and keyboard shortcuts. Note: When you apply a transition to a clip connected to the primary storyline, a storyline is automatically created for that clip. • Trim clips: Use any of the standard trim edits in a storyline, including ripple, roll, slip, and slide. You can also trim or move clips within storylines by entering timecode values. • Create split edits: Set separate video and audio start and end points in an individual clip to create split edits (L-cuts and J-cuts) in a storyline. Create or break apart storylines You can quickly create storylines from existing connected clips. 1 In the Timeline, select two or more connected clips. 2 Choose Clip > Create Storyline (or press Command-G). A gray border appears around the clips, indicating a storyline. The gray border indicates a storyline. Note: If the original connected clips are not contiguous, Final Cut Pro inserts a gap clip to fill the space between the clips.Chapter 11 Advanced editing 267 You can also create a storyline by holding down the G key as you drag a clip to a connected clip so that their edges touch: Hold down the G key as you drag a clip to a connected clip. 3 To convert a storyline back to its component clips, do one of the following: • Select the storyline (by clicking the gray border), and choose Clip > Break Apart Clip Items (or press Command-Shift-G). • Drag the storyline into the primary storyline. Select and move storylines You can select or move entire storylines as if they were standard clips or compound clips. They have the connection properties of connected clips. m To select an entire storyline: Click the gray border of the storyline. m To move a storyline by dragging it: Click the gray border of the storyline, and drag it left or right to connect it to a different point along the primary storyline. Drag the storyline left or right. m To move a storyline with timecode values or keyboard shortcuts: Use the same techniques you would use with standard clips. For more information, see Arrange clips in the Timeline on page 117.Chapter 11 Advanced editing 268 Fine-tune edits with the Precision Editor You can fine-tune the edit point between two clips in the Timeline using the Precision Editor, which provides an expanded view of the clips on either side of the edit point as well as the unused portions of each clip. You can trim or extend the end of one clip and the beginning of the next, either separately or together. As you make changes, you can instantly see how your edits affect the cut or transition from one clip to the next. You can see a “two-up” display in the Viewer as you trim edit points in the Timeline. For more information, see Show detailed trimming feedback on page 138. Adjust the edit point between clips with the Precision Editor 1 Choose either the Select tool or the Trim tool from the Tools pop-up menu in the toolbar, and double-click the edit point you want to trim in the Timeline. Double-click the edit point you want to trim. The Precision Editor appears, presenting an expanded view of your outgoing and incoming shots. The edit point is represented by a vertical line in the center of the Precision Editor. The outgoing clip and the clips before it appear in the top part of the storyline. The incoming clip and the clips after it appear in the bottom part. The dimmed portions of clips to the right and left of the edit line are the unused portions of media that are available for trimming (called media handles). You can skim over these areas to view and play back the media to help you decide where to trim. Outgoing clip end point Edit line Skimmer Edit line handle Incoming clip start pointChapter 11 Advanced editing 269 2 To adjust the edit point, do any of the following: • Move the edit line in the center of the Precision Editor by dragging its handle left or right. Drag the edit line handle left or right. Moving the entire edit line performs a roll edit. • Drag the end point of the outgoing clip or the start point of the incoming clip. This performs a ripple edit. Note: You can drag the edit line or individual edit points to the extent that there are media handles available. When you extend a clip to its maximum length in either direction, the clip edge turns red. Drag the end point of the outgoing clip or the start point of the incoming clip.Chapter 11 Advanced editing 270 • Skim over and click the outgoing clip or the incoming clip at any point. Click either clip at any point. The clip’s edit point is adjusted to the frame you click. This is the equivalent of a ripple edit. The clip’s edit point moves to the frame you click. You can also enter a timecode value to adjust the edit point numerically. If you select either the end point of the outgoing clip or the start point of the incoming clip, a ripple edit is performed. Otherwise, a roll edit is performed. 3 To navigate to another edit point, do one of the following: • To go directly to an edit point: Click the other edit point. • To go to the next or previous edit point: Press the Up Arrow or Down Arrow key. 4 To close the Precision Editor, do one of the following: • Double-click the current edit point, or press the Esc (Escape) key. • Click the Close Precision Editor button at the bottom-right corner of the Timeline.Chapter 11 Advanced editing 271 Create split edits Final Cut Pro allows you to set separate video and audio start and end points in an individual clip. These edits, known as split edits, can be used in many different situations—in dialogue scenes, when cutting to illustrative B-roll footage during an interview, or when transitioning from one scene to another. You can use a split edit to introduce the sound of a new shot or scene before cutting to the video of that shot or scene. Conversely, you can use a split edit to extend the audio of a shot over a subsequent shot. For example, you could cut from a clip of a person talking to video of a person listening, while the audio from the first clip continues. The split edit technique results in L-shaped and J-shaped clips with audio extending to the left or the right. These are known as L-cuts and J-cuts. Note: Whenever you use split edits in a project, it’s recommended that you choose View > Expand Audio/Video Clips > For Splits (so that there’s a checkmark next to the menu item). This setting provides you with the most accurate display of all your split edits. Create a split edit by dragging To create the split edit, you extend the audio of one clip over a neighboring clip. In this example, the audio from the close-up of the man is extended over the close-up of the woman to create a J-cut. 1 Add clips to the Timeline in the order in which you want them to appear in your movie. 2 To show separate audio for the clip you want to edit, do one of the following: • In the Timeline, select the clip whose audio you want to expand, and choose Clip > Expand Audio/Video (or press Control-S). • Double-click the clip’s audio waveform. The audio and video portions of the clip appear as discrete components that you can change individually. They are still attached and will remain in sync. Chapter 11 Advanced editing 272 3 Drag the start point (left edge) of the video portion of the clip to the right, effectively trimming it with a ripple edit. The example below shows the video start point of the close-up of the man being dragged to the right. This creates a J-shaped split edit, with the start point of the audio overlapping the preceding clip. 4 To complete the split edit, show separate audio for the preceding clip, and do one of the following: • Drag the preceding clip’s end point to the left so that the two audio clips no longer overlap. • Adjust the audio (fade) level of either clip so that the audio overlap sounds natural. Chapter 11 Advanced editing 273 5 If you want to turn off the separate audio view to “clean up” the affected clips, do one of the following: • Choose View > Collapse All Clips. • Select the clip in the Timeline, and choose Clip > Collapse Audio/Video (or press Control-S). • Double-click the clip’s audio waveform. When you play back this section of the Timeline, you hear the man begin to speak before the video cuts to the close-up of him. In this way, you can use split edits to create seamless edits from one shot to the next. Create a split edit using keyboard shortcuts You can create split edits quickly using keyboard shortcuts. In this example, the audio from the close-up of the man is extended over the close-up of the woman to create a J-cut. 1 Confirm that the two adjacent clips have sufficient media handles. If not, trim the clips (shorter) to create the media handles. 2 To expand (show separate audio) for the two adjacent clips, do one of the following: • In the Timeline, select the clips whose audio you want to expand, and choose Clip > Expand Audio/Video (or press Control-S). • Double-click the clip’s audio waveform.Chapter 11 Advanced editing 274 3 Move the playhead to the edit point between the two clips. Playhead at edit point To ensure accurate playhead placement, use keyboard shortcuts: • To move the playhead to the previous edit point: Press Semicolon (;) or the Up Arrow key. • To move the playhead to the next edit point: Press Apostrophe (’) or the Down Arrow key. 4 Do one of the following: • To select both sides of the audio edit point: Press Shift-Backslash (\). • To select both sides of the video edit point: Press Backslash (\). Selected audio edit point 5 To roll the audio edit point or the video edit point, do any of the following: • To nudge the edit point left or right: Press Comma (,) or Period (.), respectively. • To nudge the edit point 10 frames left or right: Press Shift-Comma (,) or Shift-Period (.), respectively. • To add or subtract from the current edit using timecode: Press Plus Sign (+) or Minus Sign (–) followed by the timecode duration, and press Return.Chapter 11 Advanced editing 275 The timecode entry field (with blue numbers) appears in the Dashboard in the toolbar as you type. For more information about entering timecode values, see Navigate using timecode on page 144. Shifted edit point Original edit point When you play back this section of the Timeline, you hear the man begin to speak before the video cuts to the close-up of him. In this way, you can use split edits to create seamless edits from one shot to the next. Make three-point edits Three-point editing overview Three-point editing allows you to use start and end points in the Event Browser and the Timeline to specify the duration of a clip and where it should be placed in the Timeline. Three-point editing gets its name from the fact that only three edit points are necessary to determine the portion of the source clip to use and where to place that clip in the Timeline. Final Cut Pro infers the fourth edit point automatically. The result of the edit depends on which three points are set in the Event Browser and in the Timeline: two start points and one end point or one start point and two end points. You can use three-point editing with the following types of edits: • Insert • Connect • Overwrite With each of these edit types, you can also perform backtimed three-point edits, in which the end point (rather than the start point) is aligned with the skimmer or playhead position in either the Event Browser or the Timeline. You can also make two-point edits in which start and end points are inferred from the skimmer position and the clip duration. To make three-point edits, it’s important to know how to make selections and how to use the skimmer and the playhead. For more information about making selections, see Select a range on page 93 and Select one or more clips on page 91. For more information about the skimmer and the playhead, see Playback and skimming overview on page 73.Chapter 11 Advanced editing 276 Basic three-point editing has three stages: Stage 1: Set source selection edit points in the Event Browser Specify which part of a clip you want to place in the Timeline. You do this by setting the start and end points. If you want to set just a start point in the Event Browser, position the skimmer (or playhead) at the point where you want the edit to begin. In this case, the end point is determined by the start and end points set in the Timeline or by the end of the clip. You can also select multiple clips in the Event Browser, and their aggregate source media duration determines the start and end points. Stage 2: Set edit points in a storyline in the Timeline Specify where you want the clip to appear in the Timeline by setting start and end points in the primary storyline or in a connected storyline. If both start and end points are set in the Timeline, these edit points determine the edit duration, regardless of the duration set in the Event Browser. If no start or end points are set in the Timeline, Final Cut Pro uses the skimmer position for the start point of the edit. If the skimmer is not present, Final Cut Pro uses the playhead position. Important: With few exceptions, three-point editing requires range selections (rather than clip selections). Stage 3: Add the source clip or selection to the Timeline Choose to either insert, connect, or overwrite. Important: Timeline start and end points always take precedence over start and end points set in the Event Browser. This means that if you set both a start point and an end point in the Timeline, the Timeline start and end points determine the duration of the edit, regardless of the start and end points in the Event Browser. This allows you to limit your edit to a specific section of the Timeline. There are a few key things to keep in mind when making three-point edits. Edit points set Results • Source selection start and end points in the Event Browser • Destination start point in the Timeline The start point of the source selection in the Event Browser is aligned with the destination start point in the Timeline, and the duration of the edit is determined by the source selection start and end points in the Event Browser. • Source selection start point in the Event Browser • Destination start and end points in the Timeline The start point of the source selection in the Event Browser is aligned with the destination start point in the Timeline, and the duration of the edit is determined by the destination start and end points in the Timeline. Note: This edit requires a range selection in the Timeline. You can use the Range Selection tool or the I and O keys for this purpose. For more information about making range selections, see Select a range on page 93. • Source selection start and end points in the Event Browser • Destination end point in the Timeline The end point of the source selection in the Event Browser is aligned with the destination end point in the Timeline, and the duration of the edit is determined by the source selection start and end points in the Event Browser. This is known as “backtiming” an edit. Use this method when you want to make sure a clip ends at a specific point in the project. • Source selection end point in the Event Browser • Destination start and end points in the Timeline The end point of the source selection in the Event Browser is aligned with the destination end point in the Timeline, and the duration of the edit is determined by the destination start and end points in the Timeline. This is known as “backtiming” an edit. Use this method when you want to make sure a clip ends at a specific point in the project. Note: This edit requires a range selection in the Timeline. You can use the Range Selection tool or the I and O keys for this purpose. For more information about making range selections, see Select a range on page 93.Chapter 11 Advanced editing 277 Three-point edit examples In Final Cut Pro, you can make precise edits using a combination of three (or sometimes two) edit points set in the Event Browser and the Timeline. For more information, see Three-point editing overview on page 275. Here are a few examples of ways to make three-point edits. Example: Make a three-point edit The simplest way to perform a three-point edit is to specify start and end points for the source selection in the Event Browser, and then specify the destination start point in your project by positioning the skimmer (or the playhead) in the Timeline. 1 Set start and end points for the source selection in the Event Browser. Start point End point 2 In the Timeline, position the skimmer (or the playhead, if the skimmer is not present) at the location in your project where you want the clip to start (the destination start point). Position the skimmer at the location in the project where you want the clip to start. 3 To add the source selection to the project using an overwrite edit, press D. The new clip starts where the skimmer was positioned. The portion of your source selection between the start and end points appears in the Timeline, starting at the skimmer position. By defining only three points—the source selection start and end points in the Event Browser and the destination start point in the Timeline—you have total control of the edit.Chapter 11 Advanced editing 278 Example: Make a backtimed three-point edit You can make a three-point edit by defining source selection start and end points in the Event Browser and a destination end point (instead of a destination start point) in the Timeline. This is called backtiming a clip. You can use this method when you want to make sure a particular clip ends at a specific point in a project, on a musical beat. In the resulting edit, the end point of the media in the Event Browser selection is aligned with the end point you set in the Timeline, and the rest of the source selection appears to the left. 1 Set start and end points for the source selection in the Event Browser. Start point End point 2 In the Timeline, position the skimmer (or the playhead, if the skimmer is not present) at the location in your project where you want the clip to end. Position the skimmer at the location where you want the clip to end. 3 Do either of the following: • To backtime the selection using a connect edit: Press Shift-Q. • To backtime the selection using an overwrite edit: Press Shift-D. Your source selection is edited into the project so that the end point of the media in your source selection lines up with the end point you specified in the Timeline. The new clip ends where the skimmer was positioned. The rest of your clip has overwritten any material to the left of the end point for the duration defined by the source selection start and end points set in the Event Browser.Chapter 11 Advanced editing 279 Example: Make a three-point edit with multiple clips You can make three-point edits with multiple clips at a time. 1 In the Event Browser, select two or more clips. (Don’t select a range within a single clip.) For information about selecting multiple clips, see Select one or more clips on page 91. Three clips are selected to be placed in the storyline. No range selection is set. 2 In the Timeline, define a destination start point by positioning the skimmer at the location in your project where you want the clip or group of clips to start. Position the skimmer at the location where you want the group of clips to begin. 3 To add the selected clips to the project using an overwrite edit, press D. The new group of clips begins where the skimmer was positioned. The playhead moves to the end of the new clips. The entire group of clips selected in the Event Browser has been edited into the project. Note: The clips are added in the order in which you selected them. Because you used an overwrite edit, any clip items already in the project are overwritten by the clips selected in the Event Browser for the duration of the Event Browser clips.Chapter 11 Advanced editing 280 You can also make a three-point edit involving multiple clips in the Timeline. To select a range across multiple clips in the Timeline, you use the Range Selection tool or the I and O keys. For more information about range selections, see Select a range on page 93. Example: Make a two-point edit You can make an edit without any selections in either the Event Browser or the Timeline. This is known as a two-point edit. In this case, Final Cut Pro acts on the current clip in the Event Browser from the position of the skimmer or playhead to the end of the clip, and on the project in the Timeline from the position of the skimmer or playhead forward. You can also make backtimed two-point edits, in which Final Cut Pro acts on the current clip in the Event Browser and the project in the Timeline from the skimmer or playhead position back. In either case, the duration of the edit is determined by the skimmer or playhead position and the end of the clip in the Event Browser. 1 To specify a source selection start point in the Event Browser, move the skimmer or playhead to the location where you want the edit to start (but don’t make any selections). The Event Browser playhead position determines the source selection start point. 2 To specify a destination start point in the Timeline, move the skimmer or playhead to the location where you want the edit to start (but don’t make any selections). The skimmer position in the Timeline is the destination start point. 3 To add the clip to the project using an overwrite edit, press D. The new clip starts where the skimmer was positioned. The new clip starts where the skimmer was positioned.Chapter 11 Advanced editing 281 Try out clips using auditions Auditions overview In Final Cut Pro you can organize related clips into sets, called auditions, from which you can choose one clip to use. You can create an audition composed of different clips to try out multiple takes, or you can create an audition composed of multiple versions of the same clip to preview different effects. Auditions appear in the Event Browser and Timeline as clips with an Audition icon in the upper-left corner. Icon for an audition in the Event Browser Icon for an audition in the Timeline The audition’s filmstrip displays the currently selected clip, called the pick. All other clips in the audition are referred to as alternates. You can open an audition to see the selected clip and the alternates. Alternate clips Selected clip Auditions allow you to preserve your alternate edits without affecting the other clips in the Timeline. When you’re not auditioning the clips in an audition, the audition functions like an individual clip. You can trim an audition, apply transitions between auditions and other clips, and add keywords and markers. You can keep your audition containing your alternate clips for as long as is necessary. After you’ve reviewed the clips in the audition and decided which one works best in your project, you can finalize the audition, which dissolves it and leaves the pick as an individual clip in the Timeline. The pick retains the audition’s position in the Timeline and all keywords and markers applied to the audition.Chapter 11 Advanced editing 282 Create auditions to try out clips You can create auditions in the Event Browser and then add them to the Timeline, or you can create auditions directly in the Timeline. When you create auditions in the Timeline, you can either group related clips or group multiple versions of the same clip (for example, to try out multiple effect treatments or lower-third titles). Icon for an audition in the Event Browser Icon for an audition in the Timeline Create auditions in the Event Browser m Select the clips you want to include in the audition, and choose Clip > Audition > Create (or press Command-Y). Create auditions in the Timeline m To create an audition with related clips: Drag a clip or a group of clips from the Event Browser onto a clip in the Timeline, and choose an audition option from the shortcut menu. Choosing Add to Audition creates an audition with the current Timeline clip as the pick. Choosing Replace and Add to Audition makes the clip you’re dragging the pick. Important: If a transition is applied to the current clip in the Timeline and the pick for the new audition lacks sufficient media for the transition, the transition is either shortened or removed. m To create an audition with a duplicate version of a clip, including applied effects: Select a clip in the Timeline, and choose Clip > Audition > Duplicate as Audition. An audition is created containing the selected clip and a duplicate version that includes any effects applied to the original. m To create an audition with a duplicate of the original version of a clip, without applied effects: Select a clip in the Timeline, and choose Clip > Audition > Duplicate from Original (or press Command-Shift-Y). An audition is created containing the selected clip and a duplicate version without any applied effects. m To create an audition with a duplicate of the original version of a clip, with effects and attributes from another clip: Select a clip in the Timeline that has the attributes you want to copy, and choose Edit > Copy (or press Command-C). Then select the clip you want to make into an audition and choose Clip > Audition > Duplicate and Paste Effects (or press Command-Option-Y).Chapter 11 Advanced editing 283 An audition is created containing the selected clip and a duplicate version with effects and attributes copied from the first clip. Open an audition After you create an audition, it’s easy to open it and review its contents. Do one of the following: m Choose Clip > Audition > Open (or press Y). m Click the Audition icon. Audition icon The Audition window appears, and you can preview your clips to choose a pick. Add and remove clips in auditions When building auditions to try out different clips or versions of a clip with different effects, you can add and remove clips at any time. In the Event Browser and the Timeline, you can add new clips to the audition as well as duplicate clips within an audition. When an audition in the Timeline contains the clips you want to try out, you can use the audition to preview the clips or effects in your project. Add clips to an audition in the Event Browser m To add new clips to an audition in the Event Browser: Select the audition and the clips you want to add to it, and choose Clip > Audition > Create (or press Command-Y). Select the audition. Select clips to add to the audition. m To duplicate a clip within an audition in the Event Browser: Click the icon in the upper-left corner of the audition to open the Audition window, select the clip you want to duplicate, and click Duplicate. Select the clip you want to duplicate, and click Duplicate. A new version of the selected clip appears in the Audition window.Chapter 11 Advanced editing 284 Add new clips to an audition in the Timeline m To add a new clip to an audition and maintain the current clip in the Timeline as the pick: Drag a clip from the Event Browser to the audition in the Timeline, and choose Add to Audition from the shortcut menu. m To add a new clip to an audition and make the clip you’re adding the pick: Drag a clip from the Event Browser to the audition in the Timeline, and choose Replace and Add to Audition from the shortcut menu. Important: If a transition is applied to the current clip in the Timeline and the pick for the new audition lacks sufficient media for the transition, the transition is either shortened or removed. m To duplicate a clip within an audition: Click the Audition icon in the upper-left corner of the audition to open the Audition window, select the clip you want to duplicate, and click Duplicate (or press Command-Shift-Y). Select the clip you want to duplicate, and click Duplicate. A new version of the selected clip appears in the Audition window. m To add a duplicate of the original version of an audition pick, with effects and attributes from another clip: Select a clip in the Timeline that has the attributes you want to copy, and choose Edit > Copy (or press Command-C). Then select the audition and choose Clip > Audition > Duplicate and Paste Effects (or press Command-Option-Y). Remove a clip from an audition 1 To open the audition containing the clip you want to remove, click the icon in the upper-left corner of the audition. 2 In the Audition window, select the clip you want to remove, and press Delete. The clip is removed from the audition. Use auditions to try out clips in your project You create an audition to try out the clips within it and find the one that works best for your project. Although the auditioning workflow may differ from project to project, the general process is the same. You create an audition that contains a set of alternate takes, effects, or text treatments, and then you choose the best clip for the edit by making it the pick. When you’re sure of your decision, you finalize the audition, which dissolves it and leaves the pick in the Timeline. Depending on your workflow, you may try out the clips within your auditions and flatten the auditions as you go, or you may leave the auditions in the Timeline for the purpose of showing alternate edits to a client. Note: You can use audition commands only with one selected audition at a time. For example, you can’t finalize multiple selected auditions.Chapter 11 Advanced editing 285 Review clips within an audition in the Timeline 1 In the Timeline, select the audition containing the clips you want to review, and open it by choosing Clip > Audition > Open (or pressing Y). The clip under the spotlight in the center of the window is the pick. 2 In the Audition window, select the pick and press the Space bar (or press Command-Control-Y) to play it. 3 To play an alternate clip in the Viewer, select a clip to the right or left of the pick (or press the Right Arrow or Left Arrow key). The alternate becomes the new pick and plays back in the Viewer. The star icon indicates the previous pick. Tip: To quickly move through and play alternate clips, select a closed audition in the Timeline, press the Space bar, and press Control-Left Arrow to play clips to the left of the current pick, or Control-Right Arrow to play clips to the right.Chapter 11 Advanced editing 286 4 When you decide on the clip you want to use, make sure it’s selected under the spotlight, and click Done. 5 If you’re sure of your decision and want to finalize the audition, choose Clip > Audition > Finalize Audition (or press Shift-Option-Y). The audition is dissolved, leaving the pick in the Timeline. The clip selected as the pick retains any keywords or markers assigned to the audition. Try out multiple effects on a clip in the Timeline You can try out effects on a clip in the Timeline by creating an audition and adding individual effects to duplicates of the same clip. This technique allows you to view each effect in relation to the clips that precede and follow the audition in the Timeline. 1 In the Timeline, select the clip you want to try different effects on. 2 Choose Clip > Audition > Duplicate as Audition (or press Option-Y). 3 Repeat step 2 for each effect that you want to audition. 4 To open the Audition window, click the icon in the upper-left corner of the audition (or press Y). 5 To open the Effects Browser, click the Effects button in the toolbar (or press Command-5). 6 In the Audition window, select the version of the clip you want to apply the effect to. 7 In the Effects Browser, select the effect you want to try out, and drag it to the clip in the Audition window. Drag an effect from the Effects Browser to a clip in the Audition window. 8 Repeat steps 6 and 7 until you’ve applied all the effects you want to audition.Chapter 11 Advanced editing 287 9 Review each effect’s impact on the clip in the Timeline by selecting a clip to the right or left of the pick. Click an alternate clip to play it in the Viewer. Tip: To quickly move through and play alternate clips, press Control-Left Arrow to play clips to the left of the current pick, or Control-Right Arrow to play clips to the right. 10 When you decide on the effect you want to use, select the clip with that effect in the Audition window, and click Done. 11 If you’re sure of your decision, and want to finalize the audition, choose Clip > Audition > Finalize Audition (or press Shift-Option-Y). The audition is dissolved, leaving the clip with your chosen effect applied to it in the Timeline. Tip: To save time, you can have Final Cut Pro automatically duplicate a clip in the Timeline and apply an effect to the duplicated clip by holding down the Control key while you drag an effect from the Effects Browser to the clip in the Timeline. You can also apply an effect to every clip in an audition by holding down the Option key and the Control key while you drag the effect from the Effects Browser to the audition in the Timeline. In both cases, you must start dragging the effect from the Effects Browser and then press the keys as you add the effect to the clip. Retime clipsto create speed effects Retiming clips overview You can adjust a clip’s speed settings to create fast-motion or slow-motion effects. You can also reverse a clip, rewind a segment of a clip, apply variable speed effects (also called speed ramping) to a clip selection, and create instant replays. By default, Final Cut Pro maintains the audio pitch of any speed adjustment, but you can turn this feature off to accentuate the speed effect. You can’t apply speed changes to still images, generators, titles, and themes in Final Cut Pro.Chapter 11 Advanced editing 288 Change clip speed In Final Cut Pro you can make both constant and variable speed changes to your clips while preserving the audio’s pitch. Note: Speed settings are applied to the specific instance of the selected clip only. They are not applied to that clip’s source media file on disk. To create a media file with the applied speed effects, export the clip as a QuickTime movie. For more information, see Share projects, clips, and ranges on page 378. Apply a constant speed change Applying a constant speed change to a range selection or a whole clip alters the entire selection’s playback speed by the same percentage. For example, applying a speed setting of 25 percent to the selection makes the entire selection play in slow motion. Constant speed changes also alter the duration of a clip. If a constant speed change causes the duration of a clip in your project to become longer or shorter, all clips coming after it ripple forward or backward. If you change the speed to 50 percent, your clip is twice as long; if you change the speed to 200 percent, the clip is half as long. For example, if you set a 5-second clip to play back at 50 percent speed, Final Cut Pro adds frames to the clip so that the clip becomes 10 seconds long and plays back more slowly. If you increase the clip’s speed to 200 percent, Final Cut Pro removes frames and makes the clip 5 seconds long, and it plays back considerably faster. Same clip with speed changed to 50 percent (now 10 seconds long) 5-second clipChapter 11 Advanced editing 289 1 In the Timeline, select a range, a whole clip, or a group of clips whose speed you want to change. 2 Do one of the following: • To apply a preset speed setting: Choose Slow or Fast from the Retime pop-up menu in the toolbar (shown below), and choose a speed from the submenu. • To apply a custom speed setting: Choose Show Retime Editor from the Retime pop-up menu (or press Command-R) to display the Retime Editor above the selection in the Timeline, and drag the retiming handle. If you drag the retiming handle to the right, the speed of the selection decreases, the duration of the selection increases, and the bar above the Timeline selection turns orange. Drag the retiming handle to the right to create a slow-motion effect. If you drag the retiming handle to the left, the speed of the selection increases, the duration of the selection decreases, and the bar above the Timeline selection turns blue. Drag the retiming handle to the left to create a fast-motion effect.Chapter 11 Advanced editing 290 Apply a variable speed change To alter the speed of a clip over time, in forward or reverse motion, you can apply a variable speed change (also called speed ramping). Variable speed changes create sophisticated effects in which subjects appear to smoothly shift across a variety of different speeds, with gradual or abrupt transitions between each speed segment. These types of effects can be seen in many music videos and broadcast commercials, and the effects can be created directly in the Timeline. To apply variable speed effects, you divide a clip into speed segments that are set to specific speed percentages. 1 In the Timeline, select either a range within a clip or a whole clip to which you want to apply a speed ramp effect. 2 Do one of the following: • To ramp the speed down: Choose Speed Ramp > “to 0%” from the Retime pop-up menu in the toolbar. • To ramp the speed up: Choose Speed Ramp > “from 0%” from the Retime pop-up menu in the toolbar. The selection is segmented into four parts with different speed percentages, creating the ramp effect. If more precision is required, you can manually drag any one of the four retiming handles to set the speed you want. Drag a retiming handle to modify the speed percentage of a speed ramp segment. Preserve audio pitch in retimed clips By default, Final Cut Pro is set to preserve the audio pitch of a clip that has been retimed. However, if you want to accentuate the retiming adjustment’s effect by allowing the pitch to change in accordance with the retiming adjustment, you can turn this feature off. 1 In the Timeline, select a range, a whole clip, or a group of clips whose speed you plan to change. 2 Choose Preserve Pitch from the Retime pop-up menu in the toolbar. A checkmark to the left of the command name indicates that Preserve Pitch is turned on. Choose Preserve Pitch again to turn it off.Chapter 11 Advanced editing 291 Change the end frame of a speed segment You can change the end frame of a speed segment in the Timeline. When you drag the retiming handle of a speed segment, you’re adjusting the speed of the segment, not trimming it. The Change End Source Frame command allows you to trim the end point (end frame) of a segment. 1 In the Timeline, select a clip that has speed segments. 2 To display the Retime Editor above the clip in the Timeline, choose Show Retime Editor from the Retime pop-up menu in the toolbar (or press Command-R). 3 Click the triangle next to the speed percentage for a speed segment, and choose Change End Source Frame from the pop-up menu. A filmstrip icon appears over the end frame of the speed segment. 4 To change the end frame, drag the filmstrip icon left or right. Filmstrip icon As you drag, the Viewer displays the current end frame. Conform a clip’s speed to match the project’s speed If you’ve applied speed effects using your camera, the native speed of the source media may not match the native speed of the source media for the rest of the clips in your project in the Timeline. However, you can change the clip with the differing native speed to match the rest of the clips in the Timeline. 1 In the Timeline, select the clip whose speed you want to change to match the rest of the clips in your project. 2 Choose Conform Speed from the Retime pop-up menu in the toolbar.Chapter 11 Advanced editing 292 Smooth out a slow-motion clip with video quality presets To smooth out the apparent motion of a clip playing back in slow motion, you can apply frame blending or optical flow analysis to the retimed clip. 1 In the Timeline, select a range, a whole clip, or a group of clips whose video quality you want to change. 2 Choose a Video Quality setting from the Retime pop-up menu in the toolbar. • Normal: The default setting. Frames are duplicated, and no frame blending is applied to the slow-motion clip. No rendering is required. • Frame Blending: Adds in-between frames by blending individual pixels of neighboring frames. Slow-motion clips created with Frame Blending appear to play back more smoothly than those created with the Normal (duplication) setting. Rendering is required. • Optical Flow: Adds in-between frames using an optical flow algorithm, which analyzes the clip to determine the directional movement of pixels and then draws portions of the new frames based on the optical flow analysis. Only the portion of the clip used in the project (the media between the clip start and end points) is analyzed. Rendering is required. Note: The more motion contained in a clip, the longer the analysis and rendering takes. Reverse or rewind clips In addition to changing the speed of a clip, you can also add directional effects: • Reverse: Reverses the order of frames in the clip, so that the last frame plays first. • Rewind: Appends a duplicate of the range selection or clip as a segment, rewinds the duplicated segment at 1x, 2x, or 4x speed, and then plays the original clip segment again in forward motion at normal speed. Reverse a clip 1 In the Timeline, select a clip or a group of clips whose contents you want to reverse. 2 Choose Reverse Clip from the Retime pop-up menu in the toolbar. The green bar with arrows pointing to the left above the selection in the Timeline indicates that the clip is reversed.Chapter 11 Advanced editing 293 3 If you want to adjust the speed of the reversed clip, drag the retiming handle to the left to increase the speed or to the right to decrease it. Reversed segment Drag the retiming handle to change the speed of the reversed clip. 4 To see the reverse effect, play back the reversed clip or selection. Rewind a range selection or clip 1 In the Timeline, select a range, a whole clip, or a group of clips whose contents you want to rewind. 2 Choose Rewind from the Retime pop-up menu in the toolbar (shown below), and choose a speed from the submenu. The selection is duplicated, added to the end of the original selection, and then reversed according to the speed choice. An additional duplicate of the Timeline selection follows the reversed section and plays back in forward motion at the selection’s original speed. 3 If you want to adjust the speed of the rewound section or the sections that precede and follow the rewound section, drag the section’s retiming handle to the left to increase the speed or to the right to decrease it. Drag a retiming handle to change the speed. 4 Play the clip back to review the rewind effect.Chapter 11 Advanced editing 294 Create instant replays You can apply an instant replay to a range selection within a clip or a whole clip. Final Cut Pro duplicates the range or clip, appending the duplicated frames to the end of the selection as a new segment. You can then modify the speed of the new segment to achieve the instant replay effect you’re looking for. Create an instant replay 1 In the Timeline, select a range or a whole clip whose contents you want to use to create an instant replay. 2 Choose Instant Replay from the Retime pop-up menu in the toolbar. A duplicate of the range or clip is appended to the end of the selection and plays back in forward motion at the selection’s original speed. (By default, the instant replay is set to play back at 100 percent speed.) 3 If you want to adjust the speed of the instant replay segment, drag the retiming handle to the left to increase the speed or to the right to decrease it. Original clip (now a segment) Instant replay segment set to a manual slow-motion setting Drag the retiming handle to change the speed of the instant replay segment. 4 To see the instant replay effect, play back the original selection and the instant replay segment. Create a hold segment In Final Cut Pro, you can hold on a particular frame to create a still image, temporarily stopping the action onscreen. By default, Final Cut Pro adds a 2-second still frame, called a hold segment, at the location of the skimmer or playhead, but you can change the duration of the hold segment at any time. Alternatively, you can create separate freeze-frame clips in Final Cut Pro. One key difference between freeze frames and hold segments is that hold segments remain part of the original clip and their duration can be adjusted within the clip. For more information, see Create freeze frames on page 113. Important: Adding a hold segment to a clip increases its duration.Chapter 11 Advanced editing 295 Create a still-image hold segment 1 In the Timeline, do one of the following: • Select the clip with the frame you want to hold, and move the skimmer or playhead to that frame. • Select a range within a clip in the Timeline. 2 Choose Hold from the Retime pop-up menu in the toolbar (or press Shift-H). If you selected a clip, a 2-second hold segment is added to the clip at the position of the skimmer or the playhead. If you selected a range, a hold segment is created for the duration of the range. The frame used as the still frame is the first (leftmost) frame in the range. 3 If you want to adjust the duration of the hold segment, drag the segment’s retiming handle to the right to increase the duration, or to the left to decrease it. Drag the retiming handle to change the duration of the hold segment. 4 To see the effect of the hold segment, play back the clip in the Timeline. Reset retimed clips to play at normal speeds You can reset a range selection or a clip to play back at normal (100 percent) speed at any time. Resetting the speed removes any directional effects and Holds applied to the selection at the same time. Reset a range or a clip to play forward at 100 percent 1 In the Timeline, select a range, a whole clip, or a group of clips that you want to reset to their original speed. 2 Choose Normal 100% from the Retime pop-up menu in the toolbar (or press Shift-N).Chapter 11 Advanced editing 296 Conform frame sizes and frame rates Final Cut Pro manages project settings automatically. This means you can work with multiple media types with differing frame sizes (also referred to as resolution) and frame rates in the same project. When you add the first video clip to your project, Final Cut Pro automatically sets the format, frame size, and frame rate for the entire project based on the properties of that first clip (or, more precisely, on the properties of the clip’s source media file). You can modify the project’s settings at any time, and you can control, on a clip-by-clip basis, how Final Cut Pro conforms an individual clip’s frame rate and frame size to match the project settings. All of the project information in this section applies equally to compound clips, which can have their own distinct project settings. You can add interlaced clips to progressive (non-interlaced) projects and progressive clips to interlaced projects. To add an interlaced clip to a progressive project, see the instructions below. Final Cut Pro accepts progressive clips in interlaced projects automatically. Here are things to keep in mind when working with multiple formats and frame sizes: • Choose video and audio project properties based on how you intend to share your final movie with your audience. For example, if you’re editing a project with mixed-format media and you intend to share it as 1080p HD, you should set your project’s video properties to 1080p HD. • If you’re unsure of the final distribution format, the most important decision you can make before creating your project is choosing your project’s frame rate. It’s easy to change the format and the frame size of your project at any time, but changing the frame rate can cause all the edit points in your project to shift in time. • If you have a clip that matches the video and audio properties of the format in which you intend to share your project, add this clip to your project first. Final Cut Pro automatically creates matching project settings. This saves you time by preventing you from having to change your project settings later. Tip: If the first clip you add to a project is an audio clip or a still-image clip, Final Cut Pro prompts you to choose the video properties for your project. Cancel the edit, add a video clip whose source media file has the video properties you require for your project, and then add the non-video clip to your project. Choose a method of conforming frame size You can choose how Final Cut Pro modifies the frame size of a clip to match the project’s frame size settings. For example, you can have Final Cut Pro change the frame size of the clip to fit within the longest dimension of the project’s frame dimensions, fill the entire frame of the project (which usually results in cropping), or leave the clip’s frame size as is. 1 Add a clip to the Timeline with a frame size that doesn’t match the current project’s frame size (resolution) settings. 2 Select the clip in the Timeline. 3 To open the Video inspector, click the Inspector button in the toolbar (shown below), and click the Video button at the top of the pane that appears.Chapter 11 Advanced editing 297 4 Choose a method of conforming frame size from the Type pop-up menu in the Spatial Conform section of the Video inspector. • Fit: The default setting. Fits the clip within the project’s frame size setting without cropping the clip’s video. Black bars appear on the sides of the frames that don’t match the project’s frame size (resolution). In the case of a standard-definition (SD) clip in a high-definition (HD) project, Final Cut Pro scales up the SD clip to fit the HD project’s frame size. In the case of an HD clip in an SD project, Final Cut Pro scales down the HD clip to fit the SD project’s frame size. • Fill: Makes the clip’s video fill the project’s frame size. In the case of an SD clip in an HD project, Final Cut Pro scales up the SD clip to fit the HD project’s frame size. Cropping occurs along the clip’s longer dimension to allow the shorter dimension to fill the screen. In the case of an HD clip in an SD project, Final Cut Pro scales down the HD clip to fit the SD project’s frame size. Cropping occurs along the clip’s shorter dimension to allow the longer dimension to fill the screen. • None: Leaves the clip’s frame size unchanged. If the clip’s frame size is larger than the the project’s frame size, the clip appears cropped. If the clip’s frame size is smaller than the project’s frame size, black bars surround the clip. Choose a method of conforming frame rate When a clip’s frame rate differs from the project’s frame rate, Final Cut Pro employs a framesampling method to change the clip’s frame rate to match that of the project. You can choose which frame-sampling method Final Cut Pro uses to modify the clip’s frame rate. The method you choose depends on how important it is to you to eliminate visual stuttering and visual artifacts. 1 Add a clip to the Timeline with a frame rate that doesn’t match the current project’s frame rate settings. 2 Select the clip in the Timeline. 3 To open the Video inspector, click the Inspector button in the toolbar (shown below), and click the Video button at the top of the pane that appears. 4 Choose a method of conforming frame rate from the Frame Sampling pop-up menu in the Rate Conform section of the Video inspector. Note: If the selected clip has the same frame rate as the project frame rate settings, the Rate Conform section does not appear in the Video inspector.Chapter 11 Advanced editing 298 • Floor:The default setting. Final Cut Pro truncates down to the nearest integer during its calculation to match the clip’s frame rate to the project’s frame rate. • Nearest Neighbor:Final Cut Pro rounds to the nearest integer during its calculation to match the clip’s frame rate to the project’s frame rate. The Nearest Neighbor option reduces artifacts at the expense of visual stuttering. Rendering is required. • Frame Blending:Creates in-between frames by blending individual pixels of neighboring frames. Slow-motion clips created with Frame Blending appear to play back more smoothly than those created with the Floor or Nearest Neighbor setting. This setting provides better reduction of visual stuttering, but you may see some visual artifacts. Rendering is required. • Optical Flow:A type of frame blending that uses an optical flow algorithm to create new in-between frames. Final Cut Pro analyzes the clip to determine the directional movement of pixels, and then draws portions of the new frames based on the optical flow analysis. Choosing the Optical Flow option results in better reduction of visual stuttering, and Final Cut Pro spends a significant amount of time to fix visual artifacts. Add an interlaced clip to a non-interlaced (progressive) project Some video formats use an interlaced scanning method that divides a video frame into two fields, each consisting of alternating odd and even lines that are scanned at different times. If you want to add an interlaced clip to a progressive project, you can have Final Cut Pro deinterlace the clip so that it plays at full resolution, free of the alternating jagged lines associated with interlaced clips in progressive projects. 1 Do one of the following: • In the Event Browser, select the interlaced clips you want to add to a progressive project. • In the Timeline, select interlaced clips you’ve added to a progressive project. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. 3 In the Info inspector, choose Settings View from the Metadata View pop-up menu. 4 Select the Deinterlace checkbox. Note: Selecting the Deinterlace setting causes the frame rate of the selected clips to double. For example, if the original interlaced clips have a frame rate of 29.97 fps, the deinterlaced clips will have a frame rate of 59.94 fps. Keep this in mind when you choose the video and audio settings for your project. Tip: To confirm the absence of interlacing artifacts, you can press the Left Arrow and Right Arrow keys to step through the clips in the Timeline one frame at a time. 5 Choose Final Cut Pro > Preferences, click Playback, and choose High Quality from the Playback Quality pop-up menu. The clips now play back and function as progressive clips. Depending on your specific computer configuration, background rendering may be necessary.Chapter 11 Advanced editing 299 Adjust anamorphic footage Some video camcorders and recording devices shoot at a widescreen 16:9 aspect ratio but record the data using a 4:3 aspect ratio. Sometimes the metadata tag specifying 16:9 playback in the video file is missing or set incorrectly. In Final Cut Pro, you can set this tag so that the video plays correctly with a widescreen 16:9 aspect ratio. Note: This option applies only to (and appears only with) standard-definition (SD) formats. 1 In the Event Browser or the Timeline, select the SD clips whose anamorphic setting you want to adjust. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. 3 Choose Settings View from the Metadata View pop-up menu at the bottom of the Info inspector. 4 In the Anamorphic Override pop-up menu, choose Widescreen. The clips now play back and function with the widescreen 16:9 aspect ratio. Use rolesto manage clips Roles overview Roles are metadata text labels that you assign to clips in the Event Browser or the Timeline, and they provide a flexible and powerful way to manage your editing workflow. You can use roles in Final Cut Pro to organize clips in your events and projects, control the appearance of the Timeline, and export separate video or audio files (also known as media stems) for distribution, audio mixing, or post-production. When you import clips (video, audio, or still images), Final Cut Pro analyzes existing clip metadata to assign one of five default roles to the video and audio components of each clip: Video, Titles, Dialogue, Music, and Effects. For example, if a source media file has an iTunes “genre” metadata tag, Final Cut Pro assigns the Music role to the resulting clip. Final Cut Pro assigns the Video and Dialogue roles to clips that contain both video and audio. You can use roles for the following workflows: • Reassign roles: You can view and reassign clip roles in the Timeline Index, the Event Browser, the Info inspector, or the Modify menu. See View and reassign roles on page 300. You can also create custom roles and subroles to further organize your clips. • View clips by role: In the Timeline Index, you can organize clips by role, turn roles on or off, and highlight or minimize clips for viewing in the Timeline. For example, you could easily identify all your dialogue clips and play them back in isolation from other audio clips. See View clips by role in the Timeline on page 305. • Export media stems: You can export roles as media stems in a combined, multitrack QuickTime file, or as separate audio or video files. During the export process you can assign mono, stereo, or surround output for your audio channels. See Destinations preferences on page 422.Chapter 11 Advanced editing 300 View and reassign roles You can view and change the roles that are assigned to clips in the Event Browser, the Timeline Index, the Info inspector, or the Modify menu. Keep in mind the following when using roles: • Every clip must have at least one assigned role (clips with audio and video always have one audio and one video role). Still images are assigned the Video role by default, but you can create a custom (still image) role and assign it to your still images. • Video roles can’t be assigned to audio-only clips, and audio roles can’t be assigned to video-only clips. • Roles can be assigned to audio or video components of a clip, but can’t be assigned to a clip range or a portion of a clip. • You can view and reassign the role of an audio component in the Info inspector (or by using the Modify menu when the clip that contains the audio component is in the Timeline). • You can assign different roles to each instance of a clip. For example, if you add a clip from the Event Browser to the Timeline, copy clips between events, or copy clips within the Timeline, each of these clip instances (copies) is independent of the others. View and reassign roles in the Event Browser 1 In the Event Browser in list view, select one or more clips. Note: If the Roles column isn’t visible in the Event Browser, Control-click a column heading and choose Roles from the shortcut menu. 2 In the Roles column, click the assigned role for a clip to see a shortcut menu listing the available roles. 3 To change the role assignments for the selected clips, choose different roles from the shortcut menu. View and reassign roles in the Info inspector 1 Select one or more clips in the Event Browser or the Timeline. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears.Chapter 11 Advanced editing 301 3 In the Info inspector, click the Roles pop-up menu to see the available roles. 4 To change the role assignments for the selected clips, choose different roles from the Roles pop-up menu. View and reassign roles in the Timeline Index 1 To open the Timeline Index, click the Timeline Index button in the lower-left corner of the Final Cut Pro main window (or press Command-Shift-2). 2 To open the Clips pane, click the Clips button at the top of the Timeline Index. 3 If the Roles column is not visible in the Clips pane, Control-click a column heading and choose Roles from the shortcut menu. 4 Select one or more clips in the Clips pane. 5 To change the role assignments for the selected clips, click the assigned role and choose different roles from the shortcut menu.Chapter 11 Advanced editing 302 View and reassign roles with the Modify menu 1 Select one or more clips in the Event Browser or the Timeline. 2 Choose Modify > Assign Roles, and choose a role from the submenu. A checkmark appears next to the role you chose. View and reassign the role of an audio component 1 Select a clip in the Timeline, and choose Clip > Expand Audio Components (or press Option-Control-S). Audio components 2 Select an audio component. 3 To change the role assignment for the selected component, do one of the following: • Choose Modify > Assign Roles, and choose a role from the submenu. A checkmark appears next to the role you chose. • Open the Info inpector, and choose a different role from the Roles pop-up menu. A checkmark appears next to the role you chose. For more information about audio components, see About audio channels and audio components on page 159. View and reassign roles in compound clips Compound clips reflect the roles of the original clips that make up the compound clip. You can view and reassign the roles of clips inside a compound clip, but you cannot assign roles to the compound clip itself. 1 Select a compound clip in the Event Browser or the Timeline. 2 To view the assigned roles or to assign a role to every clip inside the compound clip, use the following methods: • Roles column in the Event Browser in list view: Follow the instructions in “View and reassign roles in the Event Browser,” above. • Roles pop-up menu in the Info inspector: Follow the instructions in “View and reassign roles in the Info inspector,” above. • Roles column in the Clips pane of the Timeline Index: Follow the instructions in “View and reassign roles in the Timeline Index,” above. • Assign Roles command: Follow the instructions in “View and reassign roles with the Modify menu,” above.Chapter 11 Advanced editing 303 When you assign a role to a compound clip (the container), the role is assigned to every clip inside the compound clip. If you want to assign different roles to specific clips within the compound clip, you can open the compound clip for editing and then assign roles to individual clips inside the compound clip. For more information about compound clips, see Compound clips overview on page 257. Create custom roles and subroles You can create custom roles and subroles in addition to the five default roles (Video, Titles, Dialogue, Music, and Effects). Important: Create custom roles and subroles with care. Custom roles (and the names of custom roles) cannot be edited or removed from the roles list. However, you can change the role assignments of clips at any time. Create custom roles 1 To open the Role Editor, do one of the following: • Choose Modify > Edit Roles. • In the Event Browser in list view or the Clips pane of the Timeline Index, click a role in the Roles column and choose Edit Roles from the shortcut menu. • With a clip selected in the Event Browser or the Timeline, open the Info inspector and choose Edit Roles from the Roles pop-up menu. 2 Choose the role type from the Add Role pop-up menu in the lower-left corner of the Role Editor window. The new role appears at the bottom of the Role column.Chapter 11 Advanced editing 304 3 Type a name for the new role. Once you have created a new role, it appears in the roles list so that you can assign it to any clip. Create subroles Subroles allow you to organize roles within a role; for example, you could create a Foley Effect subrole within the Effects role, or a Spanish Subtitles subrole within the Titles role. 1 To open the Role Editor, do one of the following: • Choose Modify > Edit Roles. • In the Event Browser in list view or the Clips pane of the Timeline Index, click a role in the Roles column and choose Edit Roles from the shortcut menu. • With a clip selected in the Event Browser or the Timeline, open the Info inspector and choose Edit Roles from the Roles pop-up menu. 2 Select a role in the Role column, and click the Add Subrole button (with a plus sign) below the Subrole column.Chapter 11 Advanced editing 305 3 Type a name for the subrole. The new subrole remains in the Subrole list and appears below its parent role in roles lists elsewhere in Final Cut Pro. When you assign subroles to clips in the Timeline, the subroles also appear in the Timeline Index. Subroles View clips by role in the Timeline You can use the Roles pane of the Timeline Index to view and play back clips by role in the Timeline. All video and audio clips are organized by the default roles of Video, Titles, Dialogue, Music, or Effects, or by a custom role or subrole you’ve created. You can turn off roles to suspend playback for all clips with those roles assigned. For example, you could turn off all roles except Dialogue to play back only dialogue clips, and then turn on the Music role to listen to the movie soundtrack along with the dialogue. Roles give you a powerful way to organize and preview clips before exporting them as files for broadcast or audio post-production. Note: Turning roles on or off in the Timeline Index does not affect export settings or clip settings in the Event Browser, the Timeline, or the inspectors. Turn roles on or off 1 In the Timeline Index, click the Roles button. 2 In the Roles pane, select the checkboxes next to the roles or subroles you want to turn on. Deselect the checkboxes next to the roles or subroles you want to turn off.Chapter 11 Advanced editing 306 Active roles appear in color in the Timeline, and inactive roles appear gray. If you turn off all video or all audio roles, the respective portion of audio-video clips also appears gray. Clips assigned an active role appear in color. Clips assigned an inactive role appear in gray. Active roles 3 To preview clips by role, play back your project. Only clips with active roles assigned play back. Highlight roles in the Timeline 1 In the Timeline Index, click the Roles button. 2 In the Roles pane, click the name of the role you want to highlight. The clips with this role assigned are highlighted in the Timeline. This includes both active (color) clips and inactive (gray) clips. Selected role Clips assigned a selected role appear highlighted. Tip: To highlight more than one role at a time, Shift-click to select contiguous items and Command-click to select noncontiguous items.Chapter 11 Advanced editing 307 Minimize clips by role To make more space to view and work with clips in the Timeline, you can minimize clips with a particular role assigned. Minimized clips appear smaller in the Timeline. 1 In the Timeline Index, click the Roles button. 2 In the Roles pane, click the Minimize button next to the role whose clips you want to minimize. Minimize button Minimized clip Roles that have been minimized You can also customize the display of clips in the Timeline by changing the clip appearance and height, and you can choose whether to view clips by name or role. See Adjust Timeline settings on page 141. Use roles to export media stems When you export your work, you can use roles to define the details of your output media files. This process is often used when delivering files to match broadcast specifications or when handing off media stems for mixing or post-production. You can export roles in a combined, multitrack QuickTime file, or as separate audio or video files. During the export process you can assign mono, stereo, or surround output for your audio channels. For more information, see Destinations preferences on page 422. Use XML to transfer projects and events Final Cut Pro can import and export XML (Extensible Markup Language) files. You can use XML documents (plain ASCII text files with tagged elements) to transfer the details of your events and projects between Final Cut Pro and third-party applications, devices, and media asset management tools that do not recognize Final Cut Pro events or projects. The XML import and export options are described in detail in the Final Cut Pro XML developer documentation. For more information, visit the Apple Applications page at the Apple Developer website at http://developer.apple.com/appleapplications. Chapter 11 Advanced editing 308 Import XML into Final Cut Pro You can generate XML files with other applications and then import them into Final Cut Pro. When you import XML into Final Cut Pro, clips, events, and projects are automatically generated in Final Cut Pro. 1 In Final Cut Pro, choose File > Import > XML. 2 Navigate to the XML file you want to import, and click Import. Final Cut Pro processes the XML and generates clips, events, and projects in the Event Library and the Project Library. Export XML from Final Cut Pro You can export events and projects as XML files. 1 In the Event Library or the Project Library, select one or more events or projects that you want to export as XML files. 2 Choose File > Export XML. 3 In the window that appears, navigate to a folder on your hard disk where you want to store the XML files, and click Save. Edit with multicam clips Multicam editing overview You can use Final Cut Pro to edit footage from multicamera shoots or other synchronized footage in real time. For example, if you shot a live concert or a wedding with four different cameras, you can synchronize the footage from each camera angle into a single multicam clip and cut between the angles in real time. The angles in a multicam clip are synchronized by a common sync point, a frame that you can recognize (visibly or audibly) in each of the angles you are synchronizing. When you add a multicam clip to the Timeline, the angle that appears in the Viewer when you play your project is called the active angle. While the active angle plays in the Viewer, you can also view all angles playing simultaneously in the Angle Viewer and easily cut and switch between them. Angle 1 Angle 2 Active angle Angle 3 Angle 4 Sync point Multicam clip Working with multicam clips in Final Cut Pro is a flexible and fluid process. At any time, you can add angles to or remove angles from a multicam clip, and easily adjust the synchronization between angles. You can also group unrelated footage together for real-time montage editing (such as for music videos). For example, if you’re editing a music video, you could add several angles of abstract visuals and cut to those angles at specific places in the music. You can even use photos (from a still camera) in a multicam clip. If the date and time (Content Created) information matches the contents of the other angles, the photos are automatically adjusted in duration to “fill in” the angle.Chapter 11 Advanced editing 309 Multicam clips have the following characteristics: • You create multicam clips in the Event Browser only, from existing event clips. • You edit and adjust multicam clips in the Angle Editor, which looks similar to the Timeline. • When you add a multicam clip to the Timeline, you create a direct and active relationship between the “parent” multicam clip in the Event Browser and the “child” multicam clip in the Timeline. Event clips Project 1 Project 3 Child clip Child clips Child clip Project 2 Parent multicam clip • When you open any multicam clip in the Angle Editor (whether from the Event Browser or the Timeline) you are in fact opening the parent multicam clip from the Event Browser. Any changes you make to a multicam clip in the Angle Editor are inherited by all of its child clips, in all projects. These changes include sync or trimming adjustments, clip speed retiming, video or audio effects such as color correction, and added or deleted angles. For example, if you delete an angle from a parent multicam clip, the angle is deleted from all child clips. For more information about the Angle Editor, see Sync and adjust angles and clips in the Angle Editor on page 324. Multicam editing workflow The process for creating a multicam project is outlined below. The procedures are presented in rough chronological order, but you can rearrange the order to suit your workflow. Shoot an event with multiple cameras and record appropriate sync information A multicamera shoot uses multiple cameras to record the same subject or event from different angles and distances. For multicam projects, it’s a good idea to set the date, the time, and the time zone on your camcorder or recording device before you shoot footage for your multicam project. This provides useful information to Final Cut Pro during the automatic multicam clip creation process. In professional multicamera shoots, each camcorder or VTR receives the same timecode from a master timecode generator, or you can jam sync the timecode generator of each camera at the beginning of the shoot. If you’re using consumer camcorders, which cannot accept external timecode, you need to record a visible or audible cue, such as a clapboard closing or a camera flash, on all cameras. You can use this cue to synchronize the angles in your multicam clips. Because you can use the sophisticated automatic audio sync feature in Final Cut Pro to help ensure multicam synchronization accuracy, it makes sense to record audio on every camcorder and recording device in your multicam production. (Clear audio recordings provide the best results.) Import media for a multicam edit Although importing media for multicam projects is the same as importing for any other project, there are steps you can take during importing to help streamline the multicam workflow.Chapter 11 Advanced editing 310 Assign camera names and multicam angles You can use the Camera Name and Camera Angle metadata tags to automate and organize your multicam workflow. It’s recommended (but not required) to apply these tags to your event clips before you create an actual multicam clip. Create multicam clips You create multicam clips from selected event clips (similar to the way you create auditions and compound clips in the Event Browser). Whether you do it manually or have Final Cut Pro do it for you automatically, creating a multicam clip involves three fundamental steps: • Create angles (containing one or more clips each). • Arrange the order of clips within each angle. • Synchronize the angles using a common sync point. If you know what kind of metadata your source media has, you can create multicam clips using manual methods even faster than with the automatic methods. For more information, see Assign camera names and multicam angles on page 311 and Create multicam clips in the Event Browser on page 312. Cut and switch between angles in the Angle Viewer After you create a multicam clip, you can watch all angles simultaneously in the Angle Viewer while switching or cutting to different angles in real time. You can cut and switch video and audio at the same time or independently. For example, you can use the audio from angle 1 while switching the video between angles 1 to 4. Sync and adjust angles in the Angle Editor At any time, you can open multicam clips in the Angle Editor to adjust the synchronization and the angle order, or to add or delete angles. You can also use the Angle Editor to make edits to the individual clips inside a multicam clip (such as trimming, making color corrections, adding transitions, and so on). Edit multicam clips in the Timeline You can switch multicam angles directly in the Timeline or the Inspector, without opening the Angle Viewer. Although multicam clips have some unique properties, you can edit them in the Timeline in the same way you edit any other clips. Import media for a multicam edit When you import media for a multicam project, you can give the camcorder or file-based recording device a name. Final Cut Pro uses this Camera Name tag to sort the source clips within a multicam clip during the automatic multicam clip creation process. If you anticipate having multicam clips with numerous angles, select “Use proxy media” in Playback preferences to maintain top performance during your multicam edit. You can generate the necessary proxy versions of your clips during the import process. If you have only a few angles in your multicam edit, you can make optimized versions of your media during import, using the Apple ProRes 422 codec. Or, if you prefer, you can select “Create optimized media for multicam clips” in Playback preferences to generate optimized media automatically every time you create a multicam clip. For more information, see Playback preferences on page 419.Chapter 11 Advanced editing 311 Name your camera The following instructions cover how to add the Camera Name property when you import media from a connected file-based device. You can also add the Camera Name property at a later time. 1 Connect your camera or recording device to your computer. 2 In Final Cut Pro, choose File > Import > Media (or press Command-I). 3 In the Media Import window, select your camcorder or recording device from the list of devices on the left, if it’s not already selected. 4 Click it again, and enter a name. Final Cut Pro uses the name you enter as the Camera Name metadata property for all clips that you import from this device. Note: Most modern camcorders and recording devices (including all iOS devices) record a Camera ID tag. Final Cut Pro imports the Camera ID metadata automatically when you import from a file-based device and can use this information to automatically build multicam angles. Assign camera names and multicam angles The Camera Angle and Camera Name properties are flexible metadata tags that you can use to organize your multicam workflow. Although you can assign metadata to clips at any time, it makes the most sense to assign the Camera Angle and Camera Name tags before you use the clips to create multicam clips. The Camera Angle tag can help you determine and track which clips appear in which angles. The Camera Name tag can be applied during import and is useful in a variety of scenarios, such as in color correction. Final Cut Pro allows you to create multicam clips automatically or manually. If you use the automatic method for creating angles in the multicam clip, Final Cut Pro looks for metadata in the selected clips in the following order: • Camera Angle metadata • Camera Name metadata • Camera ID metadata Note: The Camera ID tag is generated by most modern camcorders and recording devices (including all iOS devices). Final Cut Pro imports the Camera ID metadata automatically when you import from a file-based device. Final Cut Pro uses the Camera Angle, Camera Name, and Camera ID metadata to place clips in the correct angle. If it doesn’t find any of this information, Final Cut Pro creates a separate angle for each selected clip. Assign camera names and angles to selected clips Do one of the following: m Select one or more clips in the Event Browser or the Timeline, open the Info inspector, and enter text in the Camera Angle field or the Camera Name field. m In the Event Browser in list view, enter text in the Camera Angle column or the Camera Name column for any clip. Note: If you use the automatic method for creating angles, Final Cut Pro uses any Camera Angle tags in the selected clips to name the angles in the resulting multicam clip. If no Camera Angle tags are present, Final Cut Pro uses Camera Name, Name (clip name), or Camera ID metadata to name angles. You can rename angles in the Angle Editor. For more information, see Sync and adjust angles and clips in the Angle Editor on page 324.Chapter 11 Advanced editing 312 Create multicam clips in the Event Browser Creating multicam clips is similar to creating auditions and compound clips in the Event Browser. Multicam clips can be made up of diverse media sources (different formats, frame rates, and so on). You can have multiple clips in any given angle of a multicam clip. You can have Final Cut Pro create multicam clips for you automatically, or you can create the clips manually. If you know what kind of metadata your multicam media has, you can create multicam clips using manual methods faster than with the automatic methods. The automatic methods use sophisticated automatic audio sync technology to ensure synchronization accuracy (but at the expense of processing time). It’s best to turn off the “Use audio for synchronization” feature when it’s not needed. For example, if you’ve recorded accurate timecode in every clip, Final Cut Pro can create your multicam clip automatically without the audio sync feature. Create a multicam clip automatically 1 In the Event Browser, select the clips you want to include in the multicam clip. 2 Do one of the following: • Choose File > New Multicam Clip. • Control-click the selection and choose New Multicam Clip from the shortcut menu. 3 In the window that appears, type a name for the multicam clip in the Name field. 4 If the multicam automatic settings are not shown, click Use Automatic Settings. The multicam automatic settings appear. Note: The automatic settings are shown by default, but if the last multicam clip you created used custom settings, those settings are shown. 5 To sync angles automatically using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms in each angle. This is the same audio sync technology that you can use to automatically sync clips together into a compound clip. Sync point Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing.Chapter 11 Advanced editing 313 6 Click OK. Final Cut Pro creates a new multicam clip in the event and places duplicates of the selected clips in the new multicam clip. Multicam clip icon Create a multicam clip with custom settings 1 In the Event Browser, select the clips you want to include in the multicam clip. 2 Do one of the following: • Choose File > New Multicam Clip. • Control-click the selection and choose New Multicam Clip from the shortcut menu. 3 In the window that appears, type a name for the multicam clip in the Name field. 4 If the multicam custom settings are not shown, click Use Custom Settings. The custom settings appear. Note: The automatic settings are shown by default, but if the last multicam clip you created used custom settings, those settings are shown. 5 In the Angle Assembly pop-up menu, choose how the angles in the multicam clip are created: • Automatic: Final Cut Pro creates the angles automatically. • Camera Angle: Final Cut Pro creates angles in the multicam clip based on the Camera Angle property of the selected clips. • Camera Name: Final Cut Pro creates angles in the multicam clip based on the Camera Name property of the selected clips. • Clips: Final Cut Pro creates a separate angle for each selected clip, using the Name property in each clip to name the angle.Chapter 11 Advanced editing 314 6 In the Angle Clip Ordering pop-up menu, choose how angles are ordered within the multicam clip: • Automatic: Final Cut Pro orders the clips within each angle automatically. If there is more than one clip per angle, Final Cut Pro inserts gap clips between the clips, as needed, to achieve the correct timing and spacing. • Timecode: Final Cut Pro orders the clips within each angle using timecode recorded in the clips. If you recorded timecode in your clips, choose this option. It’s the fastest and most frameaccurate method of ordering clips. • Content Created: Final Cut Pro orders the clips within each angle using the date and time information recorded by your camcorder or video recording device. The Content Created method can position clips within one-second accuracy (since, in most camcorders, the smallest unit in date and time information is one second). If you choose this clip-ordering method, you will probably need to manually synchronize your angles in the Angle Editor to make your multicam clip frame-accurate. Note: At any time, you can change the Content Created date and time of your source clips in the Event Browser. Just select one or more clips and choose Modify > Adjust Content Created Date and Time. 7 In the Angle Synchronization pop-up menu, choose how angles are synchronized in the multicam clip: • Automatic: Final Cut Pro synchronizes the angles automatically (using one or more of the following methods). • Timecode: Final Cut Pro synchronizes the angles based on the timecode recorded in the clips. For more information about recording timecode, see Multicam editing workflow on page 309. 01:00:00:00 01:00:00:00 01:00:00:00 01:00:00:00 Sync point • Content Created: Final Cut Pro synchronizes the angles based on the date and time information recorded by your camcorder or video recording device. Note: At any time, you can change the Content Created date and time of your source clips in the Event Browser. Just select one or more clips and choose Modify > Adjust Content Created Date and Time. 12:59 PM 12:59 PM 12:59 PM 12:59 PM Sync pointChapter 11 Advanced editing 315 • Start of First Clip: Final Cut Pro uses the first frame in each angle as the sync point. Sync point Tip: The Start of First Clip method is useful if you want to use specific range selections of your source clips only. In the Event Browser, add keywords or the Favorite rating to the range selections you want to use and then filter or search for the clips. When you create your multicam clip, Final Cut Pro uses only the media showing in the filtered view. • First Marker on the Angle: Final Cut Pro uses the first marker in each angle as the sync point. Sync point Tip: With this method, you can use the first marker to define a region that can be fine-tuned with the “Use audio for synchronization” option (described below). In other words, you don’t need to place the marker exactly—just close enough so that the automatic audio sync feature can synchronize the angles the rest of the way. 8 To sync angles automatically using audio waveform data, select “Use audio for synchronization.” This option makes precision sync adjustments using audio waveforms in each angle. This is the same audio sync technology that you can use to automatically sync clips together into a compound clip. Sync point Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. 9 If you want the multicam clip’s timecode to start at a value other than the earliest timecode value in the selected clips (the default), type a timecode value in the Starting Timecode field. 10 If you want to change the video properties settings, select Custom in the Video Properties section and change the settings as appropriate. Note: By default, Final Cut Pro analyzes the selected clips and configures these settings according to the most common clip properties among those clips. 11 If you want to change the audio or render settings, select Custom in the Audio and Render Properties section and change the settings as appropriate.Chapter 11 Advanced editing 316 12 Click OK. Final Cut Pro creates a new multicam clip in the event and places duplicates of the selected clips in the new multicam clip. Multicam clip icon Cut and switch angles in the Angle Viewer After you create a multicam clip, you can watch all angles simultaneously in the Angle Viewer while switching or cutting to different angles in real time. This allows you to cut an entire movie as if it were live, and then fine-tune your edits in the Timeline just as you would for any other project. The Angle Viewer is both a display and an interactive interface for making quick cut and switch decisions as you play back your multicam clips and projects. Angles appear in banks of 2, 4, 9, or 16 angles. Angle Viewer Play back a multicam clip in the Angle Viewer 1 To open the Angle Viewer, do one of the following: • Choose Window > Viewer Display > Show Angles (or press Command-Shift-7). • Choose Show Angles from the Viewer Options pop-up menu in the top-right corner of the Viewer. If you’re viewing a multicam clip in the Event Browser, you have the option to show the Event Viewer next to the Viewer. To show multicam angles in the Event Viewer, do one of the following: • Choose Window > Event Viewer Display > Show Angles. • Choose Show Angles from the Viewer Options pop-up menu in the top-right corner of the Event Viewer.Chapter 11 Advanced editing 317 2 Use the skimmer or the playhead to play back a multicam clip in the Event Browser or the Timeline. The Angle Viewer appears in the upper part of the Final Cut Pro window. The multicam clip’s angles appear in the Angle Viewer. Active angle Play back a multicam clip in the Event Browser or the Timeline. Cut and switch angles in the Angle Viewer You can cut and switch angles “on the fly” (while playing back your project), or you can skim to specific points in the Timeline and then cut and switch. You can also use a combination of those two methods. 1 To open the Angle Viewer, choose Window > Viewer Display > Show Angles (or press Command-Shift-7). 2 Add the multicam clip you want to cut and switch to the Timeline. Note: The cut and switch feature works on Timeline clips only. 3 Do one of the following: • Position the playhead and press the Space Bar to play back the multicam clip. • Skim the Timeline to the frame where you want to cut and switch to a different angle.Chapter 11 Advanced editing 318 4 In the Angle Viewer, move the pointer over the angle that you want to switch to. As you move the pointer over the angles in the Angle Viewer, the pointer changes to the Blade tool, indicating that a cut (and switch) will occur when you click. The pointer changes to the Blade tool. The active angle is highlighted. 5 Do one of the following: • To cut and switch: Click the angle you want to switch to. (Or press any number key to cut and switch to the corresponding angle of the current bank. For example, press 5 to cut and switch to angle 5 of the current bank.) In the Timeline, the current multicam clip is cut at the playhead position. The section of the clip to the right of the playhead is replaced with a new instance of the clip, with the angle you clicked as the active angle. A special through edit point appears at the Timeline playhead position. For more information, see Edit multicam clips in the Timeline and the Inspector on page 330. • To switch: Option-click the angle you want to switch to. (Or hold down the Option key and press any number key to switch to the corresponding angle of the current bank. For example, press Option-5 to switch to angle 5 of the current bank.) Note: The pointer changes to a pointing hand icon when you hold down the Option key, indicating a switch-only edit. In the Timeline, the multicam clip under the playhead changes to show the angle you switched to as the active angle. In either case, the Viewer switches to the angle you selected. The active angle is highlighted in yellow, blue, or green, depending on the switch mode you’re using. For more information, see “Switch video or audio separately,” below.Chapter 11 Advanced editing 319 Switch video or audio separately By default, Final Cut Pro switches the video and audio of a multicam clip at the same time. But you can set Final Cut Pro to switch the video and audio separately. 1 To open the Angle Viewer, choose Window > Viewer Display > Show Angles (or press Command-Shift-7). 2 To change the switch mode, do one of the following: • To enable video and audio switching: Click the left switch mode button in the upper-left corner of the Angle Viewer. This is the default setting. Click to enable video and audio switching. Yellow highlighting indicates that both the active video and the active audio are contained in one clip. The bank switcher shows the active angle. • To enable video-only switching: Click the middle switch mode button. Only the video switches. The audio from the original angle remains active. Click to enable video-only switching. • To enable audio-only switching: Click the right switch mode button. Only the audio switches. The video from the original angle remains active. Click to enable audio-only switching. 3 Do one of the following: • To cut and switch: Click an angle in the Angle Viewer. • To switch: Option-click an angle in the Angle Viewer. Chapter 11 Advanced editing 320 If you selected the video-only or audio-only switch mode, blue highlighting indicates the active video angle and green highlighting indicates the active audio angle. Switch Video Only button Switch Audio Only button The active video angle is highlighted in blue. The active audio angle is highlighted in green. The bank switcher shows the active angles. Tip: With audio-only switching enabled, you can add audio components from inactive angles to the active angle or remove audio components from the active angle. Simply CommandOption-click an inactive angle to add its audio to the active angle. Or Command-Option-click an active angle to remove its audio. For more information, see “Example: Add or remove audio components in a multicam clip” in Multichannel audio editing examples on page 180. View and navigate banks of angles Depending on the Angle Viewer display setting you choose, you can show 2, 4, 9, or 16 angles at once. These sets of angles are known as banks. The bank switcher in Final Cut Pro is an efficient tool for displaying and navigating banks of angles in a multicam clip. 1 To open the Angle Viewer, choose Window > Viewer Display > Show Angles (or press Command-Shift-7). 2 Position the skimmer or the playhead over a multicam clip in the Event Browser or the Timeline. The bank switcher appears as a grid of squares at the bottom of the Angle Viewer. Yellow, blue, or green highlighting indicates the currently active angle. The bank switcher shows the number of angles and which is active.Chapter 11 Advanced editing 321 3 In the Settings pop-up menu (in the upper-right corner of the Angle Viewer), choose the number of angles you want to display in each bank. Settings pop-up menu in the upper-right corner of the Angle Viewer If the number of angles in your multicam clip exceeds the current Angle Viewer display setting, Final Cut Pro creates additional banks and displays them as separate grids of squares. Here are a few examples of different angle bank combinations: • Three banks of 4 angles each, with the last angle in the third bank as the active angle, and the third bank as the currently displayed bank: • One bank of 16 angles, with the last angle as the active angle: • One bank of 9 angles and another bank of 7 angles, with the first bank as the currently displayed bank: 4 To navigate banks of angles, do any of the following: • To display a bank’s angles in the Angle Viewer: Click the bank switcher icon for the bank. • To display the previous bank: Press Shift-Option-Semicolon (;). • To display the next bank: Press Shift-Option-Apostrophe (’).Chapter 11 Advanced editing 322 Show overlays in the Angle Viewer For each angle that appears in the Angle Viewer, you can display video overlays showing timecode and either the clip name or the angle name. Angle name Timecode 1 To open the Angle Viewer, choose Window > Viewer Display > Show Angles (or press Command-Shift-7). 2 To choose a display option, do one of the following: • To display timecode for the clips in each angle: Choose Timecode from the Settings pop-up menu in the upper-right corner of the Angle Viewer. (Choose Timecode again to turn off the timecode display.) Settings pop-up menu in the upper-right corner of the Angle Viewer • To display the names of the clips in each angle: In the Settings pop-up menu, choose Display Name > Clip. • To display the name for each angle: In the Settings pop-up menu, choose Display Name > Angle. • To turn off display names: In the Settings pop-up menu, choose Display Name > None. Adjust the Angle Viewer display You can adjust the Angle Viewer display to suit your needs. m To adjust the number of angles in the Angle Viewer: In the Settings pop-up menu in the upper-right corner of the Angle Viewer, choose either 2 Angles, 4 Angles, 9 Angles, or 16 Angles. Angle Viewer in the 9 Angles display setting Settings pop-up menuChapter 11 Advanced editing 323 m To adjust the size of the Angle Viewer and the main Viewer: Drag the boundary between them. Drag the boundary to the right. Drag the boundary to the left. m To make the Angle Viewer a vertical column: Drag the boundary to the left, and drag the Final Cut Pro toolbar downward to expand the Viewer quadrant vertically. (This vertical column view is available only in the 2 Angles and 4 Angles views.) Drag the boundary to the left. Drag the toolbar down.Chapter 11 Advanced editing 324 Sync and adjust angles and clips in the Angle Editor At any time, you can open multicam clips in the Angle Editor to adjust the synchronization and the angle order, set the monitoring angle, or add or delete angles. Note: When you open any multicam clip in the Angle Editor (whether from the Event Browser or the Timeline) you are actually opening the parent multicam clip. Any changes you make in the Angle Editor are propagated to all child clips of that multicam clip, in every project. For more information, see Create multicam clips in the Event Browser on page 312. You can use the Angle Editor to edit the individual clips inside a multicam clip (similar to how you can edit the contents of a compound clip). The many changes you can make in the Angle Editor include basic edits and trimming as well as effects you would normally add in the Timeline, such as color corrections and transitions. You can copy and paste clips in the Angle Editor. Clips are pasted sequentially as overwrite edits, and in the monitoring angle only. Tip: Before you edit multicam clips in the Angle Editor, duplicate them in the Event Browser to maintain clean backup copies. You cannot cut and switch between angles in the Angle Editor. You also cannot connect clips, solo clips, use the Precision Editor, perform ripple deletes, or use the Detach Audio and Break Apart Clip Items commands. Open a multicam clip in the Angle Editor Do one of the following: m Double-click a multicam clip in the Event Browser. m Control-click a multicam clip in the Event Browser or the Timeline, and choose Open in Angle Editor from the shortcut menu. The Angle Editor opens in the Timeline area at the bottom of the Final Cut Pro window. Although similar to the Timeline, the Angle Editor provides a separate interface dedicated to editing angles and clips inside multicam clips. Each angle in the multicam clip appears as a separate row in the Angle Editor. The Angle Editor appears in the Timeline area.Chapter 11 Advanced editing 325 Set video and audio monitoring in the Angle Editor In the Angle Editor, you can set any one angle to be the monitoring angle. This is the angle you see in the Viewer when the multicam clip is playing back in the Angle Editor. You can also monitor the audio of any number of angles at once. You use the monitoring angle to synchronize angles in the Angle Editor. The monitoring angle is not the same thing as the active angle (which you see in the Timeline). You cannot cut and switch between angles in the Angle Editor. Note: Setting the correct monitoring angle is important for the two synchronization commands described later in this section: Sync to Monitoring Angle and Sync Angle to Monitoring Angle. 1 To open the Angle Editor, do one of the following: • Double-click a multicam clip in the Event Browser. • Control-click a multicam clip in the Event Browser or the Timeline and choose Open in Angle Editor from the shortcut menu. 2 To set an angle as the monitoring angle, do any of the following: • Click the Video Monitor icon at the left side of the angle. • Choose Set Monitoring Angle from the pop-up menu next to the angle name. • Press Shift-V while skimming the angle. The Video Monitor icon turns white, and the entire angle is highlighted in light gray. The angle plays in the Viewer when you play back the multicam clip in the Angle Editor. Only one angle can be the video monitoring angle at a time. Click to set the monitoring angle.Chapter 11 Advanced editing 326 3 To turn on audio monitoring for an angle, do one of the following: • Click the Audio Monitor icon once. (To turn off audio monitoring, click the icon again.) • Choose Monitor Audio from the pop-up menu next to the angle name. (To turn off audio monitoring, choose Monitor Audio again.) • Press Shift-A while skimming the angle. (To turn off audio monitoring, press Shift-A again.) Audio monitoring on Audio monitoring off The monitoring settings do not affect any of your active angles. They simply change what is playing back in the Viewer while you’re working in the Angle Editor. Tip: You can use audio monitoring to double-check the synchronization of individual angles in a multicam clip. Open the clip in the Angle Editor, and turn on audio monitoring for two or more angles at a time. You will hear immediately if the angles are in sync or if you need to adjust them further. Manually adjust the synchronization of a multicam clip A primary function of the Angle Editor is to provide an easy way to correct out-of-sync angles in your multicam clips. The instructions below describe how to synchronize angles by locating sync points and then manually dragging them into alignment. 1 To open the Angle Editor, do one of the following: • Double-click a multicam clip in the Event Browser. • Control-click a multicam clip in the Event Browser or the Timeline and choose Open in Angle Editor from the shortcut menu. 2 Locate a sync point in one of the out-of-sync angles by skimming the angle in the Angle Editor. As you skim, the angle is displayed in the left side of the Viewer (in place of the Angle Viewer). The sync points could be video or audio cues (such as a clapboard closing or a door slam). 3 Locate the corresponding sync point in one or more angles that you want to synchronize to the original angle. To simplify this process, you can add markers at the sync points, to guide you visually and to provide snap points.Chapter 11 Advanced editing 327 4 Drag the clips left or right in the rows of the Angle Editor so that the sync points align vertically. Sync point Sync point Drag the clip to align the sync points. If an angle contains more than one clip, you can easily select all clips in the angle so that you can move them all at once. To do this, choose Select Clips in Angle from the pop-up menu next to the angle name. To select all clips in an angle, choose Select Clips in Angle from the pop-up menu.Chapter 11 Advanced editing 328 You can then drag the clips left or right to move them all by the same amount. When all clips in the angle are selected, you can drag them all at once. Automatically adjust the synchronization of a multicam clip The instructions below describe two automatic methods for synchronizing angles in a multicam clip. 1 To open the Angle Editor, do one of the following: • Double-click a multicam clip in the Event Browser. • Control-click a multicam clip in the Event Browser or the Timeline and choose Open in Angle Editor from the shortcut menu. 2 In the out-of-sync angle, click the pop-up menu to the right of the angle name and choose one of the following: • Sync to Monitoring Angle: This option opens a two-up display in the Viewer, showing the frame at the skimmer position on the left and the frame at the playhead position of the monitoring angle on the right. In the out-of-sync angle, skim to a frame and click to sync the angle to the playhead position. All the clips in the angle move together to align the frame you clicked with the playhead. To close the two-up display in the Viewer, click Done. • Sync Angle to Monitoring Angle: This option compares the audio waveforms in the selected angle to the waveforms in the monitoring angle, and then moves the clips in the selected angle to synchronize them with those in the monitoring angle. This is the same audio sync technology that you can use to automatically analyze and sync clips together into a compound clip. If you select clips in one or more angles before choosing this option, the command name in the pop-up menu changes to Sync Selection to Monitoring Angle. When you choose this option, Final Cut Pro moves all of the selected clips to synchronize them with those in the monitoring angle. If there is a selection in the monitoring angle, this option is not available. WARNING: This option does not ripple clips forward. If clips are moved to a Timeline location that is already occupied by existing clips, the moved clips overwrite the existing clips. Note: Some audio recordings are not suited for use with this feature. Choosing this option may result in long processing times during which Final Cut Pro is not available for editing.Chapter 11 Advanced editing 329 Adjust the order of angles in a multicam clip You can adjust the order in which angles appear in the Angle Viewer and the Angle Editor. Note: If you’ve already started a multicam edit on a multicam clip in the Timeline, changing the angle order does not affect which angle is chosen for each cut and switch edit. 1 To open the Angle Editor, do one of the following: • Double-click a multicam clip in the Event Browser. • Control-click a multicam clip in the Event Browser or the Timeline and choose Open in Angle Editor from the shortcut menu. 2 At the right side of the Angle Editor, use the drag handles to drag the angle rows up or down to reorder them. Use the drag handles to reorder the angles. The angles in the Angle Editor and the Angle Viewer change to the new order. Add, delete, or rename angles in a multicam clip 1 To open the Angle Editor, do one of the following: • Double-click a multicam clip in the Event Browser. • Control-click a multicam clip in the Event Browser or the Timeline and choose Open in Angle Editor from the shortcut menu. 2 Do any of the following: • To delete an angle: Choose Delete Angle from the pop-up menu to the right of the angle name. The angle is removed from the Angle Editor, the Angle Viewer, and all child clips of the multicam clip. Important: Deleting an active angle affects the edits in your projects. The deleted angle is replaced with black filler in all projects. • To add an angle: Choose Add Angle from the pop-up menu to the right of the angle name. A new, empty angle appears in the Angle Editor and the Angle Viewer. • To rename an angle: At the left side of the Angle Editor, click the name of the angle you want to rename. When the text becomes highlighted, type the new name. The new name appears in the Angle Editor and (if overlays are turned on) in the Angle Viewer.Chapter 11 Advanced editing 330 Edit multicam clips in the Timeline and the Inspector You can switch multicam clip angles directly in the Timeline or the Info Inspector, without having to open the Angle Viewer. Multicam clips generally function in the Timeline like any standard clips. You can add video and audio effects, transitions, and markers; attach connected clips; and apply retiming effects. You can apply split edits to multicam clips and edit them in the Precision Editor. You can nest multicam clips in compound clips and storylines. However, multicam clips do have some unique characteristics in the Timeline: • You can display the names of the active video angle and the active audio angle in the multicam clip in the Timeline. • Cut and switch edit points appear as dotted lines in the Timeline. These are through edits (in which the video or audio content on either side of the edit point is continuous). In the case of multicam editing, through edits indicate that the content on either side of the edit point comes from the same multicam clip. A black dotted line indicates that different angles from the same multicam clip are on either side of the edit point. Before the cut, the angle is “car left.” Standard edit point After the cut, the angle is “car right.” A through edit point appears at the playhead position.Chapter 11 Advanced editing 331 In the case of video-only or audio-only cuts and switches, the edit point can be mixed (with both black and white dotted lines). For example, when you cut and switch video only, you see a black dotted line for the video and a white dotted line for the audio. Black dotted lines indicate that different angles from the same multicam clip are on either side of the edit point. A white dotted line indicates that the same angle is on either side of the edit point. • When you move the pointer over a multicam through edit, the pointer changes to the Trim tool, indicating that the edit will be a roll edit (because any other type of edit breaks the relationship between the clips on either side of the cut and switch edit point in the Timeline). • Many edits (such as split edits, markers, connected clips, and retiming effects) remain in place on a multicam clip in the Timeline even after you switch the angle. But certain editing operations are associated directly with the specific angle and are not retained when you switch angles: • Video and audio effects • Keyframing (including audio volume and panning) • Role assignments Switch angles in the Timeline 1 In the Timeline, Control-click the multicam clip you want to switch. 2 Do one of the following: • To switch the video angle: Choose Active Video Angle from the shortcut menu, and choose the angle you want to switch to from the submenu. • To switch the audio angle: Choose Active Audio Angle from the shortcut menu, and choose the angle you want to switch to from the submenu. The clip switches to the video or audio angle you chose.Chapter 11 Advanced editing 332 Switch angles in the Inspector Switching angles in the Inspector allows you to switch angles for multiple selected multicam clips at once. 1 Select one or more multicam clips that you want to switch. 2 Open the Info inspector. 3 In the Info inspector, do one of the following: • To switch the video angle: In the Active Video Angle pop-up menu, choose the angle you want to switch to. • To switch the audio angle: In the Active Audio Angle pop-up menu, choose the angle you want to switch to. Display the names of the active video and audio angles in the Timeline You can have Final Cut Pro display the names of the active video angle and the active audio angle in the multicam clip in the Timeline, in the following format: V: video angle name | A: audio angle name. Active video angle Active audio angle m Click the Clip Appearance button in the lower-right corner of the Timeline and choose Clip Names or Angles from the Show pop-up menu. Multicam editing tips and tricks The following tips can help you streamline your multicam workflow: • Set the date, the time, and the time zone on your camcorder or recording device before you shoot footage for your multicam project. This provides useful information to Final Cut Pro during the automatic multicam clip creation process. Note: At any time, you can change the Content Created date and time of your source clips in the Event Browser. Just select one or more clips and choose Modify > Adjust Content Created Date and Time. • Because you can use the sophisticated automatic audio sync feature in Final Cut Pro to help ensure multicam synchronization accuracy, it makes sense to record audio on every camcorder and recording device in your multicam production. (Clear audio recordings provide the best results.) • Before you edit multicam clips in the Angle Editor, duplicate them in the Event Browser to maintain clean backup copies. • To double-check the synchronization of individual angles in a multicam clip, open the clip in the Angle Editor and turn on audio monitoring for two or more angles at a time. You will hear immediately if the angles are in sync or if you need to adjust them further.Chapter 11 Advanced editing 333 • If performance becomes an issue while you’re working on a multicam project, do any of the following: • Set Final Cut Pro to use proxy playback by selecting “Use proxy media” in Playback preferences. Proxy playback allows you to play back more angles at a time. To use proxy playback, you must have proxy versions of your media available, or you must create proxy versions. For more information about creating proxy versions, see Transcode media files on page 397. • Make sure that “Create optimized media for multicam clips” is selected in Playback preferences. For more information, see Playback preferences on page 419. This option transcodes video to the Apple ProRes 422 codec format, which provides better performance during multicam editing. This option is turned on by default. If the original camera format can be edited with good performance, you can deselect this checkbox. • Make sure that the hard disk holding your multicam source clips is fast enough to play back all of your media at once. You can check hard disk performance by choosing Final Cut Pro > Preferences and selecting “Warn when frames are dropped due to hard disk performance.” To find out if something else is causing playback issues, select “Warn when dropping frames during playback.” • You can use photos (from a still camera) in a multicam clip. If the date and time (Content Created) information matches the contents of the other angles, the photos are automatically adjusted in duration to “fill in” the angle.334 Keying Keying overview There are times when you need to combine two clips to create an image with bits of both. A common way to combine two clips is to use a keying process, where the video of the top, or foreground, clip is processed to eliminate either a color or luma value in areas of the video and then is combined with the bottom, or background, clip. For example, keying allows you to take a video clip of a person standing in front of a green background and replace that green with a street scene, making it appear as though that person is standing on the street. This type of keying is accomplished using one of two keyer effects in Final Cut Pro: • Keyer: This general purpose chroma-keying effect is optimized for blue- or green-screen keying but can key any range of color you choose. See Use chroma keys on page 334. • Luma Keyer: This is designed to generate mattes based on the image’s lightness—you choose to remove the white or black areas and whether or not the gray areas should be partially transparent. See Use luma keys on page 343. In addition to these keying effects, you may need to use a matte, a positioning effect, and color correction to ensure the foreground video looks natural when keyed over the background. For more information, see Finalize the key on page 348. Another way to combine two clips is for the foreground clip to have an alpha or matte channel that defines which parts of the foreground clip to keep and which to replace with the background clip. This is common when working with computer-generated logos or animated graphics. For more information, see Compositing overview on page 351. Use chroma keys A challenging part of creating a good chroma key is shooting the chroma key video, and in particular, using a good, well-lit background that provides a uniform color to remove. A wide variety of specialized chroma key background options are available, from chroma key paint that includes highly reflective additives to chroma key cloth or paper sheets. Additionally, it is important to use the best camera you can access and avoid using a highly compressed video format such as DV or MPEG-2. Keying and compositing 12Chapter 12 Keying and compositing 335 For the following examples, this woman will be keyed over a street scene. The light stands will be handled in Finalize the key on page 348. Apply the chroma key effect 1 In the Timeline, add the foreground clip (the chroma key clip with the color you want to remove) to the primary storyline. 2 Drag the background clip (the clip you want to superimpose the chroma key clip over) so that it is connected below the foreground clip in the primary storyline. Foreground Background attached as a connected clip For more information about connected clips, see Connect clips to add cutaway shots, titles, and synchronized sound effects on page 103. 3 Select the foreground clip in the Timeline, and click the Effects button in the toolbar. Tip: For best results, also position the playhead at a point within the foreground clip that shows the maximum amount of the color to be keyed. 4 In the Effects Browser, select the Keyer effect. Tip: Type “keyer” in the Effects Browser’s search field to quickly find the Keyer effect.Chapter 12 Keying and compositing 336 5 Do one of the following: • Drag the effect to the Timeline foreground clip to which you want to apply it. • Double-click the effect thumbnail to apply it to the selected clip. The Keyer effect automatically analyzes the video to detect a green or blue dominant color and configures itself to remove that color. If the resulting key is not right or you would like to improve it, you can adjust the chroma key effect. Adjust the chroma key effect The following steps assume you have applied the chroma key effect. 1 In the Timeline, select the foreground clip with the Keyer effect, and open the Video inspector. Controls for modifying and improving the Keyer effect appear. 2 If the Select tool is not the active tool, choose it from the Tools pop-up menu in the toolbar (or press A). 3 To improve the key using controls in the Viewer, use the Refine Key and Strength controls to do any of the following: • To identify areas of the foreground clip that might still have some of the chroma key color showing: Click the Sample Color thumbnail image in the Video inspector and draw a rectangle in the Viewer over the area where the chroma key color needs to be removed. Note: By default, the Keyer effect applies spill removal, which causes any leftover fringing of the blue- or green-screen background color you’re making transparent to appear as gray. To see the original color, set the Spill Level parameter to 0%. Drag over an area where the chroma key color is not being removed.Chapter 12 Keying and compositing 337 To improve the key, you can drag the rectangle to adjust its position or drag its corners to change its size, and you can drag additional rectangles over any areas with the chroma key color still showing. Tip: Select Matte (the center button) in the View area in the Video inspector to see the matte that the chroma keyer is creating. This can make it much easier to see areas that are not keying well. • To refine any difficult areas, such as hair and reflections: Click the Edges thumbnail image in the Video inspector, draw a line across the difficult area in the Viewer (with one end in the area to keep and the other in the area to remove), and drag the line’s handle to adjust the edge softness. Drag to set the edge softness. You can use the following keyboard shortcuts to work directly in the Viewer: • To make a Sample Color adjustment: Draw a rectangle while holding down the Shift key. • To make an Edges adjustment: Draw a line while holding down the Command key. • To delete a Sample Color or Edges adjustment: Click a Sample Color rectangle or Edges line while holding down the Option key, or select the control and press the Delete key. • To choose a different color if the Keyer effect chose the wrong color: Set the Strength parameter to 0 (to override the automatic initial color sampling). Then use Sample Color to choose the color to remove. Select Composite (the left button) in the View area to see the foreground clip combined with the background clip. • To adjust how strongly the Keyer matches a color in the foreground image to the default chroma key color: Use the Strength slider to adjust the tolerance (core transparency) of the Keyer effect’s automatic sampling. The default value is 100%. Reducing this value narrows the range of color sampled, resulting in less transparency in the keyed image. Increasing the Strength value expands the range of color sampled, resulting in more transparency in the keyed image. The Strength parameter is useful to retrieve areas of semitransparent detail such as hair, smoke, or reflections.Chapter 12 Keying and compositing 338 4 To help fine-tune the key, use the View options: Original (unprocessed foreground) Matte (foreground-based alpha signal created by the keyer) The name of the currently selected View button Composite (foreground combined with background) • Composite: Shows the final composited image, with the keyed foreground subject over the background clip. This is the default view. • Matte: Shows the grayscale matte, or alpha channel, that’s being generated by the keying operation. White areas are solid (the foreground video is opaque), black areas are transparent (the foreground is not seen at all), and varying shades of gray indicate varying levels of transparency (the background video can be seen mixed with the foreground video). Viewing the matte makes it easier to spot unwanted holes in the key or areas that aren’t transparent enough. • Original: Shows the original, unkeyed foreground image. 5 To further refine the matte, use the following controls: • Fill Holes: Increasing this parameter value adds solidity to regions of marginal transparency within a key. This control is useful when you’re satisfied with the edges of your key, but you have unwanted holes in the interior that you can’t eliminate via the Strength parameter without ruining your edges. • Edge Distance: Lets you adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter value brings the filled area of the matte closer to the edge of the subject, sacrificing translucency at the edges. Raising this parameter value pushes the filled area of the matte farther from the edge. Too much edge distance can result in unwanted translucency within parts of the subject that should be solid. 6 To suppress any of the background color that is appearing (spilling) on the foreground image, adjust the Spill Level control. 7 To reverse the keying operation, retaining the background color and removing the foreground image, select Invert. 8 To mix the keyed effect with the unkeyed effect, adjust the Mix control. For information about making advanced chroma key adjustments, see the following instructions.Chapter 12 Keying and compositing 339 Make advanced chroma key adjustments The following controls are available for use in difficult keying situations or for fine-tuning specific problems: • Color Selection: These controls are meant to be used after you begin creating a key using automatic sampling or the Sample Color and Edges tools. (However, you can skip those tools and create a key using Manual mode, described below.) The graphical Chroma and Luma controls provide a detailed way of refining the range of hue, saturation, and image lightness that define the keyed matte. • Matte Tools: These controls are for refining the transparency matte generated by the previous sets of parameters. These parameters don’t alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Keyer effect’s basic and advanced controls, letting you shrink, expand, soften, or invert the matte to achieve a better composite. • Light Wrap: These controls are for blending color and lightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. The following steps assume you have applied the chroma key effect. 1 In the Timeline, select the foreground clip with the Keyer effect, and open the Video inspector. Controls for modifying and improving the Keyer effect appear. 2 Click Color Selection to reveal the following controls: • Graph: Provides two options to set how the adjustable graphs in the Chroma and Luma controls are used to fine-tune a key: • Scrub Boxes: Select to limit the Chroma and Luma controls to adjusting softness (edge transparency) in the matte you are creating. In this mode, you cannot manually adjust tolerance (core transparency), which is determined by the Keyer effect’s automatic sampling, plus any Sample Color rectangles you’ve added in the Viewer. To increase matte tolerance, add more Sample Color rectangles or adjust the Strength slider.)Chapter 12 Keying and compositing 340 • Manual: Select to use the Chroma and Luma controls to adjust the softness (edge transparency) and tolerance (core transparency) in the matte you are creating. Make sure the Strength slider is set to a value greater than 0 before you switch to Manual mode; otherwise the Chroma and Luma controls are disabled. When you switch to Manual mode, the Refine Key tools and Strength slider become disabled, but samples you’ve made with those controls continue to contribute to the matte. Important: When you switch to Manual mode, it’s best not to switch back to Scrub Boxes mode. For best results, begin keying an image using the Sample Color and Edges tools in Scrub Boxes mode. Switch to Manual mode afterward if you feel it’s necessary to refine your matte using the Chroma and Luma controls. However, if you switch back to Scrub Boxes mode, you may experience unexpected combinations of additionally sampled and keyframed values that might be difficult to control. • Chroma: Drag the two graphs in this color wheel control to adjust the isolated range of hue and saturation that help define the keyed matte. The selected mode governs which graphs in the color wheel are adjustable. The outer graph controls the softness (edge transparency) of the matte you’re creating, and can be adjusted in either Scrub Boxes or Manual mode. The inner graph controls tolerance (core transparency), and is only adjustable when in Manual mode. Drag any side of either graph to expand or contract the graph’s border, which adds to or subtracts from the range of hue and saturation contributing to the key. In Manual mode, you can also drag inside the tolerance graph to adjust its overall position in the color wheel. To the left of the color wheel, a small graph displays the slope of chroma rolloff, the relative softness of matte edges in regions most affected by the Chroma control. Dragging the Chroma Rolloff slider (described below) modifies the shape of this slope. Tip: It’s possible to zoom in to and pan around the Chroma control to more precisely adjust the graphs. To zoom in to the Chroma control, move the pointer over the color wheel, and, holding down the Z key, drag to the left to zoom out or to the right to zoom in. To pan in the Chroma control, hold down the H key and drag in the color wheel in the direction you want to move it. To reset the zoom and recenter the Chroma control, move the pointer over the Chroma control and press Shift-Z. • Luma: Drag the adjustable handles in this grayscale gradient to modify the isolated range of the luma channel (the range of lightness and darkness) that also helps define the keyed matte. The upper handles (which appear only in Manual mode) adjust the tolerance (core transparency) of the luma channel’s contribution to the key. The lower handles adjust the softness (edge transparency) of the luma channel’s contribution to the key. The Graph mode governs which handles are adjustable. In Scrub Boxes mode, you can adjust only the lower softness handles, which modify the range of lightness and darkness affecting the edge transparency of the matte. In Manual mode, you can also adjust the upper tolerance handles, which modify core transparency within the luma channel of the matte. By default, the slope of the left and right sides of the Luma graph has a slight “S” curve. You can modify the shape of the curve by adjusting the Luma Rolloff slider (described below). Note: The luma softness handles may extend past the outer boundaries of the Luma control. This is due to the floating-point precision of the Keyer effect and is expected behavior. To reveal and move out-of-bounds handles, drag the slope line of the Luma graph. • Chroma Rolloff: Use this slider to adjust the linearity of the chroma rolloff slope (displayed in the small graph to the left of the Chroma control). Chroma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Chroma control. Lowering this value makes the slope of the graph more linear, which softens the edges of the matte. Raising this value makes the slope of the graph steeper, which sharpens the edges of the matte.Chapter 12 Keying and compositing 341 • Luma Rolloff: Use this slider to adjust the linearity of the luma rolloff slope (the ends of the bell-shaped luma curve displayed in the Luma control). Luma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Luma control. Lowering this value makes the slope between the upper and lower handles in the Luma control more linear, which increases edge softness in the matte. Raising this value makes the slope steeper, sharpening the edges of the matte and making them more abrupt. • Fix Video: Select this checkbox to apply subpixel smoothing to the chroma components of the image, reducing the jagged edges that result from keying compressed media using 4:2:0, 4:1:1, or 4:2:2 chroma subsampling. Although selected by default, this checkbox can be deselected if subpixel smoothing degrades the quality of your keys. 3 Click Matte Tools to reveal the following controls: • Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, while dragging the Bias handle left makes translucent regions of the key more solid. • Black, White, Bias: Click the disclosure triangle in the Levels row to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters (via the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue-screen or green-screen conditions. • Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. • Erode: Drag this slider right to gradually increase transparency from the edge of the solid portion of the key inward. 4 Click Spill Suppression to reveal the following controls:Chapter 12 Keying and compositing 342 • Spill Contrast: Use this grayscale gradient to adjust the contrast of the color being suppressed, using Black and White point handles (and corresponding sliders). Modifying spill contrast can reduce the gray fringing surrounding a foreground subject. The Black point handle (on the left side of the gradient control) lightens edge fringing that is too dark for a successful composite. The White point handle (on the right side of the gradient control) darkens edge fringing that is too light. Depending on how much spill is neutralized by the Spill Level slider, these controls may have a greater or lesser effect on the subject. • Black, White: Click the disclosure triangle in the Spill Contrast row to reveal sliders for the Black and White point parameters. These sliders, which mirror the settings of the Spill Contrast handles described above, allow you to keyframe the Black point and White point parameters (via the Add Keyframe button to the right of each slider). • Tint: Use this slider to restore the natural color of the keyed foreground subject. Because the Spill Suppression controls eliminate blue or green spill by desaturating subtle blue or green fringing and reflection on the subject, the Tint slider lets you add hues to restore the natural color of the subject. Overdoing this parameter results in over-tinting the subject with the complementary color of the hue being suppressed—magenta if green, and orange if blue. • Saturation: Use this slider to alter the range of hues introduced by the Tint slider (when the Tint slider is used at moderate levels). 5 Click Light Wrap to reveal the following controls: • Amount: Use this slider to control the overall light wrap effect, setting how far into the foreground the light wrap extends. • Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject. • Opacity: Use this slider to fade the light wrap effect up or down. • Mode: Use this pop-up menu to choose the compositing method that blends the sampled background values with the edges of the keyed subject. There are five modes: • Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. • Lighten: Compares overlapping pixels from the foreground and background layers, and then preserves the lighter of the two. Good for creating a selective light wrap effect. • Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. Good for creating an aggressive light wrap effect. • Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so overlapping dark portions become darker, light portions become lighter, and colors become intensified. • Hard Light: Similar to the Overlay composite mode, except that colors become muted.Chapter 12 Keying and compositing 343 Animate the chroma key effect To compensate for changing conditions in the foreground clip, you can make Sample Color and Edges adjustments at multiple points in the clip. The following steps assume you have applied the chroma key effect. 1 Place the Timeline’s playhead at the start of the clip. 2 Use Sample Color and Edges (described above) to create a good chroma key. 3 Move the Timeline’s playhead to a point later in the clip where the lighting or background conditions change, resulting in the chroma key no longer being acceptable. 4 Use Sample Color and Edges to once again create a good chroma key. 5 To add additional adjustments at other playhead positions, repeat steps 3 and 4 as needed. 6 To move the playhead between each adjustment point you add, use the Jump to Sample arrows. When you play the clip, the Sample Color and Edges settings smoothly change from one sample point to the next. For even greater control, you can add keyframes for most of the other settings in the Keyer section of the Video inspector. For more information about working with keyframes, see Video animation overview on page 247. Note: Keyframes for the chroma and luma graphs in the Color Selection controls appear only in the Video inspector and not the Video Animation Editor in the Timeline. Use luma keys Luma keys provide a way to composite a foreground clip over a background clip based on the luminance levels in the video. This is most often useful for still images, such as a picture of a logo over a black background, or computer-generated graphics. For the following examples, this speedometer image will be keyed over an outdoor car scene, creating a reflected look.Chapter 12 Keying and compositing 344 Apply the luma key effect 1 In the Timeline, move the playhead to the point in the background clip (the clip you want to superimpose the luma key clip over) where you want the key to start. 2 In the Event Browser, select the part of the foreground clip (the luma key clip with the black or white you want to remove) you want to key over the background, and choose Edit > Connect to Primary Storyline (or press Q). Foreground clip Background clip For details about connecting clips in this way, see Connect clips to add cutaway shots, titles, and synchronized sound effects on page 103. 3 Select the foreground clip in the Timeline and click the Effects button in the toolbar. 4 In the Effects Browser, select the Luma Keyer effect. Tip: Type “keyer” in the Effects Browser’s search field to quickly find the Luma Keyer effect. 5 Do one of the following: • Drag the effect to the Timeline foreground clip to which you want to apply it. • Double-click the effect thumbnail to apply it to the selected clip. The Luma Keyer effect automatically configures itself to remove black video. If the resulting key is not right or you would like to improve it, you can adjust the luma key effect.Chapter 12 Keying and compositing 345 Adjust the luma key effect The following steps assume you have applied the Luma Keyer effect. 1 In the Timeline, select the clip with the Luma Keyer effect. 2 Open the Video inspector. The Effects section of the Video inspector shows the parameters available for adjusting the Luma Keyer effect. 3 To reverse the key and remove white instead of black areas of the foreground clip, select Invert. 4 To adjust the white and black clip values, drag the handles at either end of the gradient thumbnail image. By default, these handles are set to provide a linear key where the luma level linearly controls the transparency of the foreground—100% white is fully opaque, 0% black is completely transparent, and 25% gray retains 25% of the foreground image. Dragging the white and black controls changes the values that result in fully opaque or fully transparent foreground video. 5 To adjust the softness of the edges, adjust the Luma Rolloff control. Higher values make the edges harder, removing any partial transparency, while lower values take advantage of any anti-aliasing or softness the edges might have. 6 To help fine-tune the key, use the View options: Original (unprocessed foreground) Matte (foreground-based alpha signal created by the keyer) Composite (foreground combined with background) The name of the currently selected View button • Composite: Shows the final composited image, with the keyed foreground subject over the background clip. This is the default view. • Matte: Shows the grayscale matte, or alpha channel, that’s being generated by the keying operation. White areas are solid, black areas are transparent, and varying shades of gray indicate varying levels of transparency. Viewing the alpha channel makes it easier to spot unwanted holes in the key or areas that aren’t transparent enough. • Original: Shows the original, unkeyed image.Chapter 12 Keying and compositing 346 7 To leave smoothly aliased text or graphics in the image visually intact, which can improve the edges, select Preserve RGB. 8 To mix the keyed effect with the unkeyed effect, adjust the Mix control. For information about making advanced luma key adjustments, see the following instructions. Make advanced luma key adjustments The following controls are available for use in difficult keying situations or for fine-tuning specific problems: • Matte Tools: These controls are for refining the transparency matte generated by the previous sets of parameters. These parameters don’t alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Keyer effect’s basic and advanced controls, letting you shrink, expand, soften, or invert the matte to achieve a better composite. • Light Wrap: These controls are for blending color and lightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. The following steps assume you have applied the luma key effect. 1 In the Timeline, select the clip with the Luma Keyer effect. 2 Open the Video inspector. The Effects section of the Video inspector shows the parameters available for adjusting the Luma Keyer effect. 3 Click Matte Tools to reveal the following controls:Chapter 12 Keying and compositing 347 • Fill Holes: Increasing this parameter value adds solidity to regions of marginal transparency within a key. This control is useful when you’re satisfied with the edges of your key, but you have unwanted holes in the interior that you can’t eliminate via the Luma Rolloff parameter without ruining your edges. • Edge Distance: Lets you adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter value brings the filled area of the matte closer to the edge of the subject, sacrificing translucency at the edges. Raising this parameter value pushes the filled area of the matte farther from the edge, potentially introducing regions of unwanted translucency within parts of the subject that should be solid. • Levels: Use this grayscale gradient to alter the contrast of the keyed matte, by dragging three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, while dragging the Bias handle left makes translucent regions of the key more solid. • Black, White, Bias: Click the disclosure triangle in the Levels row to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe the three Levels parameters (via the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue-screen or green-screen conditions. • Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount. • Erode: Drag this slider right to gradually increase transparency from the edge of the solid portion of the key inward. 4 Click Light Wrap to reveal the following controls: • Amount: Use this slider to control the overall light wrap effect, setting how far into the foreground the light wrap extends. • Intensity: Use this slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject. • Opacity: Use this slider to fade the light wrap effect up or down. • Mode: Use this pop-up menu to choose the compositing method that blends the sampled background values with the edges of the keyed subject. There are five modes: • Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer. • Lighten: Compares overlapping pixels from the foreground and background layers, and then preserves the lighter of the two. Good for creating a selective light wrap effect.Chapter 12 Keying and compositing 348 • Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. Good for creating an aggressive light wrap effect. • Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so overlapping dark portions become darker, light portions become lighter, and colors become intensified. • Hard Light: Similar to the Overlay composite mode, except that colors become muted. Finalize the key Quite often your foreground image will have objects that you don’t want to appear in the composited output. These could be production items like microphone booms and light stands or the edges of the chroma key backdrop. Additionally, you might need to resize or reposition the foreground object to better fit with the background. As a final step, you can use the color corrector to adjust the foreground so that it matches the look of the background. Final Cut Pro includes effects that you can use for these purposes. Use the Mask effect 1 In the Timeline, move the playhead to the point in the background clip (the clip you want to superimpose the chroma key clip over) where you want the key to start. 2 In the Event Browser, select the part of the foreground clip (the chroma key clip with the color you want to remove) you want to key over the background, and choose Edit > Connect to Primary Storyline (or press Q). Foreground Background attached as a connected clip For details about connecting clips in this way, see Connect clips to add cutaway shots, titles, and synchronized sound effects on page 103.Chapter 12 Keying and compositing 349 3 Select the foreground clip. In the above example, the light stands need to be removed. 4 Click the Effects button in the toolbar. 5 In the Effects Browser, double-click the Mask effect to apply it to the selected foreground clip. Tip: Type “mask” in the Effects Browser’s search field to quickly find the mask effect.Chapter 12 Keying and compositing 350 6 Adjust the four corners of the mask to crop out the objects you want to remove, in this case, the light stands. When adjusting the mask, be sure to leave shadows and other details that can help make the key more realistic later. 7 Apply the appropriate keyer effect to the foreground clip. The foreground is composited over the background.Chapter 12 Keying and compositing 351 Use Transform to position the foreground image The following steps assume you have already configured a key but need to reposition the foreground image. 1 Select the foreground clip in the Timeline. 2 In the lower-left corner of the Viewer, choose Transform from the pop-up menu and move the image to the position you want. In the above example, you might want to move the woman to the left. You can also resize the image. 3 Click Done in the Viewer when you are finished repositioning the foreground image. Compositing Compositing overview Compositing refers to combining parts of two or more video clips into a single image. There are a number of ways to combine video images in Final Cut Pro: • Transitions: All video transitions involve combining the end of one clip with the start of a second clip, which results in a combination of the two clips appearing at the same time during the transition. • Keying: All keys involve compositing a foreground image over a background image.Chapter 12 Keying and compositing 352 • Alpha channels: Many computer-generated video clips have an alpha channel—a built-in mask—that defines precisely the areas of the clip that are composited over a background clip. These require no key setup and generally just automatically work. Many effects, such as Transform and Distort; generators, such as Shapes and Timecode; and titles use alpha channels. • Compositing: Each video clip in the Timeline has a set of Compositing settings. These are used when you want to combine clips without using the key effects. Use alpha channels Alpha channels provide an easy way to composite one image over another. Using an application like Motion, an Apple application designed to work with Final Cut Pro, you can create still images and video clips that have alpha channels. Alpha channels can be thought of as having a built-in keyer—when you use the key effects you are creating a mask that is used in the same way a clip with an alpha channel is used for compositing. Below is an example of a clip with an alpha channel, showing the image that fills the alpha channel. Below is the alpha channel image—the white areas define the video areas that are composited over the background. The gray areas (which define the shadow in this example) define parts of the image that are partially transparent.Chapter 12 Keying and compositing 353 This is what the final composite looks like over a background clip. Use a clip with an alpha channel 1 Position the playhead in the Timeline where you want to add the alpha channel clip. 2 Select the clip that has an alpha channel in the Event Browser, and choose Edit > Connect to Primary Storyline (or press Q). 3 To see the composited clips, position the playhead within the clip that was just added above the primary storyline. Connected clip (composite foreground) Primary storyline clip (composite background) The clip is composited over the primary storyline video clip, with the alpha channel controlling the opacity of its clip. You can also use the Opacity adjustment’s fade handles to dissolve the foreground clip on and off.Chapter 12 Keying and compositing 354 Use Compositing settings The Compositing settings provide a wide variety of options for combining two images. You can make a simple adjustment to evenly combine two images, or you can choose from settings that use the video content to determine how to combine the images. Use the Opacity adjustment 1 Position the playhead in the Timeline where you want to add a clip above the primary storyline. 2 Select the clip to add in the Event Browser, and choose Edit > Connect to Primary Storyline (or press Q). 3 To see the composited clips, position the playhead within the clip that was just added. By default, the new clip completely obscures the clip on the primary storyline. 4 To make the new clip partially transparent, select it in the Timeline and adjust the Opacity control in the Compositing section of the Video inspector. The closer you set Opacity to 0 percent, the more transparent the clip above the primary storyline becomes. Additionally, you can use the Opacity fade handles in the Video Animation Editor to have the composited clip dissolve on and off, or add keyframes to have the opacity value change at specified points. Choose a blend mode 1 Position the playhead in the Timeline to where you want to add a clip above the primary storyline. 2 Select the clip to add in the Event Browser, and choose Edit > Connect to Primary Storyline (or press Q). 3 To see the composited clips, position the playhead within the clip that was just added. By default, the new clip completely obscures the clip on the primary storyline. 4 Choose an option from the Blend Mode pop-up menu in the Compositing section of the Video inspector. There are many blend mode settings to choose from—the correct one to use depends on the video content and the sort of look you are aiming for. Additionally, you can adjust the Opacity control to make the blend mode setting more subtle.355 Color correction overview In any post-production workflow, color correction is generally one of the last steps in finishing an edited program. There are a number of reasons to color correct your footage: • Make sure that key elements in your program, such as flesh tones, look the way they should • Balance all the shots in a scene to match • Correct errors in color balance and exposure • Achieve a look, such as making the scenes warmer or cooler • Create contrast or special effects by manipulating the colors and exposure Final Cut Pro color correction tools give you precise control over the look of every clip in your project, including still images, by letting you adjust each clip’s color balance, shadow levels, midtone levels, and highlight levels. Final Cut Pro also includes several automatic tools you can use to quickly balance and match the color in clips. In Final Cut Pro, you can: • Automatically balance colors: With one click, neutralize any color casts and maximize image contrast. See Color balance overview on page 356. • Automatically match a clip’s color and look: With two clicks, make one or more clips match the color look of any clip that you choose. See Match color between clips automatically on page 358. • Manually adjust color, saturation, and exposure: Manually correct a clip’s overall color, or use color or shape masks to limit a correction to a particular color range or area in the image. You can even add multiple manual color corrections to one clip. See Manual color correction overview on page 359. • Save color correction settings and apply them to other clips: Save a clip’s color correction settings and apply them to other clips in the project or in other projects. See Save and apply color correction presets on page 368. Although these features are independent of one another—you can turn any of the features off and on to see its effect—the order in which you use them matters. In general, you should use these features in the order of Balance Color, Match Color, and (if necessary) manual color correction. Final Cut Pro also includes several video scopes you can use when manually color correcting your video. The scopes make it possible to precisely monitor the luma and chroma levels of your video clips. Color correction 13Chapter 13 Color correction 356 Analyze and balance color automatically Color balance overview Final Cut Pro includes an automatic color-balancing feature. When you use the color-balancing feature, Final Cut Pro samples the darkest and lightest areas of the image’s luma channel and adjusts the shadows and highlights in the image to neutralize any color casts. In addition, Final Cut Pro adjusts the image to maximize image contrast, so that the shot occupies the widest available luma range. The video frame used as the reference frame depends on whether the clip has already been color analyzed: • If the clip has been color analyzed, either during import or while in the Event Browser: The analysis process extracts color balance information for the entire clip. Whether you add a portion of the clip or the entire clip to a project, the color-balancing feature chooses the frame within the project clip that is closest to being correctly balanced. This means that if you add multiple partial clips from the same Event Browser clip to the project, each clip is balanced based on analysis information for its own section of media. • If the clip has not been color analyzed and you balance its color: You can determine the reference frame for a clip selected in the Timeline by moving the playhead to that frame in the clip. If the playhead is on a different clip or you’ve selected a clip in the Event Browser, the clip’s middle frame is used. Analyze a clip for color balance To automatically balance a clip’s color, Final Cut Pro uses a single frame from the clip as a reference and calculates a correction for it that is then applied to the entire clip. Analyzing a clip for color balance allows Final Cut Pro to choose a representative frame as the clip’s color balance reference frame. You can have a clip’s color balance analyzed when you import it, whether importing from a camera, importing a file, or dragging a clip directly to the Timeline from a Finder window. You can also analyze a clip’s color balance at any time in the Event Browser. Analyzing a clip for color balance can take from a few seconds for shorter clips to a minute or more for longer clips. The analysis process takes longer if you also analyze for people and stabilization issues. After a clip has been analyzed for color balance, you can turn the color balance correction on or off at any time. By default, color balance correction is off for clips in the Event Browser and on for clips in the Timeline, if they have been analyzed. For information about turning the color balance correction on and off, in either the Event Browser or the Timeline, see Balance a clip’s colors on page 357. Analyze color balance during file import 1 Choose File > Import Media (or press Command-I). 2 Select the files to import, and select “Analyze for balance color” in the Video section of the window. 3 Click Import. The files are imported and analyzed for color balance issues.Chapter 13 Color correction 357 Analyze color balance for clips dragged to the Timeline from the Finder 1 Choose Final Cut Pro > Preferences, or press Command-Comma (,). 2 In the Final Cut Pro Preferences window, click the Import button and select “Analyze for balance color” in the Video section. All clips that you drag directly to the Timeline from the Finder are now analyzed. Note: When you change this setting in the Preferences window, the setting is also changed in all other windows with an “Analyze for balance color” option. Analyze color balance for clips in the Event Browser When you analyze the color balance of clips in the Event Browser, any clips that were analyzed during import are skipped. 1 Select one or more clips in the Event Browser. 2 Do one of the following: • Choose Modify > Analyze and Fix. • Control-click one of the selected clips and choose Analyze and Fix from the shortcut menu. 3 In the window that appears, select “Analyze for balance color” in the Video section and click OK. Balance a clip’s colors Clips in Final Cut Pro have a Balance setting that turns automatic color balance correction on and off, whether the clip is in the Event Browser or the Timeline. The frame used as the reference frame is either a frame chosen during color balance analysis, the frame the playhead is on in the Timeline, or the middle frame. For more information, see Color balance overview on page 356. Turn a clip’s color balance correction on and off 1 Select one or more clips in the Timeline or the Event Browser. 2 Do one of the following: • Choose Modify > Balance Color (or press Command-Option-B). • Choose Balance Color from the Enhancements pop-up menu in the toolbar. • In the Color section of the Video inspector, select or deselect the Balance checkbox. Click to turn Balance on or off. Balance analysis statusChapter 13 Color correction 358 Match color between clips automatically Your project likely uses video from a wide variety of sources. The Match Color feature makes it easy to ensure that all scenes that take place in the same location have the same look. Match color between clips 1 Select one or more clips in the Timeline that you want to adjust. 2 Do one of the following: • Choose Modify > Match Color (or press Command-Option-M). • Choose Match Color from the Enhancements pop-up menu in the toolbar. • In the Color section of the Video inspector, click the Choose button next to Match Color. The Viewer changes to display the Timeline playhead’s frame on the right and the frame the pointer is over on the left. The clip that the pointer is over is the color match source. Click to preview the color match. The selected Timeline clip is the color match target. 3 Skim any clip in the Timeline or the Event Browser to find a frame with the color look you want to match, and click to preview that look applied to the selected clip. You can click a variety of clips until you find the look you want. Tip: You may want to import a still image that has the look you want, even if it’s not related to your project, so that you can match its color look. 4 To accept the current look, click Apply Match in the Match Color window. The Viewer returns to its normal configuration, and the selected Timeline clips change to the new look.Chapter 13 Color correction 359 Turn match color corrections on or off You can turn off the color match corrections that have been applied to a clip. This is useful for viewing the difference between the original clip and the corrected clip. 1 In the Timeline, select a clip with match color corrections applied. 2 Click the Color Match checkbox in the Color section of the Video inspector. Adjust color manually Manual color correction overview Final Cut Pro includes a powerful manual color correction tool that you can use to accomplish a wide variety of color correction or enhancement effects: • Apply a color correction to the whole image: Adjust the color tint, color saturation, and exposure for the whole clip image. See Color correct the whole image on page 359. • Choose a specific color in the image to correct: For example, choose a brightly colored object, such as a shirt or car, and use the color correction settings to mute or change the color. See Target a specific color using a color mask on page 361. • Choose an area of the image to correct: Draw one or more shape masks, and then choose whether the correction applies inside or outside the masks. You can even have the position of the masks change as the clip plays. See Target specific areas using shape masks on page 363. You can also apply multiple color corrections to a single clip and use shape masks in combination with a color mask. For example, you could use one correction to set the clip’s overall color look, a second to target and alter a specific color, and a third to target a different color or an area defined by a shape mask. See Apply multiple color corrections on page 367 and Add shape masks to a color mask on page 366. You make manual color adjustments using the Color Board. Color correct the whole image You use the Color Board to manually adjust a clip’s color, saturation, and exposure. Manually color correct the whole clip image 1 Select a clip in the Timeline, and do one of the following: • Choose Window > Go To > Color Board (or press Command-6). • Choose Show Color Board from the Enhancements pop-up menu in the toolbar. • Click the Color Board button in the Color section of the Video inspector. (After you make any Color Board adjustments, the button changes color.)Chapter 13 Color correction 360 • Click the upper-left corner of a clip in the Timeline and choose Color Adjustment from the pop-up menu. Click to return to the Video inspector. Click the Reset button to remove the adjustments in this pane. Choose the correction to work with. Drag the controls to change the values. Use value sliders to change the values. Use the Action pop-up menu to create or choose a color correction preset. 2 If the clip has multiple corrections applied to it, choose the correction to adjust from the Correction pop-up menu in the Color Board’s upper-right corner. 3 To add or remove a color tint, click Color (or press Command-Control-C), and drag the controls in the Color pane. • To adjust the tint for the whole image: Drag the Global control (the large gray control). • To adjust the tint in the darker areas of the image: Drag the Shadows control (the black control). • To adjust the tint in the midtones: Drag the Midtones control (the small gray control). • To adjust the tint in the brighter areas of the image: Drag the Highlights control (the white control). Dragging the controls up adds the color to the video, and dragging them down subtracts the color (effectively adding the opposite color). Dragging the controls left and right chooses the color to add or subtract. You can also select the control and enter values numerically using the corresponding value slider. Tip: To move the selected Color Board control up or down, press the Up Arrow or Down Arrow key. In the Color pane, you can also use the Left Arrow or Right Arrow key to move the selected control left or right. 4 To adjust the clip’s chroma level, click Saturation (or press Command-Control-S), and drag the controls in the Saturation pane. • To adjust saturation for the whole image: Drag the Global control on the left. • To adjust saturation in the darker areas of the image: Drag the Shadows control. • To adjust saturation in the midtones: Drag the Midtones control. • To adjust saturation in the brighter areas of the image: Drag the Highlights control. Dragging the controls up increases the chroma level, and dragging them down reduces the level. These controls do not move left and right. You can also select the control and enter values numerically using the corresponding value slider. Chapter 13 Color correction 361 5 To adjust the clip’s luma level, click Exposure (or press Command-Control-E), and drag the controls in the Exposure pane. • To adjust exposure for the whole image: Drag the Global control on the left. • To adjust exposure in the darker areas of the image: Drag the Shadows control. • To adjust exposure in the midtones (similar to a gamma control): Drag the Midtones control. • To adjust exposure in the brighter areas of the image: Drag the Highlights control. Dragging the controls up increases the luma level, and dragging them down reduces the level. These controls do not move left and right. You can also select the control and enter values numerically using the corresponding value slider. You can use the Command Editor to assign a keyboard shortcut to turn color corrections on and off while making adjustments in the Color Board, and to assign keyboard shortcuts to many other Color Board functions. For more information, see View keyboard shortcuts in the Command Editor on page 452. Reset and turn off Color Board color corrections 1 In the Timeline, select a clip whose color corrections you want to remove. 2 In the Color Board, do any of the following: • To reset the currently selected control to its neutral state: Press Delete. • To reset all of a pane’s controls to their neutral state: Click the Reset button in the pane’s upper-right corner. • To reset all three Color Board panes back to their neutral state: In the Color section of the Video inspector, click the Reset button to the right of the Correction setting. Click here to turn the correction on or off. Color Board Reset button • To turn Color Board corrections off without resetting them: In the Color section of the Video inspector, deselect the checkbox for the correction. Turning the corrections off and on makes it easy to quickly see the effect of your adjustments. Target a specific color using a color mask A color mask isolates a particular color in the image. You can apply a color mask to a clip to correct a specific color, or to exclude that color from corrections to the rest of the image, or both. For example, you could mute a brightly colored shirt in the background that distracts attention from a clip’s main subject. Using a color mask to control the color correction allows you to pick a color and then independently adjust that color (reduce, enhance, or change it) or adjust everything except that color (for example, add a tint or reduce the brightness or chroma levels).Chapter 13 Color correction 362 Add a color mask to a color correction 1 In the Timeline, select a clip with a color that you want to mute or enhance. 2 Click the Add Color Mask button in the Color section of the Video inspector. Click here to add a color mask. The Color Mask section appears. Selected mask color When the button is highlighted, use the eyedropper to select the mask color in the Viewer. Sets edge softness 3 In the Viewer, position the eyedropper on a color in the image that you want to isolate, and drag to select the color. Drag to select the color to mask. As you drag, two concentric circles appear. The size of the outer circle determines the range of variations in the selected color that are included in the color mask. As you change the outer circle size, the image becomes monochrome except for the color you are selecting. You can drag a new selection circle as many times as you like to try for better results. Note: When you stop dragging, the picture returns to its original look, but you’ll see the effects of the color mask you have created as soon as you start making adjustments in the Color Board. You can then return to the Video inspector and use the eyedropper to make any adjustments to the color mask. 4 To change the range of color variations included in the mask, do either of the following: • To add color shades: Hold down the Shift key, position the eyedropper on a color you want to add to the mask, and drag to select the color. • To subtract color shades: Hold down the Option key, position the eyedropper on a color you want to remove from the mask, and drag to select the color. 5 To adjust the color mask edges, drag the Softness slider. To have the Viewer temporarily show the color mask, hold down the Option key and then drag the Softness control: white indicates fully opaque mask areas, black indicates areas outside the mask, and levels of gray indicate transparent mask areas.Chapter 13 Color correction 363 6 To adjust the color correction settings for this color mask, click the Color Board button in the Video inspector. (After you make any Color Board adjustments, the button color changes.) 7 Do one of the following: • To apply a color correction to the selected color: Click Inside Mask. • To apply a color correction to everything except the selected color: Click Outside Mask. You can make corrections to both the inside and outside areas of the mask—each area effectively has its own complete set of Color Board controls. For example, you could select Inside Mask and enhance the targeted color, and then select Outside Mask to darken everything else. 8 Adjust the Color Board controls to create the effect you want. For more information about working with the Color Board, see Color correct the whole image on page 359. To limit the area of the image affected by a color mask, you can add a shape mask. For more information, see Add shape masks to a color mask on page 366. Target specific areas using shape masks A shape mask defines an area in the image so that you can apply color corrections either inside or outside that area. For example, you might want to emphasize a subject’s face by darkening the area around the face. You can add multiple shape masks to define multiple areas, and you can also animate the shapes so that they follow an area while a camera pans or an object moves as the clip plays. Add a shape mask 1 In the Timeline, select a clip with an area whose color you want to mute or enhance. 2 Click the Add Shape Mask button in the Color section of the Video inspector. Click here to add a shape mask. A Shape Mask area appears. Click here to show or hide the shape mask onscreen controls.Chapter 13 Color correction 364 3 To adjust the default shape that appears in the Viewer, do any of the following: Drag this handle to make the shape rectangular. Drag the outer edge to control the softness. Drag any of these handles to change the shape’s width or height. Drag the center circle to move the shape. Drag this handle to rotate the shape. • To position the shape: Drag the center. • To adjust the shape’s width or height: Drag any of the four handles at the 90-degree points (top, bottom, left, or right) of the inner circle. You can hold down the Shift key while dragging to force all sides to scale proportionally. • To control the roundness of the shape: Drag the handle to the left of the inner circle’s top handle. • To rotate the shape: Drag the rotation handle (extending from the center). • To control the softness of the shape’s edge: Drag the outer circle. Setting the outer circle close to the inner circle creates a hard edge and an abrupt transition to the corrections you apply, and dragging the outer circle away from the inner circle creates a softer edge and a more gradual transition. • To hide the mask’s controls: Click the Shape Mask onscreen controls button in the Shape Mask area of the Color section of the Video inspector. 4 To adjust the color correction settings for this shape mask, click the Color Board button in the Video inspector. (After you make any Color Board adjustments, the button color changes.) 5 Do one of the following: • To apply a color correction to the shape area: Click Inside Mask. • To apply a color correction to everything except the shape area: Click Outside Mask. You can make corrections to both the inside and outside areas of the mask—each area effectively has its own complete set of Color Board controls. For example, you could select Inside Mask and enhance the shape’s area, and then select Outside Mask to darken everything else. 6 Adjust the Color Board controls to create the effect you want. For more information about working with the Color Board, see Color correct the whole image on page 359. 7 To add additional shapes to the correction, click the Add Shape Mask button in the color correction’s area in the Video inspector again. Another default shape appears in the Viewer, and the original shape is dimmed. You can select and continue configuring the original shape by clicking its center.Chapter 13 Color correction 365 Delete a shape mask 1 In the Video inspector, select the Shape Mask item you want to delete. Select a Shape Mask item and press Delete. 2 Press Delete. Note: If you delete all shape masks in the correction, the Inside Mask corrections are applied to the whole image. Animate a shape mask You can use keyframes to animate a shape mask so that it follows the movement of an onscreen object. 1 To add a shape mask, follow the instructions in “Add a shape mask,” above. 2 In the Timeline, position the playhead on the clip with the shape mask at the frame where you want the shape to begin moving. 3 Position the shape mask to its starting position in the Viewer. 4 In the Video inspector, click the Keyframe button. Click here to add a keyframe. A keyframe is added at the position of the playhead. You can see it in the Timeline by pressing Control-V to open the Video Animation Editor. The keyframe appears in the Color section as a diamond at the playhead position. Keyframe indicatorChapter 13 Color correction 366 5 Move the playhead to the next point in the clip where you want to define the shape mask’s position, reposition the shape mask, and add the second keyframe. 6 To reposition the shape mask throughout the clip, continue adding keyframes until you’ve defined the shape movement you want. When you’ve added all the keyframes, you can play the clip to see the shape mask move between them. For more information about working with keyframes, see Video animation overview on page 247. Add shape masks to a color mask Often when you create a color mask, more areas of the video are affected by it than you would like. For example, there might be a red car on the left side of the screen that you want to color correct, and a red stop sign on the right that you don’t want to affect. In this situation, you can add one or more shape masks to restrict the color mask to the areas defined by the shape masks. Add a shape mask to a color mask 1 Select a clip in the Timeline, and use the Video inspector to add a color mask to it. 2 Apply a color correction using the Color Board, and note areas of the video that you don’t want the color mask to affect. For more information about working with the Color Board, see Color correct the whole image on page 359. 3 In the Video inspector, click the Add Shape Mask button in the correction that has the color mask. Click here to add a shape mask to the correction. 4 Adjust the shape mask so that it overlaps the part of the color mask you want to use. 5 To adjust the color correction settings, click the Color Board button in the Video inspector. (After you make any Color Board adjustments, the button color changes.) 6 Do either of the following: • To make color correction adjustments that apply only to the areas of overlap between the color mask and shape mask: Select Inside Mask, at the bottom of the Color Board. • To make color correction adjustments that apply outside the areas of overlap between the color mask and shape mask: Select Outside Mask. If necessary, you can add additional shape masks, and even animate them.Chapter 13 Color correction 367 Apply multiple color corrections You can apply multiple color corrections to a clip to target specific issues. For example, you could have one color correction that mutes a bright orange shirt and a second one that enhances the green in the lawn. Color masks are created based on the original colors in the clip. For example, if the first color correction removes all chroma from the clip, the second color correction can still create a color mask based on a color originally in the clip. Apply multiple color corrections to a clip 1 Select a clip in the Timeline. 2 To add an additional color correction item, click the Add Correction button in the Video inspector. Click here to add a correction. By default, the Color section contains the first manual color correction item (Correction 1) along with the Balance and Match Color items. Color correction items that you add are named Correction 2, Correction 3, and so on. Each correction item has its own Color Board button— clicking one of these opens the Color Board with that correction’s settings. You can also choose a correction in the Color Board using the pop-up menu in the upper-right corner. Note: If you have applied multiple corrections to a clip, you can drag them in the Video inspector to change their order. Rearranging the processing order can provide different results. View color correction keyframes in the Timeline If a clip has multiple corrections with animated shape masks, you can view a correction’s shape mask keyframes in the Video Animation Editor above the clip in the Timeline. 1 In the Timeline, select a clip that has multiple color corrections with animated shape masks applied. 2 Choose Clip > Show Video Animation (or press Control-V). 3 Choose the color correction you want to view from the Color pop-up menu: • To see a composite of keyframes from all corrections: Choose the correction, and if it contains multiple shape masks, choose the one you want to see. • To see keyframes from a specific shape mask in a correction: Choose the correction, and if it contains multiple shape masks, choose the one you want to see. When you choose a specific correction, such as Correction 2, you see its keyframes in white and the keyframes of other corrections in dark gray.Chapter 13 Color correction 368 Add a transition between color corrections You can have a video clip change from one color correction to another using a transition. For example, if you want a scene to gradually highlight the two main characters, you can use a transition to dissolve between the normal clip and the clip with shape masks and a color correction applied that darkens the image outside of the masks. Important: Make sure that Available Media is chosen from the “Apply transitions using” pop-up menu in the Editing pane of Final Cut Pro preferences. For more information about this setting, see How transitions are created on page 205. Configure a clip to change transitions 1 Temporarily switch to the Blade tool by holding down the B key. 2 In the Timeline, click a video clip at the point where you want to change between color corrections. The clip splits into two clips. 3 Apply a different color correction to each clip. You can also leave one clip uncorrected and apply a color correction to the other. The color correction could be an exaggerated tint, an exposure change, or any other noticeable adjustment. 4 Select the edit point between the two clips, and press Command-T to insert a cross dissolve. When you play the clip, one color correction dissolves into the other as the edit point is passed. Save and apply color correction presets With Final Cut Pro, you can save a clip’s color correction settings as a preset, making it easy to apply those settings to other clips in the same project or a different project. Final Cut Pro includes several presets you can use in addition to any that you create. Note: Color correction presets save the current Color, Saturation, and Exposure settings only. They do not save the mask settings, including whether you have Inside Mask or Outside Mask selected. Save a color correction preset 1 In the Timeline, select a clip that has the color correction look you want to save, and open the Color Board. 2 Choose Save Preset from the Action pop-up menu in the lower-right corner of the Color Board. 3 Type a name for the preset and click OK. Apply a color correction preset 1 Select a clip in the Timeline, and open the Color Board. 2 Choose a preset from the Action pop-up menu in the lower-right corner of the Color Board. The preset’s adjustments are applied to the selection. After the preset has been applied, you can modify the settings using the Color Board.Chapter 13 Color correction 369 Turn iMovie adjustments on or off When editing a project in iMovie, you can adjust several video attributes, such as exposure, brightness, and saturation, in the Project Browser. If you import an iMovie project that has these adjustments into Final Cut Pro, the adjustments are retained and appear in the Color area of the Video inspector as an iMovie item. Although you cannot modify the adjustments added in iMovie, you can choose whether they are applied to the clip or not. Note: Video adjustments you make to clips in the iMovie Event Browser are not retained and do not appear in Final Cut Pro. Turn a clip’s iMovie adjustments on or off m In the Timeline, select a clip with iMovie adjustments applied, and select or deselect the iMovie checkbox in the Color area of the Video inspector. Click here to turn the iMovie adjustments on or off. Note: The iMovie adjustments appear only in the Timeline, not in the Event Browser. For more information about importing iMovie projects, see Import from iMovie on page 32. Turn ARRI Log C processing on or off Log C is a recording option on the ARRI Alexa camera that enables a greater dynamic range to be captured in the Apple ProRes file. By default, Final Cut Pro properly displays Apple ProRes media captured with this recording option and imported with Final Cut Pro X 10.0.8 or later. If Log C media was imported into an earlier version of Final Cut Pro X, Log C processing is disabled by default for that media. Turn a clip’s ARRI Log C processing on or off 1 Select a clip recorded with the ARRI Alexa camera Log C option. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. 3 In the Info inspector, choose Settings View from the Metadata View pop-up menu. 4 To turn Log C processing on or off, select or deselect the Log Processing checkbox.Chapter 13 Color correction 370 Measure video levels Video scopes overview Broadcast facilities have limits on the maximum values of luma and chroma that are allowable for broadcast. If a video program exceeds these limits, distortion can appear in the form of colors bleeding into one another, the whites and blacks of your program washing out, or the picture signal bleeding into the audio signal and causing audible distortion. In all these cases, exceeding standard signal levels can result in unacceptable transmission quality. As you’re color correcting clips in your project, you can use the Final Cut Pro video scopes to make sure that the luma and chroma levels of your video stay within the parameters referred to as broadcast-safe, or acceptable for broadcast. Even if your project is not intended for broadcast, using the video scopes is an important part of your workflow. If the monitors you’re using don’t display color accurately or you’ve been working with the same clips for a while, you can easily get used to seeing a color cast or blacks that are not quite right. The scopes provide exact measurements of the luma and chroma levels of your clips so that you can make more informed decisions about adjusting Final Cut Pro color correction settings. Final Cut Pro provides the following video scopes: • Waveform Monitor • Vectorscope • Histogram Use the video scopes By default, the video scopes appear to the left of the video image in the Viewer and the Event Viewer. Each viewer displays only one scope at a time. Open a scope 1 Do one of the following: • To open a video scope in the Viewer: Choose Window > Viewer Display > Show Video Scopes (or press Command-7). • To open a video scope in the Event Viewer: Choose Window > Event Viewer Display > Show Video Scopes. In either the Viewer or the Event Viewer, you can also choose Show Video Scopes from the Viewer Options pop-up menu in the top-right corner. You can use the same commands to close the video scope.Chapter 13 Color correction 371 2 Choose the scope to display from the top section of the Settings pop-up menu. Choose the scope you want to use from the Settings pop-up menu. Viewer Options pop-up menu 3 After you choose a scope, choose the display options from the bottom section of the Settings pop-up menu. Note: You may find it convenient to display scopes below the video image in the Event Viewer. To do so, choose Vertical Layout from the Settings pop-up menu in the Event Viewer. For more information, see Play back and skim media in the Event Viewer on page 78. Waveform Monitor display options The Waveform Monitor shows the relative levels of luma and chroma in the clip currently being examined. These values are displayed from left to right, mirroring the relative distribution of luma and chroma levels from left to right in the image. Spikes and dips in the displayed waveforms correspond to light and dark areas in your picture. The waveforms are also tinted to match the color of items in the video.Chapter 13 Color correction 372 The Settings pop-up menu in the upper-right corner of the Waveform Monitor provides a variety of display options: • RGB Parade: Presents three side-by-side waveform displays that display your video as three separate red, green, and blue components. The waveforms are tinted red, green, and blue so that you can easily identify them. The RGB Parade view is useful for comparing the relative levels of red, green, and blue between two clips. If one clip has more blue than another, the Waveform Monitor displays an elevated blue waveform for the clip with more blue and a depressed blue waveform for the other clip. • RGB Overlay: Combines waveforms for the red, green, and blue color components in one display. • Red: Shows only the red color channel. • Green: Shows only the green color channel. • Blue: Shows only the blue color channel. • Luma: Shows only the luma component of the video.Chapter 13 Color correction 373 • Chroma: Shows only the chroma component of the video, and is tinted to match the video’s colors. • Y'CbCr Parade: Presents three side-by-side waveform displays for the separate luma, Cb (the blue color difference channel), and Cr (the red color difference channel) components. The waveforms are tinted white (for luma), magenta (for Cb), and yellow (for Cr) so that you can easily identify the waveform for each component. • IRE: Displays the video range in IRE units. • Millivolts: Displays the video range in millivolts. • Guides: Turns the Waveform Monitor’s grid and numeric values on or off. • Monochrome: Dims and desaturates the scope display to prevent visual distractions and color perception issues in your color-finishing suite. • Brightness: Sets the relative lightness or darkness of the scope display.Chapter 13 Color correction 374 Vectorscope display options The Vectorscope shows the distribution of color in your image on a circular scale. The color in your video is represented by a series of connected points that fall somewhere within this scale. The angle around the scale represents the hue displayed, with targets indicating the primary colors of red, green, and blue and the secondary colors of yellow, cyan, and magenta. The distance from the center of the scale to the outer ring represents the saturation of the color being displayed. The center of the scale represents zero saturation, and the outer ring represents maximum saturation. The Vectorscope shows you, at a glance, the hue and intensity of the various colors in your image. Once you learn to identify the colors in your clips using the Vectorscope, you can more easily see where two images differ and correct them so that they match as closely as possible. The Settings pop-up menu in the upper-right corner of the Vectorscope provides a variety of display options: • 100%: Sets the reference chroma level for the color bar targets (the squares representing each color in a standard color bar test signal) at 100 percent saturated chroma. Use this when your source media uses 100 percent color bars as its reference. • 133%: Sets the reference chroma level for the color bar targets at 75 percent saturated chroma. Use this when your source media uses 75 percent color bars as its reference. • Vector: Uses a normal chroma hue reference, with red near the top. • Mark3: Uses a 90-degree rotated chroma hue reference, with red on the right side. • Show/Hide Skin Tone Indicator: Shows or hides the diagonal line that represents the human skin tone chroma phase, which is between the yellow and red color bar targets. • Monochrome: Dims and desaturates the scope display to prevent visual distractions and color perception issues in your color-finishing suite. • Brightness: Sets the relative lightness or darkness of the scope display.Chapter 13 Color correction 375 Histogram display options The Histogram provides a statistical analysis of the image by calculating the total number of pixels of each color or luma level and creating a graph that shows the number of pixels at each percentage of luma or color. Each increment of the scale from left to right represents a percentage of luma or color, and the height of each segment of the Histogram graph shows the number of pixels that correspond to that percentage. The Settings pop-up menu in the upper-right corner of the Histogram provides a variety of display options: • Luma: Shows only the luma component of the video. The height of the graph at each step on the scale represents the number of pixels in the image at that percentage of luma, relative to all the other values. For example, if an image has few highlights, the Histogram shows a large cluster of values in the midtones. Using the Luma Histogram view, you can quickly compare the luma of two shots so that you can adjust their shadows, midtones, and highlights to match more closely. The shape of the graph also helps you determine the amount of contrast in an image. A low-contrast image has a concentrated clump of values nearer to the center of the graph. By comparison, a high-contrast image has a wider distribution of values across the entire width of the graph.Chapter 13 Color correction 376 • RGB Overlay: Combines waveforms for the red, green, and blue color components in one display. If the image being examined has equal levels of two or more colors, you see the combined color: • Equal levels of green and blue appear as cyan. • Equal levels of green and red appear as yellow. • Equal levels of red and blue appear as magenta. • Equal levels of red, green, and blue appear as gray. • RGB Parade: Presents three graphs that display your video as separate red, green, and blue components. The waveforms are tinted red, green, and blue so that you can easily identify them. You can use the RGB Parade view to compare the relative distribution of each color channel across the tonal range of the image. For example, images with a red color cast have either a significantly stronger red graph or weaker green and blue graphs. • Red: Shows only the red color channel. • Green: Shows only the green color channel. • Blue: Shows only the blue color channel. • Brightness: Sets the relative lightness or darkness of the scope display.377 Sharing projects overview Final Cut Pro provides a variety of destinations, or preconfigured export settings, that you can use to output your project or clip. For example, you can export a project or clip as a QuickTime movie, export it for viewing on Apple devices such as iPhone and iPad, publish it to websites such as Facebook and YouTube, or burn it to a disc. Each of these options uses a different destination. When you first open Final Cut Pro, a default set of destinations appears in the Share submenu of the File menu and in the Share pop-up menu. Details about each destination in the default set are listed in the table below. Destination Use to DVD Burn your project to a standard-definition (SD) DVD. Master File (default) Export your project as a QuickTime movie file. The Master File destination is the default destination. You can open it by pressing Command-E. YouTube Vimeo Facebook Publish your project to your account on any of these websites. Apple Devices 720p Export files for iPhone and iPod. Apple Devices 1080p Export files for iPad. Share your project 14Chapter 14 Share your project 378 You can easily replace the default set of destinations with your own customized destinations. You modify existing destinations and create new destinations using the Destinations pane of Final Cut Pro preferences. You can also create a bundle of destinations to export several types of output at once. For more information, see Work with destinations on page 427. To further customize your output, you can use Compressor, the professional transcoding application. For more information, see Export your project using Compressor on page 386. Share projects, clips, and ranges You can share an entire project, an entire clip, or a portion of a project or clip (indicated with a range selection). You can also share a project’s roles, exporting each role as a separate media stem. If you want to export the same roles from another project or clip later, you can save your settings as a preset. Because the transcoding required to create the shared file happens in the background, you can continue working on your projects in Final Cut Pro after sharing. (Keep in mind that changes you make to a project after the transcoding process begins are not reflected in the output files.) Share a project, clip, or range 1 Do one of the following: • Select a project in the Project Library. • Select a clip in the Event Browser. • Select a range in a project in the Timeline or in a clip in the Event Browser. 2 Do one of the following: • Choose File > Share, and choose a destination from the submenu. • Click the Share button in the toolbar, and choose a destination from the pop-up menu. Chapter 14 Share your project 379 3 In the Share window that appears, do any of the following: Move the pointer over the image to skim the video. Project attributes File information • Move the pointer over the image to skim the video. • In the Info pane on the right, view and modify project or clip attributes, such as the title and description. Important: By default, the title field lists the project or clip name. Changing the title does not change the project or clip name, which is the name used for the exported file. All of the attributes associated with the project or clip will be included in the output file. You can modify the attributes that appear in the Info pane. For more information, see Modify share attributes on page 383. • At the bottom of the window, view information about the file that will be exported, including frame size and frame rate, audio channels and sample rate, duration, output file type, and file size. For some destinations, you can also view a list of devices that will play the exported file. To view the compatible devices, move the pointer over the Compatibility icon in the lower-right corner. Move the pointer over the icon to view compatible devices.Chapter 14 Share your project 380 4 To view the destination’s settings, click Settings. The settings for the destination are displayed in the Settings pane. If necessary, modify the destination’s settings. Note: If you change the destination’s settings, the changes are saved as the default settings for the destination. For more information, see Destinations preferences on page 422. 5 Click Share or Next. The button you see changes depending on the destination you chose. If you click Next, enter a name for the file, choose a location to save it, and click Save. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When the transcode is complete, the transcoded file is either opened by the application specified in the “Open with” pop-up menu in the Settings pane, saved to the location you chose, or, if you used a web destination, uploaded to the website. You can view and locate shared projects in the Sharing inspector. For more information, see Visit, announce, and view the location of shared projects on page 388. Note: If you added chapter markers to your project, chapter marker thumbnails are placed at the appropriate location when sharing to disc (DVD and Blu-ray disc) and MV4, QuickTime, and MP4 formats (for playback using iTunes, QuickTime Player, and Apple devices). For more information, see Manage chapter markers and their thumbnail images on page 152 and Compressor Help at http://help.apple.com/compressor. Share roles as separate files You can export one or more of a project’s or clip’s roles as media stems. For example, you can export a project’s dialogue, music, and sound effects as separate media files by assigning roles to the dialogue, music, and sound effects, and then exporting the roles. You can export roles as a combined, multitrack QuickTime file or as separate audio or video files, and you can assign mono, stereo, or surround output for your audio channels. For more information, see Roles overview on page 299. 1 Do one of the following: • Select a project in the Project Library. • Select a clip in the Event Browser. • Select a range in a project in the Timeline or in a clip in the Event Browser. 2 Choose File > Share > Master File (or click the Share button in the toolbar and choose Master File from the pop-up menu). Note: You can also choose another destination you created based on the Master File or Export File destination. 3 Click the Settings button, and then specify the following settings: • Format: Choose a mastering format (Video and Audio, Video Only, or Audio Only). • Video codec: The source codec is listed by default. Depending on your source media, you can choose another codec. • Resolution: The resolution (based on the source footage) is provided. Depending on your source media, you can choose another resolution. • Audio file format: The source format is listed by default. Depending on your source media, you can choose another audio format.Chapter 14 Share your project 381 • Include chapter markers: Select the checkbox to include chapter markers with the exported file (or files). • Open with: Choose what you want to happen after the export is complete. 4 In the “Roles as” pop-up menu, choose how you want the roles exported. Note: The options available in this pop-up menu change based on your selection in the Format and “Audio file format” pop-up menus. • QuickTime Movie: Exports all of the roles in the project as a single QuickTime movie. If you choose this option, skip step 5. • Roles As Multitrack QuickTime Movie: Exports the roles you specify as a single QuickTime movie. • Roles As Separate Files: Exports each of the video and audio roles you specify as a separate file. • Video Roles Only As Separate Files: Exports each of the video roles you specify as a separate file. • Audio Roles Only As Separate Files: Exports each of the audio roles you specify as a separate file. 5 To specify which roles to export, do either of the following: • To add a role to the export files: Click Add Video File or Add Audio File, and choose a role from the pop-up menu. If you’re adding an audio role, you can also choose the channel format for the role (Mono, Stereo, or Surround). For more information, see Configure audio channels on page 169. If you chose Roles As Multitrack QuickTime Movie from the "Roles as" pop-up menu, the Add Video File button is dimmed. • To remove a role from the export files: Move the pointer over the role you want to remove, and click the Remove (–) button that appears to the right of the pop-up menu. These roles will be exported.Chapter 14 Share your project 382 6 Click Next, enter a name for the file, choose a location to save it, and click Save. You can monitor the progress of the transcode in the Background Tasks window, and you can continue to work in Final Cut Pro while the file is transcoded. When the transcode is complete, the transcoded file is either opened by the application specified in the “Open with” pop-up menu in the Settings pane or saved to the location you chose. You can view and locate shared projects in the Sharing inspector. For more information, see Visit, announce, and view the location of shared projects on page 388. Save a custom preset If you’ve created a customized list of roles to share, you can save it as a custom preset. 1 Configure your share options using the instructions in “Share roles as separate files,” above. 2 In the “Roles as” pop-up menu, do any of the following: • To save a new preset: Choose Save As, type a name for the preset, and click Save. • To save a preset that you’ve modified: Choose Save. • To save a preset as a new preset: Choose Save As, type a name for the preset, and click Save. • To rename a preset: Choose Rename, type a new name for the preset, and click Save. Note: The word “edited” appears after the names of custom presets that you’ve modified. Custom presets that you create appear at the bottom of the “Roles as” pop-up menu. Custom presets are stored in /Users/username/Movies/Final Cut Events/Export Presets/. Delete a custom preset You can delete custom presets that you created. 1 Select a project or clip, click the Share button in the toolbar, and choose Master File from the pop-up menu. 2 In the Share window, click the Settings button, and in the “Roles as” pop-up menu, choose the custom preset that you want to delete. The custom presets are listed at the bottom of the pop-up menu. After you choose a preset, a checkmark appears next to its name. 3 In the “Roles as” pop-up menu, choose Delete.Chapter 14 Share your project 383 Modify share attributes Share attributes are project and clip metadata that is included with exported files. You can view and modify share attributes in the Share inspector. Attribute fields Show and modify share attributes for a clip or project 1 Select a clip or project. 2 To open the Share inspector, click the Inspector button in the toolbar (shown below), and click the Share button at the top of the pane that appears. 3 If the attributes for the selection aren't shown, move the pointer over Attributes and click Show. Click Show.Chapter 14 Share your project 384 4 Type new text in an attribute field. If you type a word or phrase that has been defined as an attribute, the attribute (a word or phrase in a blue bubble) appears after you finish typing. Attribute fields Modify the attribute fields that are displayed in the Share inspector 1 Select a clip or project. 2 Open the Share inspector. The Share inspector contains a pop-up menu you can use to customize attribute fields. Click to view options for customizing attribute fields.Chapter 14 Share your project 385 3 Using the Attributes pop-up menu, do any of the following: • To add an attribute field: Choose the field name (so that there’s a checkmark next to it). Fields with a checkmark are shown in the Share inspector and exported with your clip or project. Fields that are shown in the Share inspector have a checkmark. • To remove an attribute field: Choose the field name (so that there’s no checkmark next to it). • To show only the Final Cut Pro default attribute fields: Choose Show Default Fields. Choosing this option displays only the Title, Description, Creator, and Tags fields. Important: The default fields cannot be removed. • To save the selected attribute fields as your default set: Choose Save as Default. • To display your default set of attribute fields: Choose Update to Default. Modify attributes automatically displayed in a Share inspector field You can set the attributes that appear automatically in an attribute field. 1 In the Share inspector, choose Edit Share Fields from the Attributes pop-up menu. 2 In the Edit Share Fields window, select an attribute field from the list on the left. The attributes assigned to the selected field appear in the Format field. Select an attribute field. Format field Options for the field appear in the middle of the window.Chapter 14 Share your project 386 3 To edit the selected attribute field, do any of the following: • To add an attribute: Drag an attribute (a word or phrase in a blue bubble) from the middle of the window to the Format field. You can also type the attribute name in the field. • To add text: Type a word or phrase in the Format field at the top of the window. • To create a custom name attribute: Enter a word or phrase in the Custom Name field at the bottom of the window, and drag the Custom Name attribute to the Format field. Tip: Because the custom name attribute appears in the Format field as “Custom Name,” you can use it for long phrases or sentences and still easily view the other attributes and text in the Format field. • To remove an attribute or text: Select the attribute or text and press Delete. As you add and remove attributes, the example (below the Format field) shows your changes. 4 When you’re done, click OK. Export your project using Compressor The destinations available in Final Cut Pro provide many options for exporting projects and clips. If you need more options, you can use Compressor, the professional transcoding application designed to work directly with Final Cut Pro, to create highly customized export settings. For example, you can use the Compressor frame resizing and retiming controls to make high-quality frame size and frame rate adjustments in your output files. Send your project to Compressor 1 Select a project in the Project Library, a clip in the Event Browser, or a range in a project or a clip. 2 Choose File > Send to Compressor. Note: The Send to Compressor command is dimmed if Compressor is not installed on the same computer as Final Cut Pro. Compressor opens with a new batch that contains a job with the project’s or clip’s media. 3 Configure the job by adding one or more settings, and click Submit. For more information about configuring jobs and settings, see Compressor Help at http://help.apple.com/compressor.Chapter 14 Share your project 387 Status ofshared projects Shared project status overview When you publish or share your project using any of the share options, a Share icon appears in the Timeline and the Project Library to indicate that the project has been published. Share icon Share icon You can click the Share icon in the Project Library to open the Sharing inspector. The Sharing inspector displays when and where a project was published, and also provides a pop-up menu with additional controls for those share options that support the controls. Click to open the shared item’s pop-up menu. If you make any changes to the project, a symbol appears next to the Share icon, indicating that the project has changed since it was last shared. The icon indicates that the project was modified after it was last published.Chapter 14 Share your project 388 Visit, announce, and view the location of shared projects You can use options in the Sharing inspector to open a project shared to a web destination, or send an email to announce the project. You can also locate a shared project file in the Finder. Click to open the shared item’s pop-up menu. Open the Sharing inspector m Click the project’s Share icon in the Project Library. Share icon View the project at its shared location m In the Sharing inspector, choose Visit from the shared item’s pop-up menu. Note: Not all shared items have a pop-up menu. Create an email to announce a shared project 1 In the Sharing inspector, choose Tell a Friend from the shared item’s pop-up menu. Note: Not all shared items have a pop-up menu. 2 In Mail, complete the email that was created and click Send. The email includes a link to the published project and a subject. Locate a shared project in the Finder In the Sharing inspector, do one of the following: m If the project has been shared once and only one shared item is displayed: Click the magnifying glass icon. m If the project has been shared two or more times: Click Show to view the shared items, and click the magnifiying glass icon for the item you want to locate. Note: Not all shared items have a magnifiying glass icon. For more information about shared files, see Where your media and project files are located on page 390.Chapter 14 Share your project 389 Remove shared projects You may find that you need to remove a shared project from its website or other final destination. In some cases Final Cut Pro may be able to remove it for you; in other cases you will have to manually remove it. In both cases, the project needs to be updated so that it no longer indicates that it was shared to that destination. Remove your movie from its destination 1 Open the Sharing inspector by clicking the project’s Share icon in the Project Library. 2 In the Sharing inspector, choose Remove from the shared item’s pop-up menu. Click to open the shared item’s pop-up menu. A window appears with options for that particular share item. Note: Not all share items have a pop-up menu. 3 Depending on the window options, do one of the following: • To have Final Cut Pro delete the project from the destination, enter your password for the website you shared to, and click OK. • Manually delete the project from the destination, and click Done. Note: To remove a movie from CNN iReport, you need to contact the website and request the movie’s removal. The shared item’s published status is removed from the project.390 Media management overview In general, any task that relates to processing your media is considered to be media management. Media management includes: • Importing media from cameras, an external storage disk, or another device. See Importing overview on page 19. • Transcoding your source media files to optimized or proxy formats that are high quality and easy to work with. See Transcode media files on page 397. • Backing up, consolidating, and moving projects. See Before you move or copy events and projects on page 402. • Creating camera archives. See Create and manage camera archives on page 411. • Relinking clips to media files. See Relink clips to media files on page 393. Some of these tasks can be performed in Final Cut Pro, others can be performed in the Finder, and some require working in both Final Cut Pro and the Finder. Where your media and project files are located When you create a new event or project, folders for the new item are created in one of two places: • If the new event or project is on your local system: The folders are in your Movies folder in your home folder (/Users/username/Movies/). This is the default location for your Final Cut Pro files. • If the new event or project is on a connected external storage device: The folders are at the main, or root, level of your device. • If the new event or project is on a storage device connected to a local network: The folders can be located in any folder you’ve added from a storage area network (SAN). Manage media files 15Chapter 15 Manage media files 391 When you create a new event on your local system, a folder is created for the event: /Users/username/Movies/Final Cut Events/eventname/ The [event name] folder can contain one or more of the following items. The contents of these folders depend on the options you selected during import or in the Import preferences. These files are used and managed by Final Cut Pro, and thus should not be moved, modified, or deleted. • Event file: Final Cut Pro event files have the name CurrentVersion.fcpevent. • Analysis Files: This folder contains analysis files associated with the media files. • Original Media: This folder contains either the original files that you imported from your camcorder or hard disk or alias files that point to the original files in another location. • Render Files: This folder contains render files associated with the media files. • Transcoded Media: If you chose to create optimized or proxy media, the transcoded files that were created are located in this folder. • Old Versions: If you update existing events to open them with a newer version of the application, Final Cut Pro first saves copies of the original events in this folder. • Backups: This folder contains a single backup copy of each event. This is a copy of CurrentVersion.fcpevent (the event file) only, not the associated source media files. Final Cut Pro updates the backup copy in 15-minute intervals (if it detects a change in the event). This backup copy is meant to be used by Final Cut Pro automatically in the rare instance of an issue when opening the event. Similarly, when you create a Final Cut Pro project, a folder is created for the project: /Users/username/Movies/Final Cut Projects/projectname/ The [project name] folder contains the following items. These files are used and managed by Final Cut Pro, and thus should not be moved, modified, or deleted. • Project file: Final Cut Pro project files have the name CurrentVersion.fcpproject. • Render Files: This folder contains render files associated with the project.Chapter 15 Manage media files 392 • Old Versions: If you update existing projects to open them with a newer version of the application, Final Cut Pro first saves copies of the original projects in this folder. • Backups: This folder contains a single backup copy of each project. This is a copy of CurrentVersion.fcpproject (the project file) only, not any media files. Final Cut Pro updates the backup copy in 15-minute intervals (if it detects a change in the project). This backup copy is meant to be used by Final Cut Pro automatically in the rare instance of an issue when opening the project. • Shared Items: This folder contains project files. Tip: To quickly locate the source media file for a clip, select the clip and choose File > Reveal in Finder (or press Command-Shift-R). Manage your media files View a clip’s information The Info inspector provides a summary of a clip’s information. Here you can view status information about a clip’s source media file, including the file’s location, available media representations for the file, the event the clip is located in, and the event the clip references. View a clip’s information 1 Select a clip in the Event Browser or Timeline. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. 3 Choose Show File Status from the Action pop-up menu at the bottom of the Info inspector.Chapter 15 Manage media files 393 Relink clips to media files In Final Cut Pro, clips represent your media, but they are not the media files themselves. Final Cut Pro keeps track of the links between clips and media files automatically. However, there are times when you want to manually relink clips to media files. One common scenario is that the media files were altered or re-created outside of your copy of Final Cut Pro. For example, you sent out files to be color-corrected, you’ve received the new versions of the files, and you want to relink the clips in your event or project to the new versions. Another case requiring manual relinking is missing media files. For example, if you move or rename files in the Finder, or you move an event or a project to a different location, you need to relink the event or project clips (which appear as red frames with yellow alert triangles) to the files. In either case, manually relinking points the clips in Final Cut Pro to the correct files on your hard disk. Metadata in the relinked clips remains unchanged. The new (relinked) files can have a different resolution and codec than the original files, but they must be the same media type. (In other words, you can’t relink a video clip to an audio file.) Relinked files must also have the same frame rate and similar audio channels as the original files. The new (relinked) files can also be trimmed versions of the original files, but they must be long enough to cover all the clips that refer to the files. Because relinking event clips and relinking project clips have different effects on your events and projects, they are described separately below. Relink event clips to media files When you relink event clips to media files on your hard disk, all matched clips (including those in other projects or events) are updated to link to the new media files. In other words, if you used an event clip in multiple projects (or events), each of those projects and events is relinked to the new media file. If the old files are in the Original Media folder, they are moved to the Trash. You cannot undo this operation. 1 In the Event Browser, select the clips you want to relink, or select an entire event in the Event Library. 2 Choose File > Relink Event Files. The Relink Files window appears. By default, this window shows missing clips or events only.Chapter 15 Manage media files 394 3 If you want to show all items in the selection, select All. 4 Do one of the following: • To locate all the matching files: Click Locate All. • To locate some of the matching files: Select items in the list and click Locate Selected. 5 In the window that appears, navigate to one of the files you want to link to, or to the folder that contains it. Text at the bottom of the window indicates how many potential matches to items in your original list were found (based on the filenames only). Text indicates how many matches were found.Chapter 15 Manage media files 395 Note: Final Cut Pro identifies matches based on proximity in the directory structure and related filenames. For example, if your original files were in two adjacent folders, Final Cut Pro looks in folders adjacent to the file you chose and relinks all matching files in the relative path. If your original files were named “File1,” “File2,” “File3,” and so on, and you chose to relink to a file named “File1_A,” Final Cut Pro looks for files named “File2_A,” “File3_A,” and so on to link the remaining items in your list. 6 Click Choose. Final Cut Pro analyzes the files to confirm that all attributes (in addition to the filename) match items in the original selection. Analysis results are shown below the Original Files list. For example, “3 of 3 files matched.” 7 Click the disclosure triangle next to the analysis results to show a list of old files (on the left) and the new matching files (on the right). If a file was matched incorrectly, select it in the list and press Delete. The item is placed back in the original list at the top of the Relink Files window. Items with no matches remain in the original list above. You can continue to locate those by selecting them and repeating steps 4 through 6. 8 If you want the matching media files duplicated and placed in the Final Cut Events folder on your computer, select the “Copy files into Final Cut Events folder” checkbox. 9 To link the event clips to the new media files, click Relink Files. All matched clips (including those in other projects or events) are updated to link to the new media files. Relink project clips to media files Unlike relinking event clips, relinking project clips to media files on your hard disk updates clips in the selected project only. New clips are added to the current project’s default event. You cannot undo this operation. 1 In the Timeline, select the clips you want to relink, or select a project in the Project Library. 2 Choose File > Relink Project Files. The Relink Files window appears. By default, this window shows missing clips only.Chapter 15 Manage media files 396 3 If you want to show all items in the selection, select All. 4 Do one of the following: • To locate all the matching files: Click Locate All. • To locate some of the matching files: Select items in the list and click Locate Selected. 5 In the window that appears, navigate to one of the files you want to link to, or to the folder that contains it. Text at the bottom of the window indicates how many potential matches to items in your original list were found (based on the filenames only). Text indicates how many matches were found.Chapter 15 Manage media files 397 Note: Final Cut Pro identifies matches based on proximity in the directory structure and related filenames. For example, if your original files were in two adjacent folders, Final Cut Pro looks in folders adjacent to the file you chose and relinks all matching files in the relative path. If your original files were named “File1,” “File2,” “File3,” and so on, and you chose to relink to a file named “File1_A,” Final Cut Pro looks for files named “File2_A,” “File3_A,” and so on to link the remaining items in your list. 6 Click Choose. Final Cut Pro analyzes the files to confirm that all attributes (in addition to the filename) match items in the original selection. Analysis results are shown below the Original Files list. For example, “4 of 4 files matched.” 7 Click the disclosure triangle next to the analysis results to show a list of old files (on the left) and the new matching files (on the right). If a file was matched incorrectly, select it in the list and press Delete. The item is placed back in the original list at the top of the Relink Files window. Items with no matches remain in the original list above. You can continue to locate those by selecting them and repeating steps 4 through 6. 8 To link the project clips to the new media files, click Relink Files. Only clips in this project are updated to link to the new media files. New clips are added to the project’s default event. All other events and projects remain unchanged. Transcode media files Final Cut Pro can play back many media formats. See Supported media formats on page 41 for a complete list. Final Cut Pro also provides options for transcoding your media, converting it to a different format or changing its settings. • Create optimized media: This option transcodes video to the Apple ProRes 422 codec format, which provides better performance during editing, faster render times, and better color quality for compositing. If the original camera format can be edited with good performance, this option is dimmed.Chapter 15 Manage media files 398 • Create proxy media: This option creates video and still-image proxy files. Video is transcoded to the Apple ProRes 422 (Proxy) codec format, which provides high-quality files useful for offline editing at the original frame size, frame rate, and aspect ratio. Final Cut Pro creates mediumquality (one-half resolution) proxy versions that increase editing performance. Video proxy files take up considerably less disk space, which often means you can work on a portable computer instead of a desktop computer that has significantly more memory and processing power. Still images are transcoded to either JPEG (if the original file doesn’t have alpha channel information) or PNG files (if the file has alpha channel information). Still-image proxy files facilitate faster processing and rendering when the original image is very large. Note: For better import and playback performance, Final Cut Pro automatically transcodes all MP3 audio files to WAV audio files. When transcoding files, Final Cut Pro always retains the original media for future use. For more information about where to find original media, proxy media, and transcoded media files, see Where your media and project files are located on page 390. You can create optimized and proxy media during the import process, or after the media has been imported, using the Event Browser. You can also create a proxy file for a clip using the Info Inspector. After the transcode is complete, the files are saved in the appropriate Event folder. See Where your media and project files are located on page 390 for more information. Whether Final Cut Pro uses proxy media or your original or optimized media during playback is determined by the playback setting you select in the Final Cut Pro Editing preferences. See Modify a project’s name and properties on page 83 for more information. Transcode media files during import During import, Final Cut Pro either creates an alias file that points to the media file in its original location, or creates a copy of the original media file. After the files are imported, transcoding, optimization, and analysis are performed in the background. 1 Do one of the following: • To import a file from a compatible file-based recording or storage device, or from your hard disk: Connect your device to your computer, turn it on, choose File > Import > Media (or press Command-I), navigate to and select the media you want to import, and click Import. • To import a file from a tape-based camcorder: Connect your device to your computer, turn it on, and set it to VTR or VCR mode. Then choose File > Import > Media, and click Import. • To import from an archive: Choose File > Import > Media. Select a camera archive from the list on the left, click Open Archive and navigate to the files you want to import, and click Import. 2 In the window that appears, choose how you want to organize the imported media in your Event Library: • To add the imported media to an existing event: Select “Add to existing event,” and choose it from the pop-up menu. • To create a new event: Select “Create new event” and type a name (for example, “Chris and Kim Wedding”) in the text field. Choose the disk where you want to store the event from the “Save to” pop-up menu. To learn more about events, see Events and clips overview on page 51. 3 Select one or both of the transcode options. Final Cut Pro will transcode the files in the background, after the import process is complete. 4 Click Import. The import may take a while, depending on the options you chose in step 3. You can see the status of all the background processes currently running in the Background Tasks window.Chapter 15 Manage media files 399 Transcode clips after import 1 Control-click one or more clips in the Event Browser and choose Transcode Media from the shortcut menu. 2 In the window that appears, select the “Create optimized media” checkbox, the “Create proxy media” checkbox, or both, and click OK. Note: If the original camera format can be edited with good performance, the “Create optimized media” option will be dimmed. The transcoding process may take a while, depending on the options you chose in this step. You can see the status of all the background processes currently running in the Background Tasks window. Note: MP3 audio files from projects created with versions of Final Cut Pro earlier than 10.0.4 can be manually transcoded to WAV audio files using this process. Automatically transcode media files when they’re dragged into Final Cut Pro When you drag media from the Finder into an event or Timeline in Final Cut Pro, it is automatically organized, transcoded, and analyzed based on the import settings that you set in Final Cut Pro preferences. 1 To configure the Final Cut Pro analysis options: a Choose Final Cut Pro > Preferences. b In the Preferences window that appears, click Import. c Select each of the video and audio analysis options that you want to apply to your media. d When you’re finished, close the Preferences window. 2 To import one or more files, select a file (or Command-click multiple files) in the Finder and drag it to an event or Timeline. Generate a proxy file from the Info inspector Proxy files take up considerably less disk space. In some situations, using proxy files can allow you to work on a portable computer instead of a desktop computer that has significantly more memory and processing power. You can check to see if you have a proxy file for a clip by viewing the clip’s information in the Info inspector. If the file you’re viewing in the Info inspector doesn’t have a proxy file, you’ll see a red triangle. If a proxy has not been created for a clip, a red triangle is shown.Chapter 15 Manage media files 400 You can create a proxy file for a clip by doing the following: 1 Select a clip in the Event Browser. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. 3 Choose Show File Status from the Action pop-up menu . 4 Click the Generate Proxy button in the Available Media Representations section of the file status area. The proxy file is created, and a green circle appears next to the proxy item in the Available Media Representations section, indicating that the proxy file for the clip is available. View background tasks Many Final Cut Pro tasks take place in the background: • Importing • Transcoding • Video and audio optimization and analysis • Rendering • Sharing Final Cut Pro manages background tasks automatically, so you don’t need to do anything to start or pause them. If you want to see the progress of any of the background processes, you can open the Background Tasks window. The tasks being performed and a percentage of completion are shown in the window. Important: If you actively use Final Cut Pro while background tasks are running, the background tasks will pause. The tasks resume when you stop using Final Cut Pro.Chapter 15 Manage media files 401 View tasks that are running in the background 1 Do one of the following: • Choose Window > Background Tasks (or press Command-9). • In the toolbar, click the Background Tasks button. 2 To view the tasks that are running in each section, click a disclosure triangle. Pause or resume a task in the Background Tasks window m Click the Pause button or Resume button . Cancel a task in the Background Tasks window m Click the Cancel button . Delete render files to free up disk space Project and clip render files are stored in your Final Cut Events and Final Cut Projects folders. Over time, these files can accumulate and take up disk space. If you want to free up hard disk space, you can either delete unused render files or delete all of the render files for a particular compound clip or Final Cut Pro project. Delete project render files 1 Select a project in the Project Library. 2 Choose File > Delete Project Render Files. 3 In the window that appears, choose to delete Unused Render Files Only or All Render Files, and click OK. Delete event render files 1 Select an event in the Event Browser. 2 Choose File > Delete Event Render Files. 3 In the window that appears, choose to delete Unused Render Files Only or All Render Files, and click OK.Chapter 15 Manage media files 402 Manage your events and project files Before you move or copy events and projects If you want to edit a project on a different computer, or back up a project or events to an external storage device, you can either move or copy it. Before you move or copy a project, it’s a good idea to consolidate its media and back it up. By default, media files that are imported into Final Cut Pro are not moved from their original location. When you import media into Final Cut Pro, you have the option to select the “Copy files to Final Cut Events folder” checkbox, which duplicates the source media files on your hard disk. Creating these copies (to be exclusively used by Final Cut Pro) can prevent you or others from accidentally moving files and making them unavailable to Final Cut Pro. If a file that Final Cut Pro uses is moved, Final Cut Pro will mark the clip with a Missing File icon. If you think there’s a chance that media files will be moved or deleted, it’s a good idea to create a copy of the media. Note: If you import files with the “Copy files to Final Cut Events folder” checkbox deselected, Final Cut Pro creates reference files (file aliases) that simply point to the source media files without copying them. When you back up or copy events and projects that use these files, Final Cut Pro copies the reference files only (not the source media files). If, after you back up your project or event, you want to replace the reference files with the actual source media files, select the events and choose File > Organize Event Files. Consolidate a project’s media files In the course of creating a project in Final Cut Pro, you might use media from a variety of locations, including your local computer and external storage devices. If the media used in the project is located on multiple hard disks, you can consolidate all the media used in the project on the same hard disk as the project. Collect a project’s clips in one location 1 Locate the project you want to consolidate in the Project Library. 2 Control-click the project to select it, and choose Consolidate Project Media from the shortcut menu. If a window appears stating that there is nothing to consolidate, all of your media files are already consolidated and located on one disk. 3 Select an option to specify how the consolidation will occur: • Copy Referenced Events: Duplicates the referenced events (and all the clips in those events) to the location of your project. You may want to select this option if you use the same media in multiple projects, or if you haven’t finished adding clips from the event to your project. • Move Referenced Events: Moves all the referenced events to the location of your project. If there are other projects that use the clips in the event you’re consolidating, those projects will not have access to the event. You may want to select this option if the clips in the event are only used in the project you’re consolidating. • Copy Used Clips Only: Duplicates only those media files used in the project. This option gives you only the media used in the project (and not all the clips in the events referenced by the project). This is a good option to use if you want to conserve disk space.Chapter 15 Manage media files 403 • New Event Name field: If you select Copy Used Clips Only, you can create a new event to hold the consolidated media. If you don’t specify a new event name, the event will be given the project name. 4 Click OK. Final Cut Pro consolidates the media using the method you selected. The event or events appear on the same hard disk as the project. You can also use the Organize Event Files command to copy all external media files used by an event to its event folder. For more information, see Organize files while importing on page 37. Back up projects, your Project Library, and events Backing up your individual projects, your Project Library, and events should be an essential part of your workflow. Some people back up daily or weekly; others back up when a project is complete. To protect your media, it is recommended that you back up to a storage device or partition different from the one where you store the media files used with Final Cut Pro. Note: Final Cut Pro maintains a single backup copy of each event and each project. These are copies of the current event and project files only, not the associated source media files. Final Cut Pro updates these backup copies every 15 minutes if it detects a change in an event or a project. For more information, see Where your media and project files are located on page 390. Back up your project in Final Cut Pro 1 Connect an external storage device large enough to hold your project and media files and verify that the device appears in the Finder. 2 Control-click your project in the Project Library, and choose Duplicate Project from the shortcut menu. 3 In the window that appears, type a name for the new (duplicate) project and choose your external storage device from the Location pop-up menu. 4 Select an option to specify what is duplicated: • Duplicate Project Only: Duplicates files specific to the project you selected. You may want to select this option if you use the same clips in multiple projects and plan to back up your events separately (perhaps in your backup copy of your entire Project Library and events). This option does not duplicate event media.Chapter 15 Manage media files 404 • Duplicate Project and Referenced Events: Duplicates the project and any events referred to by the project. Selecting this option includes all of the media in the referenced events. This is a good option to select if you want to have the unused media available to use later. • Duplicate Project + Used Clips: Duplicates the project and clips used in the project. When you select this option, you can choose whether to copy all clips and their media or just multicam and compound clips, without the associated media. The first method creates a backup copy of your project with all of its media; the second method backs up the project and creates independent versions of multicam and compound clips that won’t be changed when you update the original versions in your project. • All used clips: Duplicates the project and copies all clips and media used in the project to a new event. When you select this option, provide a name for the new event that is created. Selecting this option duplicates the entire original media file for any clip used in the project, not just the portion that appears in the Timeline. If files used in the project were imported as reference files (aliases pointing to media files stored outside the Final Cut Events folder), the reference files are copied, not the original media files. • Multicam and compound clips only: Duplicates the project and creates new parent clips for multicam or compound clips in the project. This means that the backup versions of the multicam and compound clips are not linked to the original parent versions and will not be updated when the original parent versions change. This option allows you to save a version of a project and prevent accidental changes to multicam or compound clips in that version. This option does not duplicate media and therefore makes a more compact backup file set that saves storage space. You can provide a name for a new event to hold the multicam or compound clips, or you can choose an existing event from the Event pop-up menu. For more information about multicam and compound clips, see Compound clips overview on page 257 and Multicam editing overview on page 308. This option is available only if your project contains multicam or compound clips. 5 If you want to include render files (so that Final Cut Pro doesn’t have to create new ones), select the Include Render Files checkbox.Chapter 15 Manage media files 405 6 Click OK. Final Cut Pro duplicates the project using the option you specified. The project is given an incremented name (for example, “Bill’s movie1”), and the project appears in the location you specified. In most situations, viewing your backup projects and events is as simple as connecting your storage device to Final Cut Pro and locating your backup project or event in the Project Library. For more information about locating or viewing your project, see Common media management issues on page 416. Back up your Project Library and events using the Finder To create a single backup copy of your Project Library and events, you can copy the Final Cut Projects folder and Final Cut Events folder to an external storage device. If you are backing up incrementally, create a folder structure that helps you easily navigate through your backup folders. You could label the folders with the date you made the backup copy, for example. Important: To avoid issues, it’s essential that you place the backup files in a folder (named “2012 Final Cut Pro Backups,” for example) that is not at the root level of your external storage device. 1 In the Finder, locate and select your Final Cut Projects folder and Final Cut Events folder. Your Movies folder is the default location for all project and event files: /Users/username/Movies/ Important: If you moved a project or event after you created it, it will not be in the default location. 2 Drag the Final Cut Projects and Final Cut Events folders to the external storage device. The folders are copied to your external storage device. To restore events and projects that you backed up using the Finder, copy them back to their original location in the Final Cut Projects folder and Final Cut Events folder. Note: When you import media into Final Cut Pro, you have the option to select the “Copy files to Final Cut Events folder” checkbox, which duplicates the source media files on your hard disk. If you import files with this checkbox deselected, Final Cut Pro creates reference files (file aliases) that simply point to the source media files without copying them. When you back up events and projects that use these files, Final Cut Pro copies the reference files only (not the source media files). If, after you back up your project or event, you want to replace the reference files with the actual source media files, select the events and choose File > Organize Event Files.Chapter 15 Manage media files 406 Edit your project on a different computer If you find yourself in a situation where you need to work on your project and media files on a different computer, you have a variety of options: • Move the project: You can delete the project from its current location and put it in a new location. When you move a project, you can move all of the events used in the project, all of the clips used in the project, or just the project. • Copy the project: You can duplicate the project and put the copy in a new location. When you copy a project, you can copy all of the events used in the project, all of the clips used in the project, or just the project. • Store projects and events on a SAN location: You can store files on a storage area network (SAN) location and then access them from the other computer over the network. Note: If you have customized any Final Cut Pro effects, transitions, titles, generators or themes, you must manually back up and move the Motion Templates folder located in ~/Movies/ Motion Templates. Move a project and its referenced events to another computer 1 Connect your external storage device to the computer where your Final Cut Pro project file is located, and verify that the device appears in the Finder. 2 Verify that Final Cut Pro is installed on the computer to which you’re moving the files. 3 On the computer where your Final Cut Pro project file is located, select your project in the Project Library. 4 Choose File > Move Project. 5 In the window that appears, do the following: a Choose your external storage device from the Location pop-up menu. b Select “Move Project and Referenced Events.” Selecting this option moves the project file and any events (and all the clips in the event) referenced by the project file to the disk you chose in the Location pop-up menu. For more information about the options in this window, see Organize projects in the Project Library on page 86. c Click OK. The project icon and events disappear from their current location in the Project Library and Event Library and appear under the storage device icon (indicating that they have been moved).Chapter 15 Manage media files 407 6 Quit Final Cut Pro, and disconnect the storage device from your computer. WARNING: Do not disconnect a device when Final Cut Pro is using it. 7 Connect the storage device to the computer to which you want to move your project, and verify that the device appears in the Finder. 8 Open Final Cut Pro, and then open the Project Library. The project you moved appears in the Project Library, listed under the connected storage device. Note: If the storage device does not appear in the Project Library, see Common media management issues on page 416. 9 To move the project off the storage device to the new computer, select the project and choose File > Move Project. 10 In the window that appears, do the following: a Choose the new computer from the Location pop-up menu. b Select “Move Project and Referenced Events.” c Click OK. The project icon and events disappear from the external storage device and appear under the startup disk (home icon) in the Project Library, and the event that contains the project’s media appears under the startup disk (home icon) in the Event Library. Copy a project and its clips to another computer 1 Connect your external storage device to the computer where your Final Cut Pro project file is located, and verify that the device appears in the Finder. 2 Verify that Final Cut Pro is installed on the computer to which you’re copying the files. 3 On the computer where your Final Cut Pro project file is located, select your project in the Project Library. 4 Control-click your project, and choose Duplicate Project from the shortcut menu.Chapter 15 Manage media files 408 5 In the window that appears, do the following: a Choose your external storage device from the Location pop-up menu. b Select Duplicate Project + Used Clips Only. Selecting this option copies the project file and the media files used by the project file. For more information about the options in this window, see Organize projects in the Project Library on page 86. c Type a descriptive name in the New Event Name field. If you don’t create a new name for the new event, it will be given the same name as your project. d Click OK. The project icon and events appear under the storage device icon (indicating that they have been copied and moved to the new location). 6 Quit Final Cut Pro, and then disconnect the storage device from your computer. Note: You cannot disconnect a device when Final Cut Pro is using it. 7 Connect the storage device to the computer to which you want to move your project, and verify that the device appears in the Finder. 8 Open Final Cut Pro, and open the Project Library. The project you copied appears in the Project Library, listed under the connected storage device. Note: If the storage device does not appear in the Project Library, see Common media management issues on page 416. 9 To copy the project and media files from the storage device to the new computer, drag the project to the home folder icon in the Project Library.Chapter 15 Manage media files 409 10 In the window that appears, do the following: a Choose the new computer from the Location pop-up menu. b Select “Duplicate Project and Referenced Events.” c Click OK. The project appears under the the startup disk (home icon) in the Project Library, and the event that contains the project’s media appears under the startup disk (home icon) in the Event Library. You can now locate your project in the Project Library and begin editing. Any changes will be saved to the copy on the startup disk of the new computer. If you see a Missing Media, Missing Project, or other warning icon, or if you can’t find your project in the Final Cut Pro Project Library, go through the steps in the task to verify that you performed the task correctly. For more information, see Common media management issues on page 416. Use a SAN location to edit your project on a different computer You can start editing a project over a network using a SAN location and then continue working on the project from a different computer using the same SAN location. To make the SAN location available to other computers on the network, you use the Remove command to disconnect the SAN location from the original computer. 1 Follow the steps for adding a SAN location in Use SAN locations for events and projects on page 410. 2 Create a project on the SAN location, or copy or move your project to the SAN location. 3 To remove the SAN location and make it available to other computers on the network, select the SAN location in the Event Library or the Project Library, and choose File > Remove SAN Location. The SAN location disappears from Event Library and the Project Library. 4 To access the SAN location on the other computer, follow the steps for adding a SAN location in Use SAN locations for events and projects on page 410. Make sure to navigate to the same folder you used in step 1. The SAN location appears as a storage location in the Event Library and the Project Library on the second computer. You can now use this computer to edit any events and projects stored on this SAN location. Chapter 15 Manage media files 410 Use SAN locations for events and projects You can store your events and projects on a storage area network (SAN). These network storage locations give you more options for storing your media and streamlining your workflow over a high-speed local network. Although you can access SAN locations from different computers on a network, only one installed copy of Final Cut Pro can use a SAN location at a time. If you have events or projects stored on a SAN location, you must remove the location in Final Cut Pro to make it available to other computers on the network. The SAN location feature requires a SAN volume, such as an Xsan volume connected using the Fibre Channel Protocol (FCP). Add a SAN location 1 Choose File > Add SAN Location. 2 In the window that appears, navigate to a folder on a network-connected computer or storage device. The folder you selected appears as a storage location in the Event Library and the Project Library. SAN location on your network Use the SAN location as you would any other storage device that appears in the Event Library and the Project Library. For example, you can create events or projects on the SAN location. You can also copy and move events or projects to the SAN location. Remove a SAN location 1 In the Event Library or the Project Library, select the SAN location you want to remove. 2 Choose File > Remove SAN Location. The SAN location disappears from Event Library and the Project Library. The SAN location, and any events or projects stored there, are now available to other Final Cut Pro users on the network.Chapter 15 Manage media files 411 Create and manage camera archives You can make a camera archive (backup copy) of the contents of your camera or camcorder. (Note that you cannot make an archive from a live video signal, such as the signal produced by an iSight camera.) To protect your media, it is recommended that you save your archive to a disk or partition different from the one where you store the media files used with Final Cut Pro. Because you can import media into Final Cut Pro from an archive, archiving the media on your device can be useful if you want to: • Quickly empty the contents of your camera or camcorder so that you can record more media right away, rather than wait for it to import into Final Cut Pro, which can take time. • Import the archived media on multiple computers without having to keep it on the camcorder • Keep a browsable, “near-line” archive of media from a camera without having to import the media into Final Cut Pro See Access media on an archive or disk image on page 36 for information on how to import media into Final Cut Pro from a camera archive. Archive the media on your file-based camera or camcorder 1 If you want to save the archive to an external storage device, connect it to your computer. 2 Connect the camera or camcorder to your computer using the cable that came with it, and turn it on. If you’re using a camcorder, set it to PC Connect mode. The name of this transfer mode may be different on your device. Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your computer. For more information, see the documentation that came with your camcorder. Note: Connecting a DVD camcorder to your Mac can cause the DVD Player application to open. If that happens, simply close DVD Player. 3 In Final Cut Pro, click the Import Media button on the left end of the toolbar (or press Command-I).Chapter 15 Manage media files 412 4 In the Media Import window that appears, select the device whose content you want to archive from the list of cameras on the left. Change the way clips appear using these controls. The media on the device appears here. Playback controls 5 Click the Create Archive button at the bottom-left corner of the window. 6 In the “Create Camera Archive as” field, type a name for the archive. 7 Choose a location to save the archive from the Destination pop-up menu, and click OK. Note: It is recommended that you save your archive to a disk or partition different from the one where you store the media files used with Final Cut Pro. The camera archive is stored on your hard disk. You can mount the archive as if it were a filebased camcorder and browse the archive’s contents, or import the media on the camera archive into Final Cut Pro. For more information, see Access media on an archive or disk image on page 36. Note: Whenever the disk containing the archive is connected, the disk will automatically appear in the Camera Archives list in Final Cut Pro. Archive the media on your tape-based camera or camcorder 1 If you want to save the archive to an external storage device, connect it to your computer. 2 Connect the camera or camcorder to your computer using the cable that came with it, and turn it on. If you’re using a camcorder, set it to PC Connect mode. The name of this transfer mode may be different on your device. Your camcorder may automatically go into “connect” mode if you turn it on in playback mode while it’s connected to your computer. For more information, see the documentation that came with your camcorder.Chapter 15 Manage media files 413 3 In Final Cut Pro, do one of the following: • Choose File > Import > Media (or press Command-I). • Click the Import Media button on the left end of the toolbar. 4 In the Media Import window that appears, select the device whose content you want to archive from the list of cameras on the left. 5 Click the Create Archive button at the bottom-left corner of the window. 6 In the “Create Camera Archive as” field, type a name for the archive. 7 Choose a location to save the archive from the Destination pop-up menu, and click OK. Note: To protect your media, it is recommended that you save your archive to a disk or partition different from the one where you store the media files used with Final Cut Pro. Final Cut Pro begins archiving from the current location on the tape. It will continue to archive until one of the following occurs: • It reaches the end of the tape. • You manually stop the archiving process by clicking Stop Import or Close (to close the Media Import window). The camera archive is stored on your hard disk. You can mount the archive as if it were a filebased camcorder and browse the archive’s contents, or import the media on the camera archive into Final Cut Pro. For more information, see Access media on an archive or disk image on page 36. Whenever the disk containing the archive is connected, the disk will automatically appear in the Camera Archives list in Final Cut Pro as long as the archive is in one of two locations: • /Users/username/Movies/Final Cut Camera Archives/ • The root level of the startup diskChapter 15 Manage media files 414 Move or copy a camera archive 1 In the Finder, select the camera archive that you want to move or copy. 2 Do one of the following: • To move the camera archive on your local disk: Drag the camera archive to a new location. • To copy the camera archive on your local disk: Hold down the Option key and drag the camera archive to a new location on your local disk. • To copy the camera archive to an external storage device: Drag the camera archive to a location on the external storage device. Delete a camera archive Camera archives are very small relative to other media files, and often don’t warrant being deleted. However, you can delete a camera archive at any time. 1 In the Finder, select the camera archive. 2 Hold down the Control key and choose Move to Trash from the shortcut menu that appears. 3 Control-click or click and hold the Trash icon in your Dock, and choose Empty Trash from the shortcut menu. Important: Emptying the Trash permanently deletes the camera archive. Solutionsto common media managementissues Alert icons When you see red frames and a yellow alert triangle in a Timeline or event, Final Cut Pro is alerting you that part of your project or event is missing. There are many reasons that clips and events, media files, and effects can be missing: moving projects and events between computers and actively managing your Final Cut Pro events or Projects folder using the Finder are two common reasons. For more information about where events, clips, projects, and files are located, see Where your media and project files are located on page 390.Chapter 15 Manage media files 415 Icon Alert Description Final Cut Pro events and clips Missing event The Event folder is not available. You may see this alert if you moved the event to the Trash, moved the event to another location, moved a project to another location, or consolidated a different project’s media. Missing Clip A clip used in a Final Cut Pro project or in an event is not available. You may see this alert if you moved the clip to the Trash, moved a clip (or event), moved a project to a different location, or consolidated a different project’s media. Missing Camera A camera that contains files used in Final Cut Pro is not connected to your system. To avoid getting this alert, create a copy of the media when you import it. See Organize files while importing on page 37 for more information. Media files Missing File A file is not available in the Finder. You may see this alert if you moved or renamed a file in the Finder, moved an event or project to a different location, or consolidated a different project’s media. Modified File A media file has been changed by an application other than Final Cut Pro. Missing Proxy File A proxy file created by Final Cut Pro is not in its expected location in the Finder. See Transcode media files on page 397 for more information. Final Cut Pro effects Missing Effect An effect in Final Cut Pro is missing. Missing Generator A generator in Final Cut Pro is missing. Missing Title A title in Final Cut Pro is missing. Missing Transition A transition in Final Cut Pro is missing.Chapter 15 Manage media files 416 Common media management issues This section describes common media management issues and solutions. If you don’t see a project on an external storage device m Make sure the Final Cut Projects folder and the Final Cut Events folder are at the root level of the storage device. m If the storage device still does not appear in the Project Library device list, you can manually copy or move the Final Cut Projects folder and the Final Cut Events folder to the Movies folder. m You can also manually add individual project folders or Events folders to any existing Final Cut Projects folder and the Final Cut Events folder. For more information, see Media management overview on page 390. If you import a file directly from a hard drive and change the name in the Finder You may see a missing file alert if you move or rename a file in the Finder. m In the Finder, change the filename back to the filename used in the Event Browser. If you cancelled an import If you cancelled an import and didn’t import an entire clip, the clip will have a Camera icon on its bottom-left corner. Camera icon m Follow the instructions in “Reimport a clip” in Import from file-based cameras on page 20. If your computer loses power while Final Cut Pro is performing media management tasks Because Final Cut Pro automatically saves all the changes you make as you work on a project, your project will be current when you restart Final Cut Pro after an unexpected power loss. If Final Cut Pro was performing media management tasks in the background, you can restart those processes manually using the Organize Event Files and Organize Project Files commands. 1 Select one or more events in the Event Library or a project in the Project Library. 2 Do one of the following: • To restart background media management tasks for a selected event: Choose File > Organize Event Files. • To restart background media management tasks for a selected project: Choose File > Organize Project Files. If your DSLR camera isn’t recognized by Final Cut Pro m Follow the instructions in Import from a digital still camera on page 28.417 Preferences and metadata overview In Final Cut Pro, you can modify preference settings to specify how your source media is imported into the application, how your clips play back, and how you edit your clips in the Timeline. You can also view and change the information associated with a clip, referred to as a clip’s metadata. Metadata includes information about a clip’s source media files as well as information you add to a clip, such as notes. For more information, see Display and change clip metadata on page 432. Final Cut Pro preferences Change preference settings A preference modifies how a particular Final Cut Pro feature behaves. Most preference settings can be turned on or off at any time. The following sections describe Final Cut Pro preferences in detail. Open Final Cut Pro preferences m Choose Final Cut Pro > Preferences (or press Command-Comma), and click a pane’s button at the top of the window to open it. Copy Final Cut Pro preferences between computers You can copy Final Cut Pro preference settings to another Mac that has Final Cut Pro installed so that the settings are the same on both computers. 1 Find the preference settings file in the following location: /Users/username/Library/Preferences/com.apple.FinalCut.plist 2 Copy the preference settings file to the same location on another Mac. If necessary, overwrite any existing version of the file at that location. Preferences and metadata 16Chapter 16 Preferences and metadata 418 Editing preferences Editing preferences affect editing behaviors in Final Cut Pro. Time Display • Time Display:Use this pop-up menu to choose the time mode for Final Cut Pro. Changes in this setting affect the time display (for the position of the skimmer or the playhead) in the Dashboard in the center of the toolbar, as well as trimming and navigation operations in Final Cut Pro. You have the following options: • Timecode display • Timecode display including subframes • Duration in frames • Duration in seconds Timeline • Show detailed trimming feedback:Select this checkbox to show the “two-up” display in the Viewer for more accurate feedback on an edit point involving two contiguous clips. For example, for a simple ripple or roll edit, this display shows the end point of the left clip and the start point of the right clip. • Position playhead after edit operation:Select this checkbox to have the playhead automatically positioned in the Timeline at the end of your last edit. For example, if you insert a clip between two clips in the Timeline, the playhead is automatically positioned between the inserted clip and the clip that follows it. Inspector Units • Inspector Units:Use this pop-up menu to choose how values are displayed in inspector controls for Transform, Crop, and Distort effects. • Pixels:Choose this setting to display values as pixels. • Percentages:Choose this setting to display values as percentages. Audio • Show reference waveforms:Select this checkbox to change the background appearance of the audio portion of a clip to show reference waveforms. A reference waveform shows the maximum visual resolution possible of the actual audio waveform. By factoring out loudness, reference waveforms let you see the shape of the sound more clearly. When the actual waveform changes shape (for example, it is diminished when a clip’s volume level is low), you can continue to see its reference waveform in full for easy reference when editing.Chapter 16 Preferences and metadata 419 Still Images • Editing duration is x seconds:Use this value slider to set the default editing duration of stillimage and freeze-frame clips in seconds. Transitions • Duration is x seconds: Use this value slider to set the default duration of transitions in seconds. Dialog Warnings • Reset All:Click this button to reset all warning dialogs. Playback preferences Playback preferences affect playback and rendering performance in Final Cut Pro. Rendering • Background render:Select this checkbox to turn on Final Cut Pro rendering operations when the system is idle. • Start after:Use this value slider to set the amount of time your system is idle, in seconds, before Final Cut Pro begins background rendering. Playback • Use proxy media:Click this button to use medium-quality proxy media (converted to one-half resolution) rather than full-resolution media for playback. Choosing this option increases playback performance, but the video quality is lower. In Final Cut Pro, proxy media is in the Apple ProRes 422 (Proxy) format. • Use original or optimized media:Click this button to use the optimized media for playback. If optimized media is not available, Final Cut Pro uses the original media for playback. In that case, use the Playback Quality pop-up menu to choose whether to always use the highest-quality video for playback or downsized video for better playback performance. In Final Cut Pro, optimized media is in the Apple ProRes 422 format. • Playback Quality:Choose High Quality from this pop-up menu to prioritize high quality, or choose Better Performance to prioritize better performance. • Create optimized media for multicam clips: Select this checkbox to automatically transcode multicam clip video to the Apple ProRes 422 codec, which provides better performance during editing and faster render times.Chapter 16 Preferences and metadata 420 • Warn when dropping frames during playback:Select this checkbox to have Final Cut Pro warn you when frames are dropped during playback. • Warn when frames are dropped due to hard disk performance:Select this checkbox to have Final Cut Pro warn you when frames are dropped during playback specifically because of hard disk performance. Pre-Roll Duration • Pre-Roll Duration:Use this value slider to set the amount of time to play before an audition or before the skimmer or playhead position when using the Play Around command. Post-Roll Duration • Post-Roll Duration:Use this value slider to set the amount of time to play after an audition or after the skimmer or playhead position when using the Play Around command. Player Background • Player Background:Use this pop-up menu to choose a background for the Viewer. The color you choose will be visible in the case of partially or completely transparent clips, or clips that do not fill the frame completely. A/V Output • A/V Output: Use this pop-up menu to choose an external audio/video device or monitor for output. A/V output requires third-party video interface hardware and software and is available only with OS X Lion v10.7.2 or later. For more information, see View playback on an external video monitor on page 79. Import preferences When you import media into Final Cut Pro using the Media Import window, you can customize your import settings each time you import files. However, if you drag media directly from the Finder into Final Cut Pro, Final Cut Pro uses the import settings you selected in the Import pane of the Final Cut Pro Preferences window. Organizing • Copy files to Final Cut Pro Events folder:Duplicates the media files and places the copy in the Final Cut Events folder on your system. If you’re importing media from a different disk or volume, or if you want to keep a copy of all the media files that have been imported into Final Cut Pro in the same location, select this checkbox.Chapter 16 Preferences and metadata 421 • Import folders as Keyword Collections: Creates a Keyword Collection for each folder in the files you’re importing. If the files you’re importing are in folders with meaningful names, select this option to keep the file organization that exists in the Finder. (Note that although Keyword Collections are not nested in the Event Library, every file in a folder will get a Keyword Collection for each folder it is in, whether it is one, two, or more levels deep in that folder.) Transcoding • Create optimized media: This option transcodes video to the Apple ProRes 422 codec, which provides better performance during editing, faster render times, and better color quality for compositing. If the original camera format can be edited with good performance, this option is dimmed. • Create proxy media: This option transcodes video to the Apple ProRes 422 (Proxy) codec, which provides high-quality files useful for offline editing. Video proxy files can use considerably less disk space, often enough to allow you to work on a portable computer instead of a desktop computer that has significantly more memory and processing power. This option transcodes still images to either JPEG files (if the original file doesn’t have alpha channel information) or PNG files (if the file has alpha channel information). Note: When transcoding files, Final Cut Pro always retains the original media for future use. For more information about where to find original media, proxy media, and transcoded media files, see Where your media and project files are located on page 390. Video • Analyze for balance color: Analyzes clips with video and detects color cast and contrast issues. Color is automatically balanced when you drag the clip to the Timeline. You can fix color balance for a clip in an event by turning on Balance in the Color section of the Video inspector. You can turn off the automatic color adjustments at any time. After you do so, the clip has the colors originally recorded within the project. • Find people: Analyzes clips with video for the presence of people and shot types. After analysis, any of the following keywords are added to the clip: One Person, Two Persons, Group, Close Up Shot, Medium Shot, and Wide Shot. The “Consolidate find people results” checkbox simplifies and summarizes all of the “find people” analysis keywords. For more information, see Video and still-image analysis options on page 45. If you’re analyzing to find people, it’s recommended that you also select the “Create Smart Collections after analysis” checkbox. • Create Smart Collections after analysis: Creates Smart Collections for each keyword applied when video clips are analyzed for image stabilization problems or the presence of people. The Smart Collections appear inside a folder inside the event. Audio • Analyze and fix audio problems: Analyzes audio and automatically corrects it for hum, noise, and loudness. You can turn off automatic audio corrections at any time; after you do so, the audio will play as originally recorded. • Separate mono and group stereo audio: Analyzes and groups audio channels as dual mono or stereo, depending on the results of the analysis. For more information about audio channels, see Configure audio channels on page 169. • Remove silent channels: Audio channels are analyzed, and silent channels are automatically removed. Note: You can retrieve the original audio configuration after import. See Configure audio channels on page 169. Chapter 16 Preferences and metadata 422 Destinations preferences You modify share destinations in the Destinations pane of the Final Cut Pro Preferences window. The destinations in the Destinations list (on the left side of the Destinations pane) also appear in the Share submenu of the File menu and in the pop-up menu that appears when you click the Share button in the toolbar. When you first open Final Cut Pro, a default set of destinations appears in the Destinations list, but you can add other destinations and customize destinations. To see the destinations you can add, select Add Destination in the Destinations list. When you select a destination in the Destinations list, its settings appear on the right. The settings available for each destination are described below. For information about adding and modifying destinations, see Work with destinations on page 427. DVD and Blu-ray Use these destinations to burn your project or clip to a standard-definition (SD) DVD or a Blu-raycompatible disc, or to create a disk image (.img) file you can copy to an external drive or burn to disc later. Note: The Blu-ray destination does not appear by default. To add it to the Destinations list, see Work with destinations on page 427. The DVD and Blu-ray destinations include the following settings: • Output Device: Displays your system’s suitable output devices, including optical drives and the computer’s hard disk. You can use your hard disk to create a disk image (.img) file that you can copy to an external drive or burn to DVD media later. Chapter 16 Preferences and metadata 423 • Layers: Displays the available layers on the destination media. • Automatic: Automatically detects the type of disc you can use. • Single-layer: Identifies the disc as a single-layer disc. You can use this option to force a duallayer disc to be treated as a single-layer disc. • Double-layer: Identifies the disc as a double-layer disc. You can use this option to force the disk image to be formatted for a double-layer disc when you choose Hard Drive as your output device. Important: Depending on the project’s length, choosing Double-layer when using a singlelayer disc may result in an error while burning the disc. • Disc template: Displays the available disc templates. • When disc loads: Displays the automatic action taken when you play the disc. • Show Menu: Displays the main menu. • Play Movie: Begins playing the movie immediately. • Markers: Not available for Blu-ray when using an AVCHD output device. Select the checkbox to include chapter marker text as subtitles on the output disc. Users can navigate between the chapter markers by pressing the Next Chapter or Previous Chapter button on the DVD or Blu-ray player. For more information about chapter markers, see Manage chapter markers and their thumbnail images on page 152. • Loop: Available for Blu-ray only. Select this checkbox to add a loop icon to the menu. • Background: Click the Add button to add a background graphic. • Logo graphic: Available for Blu-ray only. Click the Add button to add a logo graphic. • Title graphic: Available for Blu-ray only. Click the Add button to add a title graphic. • Preview: Click Main Menu to preview the main menu; click Chapter Menu to preview the chapter menu. Email Use this destination to email your project or clip using Mail, Apple’s email program. The Email destination automatically creates an email message that includes the exported file. Note: The Email destination does not appear by default. To add it to the Destinations list, see Work with destinations on page 427. The Email destination includes the following settings: • Resolution: Choose a resolution from the pop-up menu. • Compression: Choose “Better quality” if you want the highest-quality compression; choose “Faster encode” if you’re willing to sacrifice quality for faster processing. YouTube, Vimeo, Facebook, and CNN iReport Use these destinations to publish your project or clip to your YouTube, Vimeo, Facebook, or CNN iReport account. Note: The CNN iReport destination does not appear by default. To add it to the Destinations list, see Work with destinations on page 427. Important: If you have two or more accounts for the same website, you must make a separate destination for each account. After you enter the account information, the destination name is appended with the account name in parentheses; for example, “YouTube (myusername).” If you want, you can rename the destination with a more descriptive name.Chapter 16 Preferences and metadata 424 The web destinations include the following settings: • Sign In: The first time you open a new web destination, a window for entering your account information appears. If you enter your account name and password and select the “Remember this password in my keychain” checkbox, you won’t need to enter your account name or password again. After the initial setup, you can click the Sign In button in the destination’s settings to reenter or change your account information. • Resolution: Choose the default resolution for the destination. If the destination is used with a project or clip that has a lower resolution than the resolution you chose, the resolution changes to match that of the project or clip. • Compression: Choose “Better quality” if you want the highest-quality compression; choose “Faster encode” if you’re willing to sacrifice quality for faster processing. • Make this movie Private: Available for YouTube only. If this checkbox is selected, only the contacts you specify in your YouTube account settings can see your movie. • Category: Available for YouTube only. Choose the YouTube category your movie will appear in. • Viewable by: Available for Facebook and Vimeo only. Choose who can view your movie. Save Current Frame and Image Sequence Use these destinations to save a still image of any video frame in your project or to save a set of sequentially numbered still-image files. Note: The Save Current Frame and Image Sequence destinations do not appear by default. To add either of them to the Destinations list, see Work with destinations on page 427. The Save Current Frame and Image Sequence destinations include the following settings: • Export: Choose a file format for the exported file. • Scale image to preserve aspect ratio: Select this checkbox to scale the output file to use square pixels and maintain the original aspect ratio (which results in an increase or decrease in the number of horizontal and vertical pixels). The checkbox affects only projects with formats that use non-square pixels, such as NTSC and PAL formats. If the checkbox is not selected (the default setting), the output file uses the same pixel aspect ratio and has the same number of horizontal and vertical pixels as the original video. Export File Note: This destination is used as the basis for three of the destinations in the default set: Master File, Apple Devices 720p, and Apple Devices 1080p. When you create and modify destinations in Final Cut Pro preferences, this destination is called Export File. Use this destination to export your project or clip as a movie file with video and audio, as a video file (with no audio), or as an audio file (with no video). This destination is used to export files for Apple devices, computers, and web hosting. You can customize the Export File destination by choosing one of several resolutions, depending on the intended playback device. For example, choose 1280 x 720 resolution for iPhone and iPod, and 1920 x 1080 resolution for iPad. You can also export one or more of the roles used in your project into one or more files, also known as media stems.Chapter 16 Preferences and metadata 425 The Export File destination includes the following settings: • Format: Lists mastering formats (Video and Audio, Video Only, Audio Only) and publishing formats (Apple Devices, Computer, Web Hosting). Your choice of format determines the options in the pop-up menus below. Important: When sharing a project or clip, you can change the resolution only for publishing formats. • Video codec: Choose the video codec to use for the exported file. (Available choices are based on the source clip or project media format.) • Resolution: Choose the default resolution for the destination. If the destination is used with a project or clip that has a lower resolution than the resolution you chose, the resolution changes to match that of the project or clip. • Audio file format: If you chose Audio Only from the Format pop-up menu, choose an audio format for the exported file. If you chose another option from the Format pop-up menu, this item lists the audio format that will be used for the exported file. • Include chapter markers: Select the checkbox to include chapter markers that were added to the project in the output file. Users can navigate between the chapter markers by clicking the Next Chapter or Previous Chapter button in iTunes or QuickTime Player. • “When done,” “Open with,” or “Add to playlist”: Choose what should happen when the export is complete. You can choose to open the exported file in an application, add it to your iTunes library, or publish it to the Media Browser. The name of the pop-up menu changes depending on what you choose. • Do Nothing: Choose this option if you don’t want to automatically open the exported file. • QuickTime Player, iTunes, or another application: Choose this option to open the exported file in the default application associated with the file. You can set or change the default application in the Finder. For more information, see OS X Help, available from the Help menu when the Finder is active. • Compressor: Choose this option to open the exported file in Compressor. The exported file will appear as the source in a new batch, making it easy to continue to process the project’s movie. For example, you can create the compressed versions needed for distribution, without involving Final Cut Pro. Note: This option is available only if Compressor is installed on the same computer as Final Cut Pro. • Other: Choose this option to specify another application to open the exported file. Select the application in the window that appears, and click Open. • Library: Choose this option to add the exported file to your iTunes library. • Publish to Media Browser: Choose this option to add the exported file to the Media Browser, making the output file available in Final Cut Pro and other Mac applications. • Roles as: Available only if you chose a mastering format (Video and Audio, Video Only, or Audio Only) from the Format pop-up menu. If you need to export your project as separate media files (for example, if you want to export the dialogue, music, and sound effects from your project separately), you can export one or more of your project’s roles as media stems. You can create a combined, multitrack QuickTime file or separate audio or video files using your project’s audio and video roles, and you can assign mono, stereo, or surround output for your audio channels. For more information about roles, see Roles overview on page 299.Chapter 16 Preferences and metadata 426 Compressor Settings Use this destination to export a project or clip using settings from Compressor, the professional transcoding application designed to work directly with Final Cut Pro. Note: The Compressor Settings destination does not appear by default. To add it to the Destinations list, see Work with destinations on page 427. Exporting a project with a Compressor setting provides many of the benefits of Compressor without actually opening your project in Compressor. You can use Compressor to create multiple output files in one share operation, or create custom settings that modify your output file (for example, to add a watermark to the video). If you have Compressor installed on your system, you can use any of your Compressor settings with Final Cut Pro. If you don’t have Compressor installed on your system and you receive a Compressor setting from someone else, put the setting in this location so that Final Cut Pro and Compressor can access it: /Users/username/Library/Application Support/Compressor/Settings/ You may need to create the Compressor and Settings folders using Finder. Tip: In OS X Lion v10.7 and later, the Library folder within your home folder is hidden by default. You can access it in the Finder by choosing Go > Go to Folder and entering ~/Library/ in the “Go to the folder” field. For more information, see OS X Help, available from the Help menu when the Finder is active. HTTP Live Streaming Use this destination to send audio and video to iPhone, iPad, iPod touch, and Mac using a web server. Note: The HTTP Live Streaming destination does not appear by default. To add it to the Destinations list, see Work with destinations on page 427. Because HTTP live streaming dynamically adjusts movie playback quality to match the available speed of wired or wireless networks, it’s a great way to deliver streaming media to your iOS-based app or HTML5-based website. For detailed information about implementing HTTP live streaming, see the Apple Developer HTTP Live Streaming website at http://developer.apple.com/resources/http-streaming. The HTTP Live Streaming destination includes the following setting: • Versions to export: Select the checkbox for each type of network connection you want to support for streaming. You can export files for use with devices that use cellular, Wi-Fi, and broadband data connections. Bundle You can group sets of destinations together in a bundle to create several types of output in a single step. When you share a project or clip using the bundle, a file for each destination in the bundle is output automatically. To learn how to create a bundle, see Work with destinations on page 427.Chapter 16 Preferences and metadata 427 Work with destinations You modify share destinations using the Destinations pane of the Final Cut Pro Preferences window. You can modify existing destinations, add new destinations, delete destinations, and create destination bundles, which allow you to export multiple types of output at once. You can also revert to the default set of destinations that were available when you first opened Final Cut Pro. For information about sharing projects and clips from Final Cut Pro, see Sharing projects overview on page 377.Chapter 16 Preferences and metadata 428 Create a new destination 1 Do one of the following: • Choose File > Share > Add Destination. • Choose Final Cut Pro > Preferences, click the Destinations button at the top of the window, and select Add Destination in the Destinations list on the left. • Select a clip or project, click the Share button in the toolbar, and choose Add Destination from the pop-up menu. 2 In the Destinations pane of the Preferences window, do one of the following: • Drag a destination from the area on the right to the Destinations list on the left (or doubleclick a destination on the right). Drag a destination Destinations list to the Destinations list. • Control-click a destination in the Destinations list and choose Duplicate from the shortcut menu. The new destination appears selected in the list on the left, and the settings for the destination appear on the right. Chapter 16 Preferences and metadata 429 3 Choose the settings you want for the new destination. Modify the settings for New destination the new destination. If you chose a web destination, enter your user name and password in the window that appears, and click OK. If you select the “Remember this password in my keychain” checkbox, your user name and password are saved so that your exported file can be uploaded to the website automatically. If you chose the Compressor Settings destination, select a Compressor setting in the window that appears, and click OK. The settings that are displayed include the Compressor settings that come with Final Cut Pro as well as any settings you added. Important: You can use the Compressor Settings destination only if you have Compressor installed or someone gives you a Compressor setting. For details about the settings for each destination, see Destinations preferences on page 422. At any time, you can double-click the destination in the Destinations list to type a new name or use the controls on the right to change the destination settings. As you customize the destination, your changes are saved automatically.Chapter 16 Preferences and metadata 430 Modify existing destinations Note: You can also modify an existing destination’s settings while you’re sharing a project or clip. For more information, see Share projects, clips, and ranges on page 378. 1 Choose Final Cut Pro > Preferences, and click Destinations. The Destinations pane appears, with a list of destinations on the left. 2 Do any of the following: • To change a destination’s settings: Select a destination, and modify the destination’s settings on the right. Modify the settings for the selected destination. Select a destination in the Destinations list. • To restore a destination to its original settings: Control-click a destination in the Destinations list and choose Revert to Original Settings from the shortcut menu. The destination’s settings are restored to their original values and the settings are saved automatically. • To rename a destination:Double-click a destination in the list on the left and type a new name. • To change the order of destinations in the list: Drag a destination to a different location in the Destinations list. As you modify destinations, your changes are saved automatically.Chapter 16 Preferences and metadata 431 Create a bundle of destinations Bundles make it easy to create several types of output in a single step. A bundle holds a set of destinations. When you share a project or clip using the bundle, a file for each destination in the bundle is output automatically. 1 In the Destinations pane of the Preferences window, select Add Destination in the Destinations list and then double-click the Bundle destination (or drag it from the area on the right to the Destinations list on the left). An empty bundle appears in the Destinations list. 2 To add destinations to the bundle, drag existing destinations into it from the Destinations list, or select Add Destination and drag destinations from the area on the right into the bundle. Tip: To quickly make a bundle from destinations in the Destinations list, select one or more destinations in the Destinations list, Control-click in the Destinations list, and choose New Bundle from Selection from the shortcut menu. Delete a destination Do one of the following: m Control-click a destination in the Destinations list, and choose Delete from the shortcut menu. m Select a destination in the Destinations list, and press Command-Delete. m Select a destination in the Destinations list, and click the Remove (–) button below the list. Specify a new default destination One destination is labeled as the default destination, and only this destination can be opened using a keyboard shortcut (Command-E). When you first open Final Cut Pro, the Master File destination is the default destination. You can easily make any other destination the default destination. m Control-click the destination you want to make the default, and choose Make Default from the shortcut menu. The name of the new default destination is appended with “(default).” Revert to the default set of destinations that came with Final Cut Pro m Control-click in the Destinations list and choose Restore Default Destinations from the shortcut menu. Any custom destinations are deleted, and the default set of destinations appears. For a list of the default destinations, see Sharing projects overview on page 377. Share destinations between Final Cut Pro users m To export destinations from your copy of Final Cut Pro: Drag one or more destinations from the Destinations list in the Destinations pane of Final Cut Pro preferences to a location in the Finder. The destination file is appended with the .fcpxdest extension. m To import destinations into your copy of Final Cut Pro: Drag a destination file from a location in the Finder to the Destinations list. The destination you added appears in the Destinations list, the Share submenu of the File menu, and the pop-up menu that appears when you click the Share button in the toolbar.Chapter 16 Preferences and metadata 432 Work with metadata Display and change clip metadata Information about your source media files, information recorded by the camera, and descriptive information about a clip are called metadata. In Final Cut Pro, you can create your own combinations of metadata to display with your clips, called metadata views. You can either create new metadata views or modify the ones that come with Final Cut Pro. In Final Cut Pro, you work with three types of metadata: • Exchangeable Image File (EXIF) data: Information recorded by the camera and stored in the media at the time it was shot, such as camera make and model, file size, color profile, and bits per sample. • International Press Telecommunications Council (IPTC) data: Standardized data used by media organizations to embed keywords, captions, copyright notices, and other information in the media files themselves. • Final Cut Pro metadata: Data you apply to clips within Final Cut Pro, such as clip name, ratings, and keywords. You can use the Info inspector to view and change the metadata for a clip or group of clips selected in the Event Browser or Timeline. Info button The Share inspector also displays metadata that is exported with a shared clip or project. For more information, see Modify share attributes on page 383. View a clip’s metadata 1 Select a clip. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. Metadata for the selected clip or group of clips is displayed in fields in the Info inspector.Chapter 16 Preferences and metadata 433 Switch metadata views in the Info inspector You can change the metadata fields shown in the Info inspector by choosing a different metadata view from the Metadata View pop-up menu. 1 Select a clip. 2 Open the Info inspector. 3 Choose a metadata view from the Metadata View pop-up menu. Metadata View pop-up menu Note: If you create custom metadata views, they also appear in the pop-up menu. Change a clip’s metadata 1 Select a clip. 2 Open the Info inspector. 3 In the Metadata View pop-up menu, choose a metadata view that contains fields for the metadata you want to change. 4 Do either of the following: • Click in a text field to make it active, and enter the text you want to include. Note: If you can’t click in a text field, the field can’t be edited. Some EXIF metadata fields, for example, can’t be edited. • Choose an option from the pop-up menu for the metadata you want to change. Note: You can also change the Content Created date and time of your source clips in the Event Browser. Just select one or more clips and choose Modify > Adjust Content Created Date and Time. Rearrange the fields in a metadata view m In the Info inspector, drag the metadata labels into a different order. Modify metadata views You can create new metadata views or modify the ones that come with Final Cut Pro. Create a new metadata view 1 Select a clip. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. 3 In the Info inspector, choose Edit Metadata View from the Metadata View pop-up menu. 4 In the Metadata Views window, choose New Metadata View from the Action pop-up menu at the bottom-left corner of the window. 5 Enter a name for the new metadata view, and press Return. 6 To limit the number of properties to a specific group, such as EXIF or video properties, choose a property group from the Properties pop-up menu at the top of the window.Chapter 16 Preferences and metadata 434 7 To add a property to the metadata view, select the checkbox to the left of the property. Click a checkbox to add a property to the metadata view. Action pop-up menu 8 When you are satisfied with the metadata fields assigned to the metadata view, click OK. The new metadata view is added to the Metadata View pop-up menu in the Info inspector. Modify an existing metadata view You can change the combination of metadata that appears in an existing metadata view. You can rename metadata fields, add or remove metadata fields, create custom metadata fields, and rearrange the order in which the metadata fields are displayed. 1 Select a clip. 2 Open the Info inspector. 3 In the Info inspector, choose Edit Metadata View from the Metadata View pop-up menu. 4 In the Metadata Views window, select the metadata view you want to change, and do any of the following: • To rename the metadata view: Double-click the metadata view name in the column on the left, enter a new name, and press Return. • To remove properties (metadata fields) from the metadata view: In the Property column, click the checkmark to the left of the property you want to remove. • To add properties (metadata fields) to the metadata view: In the Property column, select the checkbox to the left of the property you want to add. • To add a custom property (metadata field) to the metadata view: Choose Add Custom Metadata Field from the Action pop-up menu , enter a name and description for the new property, and click OK. 5 When you are satisfied with the metadata fields assigned to the selected metadata view, click OK.Chapter 16 Preferences and metadata 435 Duplicate a metadata view If you want to create a new metadata view that contains most of the metadata fields in an existing metadata view, you can save time by duplicating the existing metadata view and then modifying it. 1 Select a clip. 2 Open the Info inspector. 3 In the Info inspector, choose the metadata view you want to duplicate from the Metadata View pop-up menu, and then choose Save Metadata View As from the Metadata View pop-up menu. 4 In the window that appears at the top of the Final Cut Pro window, enter a name for the new metadata view and click OK. The new metadata view appears in the Metadata View pop-up menu in the Info inspector. Modify the new metadata view as needed. Delete a metadata view 1 Select a clip. 2 Open the Info inspector. 3 In the Info inspector, choose Edit Metadata View from the Metadata View pop-up menu. 4 In the Metadata Views window, select the metadata view you want to delete in the column on the left, and choose Delete Metadata View from the Action pop-up menu in the lower-left corner. The metadata view is removed from the left column of the Metadata Views window and from the Metadata View pop-up menu in the Info inspector. Note: Deleting a metadata view does not delete metadata applied to a clip or its source media. Batch rename clips When you import media into Final Cut Pro, the clips often contain meaningless names, such as those assigned by the camera. Although you can rename clips individually, you can also automatically rename a selection of clips as a batch (batch rename) in the Event Browser, after the media has been imported into Final Cut Pro. Final Cut Pro provides customizable naming presets that make renaming large amounts of clips efficient and easy. Batch rename clips using a naming preset 1 In the Event Browser, select the clips you want to rename. 2 To open the Info inspector, click the Inspector button in the toolbar (shown below), and click the Info button at the top of the pane that appears. 3 Choose Apply Custom Name from the Action pop-up menu and choose a naming preset from the submenu. The clips selected in the Event Browser are renamed.Chapter 16 Preferences and metadata 436 Create a new naming preset In most cases, you’ll want to create a new naming preset and customize it. Tip: The easiest way to create a new naming preset is to duplicate an existing one. See the following task for more information. 1 In the Event Browser, select the clips you want to rename. 2 Open the Info inspector. 3 Choose Apply Custom Name from the Action pop-up menu and choose New from the submenu. 4 In the Naming Presets window, double-click Untitled, type a name for the new preset, and press Return. The new naming preset appears in the Apply Custom Name submenu of the Action pop-up menu. Duplicate an existing naming preset The simplest way to create a new naming preset is to duplicate an existing preset—one that contains most of the name format options you want to include—and modify it. 1 In the Event Browser, select the clips you want to rename. 2 Open the Info inspector. 3 Choose Apply Custom Name from the Action pop-up menu and choose Edit from the submenu. 4 In the Naming Presets window, Control-click the preset that you want to duplicate, and choose Duplicate from the shortcut menu. The duplicate naming preset appears below the original preset. 5 Enter a name for the duplicate preset, and press Return. You can now modify the preset to suit your needs. Modify an existing naming preset 1 In the Event Browser, select the clips you want to rename. 2 Open the Info inspector. 3 Choose Apply Custom Name from the Action pop-up menu and choose Edit from the submenu.Chapter 16 Preferences and metadata 437 4 In the Naming Presets window, add name tokens by dragging the elements from the Clip Info, Date/Time, Format, and Camera areas to the Format field. To remove a naming token, select it in the Format field, and press Delete. 5 Rearrange the tokens in the Format field by dragging them into new positions. 6 If you like, add text characters between naming tokens in the Format field, such as underscores (_) and spaces. 7 When you are satisfied with the naming preset’s new format, click OK. Remove a naming preset 1 Select a clip. 2 Open the Info inspector. 3 Choose Apply Custom Name from the Action pop-up menu and choose Edit from the submenu. 4 In the Naming Presets window, select the naming preset you want to remove, and click the Remove Presets button (with a minus sign). The naming preset is removed from the Naming Presets window.438 Keyboard shortcuts and Multi-Touch gestures overview Final Cut Pro provides several ways to increase your efficiency while you put together your project: • Standard keyboard shortcuts: Many common tasks, such as opening a specific window or adding a clip from the Event Browser to the Timeline, can be accomplished very quickly by pressing one or more keys. See Keyboard shortcuts on page 438. • Multi-Touch gestures: If you have a Multi-Touch trackpad or mouse, you can take advantage of Multi-Touch gestures to quickly perform many tasks while creating your project. See MultiTouch gestures on page 452. • Custom keyboard shortcuts: You can add to the standard keyboard shortcuts by creating your own custom keyboard shortcuts for features that you use frequently, such as Color Board controls. Or if you’re more familiar with keyboard shortcuts from another application, you can use the Command Editor to substitute those keyboard shortcuts in place of the default set in Final Cut Pro. See View keyboard shortcuts in the Command Editor on page 452. Keyboard shortcuts You can use keyboard shortcuts to quickly accomplish many tasks in Final Cut Pro. To use a keyboard shortcut, press all the keys in the shortcut at the same time. Shortcuts for common commands are listed in the table below. Application Command Shortcut Action Hide Application Command-H Hide Final Cut Pro Hide Other Applications Command-Option-H Hide all applications except Final Cut Pro Keyboard Customization Command-Option-K Open the Command Editor Minimize Command-M Minimize Final Cut Pro Preferences Command-Comma (,) Open the Final Cut Pro Preferences window Quit Command-Q Quit Final Cut Pro Redo Change Command-Shift-Z Redo the last command Undo Change Command-Z Undo the last command Keyboard shortcuts and gestures 17Chapter 17 Keyboard shortcuts and gestures 439 Editing Command Shortcut Action Append to Storyline E Add the selection to the end of the storyline Audition: Add to Audition Shift-Control-Y Add the selected clip to the audition Audition: Duplicate and Paste Effects Command-Option-Y Duplicate clips in the audition and add effects Audition: Duplicate as Audition Option-Y Create an audition with a Timeline clip and a duplicate version of the clip, including applied effects Audition: Duplicate from Original Command-Shift-Y Duplicate the selected audition clip without applied effects Audition: Replace and Add to Audition Shift-Y Create an audition and replace the Timeline clip with the current selection Blade Command-B Cut the primary storyline clip (or the selection) at the skimmer or playhead location Blade All Command-Shift-B Cut all clips at the skimmer or playhead location Break Apart Clip Items Command-Shift-G Break the selected item into its component parts Change Duration Control-D Change the duration of the selection Connect to Primary Storyline Q Connect the selection to the primary storyline Connect to Primary Storyline - Backtimed Shift-Q Connect the selection to the primary storyline, aligning the selection’s end point with the skimmer or playhead Copy Command-C Copy the selection Create Audition Command-Y Create an audition from the selection Create Storyline Command-G Create a storyline from a selection of connected clips Cut Command-X Cut the selection Cut and Switch to Viewer Angle 1 1 Cut and switch the multicam clip to angle 1 of the current bank Cut and Switch to Viewer Angle 2 2 Cut and switch the multicam clip to angle 2 of the current bank Cut and Switch to Viewer Angle 3 3 Cut and switch the multicam clip to angle 3 of the current bank Cut and Switch to Viewer Angle 4 4 Cut and switch the multicam clip to angle 4 of the current bank Cut and Switch to Viewer Angle 5 5 Cut and switch the multicam clip to angle 5 of the current bankChapter 17 Keyboard shortcuts and gestures 440 Command Shortcut Action Cut and Switch to Viewer Angle 6 6 Cut and switch the multicam clip to angle 6 of the current bank Cut and Switch to Viewer Angle 7 7 Cut and switch the multicam clip to angle 7 of the current bank Cut and Switch to Viewer Angle 8 8 Cut and switch the multicam clip to angle 8 of the current bank Cut and Switch to Viewer Angle 9 9 Cut and switch the multicam clip to angle 9 of the current bank Delete Delete Delete the Timeline selection, reject the Event Browser selection, or remove a multicam through edit Delete Selection Only Command-Option-Delete Delete the selection and attach the connected clip or clips to the resulting gap clip Deselect All Command-Shift-A Deselect all selected items Duplicate Command-D Duplicate the Event Browser selection Enable/Disable Clip V Enable or disable playback for the selection Expand Audio/Video Control-S View audio and video separately for selected clips Expand/Collapse Audio Components Option-Control-S Expand or collapse audio components for the selection in the Timeline Extend Edit Shift-X Extend the selected edit point to the skimmer or playhead position Extend Selection Down Shift-Down Arrow In the Event Browser, add the next clip to the selection Extend Selection Up Shift-Up Arrow In the Event Browser, add the previous clip to the selection Finalize Audition Shift-Option-Y Dissolve the audition and replace it with the audition pick Insert W Insert the selection at the skimmer or playhead position Insert/Connect Freeze Frame Option-F Insert a freeze frame at the playhead or skimmer location in the Timeline, or connect a freeze frame from the skimmer or playhead location in the event to the playhead location in the Timeline Insert Gap Option-W Insert a gap clip at the skimmer or playhead position Insert Placeholder Command-Option-W Insert a placeholder clip at the skimmer or playhead position Lift from Storyline Command-Option-Up Arrow Lift the selection from the storyline and connect it to the resulting gap clipsChapter 17 Keyboard shortcuts and gestures 441 Command Shortcut Action Lower Volume 1 dB Control-Hyphen (-) Lower the audio volume by 1 dB Move Playhead Position Control-P Move the playhead by entering a timecode value New Compound Clip Option-G Create a new compound clip (if there’s no selection, create an empty compound clip) Nudge Audio Subframe Left Option-Comma (,) Nudge the selected audio edit point left by one subframe, creating a split edit Nudge Audio Subframe Left Many Shift-Option-Comma (,) Nudge the selected audio edit point left by 10 subframes, creating a split edit Nudge Audio Subframe Right Option-Period (.) Nudge the selected audio edit point right by one subframe, creating a split edit Nudge Audio Subframe Right Many Shift-Option-Period (.) Nudge the selected audio edit point right by 10 subframes, creating a split edit Nudge Down Option-Down Arrow Nudge down the value of the selected keyframe in the Animation Editor Nudge Left Comma (,) Nudge the selection one unit to the left Nudge Left Many Shift-Comma (,) Nudge the selection 10 units to the left Nudge Right Period (.) Nudge the selection one unit to the right Nudge Right Many Shift-Period (.) Nudge the selection 10 units to the right Nudge Up Option-Up Arrow Nudge up the value of the selected keyframe in the Animation Editor Open Audition Y Open the selected audition Override Connections Grave Accent (`) Temporarily override clip connections for the selection Overwrite D Overwrite at the skimmer or playhead position Overwrite - Backtimed Shift-D Overwrite from the skimmer or playhead position back Overwrite to Primary Storyline Command-Option-Down Arrow Overwrite at the skimmer or playhead position in the primary storyline Paste as Connected Option-V Paste the selection and connect it to the primary storyline Paste Insert at Playhead Command-V Insert the Clipboard contents at the skimmer or playhead position Previous Angle Shift-Control-Left Arrow Switch to the previous angle in the multicam clipChapter 17 Keyboard shortcuts and gestures 442 Command Shortcut Action Previous Audio Angle Shift-Option-Left Arrow Switch to the previous audio angle in the multicam clip Previous Pick Control-Left Arrow Select the previous clip in the Audition window, making it the audition pick Previous Video Angle Command-Shift-Left Arrow Switch to the previous video angle in the multicam clip Raise Volume 1 dB Control-Equal Sign (=) Raise the audio volume by 1 dB Replace Shift-R Replace the selected clip in the Timeline with the Event Browser selection Replace from Start Option-R Replace the selected clip in the Timeline with the Event Browser selection, starting from its start point Replace with Gap Shift-Delete Replace the selected Timeline clip with a gap clip Select All Command-A Select all clips Select Clip C Select the clip under the pointer in the Timeline Select Left Audio Edge Shift-Left Bracket ([) For audio/video clips in expanded view, select the left edge of the audio edit point Select Left Edge Left Bracket ([) Select the left edge of the edit point Select Left and Right Audio Edit Edges Shift-Backslash (\) For audio/video clips in expanded view, select the left and right edges of the audio edit point Select Left and Right Edit Edges Backslash (\) Select the left and right edges of the edit point Select Next Angle Shift-Control-Right Arrow Switch to the next angle in the multicam clip Select Next Audio Angle Shift-Option-Right Arrow Switch to the next audio angle in the multicam clip Select Next Pick Control-Right Arrow Select the next clip in the Audition window, making it the audition pick Select Next Video Angle Command-Shift-Right Arrow Switch to the next video angle in the multicam clip Select Right Audio Edge Shift-Right Bracket (]) For audio/video clips in expanded view, select the right edge of the audio edit point Select Right Edge Right Bracket (]) Select the right edge of the edit point Set Additional Selection End Command-Shift-O Set an additional range selection end point at the playhead or skimmer locationChapter 17 Keyboard shortcuts and gestures 443 Command Shortcut Action Set Additional Selection Start Command-Shift-I Set an additional range selection start point at the playhead or skimmer location Show/Hide Precision Editor Control-E When an edit point is selected, show or hide the Precision Editor Snapping N Turn snapping on or off Solo Option-S Solo the selected items in the Timeline Source Media: Audio & Video Shift-1 Turn on audio/video mode to add the video and audio portion of your selection to the Timeline Source Media: Audio Only Shift-3 Turn on audio-only mode to add the audio portion of your selection to the Timeline Source Media: Video Only Shift-2 Turn on video-only mode to add the video portion of your selection to the Timeline Switch to Viewer Angle 1 Option-1 Switch the multicam clip to angle 1 of the current bank Switch to Viewer Angle 2 Option-2 Switch the multicam clip to angle 2 of the current bank Switch to Viewer Angle 3 Option-3 Switch the multicam clip to angle 3 of the current bank Switch to Viewer Angle 4 Option-4 Switch the multicam clip to angle 4 of the current bank Switch to Viewer Angle 5 Option-5 Switch the multicam clip to angle 5 of the current bank Switch to Viewer Angle 6 Option-6 Switch the multicam clip to angle 6 of the current bank Switch to Viewer Angle 7 Option-7 Switch the multicam clip to angle 7 of the current bank Switch to Viewer Angle 8 Option-8 Switch the multicam clip to angle 8 of the current bank Switch to Viewer Angle 9 Option-9 Switch the multicam clip to angle 9 of the current bank Toggle Storyline Mode G Turn on or turn off the ability to build storylines when dragging clips in the Timeline Trim End Option-Right Bracket (]) Trim the end of the selected or topmost clip to the skimmer or playhead position Trim Start Option-Left Bracket ([) Trim the clip start point to the skimmer or playhead position Trim to Selection Option-Backslash (\) Trim clip start and end points to the range selectionChapter 17 Keyboard shortcuts and gestures 444 Effects Command Shortcut Action Add Basic Lower Third Shift-Control-T Connect a basic lower-third title to the primary storyline Add Basic Title Control-T Connect a basic title to the primary storyline Add Default Transition Command-T Add the default transition to the selection Color Board: Reset Current Board Controls Option-Delete Reset the controls in the current Color Board pane Color Board: Switch to the Color Pane Command-Control-C Switch to the Color pane in the Color Board Color Board: Switch to the Exposure Pane Command-Control-E Switch to the Exposure pane in the Color Board Color Board: Switch to the Saturation Pane Command-Control-S Switch to the Saturation pane in the Color Board Copy Effects Command-Option-C Copy the selected effects and their settings Enable/Disable Balance Color Command-Option-B Turn Balance Color corrections on or off Match Audio Command-Shift-M Match the sound between clips Match Color Command-Option-M Match color between clips Next Text Option-Tab Navigate to the next text item Paste Attributes Command-Shift-V Paste selected attributes and their settings to the selection Paste Effects Command-Option-V Paste effects and their settings to the selection Previous Text Shift-Option-Tab Navigate to the previous text item Retime Editor Command-R Show or hide the Retime Editor Retime: Create Normal Speed Segment Shift-N Set the selection to play at normal (100 percent) speed Retime: Hold Shift-H Create a 2-second hold segment Retime: Reset Command-Option-R Reset the selection to play forward at normal (100 percent) speed Solo Animation Shift-Control-V Show one effect at a time in the Video Animation EditorChapter 17 Keyboard shortcuts and gestures 445 General Command Shortcut Action Delete Delete Delete the Timeline selection, reject the Event Browser selection, or remove a multicam through edit Find Command-F Show or hide the Filter window (in the Event Browser) or the Timeline Index (in the Timeline) Go to Event Viewer Command-Option-3 Make the Event Viewer active Import Media Command-I Import media from a device, a camera, or an archive Move to Trash Command-Delete Move the selection to the Finder Trash New Project Command-N Create a new project Project Properties Command-J Open the Properties inspector for the current project Render All Shift-Control-R Start all rendering tasks for the current project Render Selection Control-R Start rendering tasks for the selection Reveal in Finder Command-Shift-R Reveal the selected event clip’s source media file in the Finder Marking Command Shortcut Action Add Marker M Add a marker at the location of the skimmer or playhead Add Marker and Modify Option-M Add a marker and edit the marker’s text Apply Keyword Tag 1 Control-1 Apply keyword 1 to the selection Apply Keyword Tag 2 Control-2 Apply keyword 2 to the selection Apply Keyword Tag 3 Control-3 Apply keyword 3 to the selection Apply Keyword Tag 4 Control-4 Apply keyword 4 to the selection Apply Keyword Tag 5 Control-5 Apply keyword 5 to the selection Apply Keyword Tag 6 Control-6 Apply keyword 6 to the selection Apply Keyword Tag 7 Control-7 Apply keyword 7 to the selection Apply Keyword Tag 8 Control-8 Apply keyword 8 to the selection Apply Keyword Tag 9 Control-9 Apply keyword 9 to the selection Clear Selected Ranges Option-X Clear the range selection Clear Range End Option-O Clear the range’s end point Clear Range Start Option-I Clear the range’s start point Delete Marker Control-M Delete the selected marker Delete Markers in Selection Shift-Control-M Delete all of the markers in the selectionChapter 17 Keyboard shortcuts and gestures 446 Command Shortcut Action Deselect All Command-Shift-A Deselect all selected items Favorite F Rate the Event Browser selection as Favorite New Keyword Collection Command-Shift-K Create a new Keyword Collection New Smart Collection Command-Option-N Create a new Smart Collection Range Selection Tool R Make the Range Selection tool active Remove All Keywords From Selection Control-0 Remove all keywords from the Event Browser selection Roles: Apply Dialogue Role Option-Control-D Apply the Dialogue role to the selected clip Roles: Apply Effects Role Option-Control-E Apply the Effects role to the selected clip Roles: Apply Music Role Option-Control-M Apply the Music role to the selected clip Roles: Apply Titles Role Option-Control-T Apply the Titles role to the selected clip Roles: Apply Video Role Option-Control-V Apply the Video role to the selected clip Select All Command-A Select all clips Select Clip Range X Set the range selection to match the boundaries of the clip below the skimmer or playhead Set Additional Range End Command-Shift-O Set an additional range selection end point at the playhead or skimmer location Set Additional Range Start Command-Shift-I Set an additional range selection start point at the playhead or skimmer location Set Range End O Set the end point for the range Set Range End Control-O Set the end point for the range while editing a text field Set Range Start I Set the start point for the range Set Range Start Control-I Set the start point for the range while editing a text field Unrate U Remove ratings from the selection Organization Command Shortcut Action New Event Option-N Create a new event New Folder Command-Shift-N Create a new folder Reveal in Event Browser Shift-F Reveal the selected clip in the Event Browser Synchronize Clips Command-Option-G Synchronize the selected event clipsChapter 17 Keyboard shortcuts and gestures 447 Playback/Navigation Command Shortcut Action Audio Skimming Shift-S Turn audio skimming on or off Audition: Preview Command-Control-Y Play the pick in context in the Timeline Clip Skimming Command-Option-S Turn clip skimming on or off Cut/Switch Multicam Audio Only Shift-Option-3 Turn on audio-only mode for multicam cutting and switching Cut/Switch Multicam Audio and Video Shift-Option-1 Turn on audio/video mode for multicam cutting and switching Cut/Switch Multicam Video Only Shift-Option-2 Turn on video-only mode for multicam cutting and switching Down Down Arrow Go to the next item (in the Event Browser) or the next edit point (in the Timeline) Down Control-Down Arrow While editing a text field, go to the next item (in the Event Browser) or the next edit point (in the Timeline) Go Back 10 Frames Shift-Left Arrow Move the playhead back 10 frames Go Forward 10 Frames Shift-Right Arrow Move the playhead forward 10 frames Go to Beginning Home button Move the playhead to the beginning of the Timeline or the first clip in the Event Browser Go to Next Bank Shift-Option-Apostrophe (’) Display the next bank of angles in the current multicam clip Go to Next Edit Apostrophe (’) Move the playhead to the next edit point in the Timeline Go to Next Field Option-Right Arrow Move the playhead to the next field in an interlaced clip Go to Next Frame Right Arrow Move the playhead to the next frame Go to Next Subframe Command-Right Arrow Move the playhead to the next audio subframe Go to Previous Bank Shift-Option-Semicolon (;) Display the previous bank of angles in the current multicam clip Go to Previous Edit Semicolon (;) Move the playhead to the previous edit point in the Timeline Go to Previous Field Option-Left Arrow Move the playhead to the previous field in an interlaced clip Go to Previous Frame Left Arrow Move the playhead to the previous frame Go to Previous Subframe Command-Left Arrow Move the playhead to the previous audio subframe Go to Range End Shift-O Move the playhead to the end of the range selectionChapter 17 Keyboard shortcuts and gestures 448 Command Shortcut Action Go to Range Start Shift-I Move the playhead to the beginning of the range selection Loop Playback Command-L Turn looped playback on or off Monitor Audio Shift-A Turn on or turn off audio monitoring for the angle being skimmed Negative Timecode Entry Hyphen (-) Enter a negative timecode value to move the playhead back, move a clip earlier, or trim a range or clip, depending on your selection Next Clip Command-Control-Right Arrow Go to the next item (in the Event Browser) or the next edit point (in the Timeline) Next Marker Control-Apostrophe (’) Move the playhead to the next marker Play Around Shift-Question Mark (?) Play around the playhead position Play Forward L Play forward (press L multiple times to increase the playback speed) Play Forward Control-L Play forward while editing a text field (press L multiple times to increase the playback speed) Play from Playhead Option-Space bar Play from the playhead position Play Full Screen Command-Shift-F Play full screen from the skimmer or playhead position Play Reverse J Play in reverse (press J multiple times to increase the reverse playback speed) Play Reverse Control-J Play in reverse while editing a text field (press J multiple times to increase the reverse playback speed) Play Reverse Shift-Space bar Play in reverse Play Selection Slash (/) Play the selection Play to End Shift-Control-O Play from the playhead to the end of the selection Play/Pause Space bar Start or pause playback Play/Pause Control-Space bar Start or pause playback while editing a text field Positive Timecode Entry Equal Sign (=) Enter a positive timecode value to move the playhead forward, move a clip later, or trim a range or clip, depending on your selection Previous Clip Command-Control-Left Arrow Go to the previous item (in the Event Browser) or the previous edit point (in the Timeline) Previous Marker Control-Semicolon (;) Move the playhead to the previous markerChapter 17 Keyboard shortcuts and gestures 449 Command Shortcut Action Set Monitoring Angle Shift-V Set the angle being skimmed as the monitoring angle Skimming S Turn skimming on or off Stop K Stop playback Stop Control-K Stop playback while editing a text field Timeline History Back Command-Left Bracket ([) Go back one level in the Timeline history Timeline History Forward Command-Right Bracket (]) Go forward one level in the Timeline history Up Up Arrow Go to the previous item (in the Event Browser) or the previous edit point (in the Timeline) Up Control-Up Arrow While editing a text field, go to the previous item (in the Event Browser) or the previous edit point (in the Timeline) Share and Tools Command Shortcut Action Share to Default Destination Command-E Share the selected project or clip using the default destination Select (Arrow) Tool A Make the Select tool active Blade Tool B Make the Blade tool active Crop Tool Shift-C Make the Crop tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Distort Tool Command-Shift-D Make the Distort tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Hand Tool H Make the Hand tool active Position Tool P Make the Position tool active Transform Tool Shift-T Make the Transform tool active and display onscreen controls for the selected clip or the topmost clip under the playhead Trim Tool T Make the Trim tool active Zoom Tool Z Make the Zoom tool activeChapter 17 Keyboard shortcuts and gestures 450 View Command Shortcut Action Clip Appearance: Clip Labels Only Option-Control-6 Depending on the clip name setting, display Timeline clips with clip names, role names, or active angle names only Clip Appearance: Decrease Waveform Size Option-Control-Down Arrow Decrease the size of audio waveforms for Timeline clips Clip Appearance: Filmstrips Only Option-Control-5 Display Timeline clips with large filmstrips only Clip Appearance: Increase Waveform Size Option-Control-Up Arrow Increase the size of audio waveforms for Timeline clips Clip Appearance: Large Filmstrips Option-Control-4 Display Timeline clips with small audio waveforms and l arge filmstrips Clip Appearance: Large Waveforms Option-Control-2 Display Timeline clips with large audio waveforms and small filmstrips Clip Appearance: Waveforms and Filmstrips Option-Control-3 Display Timeline clips with audio waveforms and video filmstrips of equal size Clip Appearance: Waveforms Only Option-Control-1 Display Timeline clips with large audio waveforms only Decrease Clip Height Command-Shift-Hyphen (-) Decrease the Event Browser clip height Increase Clip Height Command-Shift-Equal Sign (=) Increase the Event Browser clip height Show Fewer Filmstrip Frames Command-Shift-Comma (,) Show fewer filmstrip frames in Event Browser clips Show/Hide Audio Animation Control-A Show or hide the Audio Animation Editor for the selected clips Show/Hide Skimmer Info Control-Y Show or hide clip information when skimming in the Event Browser Show/Hide Video Animation Control-V Show or hide the Video Animation Editor for the selected Timeline clips Show More Filmstrip Frames Command-Shift-Period (.) Show more filmstrip frames in Event Browser clips Show One Frame per Filmstrip Command-Shift-Option-Comma (,) Show one frame per filmstrip View Clip Names Shift-Option-N Show or hide clip names in the Event Browser View Event Browser as Filmstrip Command-Option-1 Switch the Event Browser to filmstrip view View Event Browser as List Command-Option-2 Switch the Event Browser to list view Zoom In Command-Equal Sign (=) Zoom in to the Timeline, Event Browser, or ViewerChapter 17 Keyboard shortcuts and gestures 451 Command Shortcut Action Zoom Out Command-Hyphen (-) Zoom out of the Timeline, Event Browser, or Viewer Zoom to Fit Shift-Z Zoom the contents to fit the size of the Event Browser, Viewer, or Timeline Zoom to Samples Control-Z Turn zooming in to audio samples on or off Windows Command Shortcut Action Background Tasks Command-9 Show or hide the Background Tasks window Go to Audio Enhancements Command-8 Make the Audio Enhancements inspector active Go to Color Board Command-6 Make the Color Board active Go to Event Browser Command-1 Make the Event Browser active Go to Inspector Command-Option-4 Make the current inspector active Go to Timeline Command-2 Make the Timeline active Go to Viewer Command-3 Make the Viewer active Next Tab Control-Tab Go to the next pane in the Inspector or the Color Board Previous Tab Shift-Control-Tab Go to the previous pane in the Inspector or the Color Board Show Histogram Command-Control-H Show the Histogram in the Viewer Show Vectorscope Command-Control-V Show the Vectorscope in the Viewer Show Video Waveform Command-Control-W Show the Waveform Monitor in the Viewer Show/Hide Angles Command-Shift-7 Show or hide the Angle Viewer Show/Hide Audio Meters Command-Shift-8 Show or hide the Audio meters Show/Hide Effects Browser Command-5 Show or hide the Effects Browser Show/Hide Event Library Command-Shift-1 Show or hide the Event Library Show/Hide Event Viewer Command-Control-3 Show or hide the Event Viewer Show/Hide Inspector Command-4 Show or hide the Inspector pane Show/Hide Keyword Editor Command-K Show or hide the Keyword Editor Show/Hide Project Library Command-0 Show or hide the Project Library Show/Hide Timeline Index Command-Shift-2 Show or hide the Timeline Index for the open project Show/Hide Video Scopes Command-7 Show or hide the video scopes in the ViewerChapter 17 Keyboard shortcuts and gestures 452 Multi-Touch gestures If your computer has a Multi-Touch trackpad, you can use the Multi-Touch gestures listed in the table below when working with Final Cut Pro. For more information about Multi-Touch gestures, see the documentation that came with your computer. Gesture Action Scroll (two-finger): Moves the Timeline left, right, up, or down. Scroll (three-finger): Swipe up to move the playhead to the beginning of the Timeline. Swipe down to move the playhead to the end of the Timeline. Swipe left or right to move the playhead left or right. Customize keyboard shortcuts View keyboard shortcuts in the Command Editor Final Cut Pro provides a wide variety of menu commands and keyboard shortcuts that let you control almost every aspect of your project, from playback to displaying windows and inspectors to working with tools. You can use the Command Editor to modify existing shortcuts, create new shortcuts, and save multiple sets of keyboard shortcuts that you can export for others to use. You can also import a set of shortcuts that someone else created. And if you’re more familiar with keyboard shortcuts from other applications, you can use the Command Editor to substitute those shortcuts in place of the default set for Final Cut Pro. The Command Editor provides a set of keyboard shortcuts for Final Cut Pro in English, Japanese, French, and German. The language that is shown is determined by your computer’s operating system. To learn how to change the language used by Final Cut Pro, see OS X Help, available from the Help menu when the Finder is active. View keyboard shortcuts 1 Choose Final Cut Pro > Commands > Customize (or press Command-Option-K). The Command Editor appears.Chapter 17 Keyboard shortcuts and gestures 453 2 To find keyboard shortcuts in the Command Editor, do any of the following: • Click one or more keys on the virtual keyboard (or click one of the four modifier buttons at the top of the Command Editor). The Command groups associated with the selected key or keys appear in the bottom-left corner of the window, and a list of all the keyboard shortcuts associated with the key you selected appears in the bottom-right corner of the window. Select a key to see the Command groups associated with the key. When you hold down any modifier buttons on the keyboard, the key colors update. Key colors correspond with command classifications; for example, playback commands, such as Play/ Pause (Space bar), are blue. The Command Groups window on the left side of the Command List contains a clickable color key for reference. • Enter a command name, description keywords, or a key name in the search field at the topright corner of the window. The commands that match the search term are listed in the Command List at the bottom of the window. Tip: To show the keys that correspond with the items in the Command List, click the Keyboard Highlight button to the left of the search field.Chapter 17 Keyboard shortcuts and gestures 454 Click any command in the list to view its details in the Command Detail area in the bottomright corner of the window. Commands located by the search Enter a term to search for here. • Click a Command group to quickly filter the Command List to display only the commands and keyboard shortcuts in that group. Click any command in the list to view its details in the Command Detail area in the bottomright corner of the window. Click a Command group to quickly filter the Command List.Chapter 17 Keyboard shortcuts and gestures 455 View shortcuts from a different command set If your system has multiple command sets, you can easily switch between them. For more information, see Export and import command sets in the Command Editor on page 456. Do one of the following: m Choose Final Cut Pro > Commands, and then choose a command set from the submenu. The Command Editor window appears, showing the command set you chose. m If you’ve already opened the Command Editor, choose a command set from the pop-up menu at the top-left corner of the window. Command sets are listed in the bottom of the pop-up menu. Modify keyboard shortcuts in the Command Editor You can quickly and easily customize keyboard shortcuts in the Command Editor. If you want to add a few custom commands to the default set in Final Cut Pro, you can duplicate the default set and assign keyboard shortcuts to some of the unassigned commands. You can also create a new set that contains only your commands. Duplicate a command set 1 Choose Final Cut Pro > Commands > Customize (or press Command-Option-K). 2 If the command set that you want to duplicate is not shown, choose a different command set from the pop-up menu in the top-left corner of the Command Editor. 3 Choose Duplicate from the pop-up menu. 4 In the window that appears, type a name for the command set, and click OK. The duplicate set is added to the Command submenu of the Final Cut Pro menu and to the pop-up menu in the Command Editor. Modify a command set You can add keyboard shortcuts to a command set or reassign keyboard shortcuts. 1 Choose Final Cut Pro > Commands > Customize (or press Command-Option-K). 2 If the command set that you want to modify is not shown, select a different different command set from the pop-up menu at the top of the Command Editor. 3 Select the command to which you want to assign a new keyboard shortcut by doing one of the following: • Type a command name in the search field at the top-right corner of the Command Editor window. • Browse the command list to find the command you want.Chapter 17 Keyboard shortcuts and gestures 456 4 Press the combination of keys you want to use for the command (for example, Shift-Option-T, or any other keys). Note: Keys on the Command Editor virtual keyboard that are shaded with diagonal lines are reserved for system use and cannot be assigned. If the key combination is not already assigned to a command, the virtual keyboard updates to show the new key assignment. A gray dot appears on a newly assigned key (or keys), and a color is applied if the command belongs to a color-coded Command group. If the key combination is already assigned to a command, Final Cut Pro displays the current setting, and prompts you to confirm the change. 5 To save your changes to the command set, click the Save button in the lower-right corner of the Command Editor. If you close the Command Editor with unsaved changes, Final Cut Pro prompts you to save your changes. Delete a command set 1 Choose Final Cut Pro > Commands > Customize (or press Command-Option-K). 2 If the command set that you want to delete is not shown, select a different command set from the pop-up menu at the top of the Command Editor. 3 Choose Delete from the pop-up menu in the top-left corner of the Command Editor. 4 In the window that appears, click Delete. The command set is removed. Export and import command sets in the Command Editor After you save a command set, you may want to export it to create a backup or to share the new set with another user. Exported command sets are saved in a file that can be imported back into Final Cut Pro at a later time. Export a set of custom keyboard shortcuts 1 Choose Final Cut Pro > Commands > Customize (or press Command-Option-K). 2 If the command set that you want to export is not shown, select a different command set from the pop-up menu at the top of the Command Editor. 3 Do one of the following: • Choose Final Cut Pro > Commands > Export. • Choose Export from the pop-up menu in the top-left corner of the Command Editor. 4 Type a name for the exported command set in the Save As field, and navigate to the location where you want to save the exported set and click Save. The file is saved in the location you chose, with the filename extension .commandset.Chapter 17 Keyboard shortcuts and gestures 457 Import a command set 1 Do one of the following: • Choose Final Cut Pro > Commands > Import. • Open the Command Editor by choosing Final Cut Pro > Commands > Customize, and choose Import from the pop-up menu in the upper-left corner of the Command Editor. 2 In the window that appears, navigate to the location where you’ve stored a command set file, select it, and click Open. If you’re already using a command set with the same name, a window appears and prompts you to rename the command set. The new command set is added to the Commands submenu of the Final Cut Pro menu and to the pop-up menu in the Command Editor.458 4:3 The aspect ratio for standard-definition (SD) broadcast video. The ratio of the width to the height of the visible area of the video frame is 4:3, or 1.33. See also standard-definition (SD). 16:9 A widescreen aspect ratio for video. The ratio of the width to the height of the visible area of the video frame is 16:9, or 1.78. The 16:9 aspect ratio is used for high-definition video. See also high-definition (HD). AAC (Advanced Audio Coding) Also called MPEG-4 Audio. A standard way of compressing and encoding digital audio. AAC-encoded files rival the quality of audio CDs and generally sound as good as or better than MP3 files encoded at the same or even a higher bit rate. AC3 (Audio Codec 3, Advanced Codec 3, Acoustic Coder 3) A Dolby Digital compressed audio format often used for encoding surround sound. AIFF (Audio Interchange File Format) A cross-platform audio file format developed by Apple. Like WAV files, AIFF files contain “chunks” of information such as the Sound Data Chunk, which contains the actual sample data, and the Common Chunk, which contains sample rate and bit depth information. alpha channel An image channel in addition to the R, G, and B color channels that is used to store transparency information for compositing. Alpha channels are often 8-bit, but some applications support 16-bit alpha channels. In Final Cut Pro, black represents 100 percent transparency, and white represents 100 percent opacity. Only certain formats, such as Targa, TIFF, PNG, PSD, Apple ProRes 4444, and the QuickTime Animation codec, support alpha channels. See also compositing, RGB. Angle Editor You can open multicam clips in the Angle Editor to adjust the synchronization and the angle order, or to add or delete angles. You can also use the Angle Editor to make edits to the individual clips inside a multicam clip (such as trimming, making color corrections, adding transitions, and so on). See also multicam clip. Angle Viewer A viewer used to watch all angles of a multicam clip simultaneously while switching or cutting to different angles in real time. You can cut and switch video and audio at the same time or independently. For example, you can use the audio from angle 1 while switching the video between angles 1 to 4. See also multicam clip. Animation Editors See Audio Animation Editor, Video Animation Editor. Apple ProRes The Apple ProRes codecs provide an unparalleled combination of multistream, real-time editing performance coupled with impressive image quality at reduced storage rates. In particular, the Apple ProRes codecs have been designed to work especially well as high-quality, high-performance editing codecs for Final Cut Pro, taking full advantage of multicore processing and featuring fast, reduced-resolution decoding modes. All members of the Apple ProRes codec family support any frame size (including SD, HD, 2K, and 4K) at full resolution. The data rate of Apple ProRes varies based on codec type, image content, frame size, and frame rate. GlossaryGlossary 459 Apple ProRes 4444 This Apple ProRes codec offers the best quality for 4:4:4:4 sources and for workflows involving alpha channels. It features full-resolution, mastering-quality 4:4:4:4 RGBA color, perceptually indistinguishable from the original material with excellent multigeneration performance. It also features a mathematically lossless alpha channel (up to 16 bits) with real-time playback, a high-quality solution for storing and exchanging motion graphics and composites, and direct encoding of, and decoding to, both RGB and Y'CbCr pixel formats. This codec has a remarkably low data rate compared to uncompressed 4:4:4 HD (the target data rate is approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps). See also Apple ProRes. Apple ProRes 422 (HQ) This Apple ProRes codec preserves visual quality at the same high level as Apple ProRes 4444, but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 (HQ) offers visually lossless preservation of the highest-quality professional HD video that a (single-link) HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate of Apple ProRes 422 (HQ) is approximately 220 Mbps at 1920 x 1080 and 29.97 fps. See also Apple ProRes. Apple ProRes 422 This Apple ProRes codec offers nearly all the benefits of Apple ProRes 422 (HQ), but at 66 percent of the data rate for even better multistream, real-time editing performance. See also Apple ProRes. Apple ProRes 422 (LT) With a target data rate that is roughly 70 percent of the data rate of Apple ProRes 422 and 30 percent smaller file sizes than Apple ProRes 422, this Apple ProRes codec is perfect for environments where storage capacity and bandwidth are at a premium. See also Apple ProRes. Apple ProRes 422 (Proxy) This Apple ProRes codec is intended for use in offline workflows that require low data rates but full-resolution video. The target data rate is roughly 30 percent of the data rate of Apple ProRes 422. See also Apple ProRes. aspect ratio A film or video frame’s width-to-height ratio on any viewing screen. Standarddefinition (SD) video (used for regular television screens) has an aspect ratio of 4:3. Highdefinition (HD) video has an aspect ratio of 16:9. Audio Animation Editor You can show the Audio Animation Editor for clips in the Timeline to adjust effect parameters, create fade-ins or fade-outs, or change effects over time using keyframes. audio components Audio files can contain a single audio channel or multiple audio channels. Final Cut Pro automatically groups audio channels into audio components according to how the channels are configured for the clip. In Final Cut Pro, you can expand the audio portion of clips to view and edit audio components down to the individual channel level. audio sample rate The number of times an audio signal is measured, or sampled, per second. A higher sample rate produces higher-quality audio and larger file sizes, and a lower sample rate produces lower-quality audio and smaller file sizes. Audio Units The standard real-time audio filter format for audio applications used withOS X. audio waveforms Audio waveforms are visual representations of the actual sound. An audio waveform’s amplitude and length change according to the underlying sound’s volume and duration. A short, loud sound such as a drum beat has a sharp, peaked waveform, whereas lowlevel crowd noise has a lower, more uniform waveform. These properties make it easier to find specific edit points when trimming clips or keyframing effects.Glossary 460 audition In Final Cut Pro you can organize related clips into sets, called auditions, from which you can choose one clip to use. You can create an audition composed of different clips to try out multiple takes, or you can create an audition composed of multiple versions of the same clip to preview different effects. Auditions appear in the Event Browser and Timeline as clips with an Audition icon in the upper-left corner. automatic audio sync The “Use audio for synchronization” option in the multicam clip creation process makes precision sync adjustments using audio waveforms in the angles of a multicam clip. This is the same audio sync technology that you can use to automatically analyze and sync clips together into a compound clip. AVCHD A high-definition (HD) video format that uses Advanced Video Coding (AVC) compression (also known as MPEG-4 part 10 or H.264). Many Blu-ray players can play red laser discs with AVCHD format content, making this a common way to distribute short HD video projects using a standard red laser disc. Background Tasks window The Background Tasks window shows the progress of importing, transcoding, analysis, rendering, sharing, and other tasks. batch Compressor uses a batch to contain one or more source media files that you want to convert, or transcode, to another format. Each source media file creates its own job. This means that a batch can contain multiple jobs, with each job based on its own source media file. Each job also has at least one setting that defines the format of the transcoded file. bit rate The number of bits per second that makes up a digital video or audio asset. The higher the bit rate, the better the quality. However, higher bit rates require larger file sizes. Blade tool The editing tool that allows you to cut clips in the Timeline. You can select the Blade tool by pressing the B key. blue laser media Blu-ray burners and players use a blue laser when working with Blu-ray media. The blue color has a shorter wavelength, making it possible to store more data on a disc when compared to red lasers. blue or green screening See chroma key. broadcast-safe Broadcast facilities have limits on the maximum values of luma and chroma that are allowable for broadcast. If a video exceeds these limits, distortion can appear, resulting in unacceptable transmission quality. You can use the Final Cut Pro video scopes to make sure that the luma and chroma levels you set stay within acceptable limits. B-roll A term used to describe alternate footage shot to intercut with the primary shots used in a program. B-roll is frequently used for cutaway shots. BWF (Broadcast Wave Format) An extension of the WAV file format that includes additional metadata such as timecode and production information. CAF (Core Audio Format) Apple’s Core Audio Format (CAF) is a flexible file format for storing and manipulating digital audio data. It is fully supported by Core Audio APIs on Mac OS X v10.4 and later and on Mac OS X v10.3 with QuickTime 7 or later. CAF provides high performance and flexibility, and is scalable to future ultra high-resolution audio recording, editing, and playback. chroma The color information contained in a video signal, consisting of hue, which represents the color itself, and saturation, which represents the intensity of the color.Glossary 461 chroma key A special effects technique that allows you to derive an alpha channel or matte from the blue or green background of a video clip in order to make it transparent for the purpose of compositing it against other clips. Blue-screen technology is what makes weather forecasters appear to be standing against an animated map, when in reality they’re standing in front of a blue wall. Also known as blue or green screening. See also alpha channel. clip The term used to describe a video or audio asset, especially after it has been imported into Final Cut Pro. Clips appear in the Event Browser, the Timeline, and the media browsers. Clips in Final Cut Pro point to (link to) source media files stored on a disk. When you modify a clip, you are not modifying the media file, just the clip’s information in Final Cut Pro. (This is known as nondestructive editing.) clipping Distortion occurring during the playback or recording of digital audio because of a signal that exceeds the maximum sample value of 0 dBFS. clip selection A selection of whole clips in the Event Browser or the Timeline. In contrast to a range selection, a clip selection is limited to clip boundaries. You cannot adjust a clip selection to include portions of clips. However, you can add or remove whole clips. codec Short for compressor/decompressor, or encode/decode. A software component used to translate video or audio from its current form to the digital compressed form in which it is stored on a computer’s hard disk. DV, Photo JPEG, and Apple ProRes are common QuickTime video codecs. color balance Refers to the mix of red, green, and blue in a clip. In Final Cut Pro, you can adjust the color balance of the highlights (bright areas), midtones, or shadows (dark areas) of your clip using the Color Board. color bars A standard color test signal displayed as columns, often accompanied by a reference audio tone. Color bars are used to adjust the video signal of the incoming source to maintain proper color from import through output. Color Board The Color Board allows you to manually adjust a clip’s color properties. It contains separate panes for adding or subtracting a color tint, controlling the intensity of the color, and controlling the brightness of the video. In addition to an overall control, each pane has individual controls for the highlight, midtone, and shadow areas of the image. color cast An unwanted color tint in the image, usually caused by lighting issues. color correction A process in which the color of clips used in an edited program is evened out so that all shots in a given scene match. Color correction is generally one of the last steps in finishing an edited program. The color correction tools in Final Cut Pro give you precise control over the look of every clip in your project by allowing you to adjust the color balance, black levels, midtones, and white levels of individual clips. color difference In video formats that store color information in the Y'CbCr color space, color channels are derived by subtracting Y (luma) from the R (red) and B (blue) signals and are sometimes referred to generally as B-Y and R-Y. See also Y'CbCr. compositing A process in which two or more images are combined into a single frame. This term can also describe the process of creating various video effects.Glossary 462 compound clip You can use compound clips to group any combination of clips in the Timeline or the Event Browser, and nest clips within other clips. You can open any compound clip, edit its contents in the Timeline, and then close it. Compound clips can contain video and audio clip components, clips, and other compound clips. Effectively, each compound clip can be considered a mini project, with its own distinct project settings. Compound clips function just like other clips: you can add them to your project, trim them, retime them, and add effects and transitions. compression The process by which video, graphics, and audio files are reduced in size. “Lossy” compression refers to a process of reducing video file sizes through the removal of redundant or less noticeable image data. Lossless compression reduces file sizes by mathematically consolidating redundant image data without discarding it. connected clip Connected clips are attached to clips in the primary storyline in the Timeline. They are useful for cutaway shots, superimposed or composited images, and sound effects. Connected clips remain attached and synchronized until you explicitly move or remove them. A sequence of connected clips is a storyline. contrast The difference between the lightest and darkest values in an image. High-contrast images have a large range of values from the darkest shadow to the lightest highlight. Lowcontrast images have a more narrow range of values, resulting in a “flatter” look. cross dissolve A common type of video transition, in which the first shot fades out while the second shot simultaneously fades in. During the cross dissolve, the two shots are superimposed as they fade. crossfade A common type of audio transition, in which the first shot’s audio fades down while the second shot’s audio simultaneously fades up. During the crossfade, audio from both shots is heard. cut An edit in which one clip immediately follows another, with no transition effect. This is the simplest type of edit. cutaway shot A shot that is related to the current subject and occurs in the same time frame (for example, an interviewer’s reaction to what is being said in an interview). Often, a cutaway shot is used to eliminate an unwanted visual section of another shot. The audio usually remains continuous during the cutaway, helping to make the edit less noticeable. Dashboard The Dashboard appears in the center of the toolbar and provides a timecode display as well as icons showing audio levels and the status of background tasks. data rate The speed at which data can be transferred, often described in megabytes per second (MB/sec.) or megabits per second (Mbps). The higher a video file’s data rate, the higher quality it is, but the more system resources (processor speed, hard disk space, and performance) it requires. Some codecs allow you to specify a maximum data rate for a movie during capture. decibel (dB) Unit of measurement for sound levels; a logarithmic scale used to describe the loudness of sound as perceived by the human ear. (1 dB corresponds to approximately the smallest volume change that the average human ear can perceive.) For digital audio, dBFS is the standard decibel unit of sound level measurement.Glossary 463 destination A set of preconfigured export settings that you can use to share a project or clip from Final Cut Pro. Destinations make it easy to export your movie for viewing on Apple devices such as iPad and iPhone, publish your movie to websites such as YouTube or Facebook, or burn your movie to a disc. Final Cut Pro comes with a variety of destinations, and you can also modify destinations and create new destinations. You add and modify destinations in the Destinations pane of Final Cut Pro preferences. Disk Utility Disk Utility is an Apple application that performs disk-related tasks inOS X. It’s located in the Utilities folder inside the Applications folder. downmixing The process used to combine multiple audio channels into a single stereo (or dual mono) pair. Also referred to as mixing down. drop frame timecode NTSC timecode that skips ahead in time by two frame numbers each minute, except every tenth minute, so that the timecode agrees with the actual elapsed clock time. (Timecode numbers are skipped, but actual video frames are not skipped.) This skipping corrects for NTSC’s actual frame rate of 29.97 fps, which causes non-drop frame timecode to lag behind actual elapsed time by 3 seconds and 18 frames per hour. To avoid confusion, drop frame timecode should be avoided in film-based productions. See also non-drop frame timecode. drop shadow An effect that creates an artificial shadow behind an image. Typically used with graphics and text. DV A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal with 4:1:1 color sampling (PAL uses 4:2:0). Supports two tracks of audio with 16-bit, 48 kHz audio sampling, or four tracks of audio with 12-bit, 32 kHz audio sampling. DVCAM A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal with 4:1:1 color sampling (PAL uses 4:2:0). Supports two tracks of audio with 16-bit, 48 kHz audio sampling, or four tracks of audio with 12-bit, 32 kHz audio sampling. DVCPRO A standard-definition (SD) digital videotape recorder format that records an 8-bit, 5:1 compressed component video signal using 4:1:1 color sampling (PAL uses 4:2:0). Supports two tracks of audio with 16-bit, 48 kHz audio sampling. DVCPRO 50 A standard-definition (SD) digital videotape recorder format that records an 8-bit, 3.3:1 compressed component video signal with 4:2:2 color sampling. Supports four tracks of audio with 16-bit, 48 kHz audio sampling. DVCPRO HD A high-definition (HD) video format that records an 8-bit, compressed component video signal with 4:2:2 color sampling. Both 720p and 1080i are supported. Includes up to eight tracks of audio with 16-bit, 48 kHz audio sampling. The total data rate is 115 Mbps. DVD A disc that is the size of a CD but that uses higher-density storage methods to significantly increase its capacity. Although usually used for video distribution, DVD-ROM discs can also be used to store computer data. dynamic range The difference, in decibels, between the loudest and softest parts of a recording. editing tools The seven tools from which you can choose when you’re working in the Timeline: Select tool, Trim tool, Position tool, Range Selection tool, Blade tool, Zoom tool, and Hand tool. When you choose a tool, the pointer changes to the icon for that tool.Glossary 464 edit point Edit points define the part of a clip you want to use in an edited project. Edit points include start points, which specify the beginning of a section of a clip or project, and end points, which specify the end of a section of a clip or project. An edit point is also a point in the Timeline where the end point of one clip meets the start point of the next clip. This edit point can be selected for various operations. Effects Browser A media browser in Final Cut Pro that contains video and audio clip effects. equalization An equalizer (commonly abbreviated as EQ) shapes the sound of incoming audio by changing the level of specific frequency bands. Equalization is one of the most commonly used audio processes, both for music projects and in video post-production work. You can use EQ to subtly or significantly shape the sound of an audio file, instrument, or project by adjusting specific frequencies or frequency ranges. event When you import video, audio, and still images, or record directly into Final Cut Pro, the source media files (your raw footage) are stored in events. An event is similar to a folder that can hold dozens, hundreds, or even thousands of video clips, audio clips, and still images. Each event in the Event Library refers to a folder on your hard disk that contains the original source media files, any render files related to your media, and a database file that keeps track of where everything is. Event Browser The Event Browser displays the clips for the item selected in the Event Library. You select clips or portions of clips in the Event Browser to work with them. You can sort clips in the Event Browser by creation date, as well as by date imported, reel, scene, clip duration, and file type. You can also view your clips as filmstrips or in a list. Event Library The Event Library holds and organizes the events that contain your imported media (video, audio, and still images). When you select an event in the Event Library, the media it contains appears as clips in the Event Browser. The Event Library is also the home for Final Cut Pro Keyword Collections and Smart Collections, which provide a powerful way to organize your media using keywords and persistent search filters. Event Viewer The Event Viewer is a separate video display that appears next to the main Viewer and is used to play clips in the Event Browser only. exposure The amount of light in video or film images. Exposure affects the overall brightness of the image as well as its perceived contrast. fade A common type of transition in both video and audio. For video, a fade-out begins with a shot at full intensity and reduces until it is gone. A fade-in begins with a shot at no intensity and increases to full intensity. These are the common “fade to black” and “fade up (from black)” transitions. Audio fade-ins begin with silence and increase to full volume, and fade-outs begin at full volume and decrease to silence. filmstrip Your video clips appear as filmstrips in the Timeline (where you build projects) and in the Event Browser (where your source media is displayed). A single video filmstrip might represent several seconds of video encompassing hundreds of video frames (individual images). Audio-only clips appear as audio waveforms, showing the change in the audio volume over time. FireWire The trademarked Apple name for the IEEE 1394 standard. A fast and versatile interface used to connect DV camcorders to computers. FireWire is well suited to applications that move large amounts of data, and it can also be used to connect hard disks, scanners, and other kinds of computer peripherals.Glossary 465 Foley effects Foley effects are custom sound effects that are heavily synchronized to picture, such as footsteps on different surfaces, clothes rustling, fight sounds, and the handling of various noisy objects. Final Cut Pro includes a number of built-in Foley and other sound effects that you can insert as connected audio clips. frame A single still image. Film and video are made up of a series of these images. Although a film frame is a single photographic image, an interlaced video frame contains two fields. See also interlaced video, non-interlaced video. frame blending Duplicating frames to create slow motion can result in a strobing, jittery effect. To minimize this, you can turn on Frame Blending in the Retime pop-up menu in the toolbar. Frame blending creates new in-between frames, each a composite of two neighboring frames. frame rate The number of images photographed per second for a video clip. frame size See resolution. frequency The number of times a sound or signal vibrates each second, measured in cycles per second, or hertz (Hz). Audio recordings are made up of a vast collection of waveforms, using many different frequencies of sound. Each frequency in a recording is associated with an audio pitch. For example, the note generated by each key of a piano has a specific frequency. Front Row Front Row, an application that comes withOS X, is a way to navigate through your iTunes, iLife, and Final Cut Pro media using an Apple remote control or the Remote app. You can also open Front Row by pressing Command-Escape. gain The amount an audio or video signal is boosted. In video, this increases the white level; in audio, this increases the volume. gamma A curve that describes the intensity of an image. Gamma is a nonlinear function often confused with brightness or contrast. Gamma adjustment is often used to compensate for differences between Mac and Windows video graphics cards and displays. gap clip A blank clip (containing blank video and silent audio) that you can adjust to any duration. (The film industry term for this is slug.) Gap clip color is determined by the current background color in Final Cut Pro. You can adjust the background color using the Player Background pop-up menu in the Playback pane of the Final Cut Pro Preferences window. generators Clips that are synthesized by Final Cut Pro. Generators can be used as different kinds of backgrounds, titles, and elements for visual design. Generators Browser A media browser in Final Cut Pro that provides access to all video generators included with Final Cut Pro. Hand tool The editing tool that allows you to scroll in the Timeline. You can select the Hand tool by pressing the H key. H.264 H.264/MPEG-4 Part 10 or AVC (Advanced Video Coding) is a video compression standard in widespread use for recording, distribution, and Internet streaming of high-definition video. HDCAM A high-definition (HD) digital videotape recorder format that records an 8-bit, 7.1:1 DCTcompressed component video signal with 3:1:1 color sampling. Recorded using 1/2-inch tape. Supports four tracks of audio.Glossary 466 HDV A format for recording high-definition video on DV tape. HDV uses MPEG-2 video compression with 8-bit samples and 4:2:0 chroma subsampling. HDV has a video bit rate of 18.3 Mbps for 720p (1280 x 720) and a bit rate of 25 Mbps for 1080i (1440 x 1080). high-definition (HD) Refers to any video with a higher resolution than standard-definition NTSC or PAL video. The most common high-definition resolutions are 1280 x 720 (720p) and 1920 x 1080 (1080i or 1080p). See also NTSC format, PAL format, standard-definition (SD). Histogram A video scope in Final Cut Pro that provides a statistical analysis of the image by graphing the number of pixels at each percentage of luma or color. It’s useful for comparing two clips in order to match their brightness values more closely. hue An attribute of color perception, also known as color phase. Red, blue, yellow, and green are all hues. import The process of bringing media files of various types into events in Final Cut Pro. You can import files from connected camcorders and other devices, other applications, or connected storage devices. IMX A standard-definition (SD), all-I-frame MPEG-2 format stored on tape, XDCAM optical disc, or disk drive. Some IMX decks can play back and convert formats such as Digital Betacam, Betacam SX, and Betacam SP to IMX. The data rate of IMX can be set to 30, 40, or 50 Mbps. incoming clip The clip to which a transition segues. For example, if Clip A dissolves to Clip B, Clip B is the incoming clip. See also outgoing clip. Info inspector The Info inspector displays information (called metadata) about a clip or group of clips selected in either the Event Browser or the Timeline. You can display different combinations of metadata with your clips, such as codecs, media start and end times, reel, scene, take, EXIF information, and IPTC information. You can also use the Info inspector to change the metadata for a selected clip or group of clips, and you can create custom sets of metadata for display using the Metadata Views window, accessed from the Info inspector. In point See edit point. insert edit An insert edit places the source clip so that all clips after the insertion point are moved forward (or rippled) in the Timeline to make room for the clip being added. No clips are removed from your project. An insert edit makes the project longer by the duration of the inserted clip. inspectors Final Cut Pro provides a number of inspectors you can use to view and change the attributes of selected items. For example, you can adjust video effects and apply color corrections in the Video inspector. Other inspectors include the Audio, Audio Enhancements, Info, Transition, Title, Text, Generator, and Sharing inspectors. The inspectors appear in the Inspector pane in the upper-right corner of the Final Cut Pro main window. interlaced video A scanning method that divides a video frame into two fields, each consisting of alternating odd and even lines that are scanned at different times. IRE An analog video signal unit of measurement for luma, established by the Institute of Radio Engineers. J-cut See split edit. job Each media file added to a batch in Compressor is a job. Each job has one media file and one or more settings that define the type of file to render. See also batch.Glossary 467 JPEG A popular image file format that lets you create highly compressed graphics files. The amount of compression used can be varied. Less compression results in a higher-quality image. keyframe A control that denotes the value of a video or audio effect parameter at a particular point in the project. When two keyframes with different values are set in Final Cut Pro, a transition from one value to another is calculated, resulting in a dynamic change to that parameter. The word keyframe comes from the traditional workflow in the animation industry, where only important (key) frames of an animated sequence were drawn to sketch a character’s motion over time. Once the keyframes were determined, an in-between artist drew all the frames between the keyframes. keying See chroma key, luma key. Keyword Collection When you apply a keyword to a clip, a Keyword Collection is automatically created in the Event Library. When you select the Keyword Collection, each clip tagged with that keyword is displayed. keywords Keywords add descriptive information to a clip or clip range. You can use keywords to organize, sort, and classify media. You can add keywords to a clip manually, and Final Cut Pro can also add keywords automatically during clip analysis. See also Keyword Collection. L-cut See split edit. linear editing Before digital video editing, programs were edited together by copying shots from the original source tapes to a master tape, one by one. Because the assembly was linear, any changes in duration made to an earlier point of the tape required reassembling the movie from that point forward. See also nonlinear editing. looping A playback mode in which clips and projects go back to the beginning whenever the playhead reaches the end of the media. You can turn looping on or off from the View menu or by pressing Command-L. lower third A television industry term for a graphic placed in the lower area of the screen, usually to convey details about subjects or products. A common use of lower thirds is to identify individuals on the screen with their names and job titles. luma A value describing the brightness of a video image. A luma channel is a grayscale image showing the range of brightness across the whole clip. luma key An effect used to key out pixels of a certain luma value (or a range of luma values), creating a matte based on the brightest or darkest area of an image. Keying out luma values works best when your clip has a large discrepancy in exposure between the areas that you want to key out and the foreground images you want to preserve, such as a white title on a black background. See also chroma key, matte. Mail Mail is the email application that comes withOS X. markers Markers flag a specific location in a clip with editing notes or other descriptive information. You can also use markers for task management. Markers are classified as standard markers (blue), chapter markers (orange), to-do items (red), or completed to-do items (green). mask An image or clip used to define areas of transparency in another clip. Similar to an alpha channel. The color correction tools can create masks based on a color you choose or a shape you create. See also alpha channel.Glossary 468 matte Sometimes referred to as a holdout matte. An effect that uses information in one layer of video to affect another layer. Mattes are useful when you want to use one clip to selectively hide or reveal part of another; for example, you could use a round spotlight shape to reveal parts of a video layer. Matte effects can be used by themselves to mask out areas of a clip or to create alpha channel information for a clip in order to make a transparent border around the clip that can be composited against other layers. See also alpha channel, compositing. media A generic term for elements such as movies, sounds, and pictures. media browsers Media that you import into events in Final Cut Pro is accessed from the Event Library and the Event Browser, but Final Cut Pro also includes a collection of media browsers you can use to add clips to your project. The media browsers provide access to the effects, titles, and transitions supplied with Final Cut Pro as well as to video, audio, and still-image files in other applications on your computer. For example, you can use the Photos Browser to access video and still-image files in the iPhoto and Aperture libraries. Other media browsers include the Effects, Music and Sound, Transitions, Titles, Generators, and Themes Browsers. The media browsers appear in the Media Browser pane in the lower-right corner of the Final Cut Pro main window. media handle Additional media available before a clip start point or after a clip end point. media stems Audio or video files that are usually exported separately for audio mixing or postproduction, or to match specifications when delivering files to broadcast networks. For example, you may need to deliver a multitrack QuickTime file along with separate dialogue, music, and effects stems. mixing The process of adjusting the audio levels of all audio clips in an edited program, including the production audio, music, sound effects, voiceovers, and additional background ambience, to turn all of these sounds into a harmonious whole. monochrome An image presented in shades of a single color, most often as the shades of gray in a black-and-white image. MP3 Refers to the MPEG-1 or MPEG-2 Audio Layer 3 compression standard and file format. Like AAC, MP3 uses perceptual audio coding and psychoacoustic compression to remove superfluous information that the human ear doesn’t hear. MPEG (Moving Picture Experts Group) A group of compression standards for video and audio, which includes MPEG-1, MPEG-2, and MPEG-4. multicam clip A set of clips grouped together and synchronized by a common sync point. You can use multicam clips to edit footage from multicamera shoots or other synchronized footage in real time. While the active angle plays in the Viewer, you can also view all angles playing simultaneously in the Angle Viewer and easily cut and switch between them. Music and Sound Browser A media browser in Final Cut Pro that allows you to access your iTunes content as well as sound effects and loops from Final Cut Pro and iLife. nested sequence See compound clip. NLE Short for nonlinear editor. See also nonlinear editing.Glossary 469 nondestructive editing No matter how you edit clips in Final Cut Pro, the underlying media is never touched. This is known as nondestructive editing, because all of the changes and effects you apply to your footage never affect the original source media files. Clips represent your media, but they are not the media files themselves. The clips in a project simply point to (link to) the source media files on your hard disk. When you modify a clip, you are not modifying the media file, just the clip’s information in the project. Trimmed or deleted pieces of clips are removed from your project only, not from the source clips in your Event Library or from the source media files on your hard disk. non-drop frame timecode Timecode in which frames are numbered sequentially and no timecode numbers are dropped from the count. When discussing NTSC video, the video frame rate is actually 29.97 fps, and non-drop frame timecode is off by 3 seconds and 18 frames per hour in comparison to actual elapsed time. See also drop frame timecode. non-interlaced video The standard representation of images on a computer. Also referred to as progressive scan. The monitor displays the image by drawing lines, one after another, from top to bottom. nonlinear editing A video editing method in which edits within a program can be changed at any time without having to re-create the entire program. When you use a nonlinear editing application to edit a program, all footage used is stored on a hard disk rather than on tape. This allows random access to all video, audio, and images as you edit. See also linear editing. NTSC format The video standard defined by the National Television Standards Committee, the organization that originally defined North American broadcast standards. Analog NTSC video has 525 interlaced lines per frame, a frame rate of 29.97 fps, and a limited color gamut. Digital NTSC video has a frame size of 720 x 486 pixels (720 x 480 for DV and DVD), and a frame rate of 29.97 fps. See also PAL format. offline editing A post-production process in which raw footage is copied and edited without affecting the original camera media (film, tape, or file-based media). After a program has been completed in the offline edit (typically using proxy media at a lower resolution), an online edit is performed to re-create the edit using the original media. opacity The level of a clip’s transparency. outgoing clip The clip a transition segues from. For example, if Clip A dissolves to Clip B, Clip A is the outgoing clip. See also incoming clip. Out point See edit point. overwrite edit In an overwrite edit, one or more source clips overwrite any clips in the primary storyline or a selected storyline, starting at a range selection start point or at the skimmer or playhead position. No clip items are rippled forward, so the duration of your project remains the same. Overwriting is purely duration-based and works on range selections only, irrespective of clip boundaries. PAL format Acronym for Phase Alternating Line, a 25 fps (625 lines per frame) interlaced video format used by many European countries. Digital PAL video has a frame size of 720 x 576. See also NTSC format. Photos Browser A media browser in Final Cut Pro that allows you to access your iPhoto and Aperture photo libraries.Glossary 470 pitch Sounds are perceived as high or low depending on their frequency, or the number of times per second a sound wave cycles from positive to negative and back to positive. The word that musicians most commonly use for frequency is pitch. The higher the frequency, the higher the pitch. Modifying the speed of a clip affects the pitch of the audio. Slow motion creates low pitch, and fast motion creates high pitch. pixel One dot in a video or still image. The more pixels in an image, the higher the resolution. playhead The playhead marks your project’s current position in the Timeline or the Event Browser. You can move the playhead by dragging it or clicking another area of the Timeline or Event Browser. You use the playhead to scrub, or move through your project and play it back from different locations. The playhead appears as a gray vertical line that is fixed in place unless you move it or click elsewhere. See also skimmer. Position tool The editing tool that allows you to place items in the Timeline. You can select the Position tool by pressing the P key. post-production The phase of film or video editing in which all of the production elements are organized, assembled, and output. project A project provides a record of your editing decisions and the media you use. You build your project by adding clips and editing them in the Timeline. A project is also defined by its video, audio, and render properties. In most cases, Final Cut Pro manages project settings automatically based on the properties of the first clip you add to a project. Project Library The Project Library contains all of the Final Cut Pro projects on your hard disk and on any connected external drives. project properties A project’s default event as well as the project’s video, audio, and render properties. In most cases, Final Cut Pro manages project’s properties automatically based on the properties of the first clip you add to a project. If you must modify the project properties, choose video and audio project properties based on how you intend to share your final movie with your audience. You set a project’s properties when you create a Final Cut Pro project, and you can change them at any time. proxy files You can use Final Cut Pro to transcode your original media to create proxy files, which are smaller files with a lower data rate. Proxy files can be used for offline editing or for editing when using a slower computer. Final Cut Pro creates video proxy files using the Apple ProRes 422 (Proxy) codec, and still-image proxy files using the JPEG format (if the original file doesn’t have alpha channel information) or the PNG format (if the file has alpha channel information). See also alpha channel. QuickTime Cross-platform multimedia technology from Apple. Widely used for production, postproduction, and distribution of video, audio, and interactive programs. range Instead of selecting whole clips, you can select a range within any clip in the Timeline or the Event Browser. You can trim range selections, mark them with ratings and keywords, and modify them in other ways. You can adjust the range start and end points by dragging either side of the selection. In the Timeline, you can also select a range that spans multiple clips. In the Event Browser, you can set multiple ranges within one or more clips, and you can select and deselect ranges after you set them. Range Selection tool The editing tool that allows you to select a range in the Timeline. You can select the Range Selection tool by pressing the R key.Glossary 471 red laser media Traditional DVD burners and players use a red laser when working with DVD media. Blu-ray burners and players use a blue laser when working with Blu-ray media. The blue color has a shorter wavelength, making it possible to store more data on a disc when compared to red lasers. render To process video and audio with any applied effects or transitions, and store the result on disk as a render file. These render files are stored with your Final Cut Pro event and project files. When you publish or export a project, it is similarly rendered to create the output files. replace edit In a replace edit, a source selection replaces a clip in your project in the Timeline. In contrast to overwrite edits, replacing works on whole Timeline clips only and can change the duration of your project. resolution Image resolution refers to the number of pixels in an image. Resolution is expressed in terms of the width and height of the image in pixels (for example, 640 x 360 pixels). Higherresolution images contain more detail but also create larger files that take longer to download. Your electronic devices (computer, iPhone, iPad, iPod, and so on) also have screen resolution. Ideally, you should match the image resolution of your media to the resolution of your playback device. reverb Reverberation, or reverb, refers to the reflection pattern created by bouncing sound waves off the surfaces—walls, ceilings, windows, and so on—of any space, or off objects within a space, gradually dying out until they are inaudible. Final Cut Pro includes a variety of audio effects that add reverb to the sound of a clip. RGB Abbreviation for Red, Green, Blue. A color space commonly used on computers, in which each color is described by the strength of its red, green, and blue components. This color space directly translates to the red, green, and blue phosphors used in computer displays. The RGB color space has a very large gamut, meaning it can reproduce a very wide range of colors. This range is typically larger than the range that can be reproduced for broadcast. ripple edit The default type of trim in Final Cut Pro is a ripple trim, which adjusts a clip’s start point or end point without leaving a gap in the Timeline. The change in the clip’s duration ripples outward, moving all subsequent clips earlier or later in the Timeline. Similarly, if you delete a clip from the Timeline, subsequent clips ripple earlier to close the gap. Ripple edits affect the trimmed clip, the position of all subsequent clips in the Timeline, and the total duration of your project. role Metadata text labels that you assign to clips in the Event Browser or the Timeline. They provide a flexible and powerful way to manage your editing workflow. You can use roles in Final Cut Pro to organize clips in your events and projects, control the appearance of the Timeline, and export separate video or audio files (also known as media stems) for broadcast delivery, audio mixing, or post-production. roll edit An edit that affects two clips that share an edit point. For example, if Clip A cuts to Clip B, a roll edit simultaneously adjusts the end point of Clip A and the start point of Clip B by the same amount. The overall duration of the project stays the same. rough edit The first editing pass. The rough cut is an early version of a movie that pulls together its basic elements. Often, a rough edit is performed prior to adding transitions, titles, and other effects. saturation A measurement of the intensity of color in the video signal.Glossary 472 scene A series of shots that take place at the same time in the same location. A series of scenes make up a program. Select tool The default arrow-shaped pointer that allows you to select items in the Timeline. For example, you use it to select a clip or edit point. You can select the Select tool by pressing the A key. sequence See project, Timeline. shortcut menu A menu you access by holding down the Control key and clicking an item on the screen, or by pressing the right mouse button. Sometimes called a contextual menu. shot A segment of continuously recorded video. A shot is the smallest unit of a program. skimmer The skimmer lets you preview clips in the Timeline, Event Browser, or Project Library, without affecting the playhead position. You use the skimmer to skim, or freely move over clips to play back at the position and speed of the pointer. The skimmer appears as a pink vertical line as you move the pointer over the area you’re skimming. If you have snapping turned on, the skimmer turns orange when it snaps to a position. slate A shot at the beginning of a scene, which identifies the scene with basic production information such as the take, date, and scene number. A clapper provides an audiovisual cue for synchronization when video and audio are recorded separately. slide edit An edit in which an entire clip is moved, along with the edit points on its left and right. The duration of the clip being moved stays the same, but the clips to the left and right of it change in length to accommodate the new position of the clip. The overall duration of the project and of these three clips remains the same. slip edit An edit in which the location of both start and end points of a project clip are changed at the same time, without changing the position or duration of the clip. This is referred to as slipping, because you slip the clip’s start and end points inside the available footage. The portion of the clip seen in the project changes, but its position in the Timeline stays the same. Smart Collection When you search for clips in an event using the Filter window, you can save your results by creating a new Smart Collection that gathers clips matching the search criteria. Whenever a new clip that matches the Smart Collection’s search criteria is brought into the event, the new clip is automatically added to the Smart Collection. Clips that appear in Smart Collections are not duplicates. Smart Collections filter clips in an event to help you focus on the clips you need to use for a specific task. snapping When the snapping feature is turned on in Final Cut Pro, items you move in the Timeline (including the playhead, the skimmer, and selected clips) appear to jump, or “snap,” directly to certain points in the Timeline. This can help you quickly line up edits with other items in the project. Snapping affects the functions of many of the editing tools in Final Cut Pro, including the Select tool, the Trim tool, the Position tool, the Range Selection tool, and the Blade tool. You can disable snapping when frame-by-frame precision editing is required. sound effects Specific audio material, such as the sound of a door closing or a dog barking, from effects libraries or from clips you recorded. Sound effects can be used to replace sounds in the location audio of a program, or to add sound that wasn’t originally recorded.Glossary 473 source media files The original files (video, audio, and still images or graphics) that you import into Final Cut Pro. A clip you use in Final Cut Pro points to the location where the source media file is stored (either on a disk or on a camcorder, camera, or device). Changes made to clips within Final Cut Pro do not affect the source media files. special effects Visual effects applied to clips and projects, such as motion effects, compositing, keying, and retiming effects. spill suppression Spill suppression is a color correction operation that applies the complementary (opposite) color of the color that’s being made transparent to neutralize any green or blue fringing or light bounce that’s tinting the subject being keyed. The Spill Level slider controls how much spill suppression is applied to the keyed subject. split edit Final Cut Pro allows you to set separate video and audio start and end points in an individual clip. These edits, known as split edits, are a common technique in most dialogue scenes in films and television shows. You can use split edits to introduce the sound of a new shot or scene before cutting to the video of that shot or scene. Conversely, you can use a split edit to extend the audio of a shot over a subsequent shot. standard-definition (SD) Refers to the original NTSC and PAL video frame sizes. NTSC uses 480 or 486 active lines per frame, and PAL uses 576 active lines. See also high-definition (HD). stereo Short for stereophonic, in which audio contains two different channels. Audio level changes are automatically made to both channels at the same time. storylines All instances of the Timeline contain a primary storyline, which is the main sequence of clips that you build to create your movie. Storylines are sequences of clips connected to the primary storyline. You can use storylines for the same purposes as connected clips (such as creating cutaways, compositing titles and other graphics, and adding sound effects and music). straight cut A cut in which both the video and audio clip items are cut at the same time. subframe A subframe has 1/80 the duration of a video frame and is thus a more precise unit of reference when editing audio at the sample level. sync (synchronization) The relationship between the image of a sound being made in a video clip (for example, a person talking) and the corresponding sound in an audio clip. Maintaining audio sync is critical when editing dialogue. In Final Cut Pro X, connected clips and compound clips help maintain sync in your program. Themes Browser A media browser in Final Cut Pro that provides access to all transitions and title effects supplied with Final Cut Pro, grouped into related themes. three-point editing An editing technique in which three out of four edit points are set in a source selection and a project. When the edit is performed, the fourth edit point is calculated automatically by Final Cut Pro. through edit An edit point in which the video or audio content on either side of the edit is continuous. TIFF (Tagged Image File Format) A widely used bitmapped graphics file format, developed by Aldus and Microsoft, that handles monochrome, grayscale, 8- and 24-bit color. Can have alpha channels. See also alpha channel.Glossary 474 timecode A signal recorded with your video that uniquely identifies each frame. By default, timecode appears in Final Cut Pro in the format hours: minutes: seconds: frames. Timecode supports a variety of functions in Final Cut Pro, including Timeline playback, synchronizing video and audio clip items, navigating through projects in the Timeline, and moving and trimming clips. Timeline The bottom portion of the Final Cut Pro window contains the Timeline, where you create your movie project by adding and arranging clips and making all your edits. Timeline Index You can view a text-based, chronological list of the clips, keywords, and markers in a project using the Timeline Index. When you select an item in the Timeline Index, the playhead jumps to that item in the Timeline. tint A color shade added to an image, usually to create an effect, such as sepia. Titles Browser A media browser in Final Cut Pro that provides access to all the title effects included with Final Cut Pro. toolbar The toolbar is a collection of buttons and tools located in the middle of the Final Cut Pro main window. The toolbar also includes the Dashboard, which displays the timecode for the clip selected in the Event Browser and for the playhead’s position in the Timeline. transcode All media files use a format. Video format examples include DV, H.264, and MPEG-2. Video files also have a variety of properties, such as video frame size and frame rate, data rate, and audio sample rate. When you need to convert a media file to a different format or change its properties, you transcode it to the new format or properties. Compressor, an Apple application designed to work with Final Cut Pro, makes transcoding media files a fast and easy process. transitions Effects that are applied to edit points to smooth out a change from clip to clip. In Final Cut Pro, you can choose from a variety of video transitions, such as a dissolves or wipes, or you can add an audio crossfade between audio clips. Transitions Browser A media browser in Final Cut Pro that provides access to all the video transitions included with Final Cut Pro. trim After you’ve assembled your clips in rough chronological order in the Timeline, you begin to fine-tune the cut point (or edit point) between each pair of contiguous clips. Any time you make a clip in a project longer or shorter, you’re trimming that clip. However, trimming generally refers to precision adjustments of anywhere from one frame to several seconds. If you’re adjusting clip durations by much larger amounts, you’re still trimming, but you may not be in the fine-tuning phase of editing yet. In Final Cut Pro, you can use a variety of techniques to trim Timeline clips and edit points, including ripple edits, roll edits, slip edits, and slide edits. Trim tool The editing tool that allows you to trim items in the Timeline. You can select the Trim tool by pressing the T key. uncompressed 8- and 10-bit 4:2:2 These video formats can be used to store 8-bit or 10-bit 4:2:2 Y'CbCr video without employing data compression. Bypassing compression reduces the computer’s processing load but increases the data rate considerably. A large-capacity RAID storage system is typically required to work effectively with uncompressed video. In many cases, Apple ProRes is a better choice. The data rate of uncompressed 4:2:2 video varies according to frame size and frame rate. As an example, at a frame size of 1920 x 1080 and a frame rate of 29.97 fps, the data rate is 1.0 Gbps for uncompressed 8-bit 4:2:2 video and 1.3 Gbps for uncompressed 10-bit 4:2:2 video.Glossary 475 value slider A value slider is a type of numerical slider control that appears as a number, often to the right of a basic slider. There are two ways to adjust a value slider: by dragging over the number to decrease or increase the parameter value, or by double-clicking the number and entering a new value. variable speed Speed that varies dynamically, in forward or reverse motion, in a single clip. VCR Abbreviation for videocassette recorder. Generally refers to consumer equipment used for recording video from various sources. Sometimes referred to as a VTR. See also VTR. Vectorscope A video scope in Final Cut Pro that shows the distribution of color in your image on a circular scale. The Vectorscope is useful for comparing the hue and intensity of colors between two clips for the purposes of color correction. Video Animation Editor You can show the Video Animation Editor for clips in the Timeline to adjust effect parameters, create fade-ins or fade-outs, or change effects over time using keyframes. Viewer When you play clips selected in the Event Browser and the Timeline, they appear in the Viewer. VTR Abbreviation for videotape recorder. Generally refers to professional equipment used for recording video from various sources. watermark A visible graphic or text overlay applied to an image or video clip to indicate that it is protected by a copyright. Watermarks are used to discourage the use of images or video clips without the copyright holder’s explicit permission. WAVE (or WAV) An audio file format most commonly used for storing uncompressed linear pulse code modulation (LPCM) audio data. Waveform Monitor A video scope in Final Cut Pro that displays the relative levels of luma and chroma in the clip currently being examined. Spikes and dips in the displayed waveforms correspond to light or dark areas in your picture. widescreen Any movie presentation that has an aspect ratio wider than 4:3. In movie theaters, 1.85 is considered standard and 2.40 is considered widescreen. For video, 4:3 is considered standard and 16:9 (which is almost the same aspect ratio as 1.85) is considered widescreen. See also 4:3, 16:9. wipe A common type of video transition. In a wipe, the screen splits, moving from one side of the image to the other to gradually reveal the next shot. A wipe is more obvious (and customizable) than a fade or cross dissolve. XDCAM Sony optical disc format for recording DVCAM and IMX video within MXF container files. See also DVCAM, IMX. XDCAM EX A member of the Sony XDCAM product family that uses MPEG-2 video compression with 4:2:0 chroma sampling. In contrast to XDCAM HD, XDCAM EX supports 720p and records full HD resolution (either 1920 x 1080 or 1280 x 720). Its maximum bit rate is 35 Mbps. Instead of optical discs, XDCAM EX camcorders use solid-state memory cards known as SxS cards. See also HDV. XDCAM HD422 A member of the Sony XDCAM product family featuring 4:2:2 chroma sampling and a video bit rate of 50 Mbps. Like XDCAM EX, it uses MPEG-2 video compression at full HD resolution (either 1920 x 1080 or 1280 x 720). See also HDV.Glossary 476 Y'CbCr The color space in which many digital video formats store data. Three components are stored for each pixel—one for luma (Y) and two for color information (Cb for the blue difference signal and Cr for the red difference signal). Also referred to as YUV. See also pixel. Zoom tool The editing tool that allows you to zoom in to or out of the Timeline. You can select the Zoom tool by pressing the Z key. Final Cut Pro X Guide de l’utilisateurKApple Inc. Copyright © 2013 Apple Inc. Tous droits réservés. Vos droits sur le logiciel sont régis par le contrat de licence du logiciel annexé. Les propriétaires ou utilisateurs autorisés d’une copie valide du logiciel Final Cut Pro ont le droit de reproduire cette publication afin d’apprendre à utiliser le logiciel en question. En revanche, il est interdit de reproduire ou de transmettre cette publication, même partiellement, à des fins commerciales telles que la vente de copies ou la prestation de services d’assistance payants. Le logo Apple est une marque d’Apple Computer Inc., déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Maj +Option + K) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tous les efforts nécessaires ont été mis en 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 : Apple mettant fréquemment à disposition de nouvelles versions et des mises à jour de son logiciel système, de ses applications et de ses sites Internet, les illustrations présentes dans ce manuel peuvent présenter de légères diffé- rences avec ce qui apparaît sur votre écran. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com/fr Apple, le logo Apple, Aperture, Apple TV, Final Cut, Final Cut Pro, Finder, FireWire, GarageBand, iLife, iMovie, iPad, iPhone, iPhoto, iPod, iSight, iTunes, iWork, Keynote, Logic, Mac, MacOS, OS X, QuickTime et Xsan sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays. Multi-Touch est une marque d’Apple Inc. Adobe et Photoshop sont des marques ou des marques déposées d’Adobe Systems Incorporated aux États-Unis et/ou dans d’autres pays. Intel, Intel Core et Xeon sont des marques d’Intel Corp. déposées aux États-Unis et dans d’autres pays. iOS est une marque commerciale ou une marque de Cisco, déposée aux États-Unis et dans d’autres pays et utilisée sous licence. Thunderbolt et le logo Thunderbolt sont des marques d’Intel Corporation déposées aux États-Unis et dans d’autres pays. Le logo YouTube est une marque de Google Inc. Photos de production du film « Koffee House Mayhem » utilisées avec l’aimable autorisation de Jean-Paul Bonjour. « Koffee House Mayhem » © 2004 Jean-Paul Bonjour. Tous droits réservés. http://www.jeanpaulbonjour.com Photos de production de l’Audi R8 : circuit fermé avec des pilotes portant un équipement de sécurité. Ne pas reproduire sur la voie publique ; toujours respecter le code de la route local. Les marques d’Audi sont utilisées avec l’autorisation d’Audi of America, Inc. Les autres noms de sociétés ou de produits mentionnés ici sont des marques de leurs détenteurs respectifs. Toute mention de produits de tierce partie n’est qu’à titre informatif et ne constitue ni une approbation, ni une recommandation. Apple se dégage de toute responsabilité en ce qui concerne les performances ou l’usage de ces produits. F019-2532Table des matières 3 10 Chapitre 1 : Nouveautés de Final Cut Pro ? 10 Nouveautés de Final Cut Pro 10.0.6 12 Nouveautés de Final Cut Pro 10.0.3 13 Nouveautés de Final Cut Pro 10.0.1 14 Chapitre 2 : Notions élémentaires Final Cut Pro 14 Qu’est-ce que Final Cut Pro ? 15 Vue d’ensemble des flux de production Final Cut Pro X. 16 Vue d’ensemble de l’interface Final Cut Pro X. 18 Fichiers de média et plans 19 Événements et projets 21 Chapitre 3 : Importation de média 21 Présentation de l’importation 22 S’il s’agit de votre première importation 22 Importation à partir des caméras connectées 22 Importation à partir des caméras à système de fichiers 26 Importation de plans étendus 29 Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch 31 Importation à partir d’un appareil photo numérique 31 Importation à partir des caméras à bande 33 Si votre caméra ou dispositif n’est pas reconnu 34 Importation à partir d’autres applications 34 Importation à partir de Motion 35 Importation à partir d’iMovie 35 Importation à partir d’iPhoto et d’Aperture 36 Importation à partir d’iTunes 37 Importation à partir de dispositifs 37 Importation à partir d’un disque dur 40 Accès aux médias sur une archive ou une image disque 41 Organisation des fichiers lors de l’importation 42 Importation pendant l’enregistrement 43 À propos des cartes mémoire et des câbles 45 Formats de média pris en charge 46 Importation et réglage de fichiers vidéo REDCODE RAW 49 Chapitre 4 : Analyser les données 49 Présentation de l’analyse des données 49 Options d’analyse des vidéos et des images fixes 50 Options d’analyse audio 51 Analyser vos données 53 Afficher les mots-clés d’analyse sur les plansTable des matières 4 55 Chapitre 5 : Organisation de votre média 55 Présentation des événements et des plans 56 Organisation des événements 56 Création d’un événement 56 Attribution d’un nouveau nom à un événement 56 Fusion ou scission d’événements 57 Copie et déplacement de plans entre les événements 58 Copie ou déplacement d’événements 60 Tri des événements 61 Suppression de plans ou d’événements 61 Organisation des plans 61 Affichage et tri des plans 66 Modification du nom des plans 67 Classement des plans comme Favoris ou Rejetés 69 Ajout de mots-clés aux plans 72 Ajout ou modification de notes de plan 73 Organisation des plans en fonction des rôles 73 Recherche de plans dans le navigateur d’événements 76 Enregistrement des recherches sous forme de collections intelligentes 77 Organisation des mots-clés et des collections intelligentes 78 Chapitre 6 : Lecture et survol du média 78 Présentation de la lecture et du survol 79 Lecture du média 81 Survol du média 83 Lecture et survol du média dans le visualiseur d’événements 84 Lecture sur un deuxième écran 85 Lecture sur un moniteur externe 86 À propos du rendu en arrière-plan 87 Chapitre 7 : Création et gestion de projets 87 Création d’un projet 88 Preview et ouverture d’un projet 89 Modification du nom et des propriétés d’un projet 92 Organisation des projets dans la bibliothèque de projets 96 Enregistrement des projets 97 Chapitre 8 : Montage de votre projet 97 Présentation du montage 97 Sélection de plans et de plages 97 À propos des sélections et des pellicules de film 98 Sélection d’un ou plusieurs plans 100 Sélection d’une plage 103 Gestion de plusieurs sélections de plage dans des plans d’événement 106 Ajout et suppression de plans 106 Présentation de l’ajout de plans 107 Glissement de plans vers la timeline 107 Ajout de plans à votre projet 108 Insertion de plans dans votre projet 110 Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés 115 Écrasement de certaines parties de votre projetTable des matières 5 116 Remplacement d’un plan par un autre dans votre projet 118 Ajout et montage d’images fixes 120 Création d’images figées 121 Ajout de plans en mode vidéo uniquement ou audio uniquement 122 Suppression de plans du projet 123 Isolement, désactivation et activation de plans 124 Recherche d’un plan source d’un plan de la timeline 124 Disposition des plans dans la timeline 130 Coupe et trim des plans 130 Présentation du trim 130 Coupe de plans à l’aide de l’outil Lame de rasoir 132 Extension ou raccourcissement d’un plan 138 Réalisation de montages Roll à l’aide de l’outil Trim 140 Réalisation de montages par coulissage à l’aide de l’outil Trim 143 Réalisation de montages par glissement à l’aide de l’outil Trim 145 Affichage détaillé des commentaires sur le trimming 145 Affichage et navigation 145 Zoom et défilement dans la timeline 147 Ajustement des réglages de la timeline 150 Navigation au sein de votre projet 151 Navigation à l’aide du timecode 152 Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches 156 Utilisation de marqueurs 156 Présentation des marqueurs 156 Ajout et suppression de marqueurs 158 Modification, déplacement et accès à des marqueurs 160 Gestion des marqueurs de chapitre et de leur vignette 161 Correction des problèmes de tremblement excessif et d’obturateur roulant 164 Chapitre 9 : Montage audio 164 Présentation de l’audio 165 Notions élémentaires sur le montage audio 165 À propos des formes d’onde audio 165 À propos des canaux audio et des composants audio 166 Différentes manières d’afficher des clips audio 169 Affichage des formes d’onde audio au niveau de l’échantillon audio 170 Affichage et correction des niveaux audio 172 Isolement et désactivation des clips audio 173 Ajout de l’audio 173 Ajout de la musique et du son 173 Enregistrement de l’audio 175 Modification de clips audio ou de composants audio 175 Vue d’ensemble du montage audio 176 Configuration des canaux audio 179 Ajustement du volume 181 Application d’un fondu entrant ou sortant à l’audio 184 Balance audio 187 Exemples de montage audio multicanal 193 Utilisation de rôles pour organiser des plans et exporter des fichiers audio 194 Ajout et ajustement d’effets audio194 Ajout d’effets audio 196 Ajustement des effets audio 200 Ajustement des effets audio à l’aide d’images clés 207 Outils et techniques audio 207 Amélioration de l’audio 209 Synchronisation automatique de l’audio et de la vidéo 211 Correspondance des réglages d’égalisation audio 211 Conservation de la tonalité lors de la resynchronisation des plans 212 Chapitre 10 : Ajout de transitions, de titres, d’effets et de générateurs 212 Présentation des transitions, des titres, des effets et des générateurs 213 Ajout et réglage de transitions 213 Présentation des transitions 213 Création des transitions 214 Définition des valeurs par défaut de transition 215 Ajout de transitions au projet 217 Suppression de transitions du projet 217 Ajustement des transitions sur la timeline 219 Ajustement des transitions dans l’inspecteur de transition et dans le visualiseur 220 Ajustement des transitions avec plusieurs images 221 Création de versions de transitions spécialisées dans Motion 222 Ajout et réglage de titres 222 Présentation des titres 222 Ajout de titres au projet 223 Réglage des titres 227 Suppression de titres du projet 227 Recherche et remplacement de texte dans un projet 228 Ajustement d’effets intégrés 228 Présentation des effets intégrés 228 Redimensionnement, déplacement et rotation de plans 229 Trim de plans 231 Rognage de plans 232 Panoramique et zoom des plans avec l'effet Ken Burns 233 Inclinaison de la perspective d’un plan 235 Manipulation d’effets intégrés 240 Ajout et réglage des effets de plans 240 Présentation des effets de plans 240 Ajout d’effets au projet 241 Réglage d’effets dans Final Cut Pro 243 Modification de l’ordre des effets 244 Copie d’effets et d’attributs entre des plans 245 Désactivation ou suppression d’un effet d’un plan 246 Création de versions d’effets vidéo spécialisées dans Motion 246 Ajout de générateurs 246 Présentation des générateurs 247 Utilisation d’un repère d’emplacement 248 Usage d’un compteur de timecode 248 Utilisation d’une forme 249 Utilisation d’un arrière-plan 250 Création de versions de générateurs spécialisées dans Motion 250 À propos des thèmes Table des matières 6251 Usage des commandes à l’écran 251 Présentation des commandes à l’écran 251 Affichage ou masquage des commandes à l’écran 252 Exemples de commandes à l’écran 256 Utilisation de l’éditeur d’animation vidéo 256 Présentation de l’animation vidéo 256 Ajustement d’effets vidéo à l’aide d’images clés 262 Ajustement des courbes d’effet à l’aide des poignées de fondu ou d’une animation avec des images clés 266 Chapitre 11 : Montage avancé 266 Regroupement des plans et des plans composés 266 Présentation des plans composés 268 Création et division de plans composés 272 Gestion des plans composés 274 Ajout de scénarios 277 Ajustement des montages à l’aide de l’éditeur de précision 280 Création de montages scindés 284 Réalisation de montages à trois points 284 Présentation du montage à trois points 286 Exemples de montage à trois points 291 Essai de plans à l’aide des auditions 291 Présentation des auditions 292 Création d’auditions pour essayer des plans 293 Ajout et suppression de plans dans les auditions 295 Utilisation d’auditions pour essayer des plans dans votre projet 298 Resynchronisation de plans pour créer des effets de vitesse 298 Présentation de la resynchronisation de plans 298 Modification de la vitesse du plan 303 Inversion ou rembobinage des plans 304 Création de ralentis instantanés 305 Création d’un segment de suspension 306 Restauration de la vitesse normale des plans resynchronisés 306 Adaptation des tailles d’images et des fréquences d’images 310 Utilisation de rôles pour gérer des plans 310 Présentation des rôles 311 Affichage et réattribution de rôles 314 Création de sous-rôles et de rôles personnalisés 316 Affichage des plans en fonction du rôle dans la timeline 319 Utilisation de rôles pour exporter des stems 319 Utilisation de fichiers XML pour transférer des projets et des événements 320 Montage de plans multicam 320 Présentation du montage multicam 321 Flux de production de montage multicam 322 Importation de média pour un montage multicam 323 Attribution du nom des caméras et des angles multicam 324 Création de plans multicam dans le navigateur d’événements 329 Coupe et passage d’un angle à l’autre dans le visualiseur d’angle 337 Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles 344 Montage de plans multicam sur la timeline et l’inspecteur 346 Conseils et astuces applicables aux montages multicam Table des matières 7348 Chapitre 12 : Incrustation et compositing 348 Incrustation 348 Présentation de l’incrustation 348 Utilisation des incrustations chromatiques 359 Utilisation des incrustations en luminance 364 Finalisation de l’incrustation 367 Compositing 367 Présentation du compositing 367 Utilisation des canaux alpha 369 Utilisation des réglages de compositing 371 Chapitre 13 : Étalonnage 371 Présentation de l’étalonnage 372 Analyse et balance automatique des couleurs 372 Présentation de la balance des couleurs 372 Analyse de la balance des couleurs d’un plan 373 Équilibrage des couleurs d’un plan 374 Correspondance automatique des couleurs entre les plans 375 Ajustement manuel des couleurs 375 Présentation de l’étalonnage manuel 375 Étalonnage sur toute l’image 378 Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur 380 Ciblage de zones spécifiques à l’aide de masques de forme 383 Ajout de masques de formes à un masque de couleur 384 Application de plusieurs étalonnages 385 Ajout d’une transition entre des étalonnages 385 Enregistrement et application de préréglages d’étalonnage 386 Activation et désactivation des ajustements iMovie 386 Mesure de niveaux vidéo 386 Présentation des instruments vidéo 387 Utilisation des instruments vidéo 388 Options d’affichage de l’oscilloscope 390 Options d’affichage du vecteurscope 391 Options d’affichage de l’histogramme 394 Chapitre 14 : Partage de votre projet 394 Présentation du partage de projets 395 Partage de projets, de plans et de plages 400 Modification des attributs de partage 403 Exportation d’un projet par le biais de Compressor 404 État des projets partagés 404 Présentation de l’état de projets partagés 405 Accès, annonce et affichage de l’emplacement des projets partagés 406 Suppression de projets partagés 407 Chapitre 15 : Gestion des fichiers de média 407 Présentation de la gestion de média 407 Emplacement de vos fichiers de média et de projet 409 Gestion de vos fichiers de média 409 Affichage des informations relatives à un plan 410 Reconnexion de plans à des fichiers de média Table des matières 8415 Transcodage des fichiers de média 418 Affichage des tâches d’arrière-plan 419 Suppression des fichiers de rendu pour libérer de l’espace disque 419 Gestion de vos fichiers d’événements et de projets 419 Avant de déplacer ou de copier des événements et des projets 420 Consolidation des fichiers de média d’un projet 421 Sauvegarde des projets, des événements et de votre bibliothèque de projets 424 Montage de votre projet sur un ordinateur différent 428 Utilisation d’emplacements SAN pour des événements et des projets 429 Création et gestion des archives de caméra 432 Solutions aux problèmes communs des gestions des médias 432 Icônes d’avertissement 434 Problèmes courants relatifs à la gestion des médias 436 Chapitre 16 : Préférences et métadonnées 436 Présentation des préférences et des métadonnées 436 Préférences Final Cut Pro 436 Modification des réglages de préférences 437 Modification des préférences 438 Préférences de lecture 440 Préférences d’importation 441 Préférences de destinations 447 Utilisation de destinations 451 Utilisation de métadonnées 451 Affichage et modification des métadonnées de plans 453 Modification de présentations de métadonnées 455 Modification de noms de plans par lot 458 Chapitre 17 : Raccourcis clavier et gestes 458 Présentation des raccourcis clavier et des gestes Multi-Touch 458 Raccourcis clavier 473 Gestes Multi-Touch 474 Personnalisation des raccourcis clavier 474 Affichage des raccourcis clavier dans l’éditeur de commandes 477 Modification des raccourcis clavier dans l’éditeur de commandes 478 Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes 480 Glossaire Table des matières 91 10 Nouveautés de Final Cut Pro 10.0.6 Final Cut Pro 10.0.6 prévoie de nombreuses fonctionnalités nouvelles et améliorations qui sont abordées plus en détail ci-dessous. Montage audio multicanal avancé Final Cut Pro regroupe automatiquement les canaux audio en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez désormais développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Vous avez la possibilité de modifier des composants audio de plusieurs façons parmi lesquelles: • régler le volume ou le panoramique ; • désactiver ou supprimer des plages dans un composant audio pour supprimer rapidement les sons indésirables; • appliquer et régler des effets audio ; • ajouter ou supprimer des composants audio d’un plan multicam. Pour en savoir plus, consultez Vue d’ensemble du montage audio à la page 175. Partage et exportation rationalisés Le partage de votre travail une fois terminé s’avère plus simple et flexible dans Final Cut Pro 10.0.6. Les destinations, des séries de réglages d'exportation préconfigurés, vous permettent de publier rapidement un projet ou un plan sur un site web de partage, de les exporter pour les consulter sur un iPad ou un iPhone, ou de les graver sur un disque. Final Cut Pro est fourni avec une palette de destinations que vous pouvez modifier. Vous pouvez également en créer. Le flux de production simplifié et rationalisé comprend les améliorations suivantes: • des menus simplifiés et consolidés que vous pouvez remplir de destinations personnalisées; • des lots de destinations réutilisables qui permettent de partager plusieurs sorties et emplacements à la fois; • le partage automatique des métadonnées de projet et de plan, avec la possibilité de personnaliser les métadonnées partagées; • la prise en charge de multiples comptes sur des sites web de partage de vidéo tels que YouTube ; • un partage et une exportation plus rapides en s’appuyant sur le traitement en arrière-plan et sur le processeur graphique ; • Partage d'une plage sélectionnée dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements. Pour en savoir plus, consultez Présentation du partage de projets à la page 394. Nouveautés de Final Cut Pro ?Chapitre 1 Nouveautés de Final Cut Pro ? 11 Importation unifiée D’emploi plus simple, la nouvelle fenêtre unifiée Importation des médias offre un même emplacement pour tous vos besoins en importation. Final Cut Pro 10.0.6 propose des zones dédiées pour les caméras et les appareils branchés, à système de fichiers comme à bande, ainsi qu’une nouvelle section Favoris, où il vous est possible d’ajouter les dossiers fréquemment utilisés pour l’importation de fichiers à partir de votre disque dur ou d’un lecteur externe. Parmi les autres nouvelles fonctionnalités d’importation, l’on retrouve aussi la présentation par liste pour pouvoir consulter plusieurs colonnes de métadonnées, la sélection de plusieurs plages dans des plans précis à partir de caméras à système de fichiers, ainsi que des outils de gestion des archives complets. Pour en savoir plus, consultez Présentation de l’importation à la page 21. Double visualiseur Le visualiseur d’événements représente un affichage vidéo distinct à côté du visualiseur principal de façon à pouvoir comparer les plans et faire ainsi correspondre les animations et les couleurs. En ouvrant le visualiseur d’événements et le visualiseur, vous pouvez ainsi afficher deux plans simultanément : l’un dans le navigateur d’événements et l’autre dans la timeline, chacun avec un instrument vidéo propre. Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83. Prise en charge native de REDCODE RAW (R3D) Final Cut Pro 10.0.6 assure la prise en charge native des fichiers REDCODE RAW (R3D). Vous pouvez à présent importer directement des fichiers RED, réaliser des ajustements de réglages RAW non destructifs et enregistrer ces ajustements sous forme de métadonnées, le tout depuis Final Cut Pro. Cela vous permet de tirer parti de tout l’éventail dynamique des options qu’offrent les fichiers sources REDCODE RAW. Pour en savoir plus, consultez Importation et réglage de fichiers vidéo REDCODE RAW à la page 46. Sélections de plage améliorées Les points de départ et d’arrivée des plans dans le navigateur d’événements restent désormais en place lorsque vous cliquez ailleurs. Vous pouvez également effectuer des sélections de plage multiples dans un ou plusieurs plans. Pour en savoir plus, consultez Sélection d’une plage à la page 100 et Gestion de plusieurs sélections de plage dans des plans d’événement à la page 103. Autres fonctionnalités utiles • Les marqueurs de chapitre et vignettes de marqueurs de chapitre vous permettent de préparer des chapitres et leur image d’affiche représentative directement depuis Final Cut Pro pour la sortie sur DVD, sur disque Blu-ray, vers iTunes, QuickTime Player et vers les dispositifs Apple. • La nouvelle fenêtre Coller les attributs offre un moyen puissant de transférer des effets précis et autres réglages entre des plans. • Il vous est à présent possible, rapidement et en toute simplicité, d’ajouter des images figées à l’aide d’un simple raccourci clavier. • L’ajout de titre est considérablement amélioré, notamment par la prise en charge de la nouvelle fonctionnalité des marqueurs de titre dans Motion.Chapitre 1 Nouveautés de Final Cut Pro ? 12 • Les points de connexion adaptables améliorent le contrôle manuel sur les plans connectés au cours de vos manipulations de coulissement, de glissement ou de déplacement de plans dans le scénario principal. • La nouvelle architecture des plans composés simplifie leur réutilisation dans plusieurs projets et offre de meilleures performances. • Vous pouvez désormais importer et exporter des fichiers MXF à l'aide de modules de tierce partie. Pour retrouver la liste des fichiers multimédias pris en charge, consultez Formats de média pris en charge à la page 45. • Final Cut Pro 10.0.6 offre une prise en charge des données anamorphosées améliorée. Nouveautés de Final Cut Pro 10.0.3 Final Cut Pro 10.0.3 prévoie des nouvelles fonctionnalités et des améliorations importantes qui sont abordées plus en détail ci-dessous. Montage multicam Il vous est à présent possible d’exploiter des plans multicam pour monter le métrage de prises multicaméra ou tout autre métrage synchronisé en temps réel. L’utilisation de plans multicam dans Final Cut Pro assure un processus polyvalent et fluide. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des coupes et passer facilement d’un angle à l’autre. Vous pouvez créer des plans multicam issus de sources de média diverses et modifier des plans existants lors du montage. Pour en savoir plus, consultez Présentation du montage multicam à la page 320. Sortie A/V Vous avez à présent la possibilité de relier votre ordinateur à un moniteur externe pour la sortie vidéo et audio (A/V). En plus de pouvoir vérifier à quoi la vidéo et l’audio ressemblent sur un moniteur broadcast NTSC/PAL ou HD, cette fonctionnalité vous permet également de tester la sortie sur des dispositifs plus sophistiqués, tels que des vecteurscopes et des oscilloscopes. La sortie A/V n’est disponible que sous OS X Lion 10.7.2 ou ultérieur et nécessite une interface vidéo matérielle et logicielle de tierce partie compatible. Les appareils DV FireWire ne sont pas pris en charge. Pour en savoir plus, contactez le fabricant de l’équipement ou accédez à la page web des ressources Final Cut Pro X à l’adresse http://www.apple.com/fr/finalcutpro/resources. Pour en savoir plus, consultez Lecture sur un moniteur externe à la page 85. Reconnexion manuelle de plans à des fichiers de média Vous avez désormais la possibilité de reconnecter manuellement des plans d’événements et des plans de projet à des fichiers de média. La reconnexion manuelle vous permet un contrôle supé- rieur sur votre flux de production de postproduction. Pour en savoir plus, consultez Reconnexion de plans à des fichiers de média à la page 410. Autres fonctionnalités utiles • Les fichiers graphiques multicouches, tels que les fichiers au format Adobe Photoshop (PSD), peuvent à présent être montés de sorte que chaque couche se présente sous la forme d’un plan connecté dans la timeline. • Des commandes pour l’incrustation avancée ont été ajoutées. • Les commandes pour l’animation avec des images clés ont été améliorées dans les éditeurs d’animation vidéo et audio.Chapitre 1 Nouveautés de Final Cut Pro ? 13 Nouveautés de Final Cut Pro 10.0.1 Final Cut Pro 10.0.1 bénéficie de nombreuses améliorations, modifications et fonctions inédites. Les fonctions les plus significatives sont présentées ci-dessous. Rôles Les nouvelles étiquettes de métadonnées correspondant aux rôles vous permettent d’organiser les plans dans vos événements et vos projets, de contrôler l’apparence de la timeline et d’exporter des fichiers vidéo ou audio séparés (également appelés stems multimédia) destinés au mixage audio, à la postproduction ou aux réseaux de diffusion. Vous pouvez ainsi exporter des rôles sous forme de stems multimédias dans un fichier QuickTime multipiste combiné ou dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus, consultez Présentation des rôles à la page 310 et Préférences de destinations à la page 441. Emplacements de stockage en réseau (SAN) Vous pouvez désormais ajouter des volumes de réseau comme emplacements de stockage d’événements et de projets. Supprimer des emplacements SAN dans Final Cut Pro permet aux autres utilisateurs du réseau de travailler sur les événements et projets stockés sur ces emplacements. Pour en savoir plus, consultez Utilisation d’emplacements SAN pour des événements et des projets à la page 428. Importation et exportation de fichiers XML Final Cut Pro prend désormais en charge l’importation et l’exportation de fichiers XML, afin que vous puissiez échanger vos données de projet et d’événement avec d’autres systèmes et applications tierces ne reconnaissant pas les projets et événements Final Cut Pro. Pour en savoir plus, consultez Utilisation de fichiers XML pour transférer des projets et des événements à la page 319.2 14 Qu’est-ce que Final Cut Pro ? Final Cut Pro X constitue une application révolutionnaire conçue pour la création, le montage et la production de vidéo d’une qualité optimale. Final Cut Pro associe un montage numérique offrant d’excellentes prestations et une prise en charge native de pratiquement tous les formats vidéo à l’aide de fonctionnalités simples d’emploi et puissantes, vous permettant ainsi de vous concentrer sur le récit de l’histoire. Dans Final Cut Pro, vous pouvez : • monter du métrage, allant de la vidéo en définition standard sans compression à de la vidéo HDV en passant par le format DVCPRO HD et la vidéo haute définition non compressée, ainsi que les formats AVC-Intra, AVCHD et XDCAM HD; • reproduire et effectuer le survol de média indépendamment de sa résolution pouvant aller jusqu’à 1920 x 1080, 2K, 4K mais aussi 5K ; mais aussi lire de la vidéo en plein écran ou sur un deuxième écran ; • disposer des plans en toute simplicité au moyen de la timeline magnétique qui replace instantanément les plans autour de celui que vous faites glisser, afin d’éviter les vides, les collisions et les problèmes de synchronisation ; • monter rapidement à l’aide du jeu complet d’outils de montage et de coupe professionnels, ainsi que régler plus finement vos modifications avec l’éditeur de précision incorporé ; • analyser votre vidéo dans Final Cut Pro et procéder à la correction non destructive de problèmes courants, tels que les tremblements de caméra, le bourdonnement excessif ou un son saturé (tonalité), mais aussi laisser Final Cut Pro détecter la présence de personnes ou du type de plan et appliquer automatiquement des mots-clés, par exemple Une personne ou Plan élargi ; Notions élémentaires Final Cut ProChapitre 2 Notions élémentaires Final Cut Pro 15 • organiser votre média à l’aide de collections de mots-clés pour regrouper automatiquement les plans d’après des mots-clés, et de collections intelligentes pour regrouper automatiquement les plans en s’appuyant sur des critères de votre choix ; • tester des plans de votre projet en utilisant des auditions, des ensembles de prises, d’effets ou de traitements textuels alternatifs, puis de choisir le plan le mieux adapté au montage ; • créer des plans composés pour regrouper des combinaisons particulières de plans et en imbriquer à d’autres; • utiliser des plans connectés et des scénarios pour ajouter des plans de coupe, des titres superposés et des effets sonores à votre projet – les plans connectés et les scénarios restant ainsi toujours synchronisés; • ajouter des effets spéciaux à la vidéo, à l’audio et à des photos, et les ajuster grâce à des images clés et des commandes à l’écran, mais aussi adapter la vitesse des plans pour créer des effets d’animation rapide ou lente ; • adapter la balance et la correspondance des couleurs automatiquement ou faire appel aux outils d’étalonnage pour contrôler précisément l’apparence d’un plan quelconque de votre projet ; • publier votre projet directement vers des sites web comme YouTube et Facebook ou l’envoyer à iTunes en vue de sa synchronisation avec des dispositifs Apple tels que l’iPhone, l’iPad et l’Apple TV. Vue d’ensemble des flux de production Final Cut Pro X. Pour donner un aperçu des possibilités qui vous sont offertes, le processus général pour monter un film dans Final Cut Pro est décrit ci-dessous. Toutes les étapes ne sont pas nécessaires et d’autres non répertoriées sont en outre possibles. Le flux de production n’est pas obligatoirement séquentiel. Vous pouvez par exemple suivre l’intégralité des effets de montage et d’ajout, puis importer du média complémentaire dans votre projet. Importation de votre média dans Final Cut Pro Pour utiliser Final Cut Pro, vous devez transférer votre média (vidéo, audio et images fixes) de votre dispositif d’enregistrement sur votre ordinateur ou sur un disque externe. Il vous est possible d’importer du média à partir de nombreux types de caméras et autres matériels, ou d’autres applications telles qu’iMovie. Organisation de votre média Final Cut Pro organise automatiquement votre média sous forme d’événements après son importation. Un événement s’apparente à un dossier contenant l’intégralité du média enregistré à une certaine date. Dans Final Cut Pro, votre média apparaît sous forme de plans connectés aux fichiers de média stockés sur disque. Vous pouvez réorganiser vos plans en créant ou en réattribuant un nom aux événements, puis en déplaçant les plans entre les événements. Par exemple, vous pouvez créer un événement pour l’intégralité du plan de média pour un client donné. Au cours du passage en revue de votre métrage, vous avez la possibilité d’attribuer en toute simplicité un classement, Favori ou Rejeté, aux plans. Ces évaluations simplifient le processus dans la mesure où vous n’avez alors plus qu’à vous concentrer sur le métrage approprié. Final Cut Pro propose également d’autres moyens d’organisation pratiques, tels que les collections de motsclés et les collections intelligentes.Chapitre 2 Notions élémentaires Final Cut Pro 16 Création d’un projet et ajout de plans Votre projet représente le film que vous créez par le biais de plans tirés de vos événements et des navigateurs multimédias de Final Cut Pro. Créez tout d’abord votre film en ajoutant des plans sur la timeline. Tous vos montages s’effectuent dans le projet ; vos fichiers de média d’origine sont conservés (ce que l’on entend par montage non destructif). Arrangement et modification de plans Votre film peut dès lors commencer à prendre forme. Pour assembler un montage brut, réorganisez et effectuez le trim des plans présents sur la timeline. Vous pouvez aussi essayer différents plans à l’aide d’auditions. Utilisez des plans connectés et des scénarios pour ajouter des plans de coupe, des titres, de la musique de fond et des effets sonores à votre projet. Créez des plans composés pour regrouper des combinaisons particulières de plans et en imbriquer à d’autres. Vous pouvez simplifier un projet qui s’avère complexe en créant un plan composé distinct pour chaque section principale. Ajout d’effets et de transitions Ajoutez des effets spéciaux issus d’un éventail ample d’effets vidéo et audio dans les navigateurs multimédias de Final Cut Pro. Apportez à votre film des titres et un générique, et appliquez des transitions vidéo ou audio. Adaptez les réglages de vitesse des plans pour créer des effets d’accé- lération ou de ralenti. Pour peaufiner votre projet, affinez les coupes et les transitions à l’aide de l’éditeur de précision, animez des effets vidéo et audio avec des images clés, étalonnez l’image et élaborez des images animées composites. Partage d’un film Une fois votre projet terminé, vous avez la possibilité de le publier directement depuis Final Cut Pro sur le Web ou l’envoyer à iTunes, un iPhone, un iPad, un iPod ou une Apple TV. Vous pouvez aussi graver un disque pour le distribuer. Vue d’ensemble de l’interface Final Cut Pro X. La fenêtre de Final Cut Pro se divise en trois zones principales: Visualiseur : lisez des plans et des projets. Navigateur d’événements : accédez à tous les médias source importés. Timeline magnétique : réalisez le montage de votre film dans cette zone.Chapitre 2 Notions élémentaires Final Cut Pro 17 Organisation de média dans la bibliothèque d’événements et dans le navigateur d’événements L’intégralité de votre média importé est accessible dans la bibliothèque d’événements. (Un événement s’apparente à un dossier renfermant des plans.) Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, ses plans apparaissent dans le navigateur d’événements à droite. Navigateur d’événements : affichez et organisez les plans dans l’événement sélectionné. Bibliothèque d’événements : sélectionnez un événement pour afficher les médias qu’il contient sur la droite. Il vous est possible de réorganiser votre média comme bon vous semble à tout moment ; la bibliothèque d’événements et le navigateur d’événements vous permettent de gérer, d’attribuer un classement, de trier et d’associer des mots-clés à votre média importé. Pour en savoir plus, consultez Présentation des événements et des plans à la page 55. Reproduction de plans et de projets dans le visualiseur Le visualiseur constitue le point où vous reproduisez votre vidéo, notamment les plans et les projets jusqu’à une résolution 1920 x 1080, 2K, 4K mais aussi 5K. Vous pouvez effectuer la lecture d’événements, de projets ou de plans précis en plein écran ou sur un deuxième écran. En ouvrant le visualiseur d’événements, correspondant à l’affichage vidéo à part qui peut s’afficher à côté du visualiseur principal, vous pouvez ainsi afficher deux plans simultanément : l’un dans le navigateur d’événements et l’autre dans la timeline. Pour obtenir des informations sur les manières de reproduire les données, reportez-vous à la section Lecture du média à la page 79. Lecture sans distinction de résolution : lisez des fichiers vidéo jusqu’à 5K. Lecture en plein écran : lisez vos vidéos en plein écran ou sur un second moniteur. Commandes à l’écran : ajustez les effets tels que Transformation, Rognage et Distorsion. Double visualiseur : affichez côte à côte les plans d’événement et les plans du projet.Chapitre 2 Notions élémentaires Final Cut Pro 18 Vous pouvez en outre faire appel aux commandes à l’écran superposées à la vidéo dans le visualiseur pour adapter les réglages de sorte à tirer parti d’un large éventail d’effets et de transitions. Montage de votre projet dans la timeline magnétique La partie inférieure de la fenêtre de Final Cut Pro reprend la timeline où vous pouvez créer votre film en ajoutant et en arrangeant les plans, mais aussi en y effectuant tous vos montages. La timeline de Final Cut Pro replace « magnétiquement » les plans autour de ceux que vous déplacez . Les vides laissés par les plans que vous déplacez par glissement sont automatiquement comblés par les plans avoisinants. Un projet Final Cut Pro héberge l’intégralité des informations pour votre film final, notamment vos décisions de montage, et relie ces renseignements à tous les plans source et aux événements. Pour en savoir plus sur le montage d’un projet, consultez Présentation de l’ajout de plans à la page 106 et Disposition des plans dans la timeline à la page 124. Barre d’outils : effectuez les tâches courantes en cliquant sur un bouton. Plans connectés : ajoutez des titres et des plans de coupe. Tout reste synchronisé dans la timeline magnétique. Plans audio : ajoutez de la musique et des effets sonores sous forme de plans connectés. Scénario principal : ajoutez et organisez des plans pour créer votre séquence. Fichiers de média et plans Après avoir importé le média dans Final Cut Pro, les plans représentant les fichiers de média source apparaissent dans le navigateur d’événements. Un événement volumineux peut inclure de nombreux plans. Les fichiers de média constituent la matière première avec laquelle vous créez votre projet. Un fichier de média représente un fichier vidéo, audio ou graphique stocké sur le disque dur, qui contient le métrage transféré d’un caméscope, d’un équipement d’enregistrement ou créé au départ sur votre ordinateur. Les fichiers de média peuvent contenir plusieurs composants vidéo et audio. Comme les fichiers de données (plus particulièrement les fichiers vidéo) ont tendance à occuper beaucoup d’espace, les projets exploitant un métrage conséquent requièrent un ou plusieurs disques durs de grande capacité.Chapitre 2 Notions élémentaires Final Cut Pro 19 Les plans représentent votre média mais ne sont pas des fichiers de média en tant que tels. Les plans dans un projet pointent simplement sur des fichiers de média source se trouvant sur votre disque dur. Si vous modifiez un plan, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan dans le projet. Cette méthode est connue sous le nom de montage non destructif, car l’ensemble des modifications et des effets appliqués aux plans dans Final Cut Pro n’a aucun effet sur les données elles-mêmes. Les parties élaguées ou effacées des plans ne sont supprimées que de votre projet et non des plans source qui s’affichent dans votre bibliothèque d’événements ou des fichiers multimédias source stockés sur votre disque dur. Projet 2 Jouet1 Fichiers de média sur votre disque dur Projet 1 Projet 3 Jouet1.mov Jouet1 Jouet1 Jouet1 Plans de l’événement Événements et projets Dans Final Cut Pro X, vous pouvez utiliser des événements pour recueillir et organiser le média. Les événements s’apparentent à des dossiers qui contiennent le média non modifié et importé d’une caméra ou de toute autre source. Les projets vous permettent de modifier et de structurer des films pour les partager avec votre public. Un projet représente un enregistrement du travail que vous effectuez dans la timeline mais aussi les décisions que vous prenez pour réaliser vos montages. Lorsque vous ajoutez un plan d’un événement dans un projet donné, vous établissez en fait un lien entre le plan d’évé- nement source et le plan correspondant dans le projet (et, par extension, entre l’événement et le projet). Cependant, l’événement comme le plan source ne sont en fait pas contenus au sein du projet. Vous pouvez utiliser le plan d’événement en question dans d’autres projets et votre projet peut exploiter des plans issus d’autres événements.Chapitre 2 Notions élémentaires Final Cut Pro 20 L’illustration ci-dessous reprend la relation entre les événements et les projets: Final Cut Pro X effectue le suivi des liens entre les plans du projet et leur plan d’événement source, bien que les projets et les événements restent indépendants. Projet Projet Événements Événements Événements Événements3 21 Présentation de l’importation L’importation de médias dans Final Cut Pro constitue la première étape vers la création de votre film. Final Cut Pro vous permet les opérations suivantes: • Importation d’une caméra ou d’un dispositif (sans bande) enregistrant dans des fichiers • Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch • Importation à partir d’un caméscope ou d’un dispositif à bande • Importation à partir d’iMovie • Importation à partir d’iPhoto et d’Aperture • Importation à partir d’iTunes • Importation à partir d’un disque dur • Importation à partir d’une archive de caméra Lors de l’importation, vous devez assigner votre média à un événement. Vous pouvez également transcoder votre média et l’analyser pour y rechercher différents problèmes, tels que la balance des couleurs, la présence de personnes et le type de plan, ou encore régler des problèmes audio. Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro attribue l’un des cinq rôles par défaut aux composants vidéo et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Pour en savoir plus, consultez Affichage et réattribution de rôles à la page 311. Si vous voulez rapidement sauvegarder votre média (plutôt que suivre le processus plus lent d’importation), vous pouvez créer une archive. Importation de médiaChapitre 3 Importation de média 22 S’il s’agit de votre première importation La première fois que vous ouvrez Final Cut Pro, l’application ne contient aucun média, aucun projet et un seul événement. Les boutons apparaissent dans le navigateur d’événements pour vous aider à importer rapidement des événements à partir d’iMovie, du média depuis votre disque dur ou un périphérique de stockage externe connecté, ou directement depuis une caméra branchée sur votre ordinateur. Importation de média dans un événement vide m Pour importer des événements d’iMovie : cliquez sur le bouton « Importer des événements iMovie » et suivez les instructions pour l’importation d’événements iMovie. m Pour importer des fichiers à partir d’une caméra ou d’un disque dur: cliquez sur le bouton Média et suivez les instructions pour l’importation de fichiers à partir d’une caméra à système de fichiers, pour l’d’un disque durd’une caméra à bande ou d’une archive de caméra. Importation à partir des caméras connectées Importation à partir des caméras à système de fichiers Les caméscopes et caméras produisant des fichiers permettent d’enregistrer de la vidéo, du son et des images fixes. Ces types de dispositifs qui enregistrent sur des supports de stockage à mémoire flash, des disques durs, etc., se branchent généralement sur l’ordinateur par le biais d’un câble USB. Certains matériels utilisent des cartes mémoire amovibles que vous pouvez ensuite insérer dans votre ordinateur. Si votre dispositif produisant des fichiers inclut une fonctionnalité pour étendre des plans, vous pouvez importer l’intégralité du média sous la forme d’un plan étendu. Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/finalcutpro/cameras/. Importation d’un caméscope, d’une caméra ou de tout autre matériel enregistrant dans des fichiers 1 Procédez de l’une des manières suivantes: • Connectez votre caméscope, votre caméra ou tout autre appareil à votre ordinateur à l’aide du câble fourni avec le matériel en question, puis allumez-le.Chapitre 3 Importation de média 23 Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. (Le nom de ce mode de transfert varie selon le modèle de votre matériel.) Il se peut que votre caméscope passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec votre caméscope. Remarque : Si vous connectez un caméscope DVD à votre Mac, il se peut que l’application Lecteur DVD s’ouvre. Si cela se produit, il vous suffit de fermer l’application. • Retirez la carte mémoire du caméscope ou de l’appareil, puis insérez-la dans le logement pour carte de votre Mac (si celui-ci en possède un) ou dans un lecteur de carte externe. Pour en savoir plus sur les cartes mémoires, reportez-vous à la section À propos des cartes mémoire et des câbles à la page 43. 2 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes: • Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). • Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. 3 Au besoin, sélectionnez votre caméscope, caméra ou dispositif dans la section Caméras de gauche. La fenêtre Importation des médias affiche alors l’intégralité du média présent sur votre matériel. Dans cette fenêtre, vous pouvez effectuer le preview du média soit en lançant sa lecture à l’aide des commandes de lecture, soit en en effectuant le survol en déplaçant horizontalement le pointeur sur une pellicule. Modifiez l’apparence des plans à l’aide de ces commandes. Le média sur le support s’affiche à cet endroit. Commandes de lecture Remarque : La plupart des caméras numériques modernes sont en mesure d’enregistrer indiffé- remment des images fixes ou de la vidéo. Dans de nombreux cas, les plans vidéo et les images fixes de ces caméras apparaissent côte-à-côte dans la fenêtre Importation des médias.Chapitre 3 Importation de média 24 4 Procédez de l’une des façons suivantes: • Pour changer d’appareil à partir duquel importer: cliquez sur l’appareil voulu dans la section Caméras. • Pour changer la façon dont les plans apparaissent: cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la fenêtre Importation des médias. • Pour passer de la présentation en pellicule à la présentation par liste : cliquez sur les boutons Présentation par liste et Présentation en pellicule en bas de la fenêtre Importation des médias. (Caméras à système de fichiers et archives de caméra uniquement.) Remarque : Lorsque vous sélectionnez un plan dans la présentation par liste, la pellicule du plan sélectionné s’affiche en haut du navigateur d’événements. La pellicule est totalement interactive. Elle permet d’accéder aux points de départ et d’arrivée, aux marqueurs et aux mots-clés. • Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes en haut de la présentation par liste. Pour en savoir plus sur la présentation par liste, consultez Importation à partir d’un disque dur à la page 37. • Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris: faites-les glisser de la présentation par liste. Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le menu contextuel. • Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation : cochez la case « Fermer la fenêtre après le début de l’importation ». • Pour ajouter un dossier à la présentation en liste en le faisant glisser: faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste. 5 Procédez de l’une des manières suivantes: • Pour importer tous les plans: cliquez sur Tout importer. • Pour importer uniquement certains plans: sélectionnez chaque plan à importer en cliquant sur chaque plan tout en maintenant la touche Commande, puis cliquez sur Importer la sélection (le bouton Importer change de nom). Conseil : Pour sélectionner plusieurs plans regroupés, vous pouvez les encadrer en faisant glisser le pointeur de sorte à former le rectangle de sélection. • Pour importer certaines parties de plans: faites glisser le curseur à l’intérieur de la pellicule pour sélectionner la plage d’images de votre choix, puis cliquez sur Importer la sélection. Vous pouvez également sélectionner plusieurs plages dans chaque plan. Pour en savoir plus, consultez Sélection d’une plage à la page 100. Conseil : Vous pouvez également sélectionner un plan, appuyez sur la barre d’espace pour le lire et appuyez sur la touche I pour définir un point de départ ou sur la toucheO pour définir un point d’arrivée. 6 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements: • Pour ajouter les plans importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local.Chapitre 3 Importation de média 25 • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 7 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 8 Cliquez sur Importer. Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 9 Lorsque des tâches en arrière-plan sont terminées, débranchez le caméscope, la caméra ou l’appareil. Vous pouvez créer une archive à partir de votre caméra ou équipement à système de fichiers ou à bande. Pour en savoir plus, consultez Création et gestion des archives de caméra à la page 429. Réimportation d’un plan Deux cas de figure permettent d’assurer une réimportation correcte d’un plan : • Si le plan ne s’est pas entièrement importé : si vous annulez l’opération ou fermez Final Cut Pro avant la fin de l’importation, une icône représentant une caméra apparaît dans le coin inférieur gauche du plan. Cette icône indique que Final Cut Pro exploite le média présent sur la caméra pour effectuer la lecture (plutôt qu’utiliser le fichier QuickTime créé au cours de l’importation). Icône de caméra Pour reproduire un plan présentant une icône de caméra, Final Cut Pro recherche le média soit sur une caméra connectée, soit dans une archive de caméra accessible. (Consultez Accès aux médias sur une archive ou une image disque à la page 40 pour en savoir plus.) Si Final Cut Pro ne parvient pas à localiser le média dans l’un de ces emplacements, le plan est alors déconnecté et une icône d’avertissement indique qu’une caméra est absente. • Si le fichier de média source du plan est indisponible : s’il a été déplacé ou supprimé, ou si le volume sur lequel il se trouve est déconnecté de l’ordinateur, une icône représentant un fichier manquant apparaît sur le plan. Pour rétablir le plan, vous pouvez le réimporter. Reportez-vous à Icônes d’avertissement à la page 432 pour en savoir plus sur les icônes d’avertissement.Chapitre 3 Importation de média 26 Lorsque vous réimportez un plan, Final Cut Pro se connecte automatiquement à la caméra ou à l’archive de caméra nécessaire. Il n’y a alors aucun besoin d’effectuer le montage manuel d’une archive de caméra avant de réaliser la réimportation. 1 Procédez de l’une des manières suivantes: • Branchez la caméra contenant le plan sur votre ordinateur, puis allumez-la. Ceci permet de connecter le plan, même si celui-ci dénote toujours une icône de caméra dans le coin inférieur gauche. • Insérez dans l’ordinateur ou un lecteur de carte connecté la carte mémoire incluant le plan. Consultez À propos des cartes mémoire et des câbles à la page 43 pour en savoir plus. • Assurez-vous que l’archive de caméra contient bien le plan stocké dans l’une des archives de caméra Final Cut Pro. Consultez Création et gestion des archives de caméra à la page 429 pour en savoir plus. 2 Dans Final Cut Pro, effectuez l’une des opérations suivantes: • Pour réimporter un plan : Sélectionnez le plan dans le navigateur d’événements. • Pour réimporter tous les plans dans un événement: Sélectionnez l’événement dans la bibliothèque d’événements. 3 Choisissez Fichier > Importer > Réimporter de l’archive/caméra. Le ou les plans sont alors réimportés. Importation de plans étendus Certains caméscopes ou dispositifs produisant des fichiers et disposant de plusieurs logements pour carte mémoire peuvent enregistrer un plan sur plusieurs cartes mémoire. Le plan ainsi créé est appelé un plan étendu. Un bon moyen pour importer un plan étendu dans Final Cut Pro consiste à connecter votre caméra ou votre lecteur de cartes à votre ordinateur et à créer une archive de caméra pour chaque carte mémoire. Vous pouvez stocker les archives de caméra sur votre ordinateur ou sur un dispositif de stockage externe, jusqu’à ce que vous soyez prêt à importer le plan étendu. (Même si vous importez le plan étendu immédiatement, il peut être utile de créer l’archive de caméra afin d’avoir une sauvegarde des plans qui composent le plan étendu.) Ensuite, lorsque vous êtes prêts pour l’importation, vous pouvez monter toutes les archives de caméra et importer le plan étendu. Création d’une archive de caméra pour chaque carte mémoire 1 Connectez votre caméscope ou votre caméra à l’ordinateur et allumez l’appareil, ou branchez votre lecteur de cartes sur l’ordinateur et insérez la carte dans le lecteur. Si vous envisagez d’enregistrer les archives de caméra sur un périphérique de stockage externe, branchez également celui-ci. 2 Dans Final Cut Pro, effectuez l’une des opérations suivantes: • Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). • Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. La fenêtre Importation des médias apparaît. 3 Sélectionnez une carte mémoire à archiver dans la liste des caméras à gauche.Chapitre 3 Importation de média 27 4 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre. 5 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive. 6 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez sur OK. Remarque : Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro. 7 Répétez les étapes 3 à 6 pour créer des archives de caméra pour chacune des cartes mémoire contenant une partie du plan étendu. Les archives de caméra apparaissent dans la liste Archives d’appareil de la fenêtre Importation des médias. Consultez Création et gestion des archives de caméra à la page 429 pour en savoir plus sur la création d’archives de caméra. Importation d’un plan étendu 1 Si les archives de votre caméra sont stockées sur un périphérique de stockage externe, assurezvous que celui-ci est connecté à votre ordinateur. 2 Choisissez Fichier > Importer depuis la caméra. La fenêtre Importation des médias apparaît, affichant toutes les archives de caméra présentes sur votre ordinateur (et sur tous les périphériques de stockage externes connectés) dans la section Archives de caméra située à gauche. 3 Sélectionnez chacune des archives de caméra qui composent le plan étendu. Final Cut Pro monte l’intégralité des archives de caméra. Si toutes les sections du plan étendu sont disponibles, toutes les archives de caméra montées affichent un plan de la même durée. Une icône indiquant que le plan étendu est terminé s'affiche sur le plan. Ces archives de caméra contiennent toutes les sections du plan étendu. Ce plan représente le plan étendu entier. Cette icône indique que toutes les sections du plan étendu sont disponibles.Chapitre 3 Importation de média 28 Si des archives de caméra viennent à manquer, une icône apparaît sur le plan étendu pour indiquer quelle partie du plan étendu est disponible, à savoir le début, le milieu ou la fin. Vous pouvez sélectionner chaque archive de caméra pour connaître leurs icônes. Indique que toutes les sections du plan étendu sont disponibles. Indique que la section de fin du plan étendu est disponible. Indique que la section de début du plan étendu est disponible. Indique que la section du milieu du plan étendu est disponible. 4 Cliquez sur Tout importer pour importer le plan étendu. Important : Si les archives de caméra qui composent le plan étendu ne sont pas toutes disponibles, vous pouvez importer chaque archive séparément. Chaque section du plan étendu est importée dans Final Cut Pro sous la forme d’un plan séparé. 5 Choisissez comment vous comptez organiser le média importé dans la bibliothèque d’événements: • Pour ajouter les médias importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 6 Si vous comptez organiser votre média, le transcoder, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 7 Cliquez sur Importer. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 8 Pour commencer à manipuler vos plans, fermez la fenêtre Importation des médias afin de pouvoir accéder au navigateur d’événements.Chapitre 3 Importation de média 29 Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch L’importation de média depuis un iPhone, iPad ou iPod touch est similaire à l’importation de fichiers à partir d’un caméscope, d’une caméra ou autre matériel. Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch 1 Connectez votre iPhone, iPad ou iPod touch à votre ordinateur à l’aide du câble Dock Connector vers USB livré avec l’appareil en question. (Si une autre application s’ouvre, fermez celle-ci.) Allumez ensuite le dispositif et déverrouillez-le. 2 Dans Final Cut Pro, effectuez l’une des opérations suivantes: • Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). • Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. La fenêtre Importation des médias apparaît. 3 Au besoin, sélectionnez votre iPhone, iPad ou iPod touch dans la section Caméras de gauche. La fenêtre Importation des médias affiche alors l’intégralité du média présent sur votre matériel. Dans cette fenêtre, vous pouvez effectuer le preview du média soit en lançant sa lecture à l’aide des commandes de lecture, soit en en effectuant le survol en déplaçant horizontalement le pointeur sur une pellicule. Vous avez également la possibilité d’effectuer l’une des opérations suivantes: • Pour changer d’appareil à partir duquel importer: cliquez sur l’appareil voulu dans la section Caméras. • Pour changer la façon dont les plans apparaissent: cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la fenêtre Importation des médias. • Pour passer de la présentation en pellicule à la présentation par liste : cliquez sur les boutons Présentation par liste et Présentation en pellicule en bas de la fenêtre Importation des médias. (Caméras à système de fichiers et archives de caméra uniquement.) Remarque : Lorsque vous sélectionnez un plan dans la présentation par liste, la pellicule du plan sélectionné s’affiche en haut du navigateur d’événements. La pellicule est totalement interactive. Elle permet d’accéder aux points de départ et d’arrivée, aux marqueurs et aux mots-clés. • Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes en haut de la présentation par liste. Pour en savoir plus sur la présentation par liste, consultez Importation à partir d’un disque dur à la page 37. • Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris: faites-les glisser de la présentation par liste. Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le menu contextuel. • Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation : cochez la case « Fermer la fenêtre après le début de l’importation ».Chapitre 3 Importation de média 30 • Pour ajouter un dossier à la présentation en liste en le faisant glisser: faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste. 4 Procédez de l’une des manières suivantes: • Pour importer tous les plans: cliquez sur Tout importer. • Pour importer uniquement certains plans: sélectionnez chaque plan à importer en cliquant sur chaque plan tout en maintenant la touche Commande, puis cliquez sur Importer la sélection (le bouton Importer change de nom). Conseil : Pour sélectionner plusieurs plans regroupés, vous pouvez les encadrer en faisant glisser le pointeur de sorte à former le rectangle de sélection. • Pour importer certaines parties de plans: faites glisser le curseur à l’intérieur de la pellicule pour sélectionner la plage d’images de votre choix, puis cliquez sur Importer la sélection. Vous pouvez également sélectionner plusieurs plages dans chaque plan. Pour en savoir plus, consultez Sélection d’une plage à la page 100. Conseil : Vous pouvez également sélectionner un plan, appuyez sur la barre d’espace pour le lire et appuyez sur la touche I pour définir un point de départ ou sur la toucheO pour définir un point d’arrivée. 5 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements: • Pour ajouter les plans importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 6 Si vous comptez créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.Chapitre 3 Importation de média 31 7 Cliquez sur Importer. Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 8 Lorsque des tâches en arrière-plan sont terminées, débranchez l’iPhone, iPad ou iPod touch. Importation à partir d’un appareil photo numérique Il est possible d’importer de la vidéo et des images fixes à partir d’un appareil photo numérique. La procédure ci-dessous explique comment importer de la vidéo et des images fixes directement dans Final Cut Pro. Vous pouvez également importer vos photos dans Aperture ou dans iPhoto et y accéder à travers le navigateur de photos de Final Cut Pro. Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/finalcutpro/cameras/. Importation de plans d’images fixes et de plans vidéo à partir d’un appareil photo numérique 1 Branchez votre caméra sur votre ordinateur à l’aide du câble fournie avec celle-ci et allumez-la. Si votre caméra n’apparaît pas à gauche de la fenêtre Importation des médias (dans la section Caméras ou Appareils), retirez la carte mémoire de la caméra, puis insérez-la dans le logement pour carte de votre Mac (si celui-ci en possède un) ou dans un lecteur de carte externe. 2 Dans le Finder, localisez le dossier DCIM dans l’arborescence de la caméra, puis les fichiers d’images et de vidéos. Ces fichiers peuvent se trouver dans le dossier DCIM ou dans un dossier situé à un ou deux niveaux inférieurs. La structure des fichiers varie selon les modèles et les fabricants. 3 Dans Final Cut Pro, effectuez l’une des opérations suivantes: • Sélectionnez Fichier > Importer > Média (ou appuyez sur Commande + I), puis suivez les instructions de Importation à partir d’un disque dur à la page 37. • Faites glisser les fichiers du Finder sur un événement ou sur la timeline de Final Cut Pro. Les fichiers sont alors importés en utilisant les réglages d’importation que vous avez définis dans les préférences Importation. Consultez Importation à partir d’un disque dur à la page 37. Une fois l’importation terminée, il se peut que vous disposiez de fichiers audio utilisables pour remplacer la piste audio de certaines vidéos. Pour ce faire, vous pouvez automatiquement synchroniser les plans vidéo et audio. Importation à partir des caméras à bande Vous pouvez importer des médias à partir d’un caméscope ou d’un dispositif à bande. Pour déterminer quels plans vous devez importer (plutôt que de tous les importer), vous pouvez les visualiser dans Final Cut Pro avant de les importer. Final Cut Pro prend en charge l'importation de contenu à bande des format multimédias suivants: DV (y compris DVCAM, DVCPRO et DVCPRO50), DVCPRO HD et HDV. Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/ finalcutpro/cameras/.Chapitre 3 Importation de média 32 Importation de médias à partir d’un caméscope ou d’un dispositif à bande 1 Connectez le caméscope à votre ordinateur par le biais du câble FireWire fourni avec votre caméscope et configurez votre matériel, le cas échéant, pour le contrôler à distance par FireWire. Remarque : Pour de meilleurs résultats lors de l’importation à partir d’un caméscope à bande, il est recommandé d’importer la vidéo à l’aide du même caméscope que celui utilisé pour l’enregistrement. 2 Allumez le caméscope et mettez-le en mode magnétoscope (VTR ou VCR). (Le nom de ce mode peut varier selon votre modèle de caméra. Pour en savoir plus, consultez la documentation fournie avec votre caméscope.) 3 Dans Final Cut Pro, effectuez l’une des opérations suivantes: • Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). • Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. La fenêtre Importation des médias apparaît. 4 Si plusieurs matériels sont connectés à votre ordinateur, choisissez dans la liste des caméras située à gauche celui à partir duquel vous voulez importer. La fenêtre Importation des médias affiche l’image de la position active de la bande. 5 Utilisez les commandes de lecture (ou les touchesJ, K et L) pour placer la bande sur le point à partir duquel vous voulez commencer l’importation, puis cliquez sur Importer. 6 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements: • Pour ajouter les plans importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ».Chapitre 3 Importation de média 33 Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 7 Si vous comptez transcoder votre média, l’organiser ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 8 Cliquez sur Importer. Final Cut Pro lance immédiatement l’importation à partir de la position sur la bande. L’application poursuit l’importation (et enregistre les fichiers de média résultants dans l’événement que vous avez spécifié) jusqu’à ce que l’un des cas de figure suivants se produise : • la fin de la bande soit atteinte ; • Le disque dur vers lequel vous effectuez l’importation est plein. • Vous pouvez interrompre la session d’importation en cliquant sur Arrêter l’importation ou Fermer (pour fermer la fenêtre Importation des médias). La vidéo est lue pendant son importation. L’importation de la vidéo prend autant de temps que sa visualisation à vitesse normale. 9 Lorsque la section de la vidéo que vous voulez importer a été importée, cliquez sur Arrêter l’importation. Utilisez ensuite les commandes d’importation pour placer votre vidéo à un point à partir duquel vous voulez recommencer l’importation, puis répétez les étapes 5 à 7. Si vous avez sélectionné des options à l’étape 6, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 10 Une fois l’importation effectuée, cliquez sur Fermer pour fermer la fenêtre Importation des médias. Vous pouvez en outre créer une archive à partir de votre dispositif à bande, en enregistrant le contenu de la bande du début à la fin et en enregistrant les plans capturés sous forme d’archive. Pour en savoir plus, consultez Création et gestion des archives de caméra à la page 429. Si votre caméra ou dispositif n’est pas reconnu Si vous avez connecté votre caméra ou caméscope à votre ordinateur mais que la fenêtre Importation des médias ne s’ouvre pas ou que Final Cut Pro ne contrôle pas votre dispositif, vous pouvez tenter plusieurs opérations pour établir la connexion. Vérifiez votre équipement et votre ordinateur. 1 Assurez-vous que vous utilisez votre équipement dans sa configuration adéquate : • Votre caméscope ou caméra doit être compatible avec Final Cut Pro. Pour obtenir la liste des appareils compatibles avec Final Cut Pro X, consultez la page web http://help.apple.com/ finalcutpro/cameras/. • Votre appareil doit être correctement connecté à votre ordinateur. • Votre caméscope doit être placé en mode de sortie adéquat. Sur certains caméscopes, ce mode est appelé le mode magnétoscope (ou encore VTR ou VCR), mais tous les caméscopes n’utilisent pas la même terminologie, c’est pourquoi il est nécessaire de consulter la documentation fournie avec votre matériel. Sur certains caméscopes, vous devez régler la sortie sur mode DV ou HDV, selon que le contenu est standard (DV) ou haute définition (HDV).Chapitre 3 Importation de média 34 • Si vous connectez un caméscope à bande à votre ordinateur, vous devez utiliser un câble FireWire (aussi appelé IEEE 1394 ou i.LINK), et non pas un câble USB. Consultez À propos des cartes mémoire et des câbles à la page 43 pour en savoir plus. • Si vous importez des plans vidéo à partir d’un appareil photo ou d’un autre dispositif à mémoire flash, assurez-vous que le format de fichier de votre vidéo est MPEG-2, MPEG-4 ou AVCHD, ces formats étant tous compatibles avec Final Cut Pro. • Si votre appareil photo n’est pas pris en charge par Final Cut Pro, essayez d’importer les données sous forme de fichiers à l’aide d’un logement pour carte de votre Mac ou d’un lecteur de carte externe. Consultez Importation à partir d’un disque dur à la page 37 pour en savoir plus. • Si vous avez activé la permutation rapide d’utilisateur, assurez-vous que personne n’essaie d’utiliser simultanément le caméscope depuis un autre compte. 2 Si vous n’arrivez toujours pas à importer le média après avoir vérifié les éléments ci-dessus, essayez les opérations suivantes: • Éteignez puis rallumez l’appareil. • Déconnectez le câble de l’appareil et de l’ordinateur, puis rebranchez-le. • Quittez puis rouvrez Final Cut Pro. • Redémarrez votre ordinateur. • Essayez d’utiliser un autre câble. • Essayez d’utiliser un autre ordinateur sur lequel Final Cut Pro est installé. • Si vous utilisez un caméscope produisant des fichiers, utilisez le Finder pour copier le volume monté sur un disque local. Ouvrez ensuite les fichiers dans Final Cut Pro de la même façon que vous ouvrez une archive. Remarque : Lorsque des images s’affichent en rouge avec un triangle d’avertissement jaune dans la timeline ou dans l’événement, Final Cut Pro vous signale en fait qu’une partie de votre projet ou de votre événement est manquante. Pour en savoir plus, consultez Icônes d’avertissement à la page 432. Importation à partir d’autres applications Importation à partir de Motion Vous pouvez créer et modifier des effets vidéo, des titres, des transitions et des générateurs dans Motion 5 pour les exploiter dans Final Cut Pro. Si vous enregistrez un modèle dans Motion, celui-ci est alors « publié » et mis à disposition dans son navigateur multimédia respectif dans Final Cut Pro. Reportez-vous aux informations relatives aux modèles Final Cut Pro X dans l’Aide Motion à l’adresse http://help.apple.com/motion/. Pour en savoir plus, consultez les sections suivantes: • Création de versions de transitions spécialisées dans Motion à la page 221 • Création de versions d’effets vidéo spécialisées dans Motion à la page 246 • Création de versions de générateurs spécialisées dans Motion à la page 250Chapitre 3 Importation de média 35 Importation à partir d’iMovie Il vous est possible d’importer l’un de vos projets iMovie et votre bibliothèque d’événements iMovie dans Final Cut Pro. Remarque : pour importer un projet de bande-annonce iMovie, vous devez au préalable le convertir en projet iMovie standard. Pour en savoir plus, choisissez Aide dans iMovie ‘11 et lancez une recherche sur les termes « Convertir une bande-annonce en projet ». Important : les projets et plans iMovie tirés de la bibliothèque d’événements d’iMovie ne sont pas analysés automatiquement lors de l’importation car ils conservent leurs résultats d’analyse d’origine d’iMovie. Vous pouvez passer outre l’analyse iMovie en analysant vos plans dans Final Cut Pro après l’importation. Pour en savoir plus, consultez Analyser vos données à la page 51. Importer un projet iMovie 1 Dans Final Cut Pro, choisissez Fichier > Importer > Projet iMovie, puis localisez votre projet iMovie, généralement situé dans le dossier Vidéos de votre disque dur. 2 Cliquez sur Importer. Le projet s’ouvre dans la timeline et tous les événements associés apparaissent dans la bibliothèque d’événements. Importation de votre bibliothèque d’événements iMovie 1 Dans Final Cut Pro, choisissez Fichier > Importer > Bibliothèque d’événements iMovie. 2 Lisez le message qui apparaît et cliquez sur OK. Les événements de votre bibliothèque d’événements iMovie apparaissent dans la bibliothèque d’événements de Final Cut Pro. Importation à partir d’iPhoto et d’Aperture Lorsque vous faites glisser des photos et des vidéos d’iPhoto et d’Aperture dans Final Cut Pro, elles sont importées en adoptant les réglages d’importation que vous avez définis dans les pré- férences Importation. Pour en savoir plus, consultez Importation à partir d’un disque dur à la page 37. Importation de photos et de vidéos à partir d’iPhoto ou d’Aperture 1 Dans Final Cut Pro, effectuez l’une des opérations suivantes: • Choisissez Fenêtre > Navigateur multimédia > Photos. • Dans la barre d’outils, cliquez sur le bouton Photos.Chapitre 3 Importation de média 36 2 Si nécessaire, accédez à la section iPhoto ou Aperture du navigateur de photos. 3 Pour utiliser une ou plusieurs photos ou vidéos dans votre projet, faites-les glisser depuis le navigateur de photos et déposez-les sur une icône d’événement dans la bibliothèque d’événements ou sur un projet dans la timeline. Pour sélectionner plusieurs plans, vous pouvez cliquer dessus tout en maintenant la touche Commande enfoncée ou tracer un rectangle de sélection les englobant tous. Vous pouvez également faire glisser des photos et des vidéos depuis iPhoto ou Aperture et les déposer directement sur un événement dans la bibliothèque d’événements ou un projet dans la timeline, sans passer par le navigateur de photos. Importation à partir d’iTunes Vous pouvez importer dans Final Cut Pro de la musique et du son provenant de votre bibliothèque iTunes. Importation de musique et de son à partir d’iTunes 1 Dans Final Cut Pro, effectuez l’une des opérations suivantes: • Choisissez Fenêtre > Navigateur multimédia > Musique et son. • Cliquez sur le bouton Musique et son dans la barre d’outils. 2 Dans le navigateur de musique et son, choisissez iTunes dans le menu local situé en haut. Conseil : Si le dossier que vous recherchez n’est pas visible, vous pouvez l’ajouter à la liste de sources en le faisant glisser depuis le Finder ou le bureau jusque dans le navigateur de musique et son. 3 Dans la liste qui s’affiche, recherchez le son ou la musique que vous désirez : • Pour rechercher un élément: saisissez votre texte dans le champ de recherche. Pour filtrer votre recherche, cliquez sur le bouton Filtre et choisissez le filtre souhaité. • Pour obtenir un aperçu d’un élément: double-cliquez sur l’élément ou sélectionnez-le et cliquez sur le bouton Lecture . • Pour sélectionner plusieurs éléments: cliquez sur chaque élément tout en maintenant la touche Commande enfoncée.Chapitre 3 Importation de média 37 4 Faites glisser le ou les fichiers de son vers la timeline. Remarque : Pour de meilleures performances en lecture et à l’importation, Final Cut Pro transcode automatiquement tous les fichiers audio MP3 en fichiers audio WAV et conserve les fichiers MP3 originaux pour une utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de données originaux et des fichiers de données transcodés, consultez la section Emplacement de vos fichiers de média et de projet à la page 407. Importation à partir de dispositifs Importation à partir d’un disque dur Vous pouvez importer des données (vidéo, audio, images et fichiers graphiques) depuis le disque dur de votre ordinateur, un périphérique de stockage externe connecté, une carte mémoire insé- rée dans le logement pour carte de votre ordinateur ou un lecteur de carte, ou un volume réseau attaché. Vous pouvez importer des données en utilisant la fenêtre Importation des médias ou en faisant glisser des fichiers depuis le Finder. Lorsque vous faites glisser des médias du Finder dans Final Cut Pro, ceux-ci sont importés d’après les réglages d’organisation, de transcodage et d’analyse que vous avez définis dans les préfé- rences de Final Cut Pro. Si vous ne voulez pas utiliser la fenêtre Importation des médias pour gérer votre importation, et si vous voulez toujours utiliser les mêmes réglages d’organisation, de transcodage et d’analyse, l’importation par glisser-déposer des fichiers dans Final Cut Pro s’avère être une bonne solution. Consultez Préférences d’importation à la page 440 pour en savoir plus sur les préférences d’importation. Remarque : Certains appareils basés sur les fichiers autorisent la copie, via le Finder, des données enregistrées (en respectant leur structure de répertoire originale) dans un dossier de votre ordinateur. Pour importer du média copié de cette façon, consultez Accès aux médias sur une archive ou une image disque à la page 40. Importation de média d’un disque dur à partir de la fenêtre Importation des médias 1 Si le média à importer se trouve sur un périphérique de stockage externe ou une carte mémoire, branchez l’appareil sur votre ordinateur et mettez-le sous tension. 2 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes: • Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). • Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. 3 Dans la section Appareils de gauche de la fenêtre Importation des médias, sélectionnez le disque dur de votre ordinateur, le périphérique de stockage externe branché ou la carte mémoire duquel ou de laquelle importer le média. 4 Utilisez la présentation par liste située en bas de la fenêtre pour accéder à un fichier ou à un dossier, puis sélectionnez-le. (Lorsque vous importez à partir d’un disque dur, les pellicules ne sont alors visibles que pour les différents plans sélectionnés.)Chapitre 3 Importation de média 38 Conseil : Cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers ou dossiers Ajoutez les dossiers d’importation favoris. Accédez aux fichiers et dossiers. Lancez la lecture du plan sélectionné. Survolez le plan sélectionné. Cliquez sur l’en-tête d’une colonne pour trier les éléments en fonction de la catégorie correspondante. 5 Procédez de l’une des façons suivantes: • Pour effectuer le preview du plan sélectionné : lancez sa lecture à l’aide des commandes de lecture ou effectuez-en le survol en déplaçant horizontalement le pointeur sur la pellicule. • Pour changer de disque dur à partir duquel importer: sélectionnez le disque dur dans la section Appareils ou sélectionnez l’emplacement dans la section Favoris. • Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes en haut de la présentation par liste. • Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris: faites glisser un dossier de la liste de droite sur la section Favoris située à gauche. Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le menu contextuel. • Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation : cochez la case « Fermer la fenêtre après le début de l’importation ». • Pour ajouter un dossier à la présentation en liste en le faisant glisser: faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste. 6 Lorsque vous êtes prêt à importer, cliquez sur Importer la sélection. 7 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements: • Pour ajouter les plans importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55.Chapitre 3 Importation de média 39 8 Pour que Final Cut Pro copie vos fichiers de médias et les ajoute au dossier des événements que vous avez spécifié, cochez la case. 9 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 10 Cliquez sur Importer. Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro commence à transcoder et optimiser les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. Si vous avez importé du média à partir d’un périphérique externe et que vous avez indiqué à Final Cut Pro de copier les fichiers de média dans le dossier Final Cut Events (plutôt que de simplement faire référence à leur emplacement d’origine), vous pouvez débrancher l’appareil une fois les tâches en arrière-plan terminées. Remarque : Pour en savoir plus sur la restauration d’événements et de projets à partir de copies de sauvegarde, consultez Sauvegarde des projets, des événements et de votre bibliothèque de projets à la page 421. Importation de média par glissement depuis le Finder Procédez de l’une des manières suivantes: m Sélectionnez un fichier, cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers ou sélectionnez un dossier de fichiers et faites-les glisser du Finder sur l’événement. Le ou les plans apparaissent dans l’événement. m Sélectionnez et faites glisser un fichier, cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers, ou sélectionnez et faites glisser un dossier de fichiers du Finder sur une collection de mots-clés. Le ou les plans apparaissent dans l’événement et le mot-clé est automatiquement ajouté aux plans en question. Important : Si la préférence d’importation « Importer des dossiers sous forme de collections de mots-clés » est cochée, une collection de mot-clé est alors créée pour chaque nom de dossier et les fichiers dans le dossier se voient attribués ce mot-clé. m Sélectionnez, ou cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers, et faites glisser le ou les fichiers sur la timeline d’un projet. Le ou les plans apparaissent dans celle-ci et dans le dossier des événements (Events) par défaut du projet. Le fichier ou les fichiers sont importés en utilisant vos réglages d’importation par défaut.Chapitre 3 Importation de média 40 Accès aux médias sur une archive ou une image disque Si vous avez créé une archive de caméra, il vous est possible d’utiliser le média stocké dans l’archive de deux manières: • Vous pouvez connecter l’archive de caméra de sorte à mettre son média à disposition de Final Cut Pro. Bien que toutes les archives soient toujours répertoriées dans la fenêtre Importation des médias, il vous est impossible d’utiliser un quelconque média dans une archive tant que celle-ci n’est pas connectée. • Vous pouvez importer des médias à partir de l’archive ou d’image disque archivés au préalable à l’aide de la fenêtre « Lister et transférer » de Final Cut Pro 7 ou antérieur. Ce faisant, des copies des médias sont créées sur votre disque local. Remarque : Certains appareils basés sur les fichiers autorisent la copie, via le Finder, des données enregistrées (en respectant leur structure de répertoire originale) dans un dossier de votre ordinateur. Pour importer des médias copiés de cette façon, suivez les instructions reprises ci-dessous. Importation de données à partir d’une archive ou d’une image disque 1 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes: • Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). • Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. 2 Procédez de l’une des manières suivantes: • Pour monter une archive de caméra : Dans la section Archives d’appareil située à gauche dans la fenêtre Importation des médias, sélectionnez une archive de caméra pour vous y connecter. Remarque : Pour déconnecter l’archive de caméra, cliquez sur l’icône d’éjection. Archive de caméra • Pour monter une image disque : Dans la section Appareils de gauche de la fenêtre Importation des médias, sélectionnez le disque dur de votre ordinateur, le périphérique de stockage externe branché ou la carte mémoire duquel ou de laquelle importer le média. Utilisez ensuite la liste située en bas de la fenêtre pour accéder à l’image disque voulue, puis sélectionnez-la. L’archive (ou l’images disque) est alors connectée à Final Cut Pro et son média s’affiche dans la fenêtre Importation des médias. 3 Pour importer le média, consultez la section Importation à partir des caméras à système de fichiers à la page 22“.Chapitre 3 Importation de média 41 Organisation des fichiers lors de l’importation Vous avez le choix du mode d’organisation de votre média au moment où vous l’importez dans Final Cut Pro. • Copier les fichiers dans le dossier Final Cut Events: cette option duplique les fichiers de médias et place la copie dans le dossier Final Cut Events sur votre ordinateur. Si vous importez un média depuis un autre disque ou volume, ou si vous voulez conserver une copie de tous les fichiers de média qui ont été importés dans Final Cut Pro au même emplacement (à savoir dans le dossier Final Cut Events), cochez cette case. Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements. • Importer des dossiers sous forme de collections de mots-clés: lorsque vous possédez des dossiers de fichiers dont les noms de dossiers sont explicites, sélectionner cette option permet de créer un mot-clé pour chaque nom de dossier et d’appliquer ce mot-clé à tous les fichiers du dossier pendant l’importation. De plus, une collection de mots-clés est créée pour chaque mot-clé. À l’issue de l’importation, ces plans incluent les mots-clés « B-roll » et « Callaways » À l’issue de l’importation, ces plans incluent les mots-clés « Interviews » et « Callaways » Organisation de fichiers pendant l’importation 1 Pour importer un fichier, choisissez Fichier > Importer > Fichiers, puis accédez au fichier à importer. 2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements: • Pour ajouter les médias importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 3 Sélectionnez l’une des cases d’organisation ou les deux (abordées ci-dessus). 4 Si vous comptez transcoder votre média, l’organiser ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements.Chapitre 3 Importation de média 42 5 Cliquez sur Importer. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 6 Pour commencer à manipuler vos plans, fermez la fenêtre Importation des médias afin de pouvoir accéder au navigateur d’événements. Copie de l’intégralité des fichiers de média externes utilisés par un événement dans son dossier d’événement 1 Sélectionnez l’événement dans la bibliothèque d’événements. 2 Choisissez Fichier > Organiser les fichiers d’événements. 3 Dans la fenêtre qui s’affiche, cliquez sur Continuer. Final Cut Pro duplique les fichiers de médias et place la copie dans le dossier Final Cut Events sur votre ordinateur. Importation pendant l’enregistrement Vous pouvez enregistrer une vidéo directement dans Final Cut Pro à l'aide d'une caméra intégrée à votre ordinateur ou d'une caméra externe iSight. Enregistrement de vidéo et d’audio en direct dans Final Cut Pro 1 Procédez de l’une des manières suivantes: • Pour enregistrer à l’aide de la caméra intégrée : cliquez sur le bouton Importer des médias dans la barre d’outils. • Pour réaliser l'enregistrement à l'aide d'une caméra externe iSight: connectez la caméra iSight à votre ordinateur avec un câble FireWire et cliquez sur le bouton Importation de média dans la barre d'outils. 2 Dans la liste des caméras située dans la partie gauche de la fenêtre Importation des médias, sélectionnez la caméra à partir de laquelle vous souhaitez effectuer l’importation. Une image vidéo en direct provenant de la caméra apparaît alors dans la fenêtre Importation des médias.Chapitre 3 Importation de média 43 3 Cliquez sur Importer. La fenêtre Réglages de l’événement s’affiche. 4 Choisissez comment vous comptez organiser le média importé dans la bibliothèque d’événements: • Pour ajouter les médias importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 5 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 6 Une fois prêt pour l’enregistrement, cliquez sur Importer. La caméra lance l’enregistrement sans délai. 7 Lorsque vous voulez arrêter l’enregistrement, cliquez sur Arrêter l’importation. Un plan vidéo est ainsi créé. Vous pouvez cliquer sur Importer pour recommencer l’enregistrement. Vous avez la possibilité de répéter cette procédure autant de fois que nécessaire. Conseil : Il est également possible d'enregistrer des vidéos depuis des caméscopes connectés par câble FireWire à l'aide de QuickTime X. Pour en savoir plus, consultez l'aide de QuickTime Player. À propos des cartes mémoire et des câbles Pour importer du média de votre dispositif d’enregistrement vers votre ordinateur, vous devez retirer la carte mémoire de votre matériel et l’insérer soit directement dans votre ordinateur, soit dans un lecteur de carte mémoire. Vous pouvez également connecter votre matériel directement à l’ordinateur à l’aide du câble qui convient. Cela vous permet ensuite d’importer les images sur la carte mémoire ou sur l’appareil via la fenêtre Importation des médias. Pour en savoir plus, consultez Importation à partir d’un disque dur à la page 37 et Importation à partir des caméras à système de fichiers à la page 22. • Cartes mémoire : de nombreux caméscopes et matériels produisant des fichiers enregistrent leur média sur une carte mémoire amovible. Vous pouvez connecter un lecteur de cartes à votre ordinateur et l’utiliser pour transférer le contenu de votre carte mémoire à votre ordinateur. Certains ordinateurs Mac intègrent un logement pour carte SD (Secure Digital) ou SDXC (SD eXtended Capacity) qui leur permet de lire et d’écrire des données directement sur le support SD inséré dans ce logement. Si votre Mac est doté d’un logement de carte mémoire, vous pouvez retirer la carte de l’appareil photo, l’insérer dans votre Mac, puis importer les fichiers. Pour en savoir plus, accédez au site http://support.apple.com/kb/ht3553?viewlocale=fr_FR.Chapitre 3 Importation de média 44 Vous pouvez également connecter votre dispositif à l’ordinateur à l’aide d’un câble FireWire ou USB. Le type de câble dont vous avez besoin varie selon le type de matériel que vous utilisez : • Matériel USB : vous utilisez un câble USB pour les caméscopes produisant des fichiers, pour les appareils photo numériques qui enregistrent des vidéos, ainsi que pour l’iPhone, l’iPad et l’iPod touch. Le câble USB doit comporter au moins un connecteur qui se branche sur votre Mac (dans la partie supérieure de l’illustration ci-dessous). Il se peut que l’autre extrémité du câble USB, qui se branche sur votre matériel d’enregistrement, se présente différemment (dans la partie inférieure de l’illustration ci-dessous). • Matériel FireWire : pour la plupart des caméscopes qui enregistrent sur bande, vous devez utiliser un câble FireWire doté d’un connecteur 6 broches à brancher sur votre Mac d’une part (partie supérieure de l’illustration ci-dessous) et d’un connecteur à 4 broches à brancher sur votre caméscope d’autre part (partie inférieure de l’illustration ci-dessous). Il se peut que vous disposiez d’un câble FireWire 800 avec une extrémité différente qui se branche sur votre caméscope ou votre ordinateur. • Matériel Thunderbolt: les dispositifs qui utilisent la technologie d’entrée/sortie Thunderbolt présentent un connecteur qui se branche sur le port MiniDisplay de votre Mac et ressemble au connecteur ci-dessous. Si aucun câble n’est fourni avec votre dispositif et si vous n’êtes pas sûr du type de matériel que vous possédez, vous pouvez vérifier le logo situé près des ports de câble sur votre périphérique pour voir s’ils correspondent aux logos USB ou FireWire ci-dessus. Dans le cas contraire, consultez la documentation fournie avec votre matériel. Remarque : Tous les ordinateurs Mac ne sont pas dotés d’un port FireWire. Vérifiez la configuration de votre système pour confirmer que votre Mac prend en charge les câbles FireWire avant de tenter de connecter un caméscope DV ou HDV standard. Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/ finalcutpro/cameras/.Chapitre 3 Importation de média 45 Formats de média pris en charge Vous pouvez importer et utiliser les formats vidéo, audio et d’images fixes suivants dans Final Cut Pro : Formats vidéo • Codec Apple Animation Codec • Codec Apple Intermediate Codec • Apple ProRes (toutes les versions) • AVC-Intra • AVCHD (notamment AVCCAM, AVCHD Lite et NXCAM) • DV (DVCAM, DVCPRO et DVCPRO50 inclus) • DVCPRO HD • H.264 • HDV • iFrame • Motion JPEG (OpenDML uniquement) • MPEG IMX (D-10) • REDCODE RAW (R3D) • Sans compression 10 bits 4:2:2 • Sans compression 8 bits 4:2:2 • XAVC • XDCAM HD/EX/HD422 • Formats QuickTime Formats audio • AAC • AIFF • BWF • CAF • MP3 • MP4 • WAV Formats d’images fixes • BMP • GIF • JPEG • PNG • PSD (statique et avec calques) • RAW • TGA • TIFFChapitre 3 Importation de média 46 Formats de conteneur • 3GP • AVI • MP4 • MXF • QuickTime Importation et réglage de fichiers vidéo REDCODE RAW Vous avez la possibilité d’importer et de travailler sur des fichiers REDCODE RAW (R3D) dans Final Cut Pro. Les fichiers vidéo au format Raw suppose quelques étapes supplémentaires avant et après l’importation. Après avoir importé les fichiers R3D RAW, vous pouvez apporter des réglages de l’étalonnage non destructifs directement depuis Final Cut Pro. Importation de fichiers REDCODE RAW (R3D) 1 Installez le module approprié. Afin que Final Cut Pro puisse reconnaître les fichiers R3D RAW, vous devez télécharger et installer le module correspondant. Pour en savoir plus, rendez-vous à l’adresse http://www.red.com/. 2 Importez le média. Important : Lorsque vous importez le média, assurez-vous de désélectionner « Créer un média optimisé » et « Créer un média proxy », car toute tâche de transcodage réalisée durant l'importation sera mise de côté si vous ajustez les réglages RAW dans la prochaine étape. Pour en savoir plus sur l'importation de médias, consultez Importation à partir des caméras à système de fichiers à la page 22 et Importation à partir d’un disque dur à la page 37. Pour en savoir plus sur le transcodage des médias, consultez la section Transcodage des fichiers de média à la page 415. Remarque : Si vous importez des fichiers depuis une caméra RED ONE, il est recommandé d'importer uniquement les fichiers R3D RAW. Les caméras RED ONE génèrent de manière géné- rale une série de maximum quatre fichiers de séquence de référence QuickTime (.mov) pour chaque fichier R3D RAW. Si vous sélectionnez le fichier R3D et les séquences de référence lors de la procédure d'importation, Final Cut Pro importe uniquement le fichier R3D. Si vous avez besoin d'importer une séquence de référence, sélectionnez uniquement la séquence, pas le fichier R3D. 3 Adaptez les réglages RAW (à travers Final Cut Pro ou une application externe telle que REDCINE-X PRO). Vous avez la possibilité d’appliquer un étalonnage non destructif sur « une lumière » à des plans R3D RAW, immédiatement après l’importation, pour apporter à votre métrage une apparence plus finie en vue de son montage et de son passage en revue. Si vous disposez d’un service de production professionnel avec des besoins en étalonnage sophistiqués, vous pouvez passer en revue ces réglages RAW lors de l’étape de finalisation. Pour en savoir plus, consultez « Ajustement des réglages RED RAW » ci-après.Chapitre 3 Importation de média 47 4 Vous avez la possibilité de générer du média optimisé ou proxy à partir de fichiers R3D RAW. Pour en savoir plus, consultez « Transcodage des plans après l’importation » dans Transcodage des fichiers de média à la page 415. Remarque : Dans ce cas, assurez-vous de bien configurer les préférences Final Cut Pro en consé- quence. Pour en savoir plus, consultez Préférences de lecture à la page 438. 5 Ajoutez les plans R3D RAW à votre projet et montez-les comme vous le feriez pour tout autre plan. Ajustement des réglages RED RAW Vous pouvez ajuster les fichiers REDCODE RAW (R3D) à l'aide de la fenêtre Réglages RED RAW. Les métadonnées relatives aux fichiers REDCODE RAW (R3D) sont stockées à deux emplacements particuliers: • Réglages internes (intégrés): il s’agit des informations de métadonnées enregistrées par la caméra et incorporées au fichier R3D RAW. Ces réglages sont conservés avec le fichier. Ils peuvent être remplacés par des réglages dans le fichier .RMD externe, mais ne sont jamais écrasés. Vous pouvez annuler ces réglages de caméra en supprimant tout fichier RMD ou en sélectionnant « Réglages d'origine de la caméra » dans le menu Revenir à de la fenêtre Réglages RED RAW. • Fichier RMD externe : il s’agit du fichier de métadonnées externe portant l’extension .RMD. Ce fichier est créé par Final Cut Pro, REDCINE-X PRO ou autre application similaire. Si vous ajustez les réglages RED RAW dans Final Cut Pro et qu’un fichier .RMD existe, celui-ci est remplacé lors de l'enregistrement des modifications. Les réglages de caméra intégrés sont conservés tels quels. 1 Installez le module approprié. Afin que Final Cut Pro puisse reconnaître les fichiers R3D RAW, vous devez télécharger et installer le module correspondant. Pour en savoir plus, rendez-vous à l’adresse http://www.red.com/. 2 Dans le navigateur d’événements ou la timeline, sélectionnez le ou les plans que vous souhaitez régler. Remarque : Les plans composés ne peuvent pas être ajustés. 3 Procédez de l’une des manières suivantes: • Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). • Dans la barre d’outils, cliquez sur le bouton Inspecteur. 4 Cliquez sur le bouton d’informations dans la partie supérieure de la fenêtre qui apparaît. 5 Dans l'inspecteur d'informations, cliquez sur le bouton « Modifier les réglages RED RAW ». Si le bouton « Modifier les réglages RED RAW » ne s'affiche pas, choisissez « Afficher l'état du fichier » dans le menu local Actions situé dans la partie inférieure de l'inspecteur d'informations.Chapitre 3 Importation de média 48 6 Ajuster les réglages dans la fenêtre Réglages RED RAW. Vos modifications sont enregistrées sans perte dans un fichier de métadonnées externe portant l’extension .RMD qui remplace le précédent s'il en existe un. Contrairement aux effets vidéo qui s’appliquent à un plan, ces réglages sont associés au fichier (à travers le fichier de métadonnées .RMD). Toute modification que vous apportez à ces réglages s’applique à toutes les copies du ou des plans sélectionnés. Remarque : Final Cut Pro prend en charge la carte RED ROCKET, une carte PCI qui offre des performances particulièrement accrues. Pour en savoir plus sur les fichiers REDCODE RAW (R3D) et la carte RED ROCKET, consultez le site web http://www.red.com.4 49 Présentation de l’analyse des données Final Cut Pro vous offre la possibilité d’analyser vos données de média et de corriger automatiquement les problèmes courants trouvés dans vos vidéos, vos images fixes et vos fichiers audio. Par exemple, vous pouvez stabiliser des vidéos tremblantes, ajuster la balance des couleurs et supprimer des bourdonnements ou des tonalités saturées. Vous pouvez également analyser des plans pour identifier leur contenu. L’analyse permet de détecter le nombre de personnes présentes dans un plan et d’identifier s’il s’agit d’un gros plan, d’un plan moyen ou d’un plan élargi. Cela peut être utile lorsque vous devez trouver rapidement un certain type de plan en visionnant du métrage ou en éditant un projet. Pour obtenir la liste complète des options d'analyse audio et vidéo, consultez Options d’analyse des vidéos et des images fixes à la page 49 et Options d’analyse audio à la page 50. Vous pouvez analyser le média pendant ou après son importation dans Final Cut Pro. Final Cut Pro peut également être configuré de façon à analyser automatiquement les plans que vous faites glisser sur la timeline de Final Cut Pro depuis le Finder. Après certains types d'analyse, des mots-clés sont automatiquement ajoutés aux plans ou aux plages de plans pour décrire les résultats de l'analyse. Par exemple, le mot-clé Tremblement excessif est assigné aux plages de plans contenant des vidéos tremblantes. Dans le navigateur d'événements, les plans possédant des mots-clés d'analyse sont indiqués avec une ligne violette dans la partie supérieure. (Les plans auxquels des mots-clés ont été ajoutés manuellement sont indiqués par une ligne bleue dans la partie supérieure. Pour en savoir plus, consultez Ajout de mots-clés aux plans à la page 69.) Options d’analyse des vidéos et des images fixes Final Cut Pro offre des options d’analyse automatique des vidéos et des images fixes pour découvrir et corriger des vidéos tremblantes, ajuster la balance des couleurs dans des vidéos ainsi que trouver des personnes et définir les angles de prises de vue dans les vidéos et les images fixes. Vous pouvez analyser les vidéos lors de leur importation ou analyser des plans vidéo dans le navigateur d’événements après l'importation. Les mots-clés sont automatiquement ajoutés aux plans ou aux plages de plans en fonction des résultats de l'analyse. Final Cut Pro propose les options d’analyse de vidéo et d’images fixes suivantes: • Analyser pour la stabilisation et l’obturateur roulant: analyse les plans vidéo et associent le mot-clé d'analyse Tremblement excessif aux plans ou aux plages de plans qui présentent un tremblement ou un obturateur roulant excessif, ou les deux. Si un plan comporte le mot-clé Tremblement excessif, ce problème peut être résolu après avoir ajouté le plan à la timeline en activant les corrections Stabilisation et Obturateur roulant. Consultez Correction des problèmes de tremblement excessif et d’obturateur roulant à la page 161. Si un plan ne comporte aucun problème de stabilisation, le mot clé Prise stabilisée lui est ajoutée. Analyser les donnéesChapitre 4 Analyser les données 50 Remarque : Si vous effectuez une analyse pour résoudre des problèmes de stabilisation, il est recommandé de cocher la case « Créer des collections intelligentes après l’analyse ». L’activation de cette fonctionnalité vous permet de localiser facilement les plans auxquels le mot-clé Tremblement excessif est appliqué. Important : L’analyse pour la stabilisation et l’obturateur roulant est disponible uniquement après importation. Pour en savoir plus, consultez Analyser vos données à la page 51. • Analyser la balance des couleurs: analyse les plans vidéo pour détecter la balance des couleurs et le contraste. La balance des couleurs s’ajuste automatiquement lorsque vous ajoutez le plan à la timeline. Vous pouvez activer ou désactiver l’ajustement automatique des couleurs à tout moment. • Supprimer le pulldown : analyse les plans vidéo et supprime les modèles de pulldown. Important : Cette option est disponible uniquement pour l’importation depuis une caméra ou un autre appareil à bande. • Rechercher les personnes: analyse les plans vidéo et les images fixes pour définir le nombre de personnes présentes et les types de plans. Une fois l’analyse effectuée, les mots-clés suivants sont ajoutés aux plans ou aux plages de plans: Une personne, Deux personnes, Groupe, Gros plan, Plan moyen ou Plan élargi. Remarque : Si vous effectuez une analyse pour rechercher les personnes, il est recommandé de cocher la case « Créer des collections intelligentes après l’analyse ». L’activation de cette fonctionnalité vous permet de localiser facilement les plans auxquels le mot-clé Rechercher les personnes est appliqué. • Consolider les résultats de recherche de personnes: consolide tous les mots-clés résultant de l’analyse de recherche de personnes en un seul mot-clé de type de plan et un seul mot-clé de personne pour chaque segment de deux minutes de la vidéo. Le mot-clé de type de prise est celui du type de prise le plus large et le mot-clé de personne choisi est celui représentant le plus grand nombre de personnes. Par exemple, si un segment vidéo contient les mots-clés Medium Shot, Wide Shot, One Person et Group, les mots-clés d'analyse sont réduits à Wide Shot et Group durant la consolidation. • Créer des collections intelligentes après l’analyse : crée une collection intelligente pour chaque mot-clé appliqué lors de l’analyse de plans vidéo pour rechercher des problèmes de stabilisation ou de l’analyse de plans vidéo ou d’images fixes pour rechercher des personnes. Les collections intelligentes sont classées par ordre alphabétique dans un dossier de personnes à l'intérieur de l'événement dans la bibliothèque d'événements. Lorsque vous faites glisser un fichier de média du Finder sur un événement Final Cut Pro ou sur la timeline, l’importation démarre automatiquement sans afficher de fenêtre contenant les options d’importation. Vous pouvez régler les options d’importation automatique dans la fenêtre des préférences d’importation de Final Cut Pro. Options d’analyse audio Final Cut Pro offre des options d'analyse automatique pour résoudre des problèmes audio courants, analyser et regrouper des canaux audio et supprimer les canaux muets. Vous pouvez analyser les données audio lors de leur importation ou analyser des plans vidéo présentant des problèmes audio dans le navigateur d’événements ou la timeline. Chapitre 4 Analyser les données 51 Final Cut Pro propose les options d’analyse d’audio suivantes: • Analyser et résoudre les problèmes audio : analyse l’audio à la recherche de bourdonnement, de bruits et de tonalités. Final Cut Pro résout automatiquement les problèmes graves (marqués en rouge) et signale les problèmes moins importants (signalés en jaune). Pour en savoir plus, consultez Amélioration de l’audio à la page 207. • Scinder l’audio mono et grouper l’audio stéréo : les canaux audio sont analysés et groupés en mono dual ou stéréo, selon les résultats de l’analyse. Les canaux audio corrigés automatiquement sont signalés comme étant sélectionnés automatiquement. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176. • Supprimer les canaux silencieux : les canaux audio sont analysés et ceux laissés silencieux sont automatiquement supprimés. Les plans desquels des canaux sont supprimés sont signalés comme étant sélectionnés automatiquement. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176. Lorsque vous faites glisser un fichier de média du Finder sur un événement ou sur la timeline de Final Cut Pro, l’importation démarre automatiquement sans afficher de fenêtre contenant les options d’importation. Vous pouvez régler les options d’importation automatique dans la fenêtre des préférences d’importation de Final Cut Pro. Analyser vos données Vous pouvez analyser les plans pendant l’importation, après l’importation dans le navigateur d’événements, ou configurer Final Cut Pro pour qu’il analyse automatiquement les plans lorsque vous les faites glisser sur un événement ou sur la timeline de Final Cut Pro. Remarque : L’analyse pour la stabilisation et l’obturateur roulant est disponible uniquement après importation. Analyse des plans lors de l’importation 1 Procédez de l’une des manières suivantes: • Pour importer un fichier à partir d’un caméscope ou d’une caméra compatible, d’un iPad, d’un iPhone, d’un iPod ou de tout autre appareil : connectez l’appareil à votre ordinateur, activez-le et choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer. • Pour importer un fichier à partir d’un caméscope à bande : Connectez le caméscope à votre ordinateur, allumez-le et réglez-le sur le mode VTR ou VCR. Puis, sélectionnez Fichier > Importer > Média (ou appuyez sur Commande + I), et cliquez sur le bouton Importer. • Pour importer un fichier à partir d’une carte mémoire : Insérez la carte mémoire dans le logement prévu à cet effet de votre Mac ou dans un lecteur de carte connecté à votre ordinateur et choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer. • Pour importer un fichier situé sur votre disque dur ou sur un périphérique de stockage connecté à votre ordinateur: Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer. • Pour importer des fichiers à partir d’une archive : Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez ensuite une archive de caméra dans la liste de gauche, cliquez sur Ouvrir une archive et sélectionnez les fichiers que vous souhaitez importer et cliquez enfin sur le bouton Importer.Chapitre 4 Analyser les données 52 2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements: • Pour ajouter les médias importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, « Mariage de Pierre et Sandra ») dans le champ de texte. Utilisez le menu local « Enregistrer dans » pour choisir le disque sur lequel vous voulez stocker l’événement. Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 3 Sélectionnez la ou les options d’analyse vidéo et audio que vous souhaitez appliquer. Pour obtenir les descriptions des options d'analyse audio et vidéo, consultez Options d’analyse des vidéos et des images fixes à la page 49 et Options d’analyse audio à la page 50. Final Cut Pro analyse alors les fichiers en arrière-plan, une fois l’importation terminée. 4 Cliquez sur Importer. L’importation peut prendre quelques minutes, selon les options sélectionnées à l’étape 3. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan. Analyse des plans après importation 1 Dans le navigateur d'événements, cliquez sur un ou plusieurs plans tout en maintenant la touche Contrôle enfoncée, puis choisissez « Analyser et corriger » dans le menu contextuel. Conseil : Pour trouver rapidement un plan utilisé dans la timeline, cliquez sur le plan en maintenant la touche Contrôle enfoncée et choisissez « Afficher dans le navigateur d'événements » dans le menu contextuel. 2 Dans la fenêtre qui s’affiche, sélectionnez plusieurs ou toutes les options relatives à l’analyse vidéo et à l’analyse audio que vous souhaitez appliquer, puis cliquez sur OK. La procédure de transcodage peut prendre un certain temps, en fonction des options d’analyse sélectionnées. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan. Analyse automatique des fichiers multimédias lorsqu'ils sont déplacés vers un événement ou vers la timeline 1 Choisissez Final Cut Pro > Préférences. 2 Dans la fenêtre Préférences, cliquez sur Importer et sélectionnez chaque option relatives à l’analyse vidéo et à l’analyse audio que vous souhaitez appliquer. Lorsque vous avez terminé, fermez la fenêtre Préférences. 3 Pour importer un ou plusieurs fichiers, sélectionnez un fichier (ou cliquez sur plusieurs fichiers en maintenant la touche Commande enfoncée) dans le Finder et faites-le glisser sur un événement ou sur la timeline.Chapitre 4 Analyser les données 53 Afficher les mots-clés d’analyse sur les plans Si vous analysez du média pour chercher des séquences tremblantes ou des personnes, des mots-clés d'analyse tels que Tremblement excessif, Une personne ou Gros plan sont ajoutés aux plans correspondants. Les plans ou les plages de plan avec les mots-clés d'analyse sont marqués d'une ligne violette dans le navigateur d'événements. Une ligne violette indique que le plan possède un ou plusieurs mots-clés d’analyse. Vous pouvez afficher les mots-clés d’analyse d'un plan à plusieurs emplacements dans Final Cut Pro. Affichage des mots-clés dans la fenêtre Informations du skimmer 1 Choisissez Présentation > Afficher les infos du skimmer (ou appuyez sur Contrôle +Y). 2 Survolez le plan dans le navigateur d’événements. Les mots-clés, y compris les mots-clés d'analyse, sont affichés dans la fenêtre Informations du skimmer lorsque le pointeur est placé sur le plan. Pour désactiver Informations de skimmer, choisissez Présentation > Masquer les informations de skimmer (ou appuyez sur Contrôle +Y). Affichage des mots-clés en présentation par liste dans le navigateur d’événements 1 Cliquez sur le bouton Présentation par liste.Chapitre 4 Analyser les données 54 2 Pour afficher les mots-clés d’un plan, cliquez sur le triangle d’affichage en regard de celui-ci. Les mots-clés d’analyse sont répertoriés en regard de la roue dentée violette. Affichage du contenu d’une collection intelligente Si vous choisissez de créer des collections intelligentes après l’analyse, les plans auxquels des mots-clés sont associés sont regroupés automatiquement en collections intelligentes au sein de l'événement dans la bibliothèque d'événements. Une collection intelligente est créée pour chaque mot-clé d'analyse et placée dans un dossier de personnes ou de stabilisation, en fonction du type d'analyse. m Dans la bibliothèque d'événements, sélectionnez une collection intelligente de mots-clés à l'inté- rieur d'un dossier de personnes ou de stabilisation dans un événement. Les plans contenant ce mot-clé d'analyse s’affichent dans le navigateur d’événements. Par exemple, si vous sélectionnez la collection intelligente Medium Shot, tous les plans de l'événement possédant ce mot-clé s'affichent dans le navigateur d'événements. Collection intelligente Medium Shot Ces plans incluent le mot-clé d’analyse Medium Shot (coupe moyenne).5 55 Présentation des événements et des plans Lorsque vous importez du contenu vidéo, audio ou des images fixes ou que vous les enregistrez directement dans Final Cut Pro, les fichiers de média source (votre métrage brut) s’affichent comme plans dans un ou plusieurs événements de la bibliothèque d’événements. Un événement correspond à un dossier qui peut contenir des dizaines, des centaines, voire des milliers de plans vidéo, de clips audio et d’images fixes. Chaque événement de la bibliothèque d’événements correspond à un dossier de votre disque dur qui contient les fichiers de média originaux, tout fichier de rendu relatif à votre média et un fichier de base de données comprenant le suivi de l’emplacement de l’ensemble des éléments. Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, le média qu’il contient s’affiche sous forme de plans dans le navigateur d’événements. Il vous suffit de sélectionner des plans ou des sections de plan dans le navigateur d’événements pour commencer à travailler dessus. Vous pouvez trier les plans dans le navigateur d’événements par date de création, par date d’importation, par bande, par scène, par durée de plan ou par type de fichier. Sélectionnez un événement dans la bibliothèque d’événements. Le navigateur d’événements affiche les plans dans l’événement sélectionné. Lorsque vous importez du contenu vidéo dans un nouvel événement, vous devez attribuer un nom à ce dernier. En donnant des noms explicites à vos événements (par exemple, « Mariage des Dupont 2011 »), vous organisez vos données de manière à les retrouver facilement. Par défaut, Final Cut Pro présente les événements dans la bibliothèque d’événements en les triant selon leur date d’enregistrement. Vous pouvez organiser la bibliothèque d’événements différemment ou la masquer pour bénéficier d’un espace de travail plus étendu. La bibliothèque d’événements contient également les collections de mots-clés et les collections intelligentes qui vous permettent d’organiser efficacement vos projets de montage vidéo à l’aide de mots-clés et de filtres de recherche. Organisation de votre médiaChapitre 5 Organisation de votre média 56 Organisation des événements Création d’un événement Après l’importation de vos fichiers de média source dans Final Cut Pro, il se peut que vous ayez besoin de créer des événements supplémentaires pour organiser votre média. Par exemple, après avoir importé une prise du média pour un client donné, le cas peut se présenter où vous devez scinder le média en plusieurs événements en fonction de l’endroit ou du moment de la journée de la prise. Création d’un événement dans la bibliothèque d’événements 1 Si la bibliothèque d’événements n’est pas affichée, cliquez sur le bouton Bibliothèque d’événements dans le coin inférieur gauche du navigateur d’événements. 2 Choisissez Fichier > Nouvel événement (ou appuyez sur Option + N). Un nouvel événement s’affiche dans la bibliothèque d’événements 3 Saisissez un nom pour l’événement, puis appuyez sur Entrée. 4 Déplacer les plans à partir d’autres événements vers le nouvel événement, si nécessaire. Attribution d’un nouveau nom à un événement Modification du nom d’un événement Au cours de l’élaboration de votre projet, il se peut que vous deviez renommer un événement pour mieux refléter les plans qu’il contient. 1 Dans la bibliothèque d’événements, sélectionnez l’événement dont vous souhaitez modifier le nom. 2 Procédez de l’une des manières suivantes: • Cliquez sur le nom de l’événement et saisissez un nouveau nom. • Appuyez sur Retour et saisissez un nouveau nom. Important : La modification du nom d’un événement se répercute sur le dossier de l’événement situé sur le disque dur où est enregistré votre média source. Fusion ou scission d’événements Vous pouvez fusionner (combiner) plusieurs événements dans la bibliothèque d’événements (par exemple, si le média qu’ils contiennent est étroitement lié). Vous pouvez également scinder un événement en plusieurs si vous considérez que l’événement devient trop difficile à gérer.Chapitre 5 Organisation de votre média 57 Fusion de plusieurs événements 1 Dans la bibliothèque d’événements, procédez de l’une des manières suivantes: • Faites glisser les événements que vous souhaitez combiner sur un nouvel événement. • Sélectionnez les événements que vous souhaitez combiner, puis choisissez Fichier > Fusionner les événements. 2 Dans la fenêtre Fusionner les événements qui s’affiche, attribuez un nom à l’événement. 3 Choisissez le disque sur lequel vous souhaitez stocker les fichiers de média source de l’événement dans le menu local Emplacement, puis cliquez sur OK. Final Cut Pro fusionne les événements sélectionnés en un seul événement dans la bibliothèque d’événements. Les fichiers de média source de tous les plans sont déplacés dans le dossier fusionné de l’événement sur le disque dur et stockés à l’emplacement défini dans le menu local. Scission d’un événement en plusieurs 1 Créez les nouveaux événements nécessaires. 2 Déplacez les plans que vous souhaitez séparer de l’événement original vers les nouveaux événements. Les fichiers de média source de tous les plans sont déplacés vers les dossiers d’événement sur le disque correspondant aux nouveaux événements créés dans la bibliothèque d’événements. Important : Si vous déconnectez le disque où sont enregistrés les événements fusionnés ou scindés, vous ne pouvez plus accédez aux événements ou à leurs fichiers de média source depuis Final Cut Pro. Copie et déplacement de plans entre les événements Vous pouvez copier et déplacer des plans d’un événement à l’autre. Lorsque vous copiez un plan d’un événement à l’autre, le fichier correspondant est alors dupliqué sur le disque. Dans le cas du déplacement, le fichier correspondant est déplacé du dossier du premier événement à l’autre sur le disque. Remarque : Lorsque vous importez des médias dans Final Cut Pro, vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous copiez ou déplacez les plans entre des événements, Final Cut Pro copie ou déplace uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir copié ou déplacé les plans, vous souhaitez remplacer les fichiers de référence correspondants par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements. Pour plus d’informations sur les fichiers et plans, consultez Fichiers de média et plans à la page 18.Chapitre 5 Organisation de votre média 58 Copie de plans d’un événement à l’autre 1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans que vous souhaitez copier. 2 Dans le navigateur d’événements, sélectionnez le ou les plans que vous souhaitez copier. 3 Procédez de l’une des manières suivantes: • Si les deux événements sont situés sur le même disque dur: Faites glisser les plans en gardant la touche Option enfoncée d'un événement à l'autre en commençant par faire glisser l'élément, puis par appuyer sur la touche Option. • Si les événements sont situés sur des disques durs différents: faites glisser les plans d’un événement à l’autre. Déplacement de plans d’un événement à l’autre 1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans que vous souhaitez déplacer. 2 Dans le navigateur d’événements, sélectionnez le ou les plans que vous souhaitez déplacer. 3 Procédez de l’une des manières suivantes: • Si les deux événements sont situés sur le même disque dur: faites glisser les plans d’un événement à l’autre. • Si les événements sont situés sur des disques durs différents: faites glisser les plans d’un événement à l’autre tout en maintenant la touche Commande enfoncée. Il se peut que l’événement vers lequel vous avez copié ou déplacé les plans ait été réorganisé dans la bibliothèque d’événements. Il apparaît sous l’année durant laquelle le plan le plus récent qu’il contient a été enregistré. La copie ou le déplacement d’un plan volumineux appartenant à un événement situé sur un disque dur vers un événement conservé sur un autre disque dur peut prendre quelques minutes puisque les fichiers de média source sont copiés ou déplacés d’un disque à l’autre. Copie ou déplacement d’événements Vous pouvez facilement copier ou déplacer un événement d’un ordinateur à un disque dur ou d’un disque dur à un autre. Cela peut s’avérer utile si vous souhaitez travailler sur votre événement depuis un autre ordinateur sur lequel est installé Final Cut Pro ou libérer de l’espace sur le disque dur de votre ordinateur. Copie d’un événement 1 Assurez-vous qu’un disque dur externe est connecté à votre ordinateur. 2 choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements. L’icône et le nom du disque connecté s’affichent dans la bibliothèque d’événements. 3 Sélectionnez un événement dans le navigateur d’événements. 4 Procédez de l’une des manières suivantes: • Choisissez Édition > Dupliquer l’événement (ou appuyez simultanément sur les touches Commande +D).Chapitre 5 Organisation de votre média 59 • Faites glisser l’événement sur l’icône du disque dur externe. 5 Dans la fenêtre Dupliquer l’événement, attribuez un nom au nouvel événement. 6 Pour stocker vos fichiers sur un second emplacement, définissez-le dans le menu local Emplacement. 7 Cliquez sur OK. Final Cut Pro réalise une copie de l’événement à l’emplacement spécifié. Le programme effectue également des copies des fichiers de média source et les conserve dans un nouveau dossier d’événement. Souvenez-vous que la copie d’un événement contenant des fichiers de média source volumineux peut nécessiter plusieurs minutes. Déplacement d’un événement 1 Assurez-vous qu’un disque dur externe est connecté à votre ordinateur. 2 choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements. L’icône et le nom du disque connecté s’affichent dans la bibliothèque d’événements. 3 Sélectionnez un événement dans le navigateur d’événements. 4 Procédez de l’une des manières suivantes: • Choisissez Fichier > Déplacer l’événement. • Faites glisser l’événement sur l’icône du disque dur externe tout en maintenant la touche Commande enfoncée. 5 Pour stocker vos fichiers sur un second emplacement, définissez-le dans le menu local Emplacement. 6 Cliquez sur OK. Final Cut Pro déplace l’événement à l’emplacement spécifié. Il déplace également le dossier Final Cut Events contenant les fichiers de média source. Souvenez-vous que le déplacement d’un événement contenant des fichiers de média source volumineux peut nécessiter plusieurs minutes. Important : Si vous déconnectez le disque contenant l’événement déplacé, vous ne pouvez plus accéder à l’événement ou aux fichiers de média source dans Final Cut Pro.Chapitre 5 Organisation de votre média 60 Tri des événements Dans la bibliothèque d’événements, vous pouvez afficher vos événements de différentes manières, y compris selon le disque sur lequel ils sont stockés ou leur date d’enregistrement. Tri des événements en fonction de leur emplacement ou de leur date de stockage m Pour afficher les événements en fonction du disque sur lequel ils sont stockés: choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements. m Pour afficher les événements en fonction de la date de leur enregistrement: choisissez « Grouper les événements par date » dans le menu local Action et choisissez une option dans le sous-menu. Affichage des plages de date d’un événement Final Cut Pro peut afficher les plages de dates des fichiers de média source contenus dans chaque événement. m Choisissez « Afficher la plage de dates dans la bibliothèque d’événements » dans le menu local Action . Tri des événements par les plus récents m Choisissez «Disposer les événements par date décroissante » dans le menu local Action .Chapitre 5 Organisation de votre média 61 Suppression de plans ou d’événements Vous pouvez supprimer les plans non désirés d’un événement ou supprimer la totalité d’un évé- nement afin de libérer de l’espace sur votre disque dur. Lorsque vous supprimez un plan d’un événement ou la totalité d’un événement, Final Cut Pro place le média source dans la Corbeille. Remarque : La bibliothèque d’événements doit au moins contenir un événement. Suppression de plans d’un événement ou de la totalité d’un événement 1 Dans la bibliothèque d’événements, sélectionnez l’événement que vous souhaitez supprimer ou dont vous souhaitez supprimer des plans. 2 Effectuez l’une des opérations suivantes: • Pour supprimer des plans de l’événement: sélectionnez les plans que vous souhaitez supprimer, puis choisissez Fichier > Placer dans la Corbeille (ou appuyez sur Commande + Supprimer). • Pour supprimer la totalité d’un événement: choisissez Fichier > Placer l’événement dans la Corbeille (ou appuyez sur Commande + Supprimer). Les fichiers de média source des plans sélectionnés ou l’événement et tous les fichiers de média source qui lui sont associés sont placés dans la Corbeille du Finder. Pour supprimer de façon définitive les fichiers de média source de votre disque dur, videz la Corbeille. AVERTISSEMENT : Une fois la Corbeille vidée, il est impossible de restaurer les plans ou l’événement et leurs fichiers de média source supprimés. Organisation des plans Affichage et tri des plans Vous pouvez afficher vos plans dans le navigateur d’événements de deux manières. • Présentation en pellicule : affiche les plans de l’événement sélectionné sous forme de séries de vignettes. La présentation en pellicule est utile pour localiser visuellement vos plans.Chapitre 5 Organisation de votre média 62 • Présentation par liste : affiche une liste de vos plans et les informations de fichiers associées. Cette présentation vous permet d’afficher ou de trier vos plans en fonction de leur durée, de leur date de création, de leur classement, de leurs mots-clés, etc. Lorsque vous sélectionnez un plan dans la présentation par liste, la pellicule du plan sélectionné s’affiche en haut du navigateur d’événements. La pellicule est totalement interactive. Elle permet d’accéder aux points de départ et d’arrivée, aux marqueurs et aux mots-clés. Passage de la présentation en pellicule à la présentation par liste Procédez de l’une des manières suivantes: m Cliquez sur le bouton Présentation en pellicule situé dans le coin inférieur gauche du navigateur d’événements. m Cliquez sur le bouton Présentation par liste situé dans le coin inférieur gauche du navigateur d’événements.Chapitre 5 Organisation de votre média 63 Personnalisation de la présentation en pellicule m Pour ajuster le temps représenté par chaque vignette dans une pellicule de plan : faites glisser le curseur Durée situé dans le coin inférieur droit du navigateur d’événements. Curseur réglé sur 5 secondes Curseur réglé sur 30 secondes Ajuster le curseur Durée augmente ou réduit le niveau de détail affiché dans la pellicule de chaque plan. Plus les vignettes représentent une longue durée, moins chaque plan comprend de vignettes et plus il y a de plans affichés dans le navigateur d’événements.Chapitre 5 Organisation de votre média 64 m Pour ajuster la hauteur de la pellicule : dans le coin inférieur droit du navigateur d’événements, cliquez sur le bouton Apparence du plan et ajustez le curseur Hauteur du plan. m Pour activer et désactiver les formes d’onde audio : dans le coin inférieur droit du navigateur d’évé- nements, cliquez sur le bouton Apparence du plan et décochez la case « Afficher les formes d’ondes » dans la fenêtre qui s’affiche. Lorsque les formes d’onde audio sont activées, elles s’affichent au bas de chaque pellicule de plan, augmentant la hauteur de tous les plans dans le navigateur d’événements.Chapitre 5 Organisation de votre média 65 Personnalisation de la présentation par liste m Pour choisir quel type d’information s’affiche dans les colonnes de la présentation par liste et pour personnaliser les colonnes: dans le navigateur d’événements, cliquez sur l’en-tête d’une colonne tout en maintenant la touche Contrôle enfoncée et choisissez une option de catégorie dans le menu contextuel. m Pour réorganiser les colonnes dans la présentation par liste : dans le navigateur d’événements, faites glisser l’en-tête d’une colonne à l’emplacement de votre choix. m Pour limiter l’affichage des plans à une catégorie dans la présentation par liste : cliquez sur l’entête d’une colonne dans le navigateur d’événements pour trier les plans d’après la catégorie en question. m Pour afficher le classement et les mots-clés d’un plan dans la présentation par liste : cliquez sur le triangle d’affichage situé à gauche du nom du plan. Mot-clé Classement Si un triangle d’affichage s’affiche à gauche d’un plan dans la présentation par liste, cela signifie qu’un classement, un mot-clé ou les deux ont été appliqués au plan. Tri des plans dans le navigateur d’événements Vous pouvez trier les plans dans le navigateur d’événements selon un ordre qui permet de mieux les localiser visuellement. 1 Dans la bibliothèque d’événements, sélectionnez l’événement dont vous souhaitez trier les plans. 2 Procédez de l’une des, ou des deux, manières suivantes: • Pour grouper les plans par catégorie : choisissez « Grouper les plans par » dans le menu local Action (sous la bibliothèque d’événements), puis choisissez une catégorie dans le sousmenu. Choisissez l’option de tri Croissant ou Décroissant dans le même sous-menu. • Pour définir l’option de tri des plans dans l’événement sans les grouper: choisissez «Disposer les plans par » dans le menu local Action (sous la bibliothèque d’événements), puis choisissez une catégorie dans le sous-menu. Remarque : Il est possible de grouper des plans et de définir leur option de tri (organisation) de manière indépendante. Réinitialisation de l’option de tri par défaut dans le navigateur d’événements 1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans dont vous souhaitez réinitialiser l’option de tri. 2 Choisissez Grouper les plans par > Aucun, et Grouper les plans par > Croissant, dans le menu local Action sous le navigateur d’événements. 3 Choisissez Disposer les plans par > Contenu créé, et Disposer les plans par > Croissant dans le menu local Action.Chapitre 5 Organisation de votre média 66 Modification du nom des plans Vous pouvez renommer à tout moment les plans dans le navigateur d’événements, l’index de la timeline ou l’inspecteur d’informations. Le fait de renommer un plan n’a d’effets que sur cette instance particulière du plan. Ainsi, les plans que vous ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un événement à l’autre ou au sein de la timeline, constituent des instances de plan (des copies) indépendantes les unes des autres et qui peuvent avoir leur propre nom. Important : La modification du nom d’un plan dans Final Cut Pro n’est pas répercutée sur le nom du fichier source de ce plan sur le disque. Modification du nom d’un plan dans le navigateur d’événements m Pour renommer un plan dans la présentation en pellicule : sélectionnez le nom d’un plan et saisissez un nouveau nom. m Pour renommer un plan dans la présentation par liste : sélectionnez le nom d’un plan, appuyez sur Retour et saisissez un nouveau nom. Modification du nom d’un plan dans l’index de la timeline 1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Cliquez sur le bouton Plans en haut de l’index de la timeline. Bouton Plans 3 Cliquez sur le champ Nom d’un plan, puis saisissez un nouveau nom. Modification du nom d’un plan dans l’inspecteur d’informations 1 Sélectionnez un plan dans le navigateur d’événements ou la timeline. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Dans la section Nom de l’inspecteur d’informations, cliquez sur le champ Nom, puis saisissez un nouveau nom.Chapitre 5 Organisation de votre média 67 Classement des plans comme Favoris ou Rejetés Si vos plans contiennent des sections dont vous n’êtes pas satisfait ou que vous ne voulez pas utiliser dans un projet, parce qu’ils sont flous, par exemple, vous pouvez les signaler comme Rejetés. Vous pouvez facilement classer les plans que dont vous êtes satisfait et ceux dont vous ne l’êtes pas lorsque vous les passez en revue. Lorsque vous êtes prêt à réaliser un projet ou à présenter un plan à un client, vous pouvez vous focaliser sur vos meilleurs métrages en affichant uniquement ceux marqués comme favoris. Vous pouvez également supprimer les fichiers de média source de vos plans rejetés pour libérer de l’espace sur votre disque dur. Favori Rejeté Classement des plans 1 Dans le navigateur d’événements, sélectionnez une plage, un plan ou plusieurs plans non consé- cutifs, que vous souhaitez évaluer. 2 Procédez de l’une des manières suivantes: • Si vous êtes satisfait de la sélection : appuyez sur la touche F ou cliquez sur le bouton Favori dans la barre d’outils. Dans le navigateur d’événements, un trait vert s’affiche au-dessus des images marquées comme favorites. • Si vous n’êtes pas satisfait de la sélection : appuyez sur la touche Supprimer ou cliquez sur le bouton Rejeter dans la barre d’outils.Chapitre 5 Organisation de votre média 68 Un trait rouge s’affiche au-dessus des images marquées comme rejetées. Remarque : Si l’option « Masquer les projets rejetés » est activée dans le menu local Filtre dans la partie supérieur du navigateur d’événements, les clips rejetés ne s’affichent pas. Suppression des classements de plans 1 Assurez-vous que les plans avec lesquels vous souhaitez travailler sont affichés dans le navigateur d’événements. Il se peut que vous deviez choisir une nouvelle option, telle que Tous les plans dans le menu local Filtre dans le coin supérieur gauche du navigateur d’éléments pour que tous les plans auxquels vous souhaitez accéder soient visibles. Choisissez Tous les plans pour recenser tous les plans inclus dans l’événement, indépendamment de leur classement. 2 Dans le navigateur d’événements, sélectionnez les plans dont vous souhaitez supprimer le classement, puis appuyez sur la touche U ou cliquez sur le bouton Effacer le classement dans la barre d’outils. Les traits verts ou rouges ne s’affichent plus au-dessus des plans. Plans dont le classement a été suppriméChapitre 5 Organisation de votre média 69 Ajout de mots-clés aux plans Vous pouvez appliquer des plans pour vous aider à localiser rapidement les plans dont vous avez besoin pour composer votre film. Une fois que vous avez appliqué un mot-clé à un plan ou à une plage de plans, le plan ou la plage en question est marqué par un trait bleu dans le navigateur d'événements. (Les plans comprenant des mots-clé d'analyse, qui sont appliqués automatiquement après certains types d'analyse, sont marqués d'une ligne violette. Pour en savoir plus, consultez Présentation de l’analyse des données à la page 49.) De plus, lorsqu’un mot-clé est appliqué à un plan ou à une plage de plans, une collection de mots-clés s’affiche dans la bibliothèque d’événements. Une collection de mots-clés contient des pointeurs (alias) renvoyant vers des plans marqués par un mot-clé spécifique. Par exemple, si vous appliquez le mot-clé « Nicholas » à tous les plans contenant Nicholas, vous pouvez sélectionner la collection de mots-clés « Nicholas » dans la bibliothèque d’événements pour afficher tous les plans contenant ce mot-clé dans le navigateur d’événements. Une ligne bleue indique que le Collections de mots-clés plan possède des mots-clés. Vous pouvez appliquer un ou plusieurs mots-clés à une plage d’un plan, à un plan entier ou à un groupe de plans dans un événement. Application de mots-clés à l’aide de l’éditeur de mots-clés 1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non contigus auxquels vous souhaitez appliquer des mots-clés. 2 Pour ouvrir l’éditeur de mots-clés, cliquez sur le bouton Mots-clés dans la barre d’outils. 3 Au sommet de l’éditeur de mots-clés, saisissez le ou les mots-clés que vous souhaitez appliquer à la sélection, puis appuyez sur Retour. Saisissez un mot-clé ou une phrase de mots-clé, puis appuyez sur Retour.Chapitre 5 Organisation de votre média 70 4 Répétez l’étape 3 pour chaque mot-clé que vous souhaitez ajouter à la sélection. Une ligne bleue s’affiche en haut de la sélection dans le navigateur d’événements, indiquant que les mots-clés lui ont été appliqués. 5 Lorsque vous avez terminé l’ajout de mots-clés, fermez l’éditeur de mots-clés. Ajout de mots-clés à l’aide de raccourcis clavier Pour ajouter des mots-clés à vos plans à l’aide de raccourcis clavier, vous devez préalablement assigner des mots-clés aux raccourcis clavier. 1 Si l’éditeur de mots-clés n’est pas ouvert, cliquez sur le bouton Mots-clés dans la barre d’outils. 2 Dans l’éditeur de mots-clés, cliquez sur le triangle d’affichage à gauche de Raccourcis clavier. 3 Saisissez un mot-clé ou une phrase dans chaque champ, puis appuyez sur Retour. Pour réassigner un raccourci clavier, sélectionnez le champ lui correspondant et saisissez un nouveau mot-clé. Saisissez à cet emplacement les mots-clés ou l’expression-clé à affecter aux raccourcis clavier. 4 Pour utiliser un raccourci clavier, sélectionnez une plage ou un ou plusieurs plans non contigus auxquels vous souhaitez ajouter des mots-clés, puis appuyez simultanément sur Contrôle et sur la touche numérotée correspondante (1 à 9). Affichage des mots-clé appliqués aux plans m Pour identifier rapidement des plans qui possèdent des mots-clé : sélectionnez un événement dans le navigateur d’événements. Les plans qui possèdent un ou plusieurs mots-clé s'affichent dans le navigateur d'événements marqués d'une ligne bleue dans la partie supérieure.Chapitre 5 Organisation de votre média 71 m Pour afficher tous les mots-clés appliqués à un plan : choisir Présentation > Afficher les infos du skimmer (ou appuyer sur Contrôle +Y) et survoler le plan dans le navigateur d'événements. Vous pouvez aussi afficher les mots-clés en sélectionnant le plan dans le navigateur d'événements et en cliquant sur le bouton Mots-clés dans la barre d'outils. Les mots-clés appliqués au plan sont affichés dans l'éditeur de mots-clés. m Pour afficher tous les plans qui possèdent un mot-clé spécifique : Sélectionner une collection de mots-clés dans la bibliothèque d’événements. Les plans contenant ce mot-clé s’affichent dans le navigateur d’événements. Suppression de tous les mots-clés d’une sélection 1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non contigus desquels vous souhaitez supprimer des mots-clés. Une ligne bleue tracée en haut des plans indique les sections des plans auxquelles sont appliqués des mots-clés. 2 Choisissez Marquer > Supprimer tous les mots-clés (ou appuyez sur Contrôle + 0). Suppression d’un sous-ensemble de mots-clés d’une sélection 1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non contigus desquels vous souhaitez supprimer des mots-clés. Une ligne bleue tracée en haut des plans indique les sections des plans auxquelles sont appliqués des mots-clés. Chaque mot-clé assigné à un plan est également repris dans la présentation par liste. 2 Cliquez sur le bouton Mots-clés dans la barre d’outils pour ouvrir l’éditeur de mots-clés, sélectionnez le ou les mots-clés que vous souhaitez supprimer et appuyez sur Supprimer. Sélectionnez le ou les mots-clés à supprimer de la sélection, puis appuyez sur suppr.Chapitre 5 Organisation de votre média 72 Ajout ou modification de notes de plan Lorsque vous réexaminez vos plans, vous pouvez ajouter et modifier des notes à leur sujet dans le navigateur d’événements ou l’index de la timeline. Vous pouvez retrouver rapidement vos plans en saisissant le texte des notes dans le champ de recherche du navigateur d’événements ou de l’index de la timeline, ou dans le champ de texte de la fenêtre Filtre. Remarque : Vous pouvez ajouter des notes à chaque instance d’un plan. Ainsi, les plans que vous ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un événement à l’autre ou au sein de la timeline, constituent des instances de plan (des copies) indépendantes les unes des autres. Ajout ou modification de notes de plan dans le navigateur d’événements 1 Cliquez sur le bouton Présentation par liste situé dans le coin inférieur gauche du navigateur d’événements. 2 Sélectionnez le plan auquel vous voulez ajouter des notes ou dont vous voulez modifier les notes. Remarque : Les notes s’appliquent à un plan intégral et non à des plages de sélection. 3 Cliquez sur le champ Notes du plan, puis saisissez vos remarques ou modifiez-les. Ajout ou modification de notes de plan dans l’index de la timeline 1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Pour ouvrir la fenêtre Plans, cliquez sur le bouton Plans en haut de l’index de la timeline. Bouton PlansChapitre 5 Organisation de votre média 73 3 Si la colonne Notes n’est pas visible dans la fenêtre Plans, cliquez sur l’en-tête d’une colonne en maintenant la touche Contrôle enfoncée et choisissez Notes dans le menu contextuel. 4 Cliquez sur le champ Notes du plan, puis saisissez vos remarques ou modifiez-les. Saisir ici les notes pour un plan. Organisation des plans en fonction des rôles Il est possible d’organiser les plans en fonction de rôles (étiquettes de métadonnées affectées aux plans). Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro attribue automatiquement l’un des cinq rôles par défaut aux composants vidéo et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Vous pouvez aussi créer des rôles et des sous-rôles personnalisés et les attribuer à vos plans. Vous pouvez visualiser et réaffecter des rôles dans l’index de la timeline, le navigateur d’événements ou l’inspecteur d’informations. Vous pouvez par exemple identifier facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans audio. Consultez Affichage et réattribution de rôles à la page 311. Recherche de plans dans le navigateur d’événements Dans Final Cut Pro, il vous est possible de rechercher du média de deux manières. • Filtrer rapidement les plans par marquage : utilisez le menu local Filtre dans le navigateur d’évé- nements pour localiser rapidement des plans en fonction de leur classement, de l’absence de classement ou de mots-clés. • Rechercher d’après une combinaison de critères à l’aide de la fenêtre Filtre : utilisez la fenêtre Filtre pour effectuer des recherches complexes de plans, aussi appelées recherches pondérées. Vous pouvez utiliser une large gamme de critères de recherche, notamment par le nom du plan, le classement, le type de média, le tremblement excessif, des mots-clés, la présence de personnes, des informations relatives au format et la date. Filtrage rapide des plans par classement Utilisez le menu local Filtre dans le navigateur d’événements pour trouver rapidement des plans en fonction de leur classement. 1 Dans la bibliothèque d’événements, sélectionnez un ou plusieurs événements que vous souhaitez rechercher.Chapitre 5 Organisation de votre média 74 2 Choisissez une option dans le menu local Filtre au sommet du navigateur d’événements. • Tous les plans: affiche tous les plans de l’événement. • Masquer les projets rejetés: affiche tous les plans ou toutes les plages, excepté ceux marqués comme rejetés. • Aucun classement ou mot-clé : affiche uniquement les plans ou les plages sans classement ou mot-clé. • Favoris: affiche uniquement les plans ou les plages classés comme favoris. • Rejetés: affiche uniquement les plans ou les plages classés comme rejetés. Recherche des plans selon une combinaison de critères La fenêtre Filtre vous permet de combiner plusieurs critères de recherche. Par exemple, vous pouvez rechercher des plans vidéo contenant le texte « extérieur » dans leurs métadonnées. 1 Dans la bibliothèque d’événements, sélectionnez l’événement ou le dossier dans lequel vous souhaitez effectuer votre recherche. 2 Cliquez sur le bouton Filtre situé au sommet du navigateur d’événements. 3 Dans la fenêtre Filtre, choisissez vos critères de recherches ou règles, dans le menu local Ajouter une règle. Menu local Ajouter une règle • Texte : recherchez des plans par leur nom ou les notes les concernant dans la présentation par liste à l’aide de texte. Vous pouvez ajouter plusieurs règles textuelles pour rechercher plus d’un mot ou d’une phrase ou pour éliminer des mots ou des phrases spécifiques de la recherche. • Classements: recherchez des plans en fonction de leur classement (favori ou rejeté). • Type de média : recherchez des plans dont les fichiers de média source sont d’un type particulier, tel que vidéo, audio ou fixe. • Stabilisation : recherchez des plans vidéo identifiés par Final Cut Pro comme présentant un tremblement excessif. • Mots-clés: recherchez des plans en fonction des mots-clés leur étant assignés. Vous pouvez sélectionner un ou plusieurs mots-clés à rechercher.Chapitre 5 Organisation de votre média 75 • Personnes: recherchez des plans identifiés par Final Cut Pro comme contenant des personnes. • Infos sur le format recherchez des plans en fonction des informations sur leur format, telles que la fréquence d’image vidéo ou le numéro de la scène. • Date : recherchez des plans en fonction de la date de création du fichier de média ou de la date d’importation du média dans Final Cut Pro. • Rôles: recherchez des plans en fonction des rôles qui leur ont été attribués. Pour supprimer une règle, cliquez sur le bouton Supprimer situé à droite de la règle. Pour exclure une règle de la recherche sans la supprimer, il suffit de décocher la case située à gauche de celle-ci. 4 Effectuez une recherche plus précise en choisissant des éléments des menus locaux pour les règles ajoutées. 5 Procédez de l’une des manières suivantes: • Pour spécifier qu’un plan doit correspondre à au moins un des critères ou des mots-clés: choisissez N’importe quel(le) dans le menu local situé dans le coin supérieur gauche de la fenêtre Filtre. • Pour spécifier qu’un plan doit correspondre à tous les critères et mots-clés: Choisissez Tous dans le menu local. Les plans qui correspondent aux critères de recherche s’affichent dans le navigateur d’événements et les icônes indiquant l’état de recherche s’affichent à droite du bouton Filtre au sommet du navigateur d’événements. Si vous le souhaitez, vous pouvez enregistrer les résultats de votre recherche sous forme de collection intelligente qui regroupe automatiquement les plans en fonction de vos critères de recherche. Effacement d’une recherche pondérée m Cliquez sur le bouton Réinitialiser situé à droite des icônes d’état de recherche dans le coin supé- rieur droit du navigateur d’événements. Conseil : Si les plans ne s’affichent toujours pas, assurez-vous de choisir l’option « Tous les plans » ou « Masquer les projets refusés » dans le menu local Filtre situé dans le coin supérieur gauche du navigateur d’événements. Recherche de plans par nom et par notes Vous pouvez utiliser le champ de recherche pour trouver rapidement des plans par nom ou par notes (en mode de présentation par liste) sans devoir ouvrir la fenêtre Filtre. 1 Dans la bibliothèque d’événements, sélectionnez un ou plusieurs événements que vous souhaitez rechercher. 2 Dans le champ de recherche, saisissez le nom ou les notes du plan que vous recherchez.Chapitre 5 Organisation de votre média 76 Conduite d’un flux de production de filtrage et de recherche L’exécution d’une recherche pondérée suivie d’un filtrage des plans dans le navigateur d’événements en fonction du classement est un moyen efficace de trouver rapidement des plans. Il s’agit aussi de la meilleure méthode pour trouver des plans spécifiques n’ayant pas été évalués et les comparer à ceux l’ayant été. 1 Dans la bibliothèque d’événements, sélectionnez l’événement ou le dossier dans lequel vous souhaitez effectuer votre recherche. 2 Recherchez des plans à l’aide d’une combinaison de critères de recherche tel que décrit précédemment dans la section « Recherche des plans selon une combinaison de critères ». Toutefois, veillez à ne pas appliquer de filtre de classement dans la fenêtre Filtre. 3 Utilisez le menu local Filtre, tel que décrit précédemment dans la section « Filtrage rapide des plans par classement », pour filtrer rapidement les plans en fonction de leur classement. 4 Répétez l’étape 3 jusqu’à trouver les plans que vous recherchez. Enregistrement des recherches sous forme de collections intelligentes Lorsque vous recherchez des plans dans un événement à l’aide de la fenêtre Filtre, vous pouvez enregistrer vos résultats en créant une collection intelligente qui regroupe les plans correspondant aux critères de recherche. Chaque fois qu’un nouveau plan qui satisfait les critères de recherche de la collection intelligente est ajouté à l’événement, il est automatiquement ajouté à celle-ci. Les plans qui s’affichent dans les collections intelligentes ne sont pas dupliqués. Les collections intelligentes filtrent des plans dans un événement pour vous aider à vous centrer sur les plans dont vous avez besoin pour une tâche spécifique. Création d’une collection intelligente se reposant sur des critères de recherche 1 Dans la bibliothèque d’événements, sélectionnez un événement. 2 Utilisez la fenêtre Filtre pour rechercher des plans en fonction des critères de recherche indiqués. 3 Dans la fenêtre Filtre, cliquez sur le bouton Nouvelle collection intelligente. Une nouvelle collection intelligente sans titre s’affiche dans la bibliothèque d’événements. 4 Saisissez un nom pour la collection intelligente et appuyez sur Retour. Lorsque vous ajoutez à l’événement des plans qui satisfont les critères de recherche de la collection intelligente, ils sont automatiquement ajoutés à celle-ci. Modification du contenu d’une collection intelligente 1 Dans la bibliothèque d’événements, double-cliquez sur la collection intelligente dont vous souhaitez modifier le contenu. La fenêtre Filtre de la collection intelligente s’affiche. Collection intelligenteChapitre 5 Organisation de votre média 77 2 Modifiez les critères de recherche dans la fenêtre Filtre. 3 Lorsque vous avez terminé, fermez la fenêtre. Remarque : Si vous modifiez le classement ou les mots-clés d’un plan de telle manière qu’il ne satisfait plus les critères de recherche de la collection intelligente, le plan ne s’affiche plus dans cette collection. Suppression d’une collection intelligente m Dans la bibliothèque d’événements, sélectionnez la collection intelligente que vous souhaitez éliminer, puis choisissez Fichier > Supprimer la collection intelligente (ou appuyez sur Commande + Supprimer). La collection intelligente est supprimée de la bibliothèque d’événements, mais les plans qui lui sont associés (qui apparaissent dans celle-ci) ne sont pas affectés. Organisation des mots-clés et des collections intelligentes Vous pouvez organiser les collections de mots-clés et les collections intelligentes dans la bibliothèque d’événements sous forme de dossiers. Organisation des collections à l’aide de dossiers 1 Dans la bibliothèque d’événements, sélectionnez l’événement contenant les collections que vous souhaitez organiser, puis choisissez Fichier > Nouveau dossier. 2 Saisissez un nom pour le nouveau dossier qui s’affiche dans l’événement. 3 Sélectionnez les collections intelligentes et les collections de mots-clés que vous souhaitez organiser et faites-les glisser dans le nouveau dossier. Vous pouvez afficher et masquer le contenu du dossier en cliquant sur le triangle d’affichage situé à gauche du nom du dossier.6 78 Présentation de la lecture et du survol Final Cut Pro simplifie le visionnage et l’écoute de média, que celui-ci se situe dans le navigateur d’événements, dans la bibliothèque de projets ou dans la timeline. Ses fonctionnalités de preview dynamiques vous permettent retrouver rapidement ce que vous recherchez sans perdre de vue la tâche que vous devez réaliser. Deux outils sont à votre disposition pour effectuer un preview et reproduire du média dans Final Cut Pro : • La tête de lecture marque le point actif sur la timeline ou dans le navigateur d’événements. Vous pouvez à loisir déplacer la tête de lecture en la faisant glisser ou en cliquant sur une autre zone de la timeline ou du navigateur d’événements. Elle vous permet en outre de faire défiler ou de reproduire la vidéo à partir de son point actif. La tête de lecture se présente sous la forme d’un trait vertical gris fixe à moins que vous ne la déplaciez ailleurs ou cliquiez sur un autre point. • Le skimmer, d’autre part, vous permet de prévisualiser les plans sur la timeline, dans le navigateur d’événements ou dans la bibliothèque de projets, sans affecter pour autant la position de la tête de lecture. Utilisez le skimmer pour survoler le contenu ou parcourir à loisir les plans pour effectuer la lecture depuis l’emplacement du pointeur en fonction de sa vitesse de déplacement. Le skimmer se présente sous la forme d’un trait vertical rose au fur et à mesure que vous déplacez le pointeur sur la zone en cours de survol. Si vous avez activé la fonction de magnétisme, le skimmer devient alors orange lorsqu’il s’aligne sur un point précis. Tête de lecture Tête de lecture Skimmer Skimmer Lorsque la fonction de survol est activée, vous avez la possibilité de parcourir les données multimédias pour visualiser le contenu d’autres plans tout en conservant l’emplacement de la tête de lecture sur la timeline. Si cette dernière, ainsi que le skimmer, sont présents sur le même plan, le skimmer prend la priorité et devient l’emplacement par défaut de lecture ou de montage. Si le survol est désactivé ou que le skimmer est absent sur un plan, la tête de lecture constitue alors l’emplacement par défaut. Lecture et survol du médiaChapitre 6 Lecture et survol du média 79 Lecture du média Vous avez la possibilité de reproduire des projets et des plans dans Final Cut Pro. Les options de lecture comprennent la lecture depuis le début, à partir d’un certain point, en boucle et à diffé- rentes vitesses. Vous avez également la possibilité d’effectuer la lecture en plein écran. Le réglage de lecture sélectionné dans les préférences Montage de Final Cut Pro définit si Final Cut Pro utilise un média proxy, votre média original ou un média optimisé lors de la lecture. Consultez Préférences de lecture à la page 438 pour en savoir plus. Lecture de plans vidéo et de clips audio m Pour lire un projet ou un plan depuis le début: sélectionnez le projet ou le plan, puis choisissez Présentation > Lecture > Lire depuis le début (ou appuyez sur Maj + Contrôle + I). m Pour lire une section d’un projet, des plans sélectionnés ou une plage d’images depuis le début: sélectionnez le projet, les plans, l’intégralité ou une partie d’un même plan, puis choisissez Présentation > Lecture > Lire la sélection, ou appuyez sur Barre oblique (/). Si vous sélectionnez un plan entier, une partie d’un plan ou le projet complet, la zone sélectionnée s’encadre en jaune. Cadre jaune m Pour lire un projet ou un plan à partir d’un point précis: dans le navigateur d’événements ou la timeline, cliquez sur un point dans un projet ou dans un plan à l’endroit où vous voulez commencer (ou placez la tête de lecture sur le point voulu dans la timeline) et appuyez sur la barre d’espace ou cliquez sur le bouton de lecture dans le visualiseur (ou appuyez sur la touche L). La lecture du plan ou du projet commence au niveau du skimmer ou de la tête de lecture. m Pour lire dans la zone de la tête de lecture ou du Skimmer: choisissez Présentation > Lecture > Lire le contexte, ou appuyez sur Maj + point d’interrogation (?). Skimmer m Pour interrompre la lecture : appuyez sur la barre d’espace.Chapitre 6 Lecture et survol du média 80 Usage des touches J, K et L pour la lecture Les touches J, K et L de votre clavier vous permettent de lire un projet ou un plan. La lecture se lance depuis la tête de lecture (dans le cas d’un projet) ou depuis le skimmer (dans le cas d’un plan). Vous pouvez aussi passer par les touchesJ, K et L pour contrôler un dispositif de lecture vidéo. Fait défiler les vitesses de lecture vers l’avant Fait défiler les vitesses de lecture vers l’arrière Pause Ces touches vous permettent d’accélérer la lecture jusqu’à 32 fois (32x). m Pour lancer la lecture normale (vitesse 1x): appuyez sur L. m Pour lancer la lecture inverse (vitesse 1x): appuyez surJ. m Pour mettre la lecture en pause : appuyez sur K. m Pour doubler la vitesse de lecture : appuyez sur L ou surJ deux fois. m Pour inverser immédiatement le sens de lecture : appuyez surJ pour lire dans le sens inverse, ou sur L pour lire dans le sens normal. m Pour faire avancer ou reculer la tête de lecture d’une image à la fois: maintenez la touche K enfoncée, et appuyez surJ ou sur L. m Pour déplacer la tête de lecture à vitesse réduite de moitié (1/2x): maintenez la touche K enfoncée tout en appuyant sur la touche J ou L. Si vous faites appel aux raccourcis clavier pour contrôler un appareil (comme un caméscope ou une caméra), la vitesse de lecture avant (L) et inverse (J) peut différer en fonction de votre équipement vidéo. Lecture en boucle du média Il est possible d’activer la mise en boucle de sorte qu’un projet (ou une partie de projet) se lise continuellement en boucle. 1 Pour activer la lecture en boucle, effectuez l’une des opérations suivantes: • Choisissez Présentation > Lecture > Lecture en boucle (ou appuyez sur Commande + L). • Cliquez sur le bouton Lecture en boucle. 2 Procédez de l’une des manières suivantes: • Pour mettre tout le projet en boucle : appuyez sur la barre d’espace. • Pour mettre une partie d’un projet en boucle : sélectionnez une plage ou un plan dans la timeline, puis choisissez Présentation > Lecture > Sélection, ou appuyez sur la touche de la barre oblique (/).Chapitre 6 Lecture et survol du média 81 Lecture de vidéo en présentation Plein écran 1 Sélectionnez ou ouvrez un projet dans la bibliothèque de projets ou ouvrez un plan dans le navigateur d’événements et positionnez la tête de lecture à l’endroit où vous voulez que la vidéo commence. 2 Procédez de l’une des manières suivantes: • Choisissez Présentation > Lecture > Lire en plein écran (ou appuyez sur Commande + Maj + F). • Cliquez sur le bouton « Lire en plein écran » situé sous le visualiseur. L’élément se lit en présentation Plein écran à partir du point où se trouve la tête de lecture. 3 Pour quitter la présentation Plein écran, appuyez sur la touche Échap. Lorsque vous reproduisez des plans, les images au niveau de la tête de lecture ou du skimmer sont lues dans le visualiseur. Si vous devez comparer deux plans simultanément, vous pouvez passer par le visualiseur d’événements, un visualiseur à part permettant la lecture exclusive de plans d’événement. Le visualiseur d’événements s’affiche à gauche du visualiseur principal. Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83. Survol du média Il vous est possible de survoler rapidement votre vidéo et votre audio pour en effectuer un preview, rechercher un plan particulier ou réaliser un montage. Lorsque le survol est activé et que vous déplacez le pointeur sur un plan situé dans le navigateur d’événements ou sur la timeline, le contenu sous le pointeur se lit alors dans le visualiseur. Vous pouvez aussi passer par les outils de montage Lame de rasoir, Trim et Sélection de plage pour survoler les plans sur la timeline ou dans l’éditeur de précision. Au fur et à mesure que vous effectuez le montage dans Final Cut Pro, il se peut que le survol ait tendance à vous distraire lorsque vous déplacez le pointeur d’un point à un autre. Vous pouvez dans ce cas désactiver complètement la fonction du survol (ou vous limiter à rendre inopérant le survol audio). Survol de plans m Dans le navigateur d’événements ou la timeline, déplacez le pointeur sur un plan. Le skimmer (représenté par un trait vertical rose) indique exactement où se trouve le point actif au fur et à mesure que vous survolez le média ; les images correspondantes s’affichent en outre dans le visualiseur. Skimmer Conseil : Vous pouvez aussi appuyer à tout moment sur la barre d’espace pour lire depuis l’emplacement du skimmer.Chapitre 6 Lecture et survol du média 82 Survol de plans à l’aide des outils de montage Vous avez la possibilité de survoler les plans tout en utilisant les outils Lame de rasoir, Trim et Sélection de plage sur la timeline ou dans l’éditeur de précision. Ceux-ci se comportent comme des skimmers au fur et à mesure que vous placez le pointeur sur un plan. 1 Sélectionnez un plan sur la timeline ou ouvrez l’éditeur de précision. 2 Choisissez Lame de rasoir, Trim ou Sélection de plage dans le menu local Outils situé sur la barre d’outils. 3 Déplacez l’outil en avant ou en arrière sur un plan. Lorsque vous utilisez un outil de montage faisant office de skimmer, il vous est possible de survoler et d’ajouter des marqueurs à des plans sous les plans connectés dans la timeline. Activation et désactivation de la fonction de survol m Pour activer et désactiver le survol : cliquez sur le bouton Survol, choisissez Présentation > Survol, ou appuyez sur S. m Pour activer et désactiver le survol audio : cliquez sur le bouton « Audio lors du survol », choisissez Présentation > Audio lors du survol, ou appuyez sur Maj + S. Une fois la fonction activée, les boutons de survol apparaissent en bleu. La fonction de survol audio est désactivée. La fonction de survol est activée. Remarque : Lorsque le survol est désactivé, vous avez néanmoins la possibilité de survoler à l’aide des outils de montage Lame de rasoir, Trim et Sélection de plage. Survol d’audio pour des plans ou des composants audio précis Vous pouvez configurer le survol de plan pour limiter la fonction à un plan particulier. Cela s’avère utile si vous disposez d’un plan connecté dans la timeline et souhaitez en effectuer le survol sans avoir à écouter l’audio du plan dans le scénario principal. Important : Le survol audio doit également être activé afin de pouvoir utiliser cette fonctionnalité. Vous pouvez aussi faire appel au survol de plan pour écouter également un composant audio particulier lors du montage des plans présentant des composants audio développés. Si le survol de plan est éteint, vous pouvez alors entendre l’audio combiné de tous les composants intégrant le plan au fur et à mesure que vous effectuez le survol.Chapitre 6 Lecture et survol du média 83 Conseil : Pour afficher les composants audio sous leur forme développée, sélectionnez le plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). m Pour activer ou désactiver le survol, choisissez Présentation >Survol du plan (ou appuyez sur Commande + Option + S). Lecture et survol du média dans le visualiseur d’événements Il se peut que vous ayez parfois besoin de deux visualiseurs afin de pouvoir lire et survoler les plans d’événements de façon isolée des plans dans la timeline. Le visualiseur d’événements représente un affichage vidéo distinct qui apparaît en regard du visualiseur principal. En ouvrant le visualiseur d’événements et le visualiseur, vous pouvez ainsi afficher deux plans simultané- ment : l’un dans le navigateur d’événements et l’autre dans la timeline. Visualiseur d’événements Visualiseur Vous ne pouvez utiliser le visualiseur d’événements pour lire des plans que dans le navigateur d’événements. Comme pour le visualiseur principal, vous pouvez afficher les instruments vidéo, les canaux de couleurs, les zones sécurisées des titres et de l’action, ainsi que les angles multicam (avec le visualiseur d’événements configuré de façon à afficher les angles). Les commandes de lecture et d’ajustement sont identiques dans le visualiseur et dans le visualiseur d’événements. Les autres opérations en relation avec le visualiseur (notamment les commandes à l’écran et les effets intégrés) se font à travers le visualiseur principal. L’interface du double visualiseur s’inspire des systèmes à bande linéaires qui incluaient des moniteurs pour la source et pour l’enregistrement. Le moniteur source servait à la prévisualisation des plans source et aux sélections dans les plans en question. Le moniteur d’enregistrement permettait la reproduction du programme une fois monté. Ouvrir le visualiseur d’événements m Choisissez Fenêtre > Afficher le visualiseur d’événements (ou appuyez sur Commande + Contrôle + 3). Pour fermer le visualiseur d’événements, choisissez Fenêtre > Masquer le visualiseur d’événements (ou appuyez sur Commande + Contrôle + 3). Remarque : Si vous utilisez des instruments vidéo avec le visualiseur d’événements, il peut s’avérer pratique d’afficher les instruments sous l’image vidéo plutôt que sur le côté gauche (par défaut). Pour afficher les instruments repris sous l’image vidéo, choisissez Présenter verticalement dans le menu local Réglages du visualiseur d’événements. Pour en savoir plus, consultez Utilisation des instruments vidéo à la page 387.Chapitre 6 Lecture et survol du média 84 Lecture sur un deuxième écran Si vous possédez un deuxième écran branché sur votre ordinateur, vous pouvez y afficher le visualiseur afin de lire la vidéo, ou le navigateur d’événements pour consulter les plans d’un évé- nement, étendant ainsi votre espace de travail dans la fenêtre Final Cut Pro. Affichage du visualiseur sur un second moniteur 1 Branchez un deuxième écran (moniteur informatique branché sur la carte graphique PCI) et assurez-vous qu’il est relié au secteur et allumé. 2 Dans Final Cut Pro, choisissez Fenêtre > Afficher les visualiseurs sur le second moniteur. Le visualiseur apparaît alors sur le deuxième écran. Toutes les fonctionnalités du visualiseur (notamment les commandes à l’écran) sont dès lors disponibles sur le deuxième écran. Remarque : Si le visualiseur d’événements est également visible, les deux visualiseurs s’affichent alors sur le deuxième écran. 3 Pour renvoyer le visualiseur sur la fenêtre principale de Final Cut Pro, choisissez Fenêtre > Afficher les visualiseurs dans la fenêtre principale. Affichage de la bibliothèque et du navigateur d’événements sur un second moniteur 1 Branchez un deuxième écran (moniteur informatique branché sur la carte graphique PCI) et assurez-vous qu’il est relié au secteur et allumé. 2 Dans Final Cut Pro, choisissez Fenêtre > Afficher les événements sur le second moniteur. La bibliothèque et le navigateur d’événements apparaissent sur le deuxième écran. Toutes les fonctionnalités propres aux événements (notamment la sélection, les marqueurs, les mots-clés, etc.) sont dès lors disponibles sur le deuxième écran. Pour renvoyer la bibliothèque d’événements et le navigateur d’événements sur la fenêtre principale de Final Cut Pro, choisissez Fenêtre > Afficher les événements dans la fenêtre principale.Chapitre 6 Lecture et survol du média 85 Lecture sur un moniteur externe Final Cut Pro propose l’option de sortie A/V pour envoyer la vidéo et l’audio de votre ordinateur à un moniteur externe. En plus de pouvoir vérifier à quoi la vidéo et l’audio ressemblent sur un moniteur broadcast NTSC/PAL ou HD, cette fonctionnalité vous permet également de tester la sortie sur des dispositifs plus sophistiqués, tels que des vecteurscopes et des oscilloscopes. La sortie A/V n’est disponible que sous OS X Lion 10.7.2 ou ultérieur et nécessite une interface vidéo matérielle et logicielle de tierce partie compatible. Les appareils DV FireWire ne sont pas pris en charge. Pour en savoir plus, contactez le fabricant de l’équipement ou accédez à la page web des ressources Final Cut Pro X à l’adresse http://www.apple.com/fr/finalcutpro/resources. Lecture vidéo et audio sur un moniteur externe 1 Installez les matériel et logiciel d’interfaçage vidéo en suivant les instructions du fabricant. 2 Branchez un moniteur externe sur l’interface vidéo et assurez-vous qu’il est relié au secteur et allumé. 3 Pour sélectionner un équipement de sortie A/V, choisissez Final Cut Pro > Préférences (ou appuyez sur Commande +Virgule), cliquez sur Lecture, puis choisissez un dispositif dans la fenêtre Lecture des préférences. 4 Dans Final Cut Pro, choisissez Fenêtre > Sortie A/V. Le contenu du visualiseur s’affiche sur le moniteur broadcast. Les fonctionnalités du visualiseur (par exemple, ses commandes à l’écran et les éléments venant se superposer sur la zone de titre ou d’action sécurisée) ne s’affichent que dans Final Cut Pro. Remarque : la vidéo et l’audio sont synchronisés au niveau de l’image vidéo (et non de l’échantillonnage audio). Pour désactiver la sortie A/V, choisissez Fenêtre > Sortie A/V.Chapitre 6 Lecture et survol du média 86 À propos du rendu en arrière-plan Lorsque vous ajoutez des effets, des transitions, des générateurs, des titres ou autres éléments faisant appel à un rendu avant la lecture, l’indicateur de rendu en arrière-plan (représenté par un trait orange) apparaît en dessous du timecode sur la timeline. Indicateur de rendu en arrière-plan Par défaut, le rendu en arrière-plan se lance après 5 secondes d’inactivité et d’immobilité du pointeur dans Final Cut Pro. Ce rendu en arrière-plan se poursuit si vous utilisez une autre application. Vous pouvez modifier ce réglage dans les préférences de Final Cut Pro.7 87 Création d’un projet Pour créer un film dans Final Cut Pro, vous devez créer au préalable un projet, qui contient tous vos choix de montage et les données utilisées. Vous devez ensuite ajouter les plans à la timeline du projet puis les monter. Au moment de créer un projet Final Cut Pro, vous devez effectuer plusieurs choses: • Attribuez un nom au projet. • Indiquer un événement par défaut pour le projet. L’événement par défaut stocke les données déposées sur le projet à partir du Finder ou d’un navigateur multimédia de Final Cut Pro. Si vous faites glisser le média depuis le Finder sur la timeline, il vient alors se placer automatiquement dans l’événement par défaut du projet. Il vous est également possible de définir le timecode de début et les propriétés vidéo, audio et de rendu applicables au projet. Après avoir créé votre projet, vous devez y ajouter des plans à partir de la bibliothèque d’événements. Remarque : Si vous créez un projet et que vous n’avez pas encore importé de média dans Final Cut Pro, vous devez le faire à ce stade. Consultez la section Présentation de l’importation à la page 21 pour en savoir plus. Début d’un projet 1 Procédez de l’une des manières suivantes: • Dans Final Cut Pro, choisissez Fichier > Nouveau projet (ou appuyez sur Commande + N). • Assurez-vous que la bibliothèque de projets est ouverte, puis cliquez sur le bouton Nouveau projet. 2 Dans la fenêtre qui s’affiche, attribuez un nom au projet dans le champ Nom. 3 Choisissez un événement par défaut pour le projet. Si vous faites glisser des fichiers multimédias directement du Finder vers la timeline du projet, ou si vous ajoutez des données au projet à l’aide de l’un des navigateurs multimédias, les données en question sont automatiquement ajoutées à l’événement par défaut du projet. 4 Si vous voulez personnaliser davantage les réglages pour votre projet, cliquez sur « Utiliser les réglages personnalisés ». Remarque : Final Cut Pro affiche les réglages automatiques par défaut, mais conserve en mémoire ceux que vous avez utilisés en dernier. Cette étape peut dès lors s’avérer facultative. Création et gestion de projetsChapitre 7 Création et gestion de projets 88 5 Si vous voulez que le timecode de votre projet commence par une autre valeur que 00:00:00:00, tapez une valeur de timecode de début dans le champ Timecode de début. 6 Pour apporter des modifications aux propriétés vidéo ou audio du projet, sélectionnez Personnaliser, puis utilisez les menus locaux à votre disposition. À moins que vous n’ayez des besoins précis pour le projet que vous créez, il est préférable de laisser l’option «Définir automatiquement d’après le 1er plan vidéo » sélectionnée. 7 Cliquez sur OK. Le nouveau projet s’affiche enfin dans la bibliothèque de projets avec le nom que vous lui avez attribué à l’étape 2. Nouveau projet Vous pouvez dès lors ajouter des plans depuis le navigateur d’événements et commencer à monter votre projet de façon plus poussée, par exemple en lui ajoutant des titres, des effets spé- ciaux, de la musique de fond, des effets sonores, etc. Vous pouvez modifier à tout moment le nom d’un projet, son événement par défaut ainsi que d’autres propriétés du projet. Consultez Modification du nom et des propriétés d’un projet à la page 89 pour en savoir plus. Preview et ouverture d’un projet Pour retrouver le contenu d’un projet, vous pouvez en effectuer le preview avant de l’ouvrir. Preview d’un projet 1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro. 2 Sélectionnez un projet dans la bibliothèque de projets. 3 Pour effectuer un preview d’un projet dans le visualiseur, sélectionnez-le et procédez de l’une des manières suivantes: • Pour survoler le projet: placez le pointeur sur la pellicule (située à droite du nom du projet). • Pour lancer la lecture du projet à partir du skimmer (représenté par le trait vertical rose): appuyez sur la barre d’espace ; rappuyez dessus pour interrompre la lecture du projet.Chapitre 7 Création et gestion de projets 89 Ouverture d’un projet 1 Ouvrez la bibliothèque de projets. 2 Accédez au projet à ouvrir, puis double-cliquez dessus. Modification du nom et des propriétés d’un projet Au fur et à mesure de l’évolution de votre projet, il se peut que vous soyez amené à le renommer et à en modifier les propriétés. Réattribution du nom d’un projet 1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro. 2 Sélectionnez un projet, puis cliquez sur le nom du projet pour le mettre en surbrillance. 3 Saisissez le nouveau nom du projet dans le champ Nom et appuyez sur Retour. En fonction de l’agencement de votre bibliothèque de projets, la position du projet dans la liste peut changer après avoir renommé ce dernier. Changement de l’événement par défaut et modification des propriétés d’un projet Lorsque vous créez un projet, vous définissez ses propriétés et vous lui attribuez un événement par défaut destiné à stocker des données que vous avez fait glisser directement sur la timeline du projet depuis le Finder ou un navigateur multimédia de Final Cut Pro. Dans la plupart des cas, Final Cut Pro gère automatiquement les propriétés du projet en se basant sur les propriétés du premier plan que vous ajoutez au projet ; vous pouvez toutefois modifier presque toutes les propriétés d’un projet. Si vous devez modifier les propriétés du projet, choisissez celles vidéo et audio selon le mode de partage de votre film final avec votre public. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Procédez de l’une des manières suivantes: • Choisissez Fichier > Propriétés du projet (ou appuyez sur Commande + J). • Si la fenêtre de l’inspecteur est masquée, cliquez sur le bouton Inspecteur dans la barre d’outils. Cliquez ensuite sur le bouton Propriétés situé en haut de la fenêtre. Bouton PropriétésChapitre 7 Création et gestion de projets 90 3 Cliquez sur le bouton Propriétés du projet . Bouton Propriétés du projet 4 Dans la fenêtre qui s’affiche, adaptez les réglages selon vos besoins. Sélectionnez un présentation par défaut dans le menu local. Modifiez les propriétés vidéo, audio et de rendu du projet. Nom • Nom : saisissez un nom pour le projet. Événement par défaut • Événement par défaut: choisissez l’événement par défaut du projet. Timecode de début • Timecode de début : si vous voulez que le timecode de votre projet commence par une autre valeur que 00:00:00:00, tapez une valeur de timecode de début. Timecode Drop Frame • Drop Frame : cochez cette case pour activer le timecode Drop Frame (option disponible uniquement pour les médias à 29,97 et 59,94 ips). Dans le timecode Non-Drop Frame le compteur de timecode défile à vitesse constante sans effectuer de sauts de valeur. Le timecode Non-Drop Frame est disponible comme option d’affichage pour toutes les fréquences d’images. Dans le timecode Drop Frame, les images 0 et 1 sont ignorées au cours de la première seconde de chaque minute, sauf si le nombre de minutes est exactement divisible par 10. Propriétés vidéo • Format: choisissez le format vidéo (méthode particulière d’encodage vidéo). • Résolution : choisissez la taille d’image de la vidéo. • Fréquence : choisissez le nombre d’images par seconde (ips). Remarque : Vous ne pouvez pas modifier la fréquence d’images d’un projet, sauf si la timeline est totalement vide.Chapitre 7 Création et gestion de projets 91 Propriétés audio et de rendu • Canaux audio : choisissez s’il faut présenter l’audio sous forme de son Surround multicanal ou de son stéréo. • Fréquence d’échantillonnage : choisissez la fréquence d’échantillonnage audio de votre projet (à savoir le nombre de fois qu’un signal est mesuré, c’est-à-dire échantillonné, par seconde). Plus la fréquence d’échantillonnage est supérieure, plus l’audio est de qualité élevée et plus les fichiers produits sont volumineux. La fréquence d’échantillonnage que vous choisissez dépend des données source que vous utilisez et de la destination finale de votre audio. • Format du rendu :permet de choisir le codec à utiliser pour le rendu en arrière-plan de votre projet. 5 Cliquez sur OK. Définition de l’ordre de référencement d’événements par un projet Si vous avez des plans en double dans différents événements, il vous est possible de définir l’ordre dans lequel Final Cut Pro recherche les plans. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Procédez de l’une des manières suivantes: • Choisissez Fichier > Propriétés du projet (ou appuyez sur Commande + J). • Si la fenêtre de l’inspecteur est masquée, cliquez sur le bouton Inspecteur dans la barre d’outils. Cliquez ensuite sur le bouton Propriétés situé en haut de la fenêtre. Bouton Propriétés 3 Cliquez sur le bouton « Modifie les références aux événements » dans la section Événements référencés.Chapitre 7 Création et gestion de projets 92 4 Dans la fenêtre qui s’affiche, faites glisser les événements pour définir l’ordre dans lequel Final Cut Pro recherche les plans. 5 Une fois l’ordre établi, cliquez sur OK. Organisation des projets dans la bibliothèque de projets Tous vos projets vidéo Final Cut Pro sont répertoriés dans la bibliothèque de projets. Vous pouvez commencer l’organisation de vos projets en branchant des disques durs supplémentaires, en créant des dossiers pour y conserver des projets et en attribuant à ces derniers des noms évocateurs et précis. Au fur et à mesure que votre bibliothèque de projets grandit, vous pouvez renommer, copier, déplacer et supprimer vos projets selon vos besoins. Utilisation de dossiers pour organiser les projets 1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro. 2 Sélectionnez un disque, un dossier ou un projet auquel vous voulez ajouter un dossier, puis cliquez sur le bouton Nouveau dossier situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro.Chapitre 7 Création et gestion de projets 93 Un nouveau dossier au nom évocateur apparaît sur le disque ou dans le dossier que vous avez sélectionné, ou au même niveau que le projet sélectionné. 3 Procédez de l’une des façons suivantes: • Pour renommer le dossier: sélectionnez le dossier, cliquez sur son nom, puis attribuez-lui un nouveau nom. • Pour ajouter un projet au dossier: faites glisser le projet sur le dossier. • Pour ouvrir ou fermer le dossier: cliquez sur le triangle d’affichage à gauche du nom du dossier. Copie d’un projet Copier un projet s’avère utile pour travailler sur une nouvelle version ou pour transférer la copie sur un autre ordinateur. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Choisissez Fichier > Dupliquer le projet. 3 Dans la fenêtre qui s’affiche, choisissez un emplacement pour le fichier dupliqué dans le menu local Emplacement. 4 Sélectionnez une option pour indiquer ce qui doit être dupliqué : • Dupliquer le projet: copie uniquement le fichier du projet. • Dupliquer le projet et les événements référencés: copie le fichier du projet, tout événement réfé- rencé par le fichier du projet et l’intégralité du média inclus dans les événements référencés. • Dupliquer le projet et les plans utilisés: copie le fichier du projet et les fichiers de média se rapportant à tout plan utilisé dans le projet.Chapitre 7 Création et gestion de projets 94 • Inclure les fichiers de rendu : cochez cette case pour inclure les fichiers de rendu pour les plans et les projets. Si vous voulez libérer de l’espace sur le disque dur, décochez cette case. Choisissez un emplacement d’enregistrement du projet. Sélectionnez une option pour la copie. 5 Cliquez sur OK. Final Cut Pro copie le projet dans l’emplacement choisi d’après l’option indiquée. Le projet voit son nom complété d’un suffixe (par exemple « :film de François1 »), puis le projet s’affiche dans la bibliothèque de projets. Copie rapide d’un projet sur un périphérique de stockage externe m Ouvrez la bibliothèque de projets, sélectionnez un projet, puis faites glisser le projet sur l’icône du disque dur externe située dans la bibliothèque de projets. Déplacement d’un projet Vous avez la possibilité de déplacer un projet en toute simplicité vers un disque dur branché ou un autre ordinateur connecté. Le déplacement du fichier d’un projet s’avère utile si vous voulez travailler dessus en utilisant un autre ordinateur où Final Cut Pro est installé ou si vous cherchez à libérer de l’espace sur le disque dur de votre ordinateur. Important : Impossible d'annuler un déplacement de projet avec la commande Annuler. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Procédez de l’une des manières suivantes: • Choisissez Fichier > Déplacer le projet. • Maintenez la touche Commande enfoncée pendant le glissement du projet sur l’icône d’un autre disque dur externe reprise dans la bibliothèque de projets. 3 Dans la fenêtre qui s’affiche, choisissez un emplacement cible du projet (à savoir un disque dur ou un ordinateur) dans le menu local Emplacement.Chapitre 7 Création et gestion de projets 95 4 Sélectionnez une option pour indiquer ce qui doit être déplacé : • Déplacer le projet: déplace uniquement le fichier du projet. • Déplacer le projet et les événements référencés: déplace le fichier du projet, tout événement réfé- rencé par le fichier du projet et l’intégralité du média inclus dans les événements référencés. Sélectionnez l’emplacement vers lequel vous souhaitez déplacer le projet. Sélectionnez une option pour le déplacement. 5 Cliquez sur OK. Final Cut Pro déplace le projet à l’emplacement choisi d’après l’option que vous avez indiquée. Consultez la section Emplacement de vos fichiers de média et de projet à la page 407 pour en savoir plus sur l’emplacement par défaut des projets Final Cut Pro et des événements. Suppression d’un projet ou de son dossier La suppression du dossier d’un projet entraîne également celle de tous les projets qu’il contient. Votre média n’est pas pour autant supprimé car il est stocké dans les événements. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Procédez de l’une des manières suivantes: • Pour supprimer un projet: sélectionnez le projet, puis choisissez Fichier > Placer le projet dans la Corbeille (ou appuyez sur Commande + Supprimer). • Pour supprimer un dossier et tout projet que le dossier contient: sélectionnez le dossier, puis choisissez Fichier > Placer le dossier dans la Corbeille (ou appuyez sur Commande + Supprimer). Le projet ou son dossier (ainsi que les projets qu’il contient) est alors supprimé de la bibliothèque de projets et placé dans la Corbeille du Finder. 3 Pour supprimer de façon permanente le projet ou le dossier d’un projet ainsi que ses fichiers et libérer de l’espace sur votre disque dur, videz la Corbeille du Finder. AVERTISSEMENT : Une fois la Corbeille vidée, le fichier ou le dossier ne peut plus être récupéré. Il vous est également possible de supprimer les fichiers de rendu d’un projet. Consultez Affichage des tâches d’arrière-plan à la page 418 pour en savoir plus.Chapitre 7 Création et gestion de projets 96 Enregistrement des projets Final Cut Pro enregistre en effet automatiquement toutes les modifications que vous apportez au fur et à mesure de vos manipulations dans le projet, plutôt que de vous obliger à le faire manuellement. Vous pouvez en outre annuler toutes vos modifications jusqu’au moment de la dernière fermeture et réouverture de Final Cut Pro, en choisissant Édition > Annuler (ou en appuyant sur Commande + Z). Vous pouvez créer plusieurs versions d'un projet en le dupliquant. Pour en savoir plus sur la duplication de projets, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92. Les modifications que vous apportez à un plan dans un projet n’influe pas sur son fichier source. Ainsi, si vous avez réalisé de nombreux changements dans un plan mais voulez repartir depuis le début, vous pouvez restaurer facilement le plan à son état d’origine en ajoutant une nouvelle copie du plan (accessible depuis la bibliothèque d’événements) à votre projet.8 97 Présentation du montage Le terme montage vidéo fait référence à la fois aux grandes étapes du flux de production d’un projet et aux tâches manuelles très spécifiques que vous réalisez sur les plans dans la timeline d’un projet. • Sélections et ajout de plans à la timeline : l’ajout et l’organisation de plans dans votre projet constituent la base de la création d’un film avec Final Cut Pro. Vous déplacez et organisez les plans dans la timeline. Consultez les sections Présentation de l’ajout de plans à la page 106, Disposition des plans dans la timeline à la page 124 et Présentation de l’audio à la page 164. • Coupe et trim des plans: Final Cut Pro fournit de nombreux outils pour ajuster les points de départ et d’arrivée des plans dans la timeline et pour contrôler le passage d’un plan au suivant. Consultez Présentation du trim à la page 130. • Ajustement précis de votre projet: Final Cut Pro fournit de nombreux outils de montage avancé pour procéder facilement à la finition d’un film parfaitement abouti. Consultez les rubriques de la section relative au montage avancé. • Ajout d’effets et étalonnage : les touches finales incluent les effets visuels et l’étalonnage. Consultez les sections Présentation des transitions, des titres, des effets et des générateurs à la page 212 et Présentation de l’étalonnage à la page 371. Sélection de plans et de plages À propos des sélections et des pellicules de film L’étape de base du montage d’un projet vidéo consiste à choisir ce que vous voulez inclure dans le film final. Dans Final Cut Pro, vous indiquez les plans ou les parties de plans sur lesquels vous voulez réaliser une action en effectuant une sélection. Final Cut Pro offre de nombreux outils puissants pour effectuer des sélections rapidement et avec précision, notamment les pellicules, qui sont des séries de vignettes. Vos plans vidéo apparaissent sous forme de pellicules dans la timeline (là où vous créez vos projets) et dans le navigateur d’événements (là où sont affichées vos données source). Une seule pellicule vidéo peut représenter plusieurs secondes de vidéo regroupant des centaines d’images vidéo (à savoir des images spécifiques). Les clips exclusivement audio se présentent comme des formes d’onde audio, affichant les changements de volume dans le temps. Lorsque vous ajoutez des plans à la timeline d’un projet depuis le navigateur d’événements, vous pouvez ajouter un ou plusieurs plans complets, ou une plage au sein d’un plan. Vous pouvez ensuite affiner séparément les plans dans la timeline, par exemple en leur ajoutant des effets vidéo ou en insérant des transitions entre eux. Montage de votre projetChapitre 8 Montage de votre projet 98 Vous pouvez régler l’apparence des pellicules dans le navigateur d’événements et dans la timeline afin de simplifier les sélections. Par exemple, développer la largeur d’une pellicule (en réduisant la durée affichée par chaque vignette) vous permet d’effectuer des sélections plus précises. Pellicule développée dans le navigateur d’événements pour des sélections précises Vous pouvez également modifier l’aspect des pellicules dans la timeline pour pouvoir visualiser et sélectionner plus facilement les formes d’onde audio. Aspect de la pellicule modifié pour faciliter la visualisation et la sélection des formes d’onde audio Sélection d’un ou plusieurs plans Les plans représentent vos fichiers vidéo, audio et graphiques et vous permettent de manipuler vos données dans Final Cut Pro sans modifier ces fichiers. Pour ajouter des plans à votre projet, les réorganiser ou leur appliquer des trims, vous devez d’abord les sélectionner. Il vous est possible de sélectionner un seul plan ou plusieurs plans en même temps. La sélection de plusieurs plans vous permet de les déplacer au sein de votre projet, ou d’un évé- nement à un autre, comme s’il s’agissait d’un groupe. Cela s’avère également utile si vous avez apporté des modifications à un plan et que vous voulez appliquer les mêmes modifications à plusieurs autres plans.Chapitre 8 Montage de votre projet 99 Sélection d’un plan complet Procédez de l’une des manières suivantes: m Cliquez une fois sur le plan. m Placez le skimmer ou la tête de lecture sur un plan et appuyez sur X. Remarque : Cela génère une sélection de plage qui correspond aux bords du plan. m Dans le navigateur d’événements, appuyez sur la Flèche vers le haut ou Flèche vers le bas pour déplacer la sélection sur un plan adjacent. m Dans le navigateur d’événements, tout en maintenant la touche Option enfoncée, faites glisser le pointeur du point de départ au point d’arrivée du plan. m Dans la timeline, placez le skimmer (ou la tête de lecture si le survol est désactivé) sur le plan que vous voulez sélectionner, puis appuyez sur la touche C. Cette méthode sélectionne le plan dans le scénario principal. Les plans et les scénarios connectés sont associés aux plans figurant dans le scénario principal et apparaissent au-dessus et en dessous de celui-ci. Pour sélectionner un plan ou un scénario connecté avec cette méthode « touche C », placez le pointeur sur le plan connecté, puis appuyez sur la touche C. Pour en savoir plus, consultez les sections Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110 et Ajout de scénarios à la page 274. Une bordure jaune apparaît autour du plan pour indiquer qu’il est sélectionné. Remarque : Une sélection de plan dans la timeline (illustrée ci-dessus) se distingue sur les plans visuels et fonctionnels d’une sélection de plage dans la timeline, qui présente des poignées distinctes permettant d’ajuster ses points de départ et d’arrivée. Toutes les sélections dans le navigateur d’événements représentent en fait des sélections de plage (dont les points de départ et d’arrivée sont réglables) Sélection de plusieurs plans dans le navigateur d’événements ou la timeline m Pour sélectionner plusieurs plans individuels: cliquez sur les plans à sélectionner tout en maintenant la touche Commande enfoncée. Remarque : Cliquez sur un plan du navigateur d’événements comportant des plages établies tout en maintenant la touche Commande enfoncée entraîne la sélection des plages plutôt que du plan entier. m Pour sélectionner tous les plans et plages présents dans le navigateur d’événements ou la timeline : Cliquez sur Navigateur d’événements ou sur Timeline pour l’activer, puis choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A).Chapitre 8 Montage de votre projet 100 m Pour sélectionner plusieurs plans par glissement: tracez un rectangle de sélection englobant les plans à sélectionner dans la timeline ou le navigateur d’événements. Désélection de plans dans le navigateur d’événements ou la timeline m Pour désélectionner un seul plan : cliquez sur le plan en maintenant la touche Commande enfoncée ou cliquez hors du plan sélectionné (ou sélectionner un autre plan). m Pour désélectionner plusieurs plans: cliquez sur les plans à désélectionner tout en maintenant la touche Commande enfoncée. m Pour désélectionner tous les plans et plages: choisissez Édition > Sélectionner > Aucun (ou appuyez sur les touches Commande + Maj + A). m Pour désélectionner tous les plans et plages dans le navigateur d’événements: Appuyez simultané- ment sur les touches + X. Sélection d’une plage Au lieu de sélectionner des plans complets, vous pouvez sélectionner une plage au sein d’un plan dans la timeline ou le navigateur d’événements. Dans la timeline, vous pouvez également sélectionner une plage couvrant plusieurs plans. Vous pouvez appliquer des trims aux sélections de plage, leur attribuer des classements et des mots-clés et les modifier de toute autre manière. Vous pouvez ajuster les points de départ et d’arrivée d’une sélection de plage en faisant glisser l’un des bords figurant de part et d’autre de celle-ci. Vous pouvez également créer différentes sélections de plage sur un ou plusieurs plans dans le navigateur d’événements. Poignées de plage Remarque : Cette illustration reprend une sélection de plage dans la timeline. Les sélections de plage du navigateur d’événements possèdent des poignées de plage droites.Chapitre 8 Montage de votre projet 101 Sélection d’une plage Procédez de l’une des manières suivantes: m Dans le navigateur d’événements, faites glisser le pointeur sur un plan (pellicule). La plage sélectionnée est encadrée en jaune. Si la pellicule s’étend sur deux lignes et que vous souhaitez prolonger la sélection sur la seconde ligne, il vous suffit de continuer à faire glisser le pointeur au-delà du point de retour à la ligne. Lorsque vous atteignez le bord, le pointeur passe à la ligne suivante. Conseil : Dans le navigateur d’événements, faites glisser le pointeur tout en maintenant la touche Option enfoncée sur un plan (ou pellicule) quelconque où des plages sont déjà établies pour remplacer ces dernières par la nouvelle plage. m Dans la timeline, choisissez Sélection de plage dans le menu local Outils situé sur la barre d’outils (ou appuyez sur R). Le pointeur prend la forme de l’outil Sélection de plage . Faites glisser l’outil Sélection de plage sur un ou plusieurs plans dans la timeline pour sélectionner une plage. Pour ajuster les points de départ et d’arrivée de la sélection de plage, faites glisser les poignées figurant de part et d’autre de la plage. Conseil : Pour activer temporairement l’outil Sélection de plage, maintenez la touche R enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. Poignées de plage m Utilisez les touches I et O pour définir les points de départ et d’arrivée de la sélection de plage. Pour en savoir plus, reportez-vous aux instructions ci-dessous. m Dans le navigateur d’événements ou la timeline, placez le skimmer (ou la tête de lecture) sur un plan, puis appuyez sur la touche X. Chapitre 8 Montage de votre projet 102 Final Cut Pro définit les points de départ et d’arrivée de la sélection de plage sur ceux du plan. Conseil : Pour utiliser cette méthode « touche X » avec des plans connectés ou des plans figurant dans un scénario connecté, placez le pointeur sur le plan, puis appuyez sur la touche X. m Tout en maintenant la touche Commande enfoncée, cliquez sur un trait de marqueur coloré en haut d’un plan. Ces traits permettent d’indiquer un élément particulier parmi les suivants: favori (vert), rejeté (rouge), mots-clé ajoutés manuellement (bleu) ou mots-clés d'analyse (violet). Définition du point de départ ou d’arrivée d’une plage m Pour définir le point de départ: placez le skimmer (ou la tête de lecture, si le survol est désactivé) à l’endroit où vous voulez que la sélection commence, puis choisissez Marquer > Définir le début de la plage (ou appuyez sur la touche I). Pour supprimer le point de départ de la plage, appuyez sur Option + I. m Pour définir le point d’arrivée : placez le skimmer (ou la tête de lecture, si le survol est désactivé) à l’endroit où vous voulez que la plage se termine, puis choisissez Marquer > Définir la fin de la plage (ou appuyez sur la toucheO). Pour supprimer le point d’arrivée de la plage, appuyez sur Option +O. m Pour régler le point de départ ou d’arrivée de la plage pendant la lecture d’un plan ou de votre projet: appuyez sur la barre d’espace pour lancer la lecture, puis appuyez sur la touche I ouO au moment où vous voulez définir le point de départ ou d’arrivée. Conseil : Dans le navigateur d’événements, il vous est aussi possible d’appuyer sur Commande + Maj + I et sur Commande + Maj +O pour définir plusieurs plages au cours de la lecture. Si vous utilisez les outils Lame de rasoir, Trim et Sélection de plage dans la timeline ou l’éditeur de précision, vous pouvez utiliser les touchesI etO pour définir les points de départ et d’arrivée d’une sélection dans un plan ou un scénario connecté, ainsi que dans les plans figurant sous les plans et les scénarios connectés. Placez le pointeur directement sur un plan, puis appuyez sur la touche I pour définir le point de départ ou sur la toucheO pour définir le point d’arrivée. Prolongement ou raccourcissement de la sélection de plage m Pour modifier le début ou la fin de la plage : faites glisser le côté gauche ou droit de la bordure de sélection jaune. m Pour réinitialiser le point de départ ou d’arrivée d’une plage au sein du même plan d’événement ou du projet: déplacez le skimmer et appuyez sur la touche I ou O. Conseil : Vous pouvez également appuyer sur la touche I ou O pendant la lecture d’un plan. m Pour prolonger ou raccourcir une plage au sein d’un plan d’événement: placez le skimmer sur l’image à laquelle vous voulez que la plage commence ou se termine, puis cliquez (ou faites glisser le pointeur) tout en maintenant la touche Maj enfoncée. m Pour étendre ou raccourcir une plage à l’aide du timecode : choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle +D), puis saisissez la nouvelle durée. (Cela ne fonctionne qu’avec des sélections de plage simples.) La sélection de plage est prolongée ou raccourcie en conséquence. Si vous avez besoin du skimmer et qu’il est absent, vous pouvez activer le survol à tout moment.Chapitre 8 Montage de votre projet 103 Définition de plusieurs plages dans des plans d’événement au cours de la lecture Il vous est possible de définir plusieurs plages dans des plans repris dans le navigateur d’événements au cours de la lecture. 1 Reproduisez un plan d’un événement. 2 Lors de la lecture du plan, effectuez l’une des opérations suivantes: • Pour ajouter le point de départ d’une plage : appuyez sur Commande + Maj + I. • Pour ajouter le point d’arrivée d’une plage : appuyez sur Commande + Maj +O. Remarque : Pour définir plusieurs plages dans le même plan, répétez ces raccourcis clavier pendant que la lecture s’effectue. Définition de la sélection de plage coïncidant avec les bords du plan m Placez le skimmer ou la tête de lecture sur un plan et appuyez sur X. Final Cut Pro définit une sélection de plage depuis le point de départ au point d’arrivée du plan. Toute sélection préalablement établie est alors supprimée. Effacement des plages Vous pouvez supprimer une ou plusieurs plages dans le navigateur d’événements ou la timeline. Remarque : Cette opération n’influe en rien sur le média du plan, que ce soit dans le navigateur d’événements ou dans la timeline. m Pour supprimer une plage particulière dans un événement: cliquez sur la plage tout en maintenant la touche Option enfoncée. m Pour supprimer la sélection d’une plage dans la timeline : cliquez à l’extérieur de la plage ou sélectionnez-en une autre. m Pour effacer une ou plusieurs plages dans le navigateur d’événements ou la timeline : sélectionnez la ou les plages et appuyez sur Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X). Remarque : Les plages sélectionnées sont encadrées en jaune. Celles désélectionnées (disponibles uniquement dans le navigateur d’événements) présentent une bordure fine orange. m Pour supprimer toutes les plages d’un événement: choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A) pour sélectionner toutes les plages de l’événement actif, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X). Gestion de plusieurs sélections de plage dans des plans d’événement Dans le navigateur d’événements, vous avez la possibilité de définir plusieurs plages dans un ou plusieurs plans et vous pouvez sélectionner et désélectionner des plages après les avoir établies. Par exemple, vous pouvez définir plusieurs plages dans un plan d’événement long, puis désélectionner certaines de ces plages avant d’ajouter à la timeline toutes les plages sélectionnées en une seule fois.Chapitre 8 Montage de votre projet 104 Remarque : Les plages sélectionnées sont encadrées en jaune. Les plages désélectionnées présentent un cadre fin orange. Les commandes de montage manipulent uniquement les sélections jaunes. Plages sélectionnées Plages non sélectionnées Remarque : Les commandes décrites dans cette section supposent que le navigateur d’événements soit l’élément actif de l’interface de Final Cut Pro. Pour activer le navigateur d’événements, déplacez le pointeur dessus ou cliquez dessus. Lorsque le navigateur d’événements est actif, son arrière-plan se présente en gris plus clair. Réglage de plusieurs plages sur un plan d’événement 1 Dans le navigateur d’événements, sélectionnez une plage au sein d’un même plan. 2 Pour définir une autre plage, effectuez l’une des opérations suivantes: • Faites glisser, tout en maintenant la touche Commande enfoncée, une autre section du plan. • Placez le skimmer ou la tête de lecture sur l’image où vous voulez que commence une plage supplémentaire et appuyez sur Commande + Maj + I. Placez le skimmer ou la tête de lecture sur l’image où doit se terminer la nouvelle plage et appuyez sur Commande + Maj +O. Remarque : Ces raccourcis clavier fonctionnent également pendant la lecture pour vous permettre de régler des plages supplémentaires à la volée. • Faites glisser, tout en maintenant la touche Option enfoncée, le pointeur sur ou au sein de plages pour les remplacer par une nouvelle plage. • Tout en maintenant la touche Commande enfoncée, cliquez sur un trait de marqueur coloré en haut d’un plan. Ces traits permettent d’indiquer un élément particulier parmi les suivants: favori (vert), rejeté (rouge), mots-clé ajoutés manuellement (bleu) ou mots-clés d'analyse (violet). La sélection de plage supplémentaire apparaît dans le plan.Chapitre 8 Montage de votre projet 105 Pour désélectionner une plage, cliquez dessus tout en maintenant la touche Option enfoncée. Sélection et désélection de plages et de plans dans un événement Vous avez la possibilité de définir, de sélectionner ou de désélectionner plusieurs plages à l’inté- rieur de plans d’événement ou d’événements. Important : Les commandes de montage manipulent uniquement les sélections jaunes. Les commandes de montage ignorent les plages orange (désélectionnées). Plages sélectionnées Plages non sélectionnées m Pour sélectionner une plage indépendamment: cliquez sur la plage. m Pour sélectionner ou désélectionner une plage : cliquez sur la plage tout en maintenant la touche Commande enfoncée. m Pour sélectionner toutes les plages d’un plan : cliquez sur une zone du plan où aucune plage n’est définie. m Pour sélectionner toutes les plages et tous les plans de l’événement actif : choisissez Édition > Tout sélectionner (ou appuyez sur les touches Commande + A). Les plages (ainsi que tous les plans sans plage) s’encadrent alors en jaune pour indiquer qu’elles sont sélectionnées. m Pour désélectionner toutes les plages et tous les plans de l’événement actif : choisissez Édition > Tout désélectionner (ou appuyez sur les touches Commande + Maj + A). Les plages deviennent alors orange. Annulation de la sélection de plages dans des plans d’un événement Vous pouvez supprimer des plages particulières, plusieurs plages ou même toutes les plages incluses dans l’événement actif. m Pour supprimer une plage particulière dans un événement: cliquez sur la plage tout en maintenant la touche Option enfoncée. m Pour annuler les plages sélectionnées dans un événement: sélectionnez les plages à supprimer, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X). m Pour supprimer toutes les plages d’un événement: choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A) pour sélectionner toutes les plages de l’événement actif, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X). Navigation entre les sélections dans un événement m Pour atteindre le début de la sélection de plage : choisissez Marquer > Aller à > Début de la plage (ou appuyez sur Maj + I). Répétez cette commande pour accéder au début de la sélection de plage précédente ou au début du plan. m Pour atteindre la fin de la sélection de plage : choisissez Marquer > Aller à > Fin de la plage (ou appuyez sur Maj +O).Chapitre 8 Montage de votre projet 106 Répétez cette commande pour accéder à la fin de la sélection de plage suivante ou à la fin du plan. m Pour sélectionner le plan précédent (ou ses plages): appuyez sur Flèche vers le haut. Pour ajouter à la sélection, appuyez sur Maj + Flèche vers le haut. m Pour sélectionner le plan suivant (ou ses plages): appuyez sur Commande + Flèche vers le bas. Pour ajouter à la sélection, appuyez sur Maj + Flèche vers le bas. Ajout et suppression de plans Présentation de l’ajout de plans Pour créer un projet de film, vous ajoutez des plans à la timeline dans un ordre chronologique. Vous disposez d’un grand choix d’outils et de techniques pour ajouter des plans selon vos besoins ou votre style de montage. Vous pouvez réorganiser à tout moment les plans dans la timeline. Dans Final Cut Pro, vous pouvez monter vos projets sans vous soucier de la connexion ou de la synchronisation entre les plans. Par exemple, si vous faites glisser un plan dans la timeline, Final Cut Pro réorganise automatiquement celle-ci pour insérer le nouveau plan sans déranger le travail déjà réalisé. Cela est vrai pour tous les types de plans: vidéo, audio, titres, générateurs, images fixes, etc. Vous pouvez utiliser les plans de plusieurs événements dans un même projet. Vous pouvez également ajouter des plans depuis les navigateurs multimédias de Final Cut Pro et le Finder. La suppression de plans de la timeline n’a aucun impact sur les plans ou les fichiers présents dans le navigateur d’événements, les navigateurs multimédias ou le Finder. Les plans et les scénarios connectés restent associés (et synchronisés) aux plans figurant dans le scénario principal jusqu’à ce que vous les déplaciez ou les supprimiez explicitement. Plan connecté Plan connecté ne contenant que des données audio Scénario principalChapitre 8 Montage de votre projet 107 Glissement de plans vers la timeline Vous pouvez ajouter des plans à la timeline en les faisant glisser depuis le navigateur d’événements, un navigateur multimédia de Final Cut Pro (tel que le navigateur de photos ou de générateurs) ou le Finder. Glissement de plans depuis le navigateur d’événements ou un navigateur multimédia 1 Procédez de l’une des manières suivantes: • Dans la bibliothèque d’événements, sélectionnez l’événement contenant les plans que vous voulez ajouter à votre projet. • Ouvrez le navigateur multimédia contenant les données que vous voulez ajouter à votre projet. 2 Faites glisser un ou plusieurs plans du navigateur d’événements ou d’un navigateur multimédia vers la timeline. Selon l’endroit où vous déposez les plans dans la timeline, vos actions peuvent entraîner un montage par ajout, insertion, connexion ou remplacement. Final Cut Pro règle automatiquement les plans adjacents pour faire tenir tous les plans que vous avez fait glisser. Conseil : Vous pouvez ajouter un plan à la fois à votre projet ; cependant, il est parfois plus facile d’ajouter plusieurs plans en même temps et de les réorganiser par la suite dans la timeline. Glissement de fichiers depuis le Finder 1 Disposez les fenêtres à l’écran de façon à voir à la fois la fenêtre principale de Final Cut Pro et les fichiers dans le Finder. 2 Faites glisser les fichiers du Finder vers la timeline. Selon l’endroit où vous déposez les plans dans la timeline, vos actions peuvent entraîner un montage par ajout, insertion, connexion ou remplacement. Remarque : Si vous ajoutez des plans à la timeline depuis un navigateur multimédia de Final Cut Pro ou le Finder, vous importez les données dans l’événement par défaut associé au projet en cours. Vous pouvez configurer l’événement par défaut dans la fenêtre des réglages du projet. Final Cut Pro applique alors les réglages d’optimisation et d’analyse par défaut aux nouveaux plans. Vous pouvez définir les traitements d’optimisation et d’analyse par défaut dans les préférences de Final Cut Pro. Si vous ajoutez des images fixes à la timeline, elles ont une durée de 4 secondes par défaut. Vous pouvez modifier cette durée par défaut dans les préférences de Final Cut Pro. Ajout de plans à votre projet Vous pouvez ajouter simplement un plan à votre projet en procédant à un montage par ajout, qui consiste à ajouter un ou plusieurs plans à la fin d’un projet ou d’un scénario. Ajout de plans à votre projet dans la timeline 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements. 2 Pour ajouter les plans à la timeline, effectuez l’une des opérations suivantes: • Choisissez Édition > Ajouter à la fin (ou appuyez sur la touche E).Chapitre 8 Montage de votre projet 108 • Dans la barre d’outils, cliquez sur le bouton Ajouter. Si aucun élément n’est sélectionné, le plan apparaît à la fin du scénario principal dans la timeline. Si un scénario est sélectionné, le plan apparaît à la fin de celui-ci. Insertion de plans dans votre projet Un montage par insertion place le plan source de façon à ce que tous les plans situés après le point d’insertion soient déplacés vers l’avant (Ripple) dans la timeline pour faire de la place au plan inséré. Aucun plan n’est supprimé de votre projet. Un montage par insertion allonge le projet de la durée du plan inséré. D A B C A D B C Après montage Avant montage Vous pouvez recourir au montage par insertion lorsque vous souhaitez ajouter un plan au début ou au milieu de votre projet. Vous pouvez également réaliser ce type de montage pour interrompre l’action dans un plan par celle dans le plan inséré. L’action du plan d’origine reprend ensuite, au terme du plan inséré. Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par insertion. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284. Insertion de plans du navigateur d’événements dans la timeline 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements. 2 Placez la tête de lecture sur le point où vous voulez insérer le plan dans le scénario principal ou un scénario sélectionné (ou effectuez une sélection de plage). 3 Procédez de l’une des manières suivantes: • Choisissez Édition > Insérer (ou appuyez sur la toucheW). Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline, le montage est réalisé au niveau de ce dernier. • Dans la barre d’outils, cliquez sur le bouton Insérer. Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés vers l’avant. Si le skimmer est absent, les plans sont insérés au niveau de la tête de lecture. Si vous effectuez un montage par insertion au milieu d’un plan existant dans la timeline, celui-ci est coupé au niveau du point d’insertion et la seconde moitié est repoussée à la fin du plan inséré, avec le reste du métrage situé après le point d’insertion. Chapitre 8 Montage de votre projet 109 Insertion d’un plan vide ou de repère d’emplacement dans la timeline Il se peut que vous ayez besoin de réserver un espace dans la timeline pour un plan que vous n’avez pas encore. Final Cut Pro offre deux solutions à ce problème : des images de repère d’emplacement ou un plan vierge et sans son appelé plan vide dont vous pouvez définir librement la durée. 1 Placez la tête de lecture sur le point où vous voulez insérer le plan vide ou de repère d’emplacement dans le scénario principal ou un scénario sélectionné (ou effectuez une sélection de plage). 2 Effectuez l’une des opérations suivantes: • Pour insérer un plan de repère d’emplacement: choisissez Édition > Insérer le repère d’emplacement (ou appuyez sur Commande +Option +W). Final Cut Pro insère des images de repère d’emplacement grises que vous pouvez personnaliser. Pour en savoir plus, consultez Utilisation d’un repère d’emplacement à la page 247. Vous pouvez définir librement la durée des plans de repère d’emplacement. Plan de repère d’emplacement • Pour insérer un plan vide : choisissez Édition > Insérer un espace (ou appuyez sur Option +W). Final Cut Pro insère un plan vierge (contenant de la vidéo vierge et du silence) dont vous pouvez définir librement la durée. (L’industrie audiovisuelle emploie le terme d’amorce pour le désigner.) Plan vide Remarque : La couleur du plan vide se détermine par celle de l’arrière-plan actif dans Final Cut Pro. Pour définir celle-ci, choisissez une option Arrière-plan du lecteur dans la fenêtre Lecture des préférences de Final Cut Pro. Si vous voulez une autre couleur, envisagez d’utiliser un générateur de couleur unie. Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés vers l’avant (la droite).Chapitre 8 Montage de votre projet 110 Insertion de plans par glissement depuis le navigateur d’événements, un navigateur multimé- dia ou le Finder Vous pouvez insérer des plans entre ceux présents dans la timeline en les faisant glisser depuis le navigateur d’événements, un autre navigateur multimédia de Final Cut Pro ou le Finder. m Faites glisser le plan à insérer sur un point de montage (entre deux plans) dans la timeline. Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés vers l’avant (la droite). Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés Vous pouvez associer des plans entre eux dans la timeline. Les plans connectés restent reliés et synchronisés jusqu’à ce que vous les déplaciez ou les supprimiez manuellement. A B C D A B C D Après montage Avant montage Voici quelques utilisations possibles des plans connectés: • Plans de coupe : ajout d’un plan de coupe en le connectant à un plan vidéo dans la timeline. • Titres superposés: ajout d’un titre ou d’un tiers inférieur à un plan vidéo ou à une plage. • Effets sonores et musique de fond : synchronisation de clips audio avec des plans du scénario principal. Les plans restent synchronisés même si vous déplacez les plans du scénario principal.Chapitre 8 Montage de votre projet 111 Lorsque vous utilisez la commande de menu, le raccourci clavier ou le bouton de barre d’outils Connecter, les plans vidéo (bleus) sont connectés au-dessus du scénario principal, et les clips audio (verts) sont connectés en dessous: Plan connecté Plan connecté ne contenant que des données audio Scénario principal Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par connexion. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284. Connexion de plans dans la timeline 1 Si votre projet est vide, ajoutez des plans à la zone gris foncé du scénario principal dans la timeline pour créer votre séquence initiale. Les plans du scénario principal constituent une base à laquelle vous pouvez connecter (associer) d’autres plans pour développer votre projet. Les montages par connexion sont légèrement différents des autres types de montage en ce sens qu’ils n’ajoutent jamais de plans au scénario principal. Si vous réalisez un montage par connexion dans une timeline vide, Final Cut Pro ajoute d’abord un plan vide au scénario principal et lui associe le nouveau plan connecté. 2 Sélectionnez un ou plusieurs plans ou une plage dans le navigateur d’événements. 3 Effectuez l’une des opérations suivantes pour indiquer l’endroit où vous voulez connecter le plan source sélectionné : • Placez la tête de lecture sur l’image du plan dans le scénario principal.Chapitre 8 Montage de votre projet 112 • Sélectionnez une plage dans le scénario principal. 4 Pour connecter les plans sélectionnés aux plans du scénario principal, effectuez l’une des opérations suivantes: • Choisissez Édition > Connecter au scénario principal (ou appuyez sur la toucheQ). Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline, le plan est connecté au niveau de ce dernier. • Dans la barre d’outils, cliquez sur le bouton Connecter. • Faites glisser les plans vers la zone grise au-dessus ou en dessous du scénario principal. La première image de la sélection source est connectée au plan du scénario principal au niveau de la tête de lecture ou du skimmer. Si vous avez fait glisser la sélection source vers la timeline, sa première image est connectée au scénario principal à l’endroit où vous avez relâché le bouton de la souris. Point de connexion Plan connecté Scénario principalChapitre 8 Montage de votre projet 113 Lorsque vous réorganisez, déplacez, propagez ou supprimez des plans dans le scénario principal, les plans qui y sont connectés sont déplacés (ou supprimés) avec eux. Lorsque vous connectez des plans en les faisant glisser, vous avez la possibilité de placer les plans vidéo en dessous du scénario principal et les clips audio au-dessus. Plan connecté ne contenant que des données audio Plan audio/vidéo connecté Titre Remarque : Dans Final Cut Pro, si vous connectez des plans, les plans vidéo situés au-dessus masquent ceux se trouvant en dessous. Cela ne s’applique toutefois pas aux plans présentant certains réglages de transparence, d’incrustation ou de compositing. Pour en savoir plus, consultez Présentation du compositing à la page 367. Les clips audio n’affectent jamais la sortie vidéo, même s’ils sont placés au-dessus de plans vidéo dans la timeline. Ajustement du point de connexion d’un plan connecté Par défaut, les plans et les scénarios connectés sont connectés au scénario principal au niveau de leur première image, mais vous pouvez déplacer ce « point de connexion ». Cela s’avère utile si vous voulez connecter une image ou un échantillon audio précis du plan ou du scénario connecté à une image ou un échantillon audio précis du scénario principal.Chapitre 8 Montage de votre projet 114 m Maintenez les touches Commande et Option enfoncées et cliquez sur le plan connecté (ou sur la bordure grise du scénario) à l’endroit où vous voulez placer le point de connexion. Le point de connexion est positionné à l’endroit où vous avez cliqué. Point de connexion par défaut Nouvelle position du point de connexion Déplacement, trim ou suppression de plans dans le scénario principal sans affecter les plans connectés Si vous devez déplacer ou effectuer un trim sur des plans dans le scénario principal mais voulez conserver l’emplacement des plans connectés, vous pouvez maintenir la touche de l’accent grave (`) lors du montage pour préserver la synchronisation et la position des plans connectés. m Pour déplacer un plan sans affecter pour autant les plans connectés: tout en maintenant enfoncée la touche de l’accent grave (`), faites glisser le plan dans la timeline (soit par le biais de l’outil Sélection, soit à l’aide de l’outil Position). Maintenez la touche de l’accent grave (`) enfoncée, puis faites glisser le plan. Le plan connecté conserve son emplacement.Chapitre 8 Montage de votre projet 115 m Pour effectue un trim sur un plan sans affecter pour autant les plans connectés: tout en maintenant enfoncée la touche de l’accent grave (`), effectuez un trim sur le plan en faisant appel à une méthode quelconque, notamment les montages Ripple, les montages Roll, les montages par coulissement et les montages par glissement. m Pour supprimer un plan sans affecter pour autant les plans connectés: tout en maintenant enfoncée la touche de l’accent grave (`), sélectionnez le plan et appuyez sur Supprimer (ou appuyez sur Commande +Option + Supprimer). Pour en savoir plus sur la suppression de plans ou de plages possédant des plans connectés, consultez Suppression de plans du projet à la page 122. m Pour passer à un autre plan dans une audition sans affecter pour autant les plans connectés: tout en maintenant enfoncée la touche de l’accent grave (`), sélectionnez la meilleure image dans la fenêtre Audition. Pour en savoir plus, consultez Utilisation d’auditions pour essayer des plans dans votre projet à la page 295. Dans tous ces cas, le ou les plans connectés conservent exactement la même position ainsi que leur synchronisation. Si vous supprimez des plans ou des plages en relation avec des plans connectés et des scénarios sans maintenir la touche de l’accent grave (`) enfoncée, des règles particulières s’appliquent alors. Pour en savoir plus, consultez Suppression de plans du projet à la page 122. Écrasement de certaines parties de votre projet Dans un montage par écrasement, un ou plusieurs plans source écrasent les plans présents dans le scénario principal ou un scénario sélectionné, en commençant au point de départ d’une sélection de plage ou au niveau du skimmer ou de la tête de lecture. Puisqu’aucun élément de plan ne subit de montage Ripple en avant, la durée de votre projet reste inchangée. A B C A D B C D Après montage Avant montage L’écrasement diffère du remplacement de données. L’écrasement ne fonctionne qu’avec des sélections de plage, et non avec des plans complets, et n’est pas limité aux limites des plans. Utilisez un montage par écrasement lorsque vous voulez monter une durée de métrage précise et non des plans précis. Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par écrasement. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284. Écrasement de plans de la timeline par des plans du navigateur d’événements 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements. Si la sélection comporte plusieurs plans source, ceux-ci apparaîtront dans la timeline dans l’ordre dans lequel ils ont été sélectionnés. 2 Pour définir le point de départ du plan d’écrasement dans la timeline, effectuez l’une des opérations suivantes dans le scénario principal ou un scénario sélectionné : • Positionnez la tête de lecture.Chapitre 8 Montage de votre projet 116 • Sélectionnez une plage comprenant un ou plusieurs plans dans la timeline. Remarque : La commande d’écrasement ignore les sélections de plan complet dans la timeline. Si vous ne sélectionnez pas de plage dans la timeline, Final Cut Pro place le point de départ du plan d’écrasement au niveau de la tête de lecture ou du skimmer. 3 Choisissez Édition > Écraser (ou appuyez sur la toucheD). Le plan source apparaît dans le scénario principal et écrase tous les plans existants sur toute sa durée. Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline, le montage est réalisé au niveau de ce dernier. Pour réaliser le montage par écrasement en amont de la tête de lecture, de sorte que le point d’arrivée du plan d’écrasement (et non son point de départ) soit aligné sur la position cible, appuyez sur Maj +D. Remplacement d’un plan par un autre dans votre projet Vous pouvez remplacer des plans de votre projet par des plans figurant dans le navigateur d’évé- nements, d’autres navigateurs multimédias de Final Cut Pro ou le Finder. Contrairement aux montages par écrasement, le remplacement ne fonctionne que sur des plans complets de la timeline et peut modifier la durée du projet. A B C A D C D Après montage Avant montage Les options de remplacement incluent l’utilisation du début ou de la fin du plan source, ainsi que la création automatique d’auditions ou l’ajout automatique à des auditions. Remplacement par glissement d’un plan de la timeline par un ou plusieurs plans 1 Procédez de l’une des manières suivantes pour effectuer une sélection source : • Sélectionnez un plan ou une plage dans le navigateur d’événements. • Sélectionnez un élément de média dans l’un des navigateurs multimédias de Final Cut Pro ou le Finder. 2 Faites glisser la sélection source sur le plan de la timeline que vous voulez remplacer. Le plan cible est mis en évidence par un contour blanc dans la timeline.Chapitre 8 Montage de votre projet 117 3 Relâchez le bouton de la souris et choisissez une option dans le menu contextuel : • Remplacer: Le plan cible est remplacé par la sélection source. La durée est déterminée par celle de la sélection source. Si les durées de la sélection source et du plan cible sont diffé- rentes, les plans suivants sont décalés. • Remplacer depuis le début: le plan cible est remplacé par la sélection source, en commençant au début de celle-ci. La durée est déterminée par celle du plan de la timeline. • Remplacer depuis la fin : le plan cible est remplacé par la sélection source, en commençant à la fin de celle-ci. La durée est déterminée par celle du plan de la timeline. • Remplacer et ajouter à l’audition : le plan cible est remplacé par une audition dans laquelle la sélection source est le meilleur élément et le plan cible un élément alternatif. La durée est déterminée par la sélection source. Si les durées de la sélection source et du plan cible sont différentes, les plans suivants sont décalés. • Ajouter à l’audition : le plan cible est remplacé par une audition dans laquelle le plan cible est le meilleur élément et la sélection source un élément alternatif. • Annuler: le montage par remplacement est annulé. La sélection source apparaît dans la timeline, à la place du plan d’origine. Le plan source sélectionné apparaît dans la timeline. Remarque : Pour les options « Remplacer depuis le début » et « Remplacer depuis la fin », si la sélection source est une sélection de plage ayant une durée inférieure à celle du plan cible et qu’il y a suffisamment de données supplémentaires, Final Cut Pro augmente la durée de la sélection source pour qu’elle corresponde à celle du plan cible. La durée du scénario obtenu ne change pas.Chapitre 8 Montage de votre projet 118 Remplacement d’un plan de la timeline à l’aide de raccourcis clavier 1 Dans le navigateur d’événements, sélectionnez le plan ou la plage source. 2 Dans la timeline, sélectionnez le plan à remplacer. Remarque : Il doit s’agir d’un plan complet, et non d’une plage. Pour en savoir plus, consultez À propos des sélections et des pellicules de film à la page 97. 3 Procédez de l’une des manières suivantes: • Pour réaliser un montage par remplacement standard : appuyez sur Maj + R. Le plan cible est remplacé par la sélection source. La durée est déterminée par celle de la sélection source. Si les durées de la sélection source et du plan cible sont différentes, les plans suivants sont décalés. • Pour réaliser un montage Remplacer depuis le début: appuyez sur Option + R. Le plan cible est remplacé par le plan source, en commençant au début de celui-ci. La durée est déterminée par celle du plan de la timeline. Remarque : Pour l’option « Remplacer depuis le début », si la sélection source est une sélection de plage ayant une durée inférieure à celle du plan cible et qu’il y a suffisamment de données supplémentaires, Final Cut Pro augmente la durée de la sélection source pour qu’elle corresponde à celle du plan cible. La durée du scénario obtenu ne change pas. La sélection source apparaît dans la timeline, à la place du plan d’origine. Ajout et montage d’images fixes Dans Final Cut Pro, vous pouvez ajouter et monter de nombreux formats d’image fixe dans vos projets, notamment des photos et des fichiers graphiques. Ajout d’une image fixe à la timeline Vous pouvez ajouter des images fixes à votre projet depuis le navigateur d’événements ou le navigateur de photos. m Pour ajouter une image fixe depuis le navigateur d’événements: importez l’image fixe dans un évé- nement, puis sélectionnez intégralement ou partiellement le plan d’image fixe et faites-le glisser du navigateur d’événements vers la timeline. Remarque : Lorsqu’une image fixe est importée, elle fonctionne comme tout autre plan dans Final Cut Pro. Vous pouvez utiliser toutes les techniques décrites dans le présent chapitre pour ajouter des plans d’image fixe à la timeline. m Pour ajouter une image fixe depuis le navigateur de photos: ouvrez le navigateur de photos, sélectionnez une image fixe, puis faites-la glisser directement vers la timeline. La durée initiale par défaut des sélections de plage dans les images fixes est de 4 secondes, mais vous pouvez la modifier dans la fenêtre Montage des préférences de Final Cut Pro. La durée d’un plan d’image fixe n’est pas limitée. Pour modifier la durée d’un plan d’image fixe dans la timeline, utilisez l’une des techniques de trim décrites dans le présent chapitre. Pour modifier la durée de plusieurs plans d’image fixe en même temps, sélectionnez ces derniers et choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle +D).Chapitre 8 Montage de votre projet 119 Ajout de fichiers graphiques multicouche à la timeline Il vous est possible d’ajouter des fichiers graphiques multicouches, tels que les fichiers Adobe Photoshop (PSD), créés dans une autre application de retouche d’image à la timeline. 1 Importez le fichier graphique multicouche dans un événement. Important : si le fichier graphique multicouche présente un arrière-plan transparent, assurezvous que le format de rendu de votre projet est défini sur Apple ProRes 4444 afin de préserver la transparence au moment du rendu. Consultez Modification du nom et des propriétés d’un projet à la page 89. 2 Dans le navigateur d’événements, maintenez la touche Contrôle enfoncée et cliquez sur l’image multicouche, puis choisissez «Ouvrir dans la timeline » dans le menu contextuel. Chaque couche s’affiche sur la timeline sous forme de plan connecté qu’il vous est possible de monter comme vous le feriez pour tout autre plan. Par exemple, vous pouvez animer des couches en leur appliquant un fondu entrant ou sortant. Image de graphiques en couches dans le visualiseur Plan représentant des couches individuelles La durée par défaut d’un fichier graphique multicouche est d’une minute. Pour modifier la durée d’une des couches dans la timeline, utilisez l’une des techniques de trim décrites dans le présent chapitre. Pour modifier la durée de toutes les couches, sélectionnez ces derniers et choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle +D). Pour en savoir plus sur la création de fichiers graphiques multicouches pour Final Cut Pro, consultez la page http://support.apple.com/kb/HT5152?viewlocale=fr_FR. Modification d’une image fixe avec une application d’édition d’image externe Vous pouvez modifier une image fixe à l’aide d’une application d’édition d’image externe ; les modifications apparaissent automatiquement dans le plan dans Final Cut Pro. 1 Pour ajouter un plan d’image fixe à la timeline, procédez comme indiqué ci-dessus. 2 Pour retrouver le fichier de média source du plan dans le Finder, appuyez sur Commande + Maj + R. 3 Ouvrez le fichier multimédia source dans l’application d’édition d’image externe. 4 Modifiez l’image dans l’application d’édition d’image et enregistrez les modifications.Chapitre 8 Montage de votre projet 120 5 Retournez dans Final Cut Pro. Les modifications apparaissent automatiquement dans le plan d’image fixe dans Final Cut Pro. Vous pouvez également créer des images figées à partir de vos plans vidéo. Pour en savoir plus, consultez Création d’images figées à la page 120. Création d’images figées Vous pouvez créer en toute simplicité des plans d’arrêt sur image à partir de n’importe quel plan vidéo. Les plans d’arrêt sur image contiennent une image particulière permettant d’interrompre temporairement l’action à l’écran. Vous pouvez créer des plans d’arrêt sur image à partir de plans dans la timeline ou le navigateur d’événements. Si vous créez un plan d’arrêt sur image à partir du navigateur d’événements, il est alors attaché au scénario principal au niveau de la tête de lecture sous forme de plan connecté. Vous pouvez créer des images figées à la volée pendant la lecture ou en accédant à une image donnée dans un plan. Remarque : Un plan d’arrêt sur image conserve tous les attributs appliqués au plan source, par exemple les réglages et les effets. Création d’un plan d’arrêt sur image 1 Dans la timeline ou le navigateur d’événements, procédez de l’une des façons suivantes: • Placez le skimmer ou la tête de lecture sur l’image à figer. • Lancez la lecture du plan. 2 Choisissez Édition > Ajouter un arrêt sur image (ou appuyez simultanément sur les touches Option + F). Le mode d’ajout de l’arrêt sur image au projet dépend de l’emplacement où l’image a été créée : depuis la timeline ou du navigateur d’événements. • Si vous avez créé l’image figée à partir d’un plan dans la timeline : un nouveau plan d’arrêt sur image est inséré dans la timeline à l’emplacement du skimmer ou de la tête de lecture. • Si vous avez créé l’image figée à partir d’un plan dans le navigateur d’événements: un nouveau plan d’arrêt sur image est joint sous forme de plan connecté dans la timeline à l’emplacement de la tête de lecture.Chapitre 8 Montage de votre projet 121 Modification de la durée par défaut des plans d’arrêt sur image Les plans d’arrêt sur image possèdent la même durée par défaut que les plans d’images fixes, à savoir 4 secondes. Vous pouvez modifier la durée par défaut dans les préférences de Final Cut Pro. 1 Choisissez Final Cut Pro > Préférences (ou appuyez sur Commande + virgule), puis cliquez sur le bouton Montage en haut de la fenêtre. 2 Réglez la case de valeur Images fixes. Si vous ne voulez pas créer de plan à part pour les images figées, vous pouvez créer un segment de suspension à l’aide du menu local Resynchronisation. Pour en savoir plus, consultez Création d’un segment de suspension à la page 305. Ajout de plans en mode vidéo uniquement ou audio uniquement Par défaut, lorsque vous ajoutez un plan d’un événement à la timeline, tous les composants vidéo et audio de ce plan sont inclus dans le montage. Toutefois, vous pouvez également n’ajouter que la partie vidéo ou la partie audio des plans d’événement à la timeline, même s’ils contiennent de la vidéo et de l’audio. Réalisation de montages Vidéo seulement ou Audio seulement 1 Pour définir le mode de montage, effectuez l’une des opérations suivantes: • Pour n’ajouter que la vidéo de votre sélection à la timeline : choisissez Vidéo seulement dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 2). • Pour n’ajouter que l’audio de votre sélection à la timeline : choisissez Audio seulement dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 3). Les boutons de montage de la barre d’outils changent d’aspect pour indiquer le mode sélectionné : Mode Vidéo uniquement Mode Audio uniquement 2 Ajoutez des plans à la timeline comme vous le faites habituellement. Le plan Vidéo seulement ou Audio seulement apparaît dans la timeline. Pour revenir au mode par défaut (vidéo et audio), dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 1), choisissez Tout.Chapitre 8 Montage de votre projet 122 Suppression de plans du projet Lorsque vous supprimez des plans d’un projet dans la timeline, les données source figurant dans les événements, les navigateurs multimédias de Final Cut Pro et le Finder ne sont pas affectées. Suppression de plans ou de plages de la timeline 1 Sélectionnez dans la timeline les plans ou la plage à supprimer. 2 Choisissez Édition > Supprimer (ou appuyez sur la touche Supprimer). Les plans ou parties de plans sélectionnés sont supprimés de la timeline, et les plans situés à droite de la sélection (le cas échéant) sont décalés pour combler le vide résultant. Pour annuler immédiatement la suppression, choisissez Édition > Annuler (ou appuyez sur Commande + Z). Remarque : En général, si vous sélectionnez un plan complet de la timeline (par exemple, avec la touche C) ou une plage se composant d’un plan complet (par exemple, avec la touche X) et que vous supprimez cette sélection, les éventuels plans connectés ou scénarios sont également supprimés. Cependant, il est possible de supprimer un plan sans affecter pour autant ses plans connectés en maintenant enfoncée la touche de l’accent grave (`) tout en appuyant sur la touche Supprimer. Pour en savoir plus, consultez «Déplacement, trim ou suppression de plans dans le scénario principal sans affecter les plans connectés » dans Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. En outre, si vous supprimez une plage partielle d’un plan, qui inclut un plan ou un scénario connecté, les éléments de ce type ne sont alors pas supprimés mais décalés au plan le plus proche dans le scénario principal. Suppression de plans ou de plages sans affecter la durée totale et la synchronisation du projet Si vous souhaitez supprimer des plans de la timeline tout en préservant la durée totale et la synchronisation du projet, vous pouvez remplacer ces plans par des plans vides. Cette méthode évite les montages Ripple. 1 Sélectionnez les plans ou la plage à supprimer. 2 Choisissez Édition > Remplacer par un blanc (ou appuyez sur Maj + Supprimer). Final Cut Pro remplace la sélection par un plan vide dans la timeline.Chapitre 8 Montage de votre projet 123 Remarque : Cette méthode préserve les plans connectés. Lorsque vous remplacez un plan par un plan vide, les éventuels plans connectés sont associés à ce dernier. Isolement, désactivation et activation de plans Il peut parfois être utile de lire une séquence avec et sans certains plans à des fins de comparaison. Dans Final Cut Pro, vous pouvez rapidement lire l’audio d’un plan excluant ainsi l’audio des autres plans. Cette fonctionnalité, appelée solo, désactive l’audio de tous les plans non sélectionnés dans la timeline. Vous pouvez également désactiver (et non supprimer) des plans sélectionnés, ce qui a pour effet de les rendre invisibles et inaudibles lors de la lecture. Les plans désactivés n’apparaissent dans aucune sortie. Vous pouvez les réactiver tout aussi facilement. Isolement d’éléments sélectionnés Si vous voulez vous concentrer sur un sous-ensemble de plans dans la timeline, vous pouvez sélectionner ces derniers et les isoler des autres. 1 Dans la timeline, sélectionnez les plans à isoler. 2 Procédez de l’une des manières suivantes: • choisissez Plan > Solo (ou appuyez sur les touches Option + S). • Cliquez sur le bouton Solo dans le coin supérieur droit de la timeline. Lorsque l’isolement est activé, le bouton Solo est jaune et les plans non sélectionnés sont affichés en noir et blanc, ce qui permet d’identifier facilement les plans isolés, qui sont entourés en jaune. 3 Pour désactiver l’isolement, cliquez à nouveau sur le bouton Solo. Désactivation et réactivation d’un ou de plusieurs plans 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Choisissez Plan > Désactiver (ou appuyez sur la touche V). Les plans désactivés sont estompés dans la timeline et sont invisibles et inaudibles pendant la lecture. Plan désactivé Plan activéChapitre 8 Montage de votre projet 124 3 Pour réactiver les clips désactivés, sélectionnez-les dans la timeline et choisissez Plan > Désactiver (ou appuyez sur la touche V). Recherche d’un plan source d’un plan de la timeline Vous pouvez rechercher rapidement le plan d’événement source d’un plan que vous utilisez dans la timeline de votre projet. Cela s’avère particulièrement utile si vous voulez dupliquer un plan de votre projet ou ajouter le même plan à un autre projet. Recherche et affichage du plan d’événement source d’un plan de la timeline 1 Dans la timeline, sélectionnez le plan dont vous voulez localiser le plan d’événement source. 2 Procédez de l’une des manières suivantes: • Choisissez Plan > Afficher dans le navigateur d’événements (ou appuyez sur Maj + F). • Cliquez sur le plan tout en maintenant la touche Contrôle enfoncée, puis choisissez « Afficher dans le navigateur d’événements » dans le menu contextuel. Une bordure de sélection apparaît autour du plan source dans le navigateur d’événements et la position de la tête de lecture dans le plan source correspond à celle de la tête de lecture dans le plan de la timeline. Disposition des plans dans la timeline Dans Final Cut Pro, vous pouvez organiser et réorganiser les plans de votre projet comme vous le souhaitez. Si vous ajoutez ou déplacez un plan dans la timeline en le faisant glisser, Final Cut Pro déplace les autres plans pour lui faire de la place. Vous pouvez également déplacer les plans numériquement en saisissant une valeur de timecode, les déplacer légèrement à l’aide de raccourcis clavier, les écraser à l’aide de l’outil Position et les déplacer verticalement depuis et vers le scénario principal. Déplacement de plans par glissement horizontal m Dans la timeline, sélectionnez un ou plusieurs plans et faites-les glisser vers un nouvel emplacement du projet. Pendant que vous faites glisser les plans, un contour de la sélection apparaît au nouvel emplacement de la timeline. Lorsque vous relâchez le bouton de la souris, le ou les plans repositionnés apparaissent au nouvel emplacement. Final Cut Pro décale les plans (et les éventuels plans connectés) dans la timeline pour faire de la place aux plans repositionnés et pour combler le vide laissé par ces derniers. Vous pouvez également faire glisser les plans verticalement vers et depuis le scénario principal. Remarque : Cette méthode de déplacement horizontal des plans est l’équivalent fonctionnel du montage par déplacement disponible dans Final Cut Pro 7, en plus simple.Chapitre 8 Montage de votre projet 125 Déplacement de plans à l’aide d’une valeur de timecode Vous pouvez déplacer des plans sélectionnés dans la timeline en saisissant la durée dont vous souhaitez les décaler. 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Effectuez l’une des opérations suivantes, ou les deux : • Pour déplacer les plans vers l’avant: appuyez sur la touche Plus(+), puis entrez une durée de timecode pour le déplacement. • Pour déplacer les plans vers l’arrière : appuyez sur la touche Tiret (-), puis entrez une durée de timecode pour le déplacement. Remarque : Pour en savoir plus et obtenir des conseils pour la saisie des valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Champ de saisie du timecode dans le Dashboard 3 Appuyez sur la touche Entrée. Les plans sont déplacés vers l’avant ou l’arrière de la durée saisie et écrasent les plans présents au nouvel emplacement, le cas échéant. Si les plans sélectionnés se trouvent dans un scénario, un plan vide comble les parties vacantes de ce dernier. Le plan se déplace vers l’avant ou l’arrière de la durée saisie. Un plan vide comble la partie vacante du scénario. Déplacement léger de plans à l’aide de raccourcis clavier La fonctionnalité de déplacement léger dans Final Cut Pro vous permet de déplacer très légèrement les éléments sélectionnés, par exemple de quelques images ou sous-images (pour les plans Audio seulement connectés).Chapitre 8 Montage de votre projet 126 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Pour déplacer légèrement les plans, effectuez l’une des opérations suivantes: • Pour déplacer la sélection d’une image vers la gauche : appuyez sur la touche Virgule (,). • Pour déplacer la sélection de 10 images vers la gauche : appuyez sur Maj +Virgule (,). • Pour déplacer la sélection d’une image vers la droite : appuyez sur la touche Point (.). • Pour déplacer la sélection de 10 images vers la droite : appuyez sur Maj + point (.). 3 Si vous souhaitez déplacer légèrement des clips audio connectés d’une ou de plusieurs sousimages, effectuez l’une des opérations suivantes: • Pour déplacer la sélection d’une sous-image vers la gauche : appuyez sur Option +Virgule (,). • Pour déplacer la sélection de 10 sous-images vers la gauche : appuyez sur Maj +Option +Virgule (,). • Pour déplacer la sélection d’une sous-image vers la droite : appuyez sur Option + point (.). • Pour déplacer la sélection de 10 sous-images vers la droite : appuyez sur Maj +Option + point (.). Pour en savoir plus sur les sous-images, consultez la section Affichage des formes d’onde audio au niveau de l’échantillon audio à la page 169. Les plans déplacés écrasent les plans présents au nouvel emplacement, le cas échéant. Un plan vide comble les parties vacantes de la timeline. Écrasement de plans à l’aide de l’outil Position Vous pouvez déplacer des plans en les faisant glisser dans la timeline pour écraser d’autres plans. Cela vous permet de positionner précisément des plans sans provoquer le déplacement d’autres plans pour faire de la place. 1 Choisissez l’outil Position dans le menu local Outils de la barre d’outils (ou appuyez sur la touche P). Le pointeur prend la forme de l’outil Position . Conseil : Vous pouvez activer temporairement l’outil Position en maintenant la touche P enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.Chapitre 8 Montage de votre projet 127 2 Sélectionnez le plan à déplacer. 3 Faites glisser le plan vers un nouvel emplacement de la timeline. Le plan déplacé écrase les plans présents au nouvel emplacement, le cas échéant. Un plan vide comble la partie vacante de la timeline. Remarque : Si vous préférez déplacer les plans vers la gauche ou la droite dans la timeline sans laisser de blanc, vous pouvez réaliser un montage par coulissement. Pour revenir à l’outil Sélectionner (outil par défaut), choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A). Glissement de plans depuis et vers le scénario principal Vous pouvez faire glisser des plans depuis et vers le scénario principal. Cette technique fait appel aux montages Ripple, qui ont une incidence sur la durée totale de votre projet. Lorsque vous déplacez un plan hors du scénario principal, il devient soit un plan connecté individuel, soit un élé- ment d’un scénario connecté. 1 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A). 2 Sélectionnez un ou plusieurs plans (plans du scénario principal ou plans connectés). 3 Effectuez l’une des opérations suivantes: • Pour déplacer les plans hors du scénario principal : faites glisser les plans du scénario principal vers leur nouvel emplacement de plans connectés (au-dessus ou en dessous du scénario principal). Chapitre 8 Montage de votre projet 128 Les plans suivants dans le scénario principal sont décalés vers la gauche pour combler le vide laissé par les plans que vous avez déplacés. Faites glisser le plan sur sa nouvelle position en tant que plan connecté. Les plans suivants sont raccordés à gauche pour combler le vide. • Pour déplacer les plans vers le scénario principal : faites glisser les plans de leur emplacement de plans connectés vers un point de montage (entre deux plans) du scénario principal. Ce faisant, vous réalisez en fait un montage par insertion : les anciens plans connectés sont insérés dans le scénario principal et les plans suivants sont décalés vers la droite pour leur faire de la place. Remarque : Vous pouvez faire glisser des plans depuis et vers le scénario principal à condition qu’aucun plan ne soit connecté à ces derniers. Si un plan est connecté, vous devez d’abord le déplacer ou le supprimer, ou vous devez utiliser la commande « Prélever du scénario principal » ou « Remplacer par le scénario principal ».Chapitre 8 Montage de votre projet 129 Déplacement de plans depuis et vers le scénario principal sans montage Ripple du projet Vous pouvez déplacer des plans depuis et vers le scénario principal sans affecter la durée totale de votre projet. 1 Sélectionnez les plans à déplacer. 2 Effectuez l’une des opérations suivantes: • Pour déplacer les plans sélectionnés du scénario principal vers des plans connectés au même emplacement de la timeline : choisissez Édition > Prélever du scénario principal (ou appuyez sur Commande +Option + flèche vers le haut). Nouveau plan connecté à la même position dans la timeline Un plan vide comble la partie vacante du scénario principal. Des plans vides comblent les parties vacantes du scénario principal, si nécessaire. • Pour déplacer les plans connectés sélectionnés vers le scénario principal : choisissez Édition > Remplacer par le scénario principal (ou appuyez sur Commande +Option + Flèche vers le bas). Selon le niveau de chevauchement sur le plan connecté, la commande « Remplacer par le scénario principal » crée un montage scindé ou écrase les plans vidéo présents au nouvel emplacement et convertit la partie audio du plan écrasé en plan connecté. La commande « Remplacer par le scénario principal » n’est pas disponible pour les plans Audio seulement. Remarque : La commande « Remplacer par le scénario principal » ne fonctionne qu’avec des plans connectés individuels. Pour l’utiliser sur un plan figurant dans un scénario connecté, déplacez d’abord ce plan hors du scénario. Vous pouvez obtenir les mêmes résultats en faisant glisser les plans à l’aide de l’outil Position.Chapitre 8 Montage de votre projet 130 Coupe et trim des plans Présentation du trim Après avoir grossièrement assemblé vos plans dans l’ordre chronologique dans la timeline, vous pouvez commencer à ajuster le point de montage entre chaque paire de plans contigus. Toute opération de rallongement ou de raccourcissement d’un plan dans un projet représente une opération de trim sur le plan en question. Ceci étant dit, le trim constitue généralement un ajustement précis (qui s’applique aussi bien à une image qu’à plusieurs secondes du plan). Si vous modifiez la durée d’un plan en manipulant des durées plus longues, il s’agit toujours d’opérations de trim, bien que cela ne s’inscrive pas encore dans la phase d’affinement du montage. Dans Final Cut Pro, vous pouvez utiliser de nombreuses techniques pour appliquer un trim aux plans et aux points de montage dans la timeline, notamment les montages Ripple, Roll, par coulissement et par glissement. Indépendamment de la façon dont vous réalisez le trim ou autres montages dans Final Cut Pro, le média sous-jacent n’est jamais modifié. Les parties des plans effacées ou ayant fait l’objet d’un trim ne sont supprimées que du projet, et non des plans source présents dans votre bibliothèque d’événements ni des fichiers multimédias source stockés sur votre disque dur. Conseil : Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Coupe de plans à l’aide de l’outil Lame de rasoir Après avoir ajouté des plans à la timeline, vous pouvez facilement les couper pour ajuster leur durée ou supprimer les parties dont vous ne voulez pas. Le montage le plus élémentaire est la coupe droite. À l’origine, il s’agit d’une opération de montage de film consistant à couper une pellicule à l’aide d’un rasoir et à coller un nouveau « plan ». Lorsque vous coupez un plan dans votre projet, il est divisé en deux. Vous pouvez couper un ou plusieurs plans à la fois. Coupe d’un plan dans la timeline 1 Choisissez l’outil Lame de rasoir dans le menu local Outils de la barre d’outils (ou appuyez sur la touche B). Le pointeur prend la forme de l’outil Lame de rasoir . Conseil : Vous pouvez activer temporairement l’outil Lame de rasoir en maintenant la touche B enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé.Chapitre 8 Montage de votre projet 131 2 Placez le skimmer sur l’image du plan où vous souhaitez effectuer la coupe, puis cliquez. Outil Lame de rasoir Conseil : Vous pouvez également couper des plans pendant la lecture de votre projet. Pour couper des plans à la volée, appuyez sur les touches Commande + B à tout moment pendant la lecture de votre projet. Un point de montage apparaît à l’endroit où vous avez cliqué et le plan est divisé en deux. Nouveau point de montage Coupe de tous les plans à la fois La commande « Lame de rasoir sur tout » vous permet de couper simultanément tous les plans du scénario principal et les plans connectés situés au niveau du skimmer ou de la tête de lecture. 1 Dans la timeline, placez le skimmer sur l’image où vous souhaitez effectuer la coupe. 2 Choisissez Édition > Lame de rasoir sur tout (ou appuyez sur les touches Commande + Maj + B). Tous les plans au niveau du skimmer sont alors coupés. Coupe de plusieurs plans sélectionnés à la fois Vous pouvez utiliser la commande Lame de rasoir pour couper simultanément des plans sélectionnés du scénario principal et des plans connectés. 1 Dans la timeline, sélectionnez les plans à couper.Chapitre 8 Montage de votre projet 132 2 Placez le skimmer sur l’image où vous souhaitez effectuer la coupe. 3 Choisissez Édition > Lame de rasoir (ou appuyez sur Commande + B). Les plans sélectionnés sont coupés au niveau du skimmer. Remarque : Si aucun élément n’est sélectionné, cette commande ne s’applique qu’au plan du scénario principal. Extension ou raccourcissement d’un plan Vous pouvez appliquer un trim à un plan de votre projet en ajustant le point de départ ou d’arrivée de ce plan. Le type de trim par défaut dans Final Cut Pro, le trim Ripple, règle le point de départ ou le point d’arrivée d’un plan sans laisser de vide dans la timeline. La modification de la durée du plan est propagée vers l’extérieur, avançant ou reculant tous les plans suivants dans la timeline. A B C A B C Avant montage Après montage De même, si vous supprimez un plan de la timeline, les plans suivants s’adaptent en amont pour fermer le vide. Les montages Ripple affectent le plan auquel le trim est appliqué, la position de tous les plans suivants sur la timeline et la durée totale du projet. Chapitre 8 Montage de votre projet 133 Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Cet affichage présente en détail les parties situées de part et d’autre du point de montage. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Glissement de points de montage à l’aide de l’outil Sélectionner 1 Dans la timeline, placez le pointeur sur le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim. La forme du pointeur passe d’une icône de flèche à une icône de trim. L’apparence de l’icône de trim change pour indiquer si le trim va modifier le point d’arrivée du plan de gauche ou le point de départ du plan de droite. Trim du point de sortie du plan de gauche. Trim du point d’entrée du plan de droite. 2 Faites glisser le point de départ ou d’arrivée dans la direction dans laquelle vous voulez appliquer le trim au plan. Le plan est raccourci ou allongé à mesure que vous faites glisser le point. Le contenu des champs de timecode numérique indique la durée du plan et la quantité de temps correspondant au déplacement du point de montage. Les plans situés à droite du point de montage, le cas échéant, sont décalés en conséquence. Une fois que vous avez atteint la longueur maximale du plan dans l’une ou l’autre direction, le bord du plan devient rouge. Chapitre 8 Montage de votre projet 134 Modification de la durée d’un plan à l’aide d’une valeur de timecode Vous pouvez modifier la durée totale d’un ou de plusieurs plans sélectionnés en saisissant une valeur de timecode. 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Procédez de l’une des manières suivantes: • Choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle +D). • Double-cliquez au centre du panneau de contrôle de la barre d’outils. Le champ de saisie du timecode apparaît dans le panneau de contrôle. 3 Saisissez une nouvelle durée pour le plan sélectionné. Final Cut Pro déplace le point d’arrivée du plan en fonction de la durée saisie et décale en consé- quence les plans suivants dans la timeline. Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. Remarque : Si vous saisissez une durée supérieure aux données disponibles dans le plan, Final Cut Pro prolonge ce dernier jusqu’à sa durée maximale. Trim d’une sélection 1 Dans la timeline, sélectionnez la partie d’un plan que vous voulez conserver. Plan d’origine Sélection de plage Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100. 2 Choisissez Édition > Ajuster à la sélection. Final Cut Pro applique un trim aux points de départ et d’arrivée du plan pour l’ajuster à la plage sélectionnée. Plan après TrimChapitre 8 Montage de votre projet 135 Les parties dont vous ne voulez pas sont supprimées du plan et du projet, et les plans suivants dans le projet sont décalés en conséquence. Déplacement léger de points de montage à l’aide de raccourcis clavier Vous pouvez ajuster avec précision le point de départ ou d’arrivée d’un plan à l’aide de raccourcis clavier. Vous pouvez déplacer le point de montage d’une ou de plusieurs images vidéo, et vous pouvez également déplacer les points de montage de clips audio connectés (c’est-à-dire ne figurant pas dans le scénario principal) d’une ou de plusieurs sous-images. 1 Dans la timeline, sélectionnez le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim. 2 Pour déplacer le point de montage, effectuez l’une des opérations suivantes: • Pour déplacer le point de montage d’une image vers la gauche : appuyez sur la touche Virgule (,). • Pour déplacer le point de montage de 10 images vers la gauche : appuyez sur Maj +Virgule (,). • Pour déplacer le point de montage d’une image vers la droite : appuyez sur la touche Point (.). • Pour déplacer le point de montage de 10 images vers la droite : appuyez sur Maj + point (.). 3 Si vous souhaitez déplacer le point de montage de clips audio connectés d’une ou de plusieurs sous-images, effectuez l’une des opérations suivantes: • Pour déplacer le point de montage d’une sous-image vers la gauche : appuyez sur Option +Virgule (,). • Pour déplacer le point de montage de 10 sous-images vers la gauche : appuyez sur Maj +Option +Virgule (,). • Pour déplacer le point de montage d’une sous-image vers la droite : appuyez sur Option + point (.). • Pour déplacer le point de montage de 10 sous-images vers la droite : appuyez sur Maj +Option + point (.). Pour en savoir plus sur les sous-images, consultez la section Affichage des formes d’onde audio au niveau de l’échantillon audio à la page 169. Le plan est ajusté et la timeline est actualisée en conséquence. Déplacement de points de montage vers la tête de lecture Vous pouvez ajuster des points de montage sélectionnés dans la timeline en procédant à un montage Ripple ou Roll à l’aide de raccourcis clavier. Chapitre 8 Montage de votre projet 136 1 Dans la timeline, sélectionnez le point de montage à ajuster. Point de sortie sélectionné Remarque : Pour un montage Roll, sélectionnez les deux côtés du point de montage à l’aide de l’outil Trim. 2 Placez la tête de lecture ou le skimmer à l’endroit de la timeline vers lequel vous voulez déplacer le point de montage. Skimmer 3 Choisissez Édition > Étendre le montage (ou appuyez sur Maj + X). Le point de montage est déplacé (en avant ou en arrière) vers la tête de lecture ou le skimmer. Le point de sortie du plan est positionné à l’emplacement du skimmer et les plans suivants sont Dans l’exemple ci-dessus, si vous avez sélectionné le point d’arrivée du plan, les plans suivants dans la timeline sont décalés en conséquence. Si vous avez sélectionné les deux côtés du point de montage à l’aide de l’outil Trim, le plan de droite est raccourci (par le biais d’un montage Roll) et aucun plan n’est décalé.Chapitre 8 Montage de votre projet 137 Trim de points de montage à l’aide de valeurs de timecode Vous pouvez appliquer des trims aux plans à l’aide de valeurs de timecode. 1 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A). 2 Dans la timeline, sélectionnez le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim. 3 Pour appliquer un trim au point de montage, effectuez l’une des opérations suivantes: • Pour déplacer le point de montage vers l’avant: appuyez sur la touche Plus(+), entrez une durée de timecode pour le trim, puis appuyez sur Entrée. • Pour déplacer le point de montage vers l’arrière : appuyez sur la touche Signe moins (-), entrez une durée de timecode pour le trim, puis appuyez sur Entrée. Le champ de saisie du timecode (avec des nombres bleus et le signe plus ou moins) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Champ de saisie du timecode Le plan est raccourci ou étendu de la durée saisie et tous les plans suivants dans la timeline sont décalés en conséquence. Remarque : Cette fonctionnalité ne permet pas d’étendre un plan au-delà de sa durée maximale. Pour en savoir plus et obtenir des conseils pour la saisie des valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151.Chapitre 8 Montage de votre projet 138 Coupe du début ou de la fin d’un plan au niveau de la tête de lecture Il se peut que certains de vos plans vidéo présentent au début ou à la fin des sections que vous ne voulez pas inclure dans votre projet. Vous pouvez facilement couper ces plages à l’aide d’une seule commande, même pendant la lecture du projet. Aucune sélection n’est requise. Ce type de montage est parfois appelé éboutage. 1 Dans la timeline, placez la tête de lecture ou le skimmer sur l’image au niveau de laquelle vous voulez ébouter le plan. Skimmer Plan d’origine 2 Procédez de l’une des manières suivantes: • Pour couper le début du plan : choisissez Édition > Trim sur le début, ou appuyez sur Option + crochet gauche ([). • Pour couper la fin du plan : choisissez Édition > Trim sur la fin, ou appuyez sur Option + crochet droit (]). Le plan est ébouté au niveau de la tête de lecture (ou du skimmer) et la timeline est actualisée en conséquence. Nouveau point de sortie du plan après Trim Plan après Trim Dans le cas des plans ou des scénarios connectés, Final Cut Pro applique le trim au plan sélectionné. Si aucun plan n’est sélectionné, Final Cut Pro applique le trim au plan de dessus. Réalisation de montages Roll à l’aide de l’outil Trim Un montage Roll consiste à ajuster simultanément les points de départ et d’arrivée de deux plans adjacents. Si vous aimez la façon dont sont disposés deux plans dans la timeline mais que vous souhaitez repositionner le point de coupe, vous pouvez utiliser l’outil Trim pour déplacer le point de montage entre les deux plans. Cela n’entraîne pas le déplacement des plans dans la timeline. Seul le point de montage entre les deux plans change de place. Aucun autre plan du projet n’est affecté.Chapitre 8 Montage de votre projet 139 Lorsque vous procédez à un montage Roll, la durée totale du projet reste la même, mais celle des deux plans change. L’un s’allonge alors que l’autre rétrécit en compensation. A B C A B C Avant montage Après montage Dans l’exemple ci-dessus, le plan B raccourcit tandis que le plan C s’allonge. En revanche, la durée combinée des deux plans reste la même. Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Cet affichage présente en détail les parties situées de part et d’autre du point de montage. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Roll d’un point de montage 1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T). Le pointeur prend la forme de l’outil Trim . Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. 2 Dans la timeline, cliquez au centre du point de montage que vous voulez déplacer de sorte que ses deux côtés soient sélectionnés. 3 Procédez de l’une des manières suivantes: • Faites glisser le point de montage vers la gauche ou vers la droite. • Appuyez sur la touche Plus(+) ou Moins(–), saisissez la durée de timecode à ajouter ou à soustraire du montage actuel, puis appuyez sur Entrée.Chapitre 8 Montage de votre projet 140 Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. • Placez la tête de lecture ou le skimmer à l’endroit de la timeline vers lequel vous voulez déplacer le point de montage, puis choisissez Édition > Étendre le montage (ou appuyez sur Maj + X). Le point de montage est déplacé vers le nouvel emplacement. La durée globale des deux plans reste la même. Si vous ne parvenez pas à déplacer davantage le point de montage et qu’un côté de celui-ci apparaît en rouge, cela signifie que vous avez atteint la fin des données de l’un des deux plans. Réalisation de montages par coulissage à l’aide de l’outil Trim Un montage par coulissement ne modifie pas la position ou la durée d’un plan dans la timeline, mais la partie des données de ce plan qui apparaît dans la timeline. Un montage par coulissement vous permet de modifier simultanément les points de départ et d’arrivée d’un plan. Lorsque vous disposez des plans dans la timeline de manière à ce que leurs points de montage coïncident avec les temps musicaux ou d’autres points de synchronisation fixes d’un film, ils doivent rester en position pour préserver cet alignement. Cela limite considérablement les possibilités d’ajustement d’un plan dans la mesure où vous ne pouvez pas modifier sa durée ni le déplacer dans la timeline. Vous pouvez uniquement déplacer simultanément ses points de départ et d’arrivée en conservant sa durée et sa position. La partie du plan visible dans le projet change, mais pas la position du plan dans la timeline. Les plans voisins ne sont pas affectés et la durée globale du projet reste la même. 00:00:10:00 00:00:30:00 A B C Avant montage 00:00:17:00 00:00:37:00 Après montage A B CChapitre 8 Montage de votre projet 141 Dans l’exemple ci-dessus, le montage par coulissement modifie les points de départ et d’arrivée du plan B, mais pas sa durée ni sa position dans la timeline. Lors de la lecture du projet, une autre partie des données du plan B est affichée. Remarque : Pour qu’un plan puisse être coulissé, il doit présenter des poignées de données à chacune de ses extrémités; en d’autres termes, des données supplémentaires doivent être disponibles au début et à la fin du plan. Si vous avez du mal à faire coulisser un plan, vérifiez que des poignées de données sont disponibles à chacune de ses extrémités. Vous pouvez double-cliquer sur n’importe quel point de montage pour afficher ou ajuster ses poignées de données dans l’éditeur de précision. Si aucune poignée de données n’est disponible, utilisez plutôt l’outil Position . Pour en savoir plus sur l’outil Position, consultez la section Disposition des plans dans la timeline à la page 124. Pour un affichage plus précis lors des montages de plans contigus, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Pour un montage par coulissement, ce « double » affichage dans le visualiseur présente les points de départ et d’arrivée du plan que vous faites coulisser. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Coulissement d’un plan dans la timeline 1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T). Le pointeur prend la forme de l’outil Trim . Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. 2 Faites glisser un plan vers la gauche ou la droite.Chapitre 8 Montage de votre projet 142 Pendant que vous faites glisser le plan, un champ de timecode indique la durée dont vous déplacez les points de départ et d’arrivée. Les sélections de bordure jaunes sur les points de départ et d’arrivée indiquent un montage par coulissement. Nouvelle position de l’image Les sélections jaunes aux bordures des points d’entrée et de sortie indiquent un montage par coulissement. Position d’origine de l’image Lorsque vous relâchez le bouton de la souris, le plan coulissé apparaît dans la timeline avec de nouveaux points de départ et d’arrivée. Vous pouvez également faire coulisser le plan sélectionné à l’aide de raccourcis clavier en effectuant l’une des opérations suivantes: • Déplacer légèrement les points de départ et d’arrivée (d’une ou de 10 images) vers la gauche ou la droite. • Saisir la durée dont vous souhaitez faire coulisser le plan vers la gauche ou la droite. Remarque : Si le point de départ départ ou d’arrivée devient rouge pendant que vous faites glisser le plan, cela signifie que vous avez atteint la fin des données disponibles pour ce côté du plan.Chapitre 8 Montage de votre projet 143 Réalisation de montages par glissement à l’aide de l’outil Trim Un montage par glissement vous permet de repositionner un plan dans la timeline entre deux autres plans sans créer de vide. Le contenu et la durée du plan ne changent pas, seule sa position dans la timeline est modifiée. Lorsque vous faites glisser un plan, les plans adjacents sont allongés et raccourcis pour s’adapter à la nouvelle position du plan. La durée globale de ces trois plans ainsi que la durée totale du projet ne sont pas modifiées. A B C A B C Avant montage Après montage Remarque : Pour pouvoir faire glisser un plan entre deux autres, les plans précédent et suivant doivent présenter des poignées de données (données supplémentaires disponibles au-delà du point de montage). Vous pouvez double-cliquer sur n’importe quel point de montage pour afficher ou ajuster ses poignées de données dans l’éditeur de précision. Si aucune poignée de données n’est disponible, utilisez plutôt l’outil Position . Pour en savoir plus sur l’outil Position, consultez la section Disposition des plans dans la timeline à la page 124. Pour un affichage plus précis lors des montages de plans contigus, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Pour un montage par glissement, ce « double » affichage dans le visualiseur présente les deux points de montage que vous ajustez : le point d’arrivée du plan précédent et le point de départ du plan suivant. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Glissement d’un plan dans la timeline 1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T). Le pointeur prend la forme de l’outil Trim . Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. 2 Faites glisser un plan vers la gauche ou la droite en maintenant la touche Option enfoncée.Chapitre 8 Montage de votre projet 144 Les sélections jaunes sur les plans voisins indiquent un montage par glissement. Position d’origine dans la timeline Les sélections jaunes sur les plans voisins indiquent un montage par glissement. Pendant que vous faites glisser le plan, un champ de timecode indique la durée dont vous le déplacez dans la timeline. La durée de ce plan reste la même. Ce plan est plus long. Ce plan est plus court. Nouvelle position dans la timeline Lorsque vous relâchez le bouton de la souris, le plan glissé apparaît à son nouvel emplacement dans la timeline. Un trim est appliqué aux plans adjacents pour les adapter à la nouvelle position du plan. Vous pouvez également faire glisser le plan sélectionné à l’aide de raccourcis clavier en effectuant l’une des opérations suivantes: • Le déplacer légèrement (d’une ou de 10 images) vers la gauche ou la droite. • Saisir la durée dont vous souhaitez faire glisser le plan vers la gauche ou la droite. Pour en savoir plus, consultez Disposition des plans dans la timeline à la page 124. Remarque : Si l’un des points de montage devient rouge pendant que vous faites glisser le plan, cela signifie que vous avez atteint la fin des données disponibles pour ce côté du plan.Chapitre 8 Montage de votre projet 145 Affichage détaillé des commentaires sur le trimming Pour un affichage plus précis lors des montages de plans contigus ou connectés, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Par exemple, pour un montage Ripple simple, ce « double » affichage dans le visualiseur présente le point d’arrivée du plan de gauche et le point de départ du plan de droite. Cet affichage est disponible pour les montages Ripple, Roll, par coulissement et par glissement, ainsi que pour les opérations de trim dans l’éditeur de précision. Activation de l’affichage de trim détaillé 1 Sélectionnez Final Cut Pro > Préférences (ou appuyez sur les touches Commande + virgule). 2 Cliquez sur Montage. 3 Dans la section Timeline, cochez la case « Afficher les commentaires détaillés sur le trimming ». Le « double » affichage apparaît dans le visualiseur chaque fois que vous utilisez un type de montage pris en charge ou que vous effectuez un trim dans l’éditeur de précision. Conseil : Vous pouvez utiliser la touche Option pour modifier à la volée l’affichage de trim détaillé. Si l’affichage de trim détaillé est activé, appuyez sur la touche Option pour le désactiver. Si l’affichage de trim détaillé est désactivé, appuyez sur la touche Option pour basculer entre l’affichage du point d’arrivée du plan de gauche et l’affichage du point de départ du plan de droite. Affichage et navigation Zoom et défilement dans la timeline Pouvoir afficher et atteindre n’importe quel point de votre projet est essentiel pour un montage et une narration efficaces. La présentation de la timeline peut être modifiée de diverses manières. Connaître les raccourcis clavier peut vous faire gagner du temps. Adaptation de l’intégralité du contenu de la timeline à la fenêtre Qu’il n’y ait qu’un seul plan affiché suite à un zoom avant ou que tous les plans de votre projet apparaissent à gauche de la timeline suite à un zoom arrière, vous pouvez ajuster rapidement la présentation de sorte que tous les plans tiennent dans la partie visible de la timeline et qu’aucun défilement ne soit nécessaire.Chapitre 8 Montage de votre projet 146 m Choisissez Présentation > Zoom pour adapter à la fenêtre (ou appuyez sur Maj + Z). Avant la sélection de Zoom pour adapter à la fenêtre Après la sélection de Zoom pour adapter à la fenêtre Zoom avant et arrière sur la timeline à l’aide du curseur Zoom m Pour effectuer un zoom avant sur la timeline : faites glisser le curseur Zoom vers la droite ou appuyez sur Commande + signe plus (+). m Pour effectuer un zoom arrière sur la timeline : faites glisser le curseur Zoom vers la gauche ou appuyez sur Commande + signe moins (–). Zoom avant et arrière sur la timeline à l’aide de l’outil Zoom 1 Choisissez l’outil Zoom dans le menu local Outils de la barre d’outils (ou appuyez sur la touche Z). Le pointeur prend la forme de l’outil Zoom .Chapitre 8 Montage de votre projet 147 Conseil : Vous pouvez activer temporairement l’outil Zoom en maintenant la touche Z enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. 2 Procédez de l’une des manières suivantes: • Pour effectuer un zoom avant sur la timeline : cliquez sur la section de la timeline sur laquelle vous voulez effectuer un zoom avant. (Vous pouvez également faire glisser le pointeur sur une zone de la timeline pour limiter le zoom avant à cette zone.) Cliquez plusieurs fois pour poursuivre le zoom avant. • Pour effectuer un zoom arrière sur la timeline : tout en maintenant la touche Option enfoncée, cliquez sur la section de la timeline sur laquelle vous voulez effectuer un zoom arrière. Cliquez plusieurs fois tout en maintenant la touche Option enfoncée pour poursuivre le zoom arrière. Défilement d’une timeline sur laquelle vous avez effectué un zoom avant 1 Effectuez un zoom avant sur la timeline jusqu’à ce que vous ne voyiez plus qu’une partie du projet. 2 Procédez de l’une des manières suivantes: • Faites glisser horizontalement le curseur situé au bas de la timeline. • Faites glisser verticalement le curseur situé sur le côté droit de la timeline. • Choisissez l’outil Main dans le menu local Outils de la barre d’outils (ou appuyez sur la touche H), puis faites glisser la souris dans la timeline. Conseil : Vous pouvez activer temporairement l’outil Main en maintenant la touche H enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. Ajustement des réglages de la timeline Dans Final Cut Pro, les options d’affichage de la timeline peuvent être modifiées très facilement. Par exemple, vous pouvez afficher les plans avec ou sans les pellicules vidéo ou les formes d’onde audio. Vous pouvez également modifier la hauteur des plans ou la taille des pellicules ou des formes d’onde audio en fonction des vignettes vidéo qui apparaissent dans la pellicule de chaque plan dans la timeline. Vous pouvez aussi n’afficher que les étiquettes des plans. Le magnétisme simplifie et accélère certaines opérations, notamment l’alignement d’un plan vidéo avec un clip audio ou le positionnement de la tête de lecture sur un marqueur précis. Lorsque le magnétisme est activé, les éléments que vous déplacez dans la timeline semblent se caler sur certains points de celle-ci. Cette fonction peut vous aider à aligner rapidement les montages sur d’autres éléments du projet. Chapitre 8 Montage de votre projet 148 Le magnétisme affecte les fonctions de nombreux outils de montage dans Final Cut Pro, notamment les outils de sélection, Trim, Position, Sélection de plage et Lame de rasoir. Plusieurs élé- ments déclenchent le magnétisme dans la timeline : • les limites des plans (points de départ et d’arrivée), • la tête de lecture et le skimmer, • Marqueurs • les images clés, • les sélections de plage. Modification de l’apparence et de la hauteur du plan de la timeline 1 Cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la timeline. La fenêtre Apparence du plan s'affiche. 2 Procédez de l’une des manières suivantes: • Pour afficher uniquement les plans avec des grandes formes d'onde audio : cliquez sur le bouton Apparence du plan le plus à gauche (ou appuyez sur Option + Contrôle + 1). • Pour afficher les plans avec des grandes formes d'onde audio et des petites pellicules: cliquez sur le deuxième bouton Apparence du plan depuis la gauche (ou appuyez sur Option + Contrôle + 2). • Pour afficher les plans avec des grandes formes d'onde audio et des pellicules vidéo de même taille : cliquez sur le troisième bouton Apparence du plan depuis la gauche (ou appuyez sur Option + Contrôle + 3).Chapitre 8 Montage de votre projet 149 • Pour afficher les plans avec de petites formes d'onde audio et de grandes pellicules: cliquez sur le troisième bouton Apparence du plan depuis la droite (ou appuyez sur Option + Contrôle + 4). • Pour afficher uniquement les plans avec des grandes pellicules: cliquez sur le deuxième bouton Apparence du plan depuis la droite (ou appuyez sur Option + Contrôle + 5). • Pour afficher uniquement les étiquettes de plan : cliquez sur le bouton Apparence du plan le plus à droite (ou appuyez sur Option + Contrôle + 6). Conseil : Pour augmenter la taille des formes d'onde audio pour la timeline, appuyez sur Option + Contrôle + Flèche vers le haut. Pour réduire la taille des formes d'onde audio pour la timeline, appuyez sur Option + Contrôle + Flèche vers le bas. 3 Pour ajuster la hauteur des plans dans la timeline, faites glisser le curseur Hauteur du plan vers la gauche pour diminuer la hauteur des plans, ou vers la droite pour l’augmenter. 4 cochez ou décochez la case Afficher les connections pour activer ou désactiver les plans connectés et les scénarios. 5 Pour ajuster l'affichage de l'étiquette du plan, choisissez une option dans le menu local Afficher : • Pour afficher les plans en fonction du nom: choisir Nom des plans. • Pour afficher les plans en fonction du rôle : choisir Rôles des plans. • Pour afficher les plans multicam en fonction des angles vidéo et audio actifs: choisir Nom des plans ou Angles. Activation ou désactivation du magnétisme Tout en étant extrêmement utile, le magnétisme peut parfois constituer un obstacle si vous tentez de déplacer un plan de quelques images uniquement au sein d’une série de marqueurs et de limites de plans et si vous ne souhaitez pas créer de magnétisme en aucun de ces points. Mais sachez que vous pouvez activer et désactiver facilement le magnétisme à tout moment, même lorsque vous êtes en train de glisser un plan. Procédez de l’une des manières suivantes: m Choisissez Présentation > Magnétisme (ou appuyez sur la touche N). Une coche indique que le magnétisme est activé. Vous pouvez appuyer sur la touche N pour activer ou désactiver le magnétisme pendant que vous faites glisser un plan. m Cliquez sur le bouton Magnétisme dans le coin supérieur droit de la timeline. Lorsque le magnétisme est activé, le bouton Magnétisme apparaît en bleu. Conseil : Vous pouvez activer ou désactiver temporairement le magnétisme en maintenant la touche N enfoncée. Lorsque vous relâchez celle-ci, le magnétisme revient à l’état précédent.Chapitre 8 Montage de votre projet 150 Navigation au sein de votre projet La possibilité d’atteindre instantanément n’importe quel point de la timeline est l’un des principaux avantages d’un environnement de montage non linéaire. Final Cut Pro offre différents moyens permettant de naviguer rapidement et facilement dans votre projet. Vous pouvez également utiliser une présentation textuelle de la timeline pour naviguer et effectuer des recherches dans votre projet. Pour en savoir plus, consultez Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches à la page 152. Vous pouvez utiliser les touches J, K et L pour lire un projet à différentes vitesses ou dans diffé- rentes directions. Pour en savoir plus, consultez Lecture du média à la page 79. Navigation par survol, clic ou glissement m Pour survoler la timeline jusqu’à une image de votre projet: déplacez le skimmer vers la gauche et la droite sur les plans de la timeline pour les visionner rapidement dans le visualiseur. m Pour déplacer la tête de lecture jusqu’à une image de votre projet: déplacez la tête de lecture en cliquant sur la règle en haut de la timeline ou en y faisant glisser le pointeur, ou en cliquant sur l’arrière-plan de la timeline. Conseil : Pour éviter que la tête de lecture ne bouge quand vous sélectionnez un plan dans la timeline, appuyez sur Option lorsque vous cliquez. Navigation image par image Pour trouver plus facilement des images précises d’un plan, vous pouvez parcourir la pellicule image par image au lieu de la survoler. 1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur une pellicule et cliquez. 2 Effectuez l’une des opérations suivantes: • Pour reculer par incréments d’une image : Choisissez Marquer > Précédent > Image (ou appuyez sur la touche Flèche gauche). • Pour avancer par incréments d’une image : choisissez Marquer > Suivant > Image (ou appuyez sur la touche Flèche droite). Navigation sous-image par sous-image Vous pouvez naviguer dans les plans sous-image par sous-image. Une sous-image possède une durée égale à 1/80 de celle d’une image vidéo et constitue par conséquent une unité de réfé- rence plus précise pour la visualisation ou la modification des formes d’onde audio agrandies au niveau de l’échantillon. Remarque : vous ne pouvez pas modifier la vidéo au niveau des sous-images. 1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur un plan et cliquez. 2 Effectuez l’une des opérations suivantes: • Pour reculer par incréments d’une sous-image : appuyez sur Commande + Flèche gauche. • Pour avancer par incréments d’une sous-image : appuyez sur Commande + Flèche droite. Remarque : vous pouvez modifier l’affichage du temps dans le panneau de contrôle pour qu’il utilise les sous-images. Pour en savoir plus, consultez Modification des préférences à la page 437.Chapitre 8 Montage de votre projet 151 Navigation par saut Utilisez les techniques suivantes pour déplacer rapidement la tête de lecture d’un point à un autre dans la timeline. m Pour atteindre le point de montage suivant: choisissez Marquer > Suivant > Montage (ou appuyez sur la touche fléchée vers le bas), ou cliquez sur le bouton Montage suivant situé sous le visualiseur. m Pour atteindre le point de montage précédent: choisissez Marquer > Précédent > Montage (ou appuyez sur la touche Flèche vers le haut), ou cliquez sur le bouton Montage précédent situé sous le visualiseur. m Pour atteindre le début du projet: choisissez Marquer > Aller à > Début (ou appuyez sur la touche Début). m Pour atteindre la fin du projet: choisissez Marquer > Aller à > Fin (ou appuyez sur la touche Fin). m Pour atteindre le marqueur suivant: choisissez Marquer > Suivant > Marqueur, ou appuyez sur Contrôle + Apostrophe (’). m Pour atteindre le marqueur précédent: choisissez Marquer > Précédent > Marqueur, ou appuyez sur Contrôle + Point-virgule (;). Pour en savoir plus sur les marqueurs, consultez la section Présentation des marqueurs à la page 156. Navigation à l’aide du timecode Le timecode est un signal enregistré avec la vidéo et identifiant chaque image de manière unique. Lorsque vous lisez un plan dans le navigateur d’événements, son signal de timecode apparaît dans le panneau de contrôle, au centre de la barre d’outils de Final Cut Pro, au format suivant : Timecode Heures Minutes Secondes Images Le timecode prend en charge de nombreuses fonctions de Final Cut Pro, notamment la lecture dans la timeline, la synchronisation des éléments vidéo et audio, ainsi que l’ajout, le déplacement et le trim de plans. En outre, le timecode vous permet de naviguer au sein des projets dans la timeline et de connaître la durée des plans, des sélections de plage et des projets. Navigation par saisie d’une valeur de timecode Pour déplacer la tête de lecture vers un nouvel emplacement de la timeline, effectuez l’une des opérations suivantes: m Pour déplacer la tête de lecture vers un emplacement précis de la timeline : cliquez une fois au centre du panneau de contrôle (ou appuyez sur Contrôle + P), saisissez la nouvelle valeur de timecode, puis appuyez sur Entrée. Par exemple, pour placer la tête de lecture au point 01:40:31:03, appuyez sur Contrôle + P, saisissez « 1403103 », puis appuyez sur Entrée.Chapitre 8 Montage de votre projet 152 m Pour déplacer la tête de lecture d’une durée de timecode : assurez-vous qu’aucun plan n’est sélectionné, appuyez sur la touche Plus(+) ou Moins(–), saisissez le nombre d’images, de secondes ou de minutes dont vous voulez déplacer la tête de lecture, puis appuyez sur Entrée. Par exemple, si vous tapez « +1612 » et que vous appuyez sur Entrée, la tête de lecture avance de 16 secondes et 12 images. Les nouvelles valeurs de timecode apparaissent dans le panneau de contrôle à mesure que vous tapez. Lorsque vous appuyez sur Entrée, la tête de lecture se déplace vers le nouvel emplacement de la timeline. Voici quelques conseils pour la saisie des valeurs de timecode : • Il n’est pas nécessaire de saisir les caractères de séparation (deux-points). Final Cut Pro les ajoute automatiquement après chaque paire de chiffres. Par exemple, si vous saisissez « 01221419 », Final Cut Pro l’interprète comme 01:22:14:19 (1 heure, 22 minutes, 14 secondes et 19 images). • Si les champs de gauche ne contiennent que des zéros, il n’est pas nécessaire de les saisir. Par exemple, si vous saisissez « 1419 », Final Cut Pro l’interprète comme 00:00:14:19. De même, si vous saisissez « 253407 », Final Cut Pro l’interprète comme 00:25:34:07. • Si les champs de droite ne contiennent que des zéros, vous pouvez utiliser des points à la place. Par exemple, pour atteindre le timecode 00:00:03:00, saisissez « 3. » (le chiffre 3 suivi d’un point). Pour accéder au timecode 03:00:00:00, tapez « 3... » (le chiffre 3 suivi de trois points). Au lieu d’un point, vous pouvez également utiliser une virgule, un signe plus, un signe moins, un deux-points, un point-virgule ou une esperluette. Remarque : Vous pouvez modifier l’affichage du temps dans le panneau de contrôle pour ne pré- senter que le timecode, le timecode et les sous-images, uniquement les images ou uniquement les secondes. Pour en savoir plus, consultez Modification des préférences à la page 437. Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches L’index de la timeline fournit une présentation textuelle des plans et des balises (divers types de marqueurs et de mots-clés) utilisés dans la timeline de votre projet. Vous pouvez facilement filtrer l’index de la timeline pour n’afficher que les éléments voulus. Les plans sont répertoriés dans l’ordre dans lequel ils apparaissent dans la timeline. Vous pouvez également utiliser l’index de la timeline pour naviguer dans celle-ci. La tête de lecture de l’index de la timeline apparaît dans la liste des éléments. Lorsque vous lisez un projet, elle se déplace vers le bas de la liste. Lorsque vous sélectionnez un élément dans l’index de la timeline, la tête de lecture se place automatiquement au début de cet élément. Chapitre 8 Montage de votre projet 153 Afficher ou masquer l’index de la timeline m Cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). L’index de la timeline apparaît dans le coin inférieur gauche de la fenêtre de Final Cut Pro. La tête de lecture de l’index de la timeline se déplace en même temps que celle de la timeline. Tête de lecture de la timeline Affichage d’une liste d’éléments dans l’index de la timeline 1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Procédez de l’une des façons suivantes: • Pour afficher la liste des plans utilisés dans la timeline, dans l’ordre chronologique : cliquez sur le bouton Plans en haut. Procédez de l’une des façons suivantes: • Modifiez le nom des plans. • Affichez une liste de plans en fonction du timecode dans la colonne Position. • Affichez, réattribuez et modifiez des rôles dans la colonne Rôles.Chapitre 8 Montage de votre projet 154 • Affichez et ajoutez des notes dans la colonne Notes. • Affichez les angles actifs des plans multicam dans la colonne Angle actif. Vous pouvez spécifier les colonnes à afficher en cliquant sur l’en-tête d’une colonne tout en maintenant la touche Contrôle enfoncée et en choisissant une option dans le menu contextuel. Vous pouvez indiquer les éléments à afficher en cliquant sur le bouton Tout, Vidéo, Audio ou Titres au bas de l’index de la timeline. • Pour afficher la liste de toutes les balises affectées aux plans de la timeline, dans l’ordre chronologique : cliquez sur le bouton Balises en haut. Tâche non terminée Mot-clé Tâche terminée Marqueur de chapitre Marqueur standard Par défaut, toutes les balises sont affichées. Vous pouvez indiquer les éléments à afficher en cliquant sur un bouton au bas de l’index de la timeline. Vous pouvez afficher les marqueurs, les mots-clés, les mots-clés d’analyse, les tâches non terminées, les tâches terminées et les marqueurs de chapitre. Remarque : Les tâches sont des types de marqueurs.Chapitre 8 Montage de votre projet 155 • Pour afficher une liste de plans organisée en fonction du rôle dans la timeline : cliquez sur le bouton Rôles en haut. Sélectionnez un nom de rôle dans la liste pour mettre en surbrillance dans la timeline tous les plans auxquels ce rôle a été attribué. Sélectionnez ou désélectionnez les cases en regard des rôles que vous voulez activer ou désactiver dans la timeline. Lorsqu’une case est désélectionnée, il n’est plus possible de voir ou d’entendre les plans auxquels ce rôle a été attribué lorsque vous les lisez dans votre projet. Pour en savoir plus, consultez Affichage des plans en fonction du rôle dans la timeline à la page 316. Modification d’un marqueur Tâche Dans l’index de la timeline, vous pouvez changer rapidement l’état d’un marqueur Tâche pour indiquer qu’une tâche est terminée ou non. 1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Cliquez sur la case d’un marqueur Tâche. • Si le marqueur était rouge (tâche non terminée), il devient vert (tâche terminée). • Si le marqueur était vert (tâche terminée), il devient rouge (tâche non terminée). Recherche d’éléments dans l’index de la timeline 1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Cliquez sur Plans pour rechercher des plans ou sur Balises pour rechercher des balises. 3 Saisissez un terme dans le champ de recherche situé en haut de l’index de la timeline. Vous pouvez rechercher des plans, des mots-clés et des marqueurs (y compris des tâches). Conseil : La timeline étant activée, choisissez Édition > Rechercher (ou appuyez sur Commande + F). L’index de la timeline s’ouvre et vous pouvez saisir le terme recherché dans le champ de recherche, qui est actif.Chapitre 8 Montage de votre projet 156 Utilisation de marqueurs Présentation des marqueurs Les marqueurs sont des points de référence que vous pouvez placer dans les plans pour localiser, identifier, annoter et accéder à des images spécifiques. Lors du montage, les marqueurs sont particulièrement utiles pour synchroniser deux plans ou plus à un emplacement précis. Par exemple, vous pouvez utiliser un marqueur pour identifier une image où une porte claque, puis caler par magnétisme un effet sonore sur ce marqueur. Les marqueurs permettent d’ajouter des remarques de montage ou d’autres informations descriptives à un emplacement précis d’un plan. Lorsque vous ajoutez des marqueurs de chapitre à des points particuliers de votre projet, les spectateurs peuvent alors utiliser les marqueurs pour accéder directement à ces points dans le film après qu’il ait été exporté ou gravé sur DVD ou disque Blu-ray. Vous pouvez aussi faire appel à des marqueurs pour la gestion des tâches. Ils se classifient en marqueurs standard (bleus), en marqueurs de chapitre (orange), en tâches à réaliser (rouges) ou en tâches accomplies (vertes). Marqueur standard Marqueur de chapitre Tâche Tâche terminée Les marqueurs s’utilisent de la même façon dans le navigateur d’événements et dans la timeline. Ajout et suppression de marqueurs Vous pouvez ajouter et supprimer facilement des marqueurs. Si vous ajoutez des marqueurs à des plans dans le navigateur d’événements, ils apparaissent aussi bien dans la présentation en pellicule que dans la présentation en liste. Lorsque vous ajoutez des plans assortis de marqueurs à la timeline, les marqueurs sont visibles aussi bien dans la timeline que dans l’index de la timeline. Ajout d’un marqueur à un plan dans le navigateur d’événements ou la timeline 1 Pour indiquer l’endroit où vous souhaitez ajouter un marqueur, effectuez l’une des opérations suivantes: • Effectuez un survol jusqu’à l’emplacement voulu. • Lisez le plan, puis, lorsque la tête de lecture atteint l’emplacement où vous voulez ajouter le marqueur, appuyez sur la barre d’espace pour arrêter la lecture.Chapitre 8 Montage de votre projet 157 Pour en savoir plus sur le positionnement du skimmer et de la tête de lecture, consultez la section Navigation au sein de votre projet à la page 150. 2 Procédez de l’une des manières suivantes: • Pour ajouter un marqueur: choisissez Marquer > Marqueurs > Ajouter un marqueur (ou appuyez sur la touche M). Conseil : Pour ajouter des marqueurs à la volée, appuyez simplement sur la touche M pendant la lecture d’un plan. • Pour ajouter un marqueur et afficher ses informations: choisissez Marquer > Marqueurs > Ajouter et modifier (ou appuyez sur Option + M). Lorsque vous ajoutez un marqueur de cette façon, ses informations sont automatiquement affichées. Le marqueur apparaît au-dessus du plan dans le navigateur d’événements ou la timeline. Remarque : Les marqueurs ajoutés aux plans dans le navigateur d’événements apparaissent dans la présentation en liste et en pellicule. Suppression d’un marqueur Procédez de l’une des manières suivantes: m Naviguez jusqu’au marqueur, puis choisissez Marquer > Marqueurs > Supprimer le marqueur (ou appuyez sur Contrôle + M). m Sélectionnez un ou plusieurs plans, puis choisissez Marquer > Marqueurs > Supprimer dans la sélection. m Double-cliquez sur un marqueur pour ouvrir la fenêtre Marqueur, puis cliquez sur le bouton Supprimer. m Appuyez sur la touche Contrôle tout en cliquant sur le marqueur que vous souhaitez supprimer, puis choisissez Supprimer le marqueur dans le menu contextuel.Chapitre 8 Montage de votre projet 158 Modification, déplacement et accès à des marqueurs Vous pouvez afficher et modifier les informations des marqueurs, et déplacer des marqueurs au sein d’un même plan ou d’un plan à un autre. Modification d’informations de marqueurs et changement de types de marqueurs Par défaut, les nouveaux marqueurs sont des marqueurs standard bleus reprenant du texte comme repère d’emplacement. Vous pouvez modifier ce texte à tout moment et avez la possibilité de changer le type du marqueur parmi les types de marqueurs proposés, entre autres les marqueurs de chapitre, les tâches à réaliser et les tâches terminées. 1 Pour afficher les informations d’un marqueur, effectuez l’une des opérations suivantes: • Sélectionnez le marqueur, puis choisissez Marquer > Marqueurs > Modifier le marqueur (ou appuyez sur Maj + M). • Cliquez sur le marqueur tout en maintenant la touche Contrôle enfoncée, puis choisissez Modifier le marqueur dans le menu contextuel. • Double-cliquez sur le marqueur. Les informations du marqueur apparaissent au-dessus de lui. Bouton de marqueur de chapitre Bouton de tâche à réaliser Bouton de marqueur standard 2 Pour modifier le marqueur, effectuez l’une des opérations suivantes: • Pour modifier le texte descriptif du marqueur: saisissez le nouveau texte dans le champ. (Le texte est automatiquement sélectionné à l’affichage des informations sur le marqueur : il n’est donc pas nécessaire de le sélectionner.) • Pour convertir le marqueur en marqueur de chapitre : cliquez sur le bouton Marqueur de chapitre. Le marqueur devient orange pour refléter sa conversion en marqueur de chapitre. Pour en savoir plus, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160. • Pour convertir le marqueur en tâche : cliquez sur le bouton Tâche. Le marqueur devient rouge. • Pour indiquer qu’une tâche est terminée : cochez la case Terminée.Chapitre 8 Montage de votre projet 159 Le marqueur devient vert. Cochez la case Terminée. Bouton de tâche à réaliser • Pour convertir le marqueur en marqueur standard : cliquez sur le bouton Marqueur standard. Le marqueur devient bleu. 3 Cliquez sur Terminé. Déplacement ou copie d’un marqueur Vous pouvez déplacer ou copier des marqueurs à l’aide des commandes Mac Couper, Copier et Coller habituelles. 1 Cliquez sur le marqueur à déplacer ou à copier tout en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le menu contextuel. • Pour déplacer le marqueur: choisissez Couper le marqueur. • Pour copier le marqueur: choisissez Copier le marqueur. 2 Placez le skimmer ou la tête de lecture à l’endroit où vous voulez coller le marqueur. 3 Choisissez Édition > Coller (ou appuyez sur Commande +V). Le marqueur apparaît au nouvel emplacement. Déplacement d’un marqueur d’une image à la fois 1 Sélectionnez un marqueur. 2 Procédez de l’une des manières suivantes: • Pour déplacer le marqueur d’une image vers la droite : choisissez Marquer > Marqueurs > Pousser vers la droite, ou appuyez sur Contrôle + point (.). • Pour déplacer le marqueur d’une image vers la gauche : choisissez Marquer > Marqueurs > Pousser vers la gauche, ou appuyez sur Contrôle + virgule (,). Passage d’un marqueur à l’autre Vous pouvez passer rapidement d’un marqueur à un autre dans la timeline ou le navigateur d’événements. m Pour atteindre le marqueur suivant: choisissez Marquer > Suivant > Marqueur, ou appuyez sur Contrôle + Apostrophe (’). m Pour atteindre le marqueur précédent: choisissez Marquer > Précédent > Marqueur, ou appuyez sur Contrôle + point-virgule (;).Chapitre 8 Montage de votre projet 160 Gestion des marqueurs de chapitre et de leur vignette Les marqueurs de chapitre représentent une fonctionnalité standard des DVD, des disques Bluray et des podcasts. Il vous est possible d’ajouter des marqueurs de chapitre à votre projet afin que, lorsque vous partagez votre film terminé, les spectateurs puissent utiliser les marqueurs pour accéder directement à ces points dans le film. Les applications et les dispositifs qui reconnaissent les marqueurs de chapitre Final Cut Pro lors de la reproduction incluent iTunes, iPod, iPhone, iPad, Apple TV, QuickTime Player, Lecteur DVD Player et la plupart des lecteurs DVD et Blu-ray standard. Les marqueurs de chapitre simplifient le passage à une section voulue. Ils permettent également à Compressor, une application de transcodage professionnelle d’Apple, et à d’autres applications de création de DVD et de disques Blu-ray de créer une liste ou un menu navigable des chapitres, tel qu’un index des chapitres. Cependant, même dans des projets simples dépourvus de menus (tels que les podcasts), les marqueurs de chapitre offrent aux spectateurs et aux auditeurs la possibilité de passer rapidement des sections d’un programme par le biais des boutons Précédent et Suivant à travers leur application ou leur dispositif de lecture. Une vignette de marqueur de chapitre constitue une image fixe qui représente un chapitre particulier. Final Cut Pro vous permet de sélectionner une image vidéo particulière tirée d’un plan ou d’un scénario que vous marquez comme vignette de marqueur de chapitre. Dans les applications ou appareils de reproduction pris en charge, les vignettes de marqueurs de chapitre repré- sentent les chapitres correspondants. Création d’un marqueur de chapitre 1 Ajoutez un marqueur à un plan dans la timeline à l’endroit où vous voulez que le chapitre commence. Par défaut, Final Cut Pro crée un marqueur standard bleu. 2 Pour adapter le marqueur en marqueur de chapitre, double-cliquez dessus puis, lorsque les informations du marqueur s’affichent, cliquez sur le bouton Marqueur de chapitre. Bouton de marqueur de chapitre Bouton de tâche à réaliser Bouton de marqueur standard Le marqueur se convertit en marqueur de chapitre orange. Définition d'une image de vignette du marqueur de chapitre Après avoir défini un marqueur de chapitre, vous pouvez choisir une image vidéo appropriée pour représenter le chapitre donné. 1 Cliquez une fois sur le marqueur de chapitre dans la timeline pour le sélectionner.Chapitre 8 Montage de votre projet 161 Le marqueur s’agrandit légèrement pour indiquer qu’il est sélectionné, et le repère d’une vignette de marqueur de chapitre apparaît à droite du marqueur de chapitre choisi. Par défaut, la vignette du marqueur de chapitre apparaît 11 images après le marqueur en question. Marqueur de chapitre Épingle de vignette de marqueur de chapitre 2 Pour définir l’image vidéo représentant la vignette du marqueur de chapitre, faites glisser horizontalement l’épingle dans la timeline. Pendant le glissement, le visualiseur affiche l’image vidéo correspondante. Faites glisser horizontalement l’épingle dans la timeline. Remarque : La vignette de marqueur de chapitre constitue une image composite de l’emplacement en question dans la timeline et inclut les titres et toute autre image superposée. Si le marqueur de chapitre se trouve dans le scénario principal, vous pouvez faire glisser le repère de sa vignette complètement au début ou à la fin du scénario principal. Si le marqueur de chapitre se trouve dans un scénario connecté, vous pouvez faire glisser le repère de sa vignette complètement au début ou à la fin du scénario connecté. Pour en savoir plus sur le partage de votre film une fois terminé, consultez Présentation du partage de projets à la page 394. Correction des problèmes de tremblement excessif et d’obturateur roulant Vous pouvez lisser les tremblements d’un plan en corrigeant les problèmes de stabilisation ou d’obturateur roulant, ou les deux. La fonctionnalité de stabilisation de Final Cut Pro réduit le mouvement de caméra dans votre vidéo de sorte que la lecture des parties tremblantes soit plus fluide. Vous pouvez à tout moment désactiver la stabilisation pour un plan afin qu’il soit lu tel qu’il a été enregistré.Chapitre 8 Montage de votre projet 162 La plupart des caméscopes et des appareils photo intègrent des capteurs d’image CMOS qui exposent progressivement l’image enregistrée, au lieu de le faire en une seule fois. Par consé- quent, si la caméra bouge beaucoup pendant l’enregistrement ou si le mouvement enregistré est rapide, une déformation peut se produire. L’image apparaît alors tremblante ou inclinée. Final Cut Pro dispose d’une fonctionnalité d’obturateur roulant permettant de réduire cette déformation du mouvement. Correction d’un plan présentant un tremblement excessif ou une déformation provoquée par un obturateur roulant 1 Si le plan ne figure pas encore dans votre projet, ajoutez-le à la timeline et sélectionnez-le. Remarque : Ces opérations s’appliquent aux sélections de plan complet, et non aux sélections de plage. Pour obtenir plus rapidement des résultats optimaux, isolez la section posant problème en coupant le plan à l’aide de l’outil Lame de rasoir dans la timeline. N’appliquez ensuite la correction qu’à la séquence vidéo à corriger. 2 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît. 3 Dans l’inspecteur vidéo, effectuez l’une des opérations suivantes: • Pour réduire le tremblement: cochez la case Stabilisation. • Pour réduire la déformation provoquée par un obturateur roulant: cochez la case Obturateur roulant. Lorsque vous activez l’option Stabilisation ou Obturateur roulant, sa case devient bleue. 4 Pour visualiser la correction, lancez la lecture du plan dans la timeline. Pour désactiver la stabilisation ou les corrections d’obturateur roulant pour un plan, décochez la case Stabilisation ou Obturateur roulant. Vous pouvez affiner les corrections en ajustant les réglages de stabilisation ou le réglage « Niveau d’obturateur roulant ». Ajustement des réglages de stabilisation Vous pouvez régler l’amplitude de la correction que la fonctionnalité de stabilisation applique. La fonctionnalité de stabilisation présente deux phases indépendantes: • Si vous appliquez la fonctionnalité de stabilisation à un plan, Final Cut Pro analyse alors les pixels dans les images successives pour déterminer la direction du mouvement de la caméra. • Au cours du rendu ou de la lecture, Final Cut Pro utilise les données d’analyse du mouvement pour appliquer un effet de transformation à chaque image, qui compense le mouvement de la caméra.Chapitre 8 Montage de votre projet 163 Utilisez l’un des trois curseurs indépendants de paramétrage de la stabilisation accessibles dans l’inspecteur vidéo pour contrôler la stabilité de votre prise de vue. Lorsque vous appliquez la stabilisation à un plan, ces trois paramètres sont alors définis selon une valeur moyenne de 2,5 par défaut. Chaque paramètre peut être défini sur une valeur comprise entre 0,0 et 5,0. La valeur égale à 0,0 désactive le paramètre, alors que la valeur 5,0 applique la transformation la plus forte. Plus vous attribuez une valeur élevée à chaque paramètre, plus le mouvement de la caméra est compensé par rapport à cet axe. x Translation y x Rotation y x Échelle y z 1 Sélectionnez un plan dans la timeline et ouvrez l’inspecteur vidéo. 2 Procédez de l’une des façons suivantes: • Pour régler le mouvement vertical ou latéral d’une prise de vue (axes X etY):faites glisser le curseur Lissage de la conversion. • Pour ajuster la rotation autour du point central de l’image : faites glisser le curseur Lissage de la rotation. • Pour adapter le mouvement de la caméra ou de l’objectif vers l’arrière ou vers l’avant (axe Z): faites glisser le curseur Lissage de l’échelle. Par exemple, si vous souhaitez éliminer le tremblement horizontal, vertical et rotatif, vous devez régler les paramètres « Lissage de la conversion » et « Lissage de la rotation » sur une valeur supérieure à 0. Il est conseillé de procéder à des tests pour savoir quelles sont les valeurs qui stabilisent le mieux votre prise. Remarque : Lorsqu’un plan présente d’un mouvement trop prononcé (panoramique excessif, par exemple), la stabilisation du plan risque de produire des barres noires sur les bords de la vidéo. Pour éviter les barres noires, vous pouvez : • réduire les valeurs des paramètres « Lissage de la conversion », « Lissage de la rotation » et « Lissage de l’échelle » ; • couper ou effectuer un trim du plan dans la timeline pour supprimer les sections présentant le plus de tremblement. (Vous pouvez retrouver les sections présentant des tremblements excessifs dans la fenêtre Mots-clés de l’index de la timeline. Cliquez dans ce cas sur les diffé- rents mots-clés Tremblement excessif pour sélectionner les plages correspondantes dans la timeline.) • Rognez les bords de la vidéo stabilisée pour supprimer les barres noires.9 164 Présentation de l’audio Final Cut Pro possède de nombreuses fonctionnalités conçues pour faciliter le traitement et le montage audio. Par exemple, vous pouvez utiliser Final Cut Pro pour analyser et améliorer automatiquement l’audio afin de résoudre des problèmes tels que le bruit ou des bourdonnements, d’ajouter des effets à vos plans, de synchroniser automatiquement les plans vidéo et les clips audio ou de faire correspondre l’audio entre deux plans. Vous pouvez apporter les modifications suivantes aux clips ou aux composants audio au sein d’un plan : • Monter plusieurs canaux audio : vous pouvez développer la partie audio de plans pour révéler et monter des composants audio jusqu’au niveau des canaux. Cela vous permet d’appliquer différents effets à divers composants ou canaux et de rationaliser le processus de réalisation d’estampes de son ou autres réglages rapides. Consultez Vue d’ensemble du montage audio à la page 175. • Réglage du volume : ajustez rapidement le volume d’un plan directement dans la timeline ou dans l’inspecteur audio. Consultez Ajustement du volume à la page 179. • Balance audio : tirez profit des préréglages intégrés de balance pour le son stéréo et Surround. Consultez Balance audio à la page 184. • Ajout d’effets audio : ajoutez aux plans des effets Audio Unit, Logic ou personnalisés inclus dans Final Cut Pro, tels que de la réverbération. Consultez Ajout d’effets audio à la page 194. • Ajout d’images clés pour automatiser le volume et les effets: faites évoluer le volume ou les réglages des effets au cours de la lecture d’un plan. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Remarque : Les fondus ne peuvent être créés que dans des plans. Pour appliquer des fondus entrants ou sortants aux plans à l’aide des poignées de fondu simples d’emploi, consultez Application d’un fondu entrant ou sortant à l’audio à la page 181 Dans Final Cut Pro, les outils utilisés pour le montage audio sont les mêmes que ceux du montage vidéo. Les fonctionnalités de montage indiquées ci-dessous sont présentées dans d’autres sections de l’Aide Final Cut Pro. • Changement de mode de montage : réglez le mode de montage d’un plan pour vous concentrer sur la vidéo uniquement ou sur l’audio uniquement. Consultez Ajout de plans en mode vidéo uniquement ou audio uniquement à la page 121. • Ajout de marqueurs aux plans: ajoutez des marqueurs pour baliser des points de références spécifiques dans un clip audio. Pour en savoir plus, consultez Présentation des marqueurs à la page 156. • Application d’un trim à l’audio : réalisez des montages précis sur la forme d’onde audio, par exemple pour supprimer un son indésirable de l’enregistrement. Consultez Présentation du trim à la page 130. Montage audioChapitre 9 Montage audio 165 • Ajout de fondus enchaînés audio : créez une transition fluide reliant deux formes d’onde audio. Consultez Ajout de transitions au projet à la page 215. • Utilisation de plans composés: les plans composés vous permettent de combiner n’importe quels plans vidéo ou clips audio en un seul plan ou clip composé. Du point de vue audio, les clips composés offrent la possibilité d’appliquer le même effet audio ou les mêmes améliorations à un groupe de clips, de façon analogue à l’application d’un effet ou d’un ajustement à l’ensemble d’un mixage. Consultez Présentation des plans composés à la page 266. • Exportation de l’audio : vous pouvez exporter le projet sous forme de fichier audio mono, stéréo ou Surround. Vous pouvez également exporter des données en fonction de leur rôle. Consultez Présentation du partage de projets à la page 394. Notions élémentaires sur le montage audio À propos des formes d’onde audio Les formes d’ondes audio constituent des représentations visuelles des sons. Elles s’affichent dans les clips audio des manières suivantes: • dans la partie inférieure d’un plan vidéo, colorées en bleu ; • sous forme de plans détachés ou de clips audio uniquement, colorés en vert. Clip audio seulement Section audio d’un plan vidéo Leur amplitude et leur longueur varient selon le volume et la durée du son qu’elles représentent. Un son court et marqué, tel qu’un son de percussion, est représenté par une forme d’onde en pic, alors qu’un bruit de foule étouffé présente une forme d’onde plus basse et prolongée. Ces propriétés permettent de trouver plus facilement des points de montage spécifiques au moment d’appliquer un trim à des plans ou d’ajouter des images clés à des effets. Dans Final Cut Pro, les formes d’onde varient en fonction du niveau de volume d’un plan ou clip ou des effets qui lui sont appliqués. Elles sont plus grandes lorsque le volume est élevé et plus petites lorsque ce dernier est faible. Le montage de clips audio dans la timeline se fait tout d’abord en écoutant un plan lu ou survolé, puis en apportant des modifications au clip en utilisant la forme d’onde comme référence. À propos des canaux audio et des composants audio Les fichiers audio peuvent contenir un seul ou plusieurs canaux audio. Les canaux correspondent d’ordinaire aux entrées micro lors de l’enregistrement ou aux haut-parleurs pour la sortie multicanal. Par exemple, un fichier audio stéréo contient généralement les canaux gauche et droit correspondant ce qui est audible pendant la lecture dans les haut-parleurs de gauche et de droite.Chapitre 9 Montage audio 166 Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Vous pouvez ensuite affiner le volume et la balance séparément ou appliquer et animer avec des images clés différents effets audio pour chaque composant. Pour en savoir plus, consultez Vue d’ensemble du montage audio à la page 175. Le nombre de composants audio que vous pouvez voir correspond au nombre de canaux que vous avez configuré dans votre plan source. Remarque : De nombreux formats courants de fichier audio numérique, tels que l’AAC et le MP3, utilisent des fichiers de stéréo entrelacée, lesquels ne contiennent pas de canaux gauche et droit distincts. Un clip stéréo présentant des canaux gauche et droit entrelacés apparaît sous forme de composant audio simple dans l’inspecteur audio et dans la timeline. Si vous changez la configuration des canaux du clip de Stéréo à Mono dual, les canaux apparaissent alors comme deux composants audio distincts. Composants audio Pour en savoir plus sur la configuration des canaux audio, consultez Configuration des canaux audio à la page 176. Différentes manières d’afficher des clips audio Lorsque vous travaillez avec des formes d’onde audio dans la timeline, vous pouvez réaliser des zooms avant ou arrière ou modifier l’apparence du plan pour agrandir ou réduire la forme d’onde. Final Cut Pro comprend aussi plusieurs manières d’afficher et de travailler avec l’audio et la vidéo à l’intérieur des plans. Vous pouvez : • développer un plan de sorte à afficher et monter des composants audio jusqu’au niveau des différents canaux ; • développer un plan pour afficher séparément l’audio et vidéo ; • détacher l’audio d’un plan vidéo pour travailler sur l’audio et la vidéo séparément ; • changer l’apparence de l’arrière-plan d’un plan pour afficher la forme d’onde de référence, ce qui facilite la visualisation de formes d’ondes audio lorsque le volume est réduit. Affichage de composants audio développés Vous pouvez développer la partie audio de plans dans Final Cut Pro pour afficher et modifier des composants audio. Vous pouvez afficher les composants audio dans leur forme développée pour les plans synchronisés, les plans multicam et les plans composés.Chapitre 9 Montage audio 167 Procédez de l’une des manières suivantes: m Sélectionnez le plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). m Tout en maintenant la touche Option enfoncée, double-cliquez sur la partie audio du plan dans la timeline. Vue du plan normal Composants audio Réduction des composants audio Procédez de l’une des manières suivantes: m Sélectionnez soit le plan ou l’un de ses composants audio dans la timeline, puis choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S). m Tout en maintenant la touche Option enfoncée, double-cliquez sur l’un des composants audio dans la timeline. Affichage étendu de l’audio et de la vidéo Vous pouvez afficher séparément l’audio et la vidéo d’un même plan dans la timeline en développant les plans qui contiennent de l’audio et de la vidéo. Cela peut s’avérer utile si vous devez zoomer sur des sections audio et réaliser des montages. Remarque : Si vous créez un montage scindé de manière à ce que des sections audio se chevauchent, vous ne verrez clairement les formes d’onde se superposant que si vous choisissez d’afficher l’audio étendu pour les plans scindés. m Pour développer un seul plan : double-cliquez sur la forme d’onde audio du plan. m Pour développer un ou plusieurs plans sélectionnés dans la timeline : choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur Contrôle + S).Chapitre 9 Montage audio 168 m Pour développer tous les plans dans la timeline : choisissez Présentation > Développer les plans audio/vidéo, puis indiquez si vous souhaitez développer l’audio/la vidéo pour tous les plans ou uniquement pour les plans qui se chevauchent. Vue du plan normal Plan avec audio étendu En affichant l’audio étendu, les sections audio et vidéo du plan restent liées. Pour créer un plan audio connecté à part, détachez l’audio. Vous pouvez aussi utiliser l’éditeur de précision pour afficher une vue détachée des sections audio et vidéo du plan. Condensation de l’affichage de l’audio et de la vidéo Vous pouvez réduire la présentation développée de l’audio/la vidéo pour un seul plan, plusieurs plans ou tous les plans de la timeline. m Pour réduire un seul plan : double-cliquez sur la forme d’onde audio du plan. m Pour réduire un ou plusieurs plans sélectionnés dans la timeline : choisissez Plan > Condenser l’audio/la vidéo (ou appuyez sur Contrôle + S). m Pour réduire tous les plans dans la timeline : choisissez Présentation > Condenser tous les plans. Détachement de l’audio de la vidéo Par défaut, Final Cut Pro importe l’audio et la vidéo provenant de la même source sous forme d’un seul plan. Il est facile de détacher l’audio d’un plan vidéo afin de pouvoir réaliser le montage du clip audio séparément dans la timeline. m Sélectionnez le plan dans la timeline, puis choisissez Plan > Détacher l’audio.Chapitre 9 Montage audio 169 Un nouveau clip audio s’affiche comme clip connecté sous le plan vidéo. Audio dissocié Pour rattacher un clip audio au plan vidéo original, vous devez créer un plan composé. Affichage ou masquage des formes d’onde de référence Une forme d’onde de référence affiche la résolution maximale de la forme d’onde audio active. En faisant appel à un facteur d’annulation sur la tonalité, les formes d’onde de référence permettent de distinguer plus clairement les détails du son. 1 Choisissez Final Cut Pro > Préférences, puis cliquez sur Montage. 2 Cochez la case « Afficher les formes d’onde de référence ». Forme d’onde de référence Lorsque la forme d’onde active change de forme (par exemple, se réduit lorsque le volume d’un plan est faible), sa forme d’onde de référence reste visible pour faciliter le montage. Conseil : Vous pouvez placer tout plan contenant de l’audio au-dessus ou en dessous du scénario principal dans la timeline. Si votre plan contient de la vidéo et qu’il est placé sous le scénario principal, il se peut que la vidéo soit masquée par celle dans le scénario principal, mais l’audio est lu. Si vous placez le plan au-dessus du scénario principal, l’audio est reproduit et la vidéo est lue (au lieu de celle du scénario principal). Affichage des formes d’onde audio au niveau de l’échantillon audio Pour réaliser un montage plus précis, vous pouvez effectuer des zooms dans les clips audio au niveau des échantillons audio. Les échantillons audio présentent la forme d’onde audio à une fraction de seconde (par exemple, 1/48 000 pour l’audio enregistré à une fréquence d’échantillonnage de 48 kHz). Le montage avec une précision à l’échantillon près n’est disponible que pour les clips audio connectés (c’est-à-dire les clips audio ne faisant pas partie du scénario principal) ou les plans composés ne contenant que de l’audio.Chapitre 9 Montage audio 170 Conseil : Lorsque vous travaillez sur de la vidéo, vous pouvez vous baser sur les sous-images (1/80 de la durée d’une image vidéo) dans l’affichage du timecode du panneau de contrôle. Dans la fenêtre Montage des préférences de Final Cut Pro, choisissez l’option de sous-image dans le menu local Affichage du temps. Zoom sur les échantillons audio 1 Choisissez Présentation > Zoom sur les échantillons (ou appuyez sur Option + Z). 2 Sélectionnez le plan dans la timeline. 3 Réalisez un zoom avant jusqu’à ce que le plan affiche la forme d’onde à l’intérieur des bordures d’une image vidéo. Bords d’image Vous pouvez continuer le zoom avant pour afficher plus en détail la forme d’onde. Bords d’image 4 Procédez aux montages du plan ou des ajustements aux effets audio à l’aide d’images clés. Pour désactiver le zoom sur les échantillons, choisissez Présentation > Zoom sur les échantillons (ou appuyez sur Option + Z). Navigation sous-image par sous-image 1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur un plan et cliquez. 2 Effectuez l’une des opérations suivantes: • Pour reculer par incréments d’une sous-image : appuyez sur Commande + Flèche gauche. • Pour avancer par incréments d’une sous-image : appuyez sur Commande + Flèche droite. Affichage et correction des niveaux audio Les VU-mètres audio vous permettent d’afficher et d’effectuer le suivi des niveaux audio des plans et clips dans Final Cut Pro. Ils vous avertissent si un plan particulier ou une section d’un plan atteint le niveau des crêtes, ce qui peut entraîner une distorsion audible. Le nombre de VU-mètres affichés varie en fonction du nombre de canaux configurés pour le plan en cours de lecture. Par exemple, lorsque vous lisez un plan surround dans le navigateur d'événements, six VU-mètres surround sont affichés. Par contre, si vous faites glisser le même plan dans un projet stéréo dans la timeline, Final Cut Pro modifie l'audio pour passer de surround à stéréo et seulement deux VU-mètres sont affichés. Pour en savoir plus, consultez Configuration des canaux audio à la page 176. Chapitre 9 Montage audio 171 Lorsque le volume d’un clip audio s’approche des niveaux de crête au cours de la lecture, la couleur du niveau passe de vert à jaune. Lorsqu’un clip audio dépasse ces niveaux de crête, la couleur du niveau passe de jaune à rouge et les témoins lumineux de crête deviennent rouges pour le ou les canaux audio concernés. Les indicateurs de crête se réinitialisent lorsque vous arrêtez et reprenez la lecture. Réglez le volume de façon à éviter que le volume d’un clip dépasse les niveaux de crête. Bien que le niveau adéquat pour un clip varie en fonction du mixage général désiré, il est important de vous assurer que le niveau combiné de tous les clips ne dépasse pas 0 dB. Final Cut Pro comprend deux VU-mètres, un petit dans le panneau de contrôle de la barre d’outils et un plus grand dans la fenêtre des VU-mètres. Afficher ou masquer les VU-mètres audio Pour afficher les VU-mètres, procédez de l’une des façons suivantes: m Choisissez Fenêtre > Afficher les VU-mètres. m Cliquez sur l’icône VU-mètre dans le panneau de contrôle de la barre d’outils. Vous pouvez faire glisser les bords des VU-mètres pour afficher une présentation développée contenant des informations supplémentaires. Niveau Canaux Surround Indicateurs de crête Pour masquer les VU-mètres, choisissez Fenêtre > Masquer les VU-mètres audio, ou cliquez sur l’icône VU-mètre dans le panneau de contrôle de la barre d’outils. Réinitialisation et correction les niveaux de crête m Sélectionnez le plan dans la timeline, réajustez le niveau, puis relancez la lecture du plan pour vous assurer que les crêtes ont disparu. Dans la timeline et le navigateur d’événements, la ou les sections de forme d’onde d’un plan deviennent jaunes lorsqu’un niveau se rapproche des niveaux de crête ou rouges lorsqu’un niveau dépasse 0 dB. Chapitre 9 Montage audio 172 Isolement et désactivation des clips audio La fonctionnalité Solo permet de désactiver temporairement la lecture audio de tous les plans dans la timeline, excepté ceux que vous avez sélectionnés. Cela est particulièrement utile lors du montage audio si vous disposez de plusieurs clips audio dans la timeline (dialogue et musique de fond, par exemple) et que vous ne souhaitez écouter et modifier que certains clips. Vous pouvez également désactiver le son des clips en les désactivant ces derniers. Les plans désactivés sont invisibles, silencieux et n’apparaissent dans aucune sortie. Solo des plans dans la timeline 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Procédez de l’une des manières suivantes: • choisissez Plan > Solo (ou appuyez sur les touches Option + S). • Cliquez sur le bouton Solo dans la timeline. Bouton Solo Le plan placé en solo s’affiche en surbrillance alors que les autres apparaissent estompés. Plan lu en solo Pour désactiver le solo, cliquez sur le bouton Solo ou choisissez Plan > Solo (ou appuyez sur Option + S) à nouveau. Désactivation de plans 1 Sélectionnez un ou plusieurs plans dans la timeline. Remarque : Si les plans sélectionnés contiennent de l'audio et de la vidéo et que vous souhaitez désactiver le son de l'audio uniquement, choisissez Plan > Détacher l'audio et sélectionner uniquement la portion de l'audio détachée. 2 Choisissez Plan > Désactiver (ou appuyez sur la touche V). Les clips désactivés sont muets et apparaissent estompés dans la timeline. 3 Pour réactiver les clips désactivés, sélectionnez-les dans la timeline et choisissez Plan > Désactiver (ou appuyez sur la touche V). Vous pouvez mettre en solo des plans vidéo dans Final Cut Pro. Pour en savoir plus, consultez Isolement, désactivation et activation de plans à la page 123.Chapitre 9 Montage audio 173 Ajout de l’audio Ajout de la musique et du son Vous pouvez ajouter à votre projet de la musique et des fichiers son directement depuis votre bibliothèque iTunes ou d’autres sources. Final Cut Pro inclut également un certain nombre de bruitages et d’autres effets sonores que vous pouvez utiliser comme clips audio connectés. Si un plan contient de l’audio et de la vidéo, vous avez la possibilité de régler le mode de montage sur audio uniquement pour n’insérer que la partie audio du plan. Ajout de musique et de son à un projet dans la timeline 1 Cliquez sur le bouton Musique et son dans la barre d’outils. 2 Dans le navigateur de musique et son, choisissez un dossier source dans le menu local situé en haut. Par exemple, choisissez iTunes pour parcourir votre collection iTunes. Conseil : Si le dossier que vous recherchez n’est pas visible, vous pouvez l’ajouter à la liste de sources en le faisant glisser depuis le Finder ou le bureau jusque dans le navigateur de musique et son. 3 Dans la liste de sons qui s’affiche, recherchez le son ou la musique que vous désirez : • Pour rechercher un élément: saisissez votre texte dans le champ de recherche. Pour filtrer votre recherche, cliquez sur le bouton Filtre et choisissez le filtre souhaité. • Pour obtenir un aperçu d’un élément: double-cliquez sur l’élément ou sélectionnez-le et cliquez sur le bouton Lecture . • Pour sélectionner plusieurs éléments: cliquez sur chaque élément tout en maintenant la touche Commande enfoncée. 4 Faites glisser le ou les fichiers de son vers la timeline. Remarque : Pour de meilleures performances en lecture et à l’importation, Final Cut Pro transcode automatiquement tous les fichiers audio MP3 en fichiers audio WAV et conserve les fichiers MP3 originaux pour une utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de données originaux et des fichiers de données transcodés, consultez la section Emplacement de vos fichiers de média et de projet à la page 407. Enregistrement de l’audio Vous pouvez réaliser des enregistrements audio directement dans Final Cut Pro à partir de sources d’entrée telles que des micros intégrés et externes. Les fichiers audio enregistrés s’affichent dans le navigateur d’événements et sous forme de plans connectés dans la timeline. Cette fonctionnalité est particulièrement utile pour l’enregistrement de narration en voix off. Enregistrement de l’audio en direct 1 Placez la tête de lecture à l’endroit où vous souhaitez commencer l’enregistrement dans la timeline.Chapitre 9 Montage audio 174 2 Choisissez Fenêtre > Enregistrer l’audio. Cliquez sur le bouton Enregistrement pour lancer ou interrompre l’enregistrement. 3 Si nécessaire, ajustez les paramètres d’entrée en procédant de l’une des manières suivantes: • Pour modifier l’emplacement auquel l’enregistrement est sauvegardé : choisissez un dossier d’évé- nement dans le menu local Destination. • Pour modifier le dispositif d’entrée ou le nombre de canaux d’entrée (mono ou stéréo): choisissez une option dans le menu local Appareil d’entrée. • Pour ajuster le niveau d’entrée du micro : faites glisser le curseur Gain vers la droite pour augmenter le niveau d’entrée ou vers la gauche pour le diminuer, en utilisant les VU-mètres pour contrôler et corriger les niveaux audio. 4 Si nécessaire, ajustez les paramètres de sortie en procédant de l’une des manières suivantes: • Pour écouter la sortie lors de l’enregistrement: cochez la case Contrôle. Remarque : Si les sources d’entrée et de sortie sont proches l’une de l’autre (comme dans le cas de micro et de haut-parleurs intégrés), un effet Larsen risque de se produire. • Pour modifier le dispositif de sortie ou le nombre de canaux de sortie (mono ou stéréo): Choisissez une option dans le menu local Contrôle. • Pour ajuster le niveau de sortie : faites glisser le curseur Gain vers la droite pour augmenter le niveau de sortie ou vers la gauche pour le diminuer. 5 Pour démarrer l’enregistrement, cliquez sur le bouton Enregistrer. 6 Pour arrêter l’enregistrement, cliquez à nouveau sur le bouton Enregistrer (ou appuyez sur la barre d’espace). Vos enregistrements audio sont alors connectés au scénario principal au niveau de la tête de lecture.Chapitre 9 Montage audio 175 Modification de clips audio ou de composants audio Vue d’ensemble du montage audio Pour monter de l’audio dans Final Cut Pro, suivez l’une des deux façons détaillées ci-dessous. Montage audio au niveau des plans Vous pouvez procéder à des réglages et à des montages sur des plans entiers. À ce niveau, les réglages et les effets audio s’appliquent à l’intégralité du plan, y compris à tous les canaux audio inclus dans le plan. Final Cut Pro conserve tous les réglages que vous appliquez aux différents canaux audio. En d’autres termes, si vous réduisez le volume pour un seul canal mais que vous l’augmentez pour le plan entier, le volume du canal en question est également augmenté mais en respectant la proportion du volume des autres canaux du plan. Si votre média source ne contient qu’un ou deux canaux audio ou si vous montez un plan ne contenant que de l’audio (clip audio), vous n’aurez probablement besoin que de procéder aux réglages et aux montages à ce niveau. Montage audio multicanal avancé Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Cela vous permet d’appliquer différents effets à divers composants et de rationaliser le processus d’application d’estampes de son rapides à une seule entrée micro ou autres réglages plus fins. Important : De nombreux formats de fichier audio numérique, tels que l’AAC et le MP3, utilisent des fichiers de stéréo entrelacée, lesquels ne contiennent pas de canaux gauche et droit distincts. Ces fichiers apparaissent sous forme d’un seul composant audio à moins que vous ne modifiiez la configuration des canaux du clip. Gardez à l’esprit les points suivants lors du montage de composants audio dans Final Cut Pro : • Vous pouvez visualiser et modifier la configuration des canaux audio de vos plans dans l’inspecteur audio. Vous pouvez changer le nom des composants audio, en ajouter ou supprimer, mais aussi configurer les canaux aux formats mono, stéréo et Surround. Consultez Configuration des canaux audio à la page 176. • À l’aide de l’outil Sélection de plage (outil d’édition par défaut), il vous est possible de sélectionner les plages dans un composant audio pour cibler l’audio à modifier. • Vous pouvez monter des composants audio pour les plans synchronisés, les plans multicam et les plans composés. • Pour modifier des composants audio, vous pouvez procéder de la même façon que pour les plans entiers. Vous pouvez : • survoler des composants précis lorsque les survols de plan et audio sont activés. Consultez Survol du média à la page 81. • ajuster le volume d’un composant. Consultez Ajustement du volume à la page 179. • désactiver l’audio d’un composant en désactivant ce dernier partiellement ou dans son inté- gralité. Il s’agit de la méthode la plus rapide pour supprimer des sons indésirables d’un composant. Consultez Isolement, désactivation et activation de plans à la page 123. • effectuer la balance du son pour différents composants. Consultez Balance audio à la page 184.Chapitre 9 Montage audio 176 • Attribuer un rôle, tel que Dialogue, Musique ou Effets, à un composant dans l’inspecteur d’informations (ou via le menu Modifier lorsque le plan contenant le composant audio se trouve dans la timeline). Consultez Utilisation de rôles pour organiser des plans et exporter des fichiers audio à la page 193. • ajouter ou régler les effets audio de composants précis. Consultez Ajout d’effets audio à la page 194 ou Ajustement des effets audio à la page 196. • régler les effets audio de composants précis à l’aide d’images clés. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Pour voir des exemples de flux de travail de montage audio multicanal, consultez Exemples de montage audio multicanal à la page 187. Configuration des canaux audio Final Cut Pro assigne une configuration de canaux par défaut aux clips audio lorsque ceux-ci sont importés ou ajoutés à un projet. Il vous est possible de modifier la configuration des canaux, par exemple, si vous souhaitez convertir un clip de dialogue stéréo en deux canaux mono. Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Pour en savoir plus, consultez À propos des canaux audio et des composants audio à la page 165. En plus de modifier la configuration des canaux, vous pouvez aussi afficher et écouter les composants audio, en ajouter ou en supprimer et les renommer. Modification de la configuration des canaux Le nombre d’options que vous pouvez configurer dépend du nombre de canaux présents dans votre plan source ou votre plan composé. Vous pouvez configurer les canaux dans plusieurs formats, notamment : • Mono : un seul canal. Dans une configuration de son Surround, vous pouvez affecter un canal mono à n’importe quel canal Surround. • Stéréo : canaux gauche et droit. • Surround 5.1 : canaux gauche, central, droit, Surround gauche, Surround droit et effets basse fréquence (caisson de basse). • Surround 7.1 : canaux gauche, central, droit, Surround gauche, Surround droit, arrière gauche, arrière droit et effets basse fréquence (caisson de basse). Si vous configurez plus de six canaux Surround, Final Cut Pro ajuste automatiquement le mixage des canaux pour obtenir une configuration Surround 5.1 pendant la lecture. Important : La modification de la configuration des canaux réinitialise tous les réglages et les montages effectués sur les composants audio (notamment les effets appliqués, les plages désactivées, les réglages d’images clés et les noms personnalisés). 1 Sélectionnez le plan dans la timeline. 2 Dans la section Configuration des canaux de l’inspecteur audio, sélectionnez une option dans le menu local Canaux.Chapitre 9 Montage audio 177 Les canaux apparaissent dans l’inspecteur audio sous forme de composants audio, chacun avec sa propre forme d’onde. Si vous avez un plan incluant des canaux Surround et comptez attribuer un canal mono à un canal Surround particulier, sélectionnez la forme d’onde du canal mono, puis choisissez un canal Surround dans le menu local Canaux. Remarque : Pour modifier la configuration des canaux d’un plan composé, désélectionnez tout d’abord l’option « Utiliser la présentation Plan de l’événement » dans le menu local Canaux, puis choisissez une autre configuration. Pour réinitialiser une configuration, cliquez sur le bouton Réinitialiser . Affichage et écoute d’un composant audio 1 Sélectionnez le plan dans la timeline. 2 Dans la section Configuration des canaux de l’inspecteur audio, cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio, puis effectuez le survol ou lancez la lecture de l’un d’entre eux à l’aide de la barre d’espace ou des touchesJ, K et L. Faites défiler pour prévisualiser. Ajout ou suppression d’un composant audio Vous pouvez ajouter ou supprimer des composants audio d’un plan. Par exemple, il peut s’avérer judicieux de supprimer les composants inutilisés d’un plan ou d’ajouter des composants tirés d’angles inactifs à l’angle actif dans un plan multicam. Par défaut, tous les composants audio actifs dans un plan apparaissent sélectionnés dans l’inspecteur audio. Ils sont repris dans le même ordre lorsque le plan est développé pour afficher les composants audio dans la timeline. Pour en savoir plus sur l’affichage de composants audio, consultez Différentes manières d’afficher des clips audio à la page 166.Chapitre 9 Montage audio 178 Lorsque vous supprimez un composant audio, celui-ci est estompé dans l’inspecteur audio mais est supprimé de l’agencement des composants du plan dans la timeline. 1 Sélectionnez le plan dans la timeline. 2 Dans la section Configuration des canaux de l’inspecteur audio, cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio. 3 Procédez de l’une des manières suivantes: • Pour supprimer un composant: décochez la case en regard de la forme d’onde d’un composant. • Pour ajouter un composant: cochez la case en regard de la forme d’onde d’un composant. Sélectionnez pour ajouter ou supprimer un composant audio. Réattribution du nom d’un composant Procédez de l’une des manières suivantes: m Dans la section Configuration des canaux de l’inspecteur audio : cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio, double-cliquez sur le nom de celui à renommer, puis saisissez un nouveau nom. Attribuez un nouveau nom au composant audio dans le champ. m Dans un plan repris dans la timeline, avec ses composants audio développés: cliquez sur le composant audio tout en maintenant la touche Contrôle enfoncée, puis choisissez Renommer le composant dans le menu contextuel et saisissez un nouveau nom. Pour en savoir plus sur l’affichage de composants audio, consultez Différentes manières d’afficher des clips audio à la page 166. Important : Si vous modifiez par la suite la configuration des canaux, tous les noms personnalisés des composants audio sont alors réinitialisés et reprennent leur nom de d’origine.Chapitre 9 Montage audio 179 Vous pouvez aussi choisir une configuration de canaux lorsque vous exportez des rôles sous forme de stems audio pour le mixage ou la postproduction. Pour en savoir plus, consultez Utilisation de rôles pour organiser des plans et exporter des fichiers audio à la page 193. Si la configuration de canaux choisie pour des fichiers exportés est différente de celle des fichiers source, les canaux sont exportés de la manière suivante : • Source stéréo exportée en Surround : les canaux de gauche et de droite sont exportés dans les canaux de gauche et de droite du fichier Surround. • Source Surround exportée en stéréo : la source Surround est exportée en tant que mix stéréo (canaux gauche et droite). • Source stéréo ou Surround exportée en mono : la source stéréo ou Surround est exportée en tant que mix mono (un seul canal). Ajustement du volume Vous pouvez ajuster les niveaux de volume des clips audio depuis le navigateur d’événements, la timeline, l’inspecteur audio ou le menu Modifier. Les réglages de volume que vous réalisez dans l’inspecteur audio ou le menu Modifier s’appliquent à toute la sélection. Pour effectuer des ajustements plus précis, vous pouvez créer des images clés dans le clip, puis ajuster les points entre les images clés. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Vous pouvez utiliser les VU-mètres pour vous assurer que le volume ne dépasse pas les crêtes, ce qui pourrait entraîner une distorsion notable du son. Ajustement du volume dans la timeline m Faites glisser verticalement la commande du volume (la ligne horizontale qui traverse la forme d’onde audio). Ce faisant, le niveau de décibels s’affiche et la forme d’onde change en fonction de vos ajustements. Contrôle du volume Si vous ajustez le volume entre deux images clés, les variations de la ligne de volume s’adaptent, traduisant les changements de volume entre les images clés. Ajustement du volume à l’aide du menu Modifier ou du clavier 1 Sélectionnez un ou plusieurs clips audio ou plans vidéo contenant de l’audio dans la timeline. 2 Choisissez Modifier > Volume, puis sélectionnez Vers le haut ou Vers le bas, ou appuyez sur Contrôle + signe égal (=) ou sur Contrôle +Tiret (-). Le volume est augmenté ou réduit de 1 dB. Si plusieurs clips ou plans sont sélectionnés, le volume est ajusté pour chacun d’eux.Chapitre 9 Montage audio 180 Ajustement du volume dans l’inspecteur audio 1 Sélectionnez un ou plusieurs clips audio ou plans vidéo contenant de l’audio dans le navigateur d’événements ou la timeline. 2 Dans l’inspecteur audio, procédez de l’une des façons suivantes: • Saisissez une valeur dans le champ Volume. Si plusieurs clips ou plans sont sélectionnés, le volume de chacun d’eux est réglé sur la valeur saisie. • Faites glisser le curseur Volume vers la droite pour augmenter le volume ou vers la gauche pour le diminuer. Si plusieurs clips ou plans sont sélectionnés, le volume de chacun d’eux est augmenté ou réduit par rapport à sa valeur d’origine. Curseur de volume Ajustement automatique du volume sur une zone sélectionnée Pour ajuster le volume d’un plan de la timeline, vous pouvez utiliser l’outil Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée. 1 Sélectionnez le plan dans la timeline. 2 Choisissez Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche R). Le pointeur prend la forme de l’outil Sélection de plage . 3 Faites glisser le pointeur sur la zone où vous voulez ajuster le volume. 4 Ajustez le volume de la plage en déplaçant verticalement la commande horizontale. Les images clés sont automatiquement créées le long des points d’ajustement dans la plage.Chapitre 9 Montage audio 181 Réinitialisation de tous les réglages du volume 1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans le navigateur d’événements ou la timeline. 2 Cliquez sur le bouton Réinitialiser dans la section Volume et balance de l’inspecteur audio. Application d’un fondu entrant ou sortant à l’audio Il existe plusieurs moyens de créer des fondus entrants ou sortants dans la partie audio des plans dans Final Cut Pro : • Fondus enchaînés automatiques durant les transitions : lorsque vous ajoutez une transition à un plan vidéo contenant de l’audio, Final Cut Pro applique automatiquement une transition en fondu enchaîné à la partie audio. Si l’audio est dissocié ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition vidéo. Consultez Ajout de transitions au projet à la page 215. • Fondus enchaînés: lors du trim de la forme d’onde audio dans des plans, il est possible d’appliquer un fondu enchaîné au point de montage. Consultez Présentation du trim à la page 130. • Poignées de fondu : Vous pouvez créer rapidement des fondus entrants et sortants pour la portion audio des clips dans la timeline en utilisant les poignées de fondu qui s’affichent lorsque vous placez le pointeur sur le coin supérieur gauche ou droit d’une forme d’onde audio. Poignée de fondu Poignée de fondu Vous pouvez aussi modifier la forme du fondu en sélectionnant l’une des options prédéfinies. La modification de la forme du fondu change le son du fondu. Remarque : les fondus créés au moyen de poignées de fondu sont prioritaires par rapport aux fondus enchaînés créés par des transitions. Création d’un fondu à l’aide des poignées de fondu m Faites glisser la poignée de fondu sur le point du plan où vous souhaitez que le fondu commence ou se termine. Les poignées de fondu placées au début d’un plan créent un fondu entrant, tandis que celles placées à la fin d’un plan génèrent un fondu sortant. Fondu entrant Fondu sortantChapitre 9 Montage audio 182 Les fondus complètent les ajustements de volume déjà effectués sur un clip audio. Par exemple, si vous avez auparavant baissé le volume au début d’un clip, le fondu entrant augmente le volume du silence (–∞ dB) jusqu’au niveau déjà spécifié. Création manuelle d’un fondu enchaîné à l’aide des poignées de fondu 1 Sélectionnez les deux plans adjacents sur la timeline, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur Contrôle + S). Les plans apparaissent alors sous leur forme développée. 2 Faites glisser le point d’arrivée du premier plan vers la droite et le point de départ du deuxième plan vers la gauche de sorte que les parties audio des plans se chevauchent. Remarque : veillez à bien ajuster la superposition audio à la durée voulue.Chapitre 9 Montage audio 183 3 Faites glisser les poignées de fondu sur les points où vous souhaitez que le fondu commence et se termine. Fondu enchaîné Poignée de fondu Pour modifier la forme du fondu de chaque plan, suivez les instructions reprises immédiatement ci-dessous. Changement de la forme d’un fondu à l’aide de poignées de fondu m Cliquez sur une poignée de fondu en maintenant la touche Contrôle enfoncée, puis choisissez une option de fondu dans le menu contextuel : • Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu. • Courbe S : atténuation en entrée et en sortie du fondu avec point intermédiaire à 0 dB. • +3 dB : commence rapidement, puis ralentit progressivement vers la fin. Il s’agit du réglage le plus utile pour les fondus rapides. • –3 dB : commence lentement, puis accélère vers la fin. Il s’agit du réglage par défaut, le plus adapté pour conserver un volume naturel lors de l’application d’un fondu croisé entre deux clips adjacents.Chapitre 9 Montage audio 184 Changement de la forme de fondu d’un fondu enchaîné de transition 1 Sélectionnez une transition dans la timeline, puis procédez de l’une des manières suivantes : • Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). • Dans la barre d’outils, cliquez sur le bouton Inspecteur. 2 Dans la section Fondu audio de l’inspecteur de transition, choisissez une option de fondu dans les menus locaux Type de fondu entrant et Type de fondu sortant : • Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu. • Courbe S : atténuation en entrée et en sortie du fondu avec point intermédiaire à 0 dB. • +3 dB : commence rapidement, puis ralentit progressivement vers la fin. Il s’agit du réglage le plus utile pour les fondus rapides. • –3 dB : commence lentement, puis accélère vers la fin. Il s’agit du réglage par défaut, le plus adapté pour conserver un volume naturel lors de l’application d’un fondu croisé entre deux clips adjacents. Balance audio La balance audio vous permet de distribuer le son à travers le spectre stéréo ou Surround pour l’équilibrer ou générer un effet particulier. Par exemple, vous pouvez placer plus de son dans le canal droit d’un clip stéréo ou moins de son dans le canal central d’un clip Surround. Final Cut Pro intègre un décodeur de son Surround permettant de choisir parmi plusieurs modes de préréglage de la balance stéréo et Surround que vous pouvez appliquer aux clips dans l’inspecteur audio. Les préréglages de balance vous permettent de recréer dynamiquement des champs sonores Surround à partir d’un contenu source stéréo. Lorsque vous modifiez le mode de balance dans l’inspecteur audio, le réglage est appliqué à l’ensemble de la sélection. Pour réaliser des ajustements plus précis, vous pouvez ajouter des images clés à l’aide de l’éditeur d’animation audio ou de l’inspecteur audio, puis effectuer les ajustements nécessaires dans l’inspecteur audio. Balance audio pour la stéréo 1 Sélectionnez le clip audio. 2 Dans l’inspecteur audio, choisissez Stéréo gauche/droite dans le menu local Mode de balance. 3 Déplacez le son vers la gauche ou la droite en effectuant l’une des opérations suivantes: • Saisissez une valeur dans le champ Quantité de balance. • Déplacez horizontalement le curseur Quantité de balance. Balance audio pour le son Surround 1 Sélectionnez le clip audio. 2 Dans le menu local Mode de balance de l’inspecteur audio, choisissez l’une des options présentées ci-dessous: • Créer de l’espace : distribue le signal à travers le spectre Surround, en concentrant le signal au centre et dans les canaux frontaux gauche et droit. Ce réglage est utile pour réaliser un mixage Surround général à partir de n’importe quelle source stéréo. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral).Chapitre 9 Montage audio 185 • Dialogue : concentre le signal dans le canal central du spectre Surround de sorte que le son direct se trouve au centre et que le son ambiant soit réparti entre les autres canaux. Ce réglage est idéal pour les voix off et les clips contenant des dialogues. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (tout le son concentré dans le canal central). • Musique : répartit un signal stéréo mélangé sur tout le spectre Surround. Ce réglage est idéal pour convertir de la musique stéréo en un mixage Surround. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral). • Ambiance : balayage du spectre Surround en concentrant le signal sur les canaux Surround et en réduisant le signal vers les canaux frontaux et centraux. Ce réglage est utile pour les effets tels que les bruits de foule ou les environnements extérieurs. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral). • Cercle : balayage du son en cercle autour du spectre Surround comme une abeille tournant autour de la tête de l’auditeur. Le curseur Quantité de balance permet d’ajuster la direction par rapport à l’auditeur en degrés (-180 à 180). • Rotation : balayage autour du spectre Surround comme si l’auditeur tournait en rond. Le curseur Quantité de balance permet d’ajuster la rotation de l’auditeur en degrés (-180 à 180). • Retour vers l’avant: balayage de l’arrière vers l’avant à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (arrière) à 100 (avant). • Surround gauche vers avant droit: Balayage du Surround gauche vers l’avant droit à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (Surround gauche) à 100 (avant droit). • Surround droit vers avant gauche : Balayage du Surround droit vers l’avant gauche à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (Surround droit) à 100 (avant gauche). 3 Pour ajuster la quantité de balance, effectuez l’une des opérations suivantes: • Saisissez une valeur dans le champ Quantité de balance. • Déplacez horizontalement le curseur Quantité de balance. Les réglages Quantité de balance varient en fonction du mode de balance choisi. Ajustement du son Surround à l’aide du panner Surround Dans l’inspecteur audio, vous pouvez utiliser le panner Surround pour modifier le champ sonore Surround ou effectuer des ajustements avancés à l’aide des curseurs. À l’aide du panner Surround, vous pouvez modifier les niveaux de balance en déplaçant une commande représentant l’origine apparente du son dans une configuration réelle de hautparleurs Surround. 1 Choisissez un préréglage Surround parmi ceux proposés dans le menu local Mode de balance. 2 Pour ouvrir le panner Surround, cliquez sur le triangle d’affichage en regard de l’élément dans la section Volume et balance de l’inspecteur audio. Cliquez ici pour afficher le Panner Surround.Chapitre 9 Montage audio 186 3 Effectuez l’une des opérations suivantes: • Pour effectuer des ajustements dans le panner Surround : faites glisser la commande dans le champ Surround pour déplacer la balance vers certains canaux Surround ou l’éloigner de ceux-ci (gauche, central, droit, Surround gauche ou Surround droit, représentés par des icônes de haut-parleur). Cliquez sur une icône de haut-parleur pour l’activer ou la désactiver. Faites glisser pour déplacer la source sonore. Pour ramener la commande à sa position centrale, double-cliquez dessus. • Pour effectuer des ajustements avancés: cliquez sur le triangle d’affichage Avancé situé sous le panner Surround, puis faites glisser horizontalement les curseurs des paramètres suivants: • Original/Décodé : règle la balance entre les signaux originaux et les signaux décodés. Le curseur peut être ajusté de –100 (signal original uniquement) à 100 (centre décodé et signaux Surround uniquement). À 0, le signal est équilibré de façon égale entre les signaux originaux et les signaux décodés. • Ambient/Direct: règle la balance entre les signaux Surround décodés et les signaux centraux. Le curseur peut être ajusté de -100 (signal Surround uniquement) à 100 (signal central uniquement). À 0, le signal est équilibré de façon égale entre les signaux centraux et les signaux Surround. • Largeur Surround : spécifie quelle valeur de séparation (exprimée en dB) existe entre les signaux Surround décodés. À 0 dB, il existe une séparation complète entre les signaux centraux et les signaux Surround, mais chaque signal Surround est mono. Pour accroître l’effet stéréo dans les canaux Surround gauche et droit, vous pouvez augmenter la valeur du paramètre. Cela aura également pour effet de dévier une partie du signal du canal central vers les canaux Surround. • Balance LFE : ajuste les signaux des effets de fréquence faible (subwoofer) de -1 (aucun signal envoyé vers le canal LFE) à 1 (tous les signaux envoyés vers le canal LFE). Lorsque le curseur est centré sur 0, le signal est distribué de façon égale entre les cinq canaux et le canal LFE. • Rotation : fait tourner tous les signaux Surround vers la gauche ou la droite de façon circulaire. Lorsque le curseur est placé à l’extrémité gauche ou droite (respectivement -180 degrés ou 180 degrés), le signal Surround tourne vers le canal central et le signal central tourne vers les canaux Surround. À 0 degré (curseur placé au centre), aucune rotation n’est effectuée. • Répartition stéréo : règle la quantité d’effet stéréo des canaux gauche et droit vers les hautparleurs Surround et central.Chapitre 9 Montage audio 187 • Atténuer/Condenser: ajuste la façon dont l’effet de balance est mis en œuvre. À 0, les signaux source sont atténués (ce qui signifie que les signaux du canal original deviennent plus forts et plus doux mais ne sont pas réellement déviés vers d’autres canaux). À 100, les signaux source sont condensés (ce qui signifie que les signaux des canaux originaux ne sont pas modifiés en volume, mais plutôt qu’ils sont déplacés vers d’autres canaux dans la direction de la balance). • Balance au centre : règle la balance entre les signaux centraux et les signaux Surround. Le curseur peut être réglé de -100 (tous les signaux centraux envoyés vers les canaux Surround) à 100 (tous les signaux Surround envoyés vers le canal central). À 0, le signal est équilibré de façon égale entre les canaux centraux et les canaux Surround. Lorsque vous ajustez les paramètres avancés, le mode de balance indique qu’il a été modifié. Réinitialisation des réglages de la balance m Pour réinitialiser un mode de balance modifié : choisissez un autre préréglage dans le menu local Mode de balance. Le curseur Quantité de balance n’est pas affecté. m Pour ne réinitialiser que les ajustements du panner Surround : cliquez sur le bouton Réinitialiser dans la section Panner Surround de l’inspecteur audio. m Pour réinitialiser tous les réglages: cliquez sur le bouton Réinitialiser en haut de la section Volume et balance de l’inspecteur audio. Vous pouvez contrôler les niveaux des canaux stéréo et son Surround à l’aide des Vu-mètres audio. Exemples de montage audio multicanal Les exemples ci-dessous traitent de flux de production pour le montage audio multicanal dans Final Cut Pro. Exemple : Suppression de bruit indésirable d’un composant audio donné Remarque : Pour effectuer le survol d’un composant audio particulier, assurez-vous que les survols de plan et audio sont tous deux activés. Pour en savoir plus, consultez Survol du média à la page 81. 1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). Composants audio 2 Survolez ou lancez la lecture du composant audio pour rechercher l’emplacement spécifique où le bruit se produit.Chapitre 9 Montage audio 188 3 Faites glisser le pointeur dans le composant pour sélectionner la plage où le bruit se produit. 4 Procédez de l’une des manières suivantes: • Pour désactiver la partie du composant où le bruit se produit: appuyez sur la touche V (ou appuyez sur la touche Supprimer). La désactivation d’une plage sélectionnée coupe tout son s’inscrivant dans la plage. Remarque : Pour réactiver le son sur la plage, appuyez sur la touche V (ou appuyez sur Commande + Z). • Pour ajuster le volume dans la plage choisie : faites glisser verticalement la commande horizontale.Chapitre 9 Montage audio 189 Les images clés sont automatiquement créées le long des points d’ajustement dans la plage. 5 Lancez la lecture du plan pour vérifier vos modifications à l’écoute. 6 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S). Exemple : Trim audio dans un composant audio 1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). Composants audio 2 Positionnez le pointeur sur le bord du composant audio sur lequel effectuer un trim. Le pointeur prend la forme de l’outil Trim . 3 Faites glisser pour effectuer le trim sur la section. La section à laquelle est appliqué un trim est désactivée (coupant ainsi tous les sons de la section en question) et apparaît estompée dans la timeline. Pour annuler votre trim, appuyez sur Commande + Z.Chapitre 9 Montage audio 190 4 Lancez la lecture du plan pour vérifier vos modifications à l’écoute. 5 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S). Exemple : Application d’un montage Roll à tous les composants audio 1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). Composants audio 2 Positionnez le pointeur sur le bord de la partie audio du plan auquel appliquer le montage. Le pointeur prend la forme de l’outil Trim . 3 Maintenez la touche Maj enfoncée et faites glisser pour rembobiner le point de montage pour la partie audio du plan. Le point de montage est déplacé sur le nouvel emplacement, coupant ainsi l’audio à la fin du plan. La partie vidéo du plan ne se voit pas affectée par cette modification. Pour annuler votre montage, appuyez sur Commande + Z. 4 Lancez la lecture du plan pour vérifier vos modifications à l’écoute. 5 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S). Exemple : ajout ou suppression des composants audio d’un plan multicam Lorsque vous créez un plan multicam contenant plusieurs composants audio, vous pouvez faire appel au visualiseur d’angle ou à l’inspecteur audio pour ajouter à des angles actifs des composants audio tirés d’angles inactifs. Cela simplifie l’ajout d’audio de plusieurs plans source dans votre plan multicam tout en conservant l’angle vidéo actif. Il vous est également possible de supprimer des composants audio de l’angle actif afin d’éliminer de l’audio indésirable ou inutilisé.Chapitre 9 Montage audio 191 Avant de commencer, vous pouvez procéder à des réglages de la configuration des canaux des composants audio dans vos plans source repris dans le navigateur d’événements, à l’aide de l’inspecteur audio. Pour en savoir plus, consultez Configuration des canaux audio à la page 176. 1 Faites glisser un plan multicam du navigateur d’événements sur la timeline. 2 Pour ouvrir le visualiseur d’angle, procédez de l’une des manières suivantes: • Choisissez Fenêtre > Affichage du visualiseur > Afficher les angles (ou appuyez sur Commande + Maj + 7). • Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur situé dans le coin supérieur droit du visualiseur. L’angle actif apparaît encadré en jaune. Angle actif dans le visualiseur d’angle 3 Pour activer l’audio seulement dans le visualiseur d’angle, cliquez sur le bouton de droite de changement de mode situé dans le coin supérieur gauche. Cliquez pour autoriser le passage à l’audio uniquement. 4 Pour ouvrir l’inspecteur audio, procédez de l’une des manières suivantes: • Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le bouton Audio situé en haut de la fenêtre Inspecteur. • Cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Audio situé en haut de la fenêtre Inspecteur. L’audio correspondant à l’angle actif dans le visualiseur d’angle apparaît en surbrillance dans la section Configuration des canaux de l’inspecteur audio.Chapitre 9 Montage audio 192 5 Pour révéler les composants audio de l’angle actif, cliquez sur le triangle d’affichage en regard du nom du plan source de l’angle actif. Cliquez pour afficher les composants audio pour l’angle actif. 6 Pour ajouter les composants audio d’angles inactifs, effectuez l’une des opérations suivantes: • Dans le visualiseur d’angle : maintenez les touches Commande et Option enfoncées et cliquez sur un ou des angles inactifs. • Dans l’inspecteur audio : cochez la case en regard de chaque composant audio à ajouter. Dans cet exemple, l’angle dont vous avez ajouté l’audio est mis en surbrillance verte dans le visualiseur d’angle et les composants audio ajoutés sont indiqués dans l’inspecteur audio. Composants audio ajoutés à l’angle actif Composants audio ajoutés à l’angle actifChapitre 9 Montage audio 193 Les composants audio ajoutés apparaissent également dans l’agencement des composants du plan multicam de la timeline. (Pour afficher les composants audio sous leur forme développée, choisissez Plan > Développer les composants audio, ou appuyez sur Option + Contrôle + S.) Composants audio ajoutés à la timeline 7 Pour supprimer un composant audio de l’angle actif, effectuez l’une des opérations suivantes: • Dans le visualiseur d’angle : Maintenez les touches Commande et Option enfoncées et cliquez sur l’angle (en surbrillance verte) dont vous souhaitez supprimer l’audio. • Dans l’inspecteur audio : décochez la case en regard du composant audio à supprimer. Une fois un composant supprimé, celui-ci est estompé dans l’inspecteur audio, et l’angle ne s’affiche plus en surbrillance verte dans le visualiseur d’angle. Le composant disparaît également de l’agencement des composants du plan multicam de la timeline. Utilisation de rôles pour organiser des plans et exporter des fichiers audio Final Cut Pro attribue un rôle audio (Dialogue, Musique ou Effets) à la partie audio des plans lors de l’importation. Si la possibilité d’attribuer des rôles simplifie l’organisation des plans en fonction du type audio, son plus grand avantage réside toutefois dans la facilité avec laquelle vous pouvez exporter des fichiers séparés (appelés stems) depuis Final Cut Pro pour tous les plans d’effets, de musique et de dialogues. Ce processus est souvent utilisé lorsqu’il s’agit de livrer des fichiers correspondant à certaines spécifications de diffusion ou de remettre des stems en vue du mixage ou de la postproduction. Vous pouvez utiliser des rôles pour les flux de production suivants: • Réaffectation de rôles : Vous pouvez visualiser et réaffecter les rôles d’un plan dans l’index de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier. Vous avez également la possibilité d’afficher et de réattribuer un rôle pour un composant audio dans l’inspecteur d’informations (ou via le menu Modifier lorsque son plan de ce composant se trouve dans la timeline). Consultez Affichage et réattribution de rôles à la page 311. Vous pouvez aussi créer des rôles et des sous-rôles personnalisés pour organiser davantage vos plans. • Afficher et organiser des plans en fonction du rôle : l’index de la timeline vous permet d’organiser des plans en fonction du rôle, d’activer ou de désactiver des rôles et de mettre des plans en surbrillance ou de les minimiser en vue de leur affichage dans la timeline. Vous pouvez par exemple identifier facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans audio. Consultez Affichage des plans en fonction du rôle dans la timeline à la page 316.Chapitre 9 Montage audio 194 • Exporter des stems : Il est possible d’exporter des rôles sous forme de stems soit dans un fichier QuickTime multipiste combiné, soit dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio. Consultez Présentation du partage de projets à la page 394. Ajout et ajustement d’effets audio Ajout d’effets audio Outre les fonctionnalités d’amélioration audio intégrées de Final Cut Pro, vous pouvez tirer profit des effets intégrés à OS X 64 bits et des effets Audio Units (AU) tiers pour vos tâches de traitement audio. Final Cut Pro comprend aussi une large gamme d’effets audio personnalisés et d’effets Logic professionnels qui constituent des effets et des processeurs de traitement des signaux numériques utilisés pour colorer les enregistrements et les sources audio en temps réel ou faire adopter à leur tonalité une forme. Parmi les options de traitement les plus courantes, on trouve la réduction du bruit, la correction de la tonalité, les égalisateurs, les processeurs dynamiques et les réverbérations. Il existe également des fonctionnalités avancées telles que les délais, les modulations, les distorsions, l’amé- lioration des basses et les processeurs et utilitaires de modulation temporelle. Certains effets personnalisés compris dans Final Cut Pro combinent plusieurs effets de manière à créer un environnement sonore particulier, tel qu’une cathédrale. Vous pouvez ajouter des effets à des plans ou clips précis ou à un plan composé. Après avoir ajouté un effet, il est possible d’en ajuster les réglages à l’aide de l’inspecteur audio. Ajout d’effets audio à un plan ou clip 1 Dans la barre d’outils, cliquez sur le bouton Effets. 2 Dans le navigateur d’effets, sélectionnez un effet audio en vous aidant de l’un des éléments suivants: • Pour obtenir un aperçu une fois l’effet appliqué à l’audio tiré du plan ou clip sélectionné dans la timeline : placez le pointeur sur les vignettes d’effets audio. • Pour effectuer un preview influant sur la commande principale de l’effet: maintenez la touche Option enfoncée tout en plaçant le pointeur sur la vignette d’un effet audio. • Pour filtrer la liste des effets qui apparaissent à l’écran : saisissez le texte recherché dans le champ de recherche du navigateur d’effets. 3 Procédez de l’une des manières suivantes: • Faites glisser l’effet sur un clip audio (ou un plan vidéo contenant de l’audio) dans la timeline. • Double-cliquez sur l’icône de l’effet pour l’appliquer au plan ou clip sélectionné. L’effet s’affiche dans la section Effets de l’inspecteur audio et dans l’éditeur d’animation audio. Vous pouvez à présent ajuster l’effet.Chapitre 9 Montage audio 195 Désactivation d’un effet de plan Lorsque vous appliquez un effet audio à un plan, il vous est possible de désactiver cet effet (tout en conservant ses réglages) dans l’inspecteur audio ou l’éditeur d’animation audio. 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes: • Dans la section Effets de l’inspecteur audio, sélectionnez l’effet et cliquez sur sa case bleue. • Dans l’éditeur d’animation audio, sélectionnez l’effet et cliquez sur sa case verte. Suppression d’un effet de plan Lorsque vous appliquez un effet audio à un plan, il vous est possible de supprimer cet effet dans l’inspecteur audio ou l’éditeur d’animation audio. 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes: • Dans la section Effets de l’inspecteur audio, sélectionnez l’effet et appuyez sur la touche Supprimer. • Dans l’éditeur d’animation audio, sélectionnez l’effet et appuyez sur la touche Supprimer. Modification de l’ordre des effets Lorsque vous appliquez des effets audio à un plan, il vous est possible de modifier l’ordre dans lequel ils apparaissent dans l’inspecteur audio ou l’éditeur d’animation audio. 1 Dans la timeline, sélectionnez un plan auquel vous avez ajouté des effets. 2 Procédez de l’une des manières suivantes: • Dans la section Effets de l’inspecteur audio, faites glisser un effet vers le haut ou le bas. • Dans l’éditeur d’animation audio, faites glisser un effet vers le haut ou le bas. Copie de tous les effets d’un plan vers un autre Vous pouvez copier les effets et leurs réglages d’un plan ou clip à un autre. Cela peut être particulièrement utile si vous avez réalisé des ajustements aux effets d’un plan que vous souhaitez conserver et utiliser pour d’autres plans. 1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C). 2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les effets, puis choisissez Édition > Coller les effets (ou appuyez sur Commande +Option +V). Si plusieurs effets sont appliqués à un plan, l’ensemble de ceux-ci et leurs réglages sont appliqués. Copie des attributs d’un plan sélectionné vers un autre Il est possible de copier les attributs audio, tels que les réglages et les effets, d’un plan à l’autre. Par exemple, il vous est possible de copier les réglages de balance, ou tout autre effet ajouté à un plan, y compris des réglages d’image clé quelconques. Cette fonctionnalité vous permet de sélectionner les attributs de plan à appliquer. 1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C). 2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les attributs, puis choisissez Édition > Coller les attributs (ou appuyez sur Commande + Maj +V).Chapitre 9 Montage audio 196 3 Procédez de l’une des façons suivantes: • Pour appliquer tous les attributs audio du plan source : cochez la case Attributs audio. • Pour appliquer des attributs précis: cochez la case de chaque attribut à appliquer. • Si vous avez apporté des réglages d’images clés au plan source : choisissez « Conserver le contrôle du temps » ou « Adapter par étirement » dans le menu local Images clés. Si vous choisissez Adapter par étirement, Final Cut Pro adapte les images clés dans le temps pour respecter la durée du plan de destination. 4 Cliquez sur Coller. Pour en savoir plus sur l’utilisation des effets Logic inclus dans Final Cut Pro, consultez la page de référence des effets Logic de Final Cut Pro X : http://help.apple.com/finalcutpro-logiceffects/mac. Ajustement des effets audio Vous pouvez ajuster les paramètres d’un effet à l’aide des commandes de l’inspecteur audio ou de la fenêtre de l’effet. Si vous utilisez des effets Audio Units ou Logic, vous pouvez afficher une interface développée en ouvrant la fenêtre de l’effet. Pour en savoir plus sur l’utilisation des effets Logic inclus dans Final Cut Pro, consultez la page de référence des effets Logic de Final Cut Pro X : http://help.apple.com/finalcutpro-logiceffects/mac.Chapitre 9 Montage audio 197 Ajustement d’un effet audio 1 Sélectionnez dans la timeline un plan incluant un effet à adapter. 2 Localisez l’effet dans la section Effets de l’inspecteur audio. Bouton d’accès aux commandes 3 Pour afficher les paramètres d’un effet, procédez de l’une des manières suivantes: • Cliquez sur le bouton Commandes (à droite du nom de l’effet) pour afficher une fenêtre plus grande contenant des commandes avancées. • Cliquez sur le triangle d’affichage en regard des paramètres pour afficher les commandes dans l’inspecteur audio. Conseil : Vous pouvez ajuster les effets dans le temps à l’aide d’images clés dans l’inspecteur audio ou dans l’éditeur d’animation audio. 4 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins. Vous pouvez obtenir un aperçu de vos ajustements à l’aide du skimmer ou en reproduisant le clip dans la timeline. Pour rétablir les valeurs par défaut des réglages des effets, cliquez sur le bouton Réinitialiser de l’effet. Utilisation de préréglages d’effets De nombreux effets Audio Units et Logic comportent des préréglages intégrés adaptés à certains réglages ou environnements spécifiques. C’est le cas par exemple des préréglages réverbération qui simulent l’ambiance acoustique d’une petite pièce ou d’une vaste cathédrale. Les préréglages facilitent la prévisualisation et l’application rapide d’effets. 1 Localisez l’effet dans la section Effets de l’inspecteur audio. 2 Sélectionnez un préréglage dans le menu local Préréglage.Chapitre 9 Montage audio 198 Vous pouvez obtenir un aperçu de vos préréglages en utilisant le skimmer ou en lisant le plan dans la timeline. Pour rétablir les réglages par défaut de l’effet, choisissez Par défaut dans le menu local Préréglage. Modification et enregistrement de préréglages personnalisés Vous pouvez modifier des paramètres de préréglage en ajustant les commandes de l’effet. Pour conserver vos modifications, enregistrez-les en tant que préréglage personnalisé. 1 Localisez l’effet dans la section Effets de l’inspecteur audio. 2 Sélectionnez un préréglage dans le menu local Préréglage. 3 Pour afficher les paramètres d’un effet, procédez de l’une des manières suivantes: • Cliquez sur le bouton Commandes (à droite du nom de l’effet) pour afficher une fenêtre plus grande contenant des commandes avancées. • Cliquez sur le triangle d’affichage en regard des paramètres pour afficher les commandes dans l’inspecteur audio. 4 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins. Vous pouvez obtenir un aperçu de vos ajustements à l’aide du skimmer ou en reproduisant le clip dans la timeline. Lorsque vous modifiez les paramètres d’un préréglage, le menu local Préréglage indique que le préréglage a été modifié. Préréglages éditésChapitre 9 Montage audio 199 5 Pour enregistrer un préréglage modifié, choisissez Enregistrer ce préréglage dans le menu local Préréglage, puis saisissez un nom pour le nouveau préréglage. Les préréglages enregistrés apparaissent dans le menu local Préréglage. Pour rétablir les réglages par défaut de l’effet, choisissez Par défaut dans le menu local Préréglage. Suppression de préréglages personnalisés 1 Localisez l’effet dans la section Effets de l’inspecteur audio. 2 Dans le menu local Préréglage, choisissez l’option Afficher les préréglages utilisateur dans le Finder.Chapitre 9 Montage audio 200 3 Sélectionnez le ou les préréglages à supprimer dans la fenêtre du Finder, puis faites-les glisser dans la corbeille. Les préréglages personnalisés supprimés ne sont plus visibles dans le menu local Préréglage. Ajustement des effets audio à l’aide d’images clés Final Cut Pro vous permet d’utiliser des images clés pour créer de simples évolutions à l’audio dans le temps. Il est par exemple possible d’appliquer un fondu entrant ou sortant au volume ou à un effet au milieu du plan. Il vous suffit de placer des images clés aux points spécifiques d’un plan ou clip pour modifier la valeur du paramètre d’une amélioration audio ou d’un effet appliqué à ces endroits. Par exemple, vous pouvez appliquer une image clé sur le volume ou sur un effet tel qu’une réverbération ou une distorsion. Il est possible de définir des images clés pour ajuster le volume d’un plan directement dans la timeline ou dans l’inspecteur audio. Pour voir les images clés dans la timeline pour tous les autres effets, vous devez afficher l’éditeur d’animation audio. Pour en savoir plus sur les images clés appliquées à des plans vidéo, consultez Ajustement d’effets vidéo à l’aide d’images clés à la page 256. Ajout d’images clés à un plan 1 Procédez de l’une des manières suivantes: • Sélectionnez le plan dans la timeline, puis choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A). • En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Afficher l’animation audio » dans le menu contextuel. Si vous ajoutez des images clés uniquement pour réaliser des réglages de volume, passez à l’étape 4. Dans l’éditeur d’animation audio, chaque effet possède une zone séparée pour l’ajout d’images clés. Certains effets possèdent plusieurs paramètres et vous permettent d’ajouter des images clés indépendamment aux différents paramètres. Ils apparaissent dans l’éditeur d’animation audio avec un triangle en regard du nom de l’effet et dans l’inspecteur audio sous forme de commandes de paramètre supplémentaires. 2 Sélectionnez l’effet auquel vous souhaitez ajouter des images clés dans l’éditeur d’animation audio ou dans la section Effets de l’inspecteur audio.Chapitre 9 Montage audio 201 3 Procédez de l’une des manières suivantes: • Pour développer les paramètres dans l’éditeur d’animation audio : cliquez sur le triangle pour choisir un paramètre précis dans le menu local, ou sélectionnez Tous pour voir toutes les images clés. • Pour développer les paramètres dans l’inspecteur audio : Cliquez sur le triangle d’affichage situé en regard de Paramètres pour l’effet en question. 4 Procédez de l’une des manières suivantes pour chaque paramètre d’effet : • Dans l’éditeur d’animation audio (ou le clip audio pour le volume uniquement): tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande horizontale de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K). Les images clés destinées au réglage du volume s’affichent sous forme de losanges blancs. Marquage d’image clé indiquant un changement du volume. Pour les effets comportant plusieurs paramètres, les images clés du paramètre sélectionné s’affichent sous forme de losanges blancs, alors que celles des autres paramètres apparaissent en gris. Les images clés s’affichent sous forme de losanges blancs pour tous les paramètres lorsque vous sélectionnez Tous dans le menu local Effet. Une paire de losanges indique que vous avez ajouté des images clés à plusieurs paramètres au point indiqué. • Dans l’inspecteur audio : placez la tête de lecture dans la timeline à l’endroit où vous souhaitez ajouter une image clé, puis cliquez sur le bouton Image clé (ou appuyez sur Option + K). Bouton d’image cléChapitre 9 Montage audio 202 Une fois l’image clé ajoutée, le bouton Image clé devient jaune, indiquant que la tête de lecture est positionnée sur une image clé. Lorsque vous déplacez la tête de lecture dans la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur audio pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’). Cliquez sur la flèche correspondante pour accéder à l’image clé précédente ou suivante. 5 Ajoutez des images clés si nécessaire. Conseil : après avoir ajouté une image clé, il vous est possible d’en ajouter une autre automatiquement en déplaçant la tête de lecture sur la timeline, puis en ajustant la valeur de paramètre de l’effet (ou le curseur du volume lors de l’animation du volume à l’aide d’images clés) dans l’inspecteur audio. Ajout automatique d’images clés sur une zone sélectionnée Pour ajuster le volume d’un plan de la timeline, vous pouvez utiliser l’outil Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée. Si un effet est assorti d’un triangle d’affichage dans l’éditeur d’animation audio, vous pouvez utiliser l’outil Sélectionner ou Sélection de plage pour ajouter des images clés sur une zone sélectionnée. 1 Procédez de l’une des manières suivantes: • Sélectionnez le plan dans la timeline, puis choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A). • En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Afficher l’animation audio » dans le menu contextuel. Si vous ajoutez des images clés uniquement pour réaliser des réglages de volume, passez à l’étape 3. 2 Sélectionnez un effet, puis cliquez sur le triangle d’affichage pour le développer dans l’éditeur d’animation audio. Triangle d’affichageChapitre 9 Montage audio 203 3 Dans la timeline, effectuez l’une des opérations suivantes: • Si vous n’ajustez que le volume : Choisissez Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche R). Le pointeur prend la forme de l’outil Sélection de plage . • Si vous ajustez un effet dans l’éditeur d’animation audio : choisissez Sélectionner ou Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A pour Sélectionner ou sur la touche R pour Sélection de plage). 4 Faites glisser le pointeur sur la zone où vous voulez ajuster le volume ou l’effet.Chapitre 9 Montage audio 204 5 Ajustez le volume ou l’effet sur la plage en déplaçant verticalement la commande horizontale. Les images clés sont automatiquement créées le long des points d’ajustement dans la plage. Ajustement des images clés dans l’éditeur d’animation audio Vous pouvez déplacer horizontalement des images clés dans l’éditeur d’animation audio. Si un effet présente un triangle d’affichage, vous pouvez développer la présentation de l’effet et déplacer verticalement les images clés pour modifier la valeur du paramètre. 1 Sélectionnez une image clé. 2 Procédez de l’une des manières suivantes: • Pour repositionner l’image clé dans l’éditeur d’animation audio, faites-la glisser vers la gauche ou la droite. Ce faisant, la valeur de timecode apparaît.Chapitre 9 Montage audio 205 • Si un effet présente un triangle d’affichage, cliquez sur ce dernier (ou double-cliquez sur l’effet) pour développer la présentation de l’effet. Triangle d’affichage Une fois l’effet développé, vous pouvez faire glisser l’image clé verticalement pour modifier la valeur du paramètre de l’effet. Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé. Pour ajouter une autre image clé, maintenez la touche Option enfoncée et cliquez (ou appuyez sur Option + K) sur la commande de l’effet à l’endroit où vous voulez ajouter l’image clé. Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement. Ajustement des images clés dans l’inspecteur audio Pour de nombreux effets, vous pouvez ajuster la valeur du paramètre des différentes images clés à l’aide de l’inspecteur audio. 1 Sélectionnez ou placez la tête de lecture sur une image clé, puis ajustez la valeur du paramètre dans l’inspecteur audio. 2 Pour modifier la valeur de l’image clé suivante, accédez à celle-ci et ajustez à nouveau sa valeur. Ajustement simultané de toutes les images clés dans l’éditeur d’animation audio m Maintenez les touches Commande et Option enfoncées et faites glisser soit une image clé, soit la commande de l’effet verticalement.Chapitre 9 Montage audio 206 Toutes les images clés sont alors ajustées de la même amplitude, préservant ainsi la forme créée par les ajustements apportés par images clés. Avant Après Affichage d’un seul effet à la fois dans l’éditeur d’animation audio Vous pouvez condenser l’éditeur d’animation audio pour afficher un seul effet à la fois. Cela peut être utile si vous appliquez plusieurs effets à un plan et que vous souhaitez conserver de l’espace à l’écran. 1 Choisissez Plan > Solo de l’animation (ou appuyez Maj + Contrôle +V). 2 Dans l’éditeur d’animation audio, cliquez sur le triangle en regard du nom de l’effet pour choisir un effet dans le menu local. Remarque : Lorsque l’option « Solo de l’animation » est activée, vous ne pouvez pas supprimer d’effet depuis l’éditeur d’animation audio. Pour désactiver « Solo de l’animation », choisissez Plan > Solo de l’animation (ou appuyez sur Maj + Contrôle +V). Suppression d’images clés Procédez de l’une des manières suivantes: m Sélectionnez une image clé dans l’éditeur d’animation audio et appuyez sur la touche Supprimer. m Accédez à une image clé dans l’inspecteur audio, puis cliquez sur le bouton Image clé. Bouton d’image cléChapitre 9 Montage audio 207 Masquage de l’animation audio Procédez de l’une des manières suivantes: m Sélectionnez le plan dans la timeline, puis choisissez Plan > Masquer l’animation audio (ou appuyez sur Contrôle + A). m Cliquez sur le bouton de fermeture situé dans l’angle supérieur gauche de l’éditeur d’animation audio. m En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Masquer l’animation audio » dans le menu contextuel. Outils et techniques audio Amélioration de l’audio Final Cut Pro comprend plusieurs outils puissants d’analyse et d’amélioration des parties audio des plans, entre autres ceux présentés ci-dessous. • Tonalité : améliore le signal audio principal et le rend plus uniforme. • Suppression du bruit de fond réduit le bruit d’arrière-plan. • Suppression du bourdonnement: réduit le bourdonnement habituel d’origine électrique à 50 ou 60 Hz. Vous pouvez analyser l’audio et ajuster la tonalité, le bruit de fond et les bourdonnements à l’aide de l’inspecteur d’améliorations audio. Vous pouvez aussi analyser et corriger des problèmes audio lors de l’importation d’un plan. La section Améliorations audio de l’inspecteur audio inclut également les éléments suivants: • Égalisation : améliore les hautes fréquences, les fréquences moyennes et les basses fréquences. Toutes les améliorations sont conçues pour corriger les problèmes audio les plus courants, automatiquement ou par des ajustements mineurs. Remarque : Lorsque vous importez un plan, la fonction d’analyse et de correction audio résout uniquement les problèmes audio importants. Si le plan contient des problèmes moyennement importants, ceux-ci s’affichent en jaune à côté de l’analyse audio de la section Amélioration audio de l’inspecteur audio une fois le plan importé. Pour corriger ces problèmes, vous devez améliorer automatiquement l’audio dans l’inspecteur d’améliorations audio. Analyse de l’audio 1 Sélectionnez un clip audio ou un plan vidéo qui contient de l’audio dans la timeline. 2 Pour analyser l’audio, effectuez l’une des opérations suivantes: • Choisissez Fenêtre > Aller à > Afficher les améliorations audio (ou appuyez sur Commande + 8). • Choisissez « Afficher les améliorations audio » dans le menu local Améliorations de la barre d’outils. • Dans l’inspecteur audio, cliquez sur le bouton de l’inspecteur d’améliorations audio à côté d’Analyse audio de la section Améliorations audio. (Le bouton change de couleur si des ajustements ont été effectués.)Chapitre 9 Montage audio 208 L’inspecteur des améliorations audio s’affiche. Après l’analyse, des indicateurs apparaissent à côté de chaque amélioration pour afficher les résultats: • un signe rouge indique un problème sévère ; • un triangle d’avertissement jaune indique un problème potentiel ; • une coche verte indique qu’il n’y a pas de problème. 3 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent . Vous pouvez modifier automatiquement ou manuellement les réglages des améliorations pour corriger des problèmes. Amélioration automatique de l’audio Vous avez la possibilité d’améliorer automatiquement l’audio pour analyser et corriger des problèmes de tonalité, de bruit de fond ou de bourdonnement. 1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans la timeline. 2 Procédez de l’une des manières suivantes: • Choisissez Modifier > Amélioration de l’audio automatique. • Choisissez « Amélioration de l’audio automatique » dans le menu local Améliorations de la barre d’outils. • Cliquez sur le bouton Amélioration automatique en bas de l’inspecteur d’améliorations audio. 3 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent . À l’issue de l’analyse, une coche verte s’affiche à côté d’une amélioration, indiquant que le plan a été analysé en vue de l’amélioration en question. Des détails s’affichent si une correction est appliquée automatiquement. Une coche bleue s’affiche à côté de chaque amélioration activée pour appliquer une correction. Décochez la case pour désactiver une amélioration. Application manuelle d’améliorations Une fois l’analyse de l’audio terminée, vous pouvez ajuster les améliorations manuellement. 1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans la timeline. 2 Pour afficher l’inspecteur d’améliorations audio, procédez de l’une des façons suivantes: • Choisissez Fenêtre > Aller à > Afficher les améliorations audio (ou appuyez sur Commande + 8). • Choisissez « Afficher les améliorations audio » dans le menu local Améliorations de la barre d’outils. • Dans l’inspecteur audio, cliquez sur le bouton de l’inspecteur d’améliorations audio à côté d’Analyse audio de la section Améliorations audio. (Lorsque vous réalisez des ajustements, le bouton change de couleur.)Chapitre 9 Montage audio 209 3 Pour activer une amélioration, cliquez sur son icône ou cochez sa case (celle-ci est bleue lorsque l’amélioration est activée). Case bleue 4 Si nécessaire, procédez de l’une des façons suivantes: • Pour modifier les réglages Tonalité : déplacez les curseurs Quantité et Uniformité exprimés en pourcentages. Le curseur Quantité augmente ou diminue la tonalité globale (compression) du plan ou du clip, tandis que le curseur Uniformité augmente ou diminue la plage dynamique concernée. • Pour changer le pourcentage de suppression du bruit de fond : faites glisser le curseur Quantité. • Pour supprimer le bourdonnement: choisissez la valeur 50 Hz ou 60 Hz pour Suppression du bourdonnement. 5 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent . Ajustement de l’égalisation 1 Sélectionnez le plan dans la timeline. 2 Dans la section Améliorations audio de l’inspecteur audio, choisissez un préréglage d’égalisation dans le menu local Égalisation ou cliquez sur le bouton Commandes pour réaliser des ajustements manuels. Bouton d’accès aux commandes Choisissez un préréglage dans ce menu local. Si vous voulez qu’un plan sonne comme un autre plan, vous pouvez faire correspondre l’audio. Synchronisation automatique de l’audio et de la vidéo Final Cut Pro est en mesure d’analyser et de synchroniser automatiquement les clips audio et les plans vidéo de votre projet. Par exemple, si vous sélectionnez deux plans vidéo et trois clips audio de différentes sources enregistrées lors d’une même prise, Final Cut Pro analyse et synchronise ensemble automatiquement les plans sous forme de nouveau plan dans le navigateur d’événements.Chapitre 9 Montage audio 210 Final Cut Pro analyse les plans pour rechercher les points synchrones, tels que des marqueurs que vous avez ajoutés, le timecode, la date de création des fichiers et le contenu audio. Si aucun point synchrone n’est trouvé, les plans sont synchronisés à leur point de départ respectif. Plans sélectionnés dans le navigateur d’événements Nouveau plan contenant des plans synchronisés Contenu du plan synchronisé Scénario principal pour le plan synchronisé Plans connectés Synchronisation des plans 1 Sélectionnez les clips audio et les plans vidéo à synchroniser dans le navigateur d’événements. 2 Choisissez Plan > Synchroniser les plans (ou appuyez sur les touches Commande +Option + G). Les plans synchronisés portent alors l’intitulé de « Plan synchronisé » dans le navigateur d’événements. Ces modifications ne se répercutent pas sur les plans originaux. Si votre plan synchronisé comprend des canaux audio qui ne sont plus utilisés, vous pouvez les désactiver. Consultez Configuration des canaux audio à la page 176.Chapitre 9 Montage audio 211 Correspondance des réglages d’égalisation audio La fonctionnalité « Faire correspondre l’audio » utilise l’égalisation pour faire correspondre le son d’un plan sélectionné à celui d’un autre plan. Cela s’avère particulièrement utile lorsque vous possédez divers clips audio enregistrés dans des environnements différents et que vous souhaitez qu’ils adoptent un son similaire. Correspondance audio 1 Sélectionnez le ou les plans que vous souhaitez modifier dans la timeline. 2 Procédez de l’une des manières suivantes: • Choisissez Modifier > Faire correspondre l’audio. • Choisissez Correspondance dans le menu local Égalisation de la section Améliorations audio de l’inspecteur audio. • Choisissez « Faire correspondre l’audio » dans le menu local Améliorations de la barre d’outils. 3 Cliquez pour sélectionner le plan ou clip auquel vous souhaitez faire correspondre le son. 4 Cliquez sur Appliquer la correspondance. Une fois la correspondance appliquée, vous pouvez modifier les réglages dans la section Améliorations audio de l’inspecteur audio. Suppression de la correspondance audio 1 Sélectionnez le plan dans la timeline. 2 Dans la section Améliorations audio de l’inspecteur audio, choisissez un autre réglage d’égalisation dans le menu local Égalisation. Pour supprimer toute égalisation, choisissez le réglage Plat. Conservation de la tonalité lors de la resynchronisation des plans Par défaut, Final Cut Pro préserve la tonalité lors de la resynchronisation des plans afin que le son ne soit pas plus aigu en lecture rapide ou plus grave en lecture lente. Vous pouvez activer ou désactiver cette fonctionnalité avant ou après la resynchronisation d’un plan. Activation ou désactivation de la fonction Conserver la tonalité 1 Dans la timeline, sélectionnez un plan complet, ou une plage d’un plan, dont vous souhaitez modifier la vitesse. 2 Choisissez Conserver la tonalité dans le menu local Resynchronisation de la barre d’outils. Une coche à gauche du nom de la commande indique que la fonctionnalité Conserver la tonalité est activée. Pour la désactiver, sélectionnez à nouveau Conserver la tonalité.10 212 Présentation des transitions, des titres, des effets et des générateurs Il vous est possible d’ajouter facilement des effets spéciaux à de la vidéo, à de l’audio et à des photos inclus dans vos projets. Final Cut Pro propose plusieurs types d’effets et de commandes: • Transitions: ajoutez un effet entre des plans afin de diriger les changements d’un plan à un autre. Consultez Présentation des transitions à la page 213. • Titres: ajoutez du texte à n’importe quel point de votre projet. Consultez Présentation des titres à la page 222. • Effets: exploitez un large éventail d’effets applicables à vos plans vidéo et à vos clips audio, d’effets les plus subtils (du grain ajouté à une vidéo ou un effet de couleur, ou un égaliseur graphique appliqué à l’audio) aux plus marqués (effet du clapotis de gouttelettes ou vision d’un insecte appliqué à la vidéo, ou encore une tonalité plus élevée de l’audio). Il existe deux types principaux d’effets: • Effets intégrés: ces effets standard vous permettent de redimensionner, déplacer, faire pivoter, effectuer un trim, incliner, rogner ou appliquer l’effet de zoom Ken Burns à un plan vidéo. Ces effets sont déjà intégrés à chaque plan affiché sur la timeline ; vous n’avez dès lors qu’à les ajuster. Consultez Présentation des effets intégrés à la page 228. • Effets de plan : ceux-ci sont conçus pour modifier des plans vidéo et des clips audio dans le but de corriger des problèmes, de créer des atmosphères nouvelles ou de générer des sons inédits. Consultez Présentation des effets de plans à la page 240. • Générateurs: ajoutez un élément particulier comme un plan repère d’emplacement, un générateur de timecode ou un compte à rebours, ou ajoutez des couleurs, des motifs ou des arrière-plans animés à votre projet. Consultez Présentation des générateurs à la page 246. • Commandes à l’écran : personnalisez de nombreux effets à l’aide des commandes à l’écran. Consultez Présentation des commandes à l’écran à la page 251. • Animation vidéo : faites varier les réglages des effets au fur et à mesure de la lecture d’un plan. Consultez Présentation de l’animation vidéo à la page 256. Vous pouvez ajouter des effets à n’importe quel plan repris sur la timeline. Une fois ajoutés (ou ajustés dans le cas d’effets intégrés), vous pouvez personnaliser les effets par le biais des commandes prévues dans un inspecteur, des commandes à l’écran du visualiseur et celles dont les éditeur d’animation vidéo et éditeur d’animation audio sont dotés. Il vous est également possible de tester plusieurs versions d’un effet par le biais d’auditions. Vous pouvez ouvrir la plupart des effets et générateurs depuis Motion, une application Apple conçue pour fonctionner avec Final Cut Pro, afin d’en personnaliser et d’en enregistrer des versions spécialisées. Ajout de transitions, de titres, d’effets et de générateursChapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 213 Ajout et réglage de transitions Présentation des transitions Vous avez la possibilité d’ajouter des fondus enchaînés et autres effets de transition entre des coupes pour donner de l’attrait à votre programme. Les transitions remplacent un plan par un autre sur une durée donnée ; lorsqu’un plan se termine, un autre le remplace. L’on rencontre trois types de transitions vidéo particulièrement courants dans les projets vidéo : les fondus, les fondus enchaînés et les balayages. Vous pouvez ajouter des transitions audio uniquement à des montages audio au sein d’un scé- nario. Il peut s’agir d’un fondu entrant, sortant ou enchaîné. Remarque : Si vous ajoutez une transition à un plan vidéo contenant de l’audio, une transition en fondu enchaîné est automatiquement appliquée à l’audio. Si l’audio est dissocié ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition vidéo. Création des transitions Les transitions nécessitent le chevauchement de vidéo entre les plans, de chaque côté du point de montage. Une transition d’une seconde impose une seconde de vidéo tirée de la fin du plan de gauche et une seconde de vidéo reprise du début du plan de droite. En appliquant une transition à un point de montage, Final Cut Pro tente d’utiliser la vidéo supplémentaire tirée de chacun des plans pour créer la superposition. Ces sections supplémentaires (inutilisées) de plans sont connues sous le nom de poignées de média. L’image suivante représente un plan doté de gestionnaires de média de chaque extrémité et un plan sans autre vidéo supplémentaire, ou gestionnaire de média, à son début. Plan sélectionné dans le navigateur d’événements Aucune poignée de début du média Poignée de début du média Poignée de fin du média Poignée de fin du média Il se peut que la vidéo de gestionnaire de média ne soit pas adaptée à son exploitation dans une transition. Par exemple, si la vidéo comprend des parties inutilisables, telles qu’un clap, celles-ci sont alors visibles dans le projet. Vous pouvez définir la durée par défaut des transitions. Consultez Définition des valeurs par défaut de transition à la page 214.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 214 L’illustration ci-dessous indique comment créer des transitions lorsque les plans, d’un côté ou d’un autre du point de montage, possèdent des poignées de média. La transition est placée de sorte qu’elle s’étend sur les plans; une moitié de la transition vient coïncider sur chacun des deux plans adjacents. Le média inutilisé issu de la fin de chaque plan est ainsi ajouté afin de remplir la transition. La durée globale du projet s’en voit inchangée. Montage sans transition Poignée de média Plan 1 Plan 2 Plan 1 Plan 2 Poignée de média Montage avec transition (poignées de média utilisées) Si un ou les deux plans ne disposent pas de contenu supplémentaire suffisant (poignées de média) pour prendre en charge une transition de la durée par défaut, l’option de superposer du média de votre projet vous est proposée pour créer la transition. Final Cut Pro exploite toutes les poignées de média disponibles puis fait coïncider le média nécessaire pour créer la transition. L’illustration ci-dessous reprend la création d’une transition sans poignée de média. Les deux plans sont destinés à se chevaucher et la transition se voit placée sur la région de superposition. Il s’agit dès lors d’un montage de superposition (ripple trim) et la durée totale de votre projet s’en trouve réduite. Montage sans transition Plan 1 Plan 2 Plan 1 Plan 2 Montage avec transition (aucune poignée de média utilisée) Définition des valeurs par défaut de transition Vous pouvez définir la transition par défaut utilisée grâce au raccourci clavier Commande +T. Il vous est également possible de définir la durée par défaut des transitions. Définition de la transition par défaut 1 Dans la barre d’outils, cliquez sur le bouton Transitions. 2 Cliquez sur une transition tout en maintenant la touche Contrôle enfoncée, puis choisissez Par défaut dans le menu contextuel. Définition de la durée par défaut Vous devez définir la durée par défaut des transitions dans les préférences de Final Cut Pro. 1 Choisissez Final Cut Pro > Préférences, ou appuyez sur Commande +Virgule (,), puis cliquez sur Montage.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 215 2 Utilisez la case de valeur « La durée est de x secondes » pour régler la durée exprimée en secondes de toutes les transitions que vous ajoutez à la timeline. Vous avez la possibilité d’adapter la durée d’une transition après que cette dernière ait été placée sur la timeline. Remarque : Certaines transitions disposent d’une durée définie et ne sont pas affectées par ce réglage. Ajout de transitions au projet Plusieurs méthodes vous sont proposées pour ajouter des transitions à un projet. Une fois une transition ajoutée, vous avez la possibilité de régler ses paramètres. Vous pouvez également modifier l’effet de transition dans Motion. Ajout d’un fondu croisé 1 Choisissez l’outil de sélection dans le menu local Outils accessible à partir de la barre d’outils (illustré ci-dessous), puis cliquez sur le bord d’un plan (appelé point de montage) dans la timeline. L’un des bords ou les deux bords de plan sont mis en surbrillance. Remarque : Si vous sélectionnez un plan entier sur la timeline plutôt qu’un simple point de montage, les transitions se voient alors ajoutées à chaque extrémité du plan sélectionné. 2 Choisissez Édition > Ajouter un fondu enchaîné (ou appuyez sur Commande +T). Le fondu croisé est inséré en s’appuyant sur le réglage « Appliquer les transitions utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la page 214. Si le plan vidéo contient une piste audio, une transition en fondu enchaîné s’applique à l’audio.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 216 Ajout ou modification d’une transition à l’aide du navigateur de transitions 1 Dans la barre d’outils, cliquez sur le bouton Transitions. 2 Sélectionnez une transition. Placez le pointeur sur les vignettes des transitions pour obtenir un aperçu de chacune d’entre elles. De plus, il vous est possible de taper du texte dans le champ de recherche pour filtrer la liste des transitions qui apparaissent à l’écran. 3 Procédez de l’une des manières suivantes: • Pour appliquer la transition à un point de montage : faites-y glisser la transition. • Pour remplacer une transition déjà placée dans le projet: faites-y glisser la transition. Conseil : Une autre solution consiste à sélectionner tout d’abord le point de montage, puis de double-cliquer sur une transition dans le navigateur de transitions pour l’appliquer. La transition est alors ajoutée au montage en s’appuyant sur le réglage « Appliquer les transitions utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la page 214. Si le plan vidéo contient une piste audio, une transition en fondu enchaîné s’applique à l’audio. Ajout d’un fondu enchaîné audio automatique Si un plan vidéo contient de l’audio, la piste audio se voit automatiquement appliquée une transition de fondu enchaîné au moment où une transition vidéo est appliquée. Si l’audio est dissocié ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition vidéo. Suivez ces étapes pour ajouter un fondu enchaîné audio entre des clips audio dissociés d’un scénario connecté. 1 Créez un scénario uniquement audio connecté au scénario principal. Pour en savoir plus sur la création de scénarii, consultez Ajout de scénarios à la page 274. 2 Faites appel à l’outil de sélection, cliquez sur le bord d’un plan (à savoir un point de montage) dans le scénario. L’un des bords ou les deux bords de plan sont mis en surbrillance. Remarque : Si vous sélectionnez dans le scénario un plan entier plutôt qu’un simple point de montage, les transitions se voient alors ajoutées à chaque extrémité du plan sélectionné.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 217 3 Pour insérer un fondu enchaîné, choisissez Édition > Ajouter un fondu enchaîné (ou appuyez sur Commande +T). Le fondu enchaîné est inséré en s’appuyant sur le réglage « Appliquer les transitions utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la page 214. Vous pouvez configurer les réglages de fondu entrant et de fondu sortant dans l’inspecteur de transition. Copie d’une transition vers d’autres points de montage par le biais du menu Édition 1 Sélectionnez une transition sur la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C). 2 À l’aide de l’outil Sélectionner, cliquez sur le bord d’un plan (un point de montage) dans la timeline, puis choisissez Édition > Coller (ou appuyez sur Commande +V). Remarque : Si vous copiez une transition et que vous la collez sur un point de montage comportant déjà une transition, la transition existante est supprimée. Copie d’une transition vers d’autres points de montage par glisser-déposer m Sélectionnez une transition dans la timeline, appuyez sur la touche Option, puis faites glisser la transition sur un autre point de montage. Remarque : Si vous copiez une transition et que vous la collez sur un point de montage comportant déjà une transition, la transition existante est supprimée. Suppression de transitions du projet Vous avez la possibilité de supprimer une transition en toute simplicité, rétablissant ainsi le point de montage en une simple coupe. Suppression d’une transition 1 Sélectionnez les transitions de votre choix sur la timeline. 2 Appuyez sur la touche Supprimer. Les transitions sélectionnées sont alors supprimées et leurs points de montage sont convertis en de simples coupes. Important : Si une transition supprimée faisait appel à une superposition complète, le point de montage coïncide alors avec le point central où se trouvait la transition avant d’être supprimée, et non l’emplacement d’origine avant l’application de la transition. Vous pouvez passer par Édition > Annuler pour supprimer la transition et rétablir les plans à leur durée d’origine. Pour en savoir plus, consultez Création des transitions à la page 213. Ajustement des transitions sur la timeline Il vous est possible de régler la durée d’une transition et de la déplacer sur la timeline. Vous avez également la possibilité d’effectuer un trim de l’un des deux plans situés sous la transition. Modification de la durée d’une transition 1 Sélectionnez une transition dans la timeline. 2 Procédez de l’une des manières suivantes: • Choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle +D), saisissez la durée voulue (celle-ci s’affiche dans le panneau de contrôle accessible depuis la barre d’outils) et appuyez sur Retour.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 218 • Faites glisser l’une des extrémités de la transition en l’éloignant du centre de celle-ci pour la rallonger ou vers l’intérieur pour la raccourcir. Faites glisser l’un des bords de la transition pour adapter sa durée. La transition conserve son point central et effectue un trim équivalent de chaque côté et mentionne un nombre indiquant combien d’images sont ainsi ajoutées ou soustraites de la durée de la transition. Déplacement de la transition Le déplacement d’une transition réalise en fait un montage roll sous la transition, ajoutant ainsi du contenu à un plan sous-jacent tout en supprimant du contenu de l’autre plan. La durée globale du projet ne se voit pas affectée par cette modification. De plus, vous ne pouvez déplacer la transition que si des gestionnaires de média suffisants sont mis à disposition du plan en cours d’extension. Plan 2 Poignée de média Montage avec transition Poignée de média Plan 1 Plan 2 Poignée de média Poignée de média Plan 1 Montage avec transition déplacée vers la droite 1 Sélectionnez une transition dans la timeline. 2 Faites glisser l’icône de trim de la transition sur la zone supérieure du centre de la transition. Faites défiler le montage sous la transition. Le montage sous la transition se convertit en montage roll : un plan est étendu et l’autre raccourci. Un nombre indique alors le nombre d’images à gauche (nombre négatif) ou à droite (nombre positif) affectées par le montage roll sous la transition. Vous pouvez aussi utiliser l’éditeur de précision pour effectuer un montage roll de la transition.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 219 Trim d’un plan sous une transition La transition comprend des icônes qui simplifient le trim à gauche ou à droite du plan sans affecter pour autant la transition. 1 Sélectionnez une transition dans la timeline. 2 Faites glisser l’une des icônes de trim situées dans la zone supérieure gauche ou supérieure droite de la transition. Faites glisser pour effectuer un trim sur la droite du point de départ du plan. Faites glisser pour effectuer un trim sur la gauche du point d’arrivée du plan. Le déplacement de l’icône de trim en haut à gauche règle le point de départ du plan de droite ; faire glisser celle qui se trouve dans la partie supérieure droite adapte le point d’arrivée du plan de gauche. Un nombre indique alors le nombre d’images ajoutées (nombres négatifs) ou soustraites (nombres positifs) à la durée du plan. Le trim ne modifie pas la durée de la transition, mais il modifie celle du projet. Vous pouvez aussi utiliser l’éditeur de précision pour effectuer un trim des plans situés sous la transition. Ajustement des transitions dans l’inspecteur de transition et dans le visualiseur Il vous est possible de régler une transition à l’aide des commandes de l’inspecteur de transition et du visualiseur. Ajustement d’une transition par le biais de l’inspecteur de transition et du visualiseur 1 Si l’inspecteur de transition n’est pas déjà affiché à l’écran, choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). 2 Dans la timeline, sélectionnez la transition à régler. Pour cet exemple, utilisons la transition Cercle.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 220 Le visualiseur affiche tout réglage à l’écran que vous opérez en faisant glisser les poignées. L’inspecteur de transition affiche les autres paramètres que vous pouvez ajuster. En outre, certaines transitions disposent d’un cadre d’image vous permettant de sélectionner une image vidéo apparaissant dans le cadre de la transition. Faites glisser les commandes à l’écran pour ajuster les réglages de transition sélectionnés. Dans l’exemple ci-dessus, vous pouvez faire glisser le cercle blanc dans le visualiseur (appelé une commande à l’écran) pour positionner le centre du balayage circulaire, et le carré pour régler la largeur de la bordure (dans notre cas, son adoucissement). L’inspecteur de transition comprend un réglage pour les proportions et le traitement de la bordure du balayage circulaire (notamment la couleur de la bordure si vous choisissez un bord uni). De plus, de nombreuses transitions possèdent des paramètres vous permettant de les animer avec des images clés. Par exemple, vous pouvez faire bouger le centre de la transition Cercle au fur et à mesure de la lecture du plan. Pour en savoir plus sur l’ajustement de fondus enchaînés dans l’inspecteur de transition, consultez Application d’un fondu entrant ou sortant à l’audio à la page 181. Ajustement des transitions avec plusieurs images Plusieurs de celles-ci regroupent des zones remplies à l’aide d’images fixes issues des plans de chaque côté de la transition. Prenons l’exemple de la transition « Panoramique complet à droite » (l’une des transitions de la catégorie Tableau d’affichage). Cette image porte le numéro de poignée 4 sur la timeline.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 221 Les zones sont numérotées et mises en corrélation aux points numérotés autour de la transition sur la timeline. Ajustement des transitions avec des points numérotés 1 Dans la timeline, sélectionnez la transition dotée de points numérotés. 2 Placez la tête de lecture sur la transition jusqu’à ce qu’apparaisse une zone portant le même nombre que celui des poignées numérotées reprises sur la timeline. 3 Faites glisser la poignée numérotée pour sélectionner l’image destinée à remplir la zone. 4 Continuez jusqu’à obtenir les images choisies pour l’intégralité des zones. Création de versions de transitions spécialisées dans Motion De nombreuses transitions ont été élaborées dans Motion, une application Apple conçue pour fonctionner avec Final Cut Pro. Vous pouvez ouvrir ces transitions dans Motion, y apporter des modifications et enregistrer ces dernières sous forme de nouveau fichier de transition qui s’affiche ensuite dans le navigateur de transitions. Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur. Modification d’une transition dans Motion 1 Dans la barre d’outils, cliquez sur le bouton Transitions. 2 Dans le navigateur de transitions, cliquez tout en maintenant la touche Contrôle enfoncée sur la transition à modifier, puis choisissez «Ouvrir une copie dans Motion » dans le menu contextuel. Motion se lance automatiquement et ouvre le projet de la transition. 3 Modifiez le projet de transition. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion. 4 Choisissez Fichier > Enregistrer sous (ou appuyez sur Commande + Maj + S), attribuez un nom à la nouvelle transition (appelée modèle dans Motion), affectez-la à une catégorie (créez-en une au besoin), choisissez un thème (le cas échéant), puis cliquez sur Publier. Remarque : Si vous choisissez Fichier > Enregistrer, la transition s’enregistre alors en reprenant le même nom complété du suffixe « copie ».Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 222 Ajout et réglage de titres Présentation des titres Les titres jouent un rôle clé car ils constituent un encadrement important (tels que les titres des génériques de début et de fin) et parce qu’ils transmettent les différentes dates et heures au sein du film. Les titres, spécialement ceux du tiers inférieur de l’écran, sont également utilisés dans les documentaires et les vidéos d’information, afin d’apporter des détails nécessaires quant aux sujets ou produits présentés à l’écran. Lors du montage, vous pouvez également ajouter des notes et des repères d’emplacement à votre projet. Les sous-titres peuvent s’avérer vitaux pour les films tournés dans une langue différente de celle du public. Vous pouvez créer des titres et des génériques dans Final Cut Pro avec des effets. Les titres sont des plans synthétisés (semblables à des générateurs) produits par Final Cut Pro. Les plans de titre ne font référence à aucun média stocké sur disque dur. Lorsque vous ajoutez un titre sous forme de plan connecté directement au-dessus d’un autre plan, celui-ci apparaît comme arrière-plan du texte, vous évitant ainsi d’avoir à réaliser un autre compositing pour créer l’effet. Ajout de titres au projet Passez par le navigateur de titres pour ajouter des titres aux plans de votre projet. Après avoir ajouté du texte, vous pouvez en modifier le style pour élaborer le titre. Ajout d’un titre à un plan du projet 1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le titre. 2 Cliquez sur l’outil Titres dans la barre d’outils (ou appuyez sur Commande + 5). 3 Procédez de l’une des façons suivantes: • Pour ajouter un titre à partir du navigateur de titres: double-cliquez sur le titre. Un plan de titre est ajouté à l’emplacement de la tête de lecture. • Pour ajouter un titre standard : choisissez Édition > Connecter un titre > Titre standard (ou appuyez sur Contrôle +T). Un plan de titre « Titre standard » (sans effets ou animations) est ajouté à l’emplacement de la tête de lecture. • Pour ajouter un tiers inférieur standard : choisissez Édition > Connecter un titre > Tiers inférieur standard (ou appuyez sur Maj + Contrôle +T). Le plan de titre de bas d’écran « Tiers inférieur standard » (sans effets ou animations) est ajouté à l’emplacement de la tête de lecture. Il se voit connecté au plan dans le scénario principal, au niveau de la tête de lecture. Sur le plan visuel, le titre est superposé au plan dans le scénario principal à l’emplacement de la tête de lecture. Si cette dernière ne se situe pas sur un plan, le titre est alors placé par défaut sur l’arrière-plan. Ajout d’un titre en tant que plan dans le scénario principal Il existe deux façons pour ajouter un titre dans le scénario principal sous forme de plan. Vous pouvez soit insérer un plan de titre au niveau du point de montage entre deux plans, soit remplacer un plan existant dans le scénario principal par un plan de titre.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 223 m Pour ajouter un titre entre des plans sur la timeline : depuis le navigateur de titres, faites glisser un plan de titre sur le point de montage situé entre les plans à l’endroit où vous voulez qu’il apparaisse. m Pour remplacer un plan existant sur la timeline par un plan de titre : faites glisser un titre du navigateur de titres sur le plan que vous voulez remplacer dans la timeline, puis choisissez Remplacer dans le menu contextuel. Saisie de texte pour le titre Après avoir ajouté un plan de titre au projet dans la timeline, il vous est possible d’attribuer du texte au titre dans le visualiseur. 1 Sélectionnez un plan de titre dans la timeline. 2 Placez la tête de lecture sur le plan de titre sélectionné. 3 Dans le visualiseur, double-cliquez sur le texte du titre, puis saisissez le texte de votre choix. Double-cliquez sur le champ Bouton Couche de texte précédente pour taper le texte du titre. Bouton Couche de texte suivante 4 Pour sélectionner un autre objet texte, procédez de l’une des manières suivantes: • Cliquez sur le bouton « Couche de texte précédente » ou « Couche de texte suivante ». • Double-cliquez sur un autre objet texte. 5 Tapez le texte voulu. 6 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour. Remarque : Les boutons « Couche de texte précédente » et « Couche de texte suivante » prennent également en charge les marqueurs Édition de texte de Motion. Pour en savoir plus, consultez l’. Aide Motion à l'adresse http://help.apple.com/motion. Réglage des titres Vous avez la possibilité de modifier du texte dans le visualiseur et d’adapter l’apparence du texte d’un titre grâce à l’inspecteur de titre et à l’inspecteur vidéo. Par exemple, vous pouvez régler l’opacité d’un titre ou modifier la police, l’alignement, la couleur, l’éclat et l’ombre portée du texte. Modification du texte du titre 1 Double-cliquez sur un plan de titre dans la timeline. 2 Procédez de l’une des manières suivantes: • Double-cliquez sur un objet texte dans le visualiseur. • Sélectionnez le texte dans l’inspecteur de texte.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 224 3 Modifiez le texte. 4 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour. Adaptation de l’emplacement d’un titre à l’écran 1 Sélectionnez un plan de titre dans la timeline. 2 Placez la tête de lecture sur le plan de titre sélectionné. 3 Procédez de l’une des manières suivantes: • Dans le visualiseur, faites glisser l’objet texte selon vos besoins. • Double-cliquez sur l’objet texte et faites glisser le bouton de positionnement sur le nouvel emplacement. Cliquez sur le bouton de positionnement (représenté par le petit cercle) et faites glisser le titre selon vos besoins. Adaptation de l’opacité d’un titre Si vous placez un titre sur un plan, il vous est alors possible d’ajuster la transparence du titre. 1 Double-cliquez sur un plan de titre dans la timeline. 2 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le bouton Vidéo situé en haut de la fenêtre qui apparaît. Curseur Opacité 3 Dans la section Compositing, ajustez les réglages d’opacité. 4 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour. Remarque : Il vous est également possible d’animer avec des images clés le réglage de l’opacité d’un titre.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 225 Ajustement des réglages d’un titre Vous pouvez modifier les réglages d’un titre dans l’inspecteur de titre. 1 Sélectionnez un plan de titre dans la timeline. 2 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le bouton Titre situé en haut de la fenêtre qui apparaît. 3 Ajustez le cas échéant les réglages proposés. Remarque : Vous avez également la possibilité d’animer avec des images clés de nombreux réglages dans les inspecteurs de titre et de texte. Modification du style du texte d’un titre Vous pouvez modifier le style de texte d’un titre. 1 Double-cliquez sur un plan de titre dans la timeline. Le titre apparaît dans le visualiseur et le texte dans le premier objet texte inclus dans le plan de titre est sélectionné. 2 Pour modifier un autre objet texte, sélectionnez-le dans le visualiseur. 3 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). 4 Ajustez le cas échéant les réglages proposés. 5 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour. Remarque : Vous avez également la possibilité d’animer avec des images clés de nombreux réglages dans les inspecteurs de titre et de texte.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 226 Réglage simultané de plusieurs objets texte dans un plan de titre Vous pouvez adapter les réglages de plusieurs objets texte en une seule fois. 1 Sélectionnez un plan de titre dans la timeline. 2 Placez la tête de lecture sur le plan de titre sélectionné. 3 Dans le visualiseur, procédez de l’une des manières suivantes. • Tout en maintenant la touche Commande enfoncée, sélectionnez les objets texte à modifier. • Faites glisser le pointeur pour sélectionner les objets texte à modifier. 4 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). 5 Ajustez le cas échéant les réglages proposés. Utilisation de la règle pour agencer et aligner les objets de texte de paragraphe Le texte créé dans Motion et certains titres du navigateur de titres contiennent du texte de paragraphe. Vous pouvez utiliser une règle et des onglets pour contrôler la présentation du texte de paragraphe. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion. 1 Double-cliquez sur un objet de texte de paragraphe dans le visualiseur. 2 Dans le visualiseur, cliquez sur le bouton Afficher la règle. Remarque : Le bouton Afficher la règle s'affiche uniquement lorsque vous modifiez un objet de texte de paragraphe. Une règle apparaît au-dessus de l’objet de texte de paragraphe dans le visualiseur. Les tabulations dans la règle indiquent comment le texte tabulé doit être aligné dans le texte sélectionné. Centrer la tabulation Tabulation décimale Tabulation droite Tabulation gauche 3 Procédez de l’une des façons suivantes: • Pour ajouter une tabulation : cliquez sur la règle. • Pour changer le type de tabulation ajoutée lorsque vous cliquez sur la règle : cliquez sur la règle tout en maintenant la touche Contrôle enfoncée, puis choisissez un type de tabulation dans le menu contextuel. • Pour déplacer une tabulation : faites-la glisser sur la règle. • Pour supprimer une tabulation : faites-la glisser en dehors de la règle. • Pour changer de type de tabulation : cliquez sur la tabulation tout en maintenant la touche Contrôle enfoncée, puis choisissez un type de tabulation dans le menu contextuel.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 227 Suppression de titres du projet Vous pouvez supprimer à tout moment un titre du projet. Suppression d’un titre m Sur la timeline, sélectionnez le titre à supprimer et appuyez sur Supprimer. Recherche et remplacement de texte dans un projet Si le projet contient plusieurs instances d’un mot ou d’une expression qui se retrouve dans plusieurs plans de titre, par exemple des noms, des entreprises ou des intitulés de poste, vous pouvez rechercher le mot ou l’expression et modifier rapidement chaque instance. Recherche et remplacement de texte du titre 1 Choisissez Édition > Rechercher et remplacer le texte du titre. 2 Dans la fenêtre « Rechercher et remplacer le texte du titre » qui s’affiche, saisissez le texte à rechercher dans le champ Rechercher. 3 Dans le champ Remplacer, tapez le texte par lequel vous souhaitez remplacer celui recherché. 4 Pour indiquer où effectuer la recherche, procédez de l’une des manières suivantes: • Pour rechercher du texte dans le plan de titre sélectionné : choisissez Titre sélectionné dans le menu local Rechercher dans. Cette option s’avère utile pour la recherche dans des plans de titre incluant beaucoup de texte, tels que les génériques. • Pour rechercher du texte parmi tous les plans de titre du projet: choisissez « Tous les titres du projet » dans le menu local Rechercher dans. 5 Procédez de l’une des façons suivantes: • Pour rechercher respectant les majuscules telles qu’elles sont saisies dans le texte recherché : cochez la case Respecter la casse. • Pour rechercher des mots entiers plutôt qu’un groupe de lettres dans des mots: cochez la case Mots entiers. • Pour que la recherche reprenne depuis le début de l’élément recherché après avoir atteint la fin : cochez la case Rechercher en boucle. 6 Procédez de l’une des manières suivantes: • Pour remplacer toutes les instances du texte en une seule fois: cliquez sur le bouton Tout remplacer. • Pour remplacer uniquement l’instance sélectionnée du texte : cliquez sur le bouton Remplacer. • Pour remplacer l’instance du texte sélectionnée et rechercher l’occurrence suivante du texte : cliquez sur le bouton Remplacer et rechercher. • Pour passer à l’instance suivante ou précédente du texte recherché : cliquez sur le bouton respectif Suivant ou Précédent.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 228 Ajustement d’effets intégrés Présentation des effets intégrés Final Cut Pro comprend plusieurs effets vidéo intégrant chaque plan de la timeline, directement accessibles depuis le visualiseur ; tout ce qu’il vous reste à faire est de les sélectionner et d’y apporter vos ajustements. Ceux-ci vous permettent de : • créer une image composite à partir de plusieurs plans; • repositionner ou recadrer un plan en zoomant dessus; • rogner un plan pour supprimer tous les éléments indésirables, tels que des micros ou l’équipement d’éclairage qui apparaissent accidentellement dans la vidéo ; • configurer un effet Ken Burns pour apporter du souffle à vos images fixes (mais aussi à vos plans vidéo). Il vous est possible d’exploiter plusieurs effets intégrés simultanément. Par exemple, vous pouvez faire appel à l’effet Transformer pour réduire la taille et la position de l’image, Trim pour supprimer une partie de la vidéo et Distorsion pour déformer la vidéo. Vous pouvez animer ces effets pour qu’ils changent au fil de la lecture du plan. Par exemple, vous pouvez réduire la taille d’une image et la faire sortir de l’écran. Pour configurer une animation, vous devez modifier les réglages sur au moins deux points du plan. Au cours de la lecture du plan, Final Cut Pro crée des transitions animées et fluides entre ces points. Redimensionnement, déplacement et rotation de plans L’effet intégré Transformer vous permet de redimensionner, de faire pivoter et de déplacer une image. Cet effet est couramment utilisé sur un plan placé au-dessus d’un plan du scénario principal, qui devient alors l’arrière-plan du plan redimensionné. Il sert également souvent à zoomer sur un plan, vous permettant ainsi de recadrer une prise de vue au besoin. Ajustement de l’effet Transformer Les commandes disponibles dans le visualiseur et l’inspecteur vidéo vous permettent d’ajuster cet effet. Cependant, certaines commandes ne sont disponibles que dans l’un ou dans l’autre. 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Transformer, effectuez l’une des opérations suivantes: • Choisissez Transformer à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj +T). • Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Transformer dans le menu contextuel. 3 Pour régler l’effet à l’aide des commandes à l’écran : • Poignées bleues situées à chaque coin : faites-les glisser pour ajuster la taille de l’image tout en conservant ses proportions. • Poignées bleues situées au milieu de chaque côté : faites-les glisser pour adapter indépendamment la taille verticale ou horizontale de l’image, faisant ainsi varier les proportions de l’image.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 229 Remarque : Ces commandes ne sont pas accessibles depuis l’inspecteur vidéo. • Cercle blanc situé au centre : indique le point d’ancrage pour la rotation. Faites glisser n’importe où le point actif à l’intérieur de l’image pour adapter sa position. • Poignée bleue s’étendant depuis le cercle central : faites-la glisser pour faire pivoter l’image. Conseil : Pour bénéficier d’une plus grande précision lors de la rotation de l’image, faites glisser la poignée de rotation en l’éloignant du point d’ancrage situé au centre. Faites glisser la poignée d’un coin pour modifier la taille de l’image sans influer sur ses proportions. Faites glisser la poignée d’un bord pour adapter les proportions de l’image. Faites glisser l’image pour affiner sa position. Faites glisser cette poignée pour faire pivoter l’image. 4 Utilisez les commandes Transformer dans l’inspecteur vidéo comme suit : • Position X etY :utilisez ces commandes pour déplacer l’image horizontalement (axe des X) et verticalement (axe des Y). • Rotation : faites-la glisser pour faire pivoter l’image autour de son point d’ancrage. • Échelle : cette commande vous permet d’adapter la taille de l’image. • Ancrage X etY :permet de déplacer le point central de l’image. Cette commande définit le point autour duquel l’image pivote. Remarque : Elle ne se trouve pas parmi les commandes à l’écran. 5 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé. Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235. Trim de plans Les commandes de trim vous permettent d’élaguer indépendamment chacun des bords de l’image, créant ainsi l’aspect d’une fenêtre. Cet effet, couramment employé avec l’effet Transformer, est généralement mis en œuvre sur un plan placé au-dessus d’un plan du scénario principal, qui devient alors l’arrière-plan du plan faisant l’objet du trim.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 230 Ajustement de l’effet Trim 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Trim, effectuez l’une des opérations suivantes: • Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C). • Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel. 3 Cliquez sur le bouton Trim en bas du visualiseur. 4 Pour régler l’effet à l’aide des commandes à l’écran : • Poignées bleues situées à chaque coin : faites-les glisser pour adapter en même temps la position de deux côtés de la fenêtre du trim. • Poignées bleues situées au milieu de chaque côté : faites-les glisser pour ajuster indépendamment la position de chaque côté. • N’importe où dans la fenêtre : faites glisser la fenêtre pour affiner sa position. Faites glisser une poignée au milieu d’un bord pour ne modifier que le bord en question. Faites glisser la poignée d’un angle pour modifier deux côtés simultanément. Faites glisser l’image pour positionner la fenêtre du trim. 5 Pour adapter chaque bord indépendamment à l’aide de la zone de rognage de l’inspecteur vidéo, faites appel aux commandes Trim. 6 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé. Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 231 Rognage de plans L’effet Rogner simplifie la suppression des zones indésirables de l’image. Il étend automatiquement l’image rognée de façon à lui faire remplir l’écran. Ajustement de l’effet Rogner 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Rogner, effectuez l’une des opérations suivantes: • Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C). • Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel. 3 Cliquez sur le bouton Rognage en bas du visualiseur. 4 Pour régler l’effet à l’aide des commandes à l’écran : • Poignées bleues situées à chaque coin : faites-les glisser pour adapter le rognage du coin choisi. L’image rognée conserve toujours ses proportions d’origine. • N’importe où dans la fenêtre : faites glisser la fenêtre de rognage pour affiner sa position. Faites glisser la poignée d’un coin pour modifier la taille de la fenêtre de rognage (mais sans influer sur ses proportions). Faites glisser l’image pour positionner la fenêtre du rognage. Cliquez sur Terminé pour rogner l’image et l’afficher dans sa taille développée finale. 5 Pour adapter chaque bord indépendamment à l’aide de la zone de rognage de l’inspecteur vidéo, faites appel aux commandes Rogner. Remarque : S’il vous est possible d’exploiter ces commandes pour modifier les proportions de la fenêtre de rognage, l’image finale maintient cependant les proportions de l’image d’origine.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 232 6 Cliquez sur Terminé pour que le rognage s’applique enfin et pour retrouver l’image zoomée de façon à remplir l’écran. Vous pouvez animer l’effet, créant ainsi l’illusion d’un panoramique et d’un zoom (il s’agit alors en fait d’un effet Ken Burns manuel). Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235. Panoramique et zoom des plans avec l'effet Ken Burns L’effet Ken Burns crée un effet de panoramique et de zoom à l’aide de positions de départ et de fin que vous devez définir. L’effet Ken Burns représente en fait un effet Rogner marqué par deux réglages de rognage : l’un au début du plan et l’autre à sa fin. Ajustement de l’effet Ken Burns 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Ken Burns, effectuez l’une des opérations suivantes: • Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C). • Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 233 3 Cliquez sur le bouton Ken Burns en bas du visualiseur. Deux rectangles apparaissent alors dans le visualiseur : un vert, qui définit l’emplacement et la taille pour le début du plan, et un rouge qui indique la position et la taille pour la fin du plan. Une flèche vient marquer la direction dans laquelle l’image avance lorsque le plan est reproduit. Sélectionnez le rectangle vert Début ou le rectangle rouge Fin pour régler la taille et l’emplacement du rognage. Cliquez sur le bouton Échange pour intervertir le départ et l’arrivée. Cliquez sur le bouton Lecture en boucle pour reproduire le plan de façon continue. Les réglages par défaut pour le début et la fin entraînent un zoom de faible amplitude vers le centre de l’image. 4 Pour choisir la partie de l’image qui apparaît au début de l’effet, faites glisser les poignées vertes pour modifier la taille de rognage de l’image et faites glisser la fenêtre pour définir son emplacement. 5 Pour choisir la partie de l’image qui apparaît à la fin de l’effet, faites glisser les poignées rouges pour modifier la taille de rognage de l’image et faites glisser la fenêtre pour définir son emplacement. 6 Pour reproduire continuellement le plan avec l’effet appliqué, cliquez sur le bouton Lecture en boucle. 7 Pour intervertir les emplacements du départ et d’arrivée, cliquez sur le bouton Échange. 8 Cliquez sur Terminé. Conseil : Faites appel à l’effet Rogner et à des images clés intermédiaires pour créer un effet ressemblant à l’effet Ken Burns, qui suit cependant une trajectoire plus compliquée. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets inté- grés à la page 235. Inclinaison de la perspective d’un plan L’effet Distorsion s’apparente à l’effet Transformer hormis que vous êtes en mesure de faire glisser chacun des coins indépendamment des autres, vous permettant ainsi de générer une apparence inclinée ou d’ajouter de la perspective à l’image. Remarque : L’effet Distorsion modifie la forme de la vidéo sans pour autant la déplacer. Pour repositionner la vidéo, utilisez l’effet Transformer.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 234 Ajustement de l’effet Distorsion 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Distorsion, effectuez l’une des opérations suivantes: • Choisissez Distorsion à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Commande + Maj +D). • Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Distorsion dans le menu contextuel. 3 Pour régler l’effet à l’aide des commandes à l’écran : • Poignées bleues situées à chaque coin : faites-les glisser pour repositionner chaque coin, ce qui ajoute de la perspective à l’image (une partie semble alors se projeter plus au premier plan que d’autres parties). • Poignées bleues situées au milieu de chaque côté : faites-les glisser pour ajuster la position de chaque côté. Vous pouvez ainsi générer un effet d’inclinaison en les faisant glisser dans la même direction que leur bord (plutôt que par rapport au centre). • N’importe où dans la fenêtre : faites glisser la fenêtre pour affiner sa position. Faites glisser chaque coin pour définir sa position. Faites glisser les poignées au milieu des arrêtes pour régler la position d’un côté. 4 Pour ajuster indépendamment chaque coin par le biais de l’inspecteur vidéo, servez-vous des commandes Distorsion. 5 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé. Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 235 Manipulation d’effets intégrés Les méthodes suivantes vous permettent de travailler avec des effets intégrés. Désactivation ou réinitialisation de l’effet 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes: • Pour désactiver l’effet et conserver ses réglages: cliquez sur la case bleue en regard de l’effet utilisé (Transformer, Rogner ou Distorsion) dans l’inspecteur vidéo. Vous pouvez cliquer à nouveau sur la case pour réactiver l’effet, simplifiant ainsi la comparaison du plan avec et sans l’effet. Placez le pointeur sur cette zone et cliquez sur Afficher pour afficher les réglages d’un effet. Cliquez sur une case pour activer ou désactiver un effet. Cliquez sur l’icône d’un effet pour afficher ou masquer les commandes à l’écran correspondantes. Cliquez sur le bouton Réinitialiser d’un effet pour rétablir les valeurs par défaut des réglages. • Pour rétablir toutes les valeurs de l’effet à leur valeur par défaut: Cliquez sur le bouton Réinitialiser . • Pour désactiver l’effet dans l’éditeur d’animation vidéo : ouvrez l’éditeur en choisissant Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle +V), puis cliquez sur la case en regard de l’effet à désactiver. Cliquez sur la case d’un effet pour l’activer ou le désactiver.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 236 Animation d’effets intégrés Utilisez des images clés pour faire évoluer les réglages de l’effet au fur et à mesure de la lecture du plan. Ceci s’applique à tous les effets intégrés sauf à l’effet Ken Burns. 1 Sélectionnez un plan dans la timeline. 2 Choisissez l’effet à animer à partir du menu local situé dans le coin inférieur gauche du visualiseur. Dans le cadre de cet exemple, choisissez Transformer (ou appuyez sur Maj +T). 3 Positionnez la tête de lecture de la timeline au début du plan. 4 Réglez l’emplacement de départ à l’aide des commandes à l’écran de l’effet. 5 Cliquez sur le bouton « Ajouter une image clé » situé dans la partie supérieure du visualiseur. Cliquez sur le bouton « Ajouter une image clé » pour ajouter à l’animation la première image clé. 6 Placez la tête de lecture sur la fin du plan. 7 Réglez l’emplacement de fin à l’aide des commandes de l’effet. Une image clé est alors automatiquement ajoutée. De plus, dans le cas des effets Transformer, une ligne indique la trajectoire empruntée par l’image. Cliquez sur la flèche gauche pour passer directement à la première image clé. Une fois terminé, la création de l’animation, cliquez sur Terminé. La ligne rouge indique la trajectoire du centre de l’image.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 237 8 Pour confirmer vos opérations, cliquez sur Terminé dans le coin supérieur droit du visualiseur. Une fois lancée la lecture du plan, la vidéo se déplace de façon fluide entre les images clés, créant ainsi une effet animé. Vous pouvez en fait ajouter plusieurs images clés en déplaçant la tête de lecture et en adaptant les commandes de l’effet. Pour en savoir plus sur l’utilisation des images clés, consultez Présentation de l’animation vidéo à la page 256. Ajustement de la trajectoire d’animation de l’effet Transformer Les animations par transformation présentent des commandes d’images clés complémentaires qui permettent d’affiner la trajectoire d’animation. Pour les afficher, vous devez au préalable créer un effet simple sur trois coins. Le bouton « Ajouter une image clé » s’adapte en bouton « Supprimer l’image clé » lorsque le point actif se trouve sur une image clé. Image clé du milieu 1 Sélectionnez un plan dans la timeline et placez la tête de lecture sur son début. 2 Sélectionnez Transformer à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj +T), puis faites glisser les commandes à l’écran pour réduire la taille de l’image et la placer dans le coin supérieur gauche. 3 Cliquez sur le bouton « Ajouter une image clé ». 4 Dans la timeline, placez la tête de lecture au milieu du plan. 5 Utilisez les commandes à l’écran Transformer pour déplacer l’image vers le coin supérieur droit. Une image clé est automatiquement ajoutée et une ligne rouge indique le chemin emprunté jusqu’alors par l’animation. 6 Dans la timeline, placez la tête de lecture sur la fin du plan. 7 Servez-vous des commandes à l’écran Transformer pour déplacer l’image sur le centre inférieur. Une image clé est automatiquement ajoutée et la ligne rouge s’étend alors jusqu’au nouveau point. 8 Pour passer directement d’une image clé à l’autre, cliquez sur les carrés blancs placés le long de la ligne rouge. Les première et dernière images clés sont dotées de flèches blanches. Par défaut, la ligne rouge suit une trajectoire fluide (indiquée par sa courbe harmonieuse).Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 238 9 Pour contrôler cette courbe représentant la trajectoire, cliquez sur l’image clé du début ou du milieu, puis faites glisser les poignées de courbe. Faites glisser ces poignées sur une image clé du milieu pour ajuster la courbe de la trajectoire. Image clé de départ Image clé d’arrivée 10 Cliquez sur une image clé en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le menu contextuel : • Linéaire : sert aux trajectoires directes non courbes partant ou arrivant à l’image clé en question. • Lissage : sert aux trajectoires courbes partant ou arrivant à l’image clé en question, offrant ainsi un mouvement plus naturel. • Supprimer le point: permet de supprimer l’image clé. • Verrouiller le point: permet d’empêcher tout ajustement de l’image clé. Une fois activé, son intitulé change en Déverrouiller le point. • Désactiver le point: sert à ignorer l’image clé en question, mais la laisse en place pour pouvoir l’utiliser ultérieurement au besoin. Une fois activé, son intitulé change en Activer le point. Effets composites sur un arrière-plan Les effets Transformer, Trim et Distorsion génèrent souvent une image de taille inférieure à la taille réelle, avec des zones vides noires. Vous pouvez remplacer ces dernières par un arrièreplan en plaçant le plan transformé sur un plan d’arrière-plan, technique connue sous le nom de compositing. Procédez de l’une des manières suivantes: m Ajoutez un plan à la timeline sous forme de plan connecté, puis l’effet à ce plan. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 239 Ceci entraîne le placement du plan au-dessus du plan du scénario principal, qui devient alors automatiquement l’arrière-plan de l’effet. Plan composé sur le scénario principal Plan situé dans le scénario principal, constituant l’arrière-plan m Si le plan se trouve déjà dans le scénario principal, faites-le glisser au-dessus de celui-ci, en le positionnant sur le plan faisant office d’arrière-plan. L’image devient ainsi une image composite. Les effets Transformer et Trim ont permis de créer une image composite sur l’arrière-plan avec cette image. Pour en savoir plus sur l’utilisation de plans connectés, consultez Ajout de scénarios à la page 274. Pour en savoir plus sur le compositing de plans, consultez Présentation du compositing à la page 367.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 240 Ajout et réglage des effets de plans Présentation des effets de plans En plus des effets intégrés, Final Cut Pro contient une grande variété d’effets vidéo qu’il vous est possible d’appliquer aux plans vidéo de votre projet. De nombreux effets modifient l’apparence de votre vidéo, allant de l’ajout d’un flou ou d’un éclat à de fortes distorsions. Certains effets incrustent des graphismes issus d’un caméscope ou du timecode. Il existe aussi un effet pour l’incrustation d’un plan vidéo sur un autre. Final Cut Pro inclut également un ensemble étendu d’effets audio applicables aux clips audio de votre projet. De nombreux effets modifient le son de votre audio, allant de l’ajout d’échos subtils à de fortes distorsions de la tonalité. Après avoir ajouté un effet, vous avez la possibilité de régler ses paramètres. Certains effets ne disposent que de peu de réglages alors que d’autres en proposent un ensemble complet, vous permettant un contrôle étendu de leur apparence. Les effets peuvent en outre être animés, leurs réglages pouvant s’adapter lors de la lecture du plan. Il est possible d’appliquer plusieurs effets à vos plans, en « empilant » des effets. Cependant, l’ordre dans lequel vous appliquez ces effets peut influer sur l’apparence finale de votre vidéo. De plus, vous pouvez ouvrir de nombreux effets vidéo pour les modifier dans Motion, afin de créer des versions spécialisées utilisables dans vos projets. Ajout d’effets au projet Passez par le navigateur d’effets pour ajouter des effets aux plans de votre projet. Ajout d’un effet à un plan du projet 1 Sélectionnez le plan voulu dans la timeline, puis cliquez sur le bouton Effets de la barre d’outils. 2 Dans le navigateur d’effets, sélectionnez un effet en vous aidant de l’un des éléments suivants: • Pour effectuer un preview une fois l’effet appliqué à la vidéo tirée du plan sélectionné sur la timeline : placez le pointeur sur les vignettes d’effets vidéo. • Pour effectuer un preview influant sur la commande principale de l’effet: maintenez la touche Option enfoncée tout en plaçant le pointeur sur la vignette d’un effet vidéo. • Pour filtrer la liste des effets qui apparaissent à l’écran : saisissez le texte recherché dans le champ de recherche du navigateur d’effets. 3 Procédez de l’une des manières suivantes: • Faites glisser l’effet sur le plan situé dans la timeline, auquel vous voulez l’appliquer. • Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné. Il ne vous reste à présent qu’à adapter l’effet selon vos besoins.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 241 Réglage d’effets dans Final Cut Pro Pour la plupart des effets, vous pouvez ajuster un ou plusieurs paramètres dans l’inspecteur vidéo ou audio, le visualiseur ou l’éditeur d’animation vidéo ou audio. Vous pouvez également contrôler l’application de l’effet au plan, soit progressivement, soit entièrement sur toute sa durée d’application. Ajustement d’un effet dans l’inspecteur vidéo et dans le visualiseur 1 Sélectionnez dans la timeline un plan incluant un effet à adapter. 2 Accédez à l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio. Cliquez sur cette icône pour activer ou désactiver l’effet. Cliquez dessus pour réinitialiser les ajustements de l’effet. Dans l’exemple ci-dessus, plusieurs réglages sont sélectionnés pour l’effet Capteur. De nombreux effets disposent également d’ajustements qui apparaissent dans le visualiseur, connus sous le nom de commandes à l’écran. Conseil : Dans le cas d’effets audio, il vous est possible de cliquer sur le bouton Commandes (qui se trouve à droite du nom de l’effet) pour afficher à l’écran une fenêtre de commande personnalisée. Cliquez sur cette icône pour accéder à la fenêtre de commande personnalisée de l’effet. 3 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins. Pour rétablir les valeurs par défaut des réglages des effets, vous avez la possibilité de cliquer sur le bouton Réinitialiser de l’effet. Ajustement d’un effet dans l’éditeur d’animation vidéo De nombreux paramètres d’effets peuvent être adaptés dans l’éditeur d’animation vidéo. De plus, il est possible de configurer ces paramètres de sorte qu’ils soient appliqués progressivement. 1 Sélectionnez dans la timeline un plan incluant un effet vidéo.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 242 2 Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V). L’effet vient s’afficher dans l’éditeur d’animation vidéo au-dessus du plan, sous forme d’animation. Vous pouvez cliquer sur sa case pour activer ou désactiver l’effet. Les effets qui possèdent plusieurs attributs adaptables disposent également d’un menu local pour vous permettre de choisir l’attribut à afficher et à régler. Double-cliquez sur les effets présentant cette icône pour les développer verticalement. Choisissez un ajustement d’effet spécifique dans ce menu local. Cliquez sur cette icône pour activer ou désactiver l’effet. 3 Pour étirer verticalement la zone d’ajustement de l’effet, choisissez un ajustement donné dans le menu local (si celui-ci est présent) et double-cliquez dessus. Ceci ne s’applique qu’aux ajustements d’effet qui possèdent une seule valeur. Une icône apparaît à droite de la section de l’effet si l’ajustement peut être développé. 4 Pour que le réglage de l’effet effectue un fondu entrant et sortant du plan, faites glisser les poignées situées de chaque côté de l’effet. Faites glisser les poignées de fondu pour appliquer progressivement l’effet. Faites glisser cette ligne pour ajuster la valeur sélectionnée. Il vous est également possible de faire glisser verticalement la ligne horizontale pour contrôler le réglage sélectionné de l’effet (Degré, dans le cas de l’exemple ci-dessus). Toutes les images clés que vous ajoutez apparaissent également.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 243 Affichage des effets audio appliqués à un plan 1 Sélectionnez dans la timeline un plan incluant un effet audio. 2 choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A). L’effet audio apparaît dans l’éditeur d’animation audio sous forme d’animation. Vous pouvez cliquer sur sa case verte pour activer ou désactiver l’effet. Modification de l’ordre des effets Vous pouvez appliquer plusieurs effets à un plan sur la timeline. L’ordre dans lequel vous les appliquez peut influer sur la sortie finale générée. Par exemple, l’application de l’effet Parasites, qui ajoute par défaut des cercles blancs aléatoires à la vidéo, avant l’effet Papier vieilli, génère par conséquent des cercles blancs dont l’aspect est également vieilli ; son application après l’effet Papier vieilli produit donc des cercles blancs inchangés. Vous pouvez modifier en toute simplicité l’ordre des effets de plan dans l’inspecteur vidéo, dans l’inspecteur audio, dans l’éditeur d’animation vidéo ou dans l’éditeur d’animation audio. Remarque : Vous ne pouvez pas adapter l’ordre des effets intégrés ou de l’étalonnage. Modification de l’ordre des effets de plan vidéo et de clip audio à l’aide de l’inspecteur vidéo ou de l’inspecteur audio 1 Sélectionnez dans la timeline un plan vidéo ou un clip audio auquel plusieurs effets sont appliqués, puis procédez de l’une des manières suivantes: • Pour constater le résultat des effets vidéo : ouvrez l’inspecteur vidéo. • Pour constater le résultat des effets audio : ouvrez l’inspecteur audio. 2 Dans l’inspecteur vidéo ou l’inspecteur audio, faites glisser les effets pour en modifier l’ordre. Les effets intégrés et l’étalonnage ne peuvent pas être réorganisés. Faites glisser les effets de plan pour les réorganiser.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 244 Modification de l’ordre des effets de plan vidéo et de clip audio à l’aide de l’éditeur d’animation vidéo ou de l’éditeur d’animation audio 1 Sélectionnez dans la timeline un plan vidéo ou un clip audio auquel plusieurs effets sont appliqués, puis procédez de l’une des manières suivantes: • Pour constater le résultat des effets vidéo : Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V). • Pour constater le résultat des effets audio : choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A). 2 Dans l’éditeur d’animation vidéo ou dans l’éditeur d’animation audio, faites glisser les effets pour en modifier l’ordre. Les effets intégrés et l’étalonnage ne peuvent pas être réorganisés. Faites glisser les effets de plan pour les réorganiser. Copie d’effets et d’attributs entre des plans Final Cut Pro propose deux façons de copier des effets entre les plans. La commande Coller les attributs vous permet de copier les attributs de plan sélectionnés à un autre plan et offre un contrôle supplémentaire sur les différents effets, réglages et images clés. La commande Coller les effets vous permet de copier tous les effets d’un plan vers un autre plan. Elle s’avère être le moyen le plus rapide pour copier des effets et des attributs. Copie des attribut d’un plan sélectionné vers un autre Vous pouvez copier les attributs, tels que les réglages et les effets, d’un plan à l’autre. Par exemple, il vous est possible de copier les réglages de rognage vidéo ou tout autre effet ajouté à un plan, y compris des réglages d’image clé quelconques. La fonctionnalité Coller les attributs vous permet de sélectionner les attributs de plan à appliquer. 1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C). 2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les attributs, puis choisissez Édition > Coller les attributs (ou appuyez sur Commande + Maj +V). 3 Effectuez l’une des opérations suivantes: • Pour appliquer tous les attributs vidéo ou audio du plan source : cochez la case Attributs vidéo ou la case Attributs audio.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 245 • Pour appliquer des attributs précis: cochez la case de chaque attribut à appliquer. 4 Si vous apportez un réglage quelconque aux images clés du plan source, choisissez Conserver la synchronisation ou Adapter par étirement à partir du menu local Images clés. Si vous choisissez Adapter par étirement, Final Cut Pro adapte les images clés dans le temps pour respecter la durée du plan de destination. 5 Cliquez sur Coller. Copie de tous les effets d’un plan vers un autre 1 Dans la timeline, sélectionnez le plan duquel copier les effets, puis sélectionnez Édition > copier (ou appuyez sur Commande + C). 2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les effets, puis choisissez Édition > Coller les effets (ou appuyez sur Commande +Option +V). Les effets du plan source et leurs réglages s’appliquent alors au plan de destination. Pour béné- ficier d’un plus grand contrôle sur les différents attributs, suivez les instructions dans la section « Copie des attribut d’un plan sélectionné vers un autre » ci-avant. Désactivation ou suppression d’un effet d’un plan Lorsque vous appliquez un effet à un plan, il vous est possible soit de désactiver l’effet (tout en conservant ses réglages), soit de le supprimer du plan. Désactivation d’un effet de plan 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes: • Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle +V) pour voir les effets vidéo, ou choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A) pour voir les effets audio. Sélectionnez l’effet, puis cliquez sur sa case. • Sélectionnez l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio, puis cliquez sur sa case bleue. L’effet ne s’applique plus à la vidéo ou à l’audio. Vous pouvez cliquer sur la case pour réactiver l’effet avec ses réglages inaltérés.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 246 Suppression d’un effet d’un plan 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes: • Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle +V) pour voir les effets vidéo, ou choisissez Plan > Afficher l’animation audio pour voir les effets audio. Sélectionnez l’effet, puis appuyez sur Supprimer. • Sélectionnez à l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio. Création de versions d’effets vidéo spécialisées dans Motion De nombreux effets vidéo fournis ont été élaborés dans Motion, une application Apple conçue pour fonctionner avec Final Cut Pro. Vous pouvez ouvrir ces effets dans Motion, y apporter des modifications et enregistrer ces modifications sous forme de nouvel effet qui s’affiche ensuite dans le navigateur d’effets. Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur. Modification d’un effet vidéo dans Motion 1 Dans la barre d’outils, cliquez sur le bouton Effets. 2 Dans le navigateur d’effets, cliquez sur l’effet tout en maintenant la touche Contrôle enfoncée, puis choisissez «Ouvrir une copie dans Motion » dans le menu contextuel. Motion se lance automatiquement et ouvre le projet de l’effet. 3 Modifiez le projet de l’effet. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion. 4 Choisissez Fichier > Enregistrer sous (ou appuyez sur Commande + Maj + S), attribuez un nom au nouvel effet (appelé modèle dans Motion), affectez-le à une catégorie (ou créez-en une), choisissez un thème (le cas échéant), puis cliquez sur Publier. Remarque : Si vous choisissez Fichier > Enregistrer, l’effet s’enregistre alors en reprenant le même nom complété du suffixe « copie ». Ajout de générateurs Présentation des générateurs Final Cut Pro comprend une série de plans vidéo, appelés générateurs, pour une panoplie étendue d’usages dans un projet. Par exemple, vous pouvez faire appel aux générateurs pour ajouter les éléments suivants: • Contenu de repère d’emplacement: si du contenu est absent du projet car il n’a pas encore été filmé ou remis, vous pouvez ajouter un plan repère d’emplacement. Le générateur de repère d’emplacement vous permet d’ajouter un plan à la timeline avec une silhouette adaptée pour représenter le contenu manquant. Consultez Utilisation d’un repère d’emplacement à la page 247. • Compteur de timecode : vous avez la possibilité d’ajouter à votre projet un plan de timecode pour superposer un compteur de timecode généré sur une partie ou l’intégralité du projet. Consultez Usage d’un compteur de timecode à la page 248.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 247 • Plan de forme : vous avez le choix parmi une grande variété de formes pour ajouter des élé- ments graphiques au projet. Consultez Utilisation d’une forme à la page 248. • Plan d’arrière-plan général : Final Cut Pro inclut un grand choix d’arrière-plans fixes et animés sur lesquels vous pouvez superposer des titres ou des effets d’incrustation. Consultez Utilisation d’un arrière-plan à la page 249. Tous les générateurs s’ajoutent au projet sous forme de plans dont la durée est définie d’entrée par défaut. Vous pouvez modifier cette durée et la position de façon identique à tout autre plan vidéo sur la timeline. Remarque : Les plans générateurs n’apparaissent pas dans le navigateur d’effets. Utilisation d’un repère d’emplacement Les repères d’emplacement générés s’avèrent utiles dans de nombreux cas de figure où il convient de remplir un vide dans le projet par quelque chose fournissant un indice sur ce que le contenu final est appelé à inclure. Vous pouvez configurer les plans repère d’emplacement pour représenter un large éventail de plans standard, tels que des gros plans, des groupes, des plans élargis, etc. Insertion et configuration d’un plan repère d’emplacement 1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le plan repère d’emplacement. 2 Procédez de l’une des manières suivantes: • Choisissez Édition > Insérer le repère d’emplacement. • Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils, puis double-cliquez sur la vignette intitulée Repère d’emplacement. 3 Sélectionnez un plan repère d’emplacement sur la timeline. 4 Configurez la prise de vue pour le plan à représenter à l’aide des réglages de l’inspecteur du générateur. 5 Sélectionnez Afficher les notes pour ajouter une zone de texte dans le visualiseur où il vous est possible de saisir du texte appartenant au plan en question. Si vous préférez remplir un vide sur la timeline par un plan vierge, vous pouvez insérer un espace. Pour en savoir plus, consultez Insertion de plans dans votre projet à la page 108.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 248 Usage d’un compteur de timecode Lors de l’envoi du projet pour le faire passer en revue, il peut s’avérer utile d’y superposer le timecode, simplifiant ainsi la tâche au réviseur pour indiquer précisément les sections afin de faire part de commentaires. Insertion et configuration d’un compteur de timecode 1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils. 2 Faites glisser le générateur de timecode au-dessus du scénario principal. Le plan du générateur de timecode est généralement placé au début du projet, mais il vous est possible de le placer n’importe où vous voulez qu’il apparaisse puis adapter sa durée à celle du projet. 3 Configurez les réglages de timecode dans l’inspecteur du générateur. Vous pouvez cliquer sur le bouton Réinitialiser pour rétablir les réglages par défaut du générateur. Utilisation d’une forme Vous pouvez configurer le générateur de formes afin qu’il s’adapte à n’importe quelle forme parmi celles proposées, telle qu’une étoile, un losange, une flèche et un cœur. Il s’agit ici de celles utilisées le plus souvent au-dessus du scénario principal pour ajouter un élément graphique au projet qu’il vous est ensuite possible d’animer. Insertion et configuration d’une forme 1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils. 2 Faites glisser le générateur de formes au-dessus du scénario principal afin qu’il vienne se positionner par dessus le plan vidéo sur lequel vous voulez que la forme apparaisse. La forme par défaut correspond à un cercle blanc.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 249 3 Dans le menu local Forme de l’inspecteur du générateur, choisissez la forme à utiliser. 4 Définissez la couleur de remplissage, la couleur et la largeur du contour, ainsi que l’ombre portée de la forme. Vous pouvez cliquer sur le bouton Réinitialiser pour rétablir les réglages par défaut du générateur. 5 Pour adapter la taille, la position et la rotation de la forme, faites appel à l’effet intégré Transformer ou Distorsion. Utilisez l’effet Transformer pour modifier la taille, la position et la rotation de la forme. Grâce à ces effets, il vous est également possible d’animer la forme. Par exemple, vous pouvez faire suivre une personne dans une salle par une flèche. 6 Pour rendre la forme partiellement transparente, sélectionnez-la dans la timeline, puis ajustez son réglage Opacité dans l’inspecteur vidéo. Utilisation d’un arrière-plan De nombreux générateurs prévoient un arrière-plan à caractère général sur lequel il vous est possible de placer des effets intégrés, des titres, des incrustations et des plans avec un canal alpha. Certains se composent de simples couleurs unies, d’autres représentent des textures telles que du bois ou de la pierre. Des générateurs contiennent même des animations, proposant ainsi un arrière-plan plus attractif. Insertion et configuration d’un plan d’arrière-plan 1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le plan d’arrière-plan. 2 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils. 3 Dans le navigateur de générateurs, double-cliquez sur la vignette représentant l’arrière-plan à utiliser. 4 Sélectionnez le plan d’arrière-plan sur la timeline.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 250 5 Configurez l’arrière-plan (le cas échéant) à l’aide des réglages repris dans l’inspecteur du générateur. Création de versions de générateurs spécialisées dans Motion De nombreux générateurs ont été élaborés dans Motion, une application Apple conçue pour fonctionner avec Final Cut Pro. Pour les personnaliser davantage, vous pouvez les ouvrir dans Motion, apporter des modifications et enregistrer ces dernières sous forme de nouveau fichier qui apparaît ensuite dans le navigateur de générateurs. Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur. Modification d’un générateur ou d’un arrière-plan dans Motion 1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils. 2 Dans le navigateur de générateurs, cliquez sur une vignette en maintenant la touche Contrôle enfoncée, puis choisissez «Ouvrir une copie dans Motion » dans le menu contextuel. Motion se lance automatiquement et ouvre le projet du plan. 3 Modifiez le projet du plan. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion. 4 Choisissez Fichier > Enregistrer sous (ou appuyez sur les touches Commande + Maj + S), attribuez un nom au nouveau générateur, puis cliquez sur Enregistrer. Remarque : Si vous choisissez Fichier > Enregistrer, le générateur s’enregistre alors en reprenant le même nom complété du suffixe « copie ». À propos des thèmes Final Cut Pro comprend un certain nombre de générateurs, de transitions et de titres, groupés par thème. Les générateurs, les transitions et les titres de chaque thème utilisent des formes et des couleurs proches, offrant un style visuel unique à chacun des thèmes. Les noms de thème, tels que Boîtes, Bande dessinée ou Documentaire, suggèrent des éléments qu'ils utilisent ou le type de projet dans lequel il peut être utilisé. Chaque thème peut contenir plusieurs générateurs vidéo, transitions vidéo et titres.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 251 Pour accéder au navigateur de thèmes, cliquez sur le bouton Thèmes de la barre d’outils. Pour en savoir plus sur les générateurs vidéo, consultez la section Présentation des générateurs à la page 246. Pour en savoir plus sur les transitions vidéo, consultez la section Présentation des transitions à la page 213. Pour en savoir plus sur les titres, consultez la section Présentation des titres à la page 222. Usage des commandes à l’écran Présentation des commandes à l’écran De nombreux effets, transitions et autres éléments font appel à des commandes à l’écran, placées au premier plan de la vidéo reprise dans le visualiseur, afin de simplifier l’ajustement d’un grand nombre de paramètres. Dans de nombreux cas, ces commandes à l’écran recopient les commandes reprises dans les inspecteurs, bien que dans certains cas les commandes soient uniques et constituent le seul moyen de régler un paramètre donné. Ces commandes peuvent se limiter à la simple définition du centre d’un effet de loupe ou s’étendre au réglage plus complexe du diamètre, de la largeur et de l’emplacement d’un effet de vignette. Cette section se concentre sur les types de commandes à l’écran que l’on retrouve dans les effets et les transitions de plans. Ces commandes sont également proposées dans d’autres parties de Final Cut Pro, notamment les suivantes: • Effets intégrés: les commandes à l’écran s’avèrent particulièrement utiles pour tous les effets intégrés. Consultez Présentation des effets intégrés à la page 228. • Incrustation colorimétrique : des commandes à l’écran spécialisées vous sont proposées lors de la configuration d’un incrustateur colorimétrique. Consultez Utilisation des incrustations chromatiques à la page 348. • Étalonnages: les étalonnages prévoient parfois des commandes à l’écran afin de créer des masques de couleurs et de formes. Consultez Présentation de l’étalonnage manuel à la page 375. Affichage ou masquage des commandes à l’écran Les commandes à l'écran des transitions s'affichent lorsqu'une transition est sélectionnée. Les commandes à l'écran des effets de plan s'affichent lorsqu'un effet est sélectionné ou lorsque la tête de lecture est positionnées sur un plan ou un titre dans la timeline à laquelle un effet vidéo est appliqué. Vous pouvez aussi afficher ou masquer les commandes à l'écran. Remarque : Les commandes à l’écran se masquent toujours lorsque vous lancez la lecture de plans dans la timeline. Affichage ou masquage des commandes à l’écran d’une transition m Pour afficher les commandes à l’écran de la transition : sélectionnez la transition dans la timeline. m Pour masquer les commandes à l’écran de la transition : désélectionnez la transition sur la timeline.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 252 Affichage ou masquage des commandes à l’écran de l’effet d’un plan m Pour afficher les commandes de l’effet: placez la tête de lecture sur un plan avec l'effet ou sélectionnez un plan avec l'effet dans la timeline, puis sélectionnez l'effet dans l'éditeur d'animation vidéo ou dans l'inspecteur vidéo. m Pour masquer les commandes à l’écran de l’effet: désélectionnez le plan incluant l’effet sur la timeline ou désélectionnez l’effet soit dans l’éditeur d’animation vidéo, soit dans l’inspecteur vidéo. Remarque : Si un plan contient plusieurs effets utilisant des commandes à l'écran, seules celles de l'effet situé le plus haut s'affichent lorsque la tête de lecture est positionnée sur le plan contenant les effets. Exemples de commandes à l’écran Ces quelques exemples de commandes à l’écran ci-dessous peuvent s’avérer utiles au moment de manipuler des effets de plans et des transitions. De nombreux autres effets de plans et transitions s’appuient sur ces commandes ou des commandes semblables (les exemples ci-après sont prévus dans le but de fournir des informations à caractère général sur l’utilisation des commandes à l’écran). N’oubliez pas les points ci-dessous en suivant ces exemples: • Ces derniers partent du principe que vous êtes familier de l’application d’effets aux plans dans la timeline. • S’il vous est possible d’appliquer plusieurs effets à un même plan, il est recommandé dans le cadre de ces exemples soit d’appliquer chaque effet à un plan différent sur la timeline, soit de supprimer l’effet du plan voulu avant d’appliquer un autre effet. • Ces exemples partent en outre du principe que vous savez ajouter des transitions à des points de montage dans la timeline. • La plupart des effets et des transitions possèdent des ajustements complémentaires dans l’inspecteur vidéo ou dans l’inspecteur de transition. Exemple : Usage des commandes à l’écran pour appliquer un effet Capteur 1 Ouvrez le navigateur d’effets et faites glisser l’effet Capteur sur un plan de la timeline. 2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes: • Pour positionner l’effet: faites glisser le cercle central. • Pour définir la taille de l’effet: faites glisser le cercle extérieur. Faites glisser le cercle central pour positionner l’effet. Faites glisser le cercle pour définir la taille de l’effet.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 253 Exemple : Usage des commandes à l’écran pour appliquer un effet Gouttelette 1 Ouvrez le navigateur d’effets et faites glisser l’effet Gouttelette sur un plan de la timeline. 2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes: • Pour positionner l’effet: faites glisser le cercle central. • Pour définir la limite extérieure de l’effet: faites glisser le cercle extérieur. • Pour définir la limite intérieure de l’effet: faites glisser le cercle intérieur. • Pour définir la taille globale de l’effet: faites glisser n’importe quelle zone entre les cercles inté- rieur et extérieur. Une zone en relief apparaît lorsque le pointeur se place dessus. Faites glisser le cercle central pour positionner l’effet. Faites glisser la zone (grisée) délimitée par les cercles pour définir l’étendue de l’effet global. Faites glisser le cercle intérieur pour régler la limite intérieure. Faites glisser le cercle extérieur pour régler la limite extérieure. Exemple : Usage des commandes à l’écran pour appliquer un effet Prisme 1 Ouvrez le navigateur d’effets et faites glisser l’effet Prisme sur un plan de la timeline. 2 Pour indiquer la direction de l’effet, faites glisser la flèche. L’effet ne prévoyant aucun centre défini, le cercle central ne peut pas être glissé. Faites glisser la flèche pour indiquer la direction de l’effet. Le cercle central ne peut pas être glissé car l’effet ne possède aucun centre défini.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 254 Exemple : Usage des commandes à l’écran pour appliquer un effet Étalement 1 Ouvrez le navigateur d’effets et faites glisser l’effet Étalement sur un plan de la timeline. 2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes: • Pour positionner l’effet: faites glisser le cercle central. • Pour définir le sens de l’effet: faites glisser la poignée de rotation. Faites glisser cette poignée pour faire pivoter la direction de l’effet. Faites glisser le cercle central pour régler la position de départ de l’effet. Exemple : Usage des commandes à l’écran pour appliquer une transition Centre 1 Ouvrez le navigateur de transitions et faites glisser la transition Centre sur un point de montage de la timeline. 2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes: • Pour positionner la transition : faites glisser le cercle central. • Pour définir le sens de la transition : faites glisser la flèche. • Pour régler l’épaisseur de la bordure de la transition (effet d’adoucissement dans ce cas): faites glisser la poignée extérieure par rapport au cercle central. Faites glisser la flèche pour indiquer la direction de la transition. Faites glisser le cercle central pour positionner la transition. Faites glisser cette poignée pour définir la largeur de la bordure (ici, il s’agit d’une frange d’adoucissement).Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 255 Exemple : Usage des commandes à l’écran pour appliquer une transition Étoile 1 Ouvrez le navigateur de transitions et faites glisser la transition Étoile sur un point de montage de la timeline. 2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes: • Pour positionner la transition : faites glisser le cercle central. • Pour définir le nombre de points de l’étoile : faites glisser la poignée la plus longue. • Pour faire pivoter l’étoile : faites glisser la poignée la plus courte. Faites glisser le cercle central pour régler la position de la transition. Faites glisser cette poignée pour définir le nombre de branches de l’étoile. Faites glisser cette poignée pour faire pivoter l’étoile de transition. Exemple : Usage des commandes à l’écran pour appliquer une transition Zoom et panoramique 1 Ouvrez le navigateur de transitions et faites glisser la transition Zoom et panoramique sur un point de montage de la timeline. 2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes: • Pour définir le point de départ de la transition : faites glisser le cercle vert. • Pour définir le point d’arrivée de la transition : faites glisser le cercle rouge. Faites glisser le cercle rouge pour définir le point d’arrivée. Faites glisser le cercle vert pour régler le point de départ.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 256 Utilisation de l’éditeur d’animation vidéo Présentation de l’animation vidéo Grâce à Final Cut Pro, vous pouvez créer des variations simples de la vidéo au cours de la lecture, telles que le fondu entrant progressif de la vidéo au début d’un film. Vous avez également la possibilité de réaliser des ajustements sophistiqués et précis dans le temps pour de nombreux paramètres d’effets vidéo différents, de transitions, de trajectoires d’animation, etc. Final Cut Pro prévoit des images clés et des poignées de fondu dans l’éditeur d’animation vidéo pour vous permettre de faire évoluer les effets au gré de la lecture. Le terme image clé est issu de l’animation traditionnelle, où seules les images importantes (clés) d’une séquence animée étaient dessinées pour esquisser l’animation d’un personnage au fil du temps. Une fois les images clés déterminées, un artiste d’interpolation dessine toutes les images intermédiaires. Dans Final Cut Pro, vous pouvez régler des paramètres sur des valeurs spécifiques à des moments précis (représentés par des images clés) et laisser Final Cut Pro jouer le rôle du graphiste chargé de l’interpolation en temps réel, en calculant toutes les valeurs intermédiaires entre vos images clés. Par exemple, pour animer un paramètre, tel qu’un réglage de rotation ou de mise à l’échelle, vous devez créer au moins deux images clés dans le plan. Final Cut Pro déduit la valeur du réglage entre les images clés, créant ainsi une animation fluide au fur et à mesure des fluctuations du réglage. Vous pouvez animer normalement ou avec des images clés aussi bien des effets vidéo qu’audio dans Final Cut Pro, notamment les différents paramètres d’effets et les propriétés des plans. Pour en savoir plus sur l’animation audio avec des images clés, consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Ajustement d’effets vidéo à l’aide d’images clés Vous devez dans ce cas placer des images clés à des points spécifiques d’un plan pour modifier les valeurs des paramètres au niveau de ces points. Par exemple, si vous souhaitez qu’un plan de votre projet se fonde jusqu’à se noircir complètement, vous devez définir deux images clés d’opacité à deux instants différents: l’un avec une valeur de 100 (entièrement visible) et l’autre avec une valeur de 0 (complètement transparent). Final Cut Pro interpole les valeurs intermédiaires entre 100 et 0, ce qui crée un fondu en douceur vers le noir. Il est possible de définir des images clés sur la timeline ou dans l’inspecteur vidéo. Pour localiser les images clés sur la timeline, vous devez afficher l’éditeur d’animation vidéo pour le plan en question. Des commandes d’images clés supplémentaires apparaissent avec les effets intégrés de Final Cut Pro. Consultez Manipulation d’effets intégrés à la page 235. Pour en savoir plus sur les images clés appliquées à des clips audio, consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Ajout d’images clés 1 Procédez de l’une des manières suivantes: • Sélectionnez un plan dans la timeline, puis choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle +V). • En maintenant la touche Contrôle enfoncée, cliquez sur un plan dans la timeline, puis choisissez « Afficher l’animation vidéo » dans le menu contextuel. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 257 Dans l’éditeur d’animation vidéo, chaque effet possède une zone séparée pour l’ajout d’images clés. Certains effets possèdent plusieurs paramètres et vous permettent d’ajouter des images clés indépendamment aux différents paramètres. Dans l’éditeur d’animation vidéo, ils apparaissent avec un triangle en regard du nom de l’effet et dans l’inspecteur vidéo sous forme de commandes de paramètre supplémentaires. 2 Sélectionnez l’effet auquel vous souhaitez ajouter des images clés dans l’éditeur d’animation vidéo ou dans la section Effets de l’inspecteur vidéo. 3 Procédez de l’une des manières suivantes: • Pour développer les paramètres dans l’éditeur d’animation vidéo : cliquez sur le triangle pour choisir un paramètre précis dans le menu local, ou sélectionnez Tous pour ajouter des images clés à tous les paramètres. • Pour développer les paramètres dans l’inspecteur vidéo : cliquez sur Afficher lorsque vous placez le pointeur sur l’effet et qu’apparaît l’option. 4 Effectuez l’une des opérations suivantes pour chaque effet : • Dans l’éditeur d’animation vidéo : tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande horizontale de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K). Les images clés pour le paramètre choisi s’affichent sous forme de losanges blancs, alors que celles des autres paramètres apparaissent en gris. Image clé du paramètre sélectionnéChapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 258 Si vous choisissez d’afficher tous les paramètres dans l’éditeur d’animation vidéo, les images clés s’affichent sous forme de losanges blancs pour tous les paramètres. Une paire de losanges indique que vous avez ajouté des images clés à plusieurs paramètres au point indiqué. Double losange • Dans l’inspecteur vidéo : placez la tête de lecture dans la timeline à l’endroit où vous souhaitez ajouter une image clé, puis cliquez sur le bouton Image clé (ou appuyez sur Option + K). Une fois l’image clé ajoutée, le bouton Image clé devient jaune, indiquant que la tête de lecture est positionnée sur une image clé. Bouton d’image clé Lorsque vous déplacez la tête de lecture sur la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur vidéo pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’). Flèches 5 Ajoutez des images clés si nécessaire. Conseil : après avoir ajouté une image clé, il vous est possible d’en ajouter une autre automatiquement en déplaçant la tête de lecture sur la timeline, puis en ajustant la valeur de paramètre de l’effet dans l’inspecteur vidéo. Ajout automatique d’images clés sur une zone sélectionnée Si un effet est assorti d’un triangle d’affichage dans l’éditeur d’animation vidéo, vous pouvez utiliser l’outil Sélectionner ou Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée. 1 Procédez de l’une des manières suivantes: • Sélectionnez un plan dans la timeline, puis choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle +V). • En maintenant la touche Contrôle enfoncée, cliquez sur un plan, puis choisissez « Afficher l’animation vidéo » dans le menu contextuel. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 259 2 Sélectionnez un effet, puis cliquez sur le triangle d’affichage pour le développer dans l’éditeur d’animation vidéo. Triangle d’affichage 3 Dans la timeline, choisissez Sélectionner ou Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A pour Sélectionner ou sur la touche R pour Sélection de plage). 4 Faites glisser le curseur dans l’éditeur d’animation vidéo, sur la zone où vous souhaitez ajuster un effet. 5 Ajustez l’effet sur la plage en déplaçant verticalement la commande horizontale.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 260 Les images clés sont automatiquement créées le long des points d’ajustement dans la plage. Ajustement des images clés dans l’éditeur d’animation vidéo Vous pouvez déplacer horizontalement des images clés dans l’éditeur d’animation vidéo. Si un effet présente un triangle d’affichage, vous pouvez développer la présentation de l’effet et déplacer verticalement les images clés pour modifier la valeur du paramètre. 1 Sélectionnez une image clé. 2 Procédez de l’une des manières suivantes: • Pour repositionner l’image clé dans l’éditeur d’animation vidéo, faites-la glisser vers la gauche ou la droite. Ce faisant, la valeur de timecode apparaît. Faites glisser horizontalement l’image clé. • Si un effet présente un triangle d’affichage, cliquez sur ce dernier (ou double-cliquez sur l’effet) pour le développer. Triangle d’affichageChapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 261 Une fois l’effet développé, vous pouvez faire glisser l’image clé verticalement pour modifier la valeur du paramètre de l’effet. Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé. Faites glisser verticalement l’image clé. Pour ajouter une autre image clé, maintenez la touche Option enfoncée et cliquez (ou appuyez sur Option + K) sur la commande de l’effet à l’endroit où vous voulez ajouter l’image clé. Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement. Si un effet présente un triangle d’affichage dans l’éditeur d’animation vidéo, vous pouvez aussi appliquer un fondu entrant ou sortant aux effets vidéo ou faire évoluer la forme de la courbe de l’effet d’une image clé à l’autre. Ajustement des images clés dans l’inspecteur vidéo Pour de nombreux effets, vous pouvez ajuster la valeur du paramètre des différentes images clés à l’aide de l’inspecteur vidéo. Lorsque vous déplacez la tête de lecture sur la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur vidéo pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’). Flèches 1 Sélectionnez ou placez la tête de lecture sur une image clé, puis ajustez la valeur du paramètre dans l’inspecteur vidéo. 2 Pour modifier la valeur de l’image clé suivante, accédez à celle-ci et ajustez à nouveau sa valeur.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 262 Affichage d’un seul effet à la fois dans l’éditeur d’animation vidéo Vous pouvez condenser l’éditeur d’animation vidéo pour afficher un seul effet à la fois. Cela peut être utile si vous appliquez plusieurs effets à un plan et que vous souhaitez conserver de l’espace à l’écran. 1 Choisissez Plan > Solo de l’animation (ou appuyez Maj + Contrôle +V). 2 Dans l’éditeur d’animation vidéo, cliquez sur le triangle en regard du nom de l’effet pour choisir un effet dans le menu local. Remarque : Lorsque l’option « Solo de l’animation » est activée, vous ne pouvez pas supprimer d’effet depuis l’éditeur d’animation vidéo. Pour désactiver « Solo de l’animation », choisissez Plan > Solo de l’animation (ou appuyez sur Maj + Contrôle +V). Suppression d’images clés Procédez de l’une des manières suivantes: m Sélectionnez une image clé dans l’éditeur d’animation vidéo et appuyez sur la touche Supprimer. m Accédez à une image clé dans l’inspecteur vidéo, puis cliquez sur le bouton Image clé. Une fois atteint une image clé, cliquez sur le bouton d’image clé pour la supprimer. Masquage de l’animation vidéo pour un plan Procédez de l’une des manières suivantes: m Sélectionnez le plan dans la timeline, puis choisissez Plan > Masquer l’animation vidéo (ou appuyez sur Contrôle +V). m Cliquez sur le bouton de fermeture situé dans l’angle supérieur gauche de l’éditeur d’animation vidéo. m En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Masquer l’animation vidéo » dans le menu contextuel. Ajustement des courbes d’effet à l’aide des poignées de fondu ou d’une animation avec des images clés Dans l’éditeur d’animation vidéo, certains effets comprennent des poignées de fondu permettant d'ajuster la durée du fondu entrant ou sortant d'un effet. Par exemple, vous pouvez utiliser les poignets de fondu pour ajuster la durée du fondu entrant de l'effet d'opacité, du fondu à l'ouverture depuis le noir ou du fondu au noir. Vous pouvez aussi déplacer les images clés verticalement pour créer une courbe destinée au paramètre de l’effet et modifier la forme de la courbe (interpolation) passant par les images clés. Créer ainsi une courbe de fondu ou d’effet adoucit la transition de sorte que les variations de l’effet semblent plus naturelles lors de la lecture du plan.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 263 Modification d’un effet à l’aide des poignées de fondu 1 Cliquez sur le triangle d’affichage pour développer l’effet dans l’éditeur d’animation vidéo. Triangle d’affichage Remarque : Si un effet ne possède aucun triangle d’affichage, il ne prévoit alors pas de poignée de fondu. 2 Faites glisser la poignée de fondu sur le point du plan où vous souhaitez que le fondu commence ou se termine. Les poignées de fondu placées au début d’un plan créent un fondu entrant, tandis que celles placées à la fin d’un plan génèrent un fondu sortant. Fondu entrant Fondu sortant Modification d’un effet à l’aide d’images clés m Cliquez sur le triangle d’affichage pour développer l’effet dans l’éditeur d’animation vidéo. Triangle d’affichage Remarque : Si un effet ne possède aucun triangle d’affichage, il ne vous est alors pas possible de déplacer verticalement les images clés. • Pour ajouter une image clé : tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K). Conseil : Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 264 • Pour modifier la valeur de paramètre de l’effet au niveau d’une image clé donnée : sélectionnez une image clé, puis faites-la glisser verticalement. Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé. Faites glisser verticalement l’image clé. Modification de la forme de la courbe (interpolation) passant par les images clés Procédez de l’une des manières suivantes: m Faites glisser horizontalement la ligne entre les images clés pour créer une courbe. Pour ajuster la courbe avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement le pointeur. m Tout en appuyant sur la touche Contrôle, cliquez sur la ligne passant par les images clés, puis choisissez une option de courbe dans le menu contextuel. • Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu. • Fluide : atténue en entrée et en sortie le fondu d’après le point intermédiaire défini entre les valeurs de début et de fin. • Atténuation en entrée : commence lentement depuis la valeur de début, puis accélère progressivement vers la valeur de fin. • Atténuation en sortie : commence rapidement depuis la valeur de début, puis ralentit progressivement vers la valeur de fin.Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 265 Remarque : Vous pouvez modifier la forme de la courbe entre les images clés pour les effets vidéo uniquement. Dans le cas d’une courbe se limitant au volume, vous avez la possibilité d’influer sur la forme de la courbe pour les fondus créés à l’aide des poignées de fondu mais pas pour les images clés. Consultez Application d’un fondu entrant ou sortant à l’audio à la page 181. Réglage de toutes les images clés sur la courbe m Maintenez les touches Commande et Option enfoncées, puis faites glisser soit une image clé, soit la courbe complète verticalement. Toutes les images clés sont alors ajustées de la même amplitude, préservant ainsi la forme d’origine de la courbe. Avant Après11 266 Regroupement des plans et des plans composés Présentation des plans composés Avec Final Cut Pro, vous pouvez créer des plans composés, qui vous permettent de regrouper des plans de n’importe quels types dans la timeline ou le navigateur d’événements et d’imbriquer des plans dans d’autres plans. Un plan composé peut contenir des composants de plan vidéo et clip audio, des plans et d’autres plans composés. Chaque plan composé peut être considéré comme un mini-projet possédant ses propres propriétés. Les plans composés fonctionnent comme les autres plans: vous pouvez les ajouter à votre projet, leur appliquer un trim, les resynchroniser et leur ajouter des effets et des transitions. Des icônes identifient les plans composés dans le navigateur d’événements et la timeline. Icône de plan composé d’un plan dans le navigateur d’événements Icône de plan composé d’un plan dans la timeline Les plans composés se dénotent pour leurs nombreux usages. Vous pouvez : • simplifier un projet complexe en créant un plan composé distinct pour chaque section principale ; • synchroniser un plan vidéo un ou plusieurs clips audio, puis combiner les plans dans un plan composé, pour éviter de perdre par erreur leur synchronisation ; • ouvrir n’importe quel plan, en modifier le contenu dans la timeline, puis le refermer ; • créer rapidement un plan composé contenant les plans d’un événement, dans l’ordre dans lequel ils apparaissent dans le navigateur d’événements; • exploiter un plan composé pour créer une section d’un projet avec des réglages différents de ceux du projet principal. Montage avancéChapitre 11 Montage avancé 267 Le diagramme suivant illustre comment un projet peut être simplifié dans la timeline à l’aide de plans composés: Plans sélectionnés dans la timeline Nouveau plan composé Les plans composés présentent les caractéristiques suivantes: • Vous pouvez créer des plans composés dans le navigateur d’événements ou dans la timeline. • Chaque plan composé dans la timeline possède un plan composé « parent » dans le navigateur d’événements. Plans de l’événement Projet 1 Projet 3 Plan enfant Plans enfants Plan enfant Projet 2 Plan composé parent • Lorsque vous modifiez le contenu d’un plan composé quelconque, vous montez en fait le plan composé parent depuis le navigateur d’événements. Toute modification apportée à un plan composé est transmise à l’intégralité de ses plans enfants. Par exemple, si vous supprimez un plan de titre du contenu d’un plan composé parent, il est alors supprimé de tous les plans enfants. Vous pouvez créer un plan composé indépendant d’un plan composé existant. Par exemple, vous pouvez disposer d’un plan composé d’une séquence de titre standard pour vos séries télé- visées ou vos podcasts. Vous pouvez créer des instances uniques (indépendantes) du plan composé pour chaque épisode sans affecter pour autant les autres instances de la séquence de titre. Remarque : Dans Final Cut Pro X, les plans composés offrent les mêmes fonctionnalités que les séquences imbriquées dans Final Cut Pro 7, mais avec plus de flexibilité et de convivialité.Chapitre 11 Montage avancé 268 Création et division de plans composés Vous pouvez créer un plan composé à partir de plans existants dans la timeline ou le navigateur d’événements, ou bien créer un plan composé vide dans le navigateur d’événements et y ajouter des plans dans la timeline. Vous pouvez également scinder un plan composé ; ses différentes parties sont alors reconverties en éléments individuels dans la timeline. Création d’un plan composé à partir de plans existants 1 Sélectionnez un ou plusieurs plans dans la timeline ou le navigateur d’événements. Il peut s’agir de plans contigus ou non, de plans composés, de plans du scénario principal ou de plans connectés. 2 Procédez de l’une des manières suivantes: • Choisissez Fichier > Nouveau plan composé (ou appuyez sur Option + G). • Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan composé dans le menu contextuel. Remarque : Lorsque vous ajoutez un plan composé à la timeline ou créez un plan composé à partir de plans existants dans la timeline, une relation directe et active s’établit entre un plan composé parent dans le navigateur d’événements et le plan composé enfant dans la timeline. Si le plan parent n’existe pas déjà dans le navigateur d’événements, Final Cut Pro en crée alors un automatiquement. Lorsque vous modifiez le contenu d’un plan composé (par exemple, en effectuant le trim de plans ou en ajoutant des effets à des plans inclus dans le plan composé), vous modifiez en fait toutes les instances du plan composé en question, y compris le plan composé parent dans le navigateur d’événements.Chapitre 11 Montage avancé 269 La façon dont les plans sont regroupés au sein du plan composé dépend de l’endroit où vous les avez sélectionnés: • Si vous avez sélectionné les plans dans un événement: Final Cut Pro crée un plan composé dans l’événement (en plus des plans sélectionnés) et place des copies des plans sélectionnés horizontalement dans le nouveau plan composé, dans l’ordre dans lequel vous avez sélectionné les plans. (Pour obtenir des instructions complémentaires sur la création d’un plan composé dans le navigateur d’événements, consultez « Création d’un plan composé vide » ci-après.) Plans sélectionnés dans le navigateur d’événements Nouveau plan composé Contenu du plan composéChapitre 11 Montage avancé 270 • Si vous avez sélectionné les plans dans la timeline : Final Cut Pro place les plans sélectionnés dans le nouveau plan composé exactement comme ils le sont dans la timeline. Le nouveau plan composé hérite de la taille d’image et de la fréquence d’images de la timeline actuelle. Plans sélectionnés dans la timeline Nouveau plan composé Contenu du plan composé Création d’un plan composé indépendant d’un plan composé existant 1 Sélectionnez un plan composé dans la timeline. 2 Choisissez Plan > Référencer un nouveau plan parent. Final Cut Pro crée un plan composé « parent » dans le navigateur d’événements. Cette commande rompt la relation entre le plan composé sélectionné dans la timeline et le plan composé parent d’origine qui lui correspond (ainsi que toute autre plan enfant du parent d’origine, dans tous les projets). Remarque : Vous pouvez également sélectionner plusieurs plans à l’étape 1 et laisser Final Cut Pro établir un ou plusieurs plans parents en s’appuyant sur les références de plan parent existantes. Création d’un plan composé vide Vous pouvez créer des plans composés vides puis y ajouter des plans. Chaque plan composé peut être considéré comme un mini-projet possédant ses propres propriétés. 1 Dans la bibliothèque d’événements, sélectionnez l’événement auquel vous voulez ajouter le plan composé.Chapitre 11 Montage avancé 271 2 Choisissez Fichier > Nouveau plan composé. Dans la fenêtre qui s’affiche, attribuez un nom au plan composé dans le champ Nom. 3 Cliquez sur « Utiliser les réglages personnalisés » pour personnaliser davantage les réglages pour votre plan composé. Remarque : Final Cut Pro affiche les réglages automatiques par défaut, mais conserve en mémoire ceux que vous avez utilisés en dernier. Cette étape peut dès lors s’avérer facultative. 4 Par défaut, Final Cut Pro définit le champ Timecode de début à la valeur de timecode la plus faible pour les plans sélectionnés. Si vous voulez que le timecode du plan composé commence à une autre valeur, saisissez sa valeur dans le champ Timecode de début. 5 Pour modifier les réglages vidéo, audio et de rendu, cliquez sur Personnalisé. À moins que vous n’ayez des besoins précis pour le plan composé que vous créez, il est préférable de laisser les options «Définir automatiquement d’après le 1er plan vidéo » et « Utiliser les réglages par défaut » sélectionnées. 6 Cliquez sur OK. Le nouveau plan composé apparaît dans l’événement. Modification du contenu d’un plan standard dans la timeline Vous pouvez modifier le contenu d’un plan standard. m Sélectionnez un plan dans le navigateur d’événements ou la timeline, puis choisissez Plan > Ouvrir dans la timeline. La timeline affiche le contenu du plan. La plupart des plans standard comprennent un composant vidéo et/ou un composant audio. Vous ne pouvez pas modifier le contenu de ces composants audio et vidéo. Il vous est possible d’ajouter des données au contenu de ce plan (en ajoutant des plans à cette timeline). Pour fermer ce plan, accédez au niveau immédiatement supérieur dans l’historique de la timeline. Remarque : Comme le montage effectué dans Final Cut Pro n’est pas destructif, toute modification apportée au contenu d’un plan standard ou composé n’a pas d’effet sur les fichiers d’origine qui demeurent intacts sur le disque dur de votre ordinateur. Pour en savoir plus sur la différence entre fichiers source et plans, consultez Fichiers de média et plans à la page 18. Scinder des éléments de plan Vous pouvez scinder un plan composé ou un plan standard pour convertir son contenu en plans individuels dans la timeline. m Sélectionnez un plan composé ou un plan standard dans la timeline, puis choisissez Plan > Scinder les éléments de plan (ou appuyez sur cmd + Maj + G). Final Cut Pro remplace le plan sélectionné dans la timeline par les différents éléments qui le constituent. Si vous avez sélectionné un plan composé, les plans d’origine qui le constituaient sont rétablis. Cependant, le plan composé parent est conservé dans le navigateur d’événements. Si le plan sélectionné est un plan standard, son contenu apparaît sous forme de plans individuels dans la timeline. La plupart des plans standard incluent un composant vidéo, un composant audio ou les deux. Les données audio apparaissent sous la forme d’un plan connecté.Chapitre 11 Montage avancé 272 Gestion des plans composés Les plans composés peuvent être gérés et modifiés de diverses manières. Vous pouvez, par exemple, les ouvrir (et modifier leurs composants) dans une timeline distincte. Vous pouvez facilement parcourir les différents niveaux d’un plan composé. Enfin, vous pouvez ouvrir et modifier un plan composé au sein d’un événement. Remarque : Lorsque vous modifiez le contenu d’un plan composé (par exemple, en effectuant le trim de plans ou en ajoutant des effets à des plans inclus dans le plan composé), vous modifiez en fait toutes les instances du plan composé en question, y compris le plan composé parent dans le navigateur d’événements. Toute modification apportée aux éléments intégrant le plan composé est transmise à l’intégralité de ses plans enfants, dans tous les projets. Ces modifications incluent entre autres l’ajout ou la suppression de plans, les réglages de trim, les effets vidéo ou audio tels que l’étalonnage, ou encore la resynchronisation de la vitesse des plans. Par exemple, si vous supprimez un plan de titre d’un plan composé parent, il est alors supprimé de tous les plans composés enfants. Ouverture d’un plan composé en vue de sa modification Procédez de l’une des manières suivantes: m Sélectionnez un plan composé dans la timeline ou le navigateur d’événements, puis choisissez Plan > Ouvrir dans la timeline. m Double-cliquez sur la partie vidéo d'un plan composé dans la timeline ou le navigateur d'événements. m Cliquez sur l’icône de plan composé dans le coin supérieur gauche d’un plan composé dans la timeline. Le plan composé s’ouvre dans une nouvelle timeline et son contenu peut être modifié. Plan composé d’un projet dans la timeline Plan composé ouvert dans une nouvelle vue de la timeline Projet Plan composé ProjetChapitre 11 Montage avancé 273 Remarque : Comme le montage effectué dans Final Cut Pro n’est pas destructif, toute modification apportée au contenu d’un plan standard ou composé n’a pas d’effet sur les fichiers d’origine qui demeurent intacts sur le disque dur de votre ordinateur. Pour en savoir plus sur la différence entre fichiers source et plans, consultez Fichiers de média et plans à la page 18. Parcourir les niveaux d’un plan composé à l’aide de commandes de menu et de raccourcis clavier Vous pouvez monter ou descendre d'un ou plusieurs niveaux dans un plan composé. m Pour avancer (descendre d’un niveau): Choisir Présentation > Avancer dans l'historique de la timeline, ou appuyez sur Commande + Crochet fermant (]) m Pour reculer (monter d’un niveau): Choisir Présentation > Reculer dans l'historique de la timeline, ou appuyez sur Commande + Crochet ouvrant ([) Parcourir les niveaux d’un plan composé à l’aide des boutons fléchés Procédez de l’une des manières suivantes: m Cliquez sur les flèches vers la gauche et la droite dans le coin supérieur gauche de la timeline. m Cliquez sur la flèche droite ou gauche dans le coin supérieur gauche de la timeline et maintenez le bouton de la souris enfoncé, puis choisissez un niveau dans le menu local. La flèche gauche permet de fermer le plan composé actuel et d’ouvrir son plan parent, le niveau supérieur étant le projet ou l’événement contenant le plan composé. S’il n’y a pas d’historique à parcourir, les flèches gauche et droite sont estompées. S’assurer que tout le contenu d’un plan composé apparaît dans la séquence Lorsque vous montez le contenu d’un plan composé, Final Cut Pro indique la limite de ce dernier à l’aide d’une zone hachurée gris foncé à gauche de son point de départ et à droite de son point d’arrivée. Si vous ajoutez des plans au contenu du plan composé, les parties de ces plans s’étendant dans la zone gris foncé n’apparaissent pas dans le projet. Les plans figurant dans la zone hachurée gris foncé n’apparaissent pas dans la séquence finale.Chapitre 11 Montage avancé 274 Pour que les données des nouveaux plans apparaissent dans votre projet, effectuez l’une des opérations suivantes pour leur faire de la place : m Réduisez la durée totale des autres plans du plan composé. Vous pouvez par exemple appliquer un trim à un ou plusieurs plans du plan composé. m Fermez le plan composé pour remonter d’un niveau, puis augmentez la durée totale du plan parent (le « conteneur » du plan composé) dans la timeline. Pour en savoir plus, consultez Présentation du trim à la page 130. Ajout de scénarios Les scénarios sont des séquences de plans connectés au scénario principal. Ils offrent à la fois la commodité des plans connectés et les possibilités de montage de précision du scénario principal. Vous pouvez utiliser les scénarios pour les mêmes utilisations que les plans connectés (par exemple, créer des plans de coupe, composer des titres et autres graphismes ou encore ajouter des effets sonores et de la musique). L’avantage unique des scénarios réside dans la capacité à monter une suite de plans connectés dans le contexte des autres plans sur la timeline. Par exemple, il vous est possible d’ajouter des transitions en fondu croisé à une série de titres superposés dans un scénario, puis d’adapter le contrôle du temps des titres de sorte à les faire correspondre aux plans du scénario principal. Tout comme les plans connectés, les scénarios peuvent contenir aussi bien de la vidéo que de l’audio, ou se limiter à la vidéo seule et à l’audio. Pour plus d’informations sur les plans connectés, consultez Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. Scénario Scénario ne contenant que des données audio Scénario principal Pour monter les scénarios, vous pouvez utiliser les mêmes méthodes que pour le scénario principal. Vous pouvez : • Ajouter des plans: faites glisser des plans vers le scénario pour les ajouter, ou utilisez les commandes d’ajout, d’insertion, de remplacement et d’écrasement standard.Chapitre 11 Montage avancé 275 • Ajouter de transitions, des titres, des effets et des générateurs: ajoutez des effets à un scénario en les faisant glisser vers celui-ci ou en utilisant les commandes et les raccourcis clavier standard. Remarque : Lorsque vous appliquez une transition à un plan connecté au scénario principal, un scénario est automatiquement créé pour ce plan. • Appliquer un trim aux plans: utilisez les montages trim standard dans un scénario, notamment les montages Ripple, Roll, par coulissement et par glissement. Vous pouvez également appliquer un trim aux plans ou les déplacer au sein des scénarios en saisissant des valeurs de timecode. • Créer des montages par chevauchement: définissez des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan particulier pour créer des montages scindés (coupes en L et en J) dans un scénario. Création et scission de scénarios Vous pouvez créer rapidement des scénarios à partir de plans connectés existants. 1 Dans la timeline, sélectionnez au moins deux plans connectés. 2 Choisissez Plan > Créer un scénario (ou appuyez sur cmd + G). Une bordure grise apparaît autour des plans pour indiquer la présence d’un scénario. La bordure grise indique un scénario. Remarque : Si les plans connectés d’origine ne sont pas contigus, Final Cut Pro insère un plan vide pour combler l’espace entre les plans.Chapitre 11 Montage avancé 276 Vous pouvez également créer un scénario en maintenant enfoncée la touche G et en faisant glisser un plan vers un plan connecté jusqu’à ce que leurs bords se touchent : Maintenez la touche G enfoncée lorsque vous faites glisser un plan vers un plan connecté. 3 Pour reconvertir un scénario en plans individuels, procédez de l’une des manières suivantes: • Sélectionnez le scénario (en cliquant sur la bordure grise) et choisissez Plan > Scinder les élé- ments de plan (ou appuyez sur cmd + Maj + G). • Faites glisser le scénario vers le scénario principal. Sélection et déplacement de scénarios Vous pouvez sélectionner ou déplacer des scénarios complets comme s’il s’agissait de plans standard ou de plans composés. Ils possèdent les propriétés de connexion des plans connectés. m Pour sélectionner un scénario complet: cliquez sur la bordure grise du scénario. m Pour déplacer un scénario en le faisant glisser: cliquez sur la bordure grise du scénario et faites glisser celui-ci vers la gauche ou la droite pour le connecter à un autre point du scénario principal. Faites glisser horizontalement le scénario. m Pour déplacer un scénario à l’aide de valeurs de timecode ou de raccourcis clavier: utilisez les mêmes techniques que pour les plans standard. Pour en savoir plus, consultez Disposition des plans dans la timeline à la page 124.Chapitre 11 Montage avancé 277 Ajustement des montages à l’aide de l’éditeur de précision Vous pouvez ajuster le point de montage entre deux plans dans la timeline à l’aide de l’éditeur de précision, qui fournit une présentation étendue des plans de part et d’autre du point de montage ainsi que des parties non utilisées de chaque plan. Vous pouvez modifier (trim ou extension) la fin d’un plan et le début de l’autre, séparément ou ensemble. Vous pouvez observer instantanément l’effet de vos modifications sur la coupure ou la transition entre un plan et le suivant. Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Ajustement du point de montage entre des plans à l’aide de l’éditeur de précision 1 Choisissez l’outil Sélectionner ou l’outil Trim dans le menu local Outils de la barre d’outils, puis double-cliquez sur le point de montage auquel vous voulez appliquer un trim dans la timeline. Double-cliquez sur le point de montage auquel appliquer un trim. L’éditeur de précision apparaît avec une présentation étendue des plans sortant et entrant. Le point de montage est représenté par une ligne verticale au centre de l’éditeur de précision. Le plan sortant et ceux qui le précèdent apparaissent dans la partie supérieure du scénario. Le plan entrant et ceux qui le suivent apparaissent dans la partie inférieure. Les parties estompées des plans à droite et à gauche de la ligne de montage correspondent aux données non utilisées disponibles pour le trim (on les appelle les poignées de données). Vous pouvez survoler ces zones pour afficher et lire les données afin de déterminer l’endroit où vous allez appliquer le trim. Point d’arrivée du plan sortant Trait de montage Skimmer Poignée du trait de montage Point de départ du plan entrantChapitre 11 Montage avancé 278 2 Pour ajuster le point de montage, effectuez l’une des opérations suivantes: • Déplacez la ligne de montage au centre de l’éditeur de précision en faisant glisser sa poignée vers la gauche ou la droite. Faites glisser la poignée de ligne de montage horizontalement. Déplacer l’ensemble de la ligne de montage permet d’effectuer un montage Roll. • Déplacez le point d’arrivée du plan sortant ou le point de départ du plan entrant. Cela permet d’effectuer un montage Ripple. Remarque : Vous pouvez faire glisser la ligne de montage ou les différents points de montage tant que des poignées de données sont disponibles. Une fois que vous avez atteint la longueur maximale du plan dans l’une ou l’autre direction, le bord du plan devient rouge. Déplacez le point d’arrivée du plan sortant ou le point de départ du plan entrant.Chapitre 11 Montage avancé 279 • Survolez le plan sortant ou entrant et cliquez à l’endroit voulu. Cliquez n’importe où sur l’un des deux plans. Le point de montage du plan est placé au niveau de l’image sur laquelle vous cliquez. Cette opération équivaut à un montage Ripple. Le point de montage du plan se place au niveau de l’image sur laquelle vous cliquez. Vous pouvez également saisir une valeur de timecode pour ajuster numériquement le point de montage. Si vous sélectionnez le point d’arrivée du plan sortant ou le point de départ du plan entrant, un montage Ripple est effectué. Sinon, un montage Roll est appliqué. 3 Pour atteindre un autre point de montage, effectuez l’une des opérations suivantes: • Pour atteindre directement un point de montage : cliquez sur l’autre point de montage. • Pour atteindre le point de montage suivant ou précédent: appuyez sur la touche fléchée vers le haut ou vers le bas. 4 Pour fermer l’éditeur de précision, effectuez l’une des opérations suivantes: • Double-cliquez sur le point de montage actuel, ou appuyez sur la touche Échap. • Cliquez sur le bouton « Fermer l’éditeur de précision » dans le coin inférieur droit de la timeline.Chapitre 11 Montage avancé 280 Création de montages scindés Final Cut Pro permet de définir des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan donné. Ces montages, appelés montages scindés, peuvent être utilisés dans de nombreuses situations, notamment dans des scènes de dialogue, pour le montage d’une séquence Roll B à des fins d’illustration dans une interview ou pour effectuer une transition entre deux scènes. Vous pouvez utiliser un montage scindé pour introduire le son d’un nouveau plan ou d’une nouvelle scène avant l’arrivée de ce plan ou de cette scène. À l’inverse, vous pouvez faire appel à un montage scindé pour étendre l’audio d’un plan sur le plan suivant. Par exemple, vous pouvez passer du plan d’une personne qui parle à la vidéo d’une personne qui écoute tout en conservant l’audio du premier plan. La technique de montage scindé produit des plans en L et en J, l’audio s’étendant vers la gauche ou la droite. C’est ce qu’on appelle des coupes en L et des coupes en J. Remarque : Lorsque vous utilisez des montages scindés, il est recommandé de sélectionner Présentation > Développer les plans audio/vidéo > Pour les scissions (afin qu’une coche apparaisse en regard de l’élément du menu). Ce réglage offre une précision d’affichage optimale pour tous vos montages scindés. Création d’un montage scindé par glissement Pour créer un montage scindé, vous devez étendre l’audio d’un plan au plan voisin. Dans cet exemple, l’audio du gros plan de l’homme s’étend au gros plan de la femme de sorte à créer une coupe en J. 1 Ajoutez des plans à la timeline dans l’ordre dans lequel vous voulez qu’ils apparaissent dans votre film. 2 Pour afficher séparément les données audio du plan que vous voulez monter, effectuez l’une des opérations suivantes: • Sur la timeline, sélectionnez le plan dont vous voulez développer l’audio, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur ctrl + S). • Double-cliquez sur la forme d’onde audio du plan.Chapitre 11 Montage avancé 281 Les données audio et vidéo du plan apparaissent sous forme de composants distincts que vous pouvez modifier séparément. Ils sont néanmoins toujours connectés et resteront synchronisés. 3 Faites glisser le point de départ (bord gauche) des données vidéo du plan vers la droite ; cela a pour effet d’appliquer au plan un trim de type Ripple. L’exemple ci-dessous illustre le glissement du point de départ vidéo du gros plan de l’homme vers la droite. Cela crée un montage scindé en J, le point de départ de l’audio chevauchant le plan précédent. 4 Pour terminer le montage scindé, affichez séparément les données audio du plan précédent, puis effectuez l’une des opérations suivantes: • Faites glisser le point d’arrivée du plan précédent vers la gauche de sorte que les deux plans audio ne se chevauchent plus.Chapitre 11 Montage avancé 282 • Ajustez le niveau audio (fondu) de l’un des deux plans de sorte que le chevauchement des plans audio soit naturel. 5 Si vous souhaitez désactiver l’affichage séparé des données audio pour « remettre en ordre » les plans que vous venez de manipuler, effectuez l’une des opérations suivantes: • choisissez Présentation > Condenser tous les plans. • Sélectionnez le plan dans la timeline, puis choisissez Plan > Condenser l’audio/la vidéo (ou appuyez sur ctrl + S). • Double-cliquez sur la forme d’onde audio du plan. Lors de la lecture de cette partie de la timeline, vous pouvez entendre l’homme commencer à parler avant l’affichage de son gros plan. Vous pouvez donc utiliser les montages scindés pour créer des transitions transparentes entre deux plans consécutifs. Création d’un montage scindé à l’aide de raccourcis clavier Vous pouvez créer rapidement des montages scindés à l’aide des raccourcis clavier. Dans cet exemple, l’audio du gros plan de l’homme s’étend au gros plan de la femme de sorte à créer une coupe en J. 1 Confirmez que les deux plans adjacents disposent de poignées de média suffisantes. Dans le cas contraire, réalisez un trim des plans (raccourcir) pour créer les poignées en question. 2 Pour étendre l’audio (afficher l’audio à part) des deux plans adjacents, procédez de l’une des manières suivantes: • Dans la timeline, sélectionnez les plans dont vous voulez étendre l’audio, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur ctrl + S).Chapitre 11 Montage avancé 283 • Double-cliquez sur la forme d’onde audio du plan. 3 Placez la tête de lecture sur le point de montage situé entre les deux plans. Tête de lecture sur le point de montage Pour assurer un placement précis de la tête de lecture, faites appel aux raccourcis clavier : • Pour placer la tête de lecture sur le point de montage précédent: appuyez sur Point-virgule (;) ou sur la touche Flèche vers le haut. • Pour placer la tête de lecture sur le point de montage suivant: appuyez sur Apostrophe (’) ou sur la touche Flèche vers le bas. 4 Procédez de l’une des manières suivantes: • Pour sélectionner les deux bords du point de montage audio : appuyez sur Maj + Barre oblique inverse (\). • Pour sélectionner les deux bords du point de montage vidéo : appuyez sur Barre oblique inverse (\). Point de montage audio sélectionnéChapitre 11 Montage avancé 284 5 Procédez de l’une des manières suivantes pour effectuer un montage roll du point de montage audio ou vidéo : • Pour déplacer le point de montage à gauche ou à droite : appuyez sur Virgule (,) ou Point (.) respectivement. • Pour déplacer le point de montage de 10 images vers la gauche ou vers la droite : appuyez respectivement sur Maj +Virgule (,) ou sur Maj + Point (.). • Pour ajouter ou soustraire du montage actif par le biais du timecode : appuyez sur la touche Plus(+) ou Moins(–), saisissez la durée de timecode, puis appuyez sur Retour. Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. Point de montage déplacé Point de montage original Lors de la lecture de cette partie de la timeline, vous pouvez entendre l’homme commencer à parler avant l’affichage de son gros plan. Vous pouvez donc utiliser les montages scindés pour créer des transitions transparentes entre deux plans consécutifs. Réalisation de montages à trois points Présentation du montage à trois points Le montage à trois points vous permet d’utiliser des points de départ et d’arrivée définis dans le navigateur d’événements et la timeline pour spécifier la durée d’un plan et son emplacement dans la timeline. Le montage à trois points tire son nom du fait que seuls trois points de montage sont nécessaires pour définir la partie du plan source à utiliser et l’emplacement de ce plan dans la timeline. Final Cut Pro déduit automatiquement le quatrième point de montage. Le résultat du montage dépend de la répartition des trois points définis dans le navigateur d’événements et dans la timeline : deux points de départ et un point d’arrivée ou un point de départ et deux points d’arrivée. Vous pouvez utiliser le montage à trois points avec les types de montage suivants: • Insérer • Connecter • Écraser Avec chacun de ces types de montage, vous pouvez également effectuer des montages à trois points à rebours, dans lesquels le point d’arrivée (et non le point de départ) est aligné sur la position du skimmer ou de la tête de lecture dans le navigateur d’événements ou la timeline. Vous pouvez également réaliser des montages à deux points dans lesquels les points de départ et d’arrivée sont déduits d’après la position du skimmer et la durée du plan.Chapitre 11 Montage avancé 285 Pour réaliser des montages à trois points, il est important de savoir effectuer des sélections et utiliser le skimmer et la tête de lecture. Pour en savoir plus sur les sélections, consultez Sélection d’une plage à la page 100 et Sélection d’un ou plusieurs plans à la page 98. Pour en savoir plus sur le skimmer et la tête de lecture, consultez Présentation de la lecture et du survol à la page 78. Le montage à trois points de base se déroule en trois étapes: Étape 1 : définition des points de montage de la sélection source dans le navigateur d’événements Indiquez quelle partie d’un plan vous souhaitez placer dans la timeline. Pour ce faire, définissez les points de départ et d’arrivée. Si vous souhaitez ne définir qu’un point de départ dans le navigateur d’événements, positionnez le skimmer (ou la tête de lecture) à l’endroit où vous voulez que le montage commence. Dans ce cas, le point d’arrivée est déterminé d’après les points de départ et d’arrivée définis dans la timeline ou d’après la fin du plan. Vous pouvez également sélectionner plusieurs plans dans le navigateur d’événements; dans ce cas, la durée totale des données source détermine les points de départ et d’arrivée. Étape 2 : définition de points de montage dans un scénario dans la timeline Indiquez l’endroit où vous voulez que le plan apparaisse dans la timeline en définissant des points de départ et d’arrivée dans le scénario principal ou dans un scénario connecté. Si les points de départ et d’arrivée sont tous deux définis dans la timeline, ils déterminent la durée du montage, quelle que soit la durée définie dans le navigateur d’événements. Si aucun point de départ ou d’arrivée n’est défini dans la timeline, Final Cut Pro utilise la position du skimmer comme point de départ du montage. Si le skimmer est absent, Final Cut Pro utilise la position de la tête de lecture. Important : À quelques exceptions près, le montage à trois points nécessite des sélections de plage (et non des sélections de plan). Étape 3 : ajout du plan ou de la sélection source à la timeline Vous pouvez opter pour un montage par insertion, connexion ou écrasement. Important : Les points de départ et d’arrivée définis dans la timeline sont toujours prioritaires sur ceux définis dans le navigateur d’événements. Cela signifie que si vous définissez des points de départ et d’arrivée dans la timeline, ceux-ci déterminent la durée du montage, quels que soient les points de départ et d’arrivée définis dans le navigateur d’événements. Cela vous permet de limiter votre montage à une section spécifique de la timeline. Vous devez garder un certain nombre de facteurs à l’esprit lorsque vous réalisez un montage à trois points. Points de montage définis Résultats • Points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements • Point de départ de destination défini dans la timeline Le point de départ de la sélection source dans le navigateur d’événements est aligné sur le point de départ de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de la sélection source dans le navigateur d’événements. • Point de départ de la sélection source défini dans le navigateur d’événements • Points de départ et d’arrivée de destination définis dans la timeline Le point de départ de la sélection source dans le navigateur d’événements est aligné sur le point de départ de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de destination définis dans la timeline. Remarque : Ce montage nécessite la sélection d’une plage dans la timeline. Pour ce faire, vous pouvez utiliser l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100.Chapitre 11 Montage avancé 286 Points de montage définis Résultats • Points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements • Point d’arrivée de destination défini dans la timeline Le point d’arrivée de la sélection source dans le navigateur d’événements est aligné sur le point d’arrivée de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de la sélection source dans le navigateur d’événements. Cette méthode est appelée « backtiming » d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan se termine à un endroit précis du projet. • Point d’arrivée de la sélection source défini dans le navigateur d’événements • Points de départ et d’arrivée de destination définis dans la timeline Le point d’arrivée de la sélection source dans le navigateur d’événements est aligné sur le point d’arrivée de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de destination définis dans la timeline. Cette méthode est appelée « backtiming » d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan se termine à un endroit précis du projet. Remarque : Ce montage nécessite la sélection d’une plage dans la timeline. Pour ce faire, vous pouvez utiliser l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100. Exemples de montage à trois points Dans Final Cut Pro, vous pouvez réaliser des montages précis en combinant trois (voire deux) points de montage définis dans le navigateur d’événements et la timeline. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284. Voici quelques exemples de réalisation de montages à trois points. Exemple : réalisation d’un montage à trois points La méthode la plus simple pour réaliser un montage à trois points consiste à définir les points de départ et d’arrivée de la sélection source dans le navigateur d’événements, puis à indiquer le point de départ de destination dans votre projet en positionnant le skimmer (ou la tête de lecture) dans la timeline. 1 Définissez les points de départ et d’arrivée de la sélection source dans le navigateur d’événements. Point de départ Point d’arrivéeChapitre 11 Montage avancé 287 2 Dans la timeline, positionnez le skimmer (ou la tête de lecture, si le skimmer est absent) à l’endroit où vous voulez que le plan commence dans votre projet (point de départ de destination). Positionnez le skimmer à l’emplacement où vous souhaitez que le plan commence dans le projet. 3 Pour ajouter la sélection source au projet à l’aide d’un montage par écrasement, appuyez sur la toucheD. Le nouveau plan commence à l’emplacement où se trouvait le skimmer. La partie de votre sélection source située entre les points de départ et d’arrivée apparaît dans la timeline ; elle commence au niveau du skimmer. En ne définissant que trois points, à savoir les points de départ et d’arrivée de la sélection source dans le navigateur d’événements et le point de départ de destination dans la timeline, vous avez un contrôle total du montage. Exemple : réalisation d’un montage à trois points à rebours Vous pouvez réaliser un montage à trois points en définissant les points de départ et d’arrivée de la sélection source dans le navigateur d’événements et un point d’arrivée (au lieu d’un point de départ) de destination dans la timeline. Cette technique s’appelle le backtiming d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan donné se termine à un endroit précis d’un projet, sur un temps musical. Dans le montage obtenu, le point d’arrivée des données de la sélection effectuée dans le navigateur d’événements est aligné sur le point d’arrivée défini dans la timeline, et le reste de la sélection source apparaît à gauche. 1 Définissez les points de départ et d’arrivée de la sélection source dans le navigateur d’événements. Point de départ Point d’arrivéeChapitre 11 Montage avancé 288 2 Dans la timeline, positionnez le skimmer (ou la tête de lecture, si le skimmer est absent) à l’endroit où vous voulez que le plan se termine dans votre projet. Positionnez le skimmer là où le plan doit se terminer. 3 Effectuez l’une des opérations suivantes: • Pour effectuer un backtiming de la sélection avec un montage par connexion : appuyez sur Maj +Q. • Pour effectuer un backtiming de la sélection avec un montage par écrasement: appuyez sur Maj +D. Votre sélection source est montée dans le projet de telle sorte que le point d’arrivée de ses données soit aligné sur le point d’arrivée que vous avez défini dans la timeline. Le nouveau plan se termine à l’emplacement où se trouvait le skimmer. Le reste du plan écrase les données situées à gauche du point d’arrivée sur la durée déterminée par les points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements. Exemple : réalisation d’un montage à trois points avec plusieurs plans Vous pouvez réaliser des montages à trois points avec plusieurs plans à la fois. 1 Dans le navigateur d’événements, sélectionnez au moins deux plans. (Ne sélectionnez pas une plage au sein d’un même plan.) Pour en savoir plus sur la sélection de plusieurs plans, consultez Sélection d’un ou plusieurs plans à la page 98. Trois plans sont sélectionnés en vue d’être placés dans le scénario. Aucune sélection de plage n’est définie.Chapitre 11 Montage avancé 289 2 Dans la timeline, définissez un point de départ de destination en positionnant le skimmer à l’endroit où vous voulez que le plan ou le groupe de plans commence dans votre projet. Positionnez le skimmer là où le groupe de plans doit commencer. 3 Pour ajouter les plans sélectionnés au projet à l’aide d’un montage par écrasement, appuyez sur la toucheD. Le nouveau groupe de plans commence depuis le skimmer. La tête de lecture se place à la fin des nouveaux plans. L’ensemble du groupe de plans sélectionnés dans le navigateur d’événements est monté dans le projet. Remarque : Les plans sont ajoutés dans l’ordre dans lequel vous les avez sélectionnés. Comme vous avez utilisé un montage par écrasement, tous les éléments de plan déjà présents dans le projet sont écrasés par les plans sélectionnés dans le navigateur d’événements sur la durée de ces derniers. Vous pouvez également réaliser un montage à trois points à partir de plusieurs plans dans la timeline. Pour sélectionner une plage sur plusieurs plans dans la timeline, utilisez l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100. Exemple : réalisation d’un montage à deux points Vous pouvez réaliser un montage sans effectuer aucune sélection dans le navigateur d’événements ou la timeline. C’est ce qu’on appelle un montage à deux points. Dans ce cas, Final Cut Pro se base sur le plan actuel dans le navigateur d’événements, de la position du skimmer ou de la tête de lecture à la fin du plan, et sur le projet dans la timeline, en avançant à partir de la position du skimmer ou de la tête de lecture. Vous pouvez également réaliser des montages à deux points à rebours, dans lesquels Final Cut Pro se base sur le plan actuel dans le navigateur d’événements et sur le projet dans la timeline, en reculant à partir de la position du skimmer ou de la tête de lecture. Chapitre 11 Montage avancé 290 Dans les deux cas, la durée du montage est déterminée par la position du skimmer ou de la tête de lecture et la fin du plan dans le navigateur d’événements. 1 Pour définir un point de départ pour la sélection source dans le navigateur d’événements, placez le skimmer ou la tête de lecture à l’endroit où vous voulez que le montage commence (mais n’effectuez aucune sélection). L’emplacement de la tête de lecture du navigateur d’événements détermine le point d’entrée de la sélection source. 2 Pour définir un point de départ de destination dans la timeline, placez le skimmer ou la tête de lecture à l’endroit où vous voulez que le montage commence (mais n’effectuez aucune sélection). L’emplacement du skimmer sur la timeline constitue le point de départ cible. 3 Pour ajouter le plan au projet à l’aide d’un montage par écrasement, appuyez sur la toucheD. Le nouveau plan commence au niveau du skimmer. Le nouveau plan commence à l’emplacement où se trouvait le skimmer.Chapitre 11 Montage avancé 291 Essai de plans à l’aide des auditions Présentation des auditions Dans Final Cut Pro, vous pouvez regrouper des plans connexes dans des ensembles, appelés auditions, vous permettant de choisir celui à utiliser. Vous pouvez créer une audition composée de différents plans pour tester plusieurs prises ou constituée de plusieurs versions du même plan pour effectuer le preview d’effets divers. Dans le navigateur d’événements et la timeline, les auditions se présentent sous la forme de plans affichant une icône Audition dans le coin supérieur gauche. Icône d’une audition dans le navigateur d’événements Icône d’une audition dans la timeline La pellicule de l’audition affiche le plan actuellement sélectionné, que l’on appelle le meilleur élément. Tous les autres plans de l’audition sont appelés plans alternatifs. Vous pouvez ouvrir une audition pour afficher le plan sélectionné et les plans alternatifs. Autres plans Plan sélectionné Les auditions vous permettent de conserver vos montages alternatifs sans que cela n’ait d’influence sur les autres plans dans la timeline. Lorsque vous ne visionnez pas les différents plans d’une audition, celle-ci se comporte comme un plan individuel. Vous pouvez appliquer un trim à une audition, insérer des transitions entre des auditions et d’autres plans, et ajouter des motsclés et des marqueurs. Vous pouvez conserver une audition contenant des plans alternatifs aussi longtemps que cela est nécessaire.Chapitre 11 Montage avancé 292 Après avoir passé en revue les plans de l’audition et choisi celui qui convient le mieux à votre projet, vous pouvez finaliser l’audition ; elle est alors supprimée et le meilleur élément reste dans la timeline sous forme de plan individuel. Celui-ci conserve la position de l’audition dans la timeline ainsi que tous les mots-clés et marqueurs appliqués à l’audition. Création d’auditions pour essayer des plans Vous pouvez créer des auditions dans le navigateur d’événements puis les ajouter à la timeline, ou les créer directement dans la timeline. Lorsque vous créez des auditions dans la timeline, vous pouvez regrouper des plans connexes ou plusieurs versions du même plan (par exemple, pour tester plusieurs effets ou plusieurs titres dans le tiers inférieur). Icône d’une audition dans le navigateur d’événements Icône d’une audition dans la timeline Création d’auditions dans le navigateur d’événements m Sélectionnez les plans à inclure dans l’audition, puis choisissez Plan > Audition > Créer (ou appuyez sur cmd +Y). Création d’auditions dans la timeline m Pour créer une audition avec des plans connexes: Faites glisser un plan ou un groupe de plans du navigateur d’événements vers un plan dans la timeline, puis choisissez une option d’audition dans le menu contextuel. L’option « Ajouter à l’audition » crée une audition dans laquelle le meilleur élément est le plan existant dans la timeline. L’option « Remplacer et ajouter à l’audition » utilise le plan que vous faites glisser comme meilleur élément. Important : Si une transition est appliquée au plan existant dans la timeline et que le meilleur élément de la nouvelle audition ne dispose pas de suffisamment de données pour cette transition, celle-ci est soit raccourcie, soit supprimée. m Pour créer une audition avec une copie d’un plan, avec les effets appliqués: Sélectionnez un plan dans la timeline, puis choisissez Plan > Audition > Dupliquer comme audition. L’audition créée contient le plan sélectionné ainsi qu’une copie présentant tous les effets appliqués à l’original.Chapitre 11 Montage avancé 293 m Pour créer une audition avec une copie de la version originale d’un plan, sans les effets appliqués: Sélectionnez un plan dans la timeline, puis choisissez Plan > Audition > Dupliquer l’original (ou appuyez sur Commande + Maj.+ Y). L’audition créée contient le plan sélectionné ainsi qu’une copie sans les effets appliqués à l’original. m Pour créer une audition avec une copie de la version originale d’un plan, avec les effets appliqués et les attributs à partir d'un autre plan : Sélectionnez un plan dans la timeline qui possède les attribuer que vous souhaitez copier et choisissez Édition > Copier (ou appuyez sur Commande + C). Puis, sélectionnez le plan que vous souhaitez transformer en audition et choisissez Plan > Audition > Dupliquer et coller les effets (ou appuyez sur Commande + Option + Y). L’audition créée contient le plan sélectionné ainsi qu’une copie présentant les effets et les attributs copiés à partir du premier plan. Ouverture d’une audition Après avoir créé une audition, vous pouvez facilement l’ouvrir et examiner son contenu. Procédez de l’une des manières suivantes: m Choisissez Plan > Audition > Ouvrir (ou appuyez sur la touche Y). m Cliquez sur l’icône Audition. Icône d’audition La fenêtre Audition s’ouvre ; vous pouvez y prévisualiser vos plans et choisir le meilleur élément. Ajout et suppression de plans dans les auditions Lorsque vous créez des auditions pour tester plusieurs plans ou plusieurs versions d’un plan avec des effets différents, vous pouvez ajouter et supprimer des plans à tout moment. Dans le navigateur d’événements et la timeline, vous pouvez ajouter et dupliquer des plans dans une audition. Dans la timeline, lorsqu’une audition contient les plans que vous voulez tester, vous pouvez l’utiliser pour prévisualiser les plans ou les effets dans votre projet. Ajout de plans à une audition dans le navigateur d’événements m Pour ajouter des plans à une audition dans le navigateur d’événements: Sélectionnez l’audition et les plans que vous voulez y ajouter, puis choisissez Plan > Audition > Créer (ou appuyez sur cmd +Y). Sélectionnez l’audition. Sélectionnez les plans à ajouter à l’audition.Chapitre 11 Montage avancé 294 m Pour dupliquer un plan au sein d’une audition dans le navigateur d’événements: Cliquez sur l’icône affichée dans le coin supérieur gauche de l’audition pour ouvrir la fenêtre Audition, sélectionnez le plan à dupliquer, puis cliquez sur Dupliquer. Sélectionnez le plan à copier, puis cliquez sur Dupliquer. Une nouvelle version du plan sélectionné apparaît dans la fenêtre Audition. Ajout de plans à une audition dans la timeline m Pour ajouter un plan à une audition en conservant le plan existant dans la timeline comme meilleur élément: faites glisser un plan du navigateur d’événements vers l’audition dans la timeline et choisissez « Ajouter à l’audition » dans le menu contextuel. m Pour ajouter un plan à une audition en faisant de celui-ci le meilleur élément: faites glisser un plan du navigateur d’événements vers l’audition dans la timeline et choisissez « Remplacer et ajouter à l’audition » dans le menu contextuel. Important : Si une transition est appliquée au plan existant dans la timeline et que le meilleur élément de la nouvelle audition ne dispose pas de suffisamment de données pour cette transition, celle-ci est soit raccourcie, soit supprimée. m Pour dupliquer un plan au sein d’une audition : cliquez sur l’icône Audition affichée dans le coin supérieur gauche de l’audition pour ouvrir la fenêtre Audition, sélectionnez le plan à dupliquer, puis cliquez sur Dupliquer (ou sur Commande + Maj + Y). Sélectionnez le plan à copier, puis cliquez sur Dupliquer. Une nouvelle version du plan sélectionné apparaît dans la fenêtre Audition. m Pour ajouter une copie de la version originale d’un meilleur élément d'audition, avec les effets appliqués et les attributs à partir d'un autre plan : Sélectionnez un plan dans la timeline qui possède les attribuer que vous souhaitez copier et choisissez Édition > Copier (ou appuyez sur Commande + C). Puis, sélectionnez l'audition et choisissez Plan > Audition > Dupliquer et coller les effets (ou appuyez sur Commande + Option + Y). Suppression d’un plan d’une audition 1 Pour ouvrir l’audition contenant le plan que vous voulez supprimer, cliquez sur l’icône affichée dans le coin supérieur gauche de l’audition. 2 Dans la fenêtre Audition, sélectionnez le plan à supprimer puis appuyez sur Supprimer. Le plan est alors supprimé de l’audition. Chapitre 11 Montage avancé 295 Utilisation d’auditions pour essayer des plans dans votre projet Vous pouvez créer une audition pour tester les plans qu’elle contient et déterminer celui qui convient le mieux à votre projet. Bien que le flux de production d’audition soit différent d’un projet à un autre, la procédure générale reste la même. Vous créez une audition contenant un ensemble de prises, d’effets ou de traitements de texte alternatifs, puis vous choisissez le meilleur plan pour le montage en le sélectionnant comme meilleur élément. Lorsque vous êtes sûr de votre choix, vous finalisez l’audition, ce qui a pour effet de la dissoudre en laissant le meilleur élément dans la timeline. Selon votre flux de production, vous pouvez tester les plans de vos auditions et aplatir celles-ci au fur et à mesure, ou vous pouvez laisser les auditions dans la timeline pour pouvoir présenter des montages alternatifs à un client. Remarque : Les commandes d’audition ne peuvent être utilisées qu’avec une seule audition sélectionnée à la fois. Il est par exemple impossible de finaliser plusieurs auditions sélectionnées. Passage en revue des plans d’une audition dans la timeline 1 Dans la timeline, sélectionnez l’audition contenant les plans que vous voulez passer en revue, puis ouvrez-la en choisissant Plan > Audition > Ouvrir (ou en appuyant sur la toucheY). Le plan situé sous le projecteur au centre de la fenêtre correspond à la meilleure image. 2 Dans la fenêtre Audition, sélectionnez le meilleur élément, puis appuyez sur la barre d’espace (ou sur les touches cmd + ctrl +Y) pour le lire.Chapitre 11 Montage avancé 296 3 Pour lire un autre plan dans le visualiseur, sélectionnez un plan à droite ou à gauche du meilleur élément (ou appuyez sur la touche fléchée vers la droite ou la gauche). L’autre plan devient la nouvelle meilleure image et se lit dans le visualiseur. L’icône représentant l’étoile indique la meilleure image précédente. Conseil : Pour parcourir et lire rapidement des plans alternatifs, sélectionnez une audition fermée dans la timeline, appuyez sur la barre d’espace, puis sur ctrl + Flèche gauche pour lire les plans situés à gauche de l’élément sélectionné ou sur ctrl + Flèche droite pour lire ceux de droite. 4 Une fois que vous avez trouvé le plan que vous voulez utiliser, assurez-vous qu’il est sélectionné sous le spot, puis cliquez sur Terminé. 5 Si vous êtes sûr de votre choix et que vous voulez finaliser l’audition, choisissez Plan > Audition > Finaliser l’audition (ou appuyez sur Maj +Option +Y). L’audition est alors dissoute en laissant le meilleur élément dans la timeline. Le plan sélectionné comme meilleur élément conserve les éventuels mots-clés ou marqueurs affectés à l’audition. Essai de plusieurs effets sur un plan dans la timeline Vous pouvez tester différents effets sur un plan dans la timeline en créant une audition et en ajoutant des effets à des copies de ce plan. Cette technique vous permet de visualiser chaque effet dans le contexte des plans précédant et suivant l’audition dans la timeline. 1 Dans la timeline, sélectionnez le plan sur lequel vous voulez essayer différents effets. 2 Choisissez Plan > Audition > Dupliquer comme audition (ou appuyez sur Option +Y). 3 Recommencez l’étape 2 pour chaque effet que vous voulez tester. 4 Pour ouvrir la fenêtre Audition, cliquez sur l’icône affichée dans le coin supérieur gauche de l’audition (ou appuyez sur la touche Y). 5 Pour ouvrir le navigateur d’effets, cliquez sur le bouton Effets dans la barre d’outils (ou appuyez sur cmd + 5). 6 Dans la fenêtre Audition, sélectionnez la version du plan à laquelle vous voulez appliquer l’effet.Chapitre 11 Montage avancé 297 7 Dans le navigateur d’effets, sélectionnez l’effet que vous voulez tester et faites-le glisser sur le plan dans la fenêtre Audition. Faites glisser un effet du navigateur d’effets sur un plan dans la fenêtre Audition. 8 Recommencez les étapes 6 et 7 jusqu’à ce que vous ayez appliqué tous les effets que vous voulez tester. 9 Examinez l’impact de chaque effet sur le plan dans la timeline en sélectionnant un plan à droite ou à gauche du meilleur élément. Cliquez sur un autre plan pour le lire dans le visualiseur. Conseil : Pour parcourir et lire rapidement les plans alternatifs, appuyez sur ctrl + Flèche gauche pour lire les plans situés à gauche de l’élément sélectionné ou sur ctrl + Flèche droite pour lire ceux de droite. 10 Une fois que vous avez choisi l’effet que vous voulez utiliser, sélectionnez le plan avec cet effet dans la fenêtre Audition, puis cliquez sur Terminé. 11 Si vous êtes sûr de votre choix et que vous voulez finaliser l’audition, choisissez Plan > Audition > Finaliser l’audition (ou appuyez sur Maj +Option +Y). L’audition est alors dissoute et l’effet choisi est appliqué au plan dans la timeline.Chapitre 11 Montage avancé 298 Conseil : Pour vous permettre de gagner du temps, Final Cut Pro peut dupliquer automatiquement un plan dans la timeline et appliquer un effet à la copie. Pour ce faire, faites glisser un effet du navigateur d’effets vers le plan dans la timeline tout en maintenant enfoncée la touche ctrl. Vous pouvez également appliquer un effet à chaque plan d’une audition en faisant glisser l’effet du navigateur d’effets vers l’audition dans la timeline tout en maintenant enfoncées les touches Option et ctrl. Dans les deux cas, vous devez commencer à faire glisser l’effet depuis le navigateur d’effets, puis appuyer sur les touches au moment d’ajouter l’effet au plan. Resynchronisation de plans pour créer des effets de vitesse Présentation de la resynchronisation de plans Vous pouvez ajuster les réglages de vitesse d’un plan pour créer des effets d’accéléré ou de ralenti. Vous pouvez également inverser un plan, rembobiner un segment d’un plan, appliquer des effets de vitesse variable (également appelés effets de rampe de vélocité) à une sélection de plans et créer des ralentis instantanés. Par défaut, Final Cut Pro conserve la tonalité à chaque ajustement de la vitesse, mais vous pouvez désactiver cette fonctionnalité pour accentuer l’effet de vitesse. Vous ne pouvez pas appliquer de changements de vitesse à des images fixes, des générateurs, des titres et des thèmes dans Final Cut Pro. Modification de la vitesse du plan Dans Final Cut Pro, vous pouvez appliquer des changements de vitesse constants ou variables à vos plans tout en préservant la tonalité de l’audio. Remarque : les réglages de vitesse ne sont appliqués qu’à une occurrence spécifique du plan sélectionné. Ils ne sont pas appliqués au fichier multimédia source de ce plan sur le disque. Pour créer un fichier multimédia auquel les effets de vitesse sont appliqués, exportez le plan sous forme de séquence QuickTime. Pour en savoir plus, consultez Partage de projets, de plans et de plages à la page 395. Changement de vitesse constant Lorsque vous appliquez un changement de vitesse constant à une sélection de plage ou à un plan complet, la vitesse de lecture de l’ensemble de la sélection est modifiée selon le même pourcentage. Par exemple, si vous appliquez un réglage de vitesse de 25 pour cent à la sélection, celle-ci est lue intégralement au ralenti. Chapitre 11 Montage avancé 299 La vitesse constante modifie également la durée d’un plan. Si un changement de vitesse constant entraîne une diminution ou une augmentation de la durée d’un plan dans votre projet, tous les plans suivants sont décalés vers l’avant ou l’arrière. Si vous choisissez une vitesse de 50 pour cent, la durée du plan est doublée. À l’inverse, si vous optez pour une vitesse de 200 pour cent, le plan est deux fois moins long. Par exemple, si vous réglez la vitesse de lecture d’un plan de 5 secondes sur 50 pour cent, Final Cut Pro ajoute des images au plan pour que celui-ci dure 10 secondes et soit lu plus lentement. Si vous réglez la vitesse du plan sur 200 pour cent, Final Cut Pro supprime des images de sorte que le plan ne dure plus que 5 secondes et soit lu considérablement plus vite. Plan identique avec vitesse réglée sur 50 pour cent (à présent long de 10 secondes) Plan de 5 secondes 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez modifier la vitesse. 2 Procédez de l’une des manières suivantes: • Pour appliquer un réglage de vitesse prédéfini : choisissez Lente ou Rapide dans le menu local Resynchronisation de la barre d’outils (illustré ci-dessous), puis sélectionnez une vitesse dans le sous-menu. • Pour appliquer un réglage de vitesse personnalisé : choisissez « Afficher l’éditeur de resynchronisation » dans le menu local Resynchronisation (ou appuyez sur cmd + R) pour afficher l’éditeur de resynchronisation au-dessus de la sélection dans la timeline, puis faites glisser la poignée de resynchronisation.Chapitre 11 Montage avancé 300 Si vous faites glisser la poignée de resynchronisation vers la droite, la vitesse de la sélection diminue, sa durée augmente et la barre affichée au-dessus d’elle dans la timeline devient orange. Faites glisser la poignée de resynchronisation vers la droite pour créer un effet de ralenti. Si vous faites glisser la poignée de resynchronisation vers la gauche, la vitesse de la sélection augmente, sa durée diminue et la barre affichée au-dessus d’elle dans la timeline devient bleue. Faites glisser la poignée de resynchronisation vers la gauche pour créer un effet d’accéléré. Changement de vitesse variable Pour faire varier la vitesse d’un plan dans le temps, en avant ou en arrière, vous pouvez appliquer un changement de vitesse variable (également appelé effet de rampe de vélocité). Les changements de vitesse variables créent des effets de lecture sophistiqués grâce auxquels les sujets semblent passer aisément d’une vitesse à une autre, avec des transitions nettes ou progressives entre chaque changement. Ces types d’effets sont fréquemment utilisés dans les vidéos musicales et les spots publicitaires, et ils peuvent être créés directement dans la timeline. Pour appliquer des effets de vitesse variable, vous devez diviser un plan en segments de vitesse réglés sur des pourcentages de vitesse précis. 1 Dans la timeline, sélectionnez une plage d’un plan ou un plan complet auquel vous voulez appliquer un effet de rampe de vélocité. 2 Procédez de l’une des manières suivantes: • Pour réduire progressivement la vitesse : choisissez Rampe de vélocité > jusqu’à 0 % dans le menu local Resynchronisation de la barre d’outils.Chapitre 11 Montage avancé 301 • Pour augmenter progressivement la vitesse : choisissez Rampe de vélocité > depuis 0 % dans le menu local Resynchronisation de la barre d’outils. La sélection est divisée en quatre segments ayant chacun un pourcentage de vitesse différent pour créer l’effet de rampe. Si une plus grande précision est requise, vous pouvez faire glisser manuellement l’une des quatre poignées de resynchronisation pour définir la vitesse voulue. Faites glisser une poignée de resynchronisation pour modifier le pourcentage de vitesse d’un segment de rampe de vélocité. Conserver la tonalité dans les plans resynchronisés Par défaut, Final Cut Pro conserve la tonalité d’un plan qui a été resynchronisé. Toutefois, si vous souhaitez accentuer l’effet de resynchronisation en autorisant les variations de la tonalité en fonction de l’ajustement de la vitesse, vous pouvez désactiver cette fonctionnalité. 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez modifier la vitesse. 2 Choisissez Conserver la tonalité dans le menu local Resynchronisation de la barre d’outils. Une coche à gauche du nom de la commande indique que la fonctionnalité Conserver la tonalité est activée. Choisissez à nouveau Conserver la tonalité pour la désactiver. Modification de l’image de fin d’un segment de vitesse Vous pouvez changer l’image de fin d’un segment de vitesse dans la timeline. Lorsque vous faites glisser la poignée de resynchronisation d’un segment de vitesse, vous ajustez la vitesse de ce segment, vous n’effectuez pas de trim. La commande « Modifier l’image de source de fin » vous permet d’appliquer un trim au point de fin (image de fin) d’un segment. 1 Dans la timeline, sélectionnez un plan contenant des segments de vitesse. 2 Pour afficher l’éditeur de resynchronisation au-dessus du plan dans la timeline, choisissez Éditeur de resynchronisation dans le menu local Resynchronisation de la barre d’outils (ou appuyez sur cmd + R).Chapitre 11 Montage avancé 302 3 Cliquez sur le triangle en regard du pourcentage de vitesse d’un segment de vitesse, puis choisissez « Modifier l’image de source de fin » dans le menu local. Une icône de pellicule apparaît au-dessus de l’image de fin du segment rapide. 4 Pour changer l’image de fin, faites glisser l’icône de pellicule vers la gauche ou la droite. Icône Pellicule Pendant le glissement, le visualiseur affiche l’image de fin actuelle. Adaptation de la vitesse d’un plan à celle du projet Si vous avez appliqué des effets de vitesse à l’aide de votre caméra, la vitesse d’origine des données source risque de ne pas correspondre à celle des données source des autres plans de votre projet dans la timeline. Toutefois, vous pouvez modifier le plan dont la vitesse d’origine diffère pour l’adapter aux autres plans présents dans la timeline. 1 Dans la timeline, sélectionnez le plan dont vous voulez modifier la vitesse pour la faire correspondre à celle des autres plans de votre projet. 2 Choisissez Adapter la vitesse dans le menu local Resynchronisation de la barre d’outils. Lissage d’un plan ralenti à l’aide de préréglages de qualité vidéo Pour lisser le mouvement apparent d’un plan lu au ralenti, vous pouvez lui appliquer une fusion d’images ou une analyse du flux optique. 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez modifier la qualité vidéo. 2 Choisissez un réglage Qualité vidéo dans le menu local Resynchronisation de la barre d’outils. • Normale : réglage par défaut. Les images sont dupliquées et aucune fusion d’images n’est appliquée au plan ralenti. Ne nécessite aucun rendu.Chapitre 11 Montage avancé 303 • Fusion d’images: ajoute des images intermédiaires en fusionnant les pixels des images voisines. La lecture des plans ralentis créés avec le réglage Fusion d’images semble plus fluide que celle des plans créés avec le réglage Normale (duplication). Un rendu est nécessaire. • Flux optique : ajoute des images intermédiaires à l’aide d’un algorithme de flux optique, qui analyse le plan pour déterminer la direction du mouvement des pixels puis dessine partiellement les nouvelles images en fonction des résultats de l’analyse du flux optique. Seule la portion du plan utilisée dans le projet (données situées entre les points de départ et d’arrivée du plan) est analysée. Un rendu est nécessaire. Remarque : Plus il y a d’animation dans un plan, plus l’analyse et le rendu prendront de temps. Inversion ou rembobinage des plans Outre la possibilité de modifier la vitesse d’un plan, vous pouvez également ajouter des effets directionnels: • Inverser: inverse l’ordre des images du plan de sorte que la dernière image soit lue en premier. • Rembobiner: ajoute un segment dupliqué de la sélection de plage ou du plan, rembobine ce segment dupliqué à une vitesse de 1x, 2x ou 4x, puis lit le segment de plan d’origine en avant et à vitesse normale. Inversion d’un plan 1 Dans la timeline, sélectionnez un plan complet ou un groupe de plans dont vous voulez inverser le contenu. 2 Choisissez Inverser le plan dans le menu local Resynchronisation de la barre d’outils. La barre verte avec des flèches pointant vers la gauche au-dessus de la sélection dans la timeline indique que le plan est inversé. 3 Si vous voulez modifier la vitesse du plan inversé, faites glisser la poignée de resynchronisation vers la gauche pour l’augmenter ou vers la droite pour la diminuer. Segment inversé Faites glisser la poignée de resynchronisation pour modifier la vitesse du plan inversé. 4 Pour visualiser l’effet d’inversion, lisez le plan ou la sélection inversé(e). Rembobinage d’une sélection de plage ou d’un plan 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez rembobiner le contenu.Chapitre 11 Montage avancé 304 2 Choisissez Rembobiner dans le menu local Resynchronisation de la barre d’outils (illustré ci-dessous), puis sélectionnez une vitesse dans le sous-menu. La sélection est dupliquée, ajoutée à la suite de la sélection d’origine, puis inversée à la vitesse choisie. Une autre copie de la sélection de la timeline suit la section inversée et est lue en avant à la vitesse d’origine de la sélection. 3 Si vous voulez modifier la vitesse de la section rembobinée ou des sections précédant et suivant celle-ci, faites glisser la poignée de resynchronisation de la section vers la gauche pour augmenter la vitesse ou vers la droite pour la diminuer. Faites glisser une poignée de resynchronisation pour modifier la vitesse. 4 Lancez la lecture du plan pour visualiser l’effet de rembobinage. Création de ralentis instantanés Vous pouvez appliquer un ralenti instantané à une sélection de plage au sein d’un plan ou à un plan complet. Final Cut Pro duplique la plage ou le plan et ajoute les images dupliquées à la suite de la sélection sous la forme d’un nouveau segment. Vous pouvez ensuite modifier la vitesse de ce nouveau segment pour obtenir l’effet de ralenti instantané recherché. Création d’un ralenti instantané 1 Dans la timeline, sélectionnez une plage ou un plan complet dont vous voulez utiliser le contenu pour créer un ralenti instantané. 2 Choisissez Ralenti instantané dans le menu local Resynchronisation de la barre d’outils. Une copie de la plage ou du plan est ajoutée à la suite de la sélection et lue en avant à la vitesse d’origine de la sélection. (Par défaut, la vitesse de lecture du ralenti instantané est réglée sur 100 pour cent.)Chapitre 11 Montage avancé 305 3 Si vous voulez modifier la vitesse du segment de ralenti instantané, faites glisser la poignée de resynchronisation vers la gauche pour l’augmenter ou vers la droite pour la diminuer. Plan d’origine (désormais un segment) Segment de ralenti instantané avec réglage de ralenti manuel Faites glisser la poignée de resynchronisation pour modifier la vitesse du segment de ralenti instantané. 4 Pour visualiser l’effet de ralenti instantané, lancez la lecture de la sélection d’origine et du segment de ralenti instantané. Création d’un segment de suspension Dans Final Cut Pro, vous pouvez suspendre une image donnée pour créer une image fixe, ce qui a pour effet d’arrêter temporairement l’action à l’écran. Par défaut, Final Cut Pro ajoute une image fixe, appelée segment de suspension, au niveau du skimmer ou de la tête de lecture, mais vous pouvez modifier à tout moment la durée de l’image en question. Une autre solution consiste à créer des plans d’arrêt sur image à part dans Final Cut Pro. Une des différences clés entre les images figées et les segments de suspension est que ces derniers restent intégrés au plan d’origine et que leur durée peut être ajustée au sein du plan. Pour en savoir plus, consultez Création d’images figées à la page 120. Important : L’ajout d’un segment de suspension à un plan augmente la durée de ce dernier. Création d’un segment de suspension à image fixe 1 Dans la timeline, effectuez l’une des opérations suivantes: • Sélectionnez le plan contenant l’image que vous voulez suspendre, puis placez le skimmer ou la tête de lecture sur cette image. • Sélectionnez une plage au sein d’un plan dans la timeline. 2 Choisissez Suspendre dans le menu local Resynchronisation de la barre d’outils (ou appuyez sur Maj + H). Si vous avez sélectionné un plan, un segment de suspension de 2 secondes est ajouté à celui-ci au niveau du skimmer ou de la tête de lecture. Si vous avez sélectionné une plage, un segment de suspension dont la durée correspond à celle de la plage est créé. La première image (celle la plus à gauche) de la plage est utilisée comme image fixe.Chapitre 11 Montage avancé 306 3 Si vous voulez modifier la durée du segment de suspension, faites glisser la poignée de resynchronisation du segment vers la droite pour l’augmenter ou vers la gauche pour la diminuer. Faites glisser la poignée de resynchronisation pour modifier la durée du segment de suspension. 4 Pour visualiser l’effet du segment de suspension, lancez la lecture du plan dans la timeline. Restauration de la vitesse normale des plans resynchronisés Vous pouvez restaurer la vitesse de lecture normale (100 pour cent) d’une sélection de plage ou d’un plan à tout moment. La restauration de la vitesse supprime en même temps l’ensemble des effets directionnels et des suspensions appliqués à la sélection. Restauration de la vitesse de lecture en avant à 100 pour cent d’une plage ou d’un plan 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez restaurer la vitesse d’origine. 2 Choisissez Normale 100 % dans le menu local Resynchronisation de la barre d’outils. Adaptation des tailles d’images et des fréquences d’images Final Cut Pro gère automatiquement les réglages du projet. Cela signifie que vous pouvez utiliser plusieurs types de média ayant des tailles d’image (ou résolutions) et des fréquences d’images différentes dans le même projet. Lorsque vous ajoutez le premier plan vidéo à votre projet, Final Cut Pro définit automatiquement le format, la taille d’image et la fréquence d’images de l’ensemble du projet en fonction des propriétés de ce premier plan (ou, plus exactement, en fonction des propriétés du fichier multimédia source de ce plan). Vous pouvez à tout moment modifier les réglages du projet, et vous pouvez contrôler, plan par plan, la façon dont Final Cut Pro adapte la fréquence d’images et la taille d’image d’un plan pour les faire correspondre aux réglages du projet. Toutes les informations relatives au projet de cette section s’appliquent également aux plans composés, qui peuvent posséder leurs propres réglages de projet. Vous pouvez ajouter des plans entrelacés à des projets progressifs (non entrelacés) et des plans progressifs à des projets entrelacés. Pour ajouter un plan entrelacé à un projet progressif, suivez les instructions ci-dessous. Final Cut Pro accepte automatiquement les plans progressifs dans les projets entrelacés.Chapitre 11 Montage avancé 307 Gardez les points suivants à l’esprit lorsque vous travaillez avec plusieurs formats et tailles d’image : • Choisissez les propriétés vidéo et audio de votre projet en fonction de la façon dont vous pré- voyez de partager votre séquence finale. Par exemple, si vous montez un projet avec un média de format mixte et que vous prévoyez de le partager en HD 1080p, définissez ses propriétés vidéo sur HD 1080p. • Si vous ne savez pas encore quel sera le format de distribution final, vous devez au moins déterminer la fréquence d’images de votre projet avant de le créer. En effet, le format et la taille d’image de votre projet peuvent être modifiés facilement à tout moment, ce qui n’est pas le cas de la fréquence d’images, dont la modification peut entraîner le décalage dans le temps de tous les points de montage de votre projet. • Si vous possédez un plan dont les propriétés audio et vidéo correspondent à celles du format dans lequel vous prévoyez de partager votre projet, ajoutez-le en premier à ce dernier. Final Cut Pro crée automatiquement les réglages correspondants du projet. Cela vous permet de gagner du temps en vous évitant d’avoir à modifier ultérieurement les réglages de votre projet. Conseil : Si le premier plan que vous ajoutez à un projet est un clip audio ou une image fixe, Final Cut Pro vous invite à définir les propriétés vidéo de votre projet. Annulez le montage, ajoutez un plan vidéo dont le fichier multimédia source présente les propriétés vidéo dont vous avez besoin pour votre projet, puis ajoutez le plan non vidéo à ce dernier. Choix d’une méthode d’adaptation de la taille d’image Vous pouvez choisir la façon dont Final Cut Pro modifie la taille d’image d’un plan pour la faire correspondre aux réglages de taille d’image du projet. Par exemple, Final Cut Pro peut modifier la taille d’image du plan de façon à l’ajuster en fonction de la dimension d’image la plus grande du projet ou à remplir l’intégralité de l’image du projet (ce qui entraîne généralement un rognage), ou il peut laisser la taille d’image du plan telle quelle. 1 Ajoutez à la timeline un plan dont la taille d’image ne correspond pas aux réglages de taille d’image (résolution) du projet actuel. 2 Sélectionnez le plan dans la timeline. 3 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît. 4 Choisissez une méthode d’adaptation de la taille d’image dans le menu local Type de la section Adaptation spatiale de l’inspecteur vidéo. • Adapter: réglage par défaut. Adapte le plan au réglage de taille d’image du projet sans rogner la vidéo du plan. Des barres noires apparaissent sur les côtés des images ne correspondant pas à la taille d’image (résolution) du projet. Dans le cas d’un plan de définition standard (SD) dans un projet haute définition (HD), Final Cut Pro augmente l’échelle du plan SD pour l’adapter à la taille d’image du projet HD. Dans le cas d’un plan HD dans un projet SD, Final Cut Pro réduit l’échelle du plan HD pour l’adapter à la taille d’image du projet SD.Chapitre 11 Montage avancé 308 • Remplir: adapte la vidéo du plan de sorte qu’elle occupe la totalité de la taille d’image du projet. Dans le cas d’un plan SD dans un projet HD, Final Cut Pro augmente l’échelle du plan SD pour l’adapter à la taille d’image du projet HD. La dimension la plus grande du plan est rognée pour permettre à la dimension la plus petite de remplir l’écran. Dans le cas d’un plan HD dans un projet SD, Final Cut Pro réduit l’échelle du plan HD pour l’adapter à la taille d’image du projet SD. La dimension la plus petite du plan est rognée pour permettre à la dimension la plus grande de remplir l’écran. • Aucune : laisse la taille d’image du plan telle quelle. Si la taille d’image du plan est supérieure à celle du projet, le plan est rogné. Si la taille d’image du plan est inférieure à celle du projet, des barres noires apparaissent autour du plan. Choix d’une méthode d’adaptation de la fréquence d’images Lorsque la fréquence d’images d’un plan diffère de celle du projet, Final Cut Pro utilise une méthode d’échantillonnage d’image pour modifier la fréquence d’images du plan afin de la faire correspondre à celle du projet. Vous pouvez sélectionner la méthode d’échantillonnage d’image utilisée par Final Cut Pro pour modifier la fréquence d’images du plan. La méthode choisie dépend de l’importance que vous attachez à l’élimination des à-coups et autres défauts visuels. 1 Ajoutez à la timeline un plan dont la fréquence d’images ne correspond pas aux réglages de fré- quence d’images du projet actuel. 2 Sélectionnez le plan dans la timeline. 3 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît. 4 Choisissez une méthode d’adaptation de la fréquence d’images dans le menu local Échantillonnage d’image de la section « Adaptation de la fréquence » de l’inspecteur vidéo. Remarque : Si le plan sélectionné possède la même fréquence d’images que celle des réglages du projet, la section « Adaptation de la fréquence » ne s’affiche pas dans l’inspecteur vidéo. • Plancher:réglage par défaut. Final Cut Pro tronque à l’entier inférieur le plus proche lors de son calcul pour faire correspondre la fréquence d’images du plan à celle du projet. • Voisin le plus proche :Final Cut Pro arrondit à l’entier le plus proche lors de son calcul pour faire correspondre la fréquence d’images du plan à celle du projet. L’option « Voisin le plus proche » réduit les défauts aux dépens des à-coups visuels. Un rendu est nécessaire. • Fusion d’images: crée des images intermédiaires en fusionnant les pixels des images voisines. La lecture des plans ralentis créés avec le réglage Fusion d’images semble plus fluide que celle des plans créés avec le réglage Plancher ou « Voisin le plus proche ». Ce réglage offre une meilleure réduction des à-coups mais peut engendrer des défauts visuels. Un rendu est nécessaire. • Flux optique :type de fusion d’images utilisant un algorithme de flux optique pour créer des images intermédiaires. Final Cut Pro analyse le plan pour déterminer la direction du mouvement des pixels puis dessine partiellement les nouvelles images en fonction des résultats de l’analyse du flux optique. L’option Flux optique offre une meilleure réduction des à-coups visuels et Final Cut Pro consacre relativement beaucoup de temps à la correction des défauts.Chapitre 11 Montage avancé 309 Ajouter un plan entrelacé à un projet non entrelacé (progressif) Certains formats vidéo utilisent une méthode de balayage qui divise une image vidéo en deux trames, chacune d’elles étant constituée de lignes paires et impaires alternées, balayées à diffé- rents moments. Si vous souhaitez ajouter un plan entrelacé à un projet progressif, Final Cut Pro peut désentrelacer le plan pour qu’il soit reproduit à pleine résolution et exempt des lignes dentelées associées aux plans entrelacés dans les projets progressifs. 1 Procédez de l’une des manières suivantes: • Dans le navigateur d’événements, sélectionnez les plans entrelacés que vous souhaitez ajouter à un projet progressif. • Dans la timeline, sélectionnez les plans entrelacés que vous avez ajoutés à un projet progressif. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Dans l’inspecteur d’informations, choisissez la présentation Réglages dans le menu local Présentation Métadonnées. 4 Cochez la case Désentrelacer. Remarque : En sélectionnant le réglage Désentrelacer, la fréquence d’images des plans sélectionnés double. Par exemple, si les plans entrelacés originaux possèdent une fréquence d’images de 29,97 ips, les plans désentrelacés passent à 59,94 ips. Gardez cela à l’esprit lorsque vous définissez les réglages audio et vidéo de votre projet. Conseil : Pour confirmer l’absence de défauts liés à l’entrelacement, vous pouvez appuyer sur Flèche gauche ou Flèche droite pour naviguer entre les plans dans la timeline, une image après l’autre. 5 Choisissez Final Cut Pro > Préférences, cliquez sur Lecture, puis sélectionnez Haute qualité dans le menu local Qualité de lecture. Les plans sont alors reproduits et fonctionnent comme des plans progressifs. Selon la configuration de votre ordinateur, le rendu en arrière-plan peut être nécessaire. Réglage de métrage anamorphosé Certains caméscopes et dispositifs d’enregistrement vidéo filment dans les proportions d’écran large 16/9 mais enregistrent les données à travers des proportions 4/3. Parfois, les balise de métadonnées permettant une lecture en 16/9 du fichier vidéo manquent ou sont incorrectement définies. Dans Final Cut Pro, vous pouvez définir cette balise de sorte que la vidéo puisse être lue correctement dans des proportions en 16/9 pour écrans larges. Remarque : Cette option n’est applicable qu’aux (et n’apparaît que pour les) formats en définition standard. 1 Dans le navigateur d’événements ou dans la timeline, sélectionnez les plans SD pour lesquels vous souhaitez ajuster le réglage d’anamorphose.Chapitre 11 Montage avancé 310 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Choisissez la présentation Réglages dans le menu local Présentation Métadonnées situé en bas de l’inspecteur d’informations. 4 Dans le menu local Remplacement anamorphosé, choisissez Écran large. Les plans peuvent dès lors être reproduits et fonctionnent avec les proportions en 16/9 à écran large. Utilisation de rôles pour gérer des plans Présentation des rôles Les rôles sont des étiquettes de métadonnées que vous associez à des plans dans le navigateur d’événements ou la timeline, afin d’obtenir un moyen souple et performant de gérer votre flux de production de montage. Final Cut Pro vous permet d’utiliser des rôles pour organiser vos plans dans des événements et des projets, contrôler l’apparence de la timeline ou exporter des fichiers vidéo ou audio (également appelés stems) séparément en vue de la distribution, du mixage audio ou de la postproduction. Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro analyse les métadonnées de plan existantes pour attribuer l’un des cinq rôles par défaut aux composants vidéo et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Par exemple, si un fichier de média source intègre une balise de métadonnées iTunes « genre », Final Cut Pro attribue le rôle Musique au plan obtenu. Final Cut Pro attribue les rôles Vidéo et Dialogue aux plans contenant aussi bien de la vidéo et que de l’audio. Vous pouvez utiliser des rôles pour les flux de production suivants: • Réaffectation de rôles : vous pouvez visualiser et réaffecter les rôles d’un plan dans l’index de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier. Consultez Affichage et réattribution de rôles à la page 311. Vous pouvez aussi créer des rôles et des sous-rôles personnalisés pour organiser davantage vos plans. • Visualiser des plans en fonction du rôle : l’index de la timeline vous permet d’organiser des plans en fonction du rôle, d’activer ou de désactiver des rôles et de mettre des plans en surbrillance ou de les minimiser en vue de leur affichage dans la timeline. Vous pouvez par exemple identifier facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans audio. Consultez Affichage des plans en fonction du rôle dans la timeline à la page 316. • Exporter des stems : Il est possible d’exporter des rôles sous forme de stems soit dans un fichier QuickTime multipiste combiné, soit dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio. Consultez Préférences de destinations à la page 441.Chapitre 11 Montage avancé 311 Affichage et réattribution de rôles Vous pouvez afficher et modifier les rôles attribués aux plans dans l’index de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier. Tenez compte des éléments suivants lorsque vous utilisez des rôles : • Chaque plan doit avoir reçu au moins un rôle (les plans à contenu audio et vidéo possèdent toujours un rôle audio et un rôle vidéo). Les images fixes reçoivent par défaut le rôle Vidéo, mais vous pouvez créer un rôle personnalisé (image fixe) et l’attribuer à vos images fixes. • Il est impossible d’attribuer des rôles Vidéo à des plans ne contenant que de l’audio ou des rôles Audio à des plans ne contenant que de la vidéo. • Il est possible d’attribuer des rôles aux composants audio ou vidéo d’un plan, mais pas à une plage de plans ni à une portion de plan. • Vous avez également la possibilité d’afficher et de réattribuer le rôle pour un composant audio dans l’inspecteur d’informations (ou via le menu Modifier lorsque son plan de ce composant se trouve dans la timeline). • Vous pouvez attribuer des rôles différents à chaque instance d’un plan. Ainsi, les plans que vous ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un événement à l’autre ou au sein de la timeline, constituent des instances de plan (des copies) indé- pendantes les unes des autres. Affichage et réattribution de rôles dans le navigateur d’événements 1 Dans le navigateur d’événements en présentation par liste, sélectionnez un ou plusieurs plans. Remarque : Si la colonne Rôles n’est pas visible dans le navigateur d’événements, cliquez sur l’en-tête d’une colonne en maintenant la touche ctrl enfoncée et choisissez Rôles dans le menu contextuel. 2 Dans la colonne Rôles, cliquez sur le rôle attribué à un plan pour afficher un menu contextuel présentant les rôles disponibles. 3 Pour changer l’attribution des rôles dans les plans sélectionnés, choisissez d’autres rôles dans le menu contextuel. Affichage et réattribution de rôles dans l’inspecteur d’informations 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements ou la timeline. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche.Chapitre 11 Montage avancé 312 3 Dans l’inspecteur d’informations, cliquez sur le menu local Rôles pour accéder aux rôles disponibles. 4 Pour changer l’attribution des rôles dans les plans sélectionnés, choisissez d’autres rôles dans le menu local Rôles. Affichage et réattribution de rôles dans l’index de la timeline 1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Pour ouvrir la fenêtre Plans, cliquez sur le bouton Plans en haut de l’index de la timeline. 3 Si la colonne Rôles n’est pas visible dans la fenêtre Plans, cliquez sur l’en-tête d’une colonne en maintenant la touche ctrl enfoncée et choisissez Rôles dans le menu contextuel. 4 Sélectionnez un ou plusieurs plans dans la fenêtre Plans. 5 Pour changer l’attribution des rôles dans les plans sélectionnés, cliquez sur le rôle attribué et choisissez d’autres rôles dans le menu contextuel.Chapitre 11 Montage avancé 313 Affichage et réattribution de rôles dans le menu Modifier 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements ou la timeline. 2 Choisissez Modifier > Attribuer des rôles, puis sélectionnez un rôle dans le sous-menu. Une coche apparaît en regard du rôle que vous avez choisi. Affichage et réattribution du rôle d’un composant audio 1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). Composants audio 2 Sélectionnez un composant audio. 3 Pour changer l’attribution du rôle pour le composant sélectionné, procédez de l’une des manières suivantes: • Choisissez Modifier > Attribuer des rôles, puis sélectionnez un rôle dans le sous-menu. Une coche apparaît en regard du rôle que vous avez choisi. • Ouvrez l’inspecteur d’informations, puis choisissez un autre rôle dans le menu local Rôles. Une coche apparaît en regard du rôle que vous avez choisi. Pour en savoir plus sur les composants audio, consultez À propos des canaux audio et des composants audio à la page 165. Affichage et réattribution de rôles dans des plans composés Les plans composés reflètent les rôles des plans d’origine qui les constituent. Vous pouvez afficher et réattribuer les rôles des plans à l’intérieur d’un plan composé, mais vous ne pouvez pas attribuer des rôles au plan composé lui-même. 1 Sélectionnez un plan composé dans le navigateur d’événements ou la timeline. 2 Pour afficher les rôles attribués ou pour attribuer un rôle à chaque plan à l’intérieur du plan composé, procédez de l’une des manières suivantes: • Colonne Rôles dans le navigateur d’événements en présentation par liste : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans le navigateur d’événements » ci-dessus. • Menu local Rôles dans l’inspecteur d’informations : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans l’inspecteur d’informations » ci-dessus. • Colonne Rôles dans la fenêtre Plans de l’index de la timeline : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans l’index de la timeline » ci-dessus. • cmd Attribuer des rôles : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans le menu Modifier » ci-dessus.Chapitre 11 Montage avancé 314 Lorsque vous attribuez un rôle à un plan composé (le conteneur), le rôle est attribué à tous les plans à l’intérieur de ce plan composé. Pour attribuer des rôles différents à certains plans du plan composé, vous pouvez ouvrir le plan composé afin de le modifier, puis attribuer individuellement des rôles à des plans du plan composé. Pour en savoir plus sur les plans composés, consultez Présentation des plans composés à la page 266. Création de sous-rôles et de rôles personnalisés Vous pouvez créer, outre les cinq rôles par défaut (Vidéo, Titres, Dialogue, Musique et Effets), des sousrôles et des rôles personnalisés. Important : Soyez prudent lorsque vous créez des sous-rôles et des rôles personnalisés. Les rôles personnalisés (ainsi que leurs noms) ne peuvent pas être modifiés ou supprimés de la liste des rôles. Vous pouvez toutefois changer à tout moment les attributions de rôle à des plans. Création de rôles personnalisés 1 Pour ouvrir l’éditeur de rôle, procédez de l’une des manières suivantes: • Choisissez Modifier > Modifier les rôles. • Dans le navigateur d’événements en présentation par liste ou dans la fenêtre Plans de l’index de la timeline, cliquez sur un rôle dans la colonne Rôles, puis choisissez Modifier les rôles dans le menu contextuel. • Après avoir sélectionné un plan dans le navigateur d’événements ou dans la timeline, ouvrez l’inspecteur d’informations, puis choisissez Modifier les rôles dans le menu local Rôles. 2 Choisissez le type de rôle dans le menu local Ajouter un rôle situé dans le coin inférieur gauche de l’éditeur de rôle. Le nouveau rôle apparaît en bas de la colonne Rôle.Chapitre 11 Montage avancé 315 3 Saisissez un nom pour le nouveau rôle. Le nouveau rôle apparaît dans la liste des rôles, afin que vous puissiez l’attribuer à n’importe quel plan. Création de sous-rôles Les sous-rôles vous permettent d’organiser différents rôles au sein d’un rôle ; vous pouvez par exemple créer un sous-rôle Bruitage au sein du rôle Effets ou un rôle Sous-titres espagnols dans le rôle Titres. 1 Pour ouvrir l’éditeur de rôle, procédez de l’une des manières suivantes: • Choisissez Modifier > Modifier les rôles. • Dans le navigateur d’événements en présentation par liste ou dans la fenêtre Plans de l’index de la timeline, cliquez sur un rôle dans la colonne Rôles, puis choisissez Modifier les rôles dans le menu contextuel. • Après avoir sélectionné un plan dans le navigateur d’événements ou dans la timeline, ouvrez l’inspecteur d’informations, puis choisissez Modifier les rôles dans le menu local Rôles.Chapitre 11 Montage avancé 316 2 Sélectionnez un rôle dans la colonne Rôle, puis cliquez sur le bouton Ajouter un sous-rôle (signe plus) sous la colonne Sous-rôle. 3 Saisissez un nom pour le sous-rôle. Le nouveau sous-rôle demeure dans la liste Sous-rôle et apparaît en dessous de son rôle parent dans les listes de rôles présentes dans Final Cut Pro. Lorsque vous attribuez des sous-rôles à des plans dans la timeline, ces sous-rôles apparaissent également dans l’index de la timeline. Sous-rôles Affichage des plans en fonction du rôle dans la timeline Vous pouvez utiliser la fenêtre Rôles de l’index de la timeline pour afficher et lire des plans en fonction de leur rôle dans la timeline. Tous les plans vidéo et audio sont organisés en fonction soit des rôles par défaut (Vidéo, Titres, Dialogue, Musique ou Effets), soit de rôles ou de sous-rôles que vous avez créés. Il est possible de désactiver certains rôles afin de suspendre la lecture de tous les plans auxquels ces rôles ont été attribués. Vous pouvez, par exemple, désactiver tous les rôles sauf le rôle Dialogue pour ne lire que les plans de dialogue, puis activer le rôle Musique pour écouter la bande son du film en même temps que les dialogues. Les rôles vous offrent un moyen très efficace d’organiser et de prévisualiser des plans avant de les exporter sous forme de fichiers en vue de leur diffusion ou de la postproduction audio. Remarque : L’activation ou la désactivation des rôles dans l’index de la timeline n’a pas d’effet sur les réglages d’exportation ni sur les réglages de plan dans le navigateur d’événements, la timeline ou les inspecteurs.Chapitre 11 Montage avancé 317 Activation ou désactivation des rôles 1 Dans l’index de la timeline, cliquez sur le bouton Rôles. 2 Dans la fenêtre Rôles, cochez les cases en regard des rôles ou des sous-rôles que vous voulez activer. Désélectionnez les cases en regard des rôles ou des sous-rôles que vous voulez désactiver. Les rôles activés sont affichés en couleur dans la timeline, tandis que les rôles désactivés sont affichés en gris. Si vous désactivez tous les rôles vidéo ou tous les rôles audio, la partie respective des plans audio-vidéo est également affichée en gris. Les plans auxquels un rôle actif est assigné apparaissent en couleur. Les plans auxquels un rôle inactif est assigné apparaissent en gris. Rôles actifs 3 Pour prévisualiser des plans en fonction de leur rôle, effectuez la lecture de votre projet. Seuls les plans ayant des rôles activés sont lus. Mise de rôles en surbrillance dans la timeline 1 Dans l’index de la timeline, cliquez sur le bouton Rôles.Chapitre 11 Montage avancé 318 2 Dans la fenêtre Rôles, cliquez sur le nom du rôle à mettre en surbrillance. Les plans ayant reçu ce rôle sont mis en surbrillance dans la timeline. Cela inclut à la fois les plans actifs (en couleur) et les plans inactifs (en gris). Rôle sélectionné Les plans auxquels un rôle sélectionné est assigné apparaissent en surbrillance. Conseil : Pour mettre en surbrillance plusieurs rôles à la fois, sélectionnez-les en maintenant la touche Maj enfoncée s’ils sont contigus ou la touche cmd si ce n’est pas le cas. Réduction des plans en fonction du rôle Pour dégager de l’espace dans la timeline afin de pouvoir mieux visualiser et manipuler des plans, vous pouvez réduire les plans correspondant à certains rôles. Ces plans sont alors affichés en plus petit dans la timeline. 1 Dans l’index de la timeline, cliquez sur le bouton Rôles. 2 Dans la fenêtre Rôles, cliquez sur le bouton de réduction en regard du rôle dont vous souhaitez réduire les plans. Bouton Minimiser Plan minimisé Les rôles ayant été minimisés. Il est possible également de personnaliser l’affichage des plans dans la timeline en modifiant leur apparence et leur hauteur et en déterminant s’ils doivent être visualisés par leur nom ou leur rôle. Consultez Ajustement des réglages de la timeline à la page 147. Chapitre 11 Montage avancé 319 Utilisation de rôles pour exporter des stems Lorsque vous exportez votre travail, vous pouvez utiliser des rôles pour déterminer les détails de vos fichiers de sortie. Ce processus est souvent utilisé lorsqu’il s’agit de livrer des fichiers correspondant à certaines spécifications de diffusion ou de remettre des stems en vue du mixage ou de la postproduction. Vous pouvez exporter des rôles dans un fichier QuickTime multipiste combiné ou dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus, consultez Préférences de destinations à la page 441. Utilisation de fichiers XML pour transférer des projets et des événements Final Cut Pro peut importer ou exporter des fichiers XML (eXtensible Markup Language). Vous pouvez utiliser des documents XML (fichiers texte ASCII incluant des éléments balisés) pour transférer les détails de vos événements et de vos projets entre Final Cut Pro et des applications tierces, des périphériques et des outils de gestion de ressources multimédias incapables de reconnaître les événements ou les projets Final Cut Pro. Les options d’importation et d’exportation XML sont décrites en détail dans la documentation destinée aux développeurs XML Final Cut Pro. Pour en savoir plus, consultez la page consacrée aux applications Apple du site web Apple Developer à l'adresse http://developer.apple.com/fr/appleapplications. Importation au format XML dans Final Cut Pro Vous pouvez générer des fichiers XML avec d’autres applications, puis les importer dans Final Cut Pro. Lorsque vous importez un fichier XML dans Final Cut Pro, des plans, des événements et des projets sont automatiquement générés dans Final Cut Pro. 1 Dans Final Cut Pro, choisissez Fichier > Importer > XML. 2 Naviguez ensuite jusqu’au fichier XML à importer, puis cliquez sur Importer. Final Cut Pro traite le fichier XML et génère des plans, des événements et des projets dans la bibliothèque d’événements et la bibliothèque de projets. Exportation au format XML depuis Final Cut Pro Vous pouvez exporter des événements et des projets sous forme de fichiers XML. 1 Dans la bibliothèque d’événements ou la bibliothèque de projets, choisissez un ou plusieurs évé- nements ou projets à exporter sous forme de fichiers XML. 2 Choisissez Fichier > Exporter le fichier XML. 3 Dans la fenêtre qui apparaît, naviguez jusqu’au dossier de votre disque dur où vous voulez enregistrer les fichiers XML, puis cliquez sur Enregistrer.Chapitre 11 Montage avancé 320 Montage de plans multicam Présentation du montage multicam Vous pouvez exploiter Final Cut Pro pour monter le métrage de prises multicaméra ou tout autre métrage synchronisé en temps réel. Par exemple, si vous filmez un concert en direct ou un mariage avec quatre caméras, vous pouvez synchroniser le métrage de chaque angle dans un même plan multicam et effectuer des coupes entre les angles en temps réel. Les différents angles d’un plan multicam sont synchronisés par un point de synchronisation commun, une image qu’il vous est possible de reconnaître (visiblement ou à l’oreille) pour chacun des angles que vous synchronisez. Lorsque vous ajoutez un plan multicam à la timeline, l’angle qui s’affiche dans le visualiseur au moment où vous procédez à la lecture de votre projet s’appelle l’angle actif. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des coupes et passer facilement d’un angle à l’autre. Angle 1 Angle 2 Angle actif Angle 3 Angle 4 Point de synchronisation icône Plan multicam L’utilisation de plans multicam dans Final Cut Pro assure un processus polyvalent et fluide. À tout moment, vous pouvez ajouter ou supprimer des angles d’un plan multicam, et adapter facilement la synchronisation entre eux. Vous pouvez aussi grouper des éléments de métrage non associés pour le montage en temps réel (vidéos musicales, par exemple). Par exemple, si vous montez une vidéo musicale, vous avez la possibilité d’ajouter plusieurs angles d’images abstraites et d’effectuer des coupes à des moments précis de la musique. Il est en outre possible d’exploiter des photos (d’un appareil photo) dans un plan multicam. Si les informations de date et heure (Contenu créé) correspondent au contenu des autres angles, les photos sont automatiquement ajustées sur la durée de sorte à « remplir » l’angle. Les plans multicam présentent les caractéristiques suivantes: • Vous ne pouvez créer de plans multicam que dans le navigateur d’événements, à partir de plans d’événements existants. • Vous devez effectuer des coupes et adapter les plans multicam dans l’éditeur d’angles, lequel ressemble à la timeline.Chapitre 11 Montage avancé 321 • Lorsque vous ajoutez un plan multicam à la timeline, une relation directe et active s’établit entre le plan multicam « parent » dans le navigateur d’événements et le plan multicam « enfant » sur la timeline. Plans de l’événement Projet 1 Projet 3 Plan enfant Plans enfants Plan enfant Projet 2 Plan multicam parent • Si vous ouvrez un plan multicam dans l’éditeur d’angles (que ce soit depuis le navigateur d’événements ou depuis la timeline), il s’agit en fait du plan multicam parent qui s’ouvre depuis le navigateur d’événements. Toute modification apportée à un plan multicam dans l’éditeur d’angles est transmise à l’intégralité de ses plans enfants, dans tous les projets. Ces changements comprennent les réglages de synchronisation ou de trim, la resynchronisation de la vitesse des plans, les effets vidéo ou audio tels que l’étalonnage, ainsi que les angles ajoutés ou supprimés. Par exemple, si vous supprimez un angle d’un plan multicam parent, il est alors supprimé de tous les plans enfants. Pour en savoir plus sur l’éditeur d’angles, consultez la section Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles à la page 337. Flux de production de montage multicam Le processus à suivre pour la création d’un projet multicam est décrit ci-après. Ces procédures sont présentées dans un ordre chronologique approximatif. Vous pouvez par conséquent les réorganiser pour répondre aux besoins de votre flux de production. Tournage d’un événement avec plusieurs caméras et enregistrement des informations de synchronisation Un plan multicaméra utilise plusieurs caméras pour enregistrer le même sujet ou événement sous des angles et à des distances différents. Dans le cas de projets multicam, il peut s’avérer judicieux de régler la date, l’heure et le fuseau horaire sur votre caméscope ou tout autre équipement d’enregistrement avant le tournage. Cela fournit des informations utiles à Final Cut Pro lors du processus de création automatique des plans multicam. Dans les plans multicaméra professionnels, chaque caméscope ou magnétoscope reçoit le même timecode à partir d’un générateur de timecode maître. Vous pouvez aussi effectuer une synchronisation fixe sur le générateur de timecode de chaque caméscope au début du plan. Si vous utilisez un caméscope numérique grand public incompatible avec le timecode externe, vous devez enregistrer un signal visuel ou sonore, tel que la fermeture d’un clap ou le flash d’une caméra, sur toutes les caméras. Ce signal vous permet de synchroniser les angles dans vos plans multicam. Dans la mesure où vous pouvez vous servir de la fonctionnalité sophistiquée de synchronisation audio automatique de Final Cut Pro pour vous apporter toute la précision nécessaire à la synchronisation multicam, il convient d’enregistrer l’audio sur chaque caméscope et équipement d’enregistrement utilisés dans votre production multicam. (À noter que des enregistrements audio nets produisent les meilleurs résultats.)Chapitre 11 Montage avancé 322 Importation de média pour un montage multicam Bien que l’importation de média pour les projets multicam soit identique à celle pour tout autre projet, des étapes intermédiaires lors de l’importation sont à même de vous aider à simplifier le flux de production multicam. Attribution du nom des caméras et des angles multicam Les balises de métadonnées « Nom de la caméra » et « Angle de caméra » vous permettent d’automatiser et d’organiser votre flux de production multicam. Il est conseillé (mais cependant facultatif) d’appliquer ces balises à vos plans d’événements avant de créer un plan multicam. Création de plans multicam Vous devez créer des plans multicam à partir de plans d’événements sélectionnés (comme c’est le cas pour les auditions et les plans composés dans le navigateur d’événements). Que vous réalisiez cette étape manuellement ou que Final Cut Pro s’en charge automatiquement, la création d’un plan multicam suppose trois étapes essentielles: • la création d’angles (lesquels contiennent un ou plusieurs plans chacun), • la réorganisation de l’ordre des plans dans chaque angle, • la synchronisation des angles à travers un point de synchronisation commun. Si vous connaissez le type de métadonnées comprises dans votre média source, vous pouvez créer manuellement des plans multicam plus rapidement que par les automatisations proposées. Pour en savoir plus, consultez Attribution du nom des caméras et des angles multicam à la page 323 et Création de plans multicam dans le navigateur d’événements à la page 324. Coupe et passage d’un angle à l’autre dans le visualiseur d’angle Après avoir créé un plan multicam, il vous est possible de visionner simultanément tous les angles dans le visualiseur d’angle tout en passant ou en coupant en temps réel entre les différents angles. Vous pouvez couper et changer les éléments audio et vidéo simultanément ou indépendamment. Par exemple, vous pouvez utiliser l’élément audio de l’angle 1 tout en alternant entre les angles 1 à 4 de la vidéo. Synchronisation et ajustement des angles dans l’éditeur d’angles Vous pouvez ouvrir à tout moment des plans multicam dans l’éditeur d’angles pour adapter la synchronisation et l’ordre des angles ou pour en ajouter ou en supprimer. Vous pouvez aussi passer par l’éditeur d’angles pour réaliser des montages dans les différents plans insérés dans un plan multicam (par exemple, lors de trim, d’étalonnages, d’ajout de transitions, etc.). Montage de plans multicam sur la timeline Vous pouvez passer directement à des angles multicam sur la timeline ou dans l’inspecteur, sans ouvrir le visualiseur d’angle. Bien que les plans multicam présentent des propriétés uniques, il vous est possible de les modifier sur la timeline de la même façon que pour le montage d’autres plans. Importation de média pour un montage multicam Lorsque vous importez du média dans un projet multicam, vous pouvez attribuer un nom au caméscope ou à l’équipement d’enregistrement produisant des fichiers. Final Cut Pro fait appel à la balise « Nom de la caméra » pour trier les plans source au sein d’un plan multicam lors du processus de création automatique des plans multicam. Si vous prévoyez que vos plans multicam compteront de nombreux angles, sélectionnez « Utiliser un média proxy » dans les préférences Lecture pour préserver des performances optimales lors de votre montage multicam. Vous pouvez générer les versions proxy nécessaires de vos plans lors du processus d’importation. Chapitre 11 Montage avancé 323 Si vous ne possédez que quelques angles dans votre montage multicam, vous avez la possibilité de réaliser des versions optimisées de votre média lors de l’importation, par le biais du codec Apple ProRes 422. Si vous préférez, il vous est également possible de sélectionner « Créer des média optimisés pour des plans multicam » dans les préférences Lecture pour générer automatiquement des données optimisées chaque fois que vous créez un plan multicam. Pour en savoir plus, consultez Préférences de lecture à la page 438. Attribution de nom à une caméra Les instructions suivantes expliquent comment ajouter la propriété « Nom de la caméra » lorsque vous importez des médias à partir d’un dispositif à système de fichiers. Il vous est également possible d’ajouter la propriété « Nom de la caméra » a postériori. 1 Branchez votre caméra ou équipement d’enregistrement sur votre ordinateur. 2 Dans Final Cut Pro, choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). 3 Dans la fenêtre Importation des médias, sélectionnez votre caméscope ou autre matériel dans la liste des dispositifs à gauche, s’il ne l’est pas déjà. 4 Cliquez à nouveau dessus, puis attribuez-lui un nom. Final Cut Pro affecte ce nom à la propriété de métadonnées « Nom de la caméra » pour tous les plans que vous importez depuis l’appareil en question. Remarque : les caméscopes et équipements d’enregistrement les plus récents (notamment tous les dispositifs iOS) enregistrent une balise Identifiant Caméra. Final Cut Pro importe automatiquement les métadonnées Identifiant Caméra lorsque vous importez à partir d’un dispositif à système de fichiers et peut exploiter ces informations pour construire automatiquement des angles multicam. Attribution du nom des caméras et des angles multicam Les propriétés « Nom de la caméra » et « Angle de caméra » constituent des balises de métadonnées polyvalentes qui vous permettent d’organiser votre flux de production multicam. Bien qu’il vous soit possible d’attribuer à tout moment des métadonnées à des plans, il s’avère plus logique d’affecter les valeurs aux balises « Angle de caméra » et « Nom de la caméra » avant d’utiliser les plans pour créer les plans multicam. La balise « Angle de caméra » vous permet de déterminer et d’effectuer le suivi des plans apparaissant dans les divers angles. Vous pouvez appliquer la balise « Nom de la caméra » lors de l’importation qui peut être utile dans un grand nombre de cas, par exemple lors de l’étalonnage des couleurs. Final Cut Pro vous permet de créer automatiquement ou manuellement des plans multicam. Si vous utilisez la méthode de création automatique des angles dans le plan multicam, Final Cut Pro recherche les métadonnées dans les plans sélectionnés dans l’ordre suivant : • Métadonnées « Angle de caméra » • Métadonnées « Nom de la caméra » • Métadonnées « Identifiant Caméra » Remarque : Les caméscopes et équipements d’enregistrement les plus récents (notamment tous les dispositifs iOS) génèrent la balise Identifiant Caméra. Final Cut Pro importe automatiquement les métadonnées Identifiant Caméra lorsque vous effectuez une importation à partir d’un dispositif à système de fichiers. Final Cut Pro exploite les métadonnées « Angle de caméra », « Nom de la caméra » et « Identifiant Caméra » pour placer les plans dans le bon angle. Si l’application ne trouve pas ces informations, Final Cut Pro crée alors un angle à part pour chacun des plans sélectionnés.Chapitre 11 Montage avancé 324 Attribution du nom des caméras et des angles à des plans sélectionnés Procédez de l’une des manières suivantes: m Sélectionnez des plans dans le navigateur d’événements ou sur la timeline, ouvrez l’inspecteur d’informations, puis saisissez du texte dans le champ « Angle de caméra » ou « Nom de la caméra ». m Dans le navigateur d’événements en présentation par liste, saisissez du texte dans la colonne correspondante pour l’un des plans. Remarque : Si vous utilisez la méthode de création automatique des angles, Final Cut Pro fait appel aux balises « Angle de caméra » dans les plans sélectionnés pour nommer les angles dans le plan multicam résultant. En l’absence de balise « Angle de caméra », Final Cut Pro s’appuie sur les métadonnées « Nom de la caméra », « Nom » (nom du plan) ou « Identifiant Caméra » pour attribuer un nom aux angles. Vous pouvez renommer ces angles dans l’éditeur d’angles. Pour en savoir plus, consultez Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles à la page 337. Création de plans multicam dans le navigateur d’événements La création de plans multicam est semblable à la création d’auditions et de plans composés dans le navigateur d’événements. Les plans multicam peuvent se composer de diverses sources de média (différents formats, fréquences d’images, etc.). Vous pouvez posséder plusieurs plans dans un angle donné d’un plan multicam. Vous pouvez indiquer à Final Cut Pro de créer automatiquement des plans multicam ou procéder manuellement. Si vous connaissez le type de métadonnées comprises dans votre média multicam, vous pouvez créer manuellement des plans multicam plus rapidement que par les automatisations proposées. Les méthodes automatiques s’appuient sur une technologie sophistiquée de synchronisation audio automatique pour assurer la précision de la synchronisation (mais aux dépens du temps de traitement). Il est recommandé de désactiver « Utiliser l’audio pour la synchronisation » lorsque cette option n’est pas nécessaire. Par exemple, si le timecode exact est enregistré dans chaque plan, Final Cut Pro peut créer votre plan multicam automatiquement sans passer par la fonctionnalité de synchronisation audio. Création automatique d’un plan multicam 1 Dans le navigateur d’événements, sélectionnez les plans à inclure dans le plan multicam. 2 Procédez de l’une des manières suivantes: • Choisissez Fichier > Nouveau plan multicam. • Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan multicam dans le menu contextuel. 3 Dans la fenêtre qui s’affiche, attribuez un nom au plan multicam dans le champ Nom. 4 Si les réglages multicam automatiques ne sont pas affichés, cliquez sur « Utiliser les réglages automatiques ». Les réglages multicam automatiques s’affichent. Remarque : Les réglages automatiques sont affichés par défaut, sauf si le dernier plan multicam créé comportait des réglages personnalisés.Chapitre 11 Montage avancé 325 5 Pour synchroniser automatiquement les angles grâce aux données de forme d’onde audio, sélectionnez « Utiliser l’audio pour la synchronisation ». Cette option permet des ajustements de synchronisation précis en s’appuyant sur les formes d’onde audio de chaque angle. Cette technologie est identique à celle de synchronisation audio utilisable pour synchroniser automatiquement les plans en un plan composé. Point de synchronisation Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage. 6 Cliquez sur OK. Final Cut Pro crée un plan multicam dans l’événement et place des copies des plans sélectionnés dans le nouveau plan multicam. icône Plan multicam Création d’un plan multicam à l’aide de réglages personnalisés 1 Dans le navigateur d’événements, sélectionnez les plans à inclure dans le plan multicam. 2 Procédez de l’une des manières suivantes: • Choisissez Fichier > Nouveau plan multicam. • Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan multicam dans le menu contextuel. 3 Dans la fenêtre qui s’affiche, attribuez un nom au plan multicam dans le champ Nom. 4 Si les réglages multicam personnalisés ne sont pas affichés, cliquez sur « Utiliser les réglages personnalisés ». Les réglages personnalisés s’affichent.Chapitre 11 Montage avancé 326 Remarque : Les réglages automatiques sont affichés par défaut, sauf si le dernier plan multicam créé comportait des réglages personnalisés. 5 Dans le menu local Assembler les angles, choisissez le mode de création des angles dans le plan multicam : • Automatique : Final Cut Pro crée les angles automatiquement. • Angle de caméra : Final Cut Pro crée les angles dans le plan multicam en fonction de la propriété Angle de caméra des plans sélectionnés. • Nom de la caméra : Final Cut Pro crée les angles dans le plan multicam en fonction de la propriété Nom de caméra des plans sélectionnés. • Plans: Final Cut Pro crée un angle pour chaque plan sélectionné à l’aide de leur propriété Nom afin d’attribuer un nom à l’angle. 6 Dans le menu local « Classement des angles du plan », choisissez le mode de tri des angles dans le plan multicam : • Automatique : Final Cut Pro trie les plans dans chaque angle automatiquement. S’il existe plusieurs plans par angle, Final Cut Pro insère plans vides entre les plans, le cas échéant, pour obtenir le contrôle du temps et l’espacement adéquats. • Timecode : Final Cut Pro organise dans chaque angle les plans à l’aide de leur timecode. Si vous avez enregistré le timecode dans vos plans, choisissez donc cette option. Elle s’avère plus rapide et plus précise en termes d’images pour l’agencement des plans. • Contenu créé : Final Cut Pro trie les plans dans chaque angle à l’aide des informations de date et d’heure enregistrées par votre caméscope ou équipement d’enregistrement vidéo. La fonctionnalité Contenu créé peut positionner les plans avec une précision d’une seconde (sachant que, dans la plupart des caméscopes, l’unité la plus petite inscrite dans les informations de date et d’heure correspond à la seconde). Si vous choisissez cette commande de tri des plans, vous aurez probablement besoin de synchroniser manuellement vos angles dans l’éditeur d’angles pour que votre plan multicam adopte une précision par image. Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu. 7 Dans le menu local Synchronisation des angles, choisissez le mode de synchronisation des angles dans le plan multicam : • Automatique : Final Cut Pro synchronise automatiquement les angles (par le biais d’une ou plusieurs des méthodes suivantes). • Timecode : Final Cut Pro synchronise les angles en fonction du timecode enregistré dans les plans. Pour en savoir plus sur l’enregistrement du timecode, consultez Flux de production de montage multicam à la page 321. 01:00:00:00 01:00:00:00 01:00:00:00 01:00:00:00 Point de synchronisationChapitre 11 Montage avancé 327 • Contenu créé : Final Cut Pro synchronise les angles à l’aide des informations de date et d’heure enregistrées par votre caméscope ou équipement d’enregistrement vidéo. Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu. 12 h 59 12 h 59 12 h 59 12 h 59 Point de synchronisation • Début du premier plan : Final Cut Pro utilise la première image de chaque angle comme point de synchronisation Point de synchronisation Conseil : la méthode de «Début du premier plan » s’avère utile pour exploiter uniquement des sélections sur des plages précises de vos plans source. Dans le navigateur d’événements, ajoutez des mots-clés ou le classement Favori à des sélections de plages à utiliser, afin de filtrer ou rechercher des plans ultérieurement. Si vous créez votre plan multicam, Final Cut Pro n’utilise que le média affiché dans la présentation filtrée. • Premier marqueur sur l’angle : Final Cut Pro utilise le premier marqueur de chaque angle comme point de synchronisation Point de synchronisation Conseil : cette méthode vous permet d’utiliser le premier marqueur pour définir une région pouvant être affinée par le biais de l’option « Utiliser l’audio pour la synchronisation » (décrite ci-dessous). En d’autres termes, vous n’avez pas besoin de placer le marqueur avec précision, seulement suffisamment près de l’endroit voulu pour que la fonctionnalité de synchronisation audio automatique puisse synchroniser les angles suivants. 8 Pour synchroniser automatiquement les angles grâce aux données de forme d’onde audio, sélectionnez « Utiliser l’audio pour la synchronisation ». Chapitre 11 Montage avancé 328 Cette option permet des ajustements de synchronisation précis en s’appuyant sur les formes d’onde audio de chaque angle. Cette technologie est identique à celle de synchronisation audio utilisable pour synchroniser automatiquement les plans en un plan composé. Point de synchronisation Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage. 9 Si vous voulez que le timecode du plan multicam commence à une valeur autre que la valeur la plus faible dans les plans sélectionnés (ce qui est le comportement par défaut), saisissez une valeur de timecode dans le champ Timecode de début. 10 Si vous cherchez à modifier les réglages des propriétés vidéo, sélectionnez Personnalisé dans la section Propriétés vidéo, puis adaptez les réglages à vos besoins. Remarque : Par défaut, Final Cut Pro analyse les plans sélectionnés et configure ces réglages d’après les propriétés de plan les plus courantes parmi ces plans. 11 Si vous cherchez à modifier les réglages audio ou de rendu, sélectionnez Personnalisé dans la section « Propriétés audio et de rendu », puis adaptez les réglages à vos besoins. 12 Cliquez sur OK. Final Cut Pro crée un plan multicam dans l’événement et place des copies des plans sélectionnés dans le nouveau plan multicam. icône Plan multicamChapitre 11 Montage avancé 329 Coupe et passage d’un angle à l’autre dans le visualiseur d’angle Après avoir créé un plan multicam, il vous est possible de visionner simultanément tous les angles dans le visualiseur d’angle tout en passant ou en coupant en temps réel entre les diffé- rents angles. Cela vous permet de couper un film entier comme s’il était diffusé en direct, puis d’apporter des réglages plus fins dans la timeline comme vous le feriez pour toute autre projet. Le visualiseur d’angle constitue aussi bien un écran qu’une interface interactive pour effectuer des choix rapides de coupe et de permutation au fur et à mesure de la reproduction de vos plans multicam et de vos projets. Angles apparaissant dans les groupes des angles 2, 4, 9 ou 16. Visualiseur d’angle Lecture d’un plan multicam dans le visualiseur d’angle 1 Pour ouvrir le visualiseur d’angle, procédez de l’une des manières suivantes: • Choisissez Fenêtre > Affichage du visualiseur > Afficher les angles (ou appuyez sur Commande + Maj + 7). • Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur situé dans le coin supérieur droit du visualiseur. Si vous visualisez un plan multicam dans le navigateur d’événements, vous avez l’option d’afficher le visualiseur d’événements en regard du visualiseur. Pour afficher des angles multicam dans le visualiseur d’événements, procédez de l’une des manières suivantes: • Choisissez Fenêtre > Affichage du visualiseur d’événements > Afficher les angles. • Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur situé dans le coin supérieur droit du visualiseur d’événements.Chapitre 11 Montage avancé 330 2 Utilisez le skimmer ou la tête de lecture pour lire un plan multicam dans le navigateur d’événements ou dans la timeline. Le visualiseur d’angle apparaît dans le coin supérieur de la fenêtre de Final Cut Pro. Lire un plan multicam dans le navigateur d’événements ou dans la timeline. Les angles du plan multicam s’affichent dans le visualiseur d’angles. Angle actif Coupe et passage d’un angle à l’autre dans le visualiseur d’angle Vous pouvez couper et passer d’un angle à l’autre « à la volée » (pendant la lecture de votre projet) ou survoler des points précis sur la timeline puis couper et basculer entre les éléments. Vous pouvez aussi utiliser une combinaison des deux méthodes. 1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7). 2 Ajoutez à la timeline le plan multicam à couper et y passer. Remarque : la fonctionnalité de coupage et passage ne fonctionne que pour les plans présents dans la timeline. 3 Procédez de l’une des manières suivantes: • Positionnez la tête de lecture et appuyez sur la barre d’espace pour reproduire le plan multicam. • Effectuez le survol de la timeline jusqu’à l’image où vous voulez couper et passer à un autre angle.Chapitre 11 Montage avancé 331 4 Dans le visualiseur d’angle, placez le pointeur sur l’angle auquel passer. Au fur et à mesure que vous déplacez le pointeur sur les angles du visualiseur, le pointeur s’adapte en lame de rasoir, ce qui indique qu’une coupe (et un changement d’angle) doit se produire à l’endroit où vous cliquez. Le pointeur devient un outil de lame. L’angle actif est en surbrillance. 5 Procédez de l’une des manières suivantes: • Pour couper et passer à un angle : cliquez sur l’angle auquel passer. (Vous pouvez aussi appuyer sur la touche d’un chiffre quelconque pour couper et passer à l’angle correspondant du groupe actif. Par exemple, appuyez sur 5 pour couper et passer à l’angle 5 du groupe.) Sur la timeline, le plan multicam actif est alors coupé au niveau de la tête de lecture. La section du plan situé à droite de la tête de lecture se voit remplacée par une nouvelle copie du plan, avec l’angle sur lequel vous avez cliquez comme angle actif. Une coupe apparaît alors sur la timeline au niveau de la tête de lecture. Pour en savoir plus, consultez Montage de plans multicam sur la timeline et l’inspecteur à la page 344. • Pour y passer: tout en maintenant la touche Option enfoncée, cliquez sur l’angle auquel passer. (Vous pouvez aussi maintenir la touche Option enfoncée et appuyez sur un chiffre pour passer à l’angle correspondant du groupe actif. Par exemple, appuyez sur Option + 5 pour passer à l’angle 5 du groupe.) Remarque : le pointeur se change alors en une main lorsque vous maintenez la touche Option enfoncée, indiquant une simple opération de passage. Sur la timeline, le plan multicam au niveau de la tête de lecture change et affiche l’angle devenu actif. Dans un cas ou l’autre, le visualiseur passe à l’angle que vous avez sélectionné. L’angle actif est mis en surbrillance jaune, bleu ou vert, selon le mode de passage que vous utilisez. Pour en savoir plus, consultez « Permutation indépendante de la vidéo ou de l’audio » ci-après. Permutation indépendante de la vidéo ou de l’audio Par défaut dans un plan multicam, Final Cut Pro change d’angle vidéo et audio en même temps. Vous pouvez cependant configurer Final Cut Pro pour ne changer que la vidéo ou l’audio indépendamment. 1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7).Chapitre 11 Montage avancé 332 2 Pour définir le mode de passage, effectuez l’une des opérations suivantes: • Activer la permutation audio et vidéo : cliquez sur le bouton de mode de passage de gauche, situé dans l’angle supérieur gauche du visualiseur d’angle. Il s’agit du réglage par défaut. Cliquez pour autoriser le passage de la vidéo à l’audio. Une surbrillance en jaune indique que la vidéo et l’audio actifs sont contenus dans un seul plan. Le permutateur d’angles affiche l’angle actif. • Pour activer le passage à la vidéo uniquement: cliquez sur le bouton de mode de passage central. Seule la vidéo change. L’audio de l’angle d’origine reste actif. Cliquez pour autoriser le passage à la vidéo uniquement. • Pour activer le passage à l’audio uniquement: cliquez sur le bouton de mode de passage de droite. Seul l’audio change. La vidéo de l’angle d’origine reste active. Cliquez pour autoriser le passage à l’audio uniquement. 3 Procédez de l’une des manières suivantes: • Pour couper et passer à un angle : cliquez sur un angle dans le visualiseur d’angle. • Pour y passer: tout en maintenant la touche Option enfoncée, cliquez sur un angle dans le visualiseur d’angle. Chapitre 11 Montage avancé 333 Si vous avez sélectionné le mode de passage limité à la vidéo ou à l’audio uniquement, un cadre bleu indique alors l’angle vidéo actif, tandis qu’un cadre vert indique l’angle audio actif. Bouton Activer uniquement la vidéo Bouton Activer uniquement l’audio L’angle vidéo actif est mis en surbrillance en bleu. L’angle audio actif est mis en surbrillance en vert. Le permutateur d’angles affiche les angles actifs. Conseil : Après avoir activé la fonction limitée à l’audio, il vous est possible d’ajouter à l’angle actif des composants audio à partir d’angles inactifs, ou de supprimer des composants audio de l’angle actif. Maintenez simplement appuyées les touches Commande +Option et cliquez sur un angle inactif pour ajouter son audio à l’angle actif. Vous pouvez également maintenir appuyées les touches Commande +Option et cliquer sur un angle actif pour supprimer son audio. Pour en savoir plus, consultez l’exemple « Ajout ou suppression des composants audio d’un plan multicam » dans Exemples de montage audio multicanal à la page 187. Visionnage et accès aux groupes d’angles Selon le réglage d’affichage du visualiseur d’angle choisi, vous pouvez afficher 2, 4, 9 ou 16 angles simultanément. Ces ensembles d’angles sont connus sous le nom de groupes. Le sélecteur de groupe de Final Cut Pro constitue un outil performant pour l’affichage des groupes d’angles et la navigation entre ceux-ci dans un plan multicam. 1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7).Chapitre 11 Montage avancé 334 2 Placez le skimmer ou la tête de lecture pour lire un plan multicam dans le navigateur d’événements ou dans la timeline. Le sélecteur de groupe apparaît alors sous forme de grille en bas du visualiseur d’angle. L’angle actif est indiqué en jaune, en bleu ou en vert. Le permutateur de groupe affiche le nombre d’angles et ceux qui sont actifs. 3 Dans le menu local Réglages (dans le coin supérieur droit du visualiseur d’angle), choisissez le nombre d’angles à afficher dans chaque groupe. Menu local Réglages dans l’angle supérieur droit du visualiser d’angles. Si le nombre d’angles de votre plan multicam dépasse la valeur du réglage d’affichage du visualiseur d’angle, Final Cut Pro crée des groupes supplémentaires et les affiche sous forme de grilles distinctes. Voici quelques exemples de combinaisons de groupes d’angles: • Trois groupes de 4 angles chacun, avec le dernier angle actif situé dans le troisième groupe, ce dernier étant affiché : • Un groupe de 16 angles, avec le dernier angle actif :Chapitre 11 Montage avancé 335 • Un groupe de 9 angles et un autre de 7 angles avec le premier groupe affiché : 4 Pour parcourir les groupes d’angles, procédez de l’une des manières suivantes: • Pour afficher les angles d’un groupe dans le visualiseur d’angles: cliquez sur le sélecteur de groupe pour le groupe. • Pour afficher le groupe précédent: Appuyez sur les touches Maj +Option + Point-virgule (;). • Pour afficher le groupe suivant: Appuyez sur les touches Maj +Option + Apostrophe (’). Incrustations dans le visualiseur d’angle Pour chaque angle qui figure dans le visualiseur d’angle, vous pouvez afficher les superpositions vidéo avec le timecode et soit le nom du plan, soit celui de l’angle. Nom de l’angle Timecode 1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7). 2 Pour choisir une option d’affichage, procédez de l’une des manières suivantes: • Pour afficher le timecode pour les plans de chaque angle : choisissez Timecode dans le menu local Réglages situé dans le coin supérieur droit du visualiseur d’angle. (Choisissez Timecode à nouveau pour désactiver l’affichage du timecode.) Menu local Réglages dans l’angle supérieur droit du visualiser d’angles. • Pour afficher le nom des plans de chaque angle : dans le menu local Réglages, choisissez Pseudonyme > Plan. • Pour afficher le nom de chaque angle : dans le menu local Réglages, choisissez Pseudonyme > Angle. • Pour désactiver les pseudonymes: dans le menu local Réglages, choisissez Pseudonyme > Aucun. Chapitre 11 Montage avancé 336 Ajustement de l’affichage du visualiseur d’angle Vous pouvez adapter l’affichage du visualiseur d’angle selon vos besoins. m Pour régler le nombre d’angles dans le visualiseur d’angle : dans le menu local Réglages situé dans le coin supérieur droit du visualiseur d’angle, choisissez 2 angles, 4 angles, 9 angles ou 16 angles. Visualiseur d’angles dans le réglage d’affichage 9 angles Menu local Réglages m Pour adapter la taille du visualiseur d’angle et du visualiseur principal : faites glisser la séparation entre eux. Faites glisser la limite vers la droite. Faites glisser la limite vers la gauche.Chapitre 11 Montage avancé 337 m Pour organiser le visualiseur d’angle en une colonne : faites glisser la séparation vers la gauche, puis la barre d’outils de Final Cut Pro vers le bas pour agrandir verticalement la zone du visualiseur. (Cette présentation en colonne n’est disponible que dans les présentations de 2 angles et de 4 angles.) Faites glisser la limite vers la gauche. Faites glisser la barre d’outils vers le bas. Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles Vous pouvez ouvrir à tout moment des plans multicam dans l’éditeur d’angles pour adapter la synchronisation et l’ordre des angles, pour définir l’angle de contrôle ou pour en ajouter ou en supprimer. Remarque : si vous ouvrez un plan multicam dans l’éditeur d’angles (que ce soit depuis le navigateur d’événements ou depuis la timeline), il s’agit en fait du plan multicam parent qui s’ouvre. Toute modification réalisée dans l’éditeur d’angles est transmise à l’intégralité des plans enfants du plan multicam en question pour chaque projet. Pour en savoir plus, consultez Création de plans multicam dans le navigateur d’événements à la page 324. L’éditeur d’angles vous permet de monter plusieurs plans en un même plan multicam (un peu comme pour un plan composé). Les nombreuses modifications que vous pouvez apporter dans l’éditeur d’angles comprennent les montages élémentaires et le trim ainsi que les effets que vous devez ajouter habituellement dans la timeline, par exemple les étalonnages et les transitions. Vous pouvez copier et coller les plans dans l’Éditeur d’angles. Les plans sont collés de manière séquentielle comme montages par écrasement et seulement dans l’angle de contrôle. Conseil : avant de pouvoir monter des plans multicam dans l’éditeur d’angles, sauvegardez-les dans le navigateur d’événements pour conserver des copies de sauvegarde non altérées. Vous ne pouvez pas couper et passer d’un angle à l’autre depuis l’éditeur d’angles. Vous ne pouvez pas non plus connecter de plans, en reproduire en solo, utiliser l’éditeur de précision, effectuer des suppressions Ripple ou encore faire appel aux commandes «Détacher l’audio » et « Scinder les élé- ments de plan ». Ouverture d’un plan multicam dans l’éditeur d’angles Procédez de l’une des manières suivantes: m Double-cliquez sur un plan multicam dans le navigateur d’événements. m Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez «Ouvrir dans l’éditeur d’angles » dans le menu contextuel.Chapitre 11 Montage avancé 338 L’éditeur d’angles s’ouvre sur la zone de la timeline, en bas de la fenêtre de Final Cut Pro. Bien que semblable à la timeline, l’éditeur d’angles propose une interface à part dédiée au montage des angles et des plans au sein des plans multicam. Chaque angle dans le plan multicam se pré- sente sur une rangée propre dans l’éditeur d’angles. L’éditeur d’angle s’affiche dans la zone de la timeline. Configuration du contrôle vidéo et audio dans l’éditeur d’angles Dans l’éditeur d’angles, il vous est possible de définir n’importe quel angle comme angle de contrôle. Il s’agit de l’angle qui se trouve dans le visualiseur lorsque le plan multicam est lu dans l’éditeur d’angles. Vous avez également la possibilité de contrôler l’audio d’un nombre d’angles quelconque simultanément. L’angle de contrôle permet de synchroniser ceux repris dans l’éditeur d’angles. Il n’est cependant pas identique à l’angle actif (celui affiché dans la timeline). Vous ne pouvez pas couper et passer d’un angle à l’autre depuis l’éditeur d’angles. Remarque : le réglage du bon angle de contrôle s’avère important pour les deux commandes de synchronisation décrites plus loin dans cette section : « Synchroniser avec l’angle de contrôle » et « Synchronisation de l’angle avec l’angle de contrôle à l’aide de l’audio ». 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes: • Double-cliquez sur un plan multicam dans le navigateur d’événements. • Tout en maintenant la touche enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez «Ouvrir dans l’éditeur d’angles » dans le menu contextuel. 2 Pour définir un angle comme angle de contrôle, effectuez l’une des opérations suivantes: • Cliquez sur l’icône Contrôle vidéo, qui se trouve à gauche de l’angle. • Choisissez «Définir l’angle de contrôle » à partir du menu local en regard du nom de l’angle. • Appuyez sur Maj +V lors du survol de l’angle.Chapitre 11 Montage avancé 339 L’icône Contrôle vidéo devient alors blanche et l’angle tout entier se voit encadré en gris clair. L’angle se lit dans le visualiseur lorsque vous reproduisez le plan multicam dans l’éditeur d’angles. Vous ne pouvez définir qu’un seul angle vidéo de contrôle à la fois. Cliquez pour définir l’angle de contrôle. 3 Pour activer le contrôle audio pour un angle, procédez de l’une des manières suivantes: • Cliquez une fois sur l’icône Contrôle audio. (Pour désactiver le contrôle audio, cliquez à nouveau dessus.) • Choisissez Contrôler l’audio à partir du menu local en regard du nom de l’angle. (Pour désactiver le contrôle audio, choisissez à nouveau Contrôler l’audio.) • Appuyez sur Maj + A lors du survol de l’angle. (Pour désactiver le contrôle audio, appuyez à nouveau sur Maj + A.) Contrôle audio activé Contrôle audio désactivé Les réglages du contrôle n’influent sur aucun angle actif. Ils modifient simplement ce qui est reproduit dans le visualiseur lorsque vous travaillez dans l’éditeur d’angles.Chapitre 11 Montage avancé 340 Conseil : vous pouvez faire appel au contrôle audio pour vérifier la synchronisation des différents angles dans un plan multicam. Ouvrez le plan dans l’éditeur d’angles, puis activez le contrôle audio pour plusieurs angles. Vous pouvez dès lors entendre si les angles sont synchronisés ou si vous devez les ajuster davantage. Réglage manuel de la synchronisation d’un plan multicam Une fonction principale de l’éditeur d’angles est d’assurer un moyen simple de corriger les angles désynchronisés de vos plans multicam. Les instructions ci-dessous décrivent comment synchroniser les angles en localisant les points de synchronisation puis en les faisant glisser manuellement pour les aligner. 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes: • Double-cliquez sur un plan multicam dans le navigateur d’événements. • Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez «Ouvrir dans l’éditeur d’angles » dans le menu contextuel. 2 Accédez à un point de synchronisation dans l’un des angles désynchronisés en effectuant le survol de l’angle dans l’éditeur d’angles. Au fur et à mesure du survol, l’angle s’affiche dans le côté gauche du visualiseur (au lieu du visualiseur d’angle). Les points de synchronisation peuvent correspondre à des signaux vidéo ou audio (tels qu’un clap de fin ou le claquement d’une porte). 3 Retrouvez le point de synchronisation correspondant dans les angles à synchroniser sur l’angle d’origine. Pour simplifier ce processus, vous pouvez ajouter des marqueurs aux points de synchronisation pour vous guider sur le plan visuel et indiquer des points d’alignement. 4 Faites glisser les plans horizontalement sur les rangées de l’éditeur d’angles pour aligner verticalement les points de synchronisation. Point de synchronisation Point de synchronisation Faites glisser le plan pour aligner les points de synchronisation.Chapitre 11 Montage avancé 341 Si un angle contient plusieurs plans, vous pouvez facilement sélectionner tous les plans de l’angle afin de les déplacer tous à la fois. Pour ce faire, choisissez « Sélectionner les plans dans l’angle » à partir du menu local en regard du nom de l’angle. Pour sélectionner tous les plans dans un angle, choisissez « Sélectionnez les plans dans l’angle » Vous pouvez faire glisser les plans horizontalement pour les déplacer ensemble. Lorsque tous les plans de l’angle sont sélectionnés, vous pouvez tous les faire glisser ensemble. Réglage automatique de la synchronisation d’un plan multicam Les instructions ci-dessous décrivent deux méthodes automatiques de synchronisation des angles dans un plan multicam. 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes: • Double-cliquez sur un plan multicam dans le navigateur d’événements. • Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez «Ouvrir dans l’éditeur d’angles » dans le menu contextuel. 2 Dans l’angle désynchronisé, cliquez sur le menu local situé à droite du nom de l’angle, puis choisissez l’une des options suivantes: • Synchroniser avec l’angle de contrôle : cette option entraîne l’ouverture d’un double affichage dans le visualiseur, reprenant l’image au niveau du skimmer à gauche et celle au niveau de la tête de lecture de l’angle de contrôle à droite. Dans l’angle désynchronisé, effectuez un survol jusqu’à une image, puis cliquez pour synchroniser l’angle au niveau de la tête de lecture. Tous les plans dans l’angle se déplacent ensemble pour aligner l’image sur laquelle vous avez cliquée avec la tête de lecture. Pour fermer le double affichage du visualiseur, cliquez sur Terminé.Chapitre 11 Montage avancé 342 • Synchroniser l’angle avec l’angle de contrôle : cette option compare les formes d’onde audio dans l’angle sélectionné aux formes d’onde dans l’angle de contrôle, puis déplace les plans dans l’angle sélectionné pour les synchroniser avec celles de l’angle de contrôle. Cette technologie est identique à celle de synchronisation audio utilisable pour analyser et synchroniser automatiquement les plans en un plan composé. Si vous sélectionnez des plans dans un ou plusieurs angles avant de choisir cette option, le nom de la commande dans le menu local devient « Synchroniser la sélection avec l’angle de contrôle ». Lorsque vous choisissez cette option, Final Cut Pro déplace tous les plans sélectionnés pour les synchroniser avec ceux de l’angle de contrôle. S’il existe une sélection dans l’angle de contrôle, cette option n’est pas disponible. AVERTISSEMENT : Cette option n’effectue pas de Ripple des plans vers l’avant. Si les plans sont déplacés vers un emplacement de la timeline déjà occupé par des plans, les plans déplacés écrasent les anciens. Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage. Tri des angles dans un plan multicam Vous pouvez modifier l’ordre dans lequel les angles apparaissent dans le visualiseur d’angle et l’éditeur d’angles. Remarque : Si vous avez déjà commencé un montage multicam sur un plan multicam dans la timeline, changer l’ordre des angles n’influe en rien sur l’angle choisi pour chaque montage et effectuer des coupes et des passages. 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes: • Double-cliquez sur un plan multicam dans le navigateur d’événements. • Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez «Ouvrir dans l’éditeur d’angles » dans le menu contextuel.Chapitre 11 Montage avancé 343 2 À droite de l’éditeur d’angles, faites glisser les rangées d’angles verticalement à l’aide des poignées de glissement pour les réorganiser. Utilisez les poignées pour réorganiser les angles. Les angles présents dans l’éditeur et le visualiseur adoptent le nouveau tri. Ajout, suppression ou renommage d’angles dans un plan multicam 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes: • Double-cliquez sur un plan multicam dans le navigateur d’événements. • Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez «Ouvrir dans l’éditeur d’angles » dans le menu contextuel. 2 Procédez de l’une des façons suivantes: • Pour supprimer un angle : choisissez Supprimer l’angle dans le menu local situé à droite du nom de l’angle. L’angle est alors supprimé de l’éditeur d’angles, du visualiseur d’angle et de tous les plans enfants du plan multicam. Important : la suppression d’un angle actif influe sur les montages de votre projet. L’angle supprimé est remplacé par un vide noir dans tous les projets. • Pour ajouter un angle : choisissez Ajouter un angle dans le menu local situé à droite du nom de l’angle. Un nouvel angle vide apparaît dans l’éditeur d’angles et dans le visualiseur d’angle. • Pour renommer un angle : sur la partie de gauche de l’éditeur d’angles, cliquez sur le nom de l’angle à renommer. Lorsque le texte apparaît en surbrillance, attribuez le nouveau nom. Ce dernier s’affiche dans l’éditeur d’angles et, si les superpositions sont activées, dans le visualiseur d’angle.Chapitre 11 Montage avancé 344 Montage de plans multicam sur la timeline et l’inspecteur Vous pouvez passer directement à des angles de plan multicam sur la timeline ou dans l’inspecteur d’informations, sans ouvrir le visualiseur d’angle. Les plans multicam fonctionnent en règle générale dans la timeline comme tout autre plan standard. Vous pouvez ajouter des effets vidéo et audio, des transitions et des marqueurs, attacher des plans connectés et appliquer des effets de resynchronisation. Vous pouvez appliquer des montages scindés aux plans multicam et les monter dans l’éditeur de précision. Vous avez la possibilité d’imbriquer des plans multicam en plans composés et dans des scénarios. Les plans multicam présentent cependant des caractéristiques uniques dans la timeline : • Vous pouvez afficher le nom des angles vidéo et audio actifs dans le plan multicam repris sur la timeline. • Les points de montage de coupe et de passage apparaissent sous forme de lignes en pointillé sur la timeline. Il s’agit de coupes (dans lesquelles le contenu vidéo ou audio d’un côté ou d’un autre du point de montage est continu). Dans un montage multicam, les coupes indiquent que le contenu d’un côté ou de l’autre du point de montage provient du même plan multicam. Une ligne en pointillé noire indique que différents angles du même plan multicam se trouvent d’un côté ou d’un autre du point de montage. Avant la coupe, l’angle est « voiture à gauche » Point de montage standard Après la coupe, l’angle est « voiture à droite » Un point de montage de transit s’affiche à l’emplacement de la tête de lecture.Chapitre 11 Montage avancé 345 Dans le cas de coupes et passages de vidéo seule ou d’audio seul, le point de montage peut être mixte (lignes noire et blanche en pointillé). Par exemple, si vous effectuez une coupe et un passage de vidéo seule, une ligne en pointillé noire apparaît pour la vidéo et une blanche s’affiche pour l’audio. Les lignes noires en pointillé indiquent que les angles de par et d’autre du point de montage sont différents mais proviennent du même plan multicam. Une ligne blanche en pointillé indique que l’angle est le même de par et d’autre du point de montage. • Lorsque vous placez le pointeur sur une coupe multicam, le pointeur se transforme en outil Trim, indiquant que la coupe sera un montage roll (car tout autre type de montage rompt la relation entre les plans de chaque côté du point de montage de coupe et de passage sur la timeline). • De nombreux montages (tels que les montages scindés, les marqueurs, les plans connectés et les effets de resynchronisation) conservent leur place dans un plan multicam sur la timeline, même après un changement d’angle. Certaines opérations de montage sont cependant associées directement à l’angle actif et ne sont pas conservées si vous le modifier. Il s’agit : • des effets vidéo et audio, • des animations avec des images clés (avec volume et balance), • des attributions de rôles. Passage d’angles sur la timeline 1 Sur la timeline, tout en maintenant la touche ctrl enfoncée, cliquez sur le plan multicam sur lequel passer. 2 Procédez de l’une des manières suivantes: • Pour changer d’angle vidéo : choisissez « Activer l’angle vidéo » dans le menu contextuel, puis dans le sous-menu l’angle auquel vous voulez passer. • Pour changer d’angle audio : choisissez « Activer l’angle audio » dans le menu contextuel, puis dans le sous-menu l’angle auquel vous voulez passer. Le plan passe donc à l’angle vidéo ou audio sélectionné.Chapitre 11 Montage avancé 346 Passage d’angles dans l’inspecteur Le changement d’angles dans l’inspecteur vous permet de passer d’un angle à l’autre pour plusieurs plans multicam sélectionnés simultanément. 1 Sélectionnez le ou les plans multicam pour lesquels changer l’angle. 2 Ouvrir l’inspecteur d’informations. 3 Dans l’inspecteur d’informations, procédez de l’une des manières suivantes: • Pour changer d’angle vidéo : dans le menu local « Activer l’angle vidéo », choisissez l’angle auquel passer. • Pour changer d’angle audio : dans le menu local « Activer l’angle audio », choisissez l’angle auquel passer. Affichage du nom des angles vidéo et audio actifs sur la timeline Vous pouvez indiquer à Final Cut Pro d’afficher le nom des angles vidéo et audio actifs dans le plan multicam sur la timeline au format suivant : V : nom de l’angle vidéo | A : nom de l’angle audio. Angle vidéo actif Angle audio actif m cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la timeline, puis choisissez « Noms ou angles du plan » dans le menu local Afficher. Conseils et astuces applicables aux montages multicam Les conseils suivants contribuent à optimiser votre flux de production multicam : • Réglez la date, l’heure et le fuseau horaire sur votre caméscope ou équipement d’enregistrement avant le tournage destiné à votre projet multicam. Cela fournit des informations utiles à Final Cut Pro lors du processus de création automatique des plans multicam. Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu. • Dans la mesure où vous pouvez vous servir de la fonctionnalité sophistiquée de synchronisation audio automatique de Final Cut Pro pour vous apporter toute la précision nécessaire à la synchronisation multicam, il convient d’enregistrer l’audio sur chaque caméscope et équipement d’enregistrement utilisés dans votre production multicam. (À noter que des enregistrements audio nets produisent les meilleurs résultats.) • Avant de pouvoir monter des plans multicam dans l’éditeur d’angles, sauvegardez-les dans le navigateur d’événements pour conserver des copies de sauvegarde non altérées. • Pour vérifier la synchronisation d’angles précis dans un plan multicam, ouvrez le plan dans l’éditeur d’angles, puis activez le contrôle audio pour plusieurs angles. Vous pouvez dès lors entendre si les angles sont synchronisés ou si vous devez les ajuster davantage.Chapitre 11 Montage avancé 347 • Si les performances s’amenuisent grandement lorsque vous travaillez sur un projet multicam, effectuez l’une des opérations suivantes: • Indiquez à Final Cut Pro de procéder à la lecture proxy en sélectionnant l’option « Utiliser un média proxy » dans les Préférences Lecture. La lecture proxy vous permet de reproduire simultanément un nombre plus important d’angles. Pour utiliser la lecture proxy, vous devez posséder des versions proxy de votre média ou en créer. Pour en savoir plus sur la création de versions proxy, consultez la section Transcodage des fichiers de média à la page 415. • Assurez-vous que l’option « Créer des médias optimisés pour des plan multicam » est sélectionnée dans les préférences Lecture. Pour en savoir plus, consultez Préférences de lecture à la page 438. Cette option transcode la vidéo au format du codec Apple ProRes 422, ce qui assure de meilleures performances lors du montage multicam. Cette option est activée par défaut. Si le format original de la caméra peut être monté en offrant de bons résultats, vous pouvez alors décocher cette case. • Assurez-vous que le disque dur hébergeant vos plans source multicam est suffisamment rapide pour reproduire l’intégralité de votre média en une seule fois. Il vous est possible de vérifier les performances du disque dur en choisissant Final Cut Pro > Préférences, puis en sélectionnant « Avertir lors de l’omission d’images à cause d’une mauvaise performance du disque dur ». Pour savoir si quelque chose d’autre provoque des problèmes de lecture, sélectionnez « Avertir lors de l’omission d’images durant la lecture ». • Vous pouvez exploiter des photos (tirées d’un appareil photo) dans un plan multicam. Si les informations de date et heure (Contenu créé) correspondent au contenu des autres angles, les photos sont automatiquement ajustées sur la durée de sorte à « remplir » l’angle.12 348 Incrustation Présentation de l’incrustation Il arrive que vous deviez combiner deux plans pour créer une image comportant des parties de chacun d’eux. Une méthode courante pour combiner deux plans consiste à utiliser un traitement d’incrustation, dans lequel la vidéo du plan supérieur (premier plan) est traitée pour éliminer une couleur ou une valeur de luminance donnée dans certaines zones, puis combinée à celle du plan inférieur (arrière-plan). L’incrustation vous permet, par exemple, de prendre un plan vidéo d’une personne se tenant devant un fond vert et de remplacer ce dernier par une scène de rue pour donner l’impression que la personne se trouve dans la rue. Ce type d’incrustation s’obtient à l’aide de l’un des deux effets d’incrustateur disponibles dans Final Cut Pro : • Incrustateur: cet effet d’incrustation chromatique général est optimisé pour l’incrustation sur fond vert ou bleu mais peut être utilisé avec n’importe quelle couleur. Consultez Utilisation des incrustations chromatiques à la page 348. • Incrustateur en luminance : cet effet est conçu pour générer des caches basés sur la luminosité de l’image : vous choisissez de supprimer les zones blanches ou noires et indiquez si les zones grises doivent être partiellement transparentes. Consultez Utilisation des incrustations en luminance à la page 359. En plus de ces effets d’incrustation, vous pouvez avoir besoin de recourir à un cache, à un effet de positionnement et à un étalonnage pour vous assurer que la vidéo du premier plan reste naturelle après son incrustation sur l’arrière-plan. Pour en savoir plus, consultez Finalisation de l’incrustation à la page 364. Un autre moyen de combiner deux plans consiste à utiliser pour le plan de premier plan un canal alpha ou de cache définissant les parties du plan à conserver et celles à remplacer par le plan d’arrière-plan. Ce procédé est courant lors de l’utilisation d’animations ou de logos générés sur ordinateur. Pour en savoir plus, consultez Présentation du compositing à la page 367. Utilisation des incrustations chromatiques Pour créer une bonne incrustation chromatique, le plus délicat est de tourner la vidéo à incruster, et en particulier d’utiliser un fond adapté et bien éclairé offrant une couleur uniforme à supprimer. Il existe de nombreuses options spécialisées pour le fond d’incrustation chromatique, de la peinture contenant des additifs hautement réfléchissants aux vêtements ou feuilles de papier spécialement conçus à cet effet. Il est en outre important d’utiliser la meilleure caméra dont vous disposez et d’éviter d’avoir recours à un format vidéo hautement compressé tel que DV ou MPEG-2. Incrustation et compositingChapitre 12 Incrustation et compositing 349 Dans les exemples ci-dessous, la femme va être incrustée sur une scène de rue. Les pieds de projecteur seront abordés à la section Finalisation de l’incrustation à la page 364. Application de l’effet d’incrustation chromatique 1 Sur la timeline, ajoutez le plan de premier plan (plan d’incrustation chromatique contenant la couleur à supprimer) au scénario principal. 2 Faites glisser le plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en chrominance) de sorte qu’il soit connecté sous le plan de premier plan dans le scénario principal. Avant-plan Arrière-plan attaché sous forme de plan connecté Pour plus d’informations sur les plans connectés, consultez Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. 3 Sélectionnez le plan de premier plan dans la timeline, puis cliquez sur le bouton Effets de la barre d’outils. Conseil : pour obtenir les meilleurs résultats possibles, positionnez également la tête de lecture sur un point du plan de premier plan affichant la quantité maximale de la couleur à incruster. 4 Dans le navigateur d’effets, sélectionnez l’effet Incrustateur. Conseil : Saisissez « incrustateur » dans le champ de recherche du navigateur d’effets pour trouver rapidement l’effet Incrustateur.Chapitre 12 Incrustation et compositing 350 5 Procédez de l’une des manières suivantes: • Faites glisser l’effet sur le plan de premier plan de la timeline auquel vous voulez l’appliquer. • Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné. L’effet Incrustateur analyse automatiquement la vidéo pour détecter une couleur dominante bleue ou verte, puis se configure pour supprimer la couleur. Si l’incrustation obtenue n’est pas correcte ou si vous voulez l’améliorer, vous pouvez ajuster l’effet d’incrustation chromatique. Ajustement de l’effet d’incrustation chromatique Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique. 1 Dans la timeline, sélectionnez le plan de premier plan auquel l’effet Incrustateur a été appliqué, puis ouvrez l’inspecteur vidéo. Des commandes permettant de modifier et d’améliorer l’effet Incrustateur apparaissent. 2 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A). 3 Pour améliorer l’incrustation à l’aide des commandes disponibles dans le visualiseur, effectuez l’une des opérations suivantes en utilisant les commandes Affiner la tonalité et Force : • Pour identifier des zones du plan de premier plan dans lesquelles la couleur d’incrustation chromatique apparaît toujours: cliquez sur la vignette Exemple de couleur dans l’inspecteur vidéo, puis tracez un rectangle dans le visualiseur sur la zone où la couleur d’incrustation chromatique doit être supprimée.Chapitre 12 Incrustation et compositing 351 Remarque : Par défaut, l’effet Incrustateur applique un élagage qui affiche en gris tout restant de frange de la couleur d’arrière-plan (fond bleu ou vert) à laquelle vous appliquez la transparence. Pour voir la couleur d’origine, définissez le paramètre Niveau de débordement sur 0 %. Faites glisser sur une zone où la couleur de colorimétrie n’est pas entièrement retirée. Pour améliorer l’incrustation, vous pouvez faire glisser le rectangle afin d’ajuster sa position ou ses coins pour adapter sa taille. Vous pouvez ensuite faire glisser d’autres rectangles sur n’importe quelle zone où la couleur d’incrustation chromatique apparaît toujours. Conseil : Sélectionnez Cache (bouton central) dans la zone Afficher de l’inspecteur vidéo pour afficher le cache créé par l’incrustateur chromatique. Cela peut permettre de détecter plus facilement les zones qui ne sont pas correctement incrustées. • Pour ajuster avec précision des zones difficiles, telles que les cheveux ou des reflets: cliquez sur la vignette Rechercher les bords dans l’inspecteur vidéo, tracez une ligne sur la zone difficile dans le visualiseur (avec une extrémité dans la zone à conserver et l’autre dans la zone à supprimer), puis faites glisser la poignée de la ligne pour affiner l’adoucissement du contour. Faites glisser pour régler la frange de l’adoucissement. Les raccourcis clavier suivants vous permettent d’effectuer vos manipulations directement dans le visualiseur : • Pour procéder au réglage de l’exemple de couleur: tracez un rectangle tout en maintenant la touche Maj enfoncée. • Pour procéder au réglage des bords (contour): tracez une ligne tout en maintenant la touche Commande enfoncée. • Pour supprimer le réglage Exemple de couleur ou Bords: cliquez sur un rectangle Exemple de couleur ou sur une ligne Bords tout en maintenant la touche Option enfoncée, ou sélectionnez la commande et appuyez sur la touche Supprimer.Chapitre 12 Incrustation et compositing 352 • Pour choisir une autre couleur si l’effet d’incrustation n’a pas pris la bonne : réglez le paramètre Force sur 0 (pour remplacer l’échantillonnage de couleurs initial et automatique). Utilisez ensuite Exemple de couleur pour indiquer la couleur à supprimer. Sélectionnez Composite (bouton gauche) dans la zone Afficher pour afficher le plan de premier plan combiné au plan d’arrière-plan. • Pour adapter le degré de similitude, déterminé par l’incrustation, entre une couleur sur l’image en premier plan et celle de l’incrustation chromatique par défaut: utilisez le curseur Force pour régler la tolérance (transparence principal) de l’échantillonnage automatique de l’effet d’incrustation. La valeur par défaut est égale à 100 %. La réduction de cette valeur réduit la gamme de couleur échantillonnée, provoquant ainsi une transparence moindre dans l’image incrustée. À l’inverse, l’augmentation de la valeur Force étend la gamme de couleurs échantillonnée, permettant ainsi une transparence plus poussée dans l’image incrustée. Le paramètre Force s’avère utile pour récupérer les zones semi-transparentes telles que les cheveux, la fumée ou les reflets. 4 Pour un ajustement précis de l’incrustation, utilisez les options de présentation : Original (premier plan non traité) Cache (signal alpha basé sur le premier plan créé par l’incrustateur) Nom du bouton Présentation sélectionné Montage composite (premier plan combiné à l’arrière-plan) • Composite : affiche l’image composite finale, avec le sujet de premier plan incrusté sur le plan d’arrière-plan. Il s’agit de la présentation par défaut. • Cache : affiche le cache en niveaux de gris, ou canal alpha, généré par l’opération d’incrustation. Les zones blanches sont opaques (la vidéo de premier plan est opaque), les zones noires sont transparentes (le premier plan est totalement invisible) et les différentes nuances de gris représentent les différents niveaux de transparence (la vidéo de l’arrière-plan est combinée avec celle du premier plan). L’affichage du cache permet de détecter plus facilement les espaces indésirables dans l’incrustation ou les zones qui ne sont pas assez transparentes. • Original : affiche l’image de premier plan d’origine non incrustée. 5 Pour affiner le cache, utilisez les commandes suivantes: • Remplir les espaces: l’augmentation de la valeur de ce paramètre permet d’accroître l’opacité des régions présentant une transparence marginale au sein de l’incrustation. Cette commande est utile lorsque vous êtes satisfait des bords de votre incrustation mais qu’il reste au sein de celle-ci des espaces indésirables que vous ne parvenez pas à éliminer à l’aide du paramètre Force sans affecter les bords.Chapitre 12 Incrustation et compositing 353 • Distance des bords: permet d’ajuster la distance du bord du sujet incrusté jusqu’à laquelle l’effet Remplir les espaces peut s’étendre. La réduction de la valeur du paramètre rapproche la zone remplie du cache du contour du sujet, aux dépens de la translucidité au niveau du contour. L’augmentation de sa valeur écarte du contour la zone remplie du cache. Une trop grande distance des contours peut entraîner un effet de translucidité indésirable au sein de parties du sujet censées être opaques. 6 Pour supprimer une couleur quelconque en arrière-plan apparaissant (effet de débordement) sur l’image de premier plan, ajustez le Niveau de débordement. 7 Pour inverser l’opération d’incrustation, en conservant la couleur d’arrière-plan et en supprimant l’image de premier plan, sélectionnez Inverser. 8 Pour mélanger l’effet d’incrustation avec la version sans incrustation, ajustez la commande Mixage. Pour en savoir plus sur les ajustements avancés de l’incrustation chromatique, reportez-vous aux instructions suivantes. Ajustements avancés de l’incrustation chromatique Les commandes suivantes sont proposées dans les cas d’incrustation qui s’avèrent difficiles ou pour la correction fine de problèmes spécifiques: • Appliquer une couleur à la sélection : ces commandes sont prévues pour être utilisées après avoir commencé une incrustation à l’aide de l’échantillonnage automatique ou des outils Exemple de couleur et Bords. (Vous pouvez cependant ignorer ces outils et créer une incrustation par le biais du mode Manuel décrit ci-dessous.) Les commandes graphiques Colorimétrie et Luminance fournissent un moyen d’affiner avec précision la gamme des teintes, la saturation et la luminosité de l’image définissant le cache incrusté. • Outils Cache : ces commandes permettent d’affiner le cache de transparence généré par les paramètres précédemment définis. Ces paramètres ne modifient pas la plage de valeurs échantillonnées pour créer un cache incrusté. Ils altèrent en fait le cache généré par les commandes de base et avancées de l’effet d’incrustation, vous permettant ainsi de réduire, d’agrandir, d’adoucir ou d’inverser le cache pour obtenir un meilleur composite. • Enveloppe de lumière : ces commandes sont prévues pour la fusion des valeurs de couleur et de luminosité à partir de la couche de l’arrière-plan de votre composite et la couche du premier plan incrusté. Elles vous permettent de simuler l’interaction de l’éclairage de l’environnement avec le sujet incrusté, donnant ainsi l’impression que la lumière à l’arrière-plan enveloppe un sujet. Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique. 1 Dans la timeline, sélectionnez le plan de premier plan auquel l’effet Incrustateur a été appliqué, puis ouvrez l’inspecteur vidéo. Des commandes permettant de modifier et d’améliorer l’effet Incrustateur apparaissent.Chapitre 12 Incrustation et compositing 354 2 Cliquez sur « Appliquer une couleur à la sélection » pour révéler les commandes suivantes: • Graphique : propose deux options pour définir l’usage des graphiques réglables des commandes Colorimétrie et Luminance pour affiner une incrustation : • Boîtes de défilement: sélectionnez cette option pour limiter les commandes Colorimétrie et Luminance afin d’ajuster l’adoucissement (la transparence des contours) dans le cache que vous créez. Dans ce mode, il vous est impossible d’adapter manuellement la tolérance (la transparence principale), laquelle se détermine par l’échantillonnage automatique de l’effet d’incrustation et par tout rectangle Exemple de couleur ajouté dans le visualiseur. Pour augmenter la tolérance du cache, ajoutez d’autres rectangles Exemple de couleur ou réglez le curseur Force.) • Manuel : sélectionnez cette option pour limiter les commandes Colorimétrie et Luminance afin d’ajuster l’adoucissement (la transparence des contours) et la tolérance (la transparence principale) dans le cache que vous créez. Assurez-vous que le curseur Force est défini sur une valeur supérieure à 0 avant de passer en mode Manuel ; dans le cas contraire, les commandes Colorimétrie et Luminance se trouvent désactivées. Lorsque vous passez en mode Manuel, les outils Affiner la tonalité et le curseur Force se désactivent, mais les échantillons que vous avez réalisés à l’aide de ces commandes contribuent toujours au cache. Important : en passant en mode Manuel, il est conseillé de ne pas revenir au mode Boîtes de défilement. Pour obtenir les meilleurs résultats possibles, commencez l’incrustation d’une image par le biais des outils Exemple de couleur et Bords en mode Boîtes de défilement. Activez par la suite le mode Manuel s’il vous semble nécessaire d’affiner votre cache à l’aide des commandes Colorimétrie et Luminance. Cependant, si vous revenez au mode Boîtes de défilement, vous êtes susceptible de constater des associations inattendues de valeurs échantillonnées en plus et animées avec des images clés, ce qui peut s’avérer difficile à contrôler.Chapitre 12 Incrustation et compositing 355 • Colorimétrie : faites glisser les deux graphiques sur la roue des couleurs en question pour régler la gamme isolée des teintes et de saturations contribuant à définir le cache incrusté. Le mode sélectionné contrôle quels graphiques présents dans la roue des couleurs sont réglables. Le graphique extérieur contrôle l’adoucissement (la transparence des contours) du cache que vous créez et peut être réglé en mode Boîtes de défilement ou en mode Manuel. Le graphique intérieur contrôle la tolérance (la transparence principale) et n’est ajustable qu’en mode Manuel. Faites glisser un des côtés de l’un des deux graphiques pour développer ou contracter la bordure du graphique en question, ce qui respectivement ajoute ou soustrait de la gamme des teintes et des saturations contribuant à l’incrustation. En mode Manuel, il vous est également possible de faire glisser le graphique de tolérance vers l’intérieur pour adapter sa position générale dans la roue des couleurs. À gauche de la roue des couleurs se trouve un petit graphique affichant la pente de la rotation chromatique, à savoir l’adoucissement relatif du contour du cache dans les régions les plus affectées par la commande Colorimétrie. Le glissement du curseur Rotation chromatique (décrit ci-dessous) influe sur la forme de la pente. Conseil : il est possible d’effectuer un zoom avant et d’adapter la balance autour de la commande Colorimétrie afin d’ajuster les graphiques avec plus de précision. Pour agrandir la commande Colorimétrie, placez le pointeur sur la roue des couleurs, puis faites glisser, tout en maintenant la touche Z enfoncée, à gauche pour effectuer un zoom arrière ou à droite pour un zoom avant. Pour effectuer la balance dans la commande Colorimétrie, maintenez la touche H enfoncée tout en faisant glisser le pointeur de la souris dans la roue des couleurs dans le sens voulu. Pour rétablir le zoom et recentrer la commande Colorimétrie, placez le pointeur sur la commande Colorimétrie et appuyez sur Maj + Z. • Luminance : faites glisser les poignées réglables dans le dégradé de gris pour modifier la gamme isolée du canal de luminance (la gamme de luminosité et celle d’obscurité) qui contribue également à définir le cache incrusté. Les poignées supérieures (qui n’apparaissent qu’en mode Manuel) permettent de régler la tolérance (la transparence principale) de la contribution du canal de luminance à l’incrustation. Les poignées inférieures ajustent l’adoucissement (la transparence des contours) de la contribution du canal de luminance à l’incrustation. Le mode Graphique régit quelles poignées sont réglables. En mode Boîtes de défilement, vous avez la possibilité de n’ajuster que les poignées inférieures d’adoucissement, ce qui influe sur les gammes de luminosité et d’obscurité et, par conséquent, sur la transparence des contours du cache. En mode Manuel, il vous est également possible de régler les poignées de tolérance supérieures, ce qui modifie la transparence principale dans le canal de luminance du cache. Par défaut, la pente des côtés gauche et droit de la représentation graphique de la luminance marque une légère courbe en « S ». Vous pouvez modifier la forme de la courbe en ajustant le curseur « Rotation de la luminance » (décrit ci-dessous). Remarque : les poignées d’adoucissement de luminance peuvent s’étendre au-delà des limites extérieures de la commande Luminance. Ce comportement, dû à la précision en virgule flottante de l’effet d’incrustation, est parfaitement normal. Pour révéler et déplacer les poignées au-delà des limites, faites glisser la courbe de la pente sur la représentation graphique de la luminance. • Rotation chromatique : ce curseur vous permet d’adapter la linéarité de la pente de la rotation chromatique (dans la petite représentation graphique à gauche de la commande Colorimétrie). La rotation chromatique modifie l’adoucissement du cache aux contours des régions que la commande Colorimétrie affecte le plus. Réduire cette valeur accroît la linéarité de la pente de la représentation graphique, ce qui adoucit le contour du cache. À l’inverse, augmenter cette valeur accentue la pente, ce qui renforce le contour du cache.Chapitre 12 Incrustation et compositing 356 • Rotation de la luminance : ce curseur vous permet d’adapter la linéarité de la pente de rotation de la luminance (les extrémités de la courbe de luminance en forme de cloche reprise dans la commande Luminance). La rotation de luminance modifie l’adoucissement du cache aux contours des régions que la commande Luminance affecte le plus. Réduire cette valeur accroît la linéarité de la pente située entre les poignées supérieures et inférieures de la commande Luminance, ce qui adoucit le contour du cache. À l’inverse, l’augmentation cette valeur accroît les variations de la courbe, accentuant et rendant ainsi le contour du cache plus abrupt. • Corriger la vidéo : cochez cette case pour appliquer le lissage au niveau des sous-pixels aux composantes de colorimétrie de l’image, réduisant les contours en dents de scie résultant de l’incrustation de média comprimé par le biais de la méthode du sous-échantillonnage chromatique 4:2:0, 4:1:1 ou 4:2:2. Bien que cochée par défaut, cette option peut être désactivée si le lissage au niveau des sous-pixels dégrade la qualité de vos incrustations. 3 Cliquez sur Outils Cache pour révéler les commandes suivantes: • Niveaux : utilisez cette commande de dégradé de gris pour adapter le contraste du cache incrusté, en faisant glisser les trois poignées prévues pour définir le point noir, le point blanc et la pondération (la répartition des valeurs de gris entre le point noir et le point blanc). Le réglage du contraste d’un cache peut s’avérer utile pour manipuler les zones translucides de l’incrustation afin de les rendre plus opaques (en réduisant le point blanc) ou plus translucides (en augmentant le point noir). Faire glisser la poignée Pondération vers la droite entraîne le rognage des régions translucides de l’incrustation, tandis que la faire glisser vers la gauche rend les régions translucides de l’incrustation plus opaques. • Noir, Blanc, Pondération : cliquez sur le triangle d’affichage situé dans la rangée Niveaux pour révéler les curseurs des paramètres Noir, Blanc et Pondération. Ceux-ci reflètent les réglages des poignées Niveaux décrites ci-dessus et vous permettent d’animer avec des images clés les trois paramètres Niveaux (via le bouton « Ajouter une image clé » situé à droite de chaque curseur). Animer avec des images clés les paramètres Noir, Blanc et Pondération contribue à atteindre une meilleure incrustation pouvant s’adapter à des conditions d’écran bleu ou vert changeantes. • Condenser/Développer: faites appel à ce curseur pour manipuler le contraste du cache et influer ainsi simultanément sur la translucidité et sur la taille du cache. Faites glisser le curseur vers la gauche pour marquer plus encore les régions translucides tout en réduisant le cache. À l’inverse, faites glisser le curseur vers la droite pour rendre les régions translucides plus opaques tout en développant le cache. • Adoucir: utilisez ce curseur pour rendre le cache incrusté flou, en adoucissant d’une même amplitude le contour. • Érosion : faites glisser ce curseur vers la droite pour augmenter progressivement la transparence du contour de la partie opaque de l’incrustation en partant de l’intérieur.Chapitre 12 Incrustation et compositing 357 4 Cliquez sur Élagage pour révéler les commandes suivantes: • Contraste du débordement: utilisez cette commande de dégradé de gris pour adapter le contraste de la couleur à supprimer, à l’aide des poignées Point noir et Point blanc (et de leur curseur correspondant). La modification du contraste du débordement peut réduire la frange grise autour d’un sujet au premier plan. La poignée Point noir (à gauche de la commande du dégradé) éclaire la frange des bords trop sombre pour obtenir une vidéo composite réussie. La poignée Point blanc (située à droite de la commande du dégradé) obscurcit la frange des bords s’avérant trop claire. En fonction du degré de neutralisation du débordement par le curseur Niveau de débordement, ces commandes peuvent avoir un effet plus ou moins marqué sur le sujet. • Noir, Blanc : cliquez sur le triangle d’affichage situé dans la rangée Contraste du débordement pour révéler les curseurs pour les paramètres des Point noir et Point blanc. Ces curseurs, qui reflètent les réglages des poignées Contraste du débordement décrites ci-dessus, vous permettent d’animer avec des images clés les paramètres Point noir et Point blanc (via le bouton « Ajouter une image clé » situé à droite de chaque curseur). • Nuance : ce curseur permet de restaurer la couleur naturelle du sujet incrusté au premier plan. Dans la mesure où les commandes Élagage éliminent le débordement bleu ou vert en désaturant les franges subtiles bleues ou vertes et les reflets sur le sujet, le curseur Nuance vous permet d’ajouter des teintes afin de rétablir la couleur naturelle du sujet. Une utilisation excessive de ce paramètre provoque un surnuançage du sujet par la complémentaire de la teinte à supprimer (magenta en cas d’usage de fond vert, orange en cas de fond bleu). • Saturation : faites appel à ce curseur pour modifier la gamme des teintes introduite par le curseur Nuance (lorsque ce dernier est utilisé à des niveaux modérés). 5 Cliquez sur Enveloppe de lumière pour révéler les commandes suivantes: • Grandeur: utilisez ce curseur pour contrôler l’effet global d’enveloppe de lumière, en réglant la profondeur à laquelle l’enveloppe de lumière doit s’étendre sur le premier plan. • Intensité : permet d’ajuster les niveaux gamma pour éclaircir ou obscurcir l’interaction du contour enveloppé par le sujet incrusté au premier plan. • Opacité : passez par ce curseur pour effectuer un fondu plus ou moins prononcé de l’effet d’enveloppe de lumière.Chapitre 12 Incrustation et compositing 358 • Mode : utilisez ce menu local pour choisir la méthode de compositing chargée de fusionner les valeurs de l’arrière-plan échantillonné et le contour du sujet incrusté. Cinq modes vous sont proposés: • Normale : fusionne de façon uniforme les valeurs claires et sombres sur la couche de l’arrièreplan d’une part, et les contours de la couche du premier plan incrusté d’autre part. • Éclaircissement: compare les pixels qui se chevauchent entre les couches du premier plan et de l’arrière-plan, puis conserve les plus clairs. Cette option est pratique pour créer un effet d’enveloppe de lumière sélectif. • Superposition : superpose les parties les plus claires de la couche de l’arrière-plan sur les zones enveloppées de la couche du premier plan incrusté. Cette option est adaptée à un effet d’enveloppe de lumière agressif. • Incrustation : associe la couche de l’arrière-plan et les zones enveloppées de la couche du premier plan incrusté de sorte que les parties sombres chevauchantes deviennent plus sombres, les zones claires deviennent plus claires et les couleurs s’intensifient. • Lumière crue : semblable au mode de compositing Incrustation, à la différence que les couleurs sont désactivées. Animation de l’effet d’incrustation chromatique Pour compenser les variations des conditions dans le plan de premier plan, vous pouvez effectuer des ajustements Exemple de couleur et Rechercher les bords en plusieurs endroits du plan. Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique. 1 Positionnez la tête de lecture de la timeline au début du plan. 2 Utilisez les outils Exemple de couleur et Rechercher les bords (décrits plus haut) pour créer une bonne incrustation chromatique. 3 Placez la tête de lecture de la timeline sur un point ultérieur du plan où les conditions d’éclairage ou de l’arrière-plan changent, rendant l’incrustation chromatique inacceptable. 4 Utilisez à nouveau les outils Exemple de couleur et Rechercher les bords pour créer une bonne incrustation chromatique. 5 Pour effectuer des ajustements en d’autres endroits, recommencez les étapes 3 et 4 autant de fois que nécessaire. 6 Pour déplacer la tête de lecture d’un point d’ajustement à un autre, utilisez les flèches « Aller à l’échantillon ». Lors de la lecture du plan, les réglages Exemple de couleur et Rechercher les bords varient de façon fluide d’un point d’échantillon à un autre. Pour un plus grand contrôle, vous pouvez ajouter des images clés pour la plupart des autres réglages de la section Incrustateur de l’inspecteur vidéo. Pour en savoir plus sur l’utilisation d’images clés, consultez la section Présentation de l’animation vidéo à la page 256. Remarque : les images clés pour les graphiques de colorimétrie et luminance dans les commandes « Appliquer une couleur à la sélection » n’apparaissent que dans l’inspecteur vidéo et non dans l’éditeur d’animation vidéo sur la timeline.Chapitre 12 Incrustation et compositing 359 Utilisation des incrustations en luminance Les incrustations en luminance permettent de réaliser un compositing d’un plan de premier plan sur un plan d’arrière-plan en fonction des niveaux de luminance de la vidéo. Ce type d’incrustation est particulièrement utile pour les images fixes, telles que l’image d’un logo sur un arrièreplan noir ou des graphismes générés par ordinateur. Dans les exemples ci-dessous, cette image de compteur de vitesse va être incrustée sur une scène de voiture en extérieur pour créer un effet de réflexion. Application de l’effet d’incrustation en luminance 1 Dans la timeline, placez la tête de lecture sur le point du plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en luminance) où vous voulez que l’incrustation commence. 2 Dans le navigateur d’événements, sélectionnez la partie du plan de premier plan (plan à incruster en luminance contenant la couleur noire ou blanche à supprimer) que vous voulez incruster sur l’arrière-plan, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la toucheQ). Plan de premier plan Plan d’arrière-plan Pour en savoir plus sur cette façon de connecter des plans, consultez la section Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110.Chapitre 12 Incrustation et compositing 360 3 Sélectionnez le plan de premier plan dans la timeline, puis cliquez sur le bouton Effets de la barre d’outils. 4 Dans le navigateur d’effets, sélectionnez l’effet Incrustateur en luminance. Conseil : Saisissez « incrustateur » dans le champ de recherche du navigateur d’effets pour trouver rapidement l’effet Incrustateur en luminance. 5 Procédez de l’une des manières suivantes: • Faites glisser l’effet sur le plan de premier plan de la timeline auquel vous voulez l’appliquer. • Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné. L’effet Incrustateur en luminance se configure automatiquement pour supprimer la vidéo noire. Si l’incrustation obtenue n’est pas correcte ou si vous voulez l’améliorer, vous pouvez ajuster l’effet d’incrustation en luminance. Ajustement de l’effet d’incrustation en luminance Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation en luminance. 1 Dans la timeline, sélectionnez le plan auquel l’effet Incrustateur en luminance a été appliqué. 2 Ouvrez l’inspecteur vidéo. La section Effets de l’inspecteur vidéo propose des paramètres permettant d’ajuster l’effet Incrustateur en luminance. 3 Pour inverser l’incrustation et supprimer les zones blanches au lieu des zones noires du plan de premier plan, sélectionnez Inverser. 4 Pour ajuster les valeurs de blanc et de noir du plan, faites glisser les poignées situées aux extré- mités de la vignette de dégradé. Par défaut, ces poignées sont réglées de façon à fournir une incrustation linéaire dans laquelle le niveau de luminance contrôle de façon linéaire la transparence du premier plan, où 100 % blanc représente une opacité totale et 0 % noir une transparence totale, et 25 % gris conserve 25 pour cent de l’image de premier plan. Faites glisser les commandes de blanc et de noir pour modifier les valeurs auxquelles la vidéo de premier plan est totalement opaque ou transparente.Chapitre 12 Incrustation et compositing 361 5 Pour ajuster l’adoucissement des bords, réglez la commande « Rotation de la luminance ». Plus la valeur est élevée, plus les bords sont prononcés, ce qui élimine toute transparence partielle, tandis qu’une valeur faible permet de tirer parti de l’éventuel anticrénelage ou adoucissement des bords. 6 Pour un ajustement précis de l’incrustation, utilisez les options de présentation : Original (premier plan non traité) Cache (signal alpha basé sur le premier plan créé par l’incrustateur) Montage composite (premier plan combiné à l’arrière-plan) Nom du bouton Présentation sélectionné • Composite : affiche l’image composite finale, avec le sujet de premier plan incrusté sur le plan d’arrière-plan. Il s’agit de la présentation par défaut. • Cache : affiche le cache en niveaux de gris, ou canal alpha, généré par l’opération d’incrustation. Les zones blanches sont opaques, les zones noires sont transparentes et les différentes nuances de gris représentent les différents niveaux de transparence. L’affichage du canal alpha permet de détecter plus facilement les espaces indésirables dans l’incrustation ou les zones qui ne sont pas assez transparentes. • Original : affiche l’image d’origine non incrustée. 7 Pour ne pas toucher au texte ou aux graphismes légèrement crénelés de l’image, ce qui peut améliorer les bords, sélectionnez Conserver RVB. 8 Pour mélanger l’effet d’incrustation avec la version sans incrustation, ajustez la commande Mixage. Pour en savoir plus sur les ajustements avancés de l’incrustation en luminance, reportez-vous aux instructions suivantes. Ajustements avancés de l’incrustation en luminance Les commandes suivantes sont proposées dans les cas d’incrustation qui s’avèrent difficiles ou pour la correction fine de problèmes spécifiques: • Outils Cache : ces commandes permettent d’affiner le cache de transparence généré par les paramètres précédemment définis. Ces paramètres ne modifient pas la plage de valeurs échantillonnées pour créer un cache incrusté. Ils altèrent en fait le cache généré par les commandes de base et avancées de l’effet d’incrustation, vous permettant ainsi de réduire, d’agrandir, d’adoucir ou d’inverser le cache pour obtenir un meilleur composite. • Enveloppe de lumière : ces commandes sont prévues pour la fusion des valeurs de couleur et de luminosité à partir de la couche de l’arrière-plan de votre composite et la couche du premier plan incrusté. Elles vous permettent de simuler l’interaction de l’éclairage de l’environnement avec le sujet incrusté, donnant ainsi l’impression que la lumière à l’arrière-plan enveloppe un sujet. Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation en luminance.Chapitre 12 Incrustation et compositing 362 1 Dans la timeline, sélectionnez le plan auquel l’effet Incrustateur en luminance a été appliqué. 2 Ouvrez l’inspecteur vidéo. La section Effets de l’inspecteur vidéo propose des paramètres permettant d’ajuster l’effet Incrustateur en luminance. 3 Cliquez sur Outils Cache pour révéler les commandes suivantes: • Remplir les espaces: l’augmentation de la valeur de ce paramètre permet d’accroître l’opacité des régions présentant une transparence marginale au sein de l’incrustation. Cette commande est utile lorsque vous êtes satisfait des bords de votre incrustation mais qu’il reste au sein de celle-ci des espaces indésirables que vous ne parvenez pas à éliminer à l’aide du paramètre « Rotation de la luminance » sans affecter les bords. • Distance des bords: permet d’ajuster la distance du bord du sujet incrusté jusqu’à laquelle l’effet Remplir les espaces peut s’étendre. La réduction de la valeur du paramètre rapproche la zone remplie du cache du contour du sujet, aux dépens de la translucidité au niveau du contour. L’augmentation de la valeur de ce paramètre éloigne la zone remplie du cache du contour, ce qui peut faire apparaître des régions de translucidité indésirable au sein de parties du sujet censées être opaques. • Niveaux : utilisez cette commande de dégradé de gris pour adapter le contraste du cache incrusté, en faisant glisser les trois poignées prévues pour définir le point noir, le point blanc et la pondération (la répartition des valeurs de gris entre le point noir et le point blanc). Le réglage du contraste d’un cache peut s’avérer utile pour manipuler les zones translucides de l’incrustation afin de les rendre plus opaques (en réduisant le point blanc) ou plus translucides (en augmentant le point noir). Faire glisser la poignée Pondération vers la droite entraîne le rognage des régions translucides de l’incrustation, tandis que la faire glisser vers la gauche rend les régions translucides de l’incrustation plus opaques.Chapitre 12 Incrustation et compositing 363 • Noir, Blanc, Pondération : cliquez sur le triangle d’affichage situé dans la rangée Niveaux pour révéler les curseurs des paramètres Noir, Blanc et Pondération. Ceux-ci reflètent les réglages des poignées Niveaux décrites ci-dessus et vous permettent d’animer avec des images clés les trois paramètres Niveaux (via le bouton « Ajouter une image clé » situé à droite de chaque curseur). Animer avec des images clés les paramètres Noir, Blanc et Pondération contribue à atteindre une meilleure incrustation pouvant s’adapter à des conditions d’écran bleu ou vert changeantes. • Condenser/Développer: faites appel à ce curseur pour manipuler le contraste du cache et influer ainsi simultanément sur la translucidité et sur la taille du cache. Faites glisser le curseur vers la gauche pour marquer plus encore les régions translucides tout en réduisant le cache. À l’inverse, faites glisser le curseur vers la droite pour rendre les régions translucides plus opaques tout en développant le cache. • Adoucir: utilisez ce curseur pour rendre le cache incrusté flou, en adoucissant d’une même amplitude le contour. • Érosion : faites glisser ce curseur vers la droite pour augmenter progressivement la transparence du contour de la partie opaque de l’incrustation en partant de l’intérieur. 4 Cliquez sur Enveloppe de lumière pour révéler les commandes suivantes: • Grandeur: utilisez ce curseur pour contrôler l’effet global d’enveloppe de lumière, en réglant la profondeur à laquelle l’enveloppe de lumière doit s’étendre sur le premier plan. • Intensité : permet d’ajuster les niveaux gamma pour éclaircir ou obscurcir l’interaction du contour enveloppé par le sujet incrusté au premier plan. • Opacité : passez par ce curseur pour effectuer un fondu plus ou moins prononcé de l’effet d’enveloppe de lumière. • Mode : utilisez ce menu local pour choisir la méthode de compositing chargée de fusionner les valeurs de l’arrière-plan échantillonné et le contour du sujet incrusté. Cinq modes vous sont proposés: • Normale : fusionne de façon uniforme les valeurs claires et sombres sur la couche de l’arrièreplan d’une part, et les contours de la couche du premier plan incrusté d’autre part. • Éclaircissement: compare les pixels qui se chevauchent entre les couches du premier plan et de l’arrière-plan, puis conserve les plus clairs. Cette option est pratique pour créer un effet d’enveloppe de lumière sélectif. • Superposition : superpose les parties les plus claires de la couche de l’arrière-plan sur les zones enveloppées de la couche du premier plan incrusté. Cette option est adaptée à un effet d’enveloppe de lumière agressif. • Incrustation : associe la couche de l’arrière-plan et les zones enveloppées de la couche du premier plan incrusté de sorte que les parties sombres chevauchantes deviennent plus sombres, les zones claires deviennent plus claires et les couleurs s’intensifient. • Lumière crue : semblable au mode de compositing Incrustation, à la différence que les couleurs sont désactivées.Chapitre 12 Incrustation et compositing 364 Finalisation de l’incrustation Il arrive souvent que l’image de premier plan contienne des objets que vous ne voulez pas voir apparaître dans le composite final. Il peut s’agir d’éléments de production tels que des perches de microphone, des pieds de projecteur ou encore les bords de la toile de fond d’incrustation chromatique. Vous pouvez également être amené à redimensionner ou à repositionner l’objet de premier plan pour l’ajuster à l’arrière-plan. Pour finir, vous pouvez utiliser l’outil d’étalonnage pour régler l’aspect du premier plan afin de le faire correspondre à celui de l’arrière-plan. Final Cut Pro comprend des effets que vous pouvez utiliser à ces fins. Utilisation de l’effet Masque 1 Dans la timeline, placez la tête de lecture sur le point du plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en chrominance) où vous voulez que l’incrustation commence. 2 Dans le navigateur d’événements, sélectionnez la partie du plan de premier plan (plan à incruster en chrominance contenant la couleur à supprimer) que vous voulez incruster sur l’arrière-plan, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la toucheQ). Avant-plan Arrière-plan attaché sous forme de plan connecté Pour en savoir plus sur cette façon de connecter des plans, consultez la section Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. 3 Sélectionnez le plan de premier plan. Dans l’exemple ci-dessus, les pieds de projecteur doivent être supprimés.Chapitre 12 Incrustation et compositing 365 4 Dans la barre d’outils, cliquez sur le bouton Effets. 5 Dans le navigateur d’effets, double-cliquez sur l’effet Masque pour l’appliquer au plan de premier plan sélectionné. Conseil : Saisissez « masque » dans le champ de recherche du navigateur d’effets pour trouver rapidement l’effet Masque. 6 Ajustez les quatre coins du masque pour rogner les objets à supprimer, à savoir les pieds de projecteur dans notre cas. Lors de l’ajustement du masque, veillez à laisser les ombres et autres détails qui permettront de rendre l’incrustation plus réaliste par la suite.Chapitre 12 Incrustation et compositing 366 7 Appliquez l’effet d’incrustation approprié au plan de premier plan. Le compositing du premier plan sur l’arrière-plan est terminé. Utilisation de l’outil Transformation pour positionner l’image de premier plan Dans la procédure suivante, on considère que vous avez déjà configuré une incrustation mais que vous devez repositionner l’image de premier plan. 1 Sélectionnez le plan de premier plan dans la timeline. 2 Dans le coin inférieur gauche du visualiseur, choisissez Transformer dans le menu local, puis déplacez l’image à l’emplacement souhaité. Dans l’exemple ci-dessus, il peut être intéressant de déplacer la femme vers la gauche.Chapitre 12 Incrustation et compositing 367 Vous pouvez également redimensionner l’image. 3 Cliquez sur Terminé dans le visualiseur une fois que vous avez terminé de repositionner l’image de premier plan. Compositing Présentation du compositing Le compositing consiste à combiner des parties d’au moins deux plans vidéo en une seule image. Il existe différentes façons de combiner des images vidéo dans Final Cut Pro : • Transitions: toutes les transitions vidéo consistent à combiner la fin d’un plan avec le début du plan suivant, les deux plans apparaissant donc en même temps pendant la transition. • Incrustation : toutes les incrustations consistent à réaliser un compositing d’une image de premier plan sur une image d’arrière-plan. • Canaux alpha : de nombreux plans vidéo générés par ordinateur présentent un canal alpha (masque intégré) définissant avec précision les zones du plan faisant l’objet d’un compositing sur un plan d’arrière-plan. Ces canaux ne nécessitent aucune configuration d’incrustation et fonctionnent en général automatiquement. De nombreux effets (tels que Transformation et Distorsion), générateurs (tels que Formes et Timecode) et titres utilisent les canaux alpha. • Compositing : chaque plan vidéo de la timeline possède un ensemble de réglages Compositing que vous pouvez utiliser pour combiner des plans sans avoir recours aux effets d’incrustation. Utilisation des canaux alpha Les canaux alpha permettent de réaliser facilement un compositing d’une image sur une autre. À l’aide d’une application comme Motion, logiciel Apple conçu pour fonctionner avec Final Cut Pro, vous pouvez créer des images fixes et des plans vidéo possédant des canaux alpha. Les canaux alpha peuvent être considérés comme ayant un incrustateur intégré : en effet, lorsque vous utilisez les effets d’incrustation, vous créez un masque qui est utilisé de la même manière qu’un plan ayant un canal alpha est utilisé pour le compositing.Chapitre 12 Incrustation et compositing 368 Vous trouverez ci-dessous un exemple de plan avec canal alpha montrant l’image qui remplit le canal alpha. Ci-dessous l’image du canal alpha : les zones blanches définissent les zones de la vidéo faisant l’objet d’un compositing sur l’arrière-plan. Les zones grises (qui correspondent à l’ombre dans cet exemple) définissent les parties partiellement transparentes de l’image. Voici comment se présente le composite final sur un plan d’arrière-plan.Chapitre 12 Incrustation et compositing 369 Utilisation d’un plan avec un canal alpha 1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter le plan avec canal alpha. 2 Sélectionnez le plan ayant un canal alpha dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la toucheQ). 3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter au-dessus du scénario principal. Plan connecté (premier plan du montage composite) Plan du scénario principal (arrière-plan du montage composite) Le plan est monté en composite au-dessus du plan vidéo du scénario principal, avec le canal alpha contrôlant l’opacité de son plan. Vous pouvez également utiliser les poignées de fondu du réglage Opacité pour ajuster l’opacité du plan de premier plan. Utilisation des réglages de compositing Les réglages Compositing offrent de nombreuses options pour combiner deux images. Vous pouvez effectuer un simple ajustement pour combiner uniformément deux images ou choisir des réglages utilisant le contenu vidéo pour déterminer la façon dont les images doivent être combinées. Utilisation du réglage Opacité 1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter un plan au-dessus du scénario principal. 2 Sélectionnez le plan à ajouter dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la toucheQ). 3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter. Par défaut, le nouveau plan masque complètement le plan du scénario principal. 4 Pour rendre le nouveau plan partiellement transparent, sélectionnez-le dans la timeline, puis ajustez la commande Opacité dans la section Compositing de l’inspecteur vidéo.Chapitre 12 Incrustation et compositing 370 Plus la valeur Opacité est proche de 0 pour cent, plus le plan situé au-dessus du scénario principal est transparent. Vous pouvez également utiliser les poignées de fondu Opacité de l’éditeur d’animation vidéo pour ajuster l’opacité du plan composite, ou ajouter des images clés pour que la valeur d’opacité change en des points précis. Choix d’un mode de fusion 1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter un plan au-dessus du scénario principal. 2 Sélectionnez le plan à ajouter dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la toucheQ). 3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter. Par défaut, le nouveau plan masque complètement le plan du scénario principal. 4 Sélectionnez une option dans le menu local Mode de fusion de la section Compositing de l’inspecteur vidéo. De nombreux réglages de mode de fusion sont disponibles; celui que vous devez utiliser dépend du contenu vidéo et de l’apparence que vous voulez obtenir. Vous pouvez par ailleurs ajuster la commande Opacité pour rendre le réglage de mode de fusion plus subtil.13 371 Présentation de l’étalonnage Dans tout travail de postproduction, l’étalonnage constitue généralement l’une des dernières étapes de finalisation d’un programme monté. Vous pouvez réaliser l’étalonnage de votre métrage pour de nombreuses raisons: • pour vous assurer que les éléments clés de votre programme (comme les tons de peau) pré- sentent l’apparence souhaitée ; • pour harmoniser les couleurs tous les plans d’une scène ; • pour corriger des erreurs de balance de couleurs et d’exposition ; • pour donner une tonalité particulière, comme pour rendre les scènes plus chaudes ou au contraire plus froides; • pour créer un contraste ou des effets spéciaux en manipulant les couleurs et l’exposition. Les outils d’étalonnage de Final Cut Pro permettent de contrôler avec précision l’apparence de chaque plan de votre projet, y compris les images fixes, grâce au réglage de la balance des couleurs, ainsi que des niveaux d’ombres, de tons intermédiaires et de hautes lumières de chaque plan. Final Cut Pro inclut également plusieurs outils automatisés vous permettant de modifier la balance et d’étalonner rapidement la couleur dans des plans. Dans Final Cut Pro, vous pouvez : • équilibrer automatiquement les couleurs: d’un simple clic, neutralisez toute dominante de couleur et augmentez le contraste de l’image Consultez Présentation de la balance des couleurs à la page 372. • harmoniser automatiquement la couleur et l’apparence d’un plan : en deux clics, harmonisez les couleurs d’un ou de plusieurs plans avec celles d’un autre plan de votre choix Consultez Correspondance automatique des couleurs entre les plans à la page 374. • ajuster manuellement les couleurs, la saturation et l’exposition : corrigez manuellement la couleur d’ensemble du plan ou utilisez des masques de couleur ou de forme pour limiter l’étalonnage à une gamme de couleurs ou à une zone de l’image – vous pouvez même ajouter plusieurs étalonnages manuels à un plan Consultez Présentation de l’étalonnage manuel à la page 375. • enregistrer les réglages d’étalonnage et les appliquer à d’autres plans: enregistrez les réglages d’étalonnage d’un plan et appliquez-les à d’autres plans dans le projet ou issus d’autres projets Consultez Enregistrement et application de préréglages d’étalonnage à la page 385. Bien que ces fonctionnalités soient indépendantes les unes des autres, vous pouvez désactiver puis activer l’une ou l’autre pour voir quel effet elle a, car l’ordre dans lequel vous les utilisez est important. Généralement, il est recommandé d’utiliser ces fonctionnalités dans l’ordre suivant : balance des couleurs, correspondance des couleurs, et (le cas échéant) étalonnage manuel. Final Cut Pro inclut également plusieurs instruments vidéo que vous pouvez utiliser lorsque vous étalonnez manuellement votre vidéo. Les instruments permettent de contrôler avec précision les niveaux de luminance et de colorimétrie de vos plans vidéo. ÉtalonnageChapitre 13 Étalonnage 372 Analyse et balance automatique des couleurs Présentation de la balance des couleurs Final Cut Pro prévoie une fonctionnalité de balance automatique des couleurs. Cette fonctionnalité de Final Cut Pro échantillonne les zones les plus sombres et les claires du canal de luminance de l’image et ajuste celles-ci afin de neutraliser toute dominante de couleur dans l’image. De plus, Final Cut Pro ajuste l’image pour augmenter le contraste, de telle façon que la prise de vue occupe la gamme de luminance la plus large possible. L’image vidéo utilisée comme image référence dépend du fait que le plan a déjà subi une analyse des couleurs ou pas: • Si le plan a subi une analyse des couleurs, soit pendant l’importation soit dans le navigateur d’événements: Le processus d’analyse extrait les informations de balance des couleurs pour l’ensemble du plan. Si vous ajoutez une partie du plan ou l’ensemble du plan à un projet, la fonctionnalité de balance des couleurs choisit l’image dans le plan du projet qui est la plus proche d’un équilibre adéquat. Ceci signifie que si vous ajoutez plusieurs plans partiels à partir du même plan dans le navigateur d’événements du projet, chaque plan se voit alors équilibré d’après les informations d’analyse pour sa propre section de média. • Si le plan n’a pas subi d’analyse de couleurs et si vous équilibrez ses couleurs: Vous pouvez définir l’image de référence d’un plan sélectionné dans la timeline en plaçant la tête de lecture sur cette image dans le plan. Si la tête de lecture se trouve sur un autre plan ou si vous avez sélectionné un plan dans le navigateur d’événements, l’image du milieu du plan est utilisée. Analyse de la balance des couleurs d’un plan Pour équilibrer automatiquement les couleurs d’un plan, Final Cut Pro utilise une seule image du plan comme image de référence et calcule la correction nécessaire avant de l’appliquer à l’ensemble du plan. Analyser la balance des couleurs d’un plan permet à Final Cut Pro de choisir une image représentative comme image de référence de la balance des couleurs du plan. Vous pouvez analyser la balance des couleurs d’un plan lors de son importation, que vous l’importiez depuis une caméra ou un fichier, ou que vous le fassiez glisser directement sur la timeline depuis une fenêtre du Finder. Vous pouvez également analyser sa balance des couleurs à tout moment dans le navigateur d’événements. L’analyse de la balance des couleurs d’un plan peut prendre de plusieurs secondes pour les plans les plus courts à plusieurs minutes pour les plus longs. Le processus d’analyse prend en outre plus de temps si vous analysez les personnes et les problèmes de stabilisation. Une fois la balance des couleurs d’un plan analysée, vous pouvez activer ou désactiver la correction de la balance des couleurs à tout moment. Par défaut, cette correction est désactivée pour les plans figurant dans le navigateur d’événements et activés pour ceux figurant dans la timeline, s’ils ont été analysés. Pour en savoir plus sur l’activation et la désactivation de la correction de la balance des couleurs, que ce soit dans le navigateur d’événements ou dans la timeline, consultez la section Équilibrage des couleurs d’un plan à la page 373. Analyse de la balance des couleurs pendant l’importation de fichiers 1 Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). 2 Sélectionnez les fichiers à importer, puis « Analyser la balance des couleurs » dans la section Vidéo de la fenêtre. 3 Cliquez sur Importer. Les fichiers sont importés et analysés en vue de détecter les problèmes de balance des couleurs.Chapitre 13 Étalonnage 373 Analyse de la balance des couleurs pour les plans glissés depuis le Finder sur la timeline 1 Sélectionnez Final Cut Pro > Préférences (ou appuyez sur les touches Commande + virgule). 2 Dans la fenêtre Préférences de Final Cut Pro, cliquez sur le bouton Importer et sélectionnez « Analyser la balance des couleurs » dans la section Vidéo. Tous les plans que vous faites glisser directement sur la timeline à partir du Finder sont analysés. Remarque : Lorsque vous modifiez ce réglage dans la fenêtre Préférences, le réglage est également modifié dans toutes les autres fenêtres incluant l’option « Analyser la balance des couleurs ». Analyse de la balance des couleurs pour les plans dans le navigateur d’événements Lorsque vous analysez la balance des couleurs des plans dans le navigateur d’événements, tous les plans qui ont été analysés pendant l’importation sont ignorés. 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements. 2 Procédez de l’une des manières suivantes: • Choisissez Modifier > Analyser et corriger. • Cliquez sur l’un des plans sélectionnés en maintenant la touche Contrôle enfoncée, puis choisissez Analyser et corriger dans le menu contextuel. 3 Dans la fenêtre qui apparaît, sélectionnez « Analyser la balance des couleurs » dans la section Vidéo, puis cliquez sur OK. Équilibrage des couleurs d’un plan Le réglage de balance des plans dans Final Cut Pro active et désactive automatiquement la correction de la balance des couleurs, que le plan se trouve dans le navigateur d’événements ou dans la timeline. L’image utilisée comme image de référence correspond soit à une image choisie pendant l’analyse de la balance des couleurs, soit à l’image sur laquelle se trouve la tête de lecture dans la timeline, soit à l’image du milieu du plan. Pour en savoir plus, consultez Présentation de la balance des couleurs à la page 372. Activation ou désactivation de la correction de la balance des couleurs d’un plan 1 Sélectionnez un ou plusieurs plans dans la timeline ou le navigateur. 2 Procédez de l’une des manières suivantes: • Choisissez Modifier > Couleur de balance (ou appuyez sur Commande +Option + B). • Choisissez Couleur de balance dans le menu local Améliorations de la barre d’outils. • Dans la section Couleur de l’inspecteur vidéo, cochez ou décochez la case Balance. Cliquez ici pour activer ou désactiver la balance. État d’analyse de la balanceChapitre 13 Étalonnage 374 Correspondance automatique des couleurs entre les plans Votre projet utilise certainement de la vidéo provenant de nombreuses sources. La fonctionnalité Correspondance des couleurs permet de s’assurer que toutes les scènes prises dans un même lieu présentent le même aspect. Correspondance des couleurs entre les plans 1 Sélectionnez dans la timeline un ou plusieurs plans que vous voulez ajuster. 2 Procédez de l’une des manières suivantes: • Choisissez Modifier > Correspondance des couleurs (ou appuyez sur Commande +Option + M). • Choisissez Correspondance des couleurs dans le menu local Améliorations de la barre d’outils. • Dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton Choisir en regard de Correspondance des couleurs. Le visualiseur s’adapte pour afficher l’image sur laquelle se trouve la tête de lecture de la timeline à droite et l’image sur laquelle se trouve le pointeur à gauche. Le plan sur lequel se trouve le pointeur représente la source de concordance des couleurs. Cliquer pour effectuer le preview de la concordance des couleurs. Le plan sélectionné sur la timeline correspond à la cible de concordance des couleurs. 3 Faites défiler des plans de la timeline ou du navigateur d’événements afin de trouver une image avec l’aspect de couleur que vous voulez respecter, puis cliquez pour prévisualiser cet aspect une fois appliqué au plan sélectionné. Vous pouvez cliquer sur une variété de plans jusqu’à ce que vous trouviez l’aspect que vous voulez. Conseil : Vous pouvez importer une image fixe ayant l’aspect que vous voulez, même si elle n’est pas liée à votre projet, pour pouvoir reprendre l’aspect de ses couleurs. 4 Pour accepter l’aspect actuel, cliquez sur Appliquer la correspondance dans la fenêtre Correspondance des couleurs.Chapitre 13 Étalonnage 375 Le visualiseur revient à sa configuration normale et les plans de la timeline sélectionnés adoptent le nouvel aspect. Activation ou désactivation des corrections de correspondance des couleurs Vous pouvez désactiver les corrections de correspondance des couleurs qui ont été appliquées à un plan. Cette opération peut être utile pour voir la différence entre le plan original et le plan corrigé. 1 Dans la timeline, sélectionnez un plan pour lequel les corrections de correspondance des couleurs ont été appliquées. 2 Cliquez sur la case Correspondance des couleurs dans la section Couleur de l’inspecteur vidéo. Ajustement manuel des couleurs Présentation de l’étalonnage manuel Final Cut Pro inclut un outil d’étalonnage manuel que vous pouvez utiliser pour accomplir une large variété d’effets d’étalonnage et d’amélioration des couleurs: • Appliquez un étalonnage à l’ensemble de l’image : ajustez la teinte de la couleur, la saturation et l’exposition pour l’ensemble de l’image du plan. Consultez Étalonnage sur toute l’image à la page 375. • Choisissez une couleur dans l’image à étalonner: par exemple, choisissez un objet de couleur claire, comme une chemise ou une voiture, puis utilisez les réglages d’étalonnage pour annuler ou modifier la couleur. Consultez Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur à la page 378. • Choisissez une zone de l’image à étalonner: tracez un ou plusieurs masques de forme, puis appliquez l’étalonnage à l’intérieur ou à l’extérieur des masques. Vous pouvez en outre faire changer la position des masques au fil de la lecture du plan. Consultez Ciblage de zones spécifiques à l’aide de masques de forme à la page 380. Vous pouvez également appliquer plusieurs étalonnages à un seul plan et utiliser les masques de formes associés un masque de couleur. Par exemple, il vous est possible d’utiliser un étalonnage pour définir l’aspect général de couleur du plan, un deuxième étalonnage pour cibler et changer une couleur donnée et un troisième pour cibler une autre couleur ou une zone définie par un masque de forme. Consultez les sections Application de plusieurs étalonnages à la page 384 et Ajout de masques de formes à un masque de couleur à la page 383. Vous pouvez effectuer des ajustements manuels de couleur par le biais de la carte accélératrice. Étalonnage sur toute l’image Faites appel à la carte accélératrice pour ajuster manuellement la couleur, la saturation et l’exposition d’un plan. Étalonnage manuel de toute l’image d’un plan 1 Sélectionnez un plan dans la timeline, puis procédez de l’une des façons suivantes: • Choisissez Fenêtre > Aller à > Afficher le réglage colorimétrique (ou appuyez sur les touches Commande + 6). • Choisissez « Afficher le réglage colorimétrique » dans le menu local Améliorations de la barre d’outils.Chapitre 13 Étalonnage 376 • Cliquez sur le bouton Réglage colorimétrique dans la section Couleur de l’inspecteur vidéo. (Lorsque vous avez effectué des ajustements du réglage colorimétrique, le bouton change de couleur.) • Cliquez sur le coin supérieur gauche d’un plan dans la timeline et choisissez « Réglage de la couleur » dans le menu local. Cliquez sur cette icône pour revenir à l’inspecteur vidéo. Cliquez sur le bouton Réinitialiser pour annuler les ajustements opérés dans la fenêtre. Sélectionnez l’étalonnage à utiliser. Faites glisser les commandes pour modifier les valeurs. Utilisez les curseurs pour modifier les valeurs. Passez par le menu local Action pour créer ou choisir un préréglage d’étalonnage. 2 Si le plan contient plusieurs étalonnages appliqués, choisissez l’étalonnage à ajuster dans le menu local Correction dans le coin supérieur droit de la carte accélératrice. 3 Pour ajouter ou supprimer une teinte de couleur, cliquez sur Couleur (ou appuyez sur Commande + Contrôle + C), puis faites glisser les commandes sur la fenêtre Couleur. • Pour ajuster la teinte pour l’ensemble de l’image : faites glisser la commande Global (la grande commande grise). • Pour ajuster la teinte dans les zones les plus sombres de l’image : faites glisser la commande Ombres (la commande noire). • Pour ajuster la teinte dans les tons intermédiaires: faites glisser la commande Tons intermédiaires (la petite commande grise). • Pour ajuster la teinte dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières (la commande blanche). En faisant glisser les commandes vers le haut, vous ajoutez de la couleur à la vidéo ; à l’inverse, en les faisant glisser vers le bas, vous retirez la couleur (en y ajoutant la couleur opposée). Pour choisir la couleur à ajouter ou à retirer, faites glisser les commandes horizontalement. Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des curseurs correspondants. Conseil : Pour déplacer verticalement la commande Carte accélératrice sélectionnée, appuyez sur les touches Flèche vers le haut ou Flèche vers le bas. Dans la fenêtre Couleur, vous pouvez également utiliser la touche Flèche vers la gauche ou Flèche vers la droite pour déplacer la commande sélectionnée horizontalement.Chapitre 13 Étalonnage 377 4 Pour ajuster le niveau de colorimétrie du plan, cliquez sur Saturation (ou appuyez sur Commande + Contrôle + S), puis faites glisser les commandes sur la fenêtre Saturation. • Pour ajuster la saturation pour l’ensemble de l’image : faites glisser la commande Global vers la gauche. • Pour ajuster la saturation dans les zones les plus sombres de l’image : faites glisser la commande Ombres. • Pour ajuster la saturation dans les tons intermédiaires: faites glisser la commande Tons intermédiaires. • Pour ajuster la saturation dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières. Faites glisser les commandes vers le haut pour augmenter le niveau de colorimétrie ou vers le bas pour le réduire. Ces commandes ne se déplacent pas horizontalement. Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des cases de valeur correspondantes. 5 Pour ajuster le niveau de luminance du plan, cliquez sur Exposition (ou appuyez sur Commande + Contrôle + E), puis faites glisser les commandes sur la fenêtre Exposition. • Pour ajuster l’exposition pour l’ensemble de l’image : faites glisser la commande Global vers la gauche. • Pour ajuster l’exposition dans les zones les plus sombres de l’image : faites glisser la commande Ombres. • Pour ajuster l’exposition dans les tons intermédiaires (similaire à une commande gamma): faites glisser la commande Tons intermédiaires. • Pour ajuster l’exposition dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières. Faites glisser les commandes vers le haut pour augmenter le niveau de luminance ou vers le bas pour le réduire. Ces commandes ne se déplacent pas horizontalement. Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des cases de valeur correspondantes. Vous pouvez utiliser l’éditeur de commandes afin d’affecter un raccourci clavier pour activer ou désactiver les étalonnages lorsque vous ajustez le réglage colorimétrique, et pour attribuer des raccourcis clavier à de nombreuses autres fonctions de réglage colorimétrique. Pour en savoir plus, consultez Affichage des raccourcis clavier dans l’éditeur de commandes à la page 474. Réinitialisation et désactivation de l’étalonnage par la carte accélératrice 1 Dans la timeline, sélectionnez un plan dont vous voulez supprimer les étalonnages. 2 Dans le réglage colorimétrique, effectuez l’une des opérations suivantes: • Pour réinitialiser la commande sélectionnée à sa position neutre : Appuyez sur la touche Supprimer. • Pour réinitialiser toutes les commandes d’une fenêtre à leur position neutre : cliquez sur le bouton Réinitialiser dans le coin supérieur droit de la fenêtre.Chapitre 13 Étalonnage 378 • Pour réinitialiser les trois fenêtres Carte accélératrice à leur position neutre : dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton Réinitialiser à droite du réglage Correction. Cliquez sur cette case pour activer ou désactiver l’étalonnage. Bouton de réinitialisation des réglages colorimétriques • Pour désactiver les corrections de la carte accélératrice sans les réinitialiser: dans la section Couleur de l’inspecteur vidéo, décochez la case de la correction. L’activation et la désactivation des corrections permettent de voir plus rapidement et plus facilement l’effet de vos ajustements. Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur Un masque de couleur permet d’isoler une couleur particulière de l’image. Vous pouvez appliquer un masque de couleur à un plan pour corriger une couleur spécifique, pour exclure cette couleur des corrections du reste de l’image, ou les deux. Par exemple, vous pouvez masquer une chemise de couleur claire en arrière-plan qui distrait l’attention du sujet principal d’un plan. L’utilisation d’un masque de couleur pour contrôler l’étalonnage vous permet de sélectionner une couleur, puis d’ajuster cette couleur individuellement (réduction, amélioration ou changement) ou d’ajuster tout sauf cette couleur (par exemple, ajouter une teinte ou réduire les niveaux de luminosité ou de colorimétrie). Ajout d’un masque de couleur à un étalonnage 1 Dans la timeline, sélectionnez un plan avec une couleur que vous voulez désactiver ou améliorer. 2 Cliquez sur le bouton « Ajouter un masque de couleur » dans la section Couleur de l’inspecteur vidéo. Cliquez sur l’icône pour ajouter un masque de couleur. La section Masque de couleur apparaît. Couleur sélectionnée du masque Lorsque le bouton est en surbrillance, utilisez la pipette pour sélectionner la couleur du masque dans le visualiseur. Définit l’adoucissement du contourChapitre 13 Étalonnage 379 3 Dans le visualiseur, placez la pipette sur une couleur que vous voulez isoler dans l’image, puis faites glisser la souris pour sélectionner la couleur. Faites glisser le point actif pour sélectionner la couleur à masquer. Lorsque vous faites glisser la pipette, deux cercles concentriques apparaissent. La taille du cercle extérieur détermine la gamme des variations de la couleur sélectionnée qui sont incluses dans le masque de couleur. Lorsque vous modifiez la taille du cercle extérieur, l’image devient monochrome, à l’exception de la couleur que vous sélectionnez. Vous pouvez faire glisser un nouveau cercle de sélection autant de fois que vous le voulez, pour obtenir de meilleurs résultats. Remarque : Lorsque vous cessez de faire glisser la souris, l’image reprend son aspect d’origine, mais les effets du masque de couleur que vous avez créé deviennent visibles dès que vous commencez à ajuster le réglage colorimétrique. Vous pouvez ensuite revenir à l’inspecteur vidéo et utiliser la pipette pour ajuster le masque de couleur, si nécessaire. 4 Pour modifier la gamme de variations de couleur incluse dans le masque, procédez de l’une des façons suivantes: • Pour ajouter des nuances de couleur: maintenez la touche Maj enfoncée, placez la pipette sur une couleur que vous voulez ajouter au masque, puis faites glisser pour sélectionner la couleur. • Pour retirer des nuances de couleur: maintenez la touche Option enfoncée, placez la pipette sur une couleur que vous voulez retirer du masque, puis faites glisser pour sélectionner la couleur. 5 Pour ajuster le contour du masque de couleur, faites glisser le curseur Adoucissement. Pour que le visualiseur affiche temporairement le masque de couleur, maintenez la touche Option enfoncée puis faites glisser la commande Adoucissement : la couleur blanche indique les zones entièrement opaques du masque, la couleur noire les zones situées à l’extérieur du masque, et les niveaux de gris les zones transparentes du masque. 6 Pour ajuster les réglages d’étalonnage du masque de couleur, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.) 7 Procédez de l’une des manières suivantes: • Pour appliquer un étalonnage à la couleur sélectionnée : cliquez sur « Inscrit dans le masque ». • Pour appliquer un étalonnage à tout sauf la couleur sélectionnée : cliquez sur Masque extérieur. Vous pouvez étalonner les zones situées à l’intérieur et à l’extérieur du masque, chaque zone possédant son propre ensemble de commandes de réglage colorimétrique. Par exemple, vous pouvez sélectionner « Inscrit dans le masque » pour améliorer la couleur ciblée, puis sélectionner « Masque extérieur » pour assombrir tout le reste. 8 Ajustez les commandes de la carte accélératrice pour créer l’effet recherché. Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375.Chapitre 13 Étalonnage 380 Pour limiter la zone de l’image affectée par un masque de couleur, vous pouvez ajouter un masque de forme. Pour en savoir plus, consultez Ajout de masques de formes à un masque de couleur à la page 383. Ciblage de zones spécifiques à l’aide de masques de forme Un masque de forme définit une zone dans l’image pour que vous puissiez appliquer les étalonnages soit à l’intérieur, soit à l’extérieur de cette zone. Par exemple, vous pouvez être amené à accentuer le visage d’un sujet en assombrissant la zone qui l’entoure. Vous pouvez ajouter plusieurs masques de forme pour définir différentes zones. Il vous est également possible d’animer les formes pour qu’elles suivent une zone lors d’un panoramique de la caméra ou un objet qui se déplace pendant la lecture du plan. Ajout d’un masque de forme 1 Dans la timeline, sélectionnez un plan contenant une zone dont vous voulez désactiver ou amé- liorer la couleur. 2 Cliquez sur le bouton « Ajouter un masque de forme » dans la section Couleur de l’inspecteur vidéo. Cliquez sur l’icône pour ajouter un masque de forme. Une zone Masque de forme apparaît. Cliquez sur ce bouton pour afficher ou masquer les commandes de masque de forme à l’écran.Chapitre 13 Étalonnage 381 3 Pour ajuster la forme par défaut qui apparaît dans le visualiseur, procédez de l’une des façons suivantes: Faites glisser cette poignée pour que la forme adopte une forme rectangulaire. Faites glisser le bord extérieur pour contrôler l’atténuation. Faites glisser l’une de ces poignées pour modifier la largeur ou la hauteur de la forme. Faites glisser le cercle central pour déplacer la forme. Faites glisser cette poignée pour faire pivoter la forme. • Pour positionner la forme : faites glisser son centre. • Pour ajuster la largeur ou la hauteur de la forme : faites glisser les poignées situées sur les quatre points à 90 degrés (en haut, en bas, à gauche ou à droite) du cercle intérieur. Vous pouvez maintenir enfoncée la touche Maj pendant que vous faites glisser une poignée pour que tous les côtés soient redimensionnés proportionnellement. • Pour contrôler la rondeur de la forme : faites glisser la poignée vers la gauche de la poignée supérieure du cercle intérieur. • Pour faire pivoter la forme : faites glisser la poignée de rotation (à l’opposé du centre). • Pour contrôler l’atténuation du contour de la forme : faites glisser le cercle extérieur. Lorsque le cercle extérieur est à proximité du cercle intérieur, le contour est prononcé et la transition vers les étalonnages que vous appliquez est brutale ; lorsque le cercle extérieur est à distance du cercle intérieur, le contour s’adoucit et la transition est plus progressive. • Pour masquer les commandes du masque : dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton des commandes à l’écran Masque de forme de la zone Masque de forme. 4 Pour ajuster les réglages d’étalonnage du masque de forme, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.) 5 Procédez de l’une des manières suivantes: • Pour appliquer un étalonnage à la zone de forme : cliquez sur « Inscrit dans le masque ». • Pour appliquer un étalonnage à tout, à l’exception de la zone de forme : cliquez sur Masque extérieur. Vous pouvez étalonner les zones situées à l’intérieur et à l’extérieur du masque, chaque zone possédant son propre ensemble de commandes de réglage colorimétrique. Par exemple, vous pouvez sélectionner « Inscrit dans le masque » pour améliorer la zone de la forme, puis sélectionner « Masque extérieur » pour assombrir tout le reste. 6 Ajustez les commandes de la carte accélératrice pour créer l’effet recherché. Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375.Chapitre 13 Étalonnage 382 7 Pour ajouter des formes à l’étalonnage, cliquez à nouveau sur le bouton « Ajouter un masque de forme » dans la zone de l’étalonnage de l’inspecteur vidéo. Une autre forme par défaut apparaît dans le visualiseur et la forme d’origine est estompée. Vous pouvez sélectionner et continuer à configurer la forme d’origine en cliquant sur son centre. Suppression d’un masque de forme 1 Dans l’inspecteur vidéo, sélectionnez l’élément Masque de forme à supprimer. Sélectionnez un élément de masque de forme et appuyez sur suppr. 2 Appuyez sur la touche Supprimer. Remarque : Si tous les masques de forme de l’étalonnage sont supprimés, les étalonnages « Inscrit dans le masque » sont appliqués à l’ensemble de l’image. Animation d’un masque de forme Vous pouvez utiliser des images clés pour animer un masque de forme afin qu’il suive le mouvement d’un objet à l’écran. 1 Pour ajouter un masque de forme, suivez les instructions de la rubrique « Ajout d’un masque de forme » ci-dessus. 2 Dans la timeline, placez la tête de lecture sur le plan contenant le masque de forme, au niveau de l’image où vous voulez que la forme commence à bouger. 3 Positionnez le masque de forme dans sa position de départ dans le visualiseur. 4 Dans l’inspecteur vidéo, cliquez sur le bouton Image clé. Cliquez ici pour ajouter une image clé. Une image clé est ajoutée au niveau de la tête de lecture. Vous pouvez le voir dans la timeline en appuyant sur les touches Contrôle + V pour ouvrir l’éditeur Animation vidéo. L’image clé s’affiche dans la section Couleur sous la forme d’un losange au niveau de la tête de lecture. Indicateur d’image cléChapitre 13 Étalonnage 383 5 Placez la tête de lecture sur le point suivant dans le plan, à l’endroit où vous voulez définir la position du masque de forme, repositionner le masque de forme et ajouter la seconde image clé. 6 Pour repositionner le masque de forme dans le plan, continuez d’ajouter des images clés jusqu’à ce que vous ayez défini le mouvement voulu de la forme. Après avoir ajouté toutes les images clés, vous pouvez lancer la lecture du plan et voir le masque de forme se déplacer entre elles. Pour en savoir plus sur l’utilisation d’images clés, consultez la section Présentation de l’animation vidéo à la page 256. Ajout de masques de formes à un masque de couleur Souvent, lorsque vous créez un masque de couleur, davantage de zones de la vidéo sont affectées par celui-ci que nécessaire. Par exemple, supposons que vous vouliez étalonner une voiture rouge sur le côté gauche de l’écran et ne pas toucher à un panneau de stop rouge à droite. Dans ce cas, vous pouvez ajouter un ou plusieurs masques de forme pour limiter le masque de couleur aux zones définies par les masques de forme. Ajout d’un masque de forme à un masque de couleur 1 Sélectionnez un plan dans la timeline et utilisez l’inspecteur vidéo pour y ajouter un masque de couleur. 2 Appliquez un étalonnage à l’aide de la carte accélératrice et notez les zones de la vidéo que vous ne voulez pas que le masque de couleur modifie. Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375. 3 Dans l’inspecteur vidéo, cliquez sur le bouton « Ajouter un masque de forme » dans l’étalonnage contenant le masque de couleur. Cliquez sur l’icône pour ajouter un masque de forme à l’étalonnage. 4 Ajustez le masque de forme de sorte qu’il chevauche la partie du masque de couleur que vous voulez utiliser. 5 Pour ajuster les réglages d’étalonnage, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.) 6 Effectuez l’une des opérations suivantes: • Pour n’appliquer des retouches d’étalonnage qu’aux zones dans lesquelles le masque de couleur et le masque de forme se chevauchent: Sélectionnez « Inscrit dans le masque » au bas du réglage colorimétrique. • Pour appliquer des retouches d’étalonnage à l’extérieur des zones dans lesquelles le masque de couleur et le masque de forme se chevauchent: sélectionnez Masque extérieur. Si nécessaire, vous pouvez ajouter des masques de forme, voire les animer.Chapitre 13 Étalonnage 384 Application de plusieurs étalonnages Vous pouvez appliquer plusieurs étalonnages à un plan pour cibler des problèmes spécifiques. Il est par exemple possible d’utiliser un étalonnage pour masquer une chemise orange clair et un autre pour améliorer la couleur verte de la pelouse. Les masques de couleur sont créés en fonction des couleurs originales du plan. Par exemple, si le premier étalonnage supprime toute la colorimétrie du plan, le second étalonnage peut créer un masque de couleur selon une couleur d’origine du plan. Application de plusieurs étalonnages à un plan 1 Sélectionnez un plan dans la timeline. 2 Pour ajouter un élément d’étalonnage supplémentaire, cliquez sur le bouton Ajouter une connexion dans l’inspecteur vidéo. Cliquez sur ce bouton pour ajouter un étalonnage. Par défaut, la section Couleur contient le premier élément d’étalonnage manuel (Correction 1) ainsi que les éléments Balance et Correspondance des couleurs. Les éléments d’étalonnage que vous ajoutez s’intitulent Correction 2, Correction 3, etc. Chaque élément d’étalonnage possède son propre bouton Réglage colorimétrique. Lorsque vous cliquez sur l’un d’eux, le réglage colorimé- trique s’ouvre avec les réglages de l’étalonnage en question. Vous pouvez également choisir un étalonnage dans le réglage colorimétrique à l’aide du menu local situé dans le coin supérieur droit. Remarque : Si vous avez appliqué plusieurs corrections à un plan, vous pouvez les faire glisser dans l’inspecteur vidéo pour modifier leur ordre. La modification de l’ordre de traitement peut offrir différents résultats. Affichage des images clés d’étalonnage dans la timeline Si un plan contient plusieurs étalonnages avec des masques de forme animés, vous pouvez afficher les images clés du ou des masques de forme d’un étalonnage dans l’éditeur d’animation vidéo audessus du plan dans la timeline. 1 Dans la timeline, sélectionnez un plan auquel ont été appliqués plusieurs étalonnages avec des masques de forme animés. 2 Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V). 3 Dans le menu local Couleur, choisissez l’étalonnage que vous voulez voir : • Pour afficher un composite d’images clés à partir de tous les étalonnages: choisissez l’étalonnage voulu et, si le plan contient plusieurs masques de forme, choisissez celui que vous voulez afficher.Chapitre 13 Étalonnage 385 • Pour afficher les images clés à partir d’un masque de forme spécifique dans un étalonnage : choisissez l’étalonnage voulu et, si le plan contient plusieurs masques de forme, choisissez celui que vous voulez afficher. Lorsque vous choisissez une correction donnée, Correction 2 par exemple, ses images clés s’affichent en blanc et les images clés des autres corrections en gris foncé. Ajout d’une transition entre des étalonnages Vous pouvez utiliser une transition pour qu’un plan vidéo passe d’un étalonnage à un autre. Par exemple, si vous voulez qu’une scène mette progressivement en valeur les deux personnages principaux, vous pouvez utiliser une transition pour passer en fondu du plan normal au plan avec masques de forme et appliquer un étalonnage pour assombrir l’image en dehors des masques. Important : Assurez-vous que l’option Données disponibles est sélectionnée dans le menu local « Appliquer les transitions utilisant » de la fenêtre Montage des préférences de Final Cut Pro. Pour en savoir plus sur ce réglage, consultez la section Création des transitions à la page 213. Configuration d’un plan pour changer de transition 1 Passez temporairement à l’outil Lame de rasoir en maintenant la touche B enfoncée. 2 Dans la timeline, cliquez sur un plan vidéo à l’endroit où vous voulez passer d’un étalonnage à un autre. Le plan se divise en deux. 3 Appliquez un étalonnage différent à chaque plan. Vous pouvez aussi laisser un plan sans étalonnage et en appliquer un à l’autre. L’étalonnage peut représenter une teinte franche, un changement d’exposition ou tout autre ajustement visible. 4 Sélectionnez le point de montage entre les deux plans et appuyez sur les touches Commande +T pour insérer un fondu enchaîné. Pendant la lecture du plan, le premier étalonnage laisse progressivement la place au second au passage du point de montage. Enregistrement et application de préréglages d’étalonnage Final Cut Pro vous permet d’enregistrer les réglages d’étalonnage d’un plan sous un préréglage, ce qui facilite son application à d’autres plans du même projet ou d’un autre. Final Cut Pro inclut plusieurs préréglages que vous pouvez utiliser en plus de ceux que vous créez. Remarque : Les préréglages d’étalonnage enregistrent uniquement les réglages de Couleur, de Saturation et d’Exposition. Ils ne permettent pas d’enregistrer les réglages du masque, notamment si les options « Inscrit dans le masque » ou Masque extérieur sont sélectionnées. Enregistrement d’un préréglage d’étalonnage 1 Dans la timeline, sélectionnez un plan comportant l’aspect d’étalonnage que vous voulez enregistrer et ouvrez la carte accélératrice. 2 Dans le menu local Action situé dans le coin inférieur droit de la carte accélératrice, choisissez Enregistrer. 3 Attribuez un nom au préréglage, puis cliquez sur OK.Chapitre 13 Étalonnage 386 Application d’un préréglage d’étalonnage 1 Sélectionnez un plan dans la timeline et ouvrez la carte accélératrice. 2 Dans le menu local Action situé dans le coin inférieur droit de la carte accélératrice, choisissez un préréglage. Les ajustements du préréglage s’appliquent à la sélection. Une fois le préréglage appliqué, vous pouvez modifier les réglages à l’aide de la carte accélératrice. Activation et désactivation des ajustements iMovie Lors du montage d’un projet dans iMovie, vous pouvez ajuster différents attributs vidéo, comme l’exposition, la luminosité et la saturation, dans le navigateur de projets. Si vous importez un projet iMovie contenant ces ajustements dans Final Cut Pro, les ajustements sont conservés et apparaissent dans la zone Couleur de l’inspecteur vidéo sous la forme d’un élément iMovie. Bien que vous ne puissiez pas modifier les ajustements ajoutés dans iMovie, vous pouvez choisir de les appliquer au plan ou pas. Remarque : Les ajustements vidéo que vous effectuez sur les plans dans le navigateur d’événements d’iMovie ne sont pas conservés et n’apparaissent pas dans Final Cut Pro. Activation ou désactivation des ajustements iMovie d’un plan m Dans la timeline, sélectionnez un plan pour lequel les ajustements iMovie sont appliqués, et cochez ou décochez la case iMovie dans la zone Couleur de l’inspecteur vidéo. Cliquez sur cette case pour activer ou désactiver les ajustements iMovie. Remarque : Les ajustements iMovie apparaissent uniquement dans la timeline mais pas dans le navigateur d’événements. Pour en savoir plus sur l’importation de projets iMovie, consultez la section Importation à partir d’iMovie à la page 35. Mesure de niveaux vidéo Présentation des instruments vidéo Les studios de télédiffusion fixent des valeurs maximales de luminance et de colorimétrie autorisées pour la diffusion. Si un programme vidéo dépasse ces limites, une distorsion de l’image risque de se produire : couleurs débordant les unes sur les autres, blancs et noirs ternis ou encore signal vidéo empiétant sur l’audio et entraînant une distorsion perceptible du son. Dans tous ces cas, le dépassement des niveaux standard entraîne une qualité de transmission inacceptable. Lors de l’étalonnage des plans de votre projet, vous pouvez utiliser les instruments vidéo de Final Cut Pro pour vous assurer que les niveaux de luminance et de colorimétrie de votre vidéo sont compris dans la plage des paramètres considérés comme adaptés à la télédiffusion ou acceptables.Chapitre 13 Étalonnage 387 Même si votre projet n’est pas destiné à la diffusion, l’utilisation des instruments vidéo constitue une étape importante de votre flux de production. Si les moniteurs que vous utilisez n’affichent pas les couleurs de façon cohérente ou si vous travaillez sur les mêmes plans depuis un moment, il se peut que vous vous soyez habitué à voir une dominante de couleur ou des niveaux de noir légèrement incorrects. Les instruments vous fournissent une mesure exacte des niveaux de luminance et de colorimétrie de vos plans pour que vous puissiez ajuster de façon plus pertinente vos réglages d’étalonnage de Final Cut Pro. Final Cut Pro propose les vidéoscopes suivants: • oscilloscope, • vecteurscope, • histogramme. Utilisation des instruments vidéo Par défaut, les vidéoscopes s’affichent à gauche de l’image vidéo dans le visualiseur et dans le visualiseur d’événements. Chaque visualiseur n’affiche qu’un instrument à la fois. Ouverture d’un instrument 1 Procédez de l’une des manières suivantes: • Pour ouvrir un instrument vidéo dans le visualiseur: Choisissez Fenêtre > Affichage du visualiseur > Afficher les instruments vidéo (ou appuyez sur Commande + 7). • Pour ouvrir un instrument vidéo dans le visualiseur d’événements: choisissez Fenêtre > Affichage du visualiseur d’événements > Afficher les instruments vidéo. Que ce soit dans le visualiseur comme dans le visualiseur d’événements, vous pouvez aussi « Afficher les instruments vidéo » à partir du menu local des options du visualiseur qui se trouve dans le coin supérieur droit. Vous pouvez utiliser les mêmes commandes pour fermer l’instrument vidéo. 2 Choisissez l’instrument pour afficher la section supérieure du menu local Réglages. Choisissez dans le menu local Réglages l’instrument à utiliser. Menu local des options du visualiseur 3 Après avoir choisi un instrument, sélectionnez les options d’affichage dans la section inférieure du menu local Réglages. Remarque : Il peut s’avérer pratique d’afficher les instruments sous l’image vidéo dans le visualiseur d’événements. Pour ce faire, choisissez Présenter verticalement dans le menu local Réglages du visualiseur d’événements. Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83.Chapitre 13 Étalonnage 388 Options d’affichage de l’oscilloscope L’oscilloscope indique les niveaux relatifs de luminance et de colorimétrie du plan en cours d’étude. Ces valeurs s’affichent de gauche à droite et reflètent la répartition relative de ces niveaux de gauche à droite dans l’image. Les crêtes et creux des formes d’onde affichées correspondent aux tâches lumineuses et aux zones sombres de votre image. Les formes d’onde sont également de couleur afin d’identifier facilement les éléments de la vidéo. Le menu local Réglages dans le coin supérieur droit de l’oscilloscope fournit de nombreuses options d’affichage : • Parade RVB : se présente sous la forme de trois oscilloscopes simultanés affichant respectivement les composantes rouge, vert et bleu de la vidéo. Les formes d’onde sont de couleur rouge, verte et bleue afin d’être facilement identifiables. L’instrument Parade RVB est utile pour comparer les niveaux relatifs de rouge, de vert et de bleu de deux plans. Si un plan comporte plus de bleu qu’un autre, l’oscilloscope affiche une forme d’onde bleue élevée pour le plan contenant plus de bleu et une forme d’onde bleue en creux pour l’autre plan.Chapitre 13 Étalonnage 389 • Incrustation RVB : associe les formes d’onde pour les composantes de couleur rouge, verte et bleue d’un affichage. • Rouge : affiche uniquement le canal de couleur rouge. • Vert: affiche uniquement le canal de couleur verte. • Bleu : affiche uniquement le canal de couleur bleue. • Luminance : affiche uniquement la composante de luminance de la vidéo. • Colorimétrie : affiche uniquement la composante de colorimétrie de la vidéo et affiche des couleurs correspondant à celles de la vidéo.Chapitre 13 Étalonnage 390 • Parade Y’CbCr: présente trois affichage de forme d’onde l’un à côté de l’autre pour la luminance, le Cb (le canal de différence de couleur des nuances bleues) et le Cr (le canal de différence de couleur des nuances rouges). Les formes d’onde sont teintées en blanc (luminance), en magenta (pour le Cb) et en jaune (pour le Cr) afin d’identifier facilement chaque composant. • IRE : affiche la plage du signal vidéo en unités IRE. • Millivolts: affiche la plage du signal vidéo en millivolts. • Guides: active ou désactive la grille de l’oscilloscope et les valeurs numériques. • Monochrome : réduit l’intensité et désature l’affichage de l’instrument pour empêcher les distractions visuelles et les problèmes de perception des couleurs dans votre suite de finalisation des couleurs. • Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument. Options d’affichage du vecteurscope Le vecteurscope indique la distribution de la couleur dans votre image sur une échelle circulaire. La couleur de votre vidéo est représentée par un ensemble de points reliés qui se trouvent dans cette échelle. L’angle autour de l’échelle correspond à la teinte affichée, tandis que les cibles indiquent les couleurs primaires (rouge, vert et bleu) et secondaires (jaune, cyan et magenta). La distance entre le centre de l’échelle et l’anneau externe représente la saturation de la couleur affichée. Le centre de l’échelle correspond à une saturation nulle, l’anneau externe à une saturation maximale.Chapitre 13 Étalonnage 391 Le vecteurscope permet de connaître la teinte et l’intensité des différentes couleurs de l’image. Lorsque vous saurez identifier les couleurs de vos plans sur le vecteurscope, vous serez en mesure d’identifier les points de divergence de deux images et de les corriger afin de les harmoniser autant que possible. Le menu local Réglages dans le coin supérieur droit du vecteurscope fournit de nombreuses options d’affichage : • 100%: définit le niveau de colorimétrie de référence pour les cibles des mires (les carrés repré- sentant chaque couleur dans un signal de test de couleur standard) sur une colorimétrie saturée à 100 %. Utilisez cette option lorsque votre média source utilise des mires de 100 pour cent comme référence. • 133%: définit le niveau de colorimétrie de référence pour les cibles des mires sur une colorimétrie saturée à 75 %. Utilisez cette option lorsque votre média source utilise des mires de 75 pour cent comme référence. • Vecteur: utilise un niveau de teinte de colorimétrie normal, le rouge étant situé dans la partie supérieure. • Mark3 : utilise un niveau de teinte de colorimétrie à 90 degrés, le rouge étant situé sur le côté droit. • Afficher/masquer l’indicateur de teinte de peau : affiche ou masque la diagonale qui représente la colorimétrie de teinte de la peau humaine, qui se situe entre les cibles de mires jaune et rouge. • Monochrome : réduit l’intensité et désature l’affichage de l’instrument pour empêcher les distractions visuelles et les problèmes de perception des couleurs dans votre suite de finalisation des couleurs. • Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument. Options d’affichage de l’histogramme L’histogramme fournit une analyse statistique de l’image en calculant le nombre total de pixels de chaque couleur ou le niveau de luminance, et en créant un graphique qui reprend le nombre de pixels à chaque pourcentage de luminance ou de couleur. Chaque unité incrémentielle de l’échelle de gauche à droite représente un pourcentage de luminance ou de couleur, et la hauteur de chaque segment du graphique de l’histogramme indique le nombre de pixels correspondant à ce pourcentage.Chapitre 13 Étalonnage 392 Le menu local Réglages dans le coin supérieur droit de l’histogramme fournit de nombreuses options d’affichage : • Luminance : affiche uniquement la composante de luminance de la vidéo. La hauteur du graphique de chaque degré de l’échelle représente le nombre de pixels de l’image pour ce pourcentage de luminance, par rapport à toutes les autres valeurs. Par exemple, si une image comporte peu de tons clairs, l’histogramme affiche un grand groupe de valeurs dans les tons intermédiaires. À l’aide de l’histogramme de luminance, vous pouvez rapidement comparer la luminance de deux plans afin d’harmoniser les noirs, les tons intermédiaires et les blancs. La forme de l’histogramme permet également de déterminer le contraste dans une image. Une image à faible contraste affiche un groupe de valeurs concentré sur le centre du graphique. À titre de comparaison, une image au contraste extrêmement élevé affiche une distribution plus répartie des valeurs sur toute la largeur du graphique. • Incrustation RVB : associe les formes d’onde pour les composantes de couleur rouge, verte et bleue d’un affichage. Si l’image étudiée présente des niveaux équivalents de deux couleurs ou plus, la couleur associée apparaît : • Des niveaux équivalents de vert et de bleu apparaissent comme du cyan. • Des niveaux équivalents de vert et de rouge apparaissent comme du jaune. • Des niveaux équivalents de rouge et de bleu apparaissent comme du magenta. • Des niveaux équivalents de rouge, de vert et de bleu apparaissent comme du gris.Chapitre 13 Étalonnage 393 • Parade RVB : Présente trois graphiques qui affichent votre vidéo sous la forme de composantes séparées de rouge, de vert et de bleu. Les formes d’onde sont de couleur rouge, verte et bleue afin d’être facilement identifiables. Vous pouvez utiliser la présentation Parade RVB pour comparer la répartition relative de chaque canal de couleur sur la plage de couleurs globale de l’image. Par exemple, les images avec une dominante de couleur rouge présente soit un graphique rouge largement plus élevé, soit des graphiques vert et bleu plus faibles. • Rouge : affiche uniquement le canal de couleur rouge. • Vert: affiche uniquement le canal de couleur verte. • Bleu : affiche uniquement le canal de couleur bleue. • Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument.14 394 Présentation du partage de projets Final Cut Pro fournit un grand nombre de destinations, c’est-à-dire de réglages d’exportation pré- configurés, que vous pouvez utiliser pour générer la sortie de votre projet ou plan. Par exemple, vous pouvez exporter un projet ou un plan sous forme de séquence QuickTime, l’exporter en vue de son visionnage sur des dispositifs Apple tels que l’iPhone et l’iPad, le publier sur des sites web comme Facebook et YouTube, ou encore le graver sur disque. Chacune de ces options fait appel à une destination différente. Lorsque vous ouvrez Final Cut Pro pour la première fois, un ensemble de destinations par défaut apparaît dans le sous-menu Partager du menu Fichier et dans le menu local Partager. Les détails sur chaque destination de l’ensemble par défaut sont répertoriés dans le tableau ci-dessous. Destination Permet de DVD Graver votre projet sur un DVD en définition standard. Fichier original (par défaut) Exporter un projet en tant que fichier de séquence QuickTime. La destination du fichier original est celle par défaut. Vous pouvez l’ouvrir en appuyant sur Commande + E. YouTube Vimeo Facebook Publier le projet à travers un compte sur un de ces sites web. Partage de votre projetChapitre 14 Partage de votre projet 395 Destination Permet de Dispositifs Apple 720p Exporter des fichiers pour l’iPhone et l’iPod. Dispositifs Apple 1080p Exporter des fichiers pour l’iPad. Vous avez la possibilité de remplacer en toute simplicité l’ensemble par défaut de destinations par vos propres destinations personnalisées. Pour modifier des destinations et en créer, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Il vous est également possible de créer un lot de destinations pour exporter plusieurs types de sortie en une seule fois. Pour en savoir plus, consultez Utilisation de destinations à la page 447. Pour personnaliser davantage votre sortie, vous pouvez faire appel à Compressor, l’application professionnelle de transcodage. Pour en savoir plus, consultez Exportation d’un projet par le biais de Compressor à la page 403. Partage de projets, de plans et de plages Vous pouvez partager un projet ou un plan, en entier ou en partie (dans ce dernier cas, la section est indiquée par une sélection de plage). Il vous est également possible de partager les rôles d’un projet, en exportant chaque rôle sous forme de stem à part. Si vous comptez par la suite exporter les mêmes rôles d’un projet ou plan à un autre, vous pouvez enregistrer vos réglages sous forme de préréglage. Dans la mesure où le transcodage nécessaire pour créer le fichier partagé se réalise en arrièreplan, vous pouvez continuer à travailler sur vos projets dans Final Cut Pro après le partage. (N’oubliez pas que les modifications que vous apportez à un projet après que le processus de transcodage a commencé ne sont pas prises en compte dans les fichiers en sortie.) Partage d’un projet, d’un plan ou d'une plage 1 Procédez de l’une des manières suivantes: • Sélectionnez un projet dans la bibliothèque de projets. • Sélectionnez un plan dans le navigateur d’événements. • Sélectionnez une plage dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements. 2 Procédez de l’une des manières suivantes: • Choisissez Fichier > Partager, puis une destination dans le sous-menu.Chapitre 14 Partage de votre projet 396 • Cliquez sur le bouton Partager dans la barre d’outils, puis choisissez une destination dans le menu local. 3 Dans la fenêtre qui s’affiche, procédez comme suit : Placez le pointeur sur l’image pour survoler la vidéo. Attributs du projet Informations sur le fichier • Placez le pointeur sur l’image pour survoler la vidéo. • Dans la fenêtre Infos de droite, visualisez et modifiez les attributs du projet ou du plan, tels que le titre et la description. Important : Par défaut, le champ de titre répertorie le nom du projet ou du plan. La modification du titre n’entraîne pas celle du nom du projet ou du plan correspondant, qui reste celui utilisé pour le fichier exporté. Tous les attributs associés au projet ou au plan sont ainsi inclus dans le fichier généré en sortie. Vous pouvez modifier les attributs qui apparaissent dans la fenêtre Infos. Pour en savoir plus, consultez Modification des attributs de partage à la page 400. • Les informations relatives au fichier à exporter sont reprises en bas de la fenêtre et mentionnent notamment la taille d’image et la fréquence d’images, les canaux audio et l’échantillonnage, le type de fichier en sortie et la taille du fichier.Chapitre 14 Partage de votre projet 397 Pour certaines destinations, vous pouvez afficher la liste des appareils capables de reproduire le fichier exporté. Pour afficher les appareils compatibles, placez le pointeur sur l’icône Compatibilité située dans le coin inférieur droit. Placez le pointeur sur l’icône pour afficher les appareils compatibles. 4 Pour afficher les réglages de la destination, cliquez sur Réglages. Ceux-ci s’affichent dans la fenêtre homonyme. Au besoin, modifiez les réglages de la destination. Remarque : Si vous modifiez les réglages de la destination, les modifications sont alors enregistrées comme réglages par défaut pour la destination. Pour en savoir plus, consultez Préférences de destinations à la page 441. 5 Cliquez sur Partager ou sur Suivant. Le bouton qui s’affiche s’adapte en fonction de la destination choisie. Si vous cliquez sur Suivant, attribuez un nom au fichier, choisissez un emplacement où l’enregistrer, puis cliquez sur Enregistrer. Il vous est possible de contrôler la progression du transcodage dans la fenêtre Tâches en arrièreplan, puis continuer à travailler dans Final Cut Pro pendant le transcodage du fichier. Une fois le transcodage terminé, le fichier résultant s’ouvre dans l’application indiquée dans le menu local «Ouvrir avec » de la fenêtre Réglages, est enregistré à l’emplacement choisi ou, si vous avez utilisé une destination web, est téléchargé sur le site web. Vous pouvez afficher et retrouver les projets partagés dans l’inspecteur de partage. Pour en savoir plus, consultez Accès, annonce et affichage de l’emplacement des projets partagés à la page 405. Remarque : Si vous avez ajouté des marqueurs de chapitre à votre projet, leurs vignettes sont alors placées à l’emplacement qui convient au moment du partage sur disque (DVD et Blu-ray) et aux formats M4V, QuickTime et MP4 (en cas de lecture dans iTunes, QuickTime Player et sur des dispositifs Apple). Pour en savoir plus, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160 et , à l'adresse http://help.apple.com/compressor.Chapitre 14 Partage de votre projet 398 Partage des rôles sous forme de fichiers à part Vous pouvez exporter un ou plusieurs rôles d’un projet ou d’un plan sous forme de stems. Par exemple, vous pouvez exporter les effets de dialogue, de musique et sonores à partir d’un projet sous forme de fichiers de média distincts en attribuant des rôles aux effets de dialogue, de musique et sonores puis en exportant ces rôles. Vous pouvez exporter des rôles sous forme soit d’un fichier QuickTime multipiste combiné, soit de fichiers audio ou vidéo séparés. Vous pouvez en outre attribuer une sortie mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus, consultez Présentation des rôles à la page 310. 1 Procédez de l’une des manières suivantes: • Sélectionnez un projet dans la bibliothèque de projets. • Sélectionnez un plan dans le navigateur d’événements. • Sélectionnez une plage dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements. 2 Choisissez Fichier > Fichier master (ou cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Fichier master dans le menu local). Remarque : Vous pouvez également choisir une autre destination que vous avez créée en fonction du fichier master ou de la destination Exporter le fichier. 3 Cliquez sur le bouton Réglages, puis indiquer les réglages suivants: • Format: Choisissez un format de masterisation (Vidéo et audio, Vidéo seulement, Audio seulement). • Codec vidéo : le codec source est repris par défaut. En fonction de votre média source, il vous est possible de choisir un autre codec. • Résolution : la résolution (d’après le métrage source) est fournie. En fonction de votre média source, il vous est possible de choisir une autre résolution. • Formats de fichiers audio : le format source est répertorié par défaut. En fonction de votre média source, il vous est possible de choisir un autre format audio. • Inclure les marqueurs de chapitre : cochez la case pour inclure les marqueurs de chapitre avec le ou les fichiers exportés. • Ouvrir avec : choisissez l’opération que vous souhaitez voir s’exécuter une fois l’exportation terminée. 4 Dans le menu local « Rôles en tant que », choisissez les rôles à exporter. Remarque : Les options proposées dans ce menu local s’adaptent en fonction de votre sélection dans les menus locaux Format et Format de fichier audio. • Séquence QuickTime : exporte l’intégralité des rôles inclus dans le projet sous forme de séquence QuickTime unique. Si vous choisissez cette option, ignorez l’étape 5. • Rôles en tant que séquence QuickTime multipiste : exporte les rôles précisés sous forme de séquence QuickTime unique. • Rôles en tant que fichiers séparés: exporte chacun des rôles vidéo et audio indiqués en tant que fichiers séparés. • Rôles vidéo uniquement en tant que fichiers séparés: exporte chacun des rôles vidéo indiqués en tant que fichiers séparés. • Rôles audio uniquement en tant que fichiers séparés: exporte chacun des rôles audio indiqués en tant que fichiers séparés.Chapitre 14 Partage de votre projet 399 5 Pour spécifier les rôles à exporter, effectuez l’une des opérations suivantes: • Pour ajouter un rôle aux fichiers à exporter: cliquez sur Ajouter un fichier vidéo ou Ajouter un fichier audio, puis choisissez un rôle dans le menu local. Si vous ajoutez un rôle audio, vous pouvez également choisir le format de canaux à donner au rôle (Mono, Stéréo ou Surround). Pour en savoir plus, consultez Configuration des canaux audio à la page 176. Si vous avez choisi « Rôles en tant que séquence QuickTime multi-pistes » dans le menu local « Rôles en tant que », le bouton « Ajouter un fichier vidéo » est estompé. • Pour supprimer un rôle des fichiers à exporter: placez le pointeur sur le rôle à supprimer, puis cliquez sur le bouton Supprimer (–) affiché à droite du menu local. Ces rôles seront exportés. 6 Cliquez sur Suivant, attribuez un nom au fichier, choisissez un emplacement où l’enregistrer, puis cliquez sur Enregistrer. Il vous est possible de contrôler la progression du transcodage dans la fenêtre Tâches en arrièreplan, puis continuer à travailler dans Final Cut Pro pendant le transcodage du fichier. Une fois le transcodage terminé, le fichier résultant s’ouvre dans l’application indiquée dans le menu local «Ouvrir avec » de la fenêtre Réglages ou est enregistré à l’emplacement choisi. Vous pouvez afficher et retrouver les projets partagés dans l’inspecteur de partage. Pour en savoir plus, consultez Accès, annonce et affichage de l’emplacement des projets partagés à la page 405. Enregistrement d’un préréglage personnalisé Après avoir créé une liste personnalisée de rôles à partager, vous pouvez l’enregistrer en tant que préréglage personnalisé. 1 Configurez vos options de partage en suivant les instructions reprises ci-dessus dans la section « Partage des rôles sous forme de fichiers à part ». 2 Dans le menu local « Rôles en tant que », effectuez l’une des opérations suivantes: • Pour enregistrer un nouveau préréglage : choisissez Enregistrer sous, attribuez un nom au préré- glage, puis cliquez sur Enregistrer.Chapitre 14 Partage de votre projet 400 • Pour enregistrer un préréglage que vous avez modifié : choisissez Enregistrer. • Pour enregistrer un préréglage en tant que nouveau préréglage : choisissez Enregistrer sous, attribuez un nom au préréglage, puis cliquez sur Enregistrer. • Pour renommer un préréglage : choisissez Renommer, attribuez un nouveau nom au préréglage, puis cliquez sur Enregistrer. Remarque : Le mot « modifié » apparaît à la suite des noms des préréglages personnalisés que vous avez modifiés. Les préréglages personnalisés que vous créez apparaissent en bas du menu local « Rôles en tant que ». Les préréglages personnalisés sont enregistrés dans le dossier /Utilisateurs/nom_utilisateur/ Séquences/Final Cut Events/Export Presets/. Suppression d’un préréglage personnalisé Vous pouvez supprimer les préréglages personnalisés que vous avez créés. 1 Sélectionnez un projet ou plan, cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Fichier master dans le menu local. 2 Dans la fenêtre Partager, cliquez sur le bouton Réglages et, dans le menu local « Rôles en tant que », choisissez le préréglage personnalisé à supprimer. Les préréglages personnalisés sont répertoriés en bas du menu local. Après avoir choisi un préréglage, une coche apparaît en regard de son nom. 3 Dans le menu local « Rôles en tant que », choisissez Supprimer. Modification des attributs de partage Les attributs de partage représentent des métadonnées de projet et de plan, inclus avec les fichiers exportés. Vous pouvez afficher et modifier les attributs partagés dans l’inspecteur de partage. Champs d’attributsChapitre 14 Partage de votre projet 401 Affichage et modification des attributs de partage pour un plan ou un projet 1 Sélectionnez un plan ou un projet. 2 Pour ouvrir l’inspecteur de partage, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Partage situé en haut de la fenêtre qui s’affiche. 3 Si les attributs de la sélection ne s’affichent pas, placez le pointeur sur Attributs, puis cliquez sur Afficher. Cliquez sur Afficher. 4 Saisissez le nouveau texte dans le champ d’un attribut. Si vous saisissez un mot ou une expression ayant été défini en tant qu’attribut, ce dernier (un mot ou une expression dans une bulle bleue) apparaît après la fin de la saisie. Champs d’attributs Modification des champs d’attribut affichés dans l’inspecteur de partage 1 Sélectionnez un plan ou un projet. 2 Ouvrez l’inspecteur de partage.Chapitre 14 Partage de votre projet 402 L’inspecteur de partage contient un menu local vous permettant de personnaliser les champs d’attributs. Cliquez pour afficher les options permettant la personnalisation des champs d’attributs. 3 À l’aide du menu local Attributs, effectuez l’une des opérations suivantes: • Pour ajouter un champ d’attribut: cochez la case du nom de champ. Les champs portant une coche s’affichent dans l’inspecteur de partage et sont exportés avec votre plan ou projet. Les champs qui s’affichent dans l’inspecteur de partage présentent une coche. • Pour supprimer un champ d’attribut: décochez la case du nom de champ. • Pour n’afficher que les champs d’attributs Final Cut Pro par défaut: choisissez Afficher les champs par défaut. Choisir cette option entraîne l’affichage des seuls champs Titre, Description, Créateur et Mots-clés. Important : Les champs par défaut ne peuvent pas être supprimés. • Pour enregistrer les champs d’attributs sélectionnés comme ensemble par défaut: choisissez Enregistrer comme réglages par défaut. • Pour afficher votre ensemble par défaut de champs d’attributs: choisissez Mettre à jour aux valeurs par défaut. Modification automatique des attributs affichés dans un champ de l’inspecteur de partage Vous pouvez définir les attributs qui apparaissent automatiquement dans un champ d’attribut. 1 Dans l’inspecteur de partage, choisissez « Modifier les champs de partage » dans le menu local Attributs.Chapitre 14 Partage de votre projet 403 2 Dans la fenêtre qui s’affiche, sélectionnez un champ d’attribut dans la liste de gauche. Les attributs affectés au champ sélectionné s’affichent dans le champ Format. Sélectionnez un champ d’attribut. Champ Format Les options pour le champ apparaissent au milieu de la fenêtre. 3 Pour modifier le champ d’attribut sélectionné, effectuez l’une des opérations suivantes: • Pour ajouter un attribut: faites glisser un attribut (un mot ou une expression dans une bulle bleue) du milieu de la fenêtre sur le champ Format. Vous avez également la possibilité de saisir le nom de l’attribut dans le champ. • Pour ajouter du texte : saisissez un mot ou une expression dans le champ Format situé dans la partie supérieure de la fenêtre. • Pour créer un attribut de nom personnalisé : saisissez un mot ou une expression dans le champ Nom personnalisé en bas de la fenêtre, puis faites glisser l’attribut Nom personnalisé sur le champ Format. Conseil : Dans la mesure où l’attribut de nom personnalisé apparaît dans le champ Format sous l’appellation « Nom personnalisé », vous pouvez l’utiliser pour des expressions ou des phrases longues tout en pouvant consulter facilement les autres attributs et texte dans le champ Format. • Pour supprimer un attribut ou texte : sélectionnez l’attribut ou texte et appuyez sur Supprimer. Lors de l’ajout et de la suppression des attributs, l’exemple (repris sous le champ Format) s’actualise d’après vos modifications. 4 Lorsque vous avez fini, cliquez sur OK. Exportation d’un projet par le biais de Compressor Les destinations proposées dans Final Cut Pro offrent de nombreuses options pour l’exportation de projets et de plans. Si vous avez besoin de plus amples options, vous pouvez faire appel à Compressor, l’application professionnelle de transcodage conçue pour fonctionner directement avec Final Cut Pro, pour créer des réglages d’exportation hautement personnalisés. Par exemple, les commandes de redimensionnement et de resynchronisation de Compressor vous permettent de procéder à des réglages très fins de la taille d’image et de la fréquence d’images dans vos fichiers de sortie. Chapitre 14 Partage de votre projet 404 Envoi d’un projet à Compressor 1 Sélectionnez un projet dans la bibliothèque de projets, un plan dans le navigateur d’événements ou une plage dans un projet ou plan. 2 Choisissez Fichier > Envoyer à Compressor. Remarque : La commande Envoyer à Compressor est estompée si Compressor n’est pas installé sur le même ordinateur que Final Cut Pro. Compressor s’ouvre sur un nouveau lot contenant une tâche avec le média du projet ou du plan. 3 Configurez la tâche en ajoutant les réglages nécessaires, puis cliquez sur Soumettre. Pour en savoir plus sur la configuration des tâches et des réglages, consultez l’. Aide Compressor à l'adresse http://help.apple.com/compressor. État des projets partagés Présentation de l’état de projets partagés Lorsque vous publiez ou partagez votre projet par le biais de l’une des options de partage, une icône de partage apparaît dans la timeline et dans la bibliothèque de projets pour indiquer que le projet est publié. Icône de partage Icône de partage Vous pouvez cliquer sur l’icône reprise dans la bibliothèque de projets pour ouvrir l’inspecteur de partage. L’inspecteur de partage affiche où et quand le projet est publié, et prévoit également un menu local composé de commandes complémentaires pour les options de partage prenant en charge ces commandes. Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé.Chapitre 14 Partage de votre projet 405 Si vous apportez des modifications au projet, un symbole apparaît en regard de l’icône de partage, ce qui indique que le projet a été modifié depuis son dernier partage. L’icône indique que le projet a été modifié après sa dernière publication. Accès, annonce et affichage de l’emplacement des projets partagés Vous pouvez passer par les options présentes dans l’inspecteur de partage pour ouvrir un projet partagé sur une destination web ou pour envoyer un courrier électronique annonçant la mise en ligne du projet. Il vous est également possible de localiser le fichier d’un projet partagé dans le Finder. Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé. Ouverture de l’inspecteur de partage m Cliquer sur l’icône de partage relative au projet, présente dans la bibliothèque de projets. Icône de partage Affichage du projet à son emplacement de partage m Dans l’inspecteur de partage, choisissez Visiter dans le menu local de l’élément partagé. Remarque : Tous les éléments partagés ne disposent pas d’un menu local. Création d’un courrier électronique pour annoncer le partage d’un projet 1 Dans l’inspecteur de partage, choisissez « Recommander à un ami » dans le menu local de l’élément partagé. Remarque : Tous les éléments partagés ne disposent pas d’un menu local. 2 Dans Mail, adaptez le courrier électronique généré selon vos besoins, puis cliquez sur Envoyer. Celui-ci mentionne un lien vers le projet publié et un titre.Chapitre 14 Partage de votre projet 406 Localisation d’un projet partagé dans le Finder Dans l’inspecteur de partage, procédez de l’une des manières suivantes: m Si le projet a été partagé une fois et qu’un seul élément partagé s’affiche : Cliquez sur l’icône de loupe. m Si le projet a été partagé plusieurs fois: cliquez sur Afficher pour visualiser les éléments partagés, puis sur l’icône de la loupe pour l’élément à retrouver. Remarque : Tous les éléments partagés ne disposent pas d’une icône représentant une loupe. Pour en savoir plus sur les fichiers partagés, consultez Emplacement de vos fichiers de média et de projet à la page 407. Suppression de projets partagés Il se peut que vous soyez amené à supprimer un projet partagé de son site web ou autre cible finale. Dans certains cas, Final Cut Pro peut être en mesure de le supprimer automatiquement ; dans d’autres, il se peut que vous deviez le faire manuellement. Mais dans tous les cas de figure, le projet doit être mis à jour afin qu’il n’indique plus qu’il est partagé sur la cible. Suppression d’un film de sa cible 1 Ouvrez l’inspecteur de partage en cliquant sur l’icône de partage du projet, présente dans la bibliothèque de projets. 2 Dans l’inspecteur de partage, choisissez Supprimer dans le menu local de l’élément partagé. Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé. Une fenêtre propose alors les options de l’élément partagé en question. Remarque : Tous les éléments partagés ne disposent pas d’un menu local. 3 En fonction des options présentent dans la fenêtre, procédez de l’une des manières suivantes: • Pour que Final Cut Pro supprime le projet de la destination, saisissez votre mot de passe pour le site web que vous avez partagé, puis cliquez sur OK. • Supprimez le projet manuellement de la cible, puis cliquez sur Terminé. Remarque : Pour supprimer un film de CNN iReport, vous devez contacter le site web pour demander la suppression du film. L’état de publication de l’élément partagé est alors supprimé du projet.15 407 Présentation de la gestion de média De manière générale, toute tâche relative au traitement de vos fichiers de média est considé- rée comme de la gestion de média. La gestion de média comprend les éléments présentés ci-dessous: • l’importation de média depuis des caméras, des disques de stockage externe ou tout autre dispositif – Consultez Présentation de l’importation à la page 21. • Le transcodage de vos fichiers de média source dans des formats, optimisés ou proxy, en haute qualité et pratiques à manipuler. Consultez Transcodage des fichiers de média à la page 415. • la sauvegarde, la consolidation et le déplacement de projets – Consultez Avant de déplacer ou de copier des événements et des projets à la page 419. • la création d’archives de caméra – Consultez Création et gestion des archives de caméra à la page 429. • la reconnexion de plans à des fichiers de média – Consultez Reconnexion de plans à des fichiers de média à la page 410. Certaines de ces tâches peuvent être accomplies dans Final Cut Pro, d’autres dans le Finder et certaines requièrent des manipulations aussi bien dans Final Cut Pro que dans le Finder. Emplacement de vos fichiers de média et de projet Lorsque vous créez un événement ou un projet, les dossiers de ce nouvel élément sont placés dans l’un des deux emplacements détaillés ci-dessous. • Si le nouvel événement ou le nouveau projet se trouve sur votre système : les dossiers se trouvent dans le dossier Séquences de votre répertoire de départ (/Utilisateurs/nom d’utilisateur/ Séquences/). Il s’agit de l’emplacement par défaut pour vos fichiers Final Cut Pro. • Si le nouvel événement ou le nouveau projet est situé sur un périphérique de stockage externe connecté : les dossiers sont placés au niveau principal, la racine, de votre dispositif. Gestion des fichiers de médiaChapitre 15 Gestion des fichiers de média 408 • Si le nouvel événement ou le nouveau projet est enregistré sur un périphérique de stockage connecté à un réseau local : les dossiers peuvent se trouver sur n’importe quel dossier que vous avez ajouté à partir d’un réseau de stockage SAN. Lorsque vous créez un événement sur votre système local, un dossier est créé pour cet événement : /Utilisateurs/nom d’utilisateur/Séquences/Final Cut Events/nom de l’événement/ Le dossier [nom de l’événement] peut contenir un ou plusieurs des éléments présentés ci-dessous. Le contenu de ces dossiers varie en fonction des options sélectionnées lors de l’importation ou dans les préférences Importation. Ces fichiers sont utilisés et gérés par Final Cut Pro et ne doivent par conséquent pas êtres déplacés, modifiés ou supprimés. • Fichier d’événement: Les fichiers d’événements de Final Cut Pro portent le nom de CurrentVersion.fcpevent. • Fichiers d’analyse : ce dossier contient les fichiers d’analyse associés aux fichiers de média. • Média d’origine : ce dossier contient les fichiers originaux importés depuis votre caméra ou votre disque dur ou les fichiers alias renvoyant vers les fichiers originaux situés à un autre emplacement. • Fichiers de rendu : ce dossier contient les fichiers de rendu associés aux fichiers de média. • Média transcodé : si vous choisissez de créer des médias optimisés ou proxy, les fichiers transcodés créés sont placés dans ce dossier. • Versions précédentes: si vous mettez des événements à jour pour les ouvrir avec une nouvelle version de l’application, Final Cut Pro sauvegarde d’abord des copies des événements originaux dans ce dossier. • Copies de sauvegarde : ce dossier contient une copie de sauvegarde de chaque événement. Il s’agit uniquement d’une copie de CurrentVersion.fcpevent (le fichier d’événement) et non des fichiers de média source associés. Final Cut Pro met la copie de sauvegarde à jour toutes les 15 minutes (s’il détecte un changement dans l’événement). Cette copie de sauvegarde est automatiquement exploitable par Final Cut Pro en cas de problème, bien qu’improbable, à l’ouverture de l’événement.Chapitre 15 Gestion des fichiers de média 409 De même, lorsque vous créez un projet Final Cut Pro, un dossier est créé pour ce projet : /Utilisateurs/nom d’utilisateur/Séquences/Final Cut Projects/nom du projet/ Le dossier [nom du projet] contient les éléments détaillés ci-après. Ces fichiers sont utilisés et gérés par Final Cut Pro et ne doivent par conséquent pas êtres déplacés, modifiés ou supprimés. • Fichier de projet: les fichiers de projet Final Cut Pro portent le nom de CurrentVersion.fcpproject. • Fichiers de rendu : ce dossier contient les fichiers de rendu associés au projet. • Versions précédentes: si vous mettez des projets à jour pour les ouvrir avec une nouvelle version de l’application, Final Cut Pro sauvegarde d’abord des copies des projets originaux dans ce dossier. • Copies de sauvegarde : ce dossier contient une copie de sauvegarde de chaque projet. Il s’agit uniquement d’une copie de CurrentVersion.fcpproject (le fichier du projet) et non de fichiers de média quelconques. Final Cut Pro met la copie de sauvegarde à jour toutes les 15 minutes (s’il détecte un changement dans le projet). Cette copie de sauvegarde est automatiquement exploitable par Final Cut Pro en cas de problème, bien qu’improbable, à l’ouverture du projet. • Éléments partagés: ce dossier contient les fichiers du projet. Conseil : Pour retrouver rapidement le fichier de média source d’un plan, sélectionnez-le puis choisissez Fichier > Afficher dans le Finder (ou appuyez sur Commande + Maj + R). Gestion de vos fichiers de média Affichage des informations relatives à un plan L’inspecteur d’informations fournit un résumé des informations relatives à un plan. Vous pouvez par conséquent y trouver des informations relatives à l’état du fichier de média d’un plan, notamment l’emplacement du fichier, ses représentations du média disponible, l’événement dans lequel le plan est situé et celui auquel il fait référence.Chapitre 15 Gestion des fichiers de média 410 Affichage des informations relatives à un plan 1 Sélectionnez un plan dans le navigateur d’événements ou dans la timeline. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Choisissez « Afficher l’état du fichier » dans le menu local Action situé dans la partie infé- rieure de l’inspecteur d’informations. Reconnexion de plans à des fichiers de média Dans Final Cut Pro, les plans représentent votre média mais ne sont pas des fichiers de média en tant que tels. Final Cut Pro effectue automatiquement le suivi des liens entre les plans et les fichiers de média. Il se présente cependant des cas où il est nécessaire de reconnecter manuellement les plans aux fichiers de média. Des fichiers de média modifiés ou recréés en dehors de Final Cut Pro représentent un cas courant. C’est le cas par exemple si vous transférez des fichiers à étalonner, que vous recevez ensuite une nouvelle version de ces fichiers, puis que vous devez reconnecter les plans dans votre évé- nement ou votre projet à ces nouvelles versions. La reconnexion manuelle peut aussi s’avérer nécessaire en cas de fichiers de média manquants. Par exemple, si vous déplacez ou renommez des fichiers dans le Finder, ou si vous déplacez un événement ou un projet, vous devez reconnecter les plans de l’événement ou du projet (représentés sous forme de cadres rouges dotés d’un triangle jaune évoquant un signal d’alerte) aux fichiers. Dans un cas comme dans l’autre, la reconnexion manuelle permet de pointer les plans dans Final Cut Pro vers les bons fichiers sur votre disque dur. Les métadonnées dans les plans reconnectés sont conservées. Les fichiers ainsi reconnectés peuvent avoir une résolution et un codec différents des fichiers originaux, mais doivent avoir un type de média identique. (En d’autres termes, vous ne pouvez pas reconnecter un plan vidéo à un fichier audio.) Les fichiers reconnectés doivent également pré- senter la même fréquence d’images et des canaux audio semblables que les fichiers originaux. Enfin, les nouveaux fichiers (reconnectés) peuvent en outre correspondre à des versions des fichiers originaux auxquels un trim a été appliqué, mais ils doivent alors avoir une durée suffisante de sorte à couvrir l’intégralité des plans se référant aux fichiers sous-jacents. Dans la mesure où la reconnexion des plans d’événements et des plans de projet se caractérise par des effets différents sur vos événements et vos projets, ceux-ci sont abordés séparément ci-dessous.Chapitre 15 Gestion des fichiers de média 411 Reconnexion de plans d’événements à des fichiers de média Si vous reconnectez des plans d’événements à des fichiers de média sur votre disque dur, tous les plans correspondants (y compris ceux inclus dans d’autres projets ou événements) sont mis à jour pour assurer la connexion avec les nouveaux fichiers de média. En d’autres termes, si vous avez utilisé un plan d’événement dans plusieurs projets (ou événements), chacun de ces projets et événements est reconnecté au nouveau fichier de média. Si les anciens fichiers se trouvent dans le dossier Média d’origine, ils sont alors placés dans la Corbeille. Cette opération est irréversible. 1 Dans le navigateur d’événements, sélectionnez les plans à reconnecter ou sélectionnez un évé- nement entier dans la bibliothèque d’événements. 2 Choisissez Fichier > Relier les fichiers d’événement. La fenêtre Relier les fichiers s’affiche alors. Par défaut, cette fenêtre ne reprend que les plans ou les événements manquants. 3 Pour recenser tous les éléments de la sélection, sélectionnez Tous. 4 Procédez de l’une des manières suivantes: • Pour retrouver tous les fichiers correspondants: cliquez sur Tout localiser. • Pour localiser certains fichiers répondant aux critères: sélectionnez les éléments dans la liste, puis cliquez sur Localiser. 5 Dans la fenêtre qui s’affiche, accédez à l’un des fichiers à reconnecter ou au dossier les contenant.Chapitre 15 Gestion des fichiers de média 412 Le texte repris en bas de la fenêtre indique le nombre d’instances trouvées dans votre liste originale susceptibles de correspondre aux éléments (en s’appuyant uniquement sur le nom des fichiers). Texte indiquant le nombre de correspondances trouvées. Remarque : Final Cut Pro identifie les occurrences en fonction de leur proximité dans la structure des répertoires et de leur nom de fichier. Par exemple, si vos fichiers originaux se trouvent dans deux dossiers adjacents, Final Cut Pro recherche dans les dossiers adjacents au fichier choisi et reconnecte tous les fichiers correspondants dans le chemin d’accès relatif. Si vos fichiers originaux s’intitulent « Fichier1 », « Fichier2 », « Fichier3 », etc., et que vous avez choisi de les reconnecter à un fichier appelé « Fichier1_A », Final Cut Pro recherche alors les fichiers nommés « Fichier2_A », « Fichier3_A », etc., pour les reconnecter aux éléments restants mentionnés dans votre liste. 6 Cliquez sur Sélectionner. Final Cut Pro analyse les fichiers pour confirmer que tous les attributs (en plus du nom de fichier) correspondent à des éléments intégrant la sélection d’origine. Les résultats de l’analyse sont illustrés ci-dessous dans la liste de fichiers originaux, par exemple, « 3 sur 3 fichiers trouvés ». 7 Cliquez sur le triangle d’affichage en regard des résultats de l’analyse pour afficher la liste des fichiers anciens (repris à gauche) et les nouveaux fichiers correspondants (mentionnés à droite). Si un fichier n’est pas vraiment concordant, sélectionnez-le dans la liste et appuyez sur Supprimer. L’élément est alors replacé dans la liste d’origine en haut de la fenêtre Relier les fichiers.Chapitre 15 Gestion des fichiers de média 413 Les éléments sans autre résultat sont conservés dans la liste d’origine supérieure. Vous pouvez poursuivre et en rechercher d’autres en les sélectionnant et en répétant les étapes 4 à 6. 8 Si vous voulez dupliquer les fichiers de média correspondants pour les placer dans le dossier Final Cut Events (Événements Final Cut) sur votre ordinateur, cochez la case « Copier les fichiers dans le dossier Final Cut Events ». 9 Pour connecter les plans d’événements aux nouveaux fichiers de média, cliquez sur Relier les fichiers. Tous les plans correspondants (y compris ceux inclus dans d’autres projets ou événements) sont mis à jour pour assurer la connexion avec les nouveaux fichiers de média. Reconnexion de plans de projet à des fichiers de média Contrairement à la reconnexion de plans d’événements, la reconnexion des plans de projet à des fichiers de média sur votre disque dur se limite à la mise à jour des plans dans le projet sélectionné. Les nouveaux plans sont ajoutés à l’événement par défaut du projet en cours. Cette opération est irréversible. 1 Dans la timeline, sélectionnez les plans à reconnecter ou un projet dans la bibliothèque de projets. 2 Choisissez Fichier > Relier les fichiers de projet. La fenêtre Relier les fichiers s’affiche alors. Par défaut, cette fenêtre ne reprend que les plans manquants. 3 Pour recenser tous les éléments de la sélection, sélectionnez Tous. 4 Procédez de l’une des manières suivantes: • Pour retrouver tous les fichiers correspondants: cliquez sur Tout localiser. • Pour localiser certains fichiers répondant aux critères: sélectionnez les éléments dans la liste, puis cliquez sur Localiser. Chapitre 15 Gestion des fichiers de média 414 5 Dans la fenêtre qui s’affiche, accédez à l’un des fichiers à reconnecter ou au dossier les contenant. Le texte repris en bas de la fenêtre indique le nombre d’instances trouvées dans votre liste originale susceptibles de correspondre aux éléments (en s’appuyant uniquement sur le nom des fichiers). Texte indiquant le nombre de correspondances trouvées. Remarque : Final Cut Pro identifie les occurrences en fonction de leur proximité dans la structure des répertoires et de leur nom de fichier. Par exemple, si vos fichiers originaux se trouvent dans deux dossiers adjacents, Final Cut Pro recherche dans les dossiers adjacents au fichier choisi et reconnecte tous les fichiers correspondants dans le chemin d’accès relatif. Si vos fichiers originaux s’intitulent « Fichier1 », « Fichier2 », « Fichier3 », etc., et que vous avez choisi de les reconnecter à un fichier appelé « Fichier1_A », Final Cut Pro recherche alors les fichiers nommés « Fichier2_A », « Fichier3_A », etc., pour les reconnecter aux éléments restants mentionnés dans votre liste. 6 Cliquez sur Sélectionner. Final Cut Pro analyse les fichiers pour confirmer que tous les attributs (en plus du nom de fichier) correspondent à des éléments intégrant la sélection d’origine. Les résultats de l’analyse sont illustrés ci-dessous dans la liste de fichiers originaux, par exemple, « 4 sur 4 fichiers trouvés ». 7 Cliquez sur le triangle d’affichage en regard des résultats de l’analyse pour afficher la liste des fichiers anciens (repris à gauche) et les nouveaux fichiers correspondants (mentionnés à droite).Chapitre 15 Gestion des fichiers de média 415 Si un fichier n’est pas vraiment concordant, sélectionnez-le dans la liste et appuyez sur Supprimer. L’élément est alors replacé dans la liste d’origine en haut de la fenêtre Relier les fichiers. Les éléments sans autre résultat sont conservés dans la liste d’origine supérieure. Vous pouvez poursuivre et en rechercher d’autres en les sélectionnant et en répétant les étapes 4 à 6. 8 Pour connecter les plans de projet aux nouveaux fichiers de média, cliquez sur Relier les fichiers. Seuls les plans inclus dans le projet en cours sont mis à jour et reconnectés aux nouveaux fichiers de média. Les nouveaux plans sont ajoutés à l’événement par défaut du projet. Tous les autres événements et projets sont conservés tels quels. Transcodage des fichiers de média Final Cut Pro peut reproduire de nombreux formats de médias. Consultez Formats de média pris en charge à la page 45 pour en retrouver la liste complète. Final Cut Pro fournit aussi des options pour le transcodage de votre média en le convertissant dans un autre format ou en modifiant ses réglages. • Créer un média optimisé : cette option transcode la vidéo au format de codec Apple ProRes 422, lequel assure de meilleures performances lors du montage, des temps de rendu réduits et une qualité colorimétrique supérieure lors du compositing. Si le format original de la caméra peut être monté en offrant de bons résultats, cette option est estompée. • Créer un média proxy : cette option entraîne la création de fichiers proxy vidéo et d’images fixes. vidéo transcodée au format du codec Apple ProRes 422 (Proxy), qui offre des fichiers de haute qualité, utiles pour le montage déconnecté en respectant la taille, la fréquence et la proportion d’image originales. Final Cut Pro crée des versions proxy (dans la moitié de la résolution) de qualité moyenne pour améliorer les performances lors du montage. Les fichiers vidéo proxy occupent sensiblement moins d’espace disque, vous offrant souvent la possibilité de travailler sur un ordinateur portable même si celui-ci dispose d’une mémoire et de prestations inférieures à celles d’un ordinateur de bureau. Les images fixes sont transcodées en fichiers JPEG (si le fichier original ne contient pas d’informations de canal alpha) ou PNG (dans le cas contraire). Les fichiers proxy d’images fixes assurent un traitement et un rendu plus rapides lorsque l’image d’origine s’avère volumineuse. Remarque : Pour de meilleures performances d’importation et de lecture, Final Cut Pro transcode automatiquement tous les fichiers audio MP3 en fichiers audio WAV. Lors du transcodage de fichiers, Final Cut Pro conserve toujours le média original en vue de son utilisation ulté- rieure. Pour en savoir plus sur l’emplacement des fichiers de média originaux, de média proxy et de média transcodés, consultez Emplacement de vos fichiers de média et de projet à la page 407. Vous pouvez également créer des médias optimisés et proxy lors de la procédure d’importation ou une fois le média importé à l’aide du navigateur d’événements. Il vous est aussi possible de créer un fichier proxy pour un plan à l’aide de l’inspecteur d’informations. Une fois le transcodage terminé, les fichiers sont enregistrés dans le dossier de l’événement approprié. Consultez Emplacement de vos fichiers de média et de projet à la page 407 pour en savoir plus. Le réglage de lecture sélectionné dans les préférences Montage de Final Cut Pro définit si Final Cut Pro utilise un média proxy, votre média original ou un média optimisé lors de la lecture. Consultez Modification du nom et des propriétés d’un projet à la page 89 pour en savoir plus.Chapitre 15 Gestion des fichiers de média 416 Transcodage de fichiers de média lors de l’importation Lors de l’importation, Final Cut Pro crée un fichier alias qui redirige sur l’emplacement original du fichier de média ou une copie du fichier de média original. Une fois les fichiers importés, le transcodage, l’optimisation et l’analyse s’exécutent à l’arrière-plan. 1 Procédez de l’une des manières suivantes: • Pour importer un fichier à partir d’un enregistrement à système de fichier compatible ou d’un périphérique de stockage, ou à partir de votre disque dur: branchez le dispositif sur votre ordinateur, allumez-le, choisissez Fichier > Importer > Média (ou appuyez sur Commande + I), accédez au média à importer et sélectionnez-le, puis cliquez sur Importer. • Pour importer un fichier à partir d’un caméscope à bande : connectez l’appareil à votre ordinateur, allumez-le et réglez-le sur le mode VTR ou VCR. Choisissez ensuite Fichier > Importer > Média, puis cliquez sur Importer. • Pour importer des fichiers à partir d’une archive : Choisissez Fichier > Importer > Média. Sélectionnez ensuite une archive de caméra dans la liste de gauche, cliquez sur Ouvrir une archive et localisez les fichiers que vous souhaitez importer. Cliquez enfin sur Importer. 2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans votre bibliothèque d’événements: • Pour ajouter les médias importés à un événement existant: sélectionnez « Ajouter à l’événement existant » et choisissez celui-ci dans le menu local. • Pour créer un événement: sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, « Mariage de Pierre et Sandra ») dans le champ de texte. Utilisez le menu local « Enregistrer dans » pour choisir le disque sur lequel vous voulez stocker l’événement. Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 3 Sélectionnez une ou plusieurs options de transcodage. Final Cut Pro transcode les fichiers en arrière-plan, une fois l’importation terminée. 4 Cliquez sur Importer. L’importation peut prendre quelques minutes, selon les options que vous avez choisies à l’étape 3. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan. Transcodage des plans après l’importation 1 Cliquez sur un ou plusieurs plans dans le navigateur d’événements tout en maintenant la touche Contrôle enfoncée et choisissez Transcoder le média dans le menu contextuel. 2 Dans la fenêtre qui s’affiche, cochez la case « Créer un média optimisé », la case « Créer un média proxy » ou les deux, puis cliquez sur OK. Remarque : Si le format original de la caméra peut être monté en offrant de bons résultats, l’option « Créer un média optimisé » apparaît alors estompée. La procédure de transcodage peut prendre un certain temps, en fonction des options que vous avez choisies. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan. Remarque : Les fichiers audio MP3 issus de projets créés avec des versions de Final Cut Pro antérieures à 10.0.4 peuvent être transcodés manuellement en fichiers audio WAV à l’aide de ce processus.Chapitre 15 Gestion des fichiers de média 417 Transcodage automatique des fichiers de média lors de leur glissement dans Final Cut Pro Lorsque vous faites glisser un média depuis le Finder sur un événement ou sur la timeline dans Final Cut Pro, celui-ci est automatiquement organisé, transcodé et analysé en fonctions des réglages d’importation définis dans les préférences de Final Cut Pro. 1 Pour configurer les options relatives à l’analyse par Final Cut Pro : a Choisissez Final Cut Pro > Préférences. b Dans la fenêtre Préférences qui s’affiche, cliquez sur Importer. c Sélectionnez la ou les options d’analyse vidéo et audio que vous souhaitez appliquer à votre média. d Lorsque vous avez terminé, fermez la fenêtre Préférences. 2 Pour importer un ou plusieurs fichiers, sélectionnez un fichier (ou cliquez sur plusieurs fichiers en maintenant la touche Commande enfoncée) dans le Finder et faites-le glisser sur un événement ou sur la timeline. Génération d’un fichier proxy depuis l’inspecteur d’informations Les fichiers proxy occupent sensiblement moins d’espace disque. Dans certains cas, l’utilisation de fichiers proxy peut vous permettre de travailler sur un ordinateur portable, même si celui-ci possède une mémoire et une puissance de calcul moindres qu’un ordinateur de bureau. Vous pouvez vérifier si vous possédez un fichier proxy pour un plan en affichant les informations relatives au plan dans l’inspecteur d’informations. Si le fichier en question ne présente aucun fichier proxy dans l’inspecteur d’informations, un triangle rouge s’affiche. Si aucun proxy n’a été créé pour un plan, un triangle rouge s’affiche. Vous pouvez créer un fichier proxy pour un plan en procédant comme suit. 1 Sélectionnez un plan dans le navigateur d’événements. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Sélectionnez « Afficher l’état du fichier » dans le menu local Action .Chapitre 15 Gestion des fichiers de média 418 4 Cliquez sur le bouton Générer un proxy dans la section « Représentations du média disponible » de la zone d’état du fichier. Le fichier proxy est créé et un cercle vert apparaît en regard de l’élément proxy dans la section « Représentations du média disponible » pour indiquer que le fichier proxy du plan est disponible. Affichage des tâches d’arrière-plan Dans Final Cut Pro, de nombreuses tâches s’exécutent à l’arrière-plan. • Importation • Transcodage • Optimisation et analyse vidéo et audio • Rendu • Partage Final Cut Pro gère automatiquement les tâches d’arrière-plan. Vous n’avez donc rien à faire pour les lancer ou les interrompre. Si vous souhaitez afficher la progression des procédures exécutées en arrière-plan, ouvrez la fenêtre Tâches d’arrière-plan. Les tâches en cours d’exécution et leur pourcentage d’exécution s’affichent dans la fenêtre. Important : Si vous utilisez activement Final Cut Pro et que des tâches sont en cours d’exécution en arrière-plan, celles-ci s’interrompent. Les tâches reprennent lorsque vous n’utilisez pas Final Cut Pro. Affichage des tâches en cours d’exécution en arrière-plan 1 Procédez de l’une des manières suivantes: • Choisissez Fenêtre > Tâches d’arrière-plan (ou appuyez sur les touches Commande + 9). • Dans la barre d’outils, cliquez sur le bouton Tâches en arrière-plan. 2 Pour afficher les tâches en cours d’exécution dans chaque section, cliquez sur le triangle d’affichage.Chapitre 15 Gestion des fichiers de média 419 Mise en pause ou reprise d’une tâche dans la fenêtre Tâches en arrière-plan m Cliquez sur le bouton Pause ou Reprendre . Annulation d’une tâche dans la fenêtre Tâches en arrière-plan m Cliquez sur le bouton Annuler . Suppression des fichiers de rendu pour libérer de l’espace disque Les fichiers de rendu du projet et des plans sont conservés dans les dossiers Final Cut Events et Final Cut Projects. Avec le temps, ces fichiers peuvent devenir volumineux et occuper de l’espace disque. Si vous souhaitez libérer de l’espace disque, vous pouvez supprimer les fichiers de rendu inutilisés ou supprimer tous les fichiers de rendu d’un plan composé ou d’un projet Final Cut Pro particulier. Suppression des fichiers de rendu du projet 1 Sélectionnez un projet dans la bibliothèque de projets. 2 Choisissez Fichier > Supprimer les fichiers de rendu du projet. 3 Dans la fenêtre qui s’affiche, choisissez de supprimer « Fichiers de rendu inutilisés seulement » ou « Tous les fichiers de rendu », puis cliquez sur OK. Suppression des fichiers de rendu d’un événement 1 Sélectionnez un événement dans le navigateur d’événements. 2 Choisissez Fichier > Supprimer les fichiers de rendu d’événement. 3 Dans la fenêtre qui s’affiche, choisissez de supprimer « Fichiers de rendu inutilisés seulement » ou « Tous les fichiers de rendu », puis cliquez sur OK. Gestion de vos fichiers d’événements et de projets Avant de déplacer ou de copier des événements et des projets Si vous souhaitez réaliser le montage d’un projet sur un autre ordinateur ou sauvegarder un projet ou des événements sur un périphérique de stockage externe, vous pouvez les déplacer ou les copier. Avant de déplacer ou de copier un projet, il est recommandé de consolider ses médias et de les sauvegarder. Par défaut, les fichiers de média importés dans Final Cut Pro restent à leur emplacement original. Lorsque vous importez des médias dans Final Cut Pro vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. La création de ces copies (à utiliser exclusivement dans Final Cut Pro) permet d’éviter que les fichiers soient déplacés par inadvertance et deviennent indisponibles dans Final Cut Pro. Si un fichier utilisé par Final Cut Pro est déplacé, Final Cut Prosignale le plan avec une icône de fichier manquant. Si vous considérez qu’il existe une possibilité que les fichiers de média soient déplacés ou supprimés, il est recommandé de créer une copie du média.Chapitre 15 Gestion des fichiers de média 420 Remarque : Si vous importez des fichiers alors que la case « Copier les fichiers dans le dossier Final Cut Events » est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez ou copiez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements. Consolidation des fichiers de média d’un projet Lors de la création d’un projet dans Final Cut Pro, vous pouvez utiliser des médias situés à différents endroits, y compris votre ordinateur local et des périphériques de stockage externe. Si les médias utilisés dans le projet sont situés sur différents disques durs, vous pouvez consolider tous les médias du projet sur le disque dur où se trouve le projet. Regroupement à un seul emplacement des plans d’un projet 1 Localisez le projet que vous souhaitez consolider dans la bibliothèque de projets. 2 Cliquez sur le projet tout en maintenant la touche Contrôle enfoncée, puis choisissez « Consolider les médias du projet » dans le menu contextuel. Si une fenêtre s’affiche déclarant qu’il n’y a aucun élément à consolider, cela signifie que tous vos fichiers de média sont déjà consolidés et stockés sur un disque. 3 Sélectionnez une option pour définir le déroulement de la consolidation. • Copier les événements référencés: duplique les événements référencés (et tous les plans contenus dans ceux-ci) dans l’emplacement de votre projet. Cette option s’avère utile si vous utilisez le même média dans plusieurs projets ou si vous n’avez pas terminé l’ajout de plans de l’événement à votre projet. • Déplacer les événements référencés: déplace tous les événements référencés sur l’emplacement de votre projet. Si d’autres projets utilisent les plans de l’événement en cours de consolidation, ces projets n’ont alors pas accès à l’événement. Cette option peut s’avérer utile si les plans de l’évé- nement sont utilisés uniquement dans le projet en cours de consolidation. • Copier seulement les plans utilisés: duplique uniquement les fichiers de média utilisés dans le projet. Cette option ne concerne que les médias utilisés dans le projet (et non tous les plans des événements référencés par le projet). Elle permet de conserver plus d’espace disque. • Champ «Nouveau nom de l’événement»: si vous choisissez « Copier seulement les plans utilisés », vous pouvez créer un événement destiné à héberger le média consolidé. Si vous ne spécifiez pas de nom pour le nouvel événement, le nom du projet lui est attribué.Chapitre 15 Gestion des fichiers de média 421 4 Cliquez sur OK. Final Cut Pro consolide les médias à l’aide de la méthode sélectionnée. Le ou les événements apparaissent sur le même disque dur que le projet. Vous pouvez aussi faire appel à la commande «Organiser les fichiers d’événements » pour copier tous les fichiers de média externes qu’un événement utilise dans son dossier d’événement. Pour en savoir plus, consultez Organisation des fichiers lors de l’importation à la page 41. Sauvegarde des projets, des événements et de votre bibliothèque de projets La sauvegarde de vos projets, de votre bibliothèque de projets et de vos événements représente une étape essentielle du flux de production. Certaines intervenants exécutent des sauvegardes quotidiennes ou hebdomadaires, d’autres lorsqu’un projet est terminé. Pour protéger votre média, il est recommandé de sauvegarder sur un périphérique de stockage ou une partition différente de celle sur laquelle vous stockez vos fichiers de média utilisés avec Final Cut Pro. Remarque : Final Cut Pro conserve une seule copie de sauvegarde de chaque événement et projet. Il s’agit uniquement des copies de l’événement en cours et des fichiers de projet et non des fichiers de média source associés. Final Cut Pro met les copies de sauvegarde à jour toutes les 15 minutes, s’il détecte un changement dans un événement ou un projet. Pour en savoir plus, consultez Emplacement de vos fichiers de média et de projet à la page 407. Sauvegarde de votre projet dans Final Cut Pro 1 Connectez un périphérique de stockage externe disposant d’assez d’espace pour contenir votre projet et vos fichiers de média et vérifiez qu’il apparaît dans le Finder. 2 Cliquez sur votre projet dans la bibliothèque de projets tout en maintenant la touche Contrôle enfoncée, puis choisissez Dupliquer le projet dans le menu contextuel. 3 Dans la fenêtre qui s’affiche, attribuez un nom au nouveau projet (dupliqué), puis choisissez votre périphérique de stockage externe dans le menu local Emplacement. 4 Sélectionnez une option pour indiquer ce qui doit être dupliqué : • Dupliquer le projet: duplique les fichiers spécifiques du projet que vous avez sélectionnés. Cette option est utile, par exemple, si vous utilisez les mêmes plans dans plusieurs projets et que vous pensez sauvegarder vos événements séparément (par exemple dans votre copie de sauvegarde de l’ensemble de votre bibliothèque de projets ou de vos événements). Cette option ne crée pas de copie de média d’événement. • Dupliquer le projet et les événements référencés: duplique le projet et tout événement auquel celui-ci se réfère. Cette option comprend touts les médias contenus dans les événements référencés. Cette option est particulièrement utile si vous souhaitez conserver les médias non utilisés en vue de leur utilisation ultérieure. • Dupliquer le projet et les plans utilisés: copie le projet ainsi que les plans utilisés dans le projet. Lorsque vous sélectionnez cette option, il vous est possible de choisir entre copier tous les plans et leur média ou copier seulement les plans multicam et composés sans les médias associés. La première méthode crée une copie de sauvegarde de votre projet avec l’intégralité de son média. La deuxième méthode entraîne la sauvegarde du projet et crée des copies de travail indépendantes des plans multicam et composés qui ne changent pas si vous mettez les copies d’origine à jour dans votre projet. • Tous les plans utilisés: duplique le projet et copie dans un nouvel événement tous les plans et le média exploité dans le projet. Lorsque vous sélectionnez cette option, vous devez attribuer un nom au nouvel événement.Chapitre 15 Gestion des fichiers de média 422 En sélectionnant cette option, vous dupliquez l'intégralité du fichier multimédia original pour tout plan utilisé dans le projet, pas uniquement la portion affichée dans la timeline. Si les fichiers utilisés dans le projet ont été importés en tant que fichiers de référence (alias pointant vers des fichiers multimédias conservés hors du dossier d'événements de Final Cut), les fichiers de référence sont copiés, mais pas les fichiers multimédias originaux. • Plans multicam et composés uniquement: crée une copie du projet et les plans parents nécessaires aux plans multicam ou composés intégrant le projet. En d’autres termes, les copies de sauvegarde des plans multicam et des plans composés ne sont pas liées aux copies parentes d’origine et ne sont par conséquent pas mis à jour lorsque les originaux parents sont modifiés. Cette option vous permet d’enregistrer une copie de travail d’un projet et d’éviter les modifications accidentelles apportées aux plans multicam ou composés dans cette copie. Cette option ne duplique pas le média et génère par conséquent un ensemble de fichiers de sauvegarde plus compact économisant l’espace de stockage. Vous pouvez fournir un nom au nouvel événement destiné à héberger les plans multicam ou composés, ou choisir un événement existant à partir du menu local Événement. Pour en savoir plus sur les plans multicam et composés, consultez Présentation des plans composés à la page 266 et Présentation du montage multicam à la page 320. Cette option n’est disponible que si votre projet contient des plans multicam ou composés. 5 Si vous souhaitez inclure les fichiers de rendu (pour que Final Cut Pro n’ait pas à en créer de nouveaux), cochez la case « Inclure les fichiers de rendu ». 6 Cliquez sur OK. Final Cut Pro duplique le projet en s’appuyant sur l’option indiquée. Le projet voit son nom complété d’un chiffre incrémenté (par exemple « film de François1 »), puis s’affiche à l’emplacement indiqué. Dans la plupart des cas, visionner vos événements et vos projets de sauvegarde revient simplement à connecter votre périphérique de stockage à Final Cut Pro et à localiser la copie de sauvegarde de votre projet ou de votre événement dans la bibliothèque de projets. Pour en savoir plus sur la localisation ou l’affichage de votre projet, consultez Problèmes courants relatifs à la gestion des médias à la page 434.Chapitre 15 Gestion des fichiers de média 423 Sauvegarde de votre bibliothèque de projets et de vos événements à l’aide du Finder Pour créer une seule copie de sauvegarde de votre bibliothèque de projets et de vos événements, vous pouvez copier les dossiers Final Cut Projects et Final Cut Events sur un périphérique de stockage externe. Si vous réalisez une copie de sauvegarde progressive, créez une structure de dossier qui vous permette de parcourir facilement vos dossiers de sauvegarde. Vous pouvez, par exemple, étiqueter les dossiers selon la date de la copie de sauvegarde. Important : Pour éviter des problèmes, il est primordial que vous placiez les fichiers de sauvegarde dans un dossier, que vous pouvez appeler par exemple « Sauvegardes 2012 Final Cut Pro », qui ne se trouve pas à la racine de votre périphérique de stockage externe. 1 Dans le Finder, accédez et sélectionnez vos dossiers Final Cut Projects et Final Cut Events. Votre dossier Séquences constitue l’emplacement par défaut pour tous les fichiers de projet et d’événement : /Utilisateurs/nom d’utilisateur/Séquences/ Important : Si un projet ou un événement a été déplacé après sa création, il ne se trouve plus à son emplacement par défaut. 2 Faites glisser les dossiers Final Cut Projects et Final Cut Events sur votre périphérique de stockage externe. Les dossiers sont copiés sur votre périphérique de stockage externe. Pour restaurer les événements et les projets que vous avez sauvegardés par le biais du Finder, copiez-les à leur emplacement d’origine dans les dossiers Final Cut Projects et Final Cut Events. Remarque : Lorsque vous importez des médias dans Final Cut Pro, vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements.Chapitre 15 Gestion des fichiers de média 424 Montage de votre projet sur un ordinateur différent Si vous êtes amené à devoir travailler sur votre projet et vos fichiers de média sur un autre ordinateur, plusieurs options s’offrent à vous: • Déplacer le projet: vous pouvez supprimer le projet de son emplacement actuel et le placer ailleurs. Lorsque vous déplacez un projet, vous pouvez déplacer tous les événements utilisés dans le projet, tous les plans utilisés dans le projet ou uniquement le projet. • Copier le projet : vous pouvez dupliquer le projet et placer la copie dans un autre emplacement. Lorsque vous copiez un projet, vous pouvez copier tous les événements utilisés dans le projet, tous les plans utilisés dans le projet ou uniquement le projet. • Stocker des projets et des événements sur un emplacement SAN : vous pouvez stocker des fichiers sur un emplacement de réseau SAN, afin de pouvoir y accéder à partir de l’autre ordinateur via le réseau. Remarque : Si vous avez personnalisé un effet, une transition, un titre, un générateur ou un thème quelconque Final Cut Pro, vous devez sauvegarder et déplacer manuellement le dossier des modèles Motion à un emplacement sous ~/Movies/Motion Templates. Déplacement d’un projet et de ses événements référencés vers un autre ordinateur 1 Connectez votre périphérique de stockage externe à l’ordinateur sur lequel votre fichier de projet Final Cut Pro se trouve et vérifiez que le périphérique apparaît dans le Finder. 2 Vérifiez que Final Cut Pro est installé sur l’ordinateur vers lequel vous déplacez les fichiers. 3 Sur l’ordinateur qui contient votre fichier de projet Final Cut Pro, sélectionnez le projet et la bibliothèque d’événements. 4 Choisissez Fichier > Déplacer le projet. 5 Dans la fenêtre qui s’affiche, procédez comme suit : a Choisissez votre périphérique de stockage externe dans le menu local Emplacement. b Sélectionnez «Déplacer le projet et les événements référencés ». En sélectionnant cette option, vous déplacez le fichier du projet et tous les événements réfé- rencés par le projet (ainsi que tous les plans qu’ils contiennent) sur le disque sélectionné dans le menu local Emplacement. Pour en savoir plus sur les options de cette fenêtre, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92. c Cliquez sur OK. L’icône et les événements du projet disparaissent de leur emplacement dans la bibliothèque de projets et la bibliothèque d’événements et s’affichent au-dessous de l’icône de périphé- rique (indiquant qu’ils ont été déplacés).Chapitre 15 Gestion des fichiers de média 425 6 Fermez Final Cut Pro, puis déconnectez le périphérique de stockage de votre ordinateur. AVERTISSEMENT : Ne débranchez pas de périphérique si Final Cut Pro l’utilise. 7 Connectez le périphérique de stockage à l’ordinateur vers lequel vous souhaitez déplacer votre projet et vérifiez que le périphérique apparaît dans le Finder. 8 Ouvrez Final Cut Pro, puis ouvrez la bibliothèque de projets. Le projet déplacé apparaît dans la bibliothèque de projets en dessous du périphérique de stockage connecté. Remarque : Si le périphérique de stockage ne s’affiche pas dans la bibliothèque de projets, consultez la section Problèmes courants relatifs à la gestion des médias à la page 434. 9 Pour faire passer le projet du périphérique de stockage au nouvel ordinateur, sélectionnez-le, puis choisissez Fichier > Déplacer le projet. 10 Dans la fenêtre qui s’affiche, procédez comme suit : a Choisissez le nouvel ordinateur dans le menu local Emplacement. b Sélectionnez «Déplacer le projet et les événements référencés ». c Cliquez sur OK. L’icône et les événements du projet disparaissent du périphérique de stockage externe et s’affichent sous le disque de démarrage (icône représentant une maison) dans la bibliothèque de projets et l’événement contenant les médias du projet s’affiche sous le disque de démarrage dans la bibliothèque d’événements. Copie d’un projet et de ses plans vers un autre ordinateur 1 Connectez votre périphérique de stockage externe à l’ordinateur sur lequel votre fichier de projet Final Cut Pro se trouve et vérifiez que le périphérique apparaît dans le Finder. 2 Vérifiez que Final Cut Pro est installé sur l’ordinateur vers lequel vous copiez les fichiers. 3 Sur l’ordinateur qui contient votre fichier de projet Final Cut Pro, sélectionnez le projet et la bibliothèque d’événements. 4 Cliquez sur votre projet tout en maintenant la touche Contrôle enfoncée et choisissez Dupliquer le projet dans le menu contextuel.Chapitre 15 Gestion des fichiers de média 426 5 Dans la fenêtre qui s’affiche, procédez comme suit : a Choisissez votre périphérique de stockage externe dans le menu local Emplacement. b Sélectionnez «Dupliquer le projet et les plans utilisés ». Cette option permet de copier les fichiers de projet et les fichiers de média utilisés par le fichier de projet. Pour en savoir plus sur les options de cette fenêtre, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92. c Saisissez un nom évocateur dans le champ « Nouveau nom de l’événement ». Si vous n’indiquez pas de nom pour l’événement, il reprend alors le même que celui de votre projet. d Cliquez sur OK. L’icône et les événements du projet s’affichent sous l’icône du périphérique de stockage (indiquant qu’ils ont été copiés et déplacés à un nouvel emplacement). 6 Fermez Final Cut Pro, puis débranchez le périphérique de stockage de votre ordinateur. Remarque : Il est impossible de débrancher un périphérique si Final Cut Pro l’utilise. 7 Connectez le périphérique de stockage à l’ordinateur vers lequel vous souhaitez déplacer votre projet et vérifiez que le périphérique apparaît dans le Finder. 8 Ouvrez Final Cut Pro, puis ouvrez la bibliothèque de projets. Le projet copié apparaît dans la bibliothèque de projets en dessous du périphérique de stockage connecté. Remarque : Si le périphérique de stockage ne s’affiche pas dans la bibliothèque de projets, consultez la section Problèmes courants relatifs à la gestion des médias à la page 434. 9 Pour copier les fichiers de projet et de média du périphérique de stockage vers le nouvel ordinateur, faites glisser le projet sur l’icône du dossier de départ dans la bibliothèque de projets. 10 Dans la fenêtre qui s’affiche, procédez comme suit : a Choisissez le nouvel ordinateur dans le menu local Emplacement. b Sélectionnez «Dupliquer le projet et les événements référencés ».Chapitre 15 Gestion des fichiers de média 427 c Cliquez sur OK. Le projet s’affiche au-dessous du disque de démarrage (icône représentant une maison) dans la bibliothèque de projets et l’événement contenant les médias du projet s’affiche au-dessous du disque de démarrage dans la bibliothèque d’événements. Vous pouvez maintenant localiser votre projet dans la bibliothèque de projets et commencer le montage. Toute modification se voit enregistrée dans la copie située sur le disque de démarrage du nouvel ordinateur. Si une icône d’avertissement s’affiche, par exemple pour signaler un média ou un projet manquant ou si vous ne trouvez pas votre projet dans la bibliothèque de projets Final Cut Pro, complétez les étapes dans la tâche pour vérifier que celle-ci s’est exécutée correctement. Pour en savoir plus, consultez Problèmes courants relatifs à la gestion des médias à la page 434. Utilisation d’un emplacement SAN pour monter votre projet sur un autre ordinateur Vous pouvez commencer à monter un projet à travers un réseau en utilisant un emplacement SAN, puis poursuivre votre travail à partir d’un autre ordinateur via le même emplacement SAN. Pour mettre l’emplacement SAN à la disposition des autres ordinateurs du réseau, utilisez la commande Supprimer pour déconnecter l’emplacement SAN de l’ordinateur original. 1 Suivez la procédure d’ajout d’un emplacement SAN décrite dans Utilisation d’emplacements SAN pour des événements et des projets à la page 428. 2 Créez un projet sur l’emplacement SAN ou copiez ou déplacez votre projet dans l’emplacement SAN. 3 Pour supprimer l’emplacement SAN et le mettre à la disposition des autres ordinateurs du réseau, sélectionnez l’emplacement SAN dans la bibliothèque d’événements ou la bibliothèque de projets, puis choisissez Fichier > Supprimer l’emplacement SAN. L’emplacement SAN disparaît alors de la bibliothèque d’événements et de la bibliothèque de projets 4 Pour accéder à l’emplacement SAN à partir de l’autre ordinateur, suivez la procédure d’ajout d’un emplacement SAN décrite dans Utilisation d’emplacements SAN pour des événements et des projets à la page 428.Chapitre 15 Gestion des fichiers de média 428 Veillez à accéder au même dossier que celui utilisé à l’étape 1. L’emplacement SAN apparaît sous forme d’emplacement de stockage dans la bibliothèque d’événements et dans la bibliothèque de projets sur le deuxième ordinateur. Vous pouvez à présent utiliser cet ordinateur pour monter n’importe quel événement ou projet stocké sur cet emplacement SAN. Utilisation d’emplacements SAN pour des événements et des projets Vous pouvez enregistrer vos événements et vos projets sur un réseau de stockage SAN. Ces emplacements de stockage en réseau vous offrent un plus grand nombre d’options pour le stockage de vos fichiers de données et la rationalisation de votre flux de production à travers un réseau local haute vitesse. Bien qu’il soit possible d’accéder à des emplacements SAN à partir de différents ordinateurs sur un réseau, un emplacement SAN ne peut être utilisé que par une seule copie installée de Final Cut Pro à la fois. Si vous disposez d’événements ou de projets stockés sur un emplacement SAN, vous devez supprimer cet emplacement dans Final Cut Pro pour le mettre à la disposition des autres ordinateurs du réseau. La fonction d’emplacement SAN nécessite un volume SAN, tel qu’un volume Xsan connecté via le protocole FCP (Fibre Channel Protocol). Ajout d’un emplacement SAN 1 Choisissez Fichier > Ajouter un emplacement SAN. 2 Dans la fenêtre qui apparaît, naviguez jusqu’à un dossier situé sur un périphérique de stockage ou un ordinateur connecté au réseau. Le dossier que vous avez sélectionné apparaît sous la forme d’un emplacement de stockage dans la bibliothèque d’événements et dans la bibliothèque de projets. Emplacement SAN sur votre réseau. Vous pouvez utiliser l’emplacement SAN comme n’importe quel autre périphérique de stockage affiché dans la bibliothèque d’événements et dans la bibliothèque de projets. Vous pouvez, par exemple, créer des événements ou des projets sur l’emplacement SAN, ou bien, y copier et déplacer des événements ou des projets. Suppression d’un emplacement SAN 1 Sélectionnez l’emplacement SAN à supprimer dans la bibliothèque d’événements ou la bibliothèque de projets. 2 Choisissez Fichier > Supprimer l’emplacement SAN. L’emplacement SAN disparaît alors de la bibliothèque d’événements et de la bibliothèque de projets et devient (avec tous les événements ou projets qu’il contient) disponible pour les autres utilisateurs Final Cut Pro du réseau.Chapitre 15 Gestion des fichiers de média 429 Création et gestion des archives de caméra Vous avez la possibilité de créer une archive de caméra (copie de sauvegarde) du contenu de votre caméra ou caméscope. (Il est important de noter que vous ne pouvez pas créer d’archive pour un signal vidéo en direct, tel que celui produit par une caméra iSight.) Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro. Puisque vous pouvez importer des médias dans Final Cut Pro à partir d’une archive, il peut s’avérer utile d’archiver le média sur votre matériel si vous souhaitez effectuer l’une des actions suivantes: • vider rapidement le contenu de votre caméra ou de votre caméscope pour avoir la possibilité d’enregistrer immédiatement d’autre contenu et ne pas devoir attendre une importation dans Final Cut Pro, qui peut prendre un certain temps • importer le média archivé sur plusieurs ordinateurs sans devoir le conserver sur le caméscope ; • garder une archive du média d’une caméra que vous pouvez parcourir facilement sans avoir à l’importer dans Final Cut Pro. Consultez la section Accès aux médias sur une archive ou une image disque à la page 40 pour en savoir plus sur l’importation de média dans Final Cut Pro depuis une archive de caméra. Archivage du média sur votre caméra ou caméscope à système de fichiers 1 Si vous souhaitez enregistrer l’archive sur un périphérique de stockage externe, branchez-le sur votre ordinateur. 2 Branchez ensuite votre caméra ou caméscope sur votre ordinateur à l’aide du câble prévu à cet effet et activez l’appareil. Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. Le nom de ce mode de transfert varie selon le modèle de votre matériel. Il se peut que votre caméscope passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec votre caméscope. Remarque : Si vous connectez un caméscope DVD à votre Mac, il se peut que l’application Lecteur DVD s’ouvre. Si cela se produit, il vous suffit de fermer l’application. 3 Dans Final Cut Pro, cliquez sur le bouton Importation de médias situé complètement à gauche de la barre d’outils (ou appuyez sur Commande + I).Chapitre 15 Gestion des fichiers de média 430 4 Dans la fenêtre Importation des médias qui s’affiche, sélectionnez le périphérique dont vous souhaitez archiver le contenu dans la liste de caméras située sur la gauche. Modifiez l’apparence des plans à l’aide de ces commandes. Le média sur le support s’affiche à cet endroit. Commandes de lecture 5 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre. 6 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive. 7 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez sur OK. Remarque : Il est recommandé d’enregistrer votre archive sur un disque ou une partition diffé- rente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro. L’archive de caméra est conservée sur votre disque dur. Vous pouvez monter les archives comme s’il s’agissait d’un caméscope à système de fichiers et parcourir leur contenu ou importer les médias des archives de caméra dans Final Cut Pro. Pour en savoir plus, consultez Accès aux médias sur une archive ou une image disque à la page 40. Remarque : Lorsque le disque contenant l’archive est connecté, il s’affiche automatiquement dans la liste d’archives de caméra dans Final Cut Pro. Archivage du média sur votre caméra ou caméscope à système de bande 1 Si vous souhaitez enregistrer l’archive sur un périphérique de stockage externe, branchez-le sur votre ordinateur. 2 Branchez ensuite votre caméra ou caméscope sur votre ordinateur à l’aide du câble prévu à cet effet et activez l’appareil. Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. Le nom de ce mode de transfert varie selon le modèle de votre matériel. Il se peut que votre caméscope passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec votre caméscope.Chapitre 15 Gestion des fichiers de média 431 3 Dans Final Cut Pro, effectuez l’une des opérations suivantes: • Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). • Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. 4 Dans la fenêtre Importation des médias qui s’affiche, sélectionnez le périphérique dont vous souhaitez archiver le contenu dans la liste de caméras située sur la gauche. 5 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre. 6 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive. 7 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez sur OK. Remarque : Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro. Final Cut Pro lance l’archivage à partir de la position sur la bande. L’archivage se poursuit jusqu’à ce que : • la fin de la bande soit atteinte ; • vous interrompiez manuellement l’archivage en cliquant sur Arrêter l’importation ou Fermer (pour fermer la fenêtre Importation des médias). L’archive de caméra est conservée sur votre disque dur. Vous pouvez monter les archives comme s’il s’agissait d’un caméscope à système de fichiers et parcourir leur contenu ou importer les médias des archives de caméra dans Final Cut Pro. Pour en savoir plus, consultez Accès aux médias sur une archive ou une image disque à la page 40.Chapitre 15 Gestion des fichiers de média 432 Lorsque le disque contenant l’archive est connecté, il s’affiche automatiquement dans la liste d’archives de caméra dans Final Cut Pro, pour autant que l’archive se trouve dans l’un des deux emplacements suivants: • /Utilisateurs/nom d’utilisateur/Séquences/Final Cut Camera Archives/ • La racine du disque de démarrage Déplacement ou copie d’une archive de caméra 1 Dans le Finder, sélectionnez l’archive de caméra que vous souhaitez déplacer ou copier. 2 Procédez de l’une des manières suivantes: • Pour déplacer l’archive de caméra sur votre disque local : faites glisser l’archive de caméra sur son nouvel emplacement. • Pour copier l’archive de caméra sur votre disque local : en maintenant la touche Option enfoncée, faites glisser l’archive de caméra sur un nouvel emplacement sur votre disque local. • Pour copier l’archive de caméra sur un périphérique de stockage externe : faites glisser l’archive de caméra vers un emplacement sur votre périphérique de stockage externe. Suppression d’une archive de caméra Les archives de caméra sont peu volumineuses comparées à d’autres fichiers de média et n’ont, par conséquent, souvent pas de raison d’être supprimées. Toutefois, vous pouvez supprimer une archive de caméra à tout moment. 1 Dans le Finder, sélectionnez une archive de caméra. 2 Maintenez la touche Contrôle enfoncée et choisissez « Placer dans la Corbeille » dans le menu local qui s’affiche. 3 Tout en maintenant la touche Contrôle enfoncée, cliquez sur l’icône de la Corbeille située dans le Dock, puis choisissez Vider la Corbeille dans le menu contextuel. Important : Vider la corbeille supprime définitivement l’archive de caméra. Solutions aux problèmes communs des gestions des médias Icônes d’avertissement Lorsque des images s’affichent en rouge avec un triangle d’avertissement jaune dans la timeline ou dans l’événement, Final Cut Pro vous signale en fait qu’une partie de votre projet ou de votre événement est manquante. Plusieurs raisons peuvent expliquer la disparition de plans, d’événements, de fichiers de média et d’effets: le déplacement de projets et d’événements d’un ordinateur à un autre et la gestion active du dossier Events (Événements) ou Projects (Projets) de Final Cut Pro à l’aide du Finder sont deux des principales explications. Pour en savoir plus sur l’emplacement des événements, des plans, des projets et des fichiers, consultez la section Emplacement de vos fichiers de média et de projet à la page 407. Icône Alerte Description Événements et plans Final Cut Pro Événement manquant Le dossier de l’événement n’est pas disponible. Cet avertissement s’affiche si votre événement a été placé dans la Corbeille, si celui-ci ou un projet a été déplacé ou si vous avez consolidé le média d’un autre projet.Chapitre 15 Gestion des fichiers de média 433 Icône Alerte Description Plan manquant Un plan utilisé dans un projet Final Cut Pro ou dans un événement n’est pas disponible. Cet avertissement s’affiche si le plan a été placé dans la Corbeille, si celui-ci ou un événement a été déplacé ou si vous avez consolidé le média d’un autre projet. Caméra manquante Aucune caméra contenant des fichiers utilisés dans Final Cut Pro n’est connectée à votre système. Pour ne pas recevoir cet avertissement, créez une copie du média lorsque vous l’importez. Consultez Organisation des fichiers lors de l’importation à la page 41 pour en savoir plus. Fichiers de média Fichier manquant Un fichier n’est pas disponible dans le Finder. Cet avertissement s’affiche si le fichier a été déplacé ou renommé dans le Finder, si un événement ou un projet a été déplacé ou si vous avez consolidé le média d’un autre projet. Fichier modifié Un fichier de média a été modifié par une application autre que Final Cut Pro. Fichier proxy manquant Un fichier proxy créé par Final Cut Pro ne se trouve pas à son emplacement prévu dans le Finder. Consultez Transcodage des fichiers de média à la page 415 pour en savoir plus. Effets Final Cut Pro Effet manquant Un effet est manquant dans Final Cut Pro. Générateur manquant Un générateur est manquant dans Final Cut Pro. Titre manquant Un titre est manquant dans Final Cut Pro. Transition manquante Une transition est manquante dans Final Cut Pro.Chapitre 15 Gestion des fichiers de média 434 Problèmes courants relatifs à la gestion des médias Cette section décrit des problèmes courants relatifs à la gestion de média et leurs solutions. Si un projet ne s’affiche pas sur votre périphérique de stockage externe m Assurez-vous que les dossiers Final Cut Projects et Final Cut Events se trouvent à la racine du périphérique de stockage. m Si le périphérique de stockage ne s’affiche pas dans la liste des appareils de la bibliothèque de projets, vous pouvez copier ou déplacer manuellement les dossiers Final Cut Projects et Final Cut Events vers le dossier Séquences. m Vous pouvez également ajouter manuellement différents dossiers de projets ou d’événements indépendamment à tout dossier Final Cut Projects ou Final Cut Events. Pour en savoir plus, consultez Présentation de la gestion de média à la page 407. Si vous importez directement un fichier d’un disque dur et changez son nom dans le Finder Il se peut qu’un avertissement lié à un fichier manquant s’affiche si vous en déplacez ou en renommez un dans le Finder. m Dans le Finder, réattribuez le nom du fichier qu’il possédait à l’origine dans le navigateur d’événements. Si vous avez annulé une importation Si vous avez annulé une importation et que vous n’avez pas importé un plan entier, celui-ci est signalé par une icône représentant une caméra dans son coin inférieur gauche. Icône de caméra m Suivez les instructions reprises dans le paragraphe « Réimportation d’un plan » de la section Importation à partir des caméras à système de fichiers à la page 22. Si votre ordinateur semble ralentir lorsque Final Cut Pro réalise des tâches de gestion du média Final Cut Pro enregistrant automatiquement toutes les modifications que vous apportez à un projet, ce dernier est alors à jour lorsque vous relancez Final Cut Pro à l’issue d’une coupure de courant. Si Final Cut Pro effectuait des tâches de gestion du média à l’arrière-plan, vous pouvez alors redémarrer ces processus manuellement à l’aide des commandes «Organiser les fichiers d’événements » et «Organiser les fichiers de projet ». 1 Sélectionnez le ou les événements de votre choix dans la bibliothèque d’événements ou un projet dans la bibliothèque de projets.Chapitre 15 Gestion des fichiers de média 435 2 Procédez de l’une des manières suivantes: • Pour redémarrer les tâches de gestion d’arrière-plan pour un événement sélectionné : Choisissez Fichier > Organiser les fichiers d’événements. • Pour redémarrer les tâches de gestion d’arrière-plan pour un projet sélectionné : choisissez Fichier > Organiser les fichiers de projet. Si votre caméra DSLR n’est pas reconnue par Final Cut Pro m Suivez les instructions dans Importation à partir d’un appareil photo numérique à la page 31.16 436 Présentation des préférences et des métadonnées Dans Final Cut Pro, il vous est possible de modifier les réglages de préférences pour indiquer comment votre média source s’importe dans l’application, le mode de reproduction de vos plans et le type de montage applicable à vos plans dans la timeline. Vous pouvez aussi afficher et modifier les renseignements associés à un plan donné, appelées les métadonnées d’un plan. Ces métadonnées comprennent des informations relatives aux fichiers de média source d’un plan ainsi que celles que vous ajoutez au plan, par exemple des notes. Pour en savoir plus, consultez Affichage et modification des métadonnées de plans à la page 451. Préférences Final Cut Pro Modification des réglages de préférences Une préférence modifie le comportement d’une fonctionnalité particulière de Final Cut Pro. La plupart de ces réglages de préférences peuvent être activés ou désactivés à tout moment. Les sections suivantes décrivent les préférences de Final Cut Pro de façon plus détaillée. Ouverture des préférences de Final Cut Pro m Choisissez Final Cut Pro > Préférences (ou appuyez sur Commande +Virgule), puis cliquez sur le bouton d’une fenêtre en haut de la fenêtre pour l’ouvrir. Copie des préférences Final Cut Pro entre ordinateurs Vous pouvez copier les réglages des préférences de Final Cut Pro vers un autre Mac sur lequel Final Cut Pro est aussi installé afin que les réglages soient identiques sur les deux ordinateurs. 1 Le fichier contenant les réglages des préférences se trouve à l’emplacement suivant : /Utilisateurs/nom d’utilisateur/Bibliothèque/Préférences/com.apple.FinalCut.plist 2 Copier le fichier des réglages des préférences au même emplacement sur un autre Mac. Si nécessaire, remplacez toute autre version du fichier à cet emplacement. Préférences et métadonnéesChapitre 16 Préférences et métadonnées 437 Modification des préférences Les préférences Montage influent sur les comportements liés au montage dans Final Cut Pro. Contrôle du temps • Contrôle du temps:utilisez ce menu local pour choisir le mode de mesure du temps pour Final Cut Pro. Les changements apportés à ce réglage affectent l’affichage du temps (pour l’emplacement du skimmer ou de la tête de lecture) dans le panneau de contrôle repris au milieu de la barre d’outils, ainsi que les opérations de trim et de navigation dans Final Cut Pro. Les options suivantes vous sont proposées: • Affichage du timecode • Affichage du timecode avec sous-images • Durée en nombre d’images • Durée en secondes Timeline • Afficher les commentaires détaillés sur le trimming : cochez cette case pour activer la présentation de deux fenêtres juxtaposées dans le visualiseur pour bénéficier d’un retour plus précis sur un point de montage lorsque deux plans contigus sont manipulés. Par exemple, pour un simple montage Ripple ou Roll, cet affichage reprend le point d’arrivée du plan de gauche et le point de départ du plan de droite. • Placer la tête de lecture après l’opération de montage : cochez cette case pour que la tête de lecture se place automatiquement sur la timeline à la fin du dernier montage. Par exemple, si vous insérez un plan entre deux autres sur la timeline, la tête de lecture se place automatiquement entre le plan inséré et celui immédiatement suivant. Unités de l’inspecteur • Unités de l’inspecteur: ce menu local vous permet de définir l’affichage des valeurs dans les commandes de l’inspecteur pour les effets Transformation, Rognage et Distorsion. • Pixels:sélectionnez ce réglage pour afficher les valeurs exprimées en pixels. • Pourcentages:sélectionnez ce réglage pour afficher les valeurs exprimées en pourcentages.Chapitre 16 Préférences et métadonnées 438 Audio • Afficher les formes d’onde de référence : cochez cette case pour modifier l’apparence de l’arrièreplan de la partie audio d’un plan de sorte à afficher les formes d’onde de référence. Une forme d’onde de référence affiche la résolution maximale de la forme d’onde audio active. En faisant appel à un facteur d’annulation sur la tonalité, les formes d’onde de référence permettent de distinguer la forme du son plus clairement. Lorsque la forme d’onde active change de forme (par exemple, se réduit lorsque le volume d’un plan est faible), celle de référence reste intégralement visible pour faciliter le montage. Images fixes • Durée de montage de x secondes:utilisez cette case de valeur pour régler la durée de montage en secondes par défaut des images fixes et des plans d’arrêt sur image. Transitions • Durée de x secondes: utilisez cette case de valeur pour régler la durée en secondes par défaut des transitions. Avertissements de dialogue • Tout réinitialiser: cliquez sur ce bouton pour réinitialiser l’affichage de toutes les zones de dialogue d’avertissement. Préférences de lecture Les préférences de lecture influent sur les performances en lecture et de rendu de Final Cut Pro. Rendu • Rendu en arrière-plan : cochez cette case pour activer les opérations de rendu de Final Cut Pro, qui s’effectuent lorsque le système est inactif. • Démarrer après:utilisez cette case de valeur pour définir la durée d’inactivité de votre système, exprimée en secondes, avant que le rendu en arrière-plan de Final Cut Pro se lance. Lecture • Utiliser un média proxy : cliquez sur ce bouton pour exploiter du média proxy de qualité moyenne (converti à la moitié de la résolution d’origine) plutôt que du média en résolution complète lors de la lecture. Choisir cette option augmente les performances de lecture, bien que la qualité vidéo soit moindre. Dans Final Cut Pro, le média proxy est au format Apple ProRes 422 (Proxy). Chapitre 16 Préférences et métadonnées 439 • Utiliser un média original ou optimisé : ce bouton vous permet d’exploiter du média optimisé pour la lecture. Si aucun média optimisé n’est disponible, Final Cut Pro fait appel au média d’origine pour la lecture. Dans ce cas, utilisez le menu local Qualité de lecture pour indiquer d’utiliser toujours le plus haut niveau de qualité vidéo pour la lecture, ou de faire appel à de la vidéo de résolution plus modeste pour bénéficier de meilleures performances en lecture. Dans Final Cut Pro, le média optimisé est au format Apple ProRes 422. • Qualité de lecture : choisissez Haute qualité dans ce menu local pour donner la priorité à la qualité, ou sélectionnez Meilleures performances pour privilégier les performances. • Créer des média optimisés pour des plans multicam: cochez cette case pour transcoder automatiquement la vidéo de plans multicam au codec Apple ProRes 422, ce qui assure de meilleures performances lors du montage et des temps de rendu plus courts. • Avertir lors de l’omission d’images durant la lecture : cochez cette case pour que Final Cut Pro vous avertisse lorsque des images sont abandonnées (Drop-Frame) lors de la lecture. • Avertir lors de l’omission d’images à cause d’une mauvaise performance du disque dur: cochez cette case pour que Final Cut Pro vous avertisse lorsque des images sont abandonnées (DropFrame) pendant la lecture à cause des performances du disque dur. Durée de pre-roll • Durée de pre-roll :Utiliser la case de valeur pour définir la durée à lire avant une audition ou avant la position du skimmer ou de la tête de lecture lors de l’utilisation de la commande Lire le contexte. Durée de post-roll • Durée de post-roll :Utiliser la case de valeur pour définir la durée à lire avant une audition ou avant la position du skimmer ou de la tête de lecture lors de l’utilisation de la commande Lire le contexte. Arrière-plan du lecteur • Arrière-plan du lecteur:utilisez ce menu local pour choisir un modèle pour le visualiseur. La couleur sélectionnée est alors visible dans le cas de plans transparents, entièrement ou en partie, ou de plans ne tenant pas complètement sur l’image. Sortie A/V • Sortie A/V : utilisez ce menu local pour choisir un équipement audio/vidéo ou un moniteur externe pour la sortie. La sortie A/V nécessite une interface vidéo matérielle et logicielle de tierce partie et n’est disponible que sous OS X Lion 10.7.2 ou ultérieur. Pour en savoir plus, consultez Lecture sur un moniteur externe à la page 85.Chapitre 16 Préférences et métadonnées 440 Préférences d’importation Lorsque vous importez du média dans Final Cut Pro par le biais de la fenêtre Importation des médias, vous pouvez alors personnaliser vos réglages d’importation chaque fois que vous importez des fichiers. Si vous faites glisser cependant du média directement à partir du Finder dans Final Cut Pro, Final Cut Pro s’appuie sur les réglages d’importation que vous avez sélectionnés dans la fenêtre Importer des préférences de Final Cut Pro. Organisation • Copier les fichiers dans le dossier Final Cut Events:duplique les fichiers de médias et place part la copie dans le dossier Final Cut Events stocké sur votre système. Si vous importez un média depuis un autre disque ou volume, ou si vous voulez conserver une copie de tous les fichiers de média qui ont été importés dans Final Cut Pro au même emplacement, cochez cette case. • Importer des dossiers sous forme de collections de mots-clés: crée une collection de mots-clés pour chaque dossier dans les fichiers en cours d’importation. Si les fichiers en cours d’importation se trouvent dans des dossiers dont le nom est évocateur, sélectionnez cette option pour conserver l’organisation des fichiers existante dans le Finder. (Il est important de noter que, bien que les collections de mots-clés ne soient pas imbriquées dans la bibliothèque d’événements, chaque fichier obtient une collection de mots-clés pour chaque dossier dans lequel il figure, quelle que soit la profondeur du sous-dossier dans l’arborescence du dossier en question.) Transcodage • Créer un média optimisé : cette option transcode la vidéo au format de codec Apple ProRes 422, lequel assure de meilleures performances lors du montage, des temps de rendu réduits et une qualité colorimétrique supérieure lors du compositing. Si le format original de la caméra peut être monté en offrant de bons résultats, cette option est estompée. • Créer un média proxy : cette option permet de transcoder de la vidéo au format du codec Apple ProRes 422 (Proxy), ce qui génère des fichiers en haute qualité, pratiques pour le montage déconnecté. Les fichiers vidéo proxy occupent sensiblement moins d’espace disque, vous offrant souvent la possibilité de travailler sur un ordinateur portable même si celui-ci dispose de moins de mémoire et de puissance qu’un ordinateur de bureau. Cette option transcode des images fixes en fichiers JPEG (si le fichier original ne possède pas d’informations de canal alpha) ou PNG (dans le cas contraire). Remarque : Lors du transcodage de fichiers, Final Cut Pro conserve toujours le média original en vue de son utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de média originaux, de média proxy et de média transcodés, consultez Emplacement de vos fichiers de média et de projet à la page 407.Chapitre 16 Préférences et métadonnées 441 Vidéo • Analyser la balance des couleurs: analyse la piste vidéo des plans pour détecter les problèmes de dominante de couleur et de contraste. La balance des couleurs est automatiquement corrigée lorsque vous faites glisser le plan sur la timeline. Vous pouvez corriger les problèmes de balance des couleurs d’un plan inclus dans un événement en activant la fonction Balance dans la section Couleur de l’inspecteur vidéo. Vous pouvez désactiver le réglage automatique de la couleur à tout moment. Dans ce cas, le plan conserve les couleurs enregistrées à l’origine dans le projet. • Rechercher les personnes: effectue l’analyse des plans pour détecter la présence de personnes et des types de plans. Une fois l’analyse effectuée, les mots-clés suivants sont ajoutés au plan le cas échéant : Une personne, Deux personnes, Groupe, Gros plan, Plan moyen ou Plan élargi. La case « Consolider les résultats de recherche de personnes » simplifie et récapitule tous les mots-clés d’analyse de ce type de recherche. Pour en savoir plus, consultez Options d’analyse des vidéos et des images fixes à la page 49. Si vous procédez à l’analyse pour rechercher des personnes, il est recommandé de cocher également la case « Créer des collections intelligentes après l’analyse ». • Créer des collections intelligentes après l’analyse : crée une collection intelligente pour chaque mot-clé appliqué lors de l’analyse de plans vidéo pour rechercher des problèmes de stabilisation ou des personnes. Les collections intelligentes s’affichent dans un dossier à l’intérieur de l’événement. Audio • Analyser et résoudre les problèmes audio : analyse l’audio et corrige automatiquement tout bourdonnement, bruit et problème de tonalité. Vous pouvez à tout moment désactiver les corrections automatiques de l’audio ; dans ce cas, l’audio est lue telle qu’enregistrée à l’origine. • Scinder l’audio mono et grouper l’audio stéréo : analyse et regroupe les canaux audio en mono double ou en stéréo, selon les résultats de l’analyse. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176. • Supprimer les canaux silencieux : les canaux audio sont analysés et ceux laissés silencieux sont automatiquement supprimés. Remarque : Il vous est possible de récupérer la configuration audio d’origine après l’importation. Consultez Configuration des canaux audio à la page 176. Préférences de destinations Pour modifier les destinations de partage reprises dans le menu Partager, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Les destinations de la liste Destinations (reprise au côté gauche de la fenêtre Destinations) apparaissent également dans le sous-menu Partager du menu Fichier et dans le menu local qui s’affiche lorsque vous cliquez sur le bouton Partager dans la barre d’outils.Chapitre 16 Préférences et métadonnées 442 Lorsque vous ouvrez Final Cut Pro pour la première fois, un ensemble de destinations par défaut apparaît dans la liste Destinations. Vous avez la possibilité d’ajouter d’autres destinations et en personnaliser au besoin. Pour connaître les destinations que vous pouvez ajouter, sélectionnez Ajouter une destination dans la liste Destinations. Lorsque vous sélectionnez une destination dans la liste Destinations, ses réglages s’affichent à droite. Les réglages disponibles pour chaque destination sont décrits ci-dessous. Pour en savoir plus sur l’ajout et la modification de destinations, consultez Utilisation de destinations à la page 447. DVD et Blu-ray Faites appel à ces destinations pour graver votre projet ou plan sur un DVD en définition standard ou disque compatible Blu-ray, ou pour créer un fichier d’image disque (.img) que vous pouvez copier ensuite sur un lecteur externe ou graver sur disque. Remarque : La destination Blu-ray ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. Les destinations DVD et Blu-ray comprennent les réglages suivants: • Périphérique de sortie : reprend les dispositifs de sortie adaptés à votre système, notamment les lecteurs optiques et le disque dur de l’ordinateur. Vous pouvez passer par votre disque dur pour créer un fichier d’image disque (.img) que vous pouvez copier ensuite sur un lecteur externe ou graver sur un DVD. • Couches: affiche les couches disponibles sur le média de destination. • Automatique : détecte automatiquement le type de disque que vous pouvez utiliser. • Simple couche : identifie le disque en tant que disque simple couche. Vous pouvez faire appel à cette option pour forcer un disque double couche faisant office de disque simple couche. • Double couche : identifie le disque en tant que disque double couche. Cette option peut forcer au besoin l’image disque à être formatée en disque double couche si vous choisissez l’option Disque dur pour désigner votre dispositif de sortie. Important : En fonction de la durée du projet, le choix de Double couche en cas d’usage d’un disque simple couche peut entraîner une erreur lors de la gravure du disque.Chapitre 16 Préférences et métadonnées 443 • Modèle de disque : affiche les modèles de disque proposés. • Au chargement du disque : affiche l’opération automatique qui s’exécute au moment de la lecture du disque. • Afficher le menu : affiche le menu principal. • Lire le film: lance immédiatement la lecture du film. • Marqueurs: non disponibles pour Blu-ray lors de l'utilisation d'un appareil de sortie AVCHD. Cocher la case pour inclure le texte des marqueurs de chapitre sous forme de sous-titres dans le disque généré en sortie. Les utilisateurs peuvent ainsi passer d’un marqueur de chapitre à l’autre en appuyant sur le bouton Chapitre suivant ou Chapitre précédent sur le lecteur de DVD ou Blu-ray. Pour en savoir plus sur l’utilisation de marqueurs de chapitre, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160. • En boucle : disponible uniquement pour les disques Blu-ray. Cochez cette case pour ajouter une icône de lecture en boucle au menu. • Arrière-plan : cliquez sur le bouton Ajouter pour ajouter un graphisme en arrière-plan. • Graphique du logo : disponible uniquement pour les disques Blu-ray. cliquez sur le bouton Ajouter pour ajouter un logo. • Graphique du titre : disponible uniquement pour les disques Blu-ray. cliquez sur le bouton Ajouter pour ajouter un graphisme pour le titre. • Preview: cliquez sur Menu principal pour afficher un aperçu du menu principal. Cliquez sur Menu Chapitre pour afficher un aperçu du menu des chapitres. Adresse électronique Utilisez cette destination pour envoyer votre projet ou plan par courrier électronique à travers le programme de messagerie électronique Mail d’Apple. La destination Adresse électronique crée automatiquement un courrier électronique qui inclut le fichier exporté. Remarque : La destination Adresse électronique ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. La destination Adresse électronique inclut les réglages suivants: • Résolution : choisissez une résolution dans le menu local. • Compression : choisissez « Meilleure qualité » si vous voulez bénéficier d’une compression optimale. Choisissez « Encodage plus rapide » si vous êtes disposé à sacrifier de la qualité pour obtenir un traitement plus rapide. YouTube, Vimeo, Facebook et CNN iReport Faites appel à ces destinations pour publier votre projet ou plan à travers votre compte YouTube, Vimeo, Facebook ou CNN iReport. Remarque : La destination CNN iReport ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. Important : Si vous possédez plusieurs comptes pour le même site web, vous devez créer une destination à part pour chaque compte. Après avoir saisi les informations de compte, le nom de la destination se voit complété de celui du compte entre parenthèses, par exemple, « YouTube (nom_utilisateur) ». Si vous le désirez, vous pouvez renommer la destination pour lui attribuer un nom plus évocateur.Chapitre 16 Préférences et métadonnées 444 Les destination web regroupent les réglages suivants: • Ouvrir une session : la première fois que vous ouvrez une nouvelle destination web, une fenêtre vous permet alors de saisir les informations de votre compte. Si vous saisissez votre nom de compte et votre mot de passe, et cochez la case « Conserver ce mot de passe dans mon trousseau », il ne vous est alors plus nécessaire de ressaisir vos nom et mot de passe par la suite. Après la configuration de départ, vous pouvez cliquer sur le bouton Ouvrir une session dans les réglages de la destination pour saisir à nouveau ou pour modifier les informations de votre compte. • Résolution : choisissez la résolution par défaut pour la destination. Si la destination est utilisée avec un projet ou un plan présentant une résolution inférieure à celle que vous avez sélectionnée, la résolution s’adapte pour se calquer sur celle du projet ou du plan. • Compression : choisissez « Meilleure qualité » si vous voulez bénéficier d’une compression optimale. Choisissez « Encodage plus rapide » si vous êtes disposé à sacrifier de la qualité pour obtenir un traitement plus rapide. • Convertir ce film en film privé : disponible uniquement pour YouTube. Si cette case est cochée, seuls les contacts que vous indiquez dans les paramètres de votre compte YouTube sont alors en mesure de visionner le film. • Catégorie : disponible uniquement pour YouTube. Choisissez la catégorie YouTube sous laquelle votre film doit figurer. • Visible par: disponible uniquement pour Facebook et pour Vimeo. Indiquez qui est en mesure de visionner votre film. Enregistrer l’image active et Séquence d’images Passez par ces destinations pour enregistrer l’image fixe d’une image vidéo quelconque de votre projet ou pour enregistrer un ensemble de fichiers d’images fixes, numérotés de façon séquentielle. Remarque : Les destinations Enregistrer l’image active et Séquence d’images ne s’affichent pas par défaut. Pour ajouter l’une de ces deux à la liste Destinations, consultez Utilisation de destinations à la page 447. Les destinations Enregistrer l’image active et Séquence d’images regroupent les réglages suivants: • Exporter: choisissez un format pour le fichier exporté. • Mettre l’image à l’échelle pour conserver les proportions: cochez cette case pour adapter l’échelle du fichier de sortie à des pixels carrés et conserver ainsi les proportions d’origine (entraînant par là même une augmentation ou une réduction du nombre de pixels à l’horizontale et à la verticale). La case n’influe que sur les projets usant des formats avec des pixels non-carrés, tels les formats NTSC et PAL. Si la case est décochée (réglage par défaut), le fichier en sortie reprend les proportions pixels et le même nombre de pixels à l’horizontale et à la verticale que la vidéo d’origine. Exportation d’un fichier Remarque : Cette destination sert de base à trois destinations dans l’ensemble par défaut : Fichier master, Dispositifs Apple 720p et Dispositifs Apple 1080p. Lorsque vous créez ou modifiez des destinations dans les préférences de Final Cut Pro, cette destination s’appelle Exporter le fichier. Utilisez cette destination pour exporter votre projet ou plan sous forme de fichier de film (audio + vidéo), de fichier vidéo (sans audio) ou de fichier audio (sans vidéo). Cette destination permet d’exporter des fichiers destinés aux appareils Apple, aux ordinateurs et pour l’hébergement sur le web. Chapitre 16 Préférences et métadonnées 445 Vous pouvez personnaliser la destination Exporter le fichier en choisissant l’une des résolutions proposées en fonction de l’appareil de reproduction prévu. Par exemple, choisissez une résolution de 1280 x 720 pour l’iPhone et l’iPod, et une résolution de 1920 x 1080 pour l’iPad. Vous pouvez aussi exporter un ou plusieurs des rôles utilisés dans votre projet sous forme d’un ou de plusieurs fichiers appelés stems. La destination d’exportation de fichiers inclut les réglages suivants: • Format: formats de masterisation de listes (Vidéo et audio, Vidéo seulement, Audio seulement) et formats de publication (appareils Apple, Ordinateur, Hébergement web). Votre choix du format détermine les options proposées dans les menus locaux ci-dessous. Important : Lors du partage d’un projet ou plan, vous ne pouvez changer de résolution que pour les formats de publication. • Codec vidéo : choisissez le codec vidéo à utiliser pour le fichier exporté. (Les choix proposés s’appuient sur le format de média du plan ou du projet source.) • Résolution : choisissez la résolution par défaut pour la destination. Si la destination est utilisée avec un projet ou un plan présentant une résolution inférieure à celle que vous avez sélectionnée, la résolution s’adapte pour se calquer sur celle du projet ou du plan. • Formats de fichiers audio : si vous avez choisi Audio seulement dans le menu local Format, indiquez un format audio pour le fichier exporté. Si vous avez choisi une autre option dans le menu local Format, l’élément répertorie le format audio prévu pour le fichier exporté. • Inclure les marqueurs de chapitre : cochez la case pour inclure les marqueurs de chapitre ajoutés au fichier de sortie du projet. Les utilisateurs peuvent ainsi passer d’un marqueur de chapitre à l’autre en cliquant sur le bouton Chapitre suivant ou Chapitre précédent dans iTunes ou dans QuickTime Player. • «Une fois terminé », «Ouvrir avec » ou «Ajouter à la liste de lecture »: choisissez l’opération que vous souhaitez voir s’exécuter une fois l’exportation terminée. Vous avez le choix d’ouvrir le fichier exporté dans une application, de l’ajouter à votre bibliothèque iTunes ou de le publier dans le navigateur multimédia. Le nom du menu local s’adapte en fonction de l’option choisie. • Ne rien faire : choisissez cette option si vous ne voulez pas ouvrir automatiquement le fichier exporté. • QuickTime Player, iTunes ou autre application : choisissez cette option pour ouvrir le fichier exporté dans l’application par défaut associée à ce type de fichier. Vous pouvez définir ou changer d’application par défaut dans le Finder. Pour en savoir plus, consultez l'aide d’OS X accessible depuis le menu Aide lorsque le Finder est actif. • Compressor: cette option vous permet d’ouvrir le fichier exporté dans Compressor. Le fichier exporté devient alors la source d’un nouveau lot, ce qui permet de continuer plus facilement à traiter le film du projet. Vous pouvez, par exemple, créer les versions compressées nécessaires pour la distribution, sans passer par Final Cut Pro. Remarque : Cette option n’est disponible que si Compressor est installé sur le même ordinateur que Final Cut Pro. • Autre : choisissez cette option pour indiquer une autre application pour ouvrir le fichier exporté. Sélectionnez l’application dans la fenêtre qui s’affiche, puis cliquez sur Ouvrir. • Bibliothèque : choisissez cette option pour ajouter le fichier exporté à votre bibliothèque iTunes. • Publier sur le navigateur multimédia : cette option permet d’ajouter le fichier exporté au navigateur multimédia pour mettre le fichier de sortie à disposition de Final Cut Pro et d’autres applications pour Mac.Chapitre 16 Préférences et métadonnées 446 • Rôles en tant que : disponible uniquement si vous avez choisi le format de masterisation (Vidéo et audio, Vidéo seulement ou Audio seulement) dans le menu local Format. Si vous devez exporter votre projet en tant que fichiers de média séparés (par exemple, pour exporter séparément les dialogues, la musique et les effets sonores de votre projet), vous pouvez exporter un ou plusieurs des rôles de votre projet en tant que stems. Vous pouvez créer soit un fichier QuickTime multipiste combiné, soit des fichiers audio ou vidéo séparés, au moyen des rôles audio et vidéo de votre projet ; vous pouvez en outre attribuer une sortie mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus sur les rôles, consultez la section Présentation des rôles à la page 310. Réglages de Compressor Utilisez cette destination pour exporter un projet ou plan en utilisant les réglages de Compressor, l’application professionnelle de transcodage conçue pour fonctionner directement avec Final Cut Pro. Remarque : La destination Réglages de Compressor ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. L’exportation d’un projet à l’aide d’un réglage de Compressor apporte de nombreux avantages qu’offre Compressor sans avoir à ouvrir votre projet dans cette application. Vous pouvez utiliser Compressor pour créer plusieurs fichiers de sortie en une seule opération de partage ou créer des réglages personnalisés qui modifient votre fichier de sortie, pour ajouter par exemple un filigrane à une vidéo. Si vous avez installé Compressor sur votre système, vous pouvez utiliser les réglages de Compressor avec Final Cut Pro. Si quelqu’un vous procure un réglage Compressor alors que l’application n’est pas installée sur votre système, placez le réglage à l’emplacement suivant pour que Final Cut Pro et Compressor puissent y accéder) : /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Compressor/Settings/. Il se peut que vous deviez créer les dossiers Compressor et Settings (des réglages) par le biais du Finder. Conseil : Sous OS X Lion 10.7 et ultérieur, le dossier Bibliothèque au sein de votre dossier de départ est masqué par défaut. Vous pouvez y accéder depuis le Finder en choisissant Aller > Aller au dossier, puis en saisissant ~/Bibliothèque/ dans le champ Aller au dossier. Pour en savoir plus, consultez l'aide d’OS X accessible depuis le menu Aide lorsque le Finder est actif. Diffusion HTTP en direct Faites appel à cette destination pour envoyer de la vidéo et de l’audio à un iPhone, iPad, iPod touch ou un Mac par le biais d’un serveur web. Remarque : La destination «Diffusion HTTP en direct » ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. Dans la mesure où la diffusion HTTP en direct adapte de façon dynamique la qualité de lecture du film au débit disponible des réseaux sans fil ou câblés, elle se révèle être un véritable atout lors de la diffusion de données en continu vers une application sous iOS ou un site web écrit en HTML5. Pour obtenir des informations détaillées sur la mise en œuvre de la diffusion HTTP en direct, consultez le Site web Apple relatif à la diffusion HTTP en direct dédié aux développeurs à l’adresse http://developer.apple.com/fr/resources/http-streaming.Chapitre 16 Préférences et métadonnées 447 La destination «Diffusion HTTP en direct » inclut les réglages suivants: • Versions à exporter: cochez la case pour chaque type de connexion réseau que vous comptez prendre en charge pour la diffusion en continu. Vous pouvez exporter des fichiers à utiliser avec des dispositifs exploitant une connexion cellulaire, Wi-Fi et haut débit. Lot Il vous est possible de regrouper des ensembles de destinations en un lot pour créer plusieurs types de sortie en une seule étape. Lorsque vous partagez un projet ou un plan par le biais du lot, un fichier pour chaque destination incluse dans le lot est automatiquement généré en sortie. Pour savoir comment créer un lot, consultez Utilisation de destinations à la page 447. Utilisation de destinations Pour modifier les destinations de partage par le biais du menu Partager, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Vous pouvez modifier des destinations, en ajouter des nouvelles, en supprimer et créer des lots de destinations, ce qui vous permet d’exporter plusieurs types de sortie en une seule fois. Vous avez également la possibilité de rétablir l’ensemble par défaut des destinations disponibles lors de la première ouverture de Final Cut Pro. Pour en savoir plus sur le partage de projets et de plans depuis Final Cut Pro, consultez Présentation du partage de projets à la page 394. Création d’une nouvelle destination 1 Procédez de l’une des manières suivantes: • Choisissez Fichier > Partager > Ajouter une destination. • Choisissez Final Cut Pro > Préférences, cliquez sur le bouton Destinations dans la partie supé- rieure de la fenêtre, puis choisissez Ajouter une destination dans la liste Destinations qui se trouve à gauche. • Sélectionnez un projet ou plan, cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Ajouter une destination dans le menu local.Chapitre 16 Préférences et métadonnées 448 2 Dans la fenêtre Destinations de la fenêtre Préférences, procédez de l’une des manières suivantes: • faites glisser une destination depuis la zone située à droite de la liste Destinations de gauche (ou double-cliquez sur une destination à droite). Faites glisser une destination Liste Destinations dans la liste Destinations. • Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis choisissez Dupliquer dans le menu contextuel. La nouvelle destination apparaît sélectionnée dans la liste de gauche et les réglages pour la destination s’affichent à droite. 3 Choisissez les réglages à appliquer à la nouvelle destination. Modifiez les réglages relatifs Nouvelle destination à la nouvelle destination.Chapitre 16 Préférences et métadonnées 449 Si vous avez choisi une destination web, saisissez votre nom d’utilisateur et votre mot de passe dans la fenêtre qui s’affiche, puis cliquez sur OK. Si vous avez coché la case « Conserver ce mot de passe dans mon trousseau », vos nom et mot de passe sont alors sauvegardés afin que votre fichier exporté puisse être téléchargé automatiquement sur le site web. Si vous avez choisi la destination Réglages de Compressor, sélectionnez un réglage de Compressor dans la fenêtre qui apparaît, puis cliquez sur OK. Les réglages regroupent ceux de Compressor livrés avec Final Cut Pro ainsi que tous ceux que vous pouvez avoir ajoutés. Important : Vous pouvez utiliser la destination Réglages Compressor uniquement si Compressor est installé ou si quelqu’un vous fournit un réglage Compressor. Pour en savoir plus sur les réglages dechaque destination, consultez Préférences de destinations à la page 441. Vous avez la possibilité à tout moment de double-cliquer dans la liste Destinations pour saisir un nouveau nom ou utiliser les commandes de droite pour modifier les réglages de la destination. Au fur et à mesure que vous personnalisez la destination, vos modifications s’enregistrent automatiquement. Modification de destinations existantes Remarque : Il vous est également possible de modifier les réglages d’une destination existante lors du partage d’un projet ou d’un plan. Pour en savoir plus, consultez Partage de projets, de plans et de plages à la page 395. 1 Choisissez Final Cut Pro > Préférences, puis cliquez sur Destinations. La fenêtre Destinations s’affiche alors pour répertorier à gauche la liste des destinations. 2 Procédez de l’une des façons suivantes: • Pour modifier les réglages d’une destination : sélectionnez une destination, puis modifiez ses réglages à droite. Modifiez les réglages relatifs à la destination sélectionnée. Sélectionnez une destination dans la liste Destinations.Chapitre 16 Préférences et métadonnées 450 • Pour rétablir les réglages d’origine d’une destination : Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis choisissez « Rétablir les réglages d’origine » dans le menu contextuel. Les réglages de la destination reprennent alors leurs valeurs d’origine et s’enregistrent automatiquement. • Pour renommer une destination :double-cliquez sur une destination dans la liste de gauche, puis saisissez un nouveau nom. • Pour modifier l’ordre des destinations dans la liste : Faites glisser une destination vers un emplacement différent dans la liste Destinations. Lorsque vous modifiez des destinations, vos modifications s’enregistrent automatiquement. Création d’un lot de destinations Les lots simplifient la création simultanée de plusieurs types de sortie. Un lot héberge un certain nombre de destinations. Lorsque vous partagez un projet ou un plan par le biais du lot, un fichier pour chaque destination incluse dans le lot est automatiquement généré en sortie. 1 Dans la fenêtre Destinations de la fenêtre Préférences, sélectionnez Ajouter une destination dans la liste Destinations, puis double-cliquez sur la destination Lot (ou faites-la glisser de la zone située à droite de la liste Destinations de gauche). Un lot vide apparaît dans cette dernière liste. 2 Pour ajouter des destinations au lot, faites-y glisser les destinations existantes à partir de la liste Destinations, ou sélectionnez Ajouter une destination et faites glisser des destinations sur le lot depuis la zone située à droite. Conseil : Pour créer rapidement un lot à partir des destinations tirées de la liste Destinations, sélectionnez-en une ou plusieurs dans cette dernière liste en cliquant tout en maintenant la touche Contrôle enfoncée, puis choisissez « Nouveau lot d’après la sélection » dans le menu contextuel. Suppression d’une destination Procédez de l’une des manières suivantes: m Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis sélectionnez Supprimer dans le menu contextuel. m Sélectionnez une destination dans la liste Destinations et appuyez sur Commande + Supprimer. m Sélectionnez une destination dans la liste Destinations, puis cliquez sur le bouton Supprimer (–) sous la liste. Indication d’une nouvelle destination par défaut Une destination porte le nom de la destination par défaut. Elle seule peut être ouverte à l’aide d’un raccourci clavier (Commande + E). Lorsque vous ouvrez Final Cut Pro pour la première fois, la destination du fichier master est celle utilisée par défaut. Vous avez la possibilité de définir en toute simplicité par défaut n’importe quelle autre destination. m Cliquez sur la destination à définir par défaut tout en maintenant la touche Contrôle enfoncée, puis choisissez Par défaut dans le menu contextuel. Le nom de la nouvelle destination par défaut se voit complété du suffixe « (par défaut) ». Rétablissement de l’ensemble par défaut de destinations fourni avec Final Cut Pro m Cliquez dans la liste Destinations tout en maintenant la touche Contrôle enfoncée, puis choisissez « Rétablir les réglages par défaut » dans le menu contextuel.Chapitre 16 Préférences et métadonnées 451 Toutes les destinations personnalisées sont alors supprimées et l’ensemble par défaut des destinations s’affiche. Pour retrouver la liste des destinations par défaut, consultez Présentation du partage de projets à la page 394. Partage de destinations entre des utilisateurs de Final Cut Pro m Pour exporter des destinations depuis votre copie de Final Cut Pro : faites glisser dans le Finder une ou plusieurs destinations depuis la liste Destinations reprise dans la fenêtre des préférences de Final Cut Pro. Le fichier de destination se voit complété de l’extension .fcpxdest. m Pour importer des destinations dans votre copie de Final Cut Pro : Faites glisser un fichier de destination du Finder sur la liste Destinations. La destination ajoutée apparaît dans la liste Destinations, le sous-menu Partager du menu Fichier et dans le menu local qui s’affiche lorsque vous cliquez sur le bouton Partager dans la barre d’outils. Utilisation de métadonnées Affichage et modification des métadonnées de plans Les informations relatives à vos fichiers de média source, celles enregistrées par la caméra et les autres renseignements de description d’un plan s’appellent les métadonnées. Dans Final Cut Pro, vous pouvez créer vos propres associations de métadonnées à afficher avec vos plans, appelées présentations des métadonnées. Il vous est possible de créer des présentations des métadonnées ou modifier celles fournies avec Final Cut Pro. Final Cut Pro prévoie trois types de métadonnées: • Données EXIF (Exchangeable Image File, fichier image d’échange): renseignements que la caméra enregistre et stocke dans le média au moment de la prise de vue, comme la marque et le modèle de la caméra, la taille du fichier, le profil colorimétrique et le nombre de bits par échantillon. • Données IPTC (International Press Telecommunications Council): données standardisées utilisées par les agences de presses pour intégrer des mots-clés, des légendes, des avis liés aux droits d’auteur et autres informations au sein même des fichiers de média. • Métadonnées Final Cut Pro : données à appliquer aux plans dans Final Cut Pro, par exemple le nom des plans, leur classement et les mots-clés. L’inspecteur d’informations vous permet d’afficher et de modifier les métadonnées pour un plan ou un groupe de plans sélectionné dans le navigateur d’événements ou dans la timeline. Bouton d’informationsChapitre 16 Préférences et métadonnées 452 L’inspecteur de partage affiche également les métadonnées de partage qui sont exportées avec un plan ou un projet partagé. Pour en savoir plus, consultez Modification des attributs de partage à la page 400. Affichage des métadonnées d’un plan 1 Sélectionnez un plan. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. Les métadonnées du plan ou du groupe de plans sélectionné s’affichent dans les champs de l’inspecteur d’informations. Passage d’une présentation des métadonnées à l’autre dans l’inspecteur d’informations Vous pouvez modifier les champs de métadonnées qui apparaissent dans l’inspecteur d’informations en choisissant une autre présentation de métadonnées dans le menu local prévu à cet effet. 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Choisissez une présentation de métadonnées dans le menu local prévu à cet effet. Menu local Présentation des métadonnées Remarque : Si vous créez des présentations de métadonnées personnalisées, celles-ci apparaissent également dans le menu local. Modification des métadonnées d’un plan 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Dans le menu local Présentation des métadonnées, choisissez-en une contenant les champs adaptés aux métadonnées que vous souhaitez modifier. 4 Effectuez l’une des opérations suivantes: • Cliquez sur un champ de texte pour l’activer, puis saisissez le texte à inclure. Remarque : S’il vous est impossible de cliquer sur un champ de texte, cela signifie qu’il n’est pas modifiable. C’est par exemple le cas de certains champs de métadonnées EXIF. • Choisissez dans le menu local une option adaptée aux métadonnées à modifier. Remarque : vous pouvez également modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu. Réorganisation des champs dans une présentation de métadonnées m Dans l’inspecteur d’informations, faites glisser les étiquettes de métadonnées de sorte à établir leur nouvel ordre.Chapitre 16 Préférences et métadonnées 453 Modification de présentations de métadonnées Il vous est possible de créer des présentations des métadonnées ou de modifier celles fournies avec Final Cut Pro. Création d’une présentation de métadonnées 1 Sélectionnez un plan. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu local prévu à cet effet. 4 Dans la fenêtre Présentations des métadonnées, choisissez « Nouvelle présentation des métadonnées » à partir du menu local Action situé en bas à gauche de la fenêtre. 5 Attribuez un nom à la nouvelle présentation de métadonnées et appuyez sur Retour. 6 Pour limiter le nombre de propriétés à un groupe précis, tels que les propriétés EXIF ou les propriétés vidéo, choisissez un groupe dans le menu local Propriétés, repris dans la partie supérieure de la fenêtre. 7 Pour ajouter une propriété à la présentation de métadonnées, cochez la case à gauche de la propriété. Cochez une case pour ajouter une propriété à la présentation des métadonnées. Menu local Action 8 Lorsque les champs de métadonnées attribués à la présentation de métadonnées vous conviennent, cliquez sur OK. La nouvelle présentation de métadonnées est alors ajoutée au menu local prévu à cet effet dans l’inspecteur d’informations.Chapitre 16 Préférences et métadonnées 454 Modification d’une présentation de métadonnées Vous avez la possibilité de modifier la combinaison de métadonnées qui apparaît dans une pré- sentation de métadonnées. Vous pouvez renommer, ajouter ou supprimer les champs de métadonnées, en créer d’autres champs personnalisés et réorganiser l’ordre dans lequel ils s’affichent. 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu local prévu à cet effet. 4 Dans la fenêtre Présentations des métadonnées, sélectionnez celle à modifier, puis effectuez l’une des opérations suivantes: • Pour renommer la présentation de métadonnées: double-cliquez sur le nom de la présentation de métadonnées dans la colonne de gauche, attribuez-lui un nouveau nom, puis appuyez sur Entrée. • Pour supprimer des propriétés (et par là même, des champs de métadonnées) de la présentation de métadonnées: dans la colonne Propriété, décochez la case en regard de la propriété à supprimer. • Pour ajouter des propriétés (et donc, des champs de métadonnées) à la présentation de métadonnées: dans la colonne Propriété, cochez la case en regard de la propriété à ajouter. • Pour ajouter une propriété personnalisée (champs de métadonnées) à la présentation de métadonnées: choisissez « Ajouter un champ de métadonnées personnalisées » dans le menu local Action , attribuez un nom et une description à la nouvelle propriété, puis cliquez sur OK. 5 Lorsque les champs de métadonnées sont correctement attribués à la présentation de métadonnées sélectionnée, cliquez sur OK. Duplication d’une présentation de métadonnées Si vous voulez créer une présentation de métadonnées contenant la plupart des champs de métadonnées reprises dans une présentation de métadonnées existante, il vous est possible d’économiser du temps en dupliquant la présentation existante puis en la modifiant. 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Dans l’inspecteur d’informations, choisissez la présentation de métadonnées à dupliquer dans le menu local prévu à cet effet, puis choisissez « Enregistrer la présentation des métadonnées sous » à partir du menu local Présentation des métadonnées. 4 Dans la fenêtre qui s’affiche en haut de la fenêtre de Final Cut Pro, attribuez un nom à la nouvelle présentation de métadonnées, puis cliquez sur OK. La nouvelle présentation de métadonnées apparaît alors dans le menu local prévu à cet effet dans l’inspecteur d’informations. Modifiez la nouvelle présentation selon vos besoins. Suppression d’une présentation de métadonnées 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu local prévu à cet effet. 4 Dans la fenêtre Présentations des métadonnées, choisissez la présentation à supprimer dans la colonne de gauche, puis choisissez « Supprimer la présentation des métadonnées » dans le menu local Action situé dans le coin inférieur gauche.Chapitre 16 Préférences et métadonnées 455 La présentation est alors supprimée de la colonne de gauche dans la fenêtre et du menu local dans l’inspecteur d’informations. Remarque : La suppression d’une présentation de ce type n’entraîne pas celle des métadonnées appliquées à un plan ou à son média source. Modification de noms de plans par lot Lorsque vous importez du média dans Final Cut Pro, les plans portent souvent des noms peu évocateurs, tels que ceux attribués par la caméra. Bien qu’il vous soit possible de renommer des plans indépendamment, vous pouvez aussi réattribution le nom d’une sélection de plans automatiquement sous forme de lot (réattribution de nom par lot) dans le navigateur d’événements, une fois le média importé dans Final Cut Pro. Final Cut Pro fournit des préréglages d’attribution de nom personnalisables pour renommer facilement des groupes conséquents de plans. Modification de noms de plans par lot à l’aide d’un préréglage d’attribution de nom 1 Dans le navigateur d’événements, sélectionnez les plans à renommer. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez un préréglage d’attribution de nom dans le sous-menu. Les plans sélectionnés dans le navigateur d’événements sont alors renommés. Création d’un préréglage d’attribution de nom Dans la plupart des cas, vous serez amené à créer un préréglage d’attribution de nom et à le personnaliser. Conseil : Le moyen le plus simple de créer un préréglage d’attribution de nom consiste à en dupliquer un existant. Reportez-vous à la tâche suivante pour en savoir plus. 1 Dans le navigateur d’événements, sélectionnez les plans à renommer. 2 Ouvrir l’inspecteur d’informations. 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Nouveau dans le sous-menu. 4 Dans la fenêtre « Préréglages d’attribution de nom », double-cliquez sur Sans titre, attribuez un nom au nouveau préréglage et appuyez sur Retour. Le nouveau préréglage d’attribution du nom apparaît alors dans le sous-menu « Appliquer le nom personnalisé » du menu local Action. Création d’une copie d’un préréglage d’attribution de nom existant Le moyen le plus simple de créer un préréglage d’attribution de nom consiste à dupliquer un préréglage existant, à savoir un préréglage contenant la plupart des options de format de nom à inclure, et à le modifier. 1 Dans le navigateur d’événements, sélectionnez les plans à renommer. 2 Ouvrir l’inspecteur d’informations.Chapitre 16 Préférences et métadonnées 456 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu. 4 Dans la fenêtre « Préréglages d’attribution de nom », maintenez la touche Contrôle enfoncée tout en cliquant sur le préréglage à dupliquer, puis choisissez Dupliquer dans le menu contextuel. Le préréglage d’attribution de nom dupliqué apparaît sous celui d’origine. 5 Attribuez un nom au préréglage dupliqué et appuyez sur Retour. Il vous est à présent possible de modifier le préréglage selon vos besoins. Modification d’un préréglage d’attribution de nom existant 1 Dans le navigateur d’événements, sélectionnez les plans à renommer. 2 Ouvrir l’inspecteur d’informations. 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu. 4 Dans la fenêtre « Préréglages d’attribution de nom », ajoutez les libellés de nommage en faisant glisser les éléments des zones « Informations sur le plan », «Date/heure », « Format » et « Caméra » sur le champ Format. Pour supprimer un libellé de nommage, sélectionnez-le dans le champ Format et appuyez sur Supprimer. 5 Réorganisez les libellés dans le champ Format en les faisant glisser. 6 Vous avez la possibilité d’ajouter des caractères entre les libellés de nommage dans ledit champ, tels que des traits de soulignement (_) et des espaces.Chapitre 16 Préférences et métadonnées 457 7 Lorsque le nouveau format du préréglage d’attribution de nom vous convient, cliquez sur OK. Suppression d’un préréglage d’attribution de nom 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu. 4 Dans la fenêtre « Préréglages d’attribution de nom », sélectionnez le préréglage à supprimer, puis cliquez sur le bouton Supprimer les préréglages (doté du signe moins). Le préréglage d’attribution de nom est alors supprimé de la fenêtre « Préréglages d’attribution de nom ».17 458 Présentation des raccourcis clavier et des gestes Multi-Touch Final Cut Pro propose plusieurs moyens pour améliorer votre productivité lors de l’élaboration d’un projet : • Raccourcis clavier standards: de nombreuses tâches courantes, telles que l’ouverture d’une fenêtre précise ou l’ajout d’un plan, à partir du navigateur d’événements vers la timeline, peuvent être accomplies très rapidement à l’aide d’une ou de plusieurs touches. Consultez la section Raccourcis clavier à la page 458. • Gestes Multi-Touch : si vous possédez un trackpad ou une souris Multi-Touch, vous pouvez utiliser les gestes Multi-Touch pour effectuer rapidement de nombreuses tâches lors de la création d’un projet. Consultez la section Gestes Multi-Touch à la page 473. • Raccourcis clavier personnalisés: vous pouvez créer des raccourcis supplémentaires en définissant vos propres raccourcis clavier personnalisés pour les fonctionnalités que vous utilisez souvent, telles que les commandes de réglage colorimétrique. Si vous êtes plus habitué aux raccourcis clavier d’une autre application, l’éditeur de commandes vous permet de substituer ces raccourcis clavier à ceux définis par défaut dans Final Cut Pro. Consultez la section Affichage des raccourcis clavier dans l’éditeur de commandes à la page 474. Raccourcis clavier Vous pouvez passer par les raccourcis clavier pour accomplir rapidement de nombreuses tâches dans Final Cut Pro. Pour utiliser un raccourci clavier, appuyez sur toutes les touches composant le raccourci. Les raccourcis relatifs aux commandes courantes sont répertoriés dans le tableau ci-dessous. Application Commande Raccourci Action Masquer l’application Commande + H Masquer Final Cut Pro Masquer les autres applications Commande +Option + H Masquer toutes les applications excepté Final Cut Pro Personnalisation du clavier Commande +Option + K Ouvrir l’éditeur de commandes Placer dans le Dock Commande + M Placer Final Cut Pro dans le Dock Préférences Commande +Virgule (,) Ouvrir la fenêtre des préférences de Final Cut Pro Quitter Commande +Q Quitter Final Cut Pro Rétablir la modification Commande + Maj + Z Rétablir la dernière commande Annuler la modification Commande + Z Annuler la dernière commande Raccourcis clavier et gestesChapitre 17 Raccourcis clavier et gestes 459 Montage Commande Raccourci Action Ajouter au scénario E Ajouter la sélection jusqu’à la fin du scénario Audition : Ajouter à l’audition Maj + Contrôle +Y Ajouter le plan sélectionné à l’audition Audition : dupliquer et coller les effets Commande +Option +Y Dupliquer les plans dans l’audition et ajouter des effets Audition : dupliquer comme audition Option +Y Créer une audition avec un plan de la timeline et une version dupliquée du plan, y compris les effets appliqués Audition : dupliquer l’original Commande + Maj +Y Dupliquer le plan d’audition sélectionné sans les effets appliqués Audition : remplacer et ajouter à l’audition Maj +Y Créer une audition et remplacer le plan de la timeline par la sélection Lame de rasoir Commande + B Couper le plan du scénario principal (ou la sélection) au niveau du skimmer ou de la tête de lecture Lame de rasoir sur tout Commande + Maj + B Couper tous les plans à l’emplacement du skimmer ou de la tête de lecture Scinder les éléments de plan Commande + Maj + G Diviser l’élément sélectionné en composants Modifier la durée Contrôle +D Modifier la durée de la sélection Connecter au scénario principal Q Connecter la sélection au scénario principal Connecter à rebours au scénario principal Maj +Q Connecter la sélection au scénario principal, en alignant le point d’arrivée de la sélection sur le skimmer ou la tête de lecture Copier Commande + C Copier la sélection Créer une audition Commande +Y Créer une audition à partir de la sélection Créer un scénario Commande + G Créer un scénario à partir d’une sélection de plans connectés Couper Commande + X Couper la sélection Couper et passer à l’angle 1 du visualiseur 1 Couper et faire basculer le plan multicam sur l’angle 1 du groupe actuel Couper et passer à l’angle 2 du visualiseur 2 Couper et faire basculer le plan multicam sur l’angle 2 du groupe actuel Couper et passer à l’angle 3 du visualiseur 3 Couper et faire basculer le plan multicam sur l’angle 3 du groupe actuel Couper et passer à l’angle 4 du visualiseur 4 Couper et faire basculer le plan multicam sur l’angle 4 du groupe actuelChapitre 17 Raccourcis clavier et gestes 460 Commande Raccourci Action Couper et passer à l’angle 5 du visualiseur 5 Couper et faire basculer le plan multicam sur l’angle 5 du groupe actuel Couper et passer à l’angle 6 du visualiseur 6 Couper et faire basculer le plan multicam sur l’angle 6 du groupe actuel Couper et passer à l’angle 7 du visualiseur 7 Couper et faire basculer le plan multicam sur l’angle 7 du groupe actuel Couper et passer à l’angle 8 du visualiseur 8 Couper et faire basculer le plan multicam sur l’angle 8 du groupe actuel Couper et passer à l’angle 9 du visualiseur 9 Couper et faire basculer le plan multicam sur l’angle 9 du groupe actuel Supprimer Supprimer Supprimer la sélection de la timeline, refuser la sélection du navigateur d’événements ou supprimer un multicam via les montages Supprimer uniquement la sélection Commande + Option + Supprimer Supprimer la sélection et joindre le ou les plans connectés au plan vide obtenu Tout désélectionner Commande + Maj + A Désélectionner tous les éléments sélectionnés Dupliquer Commande +D Dupliquer la sélection dans le navigateur d’événements Activer/désactiver le plan V Activer ou désactiver la lecture pour la sélection Développer l’audio/la vidéo Contrôle + S Afficher l’audio et la vidéo séparément pour tous les plans sélectionnés Développer/Réduire les composants audio Option + Contrôle + S Développer ou réduire les composants audio pour la sélection dans la timeline Étendre le montage Maj + X Étendre le point de montage sélectionné jusqu’à l’emplacement du skimmer ou de la tête de lecture Étendre la sélection vers le bas Maj + Flèche vers le bas Dans le navigateur d’événements, ajouter le plan suivant à la sélection Étendre la sélection vers le haut Maj + Flèche vers le haut Dans le navigateur d’événements, ajouter le plan précédent à la sélection Finaliser l’audition Maj +Option +Y Dissoudre l’audition et la remplacer par le meilleur élément d’audition Insérer W Insérer la sélection à l’emplacement du skimmer ou de la tête de lecture Chapitre 17 Raccourcis clavier et gestes 461 Commande Raccourci Action Insérer/Connecter une image figée Option + F Insérer une image figée au niveau de la tête de lecture ou du skimmer dans la timeline, ou connecter une image figée du skimmer ou de la tête de lecture dans l’événement à l’emplacement de la tête de lecture dans la timeline Insérer un espace Option +W Insérer un plan vide à l’emplacement du skimmer ou de la tête de lecture Insérer un repère d’emplacement Commande +Option +W Insérer un plan repère d’emplacement au niveau du skimmer ou de la tête de lecture Prélever du scénario Commande +Option + Flèche haut Prélever la sélection du scénario et la connecter aux plans vides résultants Baisser le volume de 1 dB Contrôle +Tiret (-) Baisser le volume audio de 1 dB Déplacer la tête de lecture Contrôle + P Déplacer la tête de lecture en saisissant une valeur de timecode Nouveau plan composé Option + G Créer un plan composé (s’il n’y a pas de sélection, créer un plan composé vide) Pousser la sous-image audio vers la gauche Option +Virgule (,) Déplacer légèrement le point de montage audio d’une sous-image vers la gauche en créant un montage scindé Pousser la sous-image audio vers la gauche de plusieurs Maj +Option +Virgule (,) Déplacer légèrement le point de montage audio de 10 sous-images vers la gauche en créant un montage scindé Pousser la sous-image audio vers la droite Option + point (.) Déplacer légèrement le point de montage audio d’une sous-image vers la droite en créant un montage scindé Pousser la sous-image audio vers la droite de plusieurs Maj +Option + point (.) Déplacer légèrement le point de montage audio de 10 sous-images vers la droite en créant un montage scindé Pousser vers le bas Option + Flèche vers le bas Pousser la valeur de l’image clé sélectionnée vers le bas dans l’éditeur d’animation Pousser vers la gauche Virgule (,) Déplacer légèrement la sélection d’une unité vers la gauche Pousser à gauche de plusieurs Maj +Virgule (,) Déplacer légèrement la sélection de 10 unités vers la gauche Pousser vers la droite Point (.) Déplacer légèrement la sélection d’une unité vers la droite Pousser à droite de plusieurs Maj + point (.) Déplacer légèrement la sélection de 10 unités vers la droiteChapitre 17 Raccourcis clavier et gestes 462 Commande Raccourci Action Pousser vers le haut Option + Flèche vers le haut Pousser la valeur de l’image clé sélectionnée vers le haut dans l’éditeur d’animation Ouvrir une audition Y Ouvrir l’audition sélectionnée Remplacer les connexions Accent grave (`) Remplacer temporairement les connexions des plans sur la sélection Écraser D Écraser au niveau du skimmer ou de la tête de lecture Écraser - à rebours Maj +D Écraser vers l’arrière à partir de l’emplacement du skimmer ou de la tête de lecture Remplacer par le scénario principal Commande +Option + Flèche bas Écraser au niveau du skimmer ou de la tête de lecture dans le scénario principal Coller comme élément connecté Option +V Coller la sélection et la connecter au scénario principal Coller et insérer à la tête de lecture Commande +V Insérer le contenu du Pressepapiers à l’emplacement du skimmer ou de la tête de lecture Angle précédent Maj + Contrôle + Flèche gauche Passer à l’angle précédent dans le plan multicam Angle audio précédent Maj +Option + Flèche gauche Passer à l’angle audio précédent dans le plan multicam Meilleur élément précédent Contrôle + Flèche gauche Sélectionner le plan précédent dans la fenêtre Audition pour le choisir comme le meilleur Angle vidéo précédent Commande + Maj + Flèche gauche Revenir à l’angle vidéo précédent dans le plan multicam Augmenter le volume de 1 dB Contrôle + Égal (=) Augmenter le volume audio de 1 dB Remplacer Maj + R Remplacer le plan sélectionné de la timeline par la sélection du navigateur d’événements Remplacer depuis le début Option + R Remplacer le plan sélectionné de la timeline par la sélection du navigateur d’événements, à partir de son point de départ Remplacer par un vide Maj + Supprimer Remplacer le plan sélectionné de la timeline par un plan vide Tout sélectionner Commande + A Sélectionner tous les plans Sélectionner le plan C Sélectionner le plan sous le pointeur de la timeline Sélectionner le bord audio gauche Maj + crochet ouvrant ([) Pour les plans audio/vidéo dans la présentation étendue, sélectionner le bord gauche du point de montage audio Sélectionner le bord gauche Crochet ouvrant ([) Sélectionner le bord gauche du point de montageChapitre 17 Raccourcis clavier et gestes 463 Commande Raccourci Action Sélectionner les bords de montage audio gauche et droit Maj + barre oblique inverse (\) Pour les plans audio/vidéo dans la présentation étendue, sélectionner les bords gauche et droit du point de montage audio Sélectionner les bords de montage gauche et droit Barre oblique inverse (\) Sélectionner les bords gauche et droit du point de montage Sélectionner l’angle suivant Maj + Contrôle + Flèche droite Passer à l’angle suivant dans le plan multicam Sélectionner l’angle audio suivant Maj +Option + Flèche droite Passer à l’angle audio suivant dans le plan multicam Sélectionner la meilleure image suivante Contrôle + Flèche droite Sélectionner le prochain plan dans la fenêtre Audition pour le choisir comme le meilleur Sélectionner l’angle vidéo suivant Commande + Maj + Flèche droite Passer à l’angle vidéo suivant dans le plan multicam Sélectionner le bord audio droit Maj + crochet fermant (]) Pour les plans audio/vidéo dans la présentation étendue, sélectionner le bord droit du point de montage audio Sélectionner le bord droit Crochet fermant (]) Sélectionner le bord droit du point de montage Définir une fin de sélection supplémentaire Commande + Maj +O Définition d’un point d’arrivée de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer Définir un début de sélection supplémentaire Commande + Maj + I Définition d’un point de départ de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer Afficher/Masquer l’éditeur de précision Contrôle + E Lorsqu’un point de montage est sélectionné, afficher ou masquer l’éditeur de précision Magnétisme N Activer ou désactiver la fonction d’alignement automatique Solo Option + S Lire en solo les éléments sélectionnés dans la timeline Média source : audio et vidéo Maj + 1 Activer le mode audio/vidéo pour ajouter à la timeline les sections audio et vidéo de la sélection Média source : audio seulement Maj + 3 Activer le mode audio uniquement pour ajouter à la timeline la section audio de la sélection Média source : vidéo uniquement Maj + 2 Activer le mode vidéo uniquement pour ajouter à la timeline la section audio de la sélection à la timeline Passer à l’angle 1 du visualiseur Option + 1 Faire basculer le plan multicam sur l’angle 1 du groupe actuel Passer à l’angle 2 du visualiseur Option + 2 Faire basculer le plan multicam sur l’angle 2 du groupe actuelChapitre 17 Raccourcis clavier et gestes 464 Commande Raccourci Action Passer à l’angle 3 du visualiseur Option + 3 Faire basculer le plan multicam sur l’angle 3 du groupe actuel Passer à l’angle 4 du visualiseur Option + 4 Faire basculer le plan multicam sur l’angle 4 du groupe actuel Passer à l’angle 5 du visualiseur Option + 5 Faire basculer le plan multicam sur l’angle 5 du groupe actuel Passer à l’angle 6 du visualiseur Option + 6 Faire basculer le plan multicam sur l’angle 6 du groupe actuel Passer à l’angle 7 du visualiseur Option + 7 Faire basculer le plan multicam sur l’angle 7 du groupe actuel Passer à l’angle 8 du visualiseur Option + 8 Faire basculer le plan multicam sur l’angle 8 du groupe actuel Passer à l’angle 9 du visualiseur Option + 9 Faire basculer le plan multicam sur l’angle 9 du groupe actuel Activer/Désactiver le mode Scénario G Activer ou désactiver la possibilité d’élaborer des scénarios lors du déplacement des plans sur la timeline Appliquer un trim à la fin Option + crochet fermant (]) Appliquer un trim à la fin du plan sélectionné ou du premier plan à l’emplacement du skimmer ou de la tête de lecture Appliquer un trim sur le début Option + crochet ouvrant ([) Appliquer un trim au point de départ du plan à l’emplacement du skimmer ou de la tête de lecture Ajuster à la sélection Option + barre oblique inverse (\) Appliquer un trim aux points de départ et d’arrivée de la plage sélectionnée du plan Effets Commande Raccourci Action Ajouter un tiers inférieur standard Maj + Contrôle +T Connecter un tiers inférieur standard au scénario principal Ajouter un titre standard Contrôle +T Connecter un titre standard au scénario principal Ajouter une transition par défaut Commande +T Ajouter la transition par défaut à la sélection Réglage colorimétrique : réinitialiser les commandes actives Option + Supprimer Réinitialiser toutes les commandes dans la fenêtre active du réglage colorimétrique Réglage colorimétrique : activer la fenêtre Couleur Commande + Contrôle + C Activer la fenêtre Couleur du réglage colorimétrique Réglage colorimétrique : activer la fenêtre Exposition Commande + Contrôle + E Activer la fenêtre Exposition du réglage colorimétrique Réglage colorimétrique : activer la fenêtre Saturation Commande + Contrôle + S Activer la fenêtre Saturation du réglage colorimétriqueChapitre 17 Raccourcis clavier et gestes 465 Commande Raccourci Action Copier les effets Commande +Option + C Copier les effets sélectionnés et leurs réglages Activer/Désactiver la balance des couleurs Commande +Option + B Activer ou désactiver l’étalonnage de balance Reprendre l’audio Commande + Maj + M Correspondance du son entre les plans Respecter les couleurs Commande +Option + M Correspondance des couleurs entre les plans Texte suivant Option +Tab Passer à l’élément de texte suivant Coller les attributs Commande + Maj +V Coller les attributs sélectionnés et leurs réglages à la sélection Coller les effets Commande +Option +V Coller les effets et leurs réglages à la sélection Texte précédent Maj +Option +Tab Passer à l’élément de texte précédent Éditeur de resynchronisation Commande + R Afficher ou masquer l’éditeur de synchronisation Resynchronisation : créer un segment à vitesse normale Maj + N Régler la sélection pour être lue à vitesse normale (100 %) Resynchronisation : suspendre Maj + H Créer un segment « de suspension » de 2 secondes Resynchronisation : réinitialiser Commande +Option + R Réinitialiser la sélection pour être lue à vitesse normale (100 %) Solo de l’animation Maj + Contrôle +V Afficher un effet à la fois dans l’éditeur d’animation vidéo Générales Commande Raccourci Action Supprimer Supprimer Supprimer la sélection de la timeline, refuser la sélection du navigateur d’événements ou supprimer un multicam via les montages Rechercher Commande + F Afficher ou masquer la fenêtre Filtre (dans le navigateur d’événements) ou l’index de la timeline Aller au visualiseur d’événements Commande +Option + 3 Activer le visualiseur d’événements Importer des médias Commande + I Importer des médias depuis un appareil, une caméra ou une archive Placer dans la Corbeille Commande + Supprimer Placer la sélection dans la Corbeille du Finder Nouveau projet Commande + N Création d’un projet Propriétés du projet Commande + J Ouvrir l’inspecteur de propriétés du projet actif Effectuer le rendu de tout Maj + Contrôle + R Lancer toutes les tâches de rendu pour le projet en coursChapitre 17 Raccourcis clavier et gestes 466 Commande Raccourci Action Effectuer le rendu de la sélection Contrôle + R Démarrer les tâches de rendu pour la sélection Afficher dans le Finder Commande + Maj + R Afficher le fichier média source du plan d’événement sélectionné dans le Finder Marquage Commande Raccourci Action Ajouter un marqueur M Ajouter un marqueur au niveau du skimmer ou de la tête de lecture Ajouter un marqueur et modifier Option + M Ajouter un marqueur et modifier le texte du marqueur Appliquer la balise de mot-clé 1 Contrôle + 1 Appliquer le mot-clé 1 à la sélection Appliquer la balise de mot-clé 2 Contrôle + 2 Appliquer le mot-clé 2 à la sélection Appliquer la balise de mot-clé 3 Contrôle + 3 Appliquer le mot-clé 3 à la sélection Appliquer la balise de mot-clé 4 Contrôle + 4 Appliquer le mot-clé 4 à la sélection Appliquer la balise de mot-clé 5 Contrôle + 5 Appliquer le mot-clé 5 à la sélection Appliquer la balise de mot-clé 6 Contrôle + 6 Appliquer le mot-clé 6 à la sélection Appliquer la balise de mot-clé 7 Contrôle + 7 Appliquer le mot-clé 7 à la sélection Appliquer la balise de mot-clé 8 Contrôle + 8 Appliquer le mot-clé 8 à la sélection Appliquer la balise de mot-clé 9 Contrôle + 9 Appliquer le mot-clé 9 à la sélection Effacer les plages sélectionnées Option + X Annuler la plage sélectionnée Effacer la fin de la plage Option +O Effacer le point d’arrivée de la plage Effacer le début de la plage Option + I Effacer le point de départ de la plage Supprimer le marqueur Contrôle + M Supprimer le marqueur sélectionné Supprimer les marqueurs dans la sélection Maj + Contrôle + M Supprimer tous les marqueurs de la sélection Tout désélectionner Commande + Maj + A Désélectionner tous les éléments sélectionnés Favori F Classer la sélection du navigateur d’événements comme favori Nouvelle collection de mots-clés Commande + Maj + K Créer une collection de mots-clés Nouvelle collection intelligente Commande +Option + N Créer une collection intelligente Outil Sélection de plage R Activer l’outil Sélection par plageChapitre 17 Raccourcis clavier et gestes 467 Commande Raccourci Action Supprimer tous les mots-clés de la sélection Contrôle + 0 Supprimer tous les mots-clés de la sélection du navigateur d’événements Rôles: Appliquer le rôle Dialogue Option + Contrôle +D Appliquer le rôle Dialogue au plan sélectionné Rôles: Appliquer le rôle Effets Option + Contrôle + E Appliquer le rôle Effets au plan sélectionné Rôles: Appliquer le rôle Musique Option + Contrôle + M Appliquer le rôle Musique au plan sélectionné Rôles: Appliquer le rôle Titres Option + Contrôle +T Appliquer le rôle Titres au plan sélectionné Rôles: appliquer le rôle Vidéo Option + Contrôle +V Appliquer le rôle Vidéo au plan sélectionné Tout sélectionner Commande + A Sélectionner tous les plans Sélectionner la plage de plans X Définir la sélection de plage pour correspondre aux bordures du plan sous le skimmer ou la tête de lecture Définir une fin de plage supplémentaire Commande + Maj +O Définition d’un point d’arrivée de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer Définir un début de plage supplémentaire Commande + Maj + I Définition d’un point de départ de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer Définir la fin de la plage O Définir le point d’arrivée pour la plage Définir la fin de la plage Contrôle +O Définir le point d’arrivée pour la plage tout en modifiant un champ de texte Définir le début de la plage I Définir le point de départ pour la plage Définir le début de la plage Contrôle + I Définir le point de départ pour la plage tout en modifiant un champ de texte Déclasser U Supprimer les classements de la sélection Organisation Commande Raccourci Action Nouvel événement Option + N Créer un événement Nouveau dossier Commande + Maj + N Créer un dossier Afficher dans le navigateur d’événements Maj + F Afficher le plan sélectionné dans le navigateur d’événements Synchroniser les plans Commande +Option + G Synchroniser les plans d’événements sélectionnésChapitre 17 Raccourcis clavier et gestes 468 Lecture/Navigation Commande Raccourci Action Audio lors du survol Maj + S Activer et désactiver l’audio lors du survol Audition : preview Commande + Contrôle +Y Lire le meilleur élément en contexte dans la timeline Survol de plan Commande + Option + S Activer ou désactiver le survol de plan Couper/Activer l’audio multicam uniquement Maj +Option + 3 Activer le mode audio uniquement pour la découpe et le basculement multicam Couper/Activer l’audio et la vidéo multicam Maj +Option + 1 Activer le mode audio/vidéo pour la découpe et le basculement multicam Couper/Activer la vidéo multicam uniquement Maj +Option + 2 Activer le mode vidéo uniquement pour la découpe et le basculement multicam Vers le bas Flèche vers le bas Passer à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) suivant Vers le bas Contrôle + Flèche bas Lors de la modification d’un champ de texte, passer à l’élément suivant (dans le navigateur d’évé- nements) ou au point de montage suivant (dans la timeline). Reculer de 10 images Maj + Flèche gauche Reculer la tête de lecture de 10 images Avancer de 10 images Maj + Flèche droite Avancer la tête de lecture de 10 images Aller au début Bouton Début Déplacer la tête de lecture au début de la timeline ou au premier plan dans le navigateur d’événements Aller au groupe suivant Maj +Option + Apostrophe (’) Afficher le groupe d’angles suivant dans le plan multicam ouvert Aller au montage suivant Apostrophe (’) Déplacer la tête de lecture au point de montage suivant dans la timeline Aller à la trame suivante Option + Flèche droite Avancer la tête de lecture à la trame suivante d’un plan entrelacé Avancer d’une image Flèche droite Avancer la tête de lecture sur l’image suivante Passer à la sous-image suivante Commande + Flèche droite Avancer la tête de lecture sur la sous-image audio suivante Revenir au groupe précédent Maj +Option + Point-virgule (;) Afficher le groupe d’angles précé- dent dans le plan multicam ouvert Aller au montage précédent Point-virgule (;) Reculer la tête de lecture sur le point de montage précédent dans la timelineChapitre 17 Raccourcis clavier et gestes 469 Commande Raccourci Action Reculer d’une trame Option + Flèche gauche Reculer la tête de lecture à la trame précédente d’un plan entrelacé Reculer d’une image Flèche gauche Reculer la tête de lecture sur l’image précédente Revenir à la sous-image précédente Commande + Flèche gauche Reculer la tête de lecture sur la sous-image audio précédente Aller à la fin de la plage Maj +O Déplacer la tête de lecture à la fin de la sélection par plage Aller au début de la plage Maj + I Déplacer la tête de lecture au début de la plage de sélection Lecture en boucle Commande + L Activer ou désactiver la lecture en boucle Contrôler l’audio Maj + A Activer ou désactiver le contrôle audio pour l’angle ignoré Entrée de timecode négative Tiret (-) Saisir une valeur négative de timecode pour déplacer la tête de lecture vers l’arrière, déplacer un plan en arrière ou appliquer un trim sur une plage ou un plan, en fonction de la sélection opérée Plan suivant Commande + Contrôle + Flèche droite Passer à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) suivant Marqueur suivant Contrôle + Apostrophe (’) Avancer la tête de lecture sur le marqueur suivant Lire le contexte Maj + point d’interrogation (?) Lire autour de l’emplacement de la tête de lecture Lecture rapide L Lecture (appuyer plusieurs fois sur L pour augmenter la vitesse de lecture) Lecture rapide Contrôle + L Lire lors de la modification d’un champ de texte (appuyer plusieurs fois sur L pour augmenter la vitesse de lecture) Lire depuis la tête de lecture Option + barre d’espace Lire à partir de la tête de lecture Lire en plein écran Commande + Maj + F Lire en plein écran à partir du skimmer ou de la tête de lecture Lecture arrière J Lire en arrière (appuyer plusieurs fois sur J pour augmenter la vitesse de lecture) Lecture arrière Contrôle + J Lire en arrière lors de la modification d’un champ de texte (appuyer plusieurs fois sur J pour augmenter la vitesse de lecture) Lecture arrière Maj + barre d’espace Lire en arrière Lire la sélection Barre oblique (/) Lire la sélection Lire jusqu’à la fin Maj + Contrôle +O Lire à partir de la tête de lecture jusqu’à la fin de la sélectionChapitre 17 Raccourcis clavier et gestes 470 Commande Raccourci Action Lecture/Pause Barre d’espace Lancer ou arrêter la lecture Lecture/Pause Contrôle + Barre d’espace Lancer ou mettre en pause lors de la modification d’un champ de texte Entrée de timecode positive Égal (=) Saisir une valeur positive de timecode pour déplacer la tête de lecture vers l’avant, déplacer un plan en avant ou appliquer un trim sur une plage ou un plan, en fonction de la sélection opérée Plan précédent Commande + Contrôle + Flèche gauche Revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent Marqueur précédent Contrôle + Point-virgule (;) Reculer la tête de lecture sur le marqueur précédent Définir l’angle de contrôle Maj +V Définir l’angle ignoré comme angle de contrôle Survol S Activer ou désactiver le survol Arrêter K Arrêter la lecture Arrêter Contrôle + K Arrêter la lecture lors de la modification d’un champ de texte Reculer dans l’historique de la timeline Commande + Crochet ouvrant ([) Revenir en arrière d’un niveau dans l’historique de la timeline Avancer dans l’historique de la timeline Commande + Crochet fermant (]) Avancer d’un niveau dans l’historique de la timeline Vers le haut Flèche vers le haut Revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent Vers le haut Contrôle + Flèche haut Lors de la modification d’un champ de texte, revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent Partage et outils Commande Raccourci Action Partager la destination par défaut Commande + E Partager le projet ou plan sélectionné à l’aide de la destination par défaut Outil de sélection (représenté par la flèche) A Activer l’outil de sélection Outil Lame de rasoir B Activer l’outil Lame de rasoir Outil Rognage Maj + C Activer l’outil Rogner et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier planChapitre 17 Raccourcis clavier et gestes 471 Commande Raccourci Action Outil Distorsion Commande + Maj +D Activer l’outil Distorsion et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier plan Outil Main H Activer l’outil Main Outil Position P Activer l’outil Position Outil Transformation Maj +T Activer l’outil Transformation et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier plan Outil Trim T Activer l’outil Trim Outil Zoom Z Activer l’outil Zoom Présentation Commande Raccourci Action Apparence du plan : Étiquettes de plan uniquement Option + Contrôle + 6 En fonction du réglage relatif au nom du plan, affiche les plans de la timeline avec leur nom, leur rôle ou leur angle actif. Apparence du plan : Réduction de la taille de la forme d'onde Option + Contrôle + Flèche vers le bas Réduction de la taille des formes d'onde audio pour les plans de la timeline Apparence du plan : Pellicules uniquement Option + Contrôle + 5 Afficher uniquement les plans de la timeline avec des grandes pellicules Apparence du plan : Augmentation de la taille de la forme d'onde Option + Contrôle + Flèche vers le haut Augmentation de la taille des formes d'onde audio pour les plans de la timeline Apparence du plan : Grandes pellicules Option + Contrôle + 4 Afficher les plans de la timeline avec de petites formes d'onde audio et de grandes pellicules Apparence du plan : Grandes formes d'onde Option + Contrôle + 2 Afficher les plans de la timeline avec de grandes formes d'onde audio et de petites pellicules Apparence du plan : Formes d'onde et pellicules Option + Contrôle + 3 Afficher les plans de la timeline avec des grandes formes d'onde audio et des pellicules vidéo de même taille Apparence du plan : Formes d'onde uniquement Option + Contrôle + 1 Afficher uniquement les plans de la timeline avec des grandes formes d'onde audio Réduire la hauteur du plan Commande + Maj +Tiret (-) Réduire la hauteur de plan dans le navigateur d’événements Augmenter la hauteur du plan Commande + Maj + Égal (=) Augmenter la hauteur de plan du navigateur d’événements Afficher un nombre moindre d’images de la pellicule Commande + Maj +Virgule (,) Afficher un nombre moindre d’images de la pellicule dans les plans du navigateur d’événementsChapitre 17 Raccourcis clavier et gestes 472 Commande Raccourci Action Afficher/Masquer l’animation audio Contrôle + A Afficher ou masquer l’éditeur d’animation audio pour les plans sélectionnés Afficher/Masquer les informations du skimmer Contrôle +Y Afficher ou masquer les informations du plan lors du survol dans le navigateur d’événements Afficher/Masquer l’animation vidéo Contrôle +V Afficher ou masquer l’éditeur d’animation vidéo pour les plans sélectionnés de la timeline Afficher un nombre supérieur d’images de la pellicule Commande + Maj + Point (.) Afficher un nombre supérieur d’images de la pellicule dans les plans du navigateur d’événements Afficher une image par pellicule Commande + Maj +Option +Vir gule (,) Afficher une image par pellicule Afficher le nom des plans Maj +Option + N Afficher ou masquer les noms des plans dans le navigateur d’événements. Afficher le navigateur d’événements sous forme de pellicule Commande +Option + 1 Activer la présentation en pellicule du navigateur d’événements Afficher le navigateur d’événements en liste Commande +Option + 2 Activer la présentation par liste du navigateur d’événements Zoom avant Commande + Égal (=) Réaliser un zoom avant sur la timeline, le navigateur d’événements ou le visualiseur Zoom arrière Commande +Tiret (-) Réaliser un zoom arrière de la timeline, du navigateur d’événements ou du visualiseur Zoom pour adapter à la fenêtre Maj + Z Redimensionner le contenu pour l’adapter à la taille du navigateur d’événements, au visualiseur ou à la timeline Zoom sur les échantillons Contrôle + Z Activer ou désactiver le zoom sur les échantillons audio Fenêtres Commande Raccourci Action Tâches d’arrière-plan Commande + 9 Afficher ou masquer la fenêtre de tâches d’arrière-plan Aller aux améliorations audio Commande + 8 Afficher l’inspecteur d’améliorations audio Accéder au réglage colorimétrique Commande + 6 Activer le réglage colorimétrique Aller au navigateur d’événements Commande + 1 Activer le navigateur d’événements Aller à l’inspecteur Commande +Option + 4 Activer l’inspecteur sélectionné Aller à la timeline Commande + 2 Activer la timeline Aller au visualiseur Commande + 3 Activer le visualiseur Onglet suivant Contrôle +Tabulation Aller à la fenêtre suivante dans l’inspecteur et le réglage colorimétriqueChapitre 17 Raccourcis clavier et gestes 473 Commande Raccourci Action Onglet précédent Maj + Contrôle +Tabulation Revenir à la fenêtre précédente dans l’inspecteur ou le réglage colorimétrique Afficher l’histogramme Commande + Contrôle + H Afficher l’histogramme dans le visualiseur Afficher le vecteurscope Commande + Contrôle +V Afficher le vecteurscope dans le visualiseur Afficher les formes d’onde vidéo Commande + Contrôle +W Afficher le moniteur de formes d’ondes dans le visualiseur Afficher/Masquer les angles Commande + Maj + 7 Afficher/Masquer le visualiseur d’angle Afficher/Masquer les VU-mètres audio Commande + Maj + 8 Afficher ou masquer les VU-mètres audio Afficher/Masquer le navigateur d’effets Commande + 5 Afficher ou masquer le navigateur d’effets Afficher/Masquer la bibliothèque d’événements Commande + Maj + 1 Afficher ou masquer la bibliothèque d’événements Afficher/Masquer le visualiseur d’événements Commande + Contrôle + 3 Afficher ou masquer le visualiseur d’événements Afficher/masquer l’inspecteur Commande + 4 Afficher ou masquer la fenêtre Inspecteur Afficher/Masquer l’éditeur de mots-clés Commande + K Afficher ou masquer l’éditeur de mots-clés Afficher/Masquer la bibliothèque de projets Commande + 0 Afficher ou masquer la bibliothèque de projets Afficher/Masquer l’index de la timeline Commande + Maj + 2 Afficher ou masquer l’index de la timeline pour le projet ouvert Afficher/Masquer les instruments vidéo Commande + 7 Afficher ou masquer les instruments vidéo dans le visualiseur Gestes Multi-Touch Si votre ordinateur est équipé d’un trackpad Multi-Touch, vous pouvez recourir à des gestes Multi-Touch repris dans le tableau ci-dessous lorsque vous travaillez dans Final Cut Pro. Pour en savoir plus sur les gestes Multi-Touch, consultez la documentation fournie avec votre ordinateur. Geste Action Défilement (à l’aide de deux doigts): déplace le point actif sur la timeline verticalement ou horizontalement. Défilement (à l’aide de trois doigts): effectuez un balayage vers le haut pour déplacer la tête de lecture au début de la timeline. À l’inverse, un balayage vers le bas positionne la tête de lecture à la fin de la timeline. Réalisez un balayage horizontal pour déplacer la tête de lecture à gauche ou à droite.Chapitre 17 Raccourcis clavier et gestes 474 Personnalisation des raccourcis clavier Affichage des raccourcis clavier dans l’éditeur de commandes Final Cut Pro met à votre disposition une multitude de commandes de menus et de raccourcis clavier qui vous permettent de contrôler les moindres aspects de votre projet, de la lecture à l’affichage des fenêtres et des inspecteurs, en passant par l’utilisation d’outils. L’éditeur de commandes vous permet de modifier des raccourcis, d’en créer d’autres et d’enregistrer plusieurs ensembles de raccourcis clavier qu’il est possible d’exporter pour les transmettre à autrui. Vous pouvez à l’inverse importer un ensemble de raccourcis qu’un autre utilisateur aura créé. Si vous êtes en outre plus habitué aux raccourcis clavier d’autres applications, l’éditeur de commandes vous permet de substituer ces raccourcis clavier à ceux définis par défaut pour Final Cut Pro. L’éditeur de commandes propose un certain nombre raccourcis clavier pour Final Cut Pro en anglais, en japonais, en français et en allemand. Le système d’exploitation de votre ordinateur détermine la langue d’affichage. Pour apprendre comment modifier la langue utilisée par Final Cut Pro, voir l'aide d'OS X, disponible dans le menu Aide si le Finder est actif. Affichage des raccourcis clavier 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande +Option + K). L’éditeur de commandes s’affiche alors. 2 Pour rechercher des raccourcis clavier dans l’éditeur de commandes, effectuez l’une des opérations suivantes: • Cliquez sur une ou plusieurs touches représentées sur le clavier virtuel (ou sur l’un des quatre boutons correspondant aux touches de modification en haut de l’éditeur de commandes).Chapitre 17 Raccourcis clavier et gestes 475 Les groupes de commandes associés à la ou aux touches sélectionnées apparaissent dans le coin inférieur gauche de la fenêtre, tandis qu’une liste répertorie tous les raccourcis claviers qui y sont associés dans la partie inférieure droite de la fenêtre. Sélectionnez une touche pour afficher les groupes de commandes associés à celle-ci. Si vous maintenez une touche de modification quelconque du clavier, les couleurs des touches s’actualisent. Les couleurs de touches correspondent aux classifications des commandes, par exemple les commandes de lecture telles que Lecture/Pause (barre d’espace) sont bleues. La zone Groupes de commandes qui s’affiche à gauche de la liste des commandes reprend en outre une touche de couleur sur lequel vous pouvez cliquer à des fins de référence. • Saisissez le nom d’une commande, des mots-clés la décrivant ou le nom d’une touche dans le champ de recherche situé en haut à droite de la fenêtre. Les commandes correspondant au terme de recherche sont alors répertoriées dans la liste des commandes placée en bas de la fenêtre. Conseil : Pour afficher les touches qui correspondent aux éléments de la liste des commandes, cliquez sur le bouton de mise en surbrillance du clavier repris à gauche du champ de recherche.Chapitre 17 Raccourcis clavier et gestes 476 Cliquez sur une commande dans la liste pour retrouver ses détails dans la zone «Détail de la commande » située dans le coin inférieur droit de la fenêtre. Commandes trouvées par la recherche Saisissez un terme à rechercher ici. • Cliquez sur un groupe de commandes pour filtrer rapidement la liste de commandes et n’afficher que les commandes et les raccourcis clavier de ce groupe. Cliquez sur une commande dans la liste pour retrouver ses détails dans la zone «Détail de la commande » située dans le coin inférieur droit de la fenêtre. Cliquez sur un groupe de commandes pour filtrer rapidement la liste de commandes. Affichage des raccourcis issus d’un autre ensemble de commandes Si votre système prévoit plusieurs ensembles de commandes, vous pouvez facilement basculer de l’un à l’autre. Pour en savoir plus, consultez Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes à la page 478. Procédez de l’une des manières suivantes: m Choisissez Final Cut Pro > Commandes, puis choisissez dans le sous-menu un ensemble de commandes. La fenêtre de l’éditeur de commandes affiche alors l’ensemble indiqué.Chapitre 17 Raccourcis clavier et gestes 477 m Si l’éditeur de commandes est déjà ouvert, choisissez un ensemble de commandes dans le menu local situé dans le coin supérieur gauche de la fenêtre. Les ensembles de commandes sont répertoriés en bas du menu local. Modification des raccourcis clavier dans l’éditeur de commandes Vous avez la possibilité de personnaliser en toute simplicité les raccourcis clavier repris dans l’éditeur de commandes. Si vous comptez ajouter quelques commandes personnalisées à l’ensemble par défaut de Final Cut Pro, il vous est possible de créer une copie de ce dernier et d’affecter des raccourcis clavier à certaines des commandes non affectées. Vous pouvez aussi créer un ensemble se limitant à vos commandes. Duplication d’un ensemble de commandes 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande +Option + K). 2 Si l’ensemble de commandes à dupliquer ne se trouve pas à l’écran, choisissez un autre ensemble dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes. 3 Choisissez Dupliquer dans le menu local. 4 Dans la fenêtre qui s’affiche, attribuez un nom à l’ensemble de commandes, puis cliquez sur OK. Le nouvel ensemble dupliqué est alors ajouté au sous-menu Commandes du menu de Final Cut Pro et au menu local prévu dans l’éditeur de commandes. Modification d’un ensemble de commandes Il vous est possible d’ajouter des raccourcis clavier à un ensemble de commandes ou d’en réattribuer certains. 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande +Option + K). 2 Si l’ensemble de commandes à modifier ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes. 3 Sélectionnez la commande à laquelle vous voulez attribuer le nouveau raccourci clavier en procédant de l’une des manières suivantes: • Saisissez le nom d’une commande dans le champ de recherche prévu en haut à droite de la fenêtre de l’éditeur de commandes. • Parcourez la liste de commandes jusqu’à retrouver celle de votre choix. 4 Appuyez sur combinaison de touches à attribuer à la commande (par exemple, Maj +Option +T ou toute autre touche). Remarque : Les touches estompées et barrées sur le clavier virtuel de l’éditeur de commandes sont réservées par le système pour son usage propre et ne peuvent dans ce cas pas être attribuées.Chapitre 17 Raccourcis clavier et gestes 478 Si cette combinaison de touches n’est associée à aucune commande, le clavier virtuel s’actualise pour refléter le nouveau raccourci assigné. Un point gris apparaît sur la ou les touches affectées et une couleur se voit appliquée à la commande si elle fait partie d’un groupe de commandes noté par un code de couleur. Si cette combinaison de touches est déjà associée à une commande, Final Cut Pro affiche le réglage actif et vous invite à confirmer sa modification. 5 Pour enregistrer les modifications apportées à l’ensemble de commandes, cliquez sur le bouton Enregistrer dans le coin inférieur droit de l’éditeur de commandes. Si vous fermez l’éditeur de commandes sans avoir enregistré vos modifications, Final Cut Pro vous invite alors à le faire. Suppression d’un ensemble de commandes 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande +Option + K). 2 Si l’ensemble de commandes à supprimer ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes. 3 Choisissez Supprimer dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes. 4 Dans la fenêtre qui s’affiche, cliquez sur Supprimer. L’ensemble de commandes est alors supprimé. Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes Une fois enregistré un ensemble de commandes, vous pouvez l’exporter pour disposer d’une copie de sauvegarde ou pour le partager avec un autre utilisateur. Les ensembles de commandes s’enregistrent dans un fichier qu’il est possible d’importer ultérieurement dans Final Cut Pro. Exportation d’un ensemble de raccourcis clavier personnalisés 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande +Option + K). 2 Si l’ensemble de commandes à exporter ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes. 3 Procédez de l’une des manières suivantes: • Choisissez Final Cut Pro > Commandes > Exporter. • Choisissez Exporter dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes. 4 Dans le champ Enregistrer sous, attribuez un nom à l’ensemble de commandes exporté, accédez à l’endroit où vous souhaitez conserver l’ensemble exporté, puis cliquez sur Enregistrer. Le fichier s’enregistre à l’emplacement choisi avec l’extension « .commandset ». Importation d’un ensemble de commandes 1 Procédez de l’une des manières suivantes: • Choisissez Final Cut Pro > Commandes > Importer. • Ouvrez l’éditeur de commandes en choisissant Final Cut Pro > Commandes > Personnaliser, puis choisissez Importer dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes.Chapitre 17 Raccourcis clavier et gestes 479 2 Dans la fenêtre qui apparaît, accédez à l’emplacement où vous avez stocké le fichier d’un ensemble de commandes, sélectionnez-le, puis cliquez sur Ouvrir. Si vous utilisez déjà un ensemble de commandes portant le même nom, une fenêtre vous invite alors à le renommer. Le nouvel ensemble est alors ajouté au sous-menu Commandes du menu de Final Cut Pro et au menu local prévu dans l’éditeur de commandes.480 4:3 Proportions utilisées pour la transmission vidéo analogique en définition standard (SD). Le rapport de la largeur sur la hauteur de la zone visible de l’image vidéo est de 4:3, ou 1.33. Voir aussi définition standard (SD). 16:9 Proportions écran large utilisée en vidéo. Le rapport de la largeur sur la hauteur de la zone visible de l’image vidéo est de 16:9, ou 1.78. Les proportions 16:9 sont utilisées pour la vidéo haute définition. Voir aussi haute définition (HD). AAC (Advanced Audio Coding) Également appelé MPEG-4 Audio. Méthode standard de compression et d’encodage audio numérique. La qualité des fichiers AAC soutient la comparaison avec celle des CD audio et est généralement supérieure à celle des fichiers MP3 encodés au même débit, voire à des débits supérieurs. AC3 (Audio Codec 3, Advanced Codec 3, Acoustic Coder 3) Format audio compressé Dolby Digital généralement utilisé pour l’encodage du son Surround. AIFF (Audio Interchange File Format) Format de fichier audio multiplateforme mis au point par Apple. Comme les fichiers WAV, les fichiers AIFF incluent des « blocs » d’informations, tels que le bloc de données audio (Sound Data Chunk), qui contient les données d’échantillons proprement dites, et le bloc commun (Common Chunk), qui comporte les informations relatives à la fré- quence d’échantillonnage et à la profondeur de bits. canal alpha Canal d’image, en plus des canaux de couleur R, V et B, utilisé pour stocker des données de transparence pour le compositing. Les canaux alpha sont souvent de 8 bits, mais certaines applications gèrent les canaux alpha de 16 bits. Dans Final Cut Pro, le noir correspond à 100 pour cent de transparence, tandis que le blanc représente 100 pour cent d’opacité. Seuls certains formats, tels que Targa, TIFF, PNG, PSD, Apple ProRes 4444 et le codec d’animation QuickTime, prennent en charge les canaux alpha. Voir aussi compositing, RVB. Éditeur d’angles Vous pouvez y ouvrir des plans multicam pour adapter la synchronisation et l’ordre des angles ou pour en ajouter ou en supprimer. Vous pouvez aussi passer par l’éditeur d’angles pour réaliser des montages dans les différents plans insérés dans un plan multicam (par exemple, lors de trim, d’étalonnages, d’ajout de transitions, etc.). Voir aussi plan multicam. Visualiseur d’angle Visualiseur permettant de visionner simultanément tous les angles d’un plan multicam tout en activant ou en coupant vers un autre angle en temps réel. Vous pouvez couper et changer les éléments audio et vidéo simultanément ou indépendamment. Par exemple, vous pouvez utiliser l’élément audio de l’angle 1 tout en alternant entre les angles 1 à 4 de la vidéo. Voir aussi plan multicam. éditeurs d’animation Consultez Éditeur d’animation audio, Éditeur d’animation vidéo. GlossaireGlossaire 481 Apple ProRes Les codecs Apple ProRes combinent de manière inégalée performances de multidiffusion et de montage en temps réel et qualité d’image impressionnante, le tout dans des fichiers de taille réduite. Plus particulièrement, les codecs Apple ProRes ont été conçus pour fonctionner de manière optimale comme codecs haute qualité, hautes performances destinés au montage dans Final Cut Pro, en exploitant totalement le traitement multicœur et en procurant des modes de décodage rapide en résolution réduite. Tous les codecs de la famille Apple ProRes prennent en charge toutes les dimensions d’image (SD, HD, 2K et 4K) en résolution complète. Le débit de données Apple ProRes varie selon le type de codec, le contenu d’image, la taille d’image et la fréquence d’images. Apple ProRes 4444 Ce codec Apple ProRes procure la meilleure qualité pour les sources 4:4:4:4 et convient aux flux de production impliquant des canaux alpha. Il offre des couleurs RVBA 4:4:4:4 en pleine résolution de qualité Master, visuellement indiscernables du matériel original, avec d’excellentes performances de duplication. Il comprend également un canal alpha mathé- matiquement sans perte (jusqu’à 16 bits) avec lecture en temps réel, une solution haute qualité de stockage et d’échange de composites et de graphiques animés, ainsi que l’encodage et le décodage direct dans les formats de pixels RVB et Y'CbCr. Ce codec présente un débit de données remarquablement faible par comparaison avec le format HD 4:4:4 sans compression (débit de données cible d’environ 330 Mbps pour les sources 4:4:4 à 1920 x 1080 et 29.97 ips). Voir aussi Apple ProRes. Apple ProRes 422 (HQ) Ce codec Apple ProRes procure le même niveau élevé de qualité visuelle que le codec Apple ProRes 4444, mais pour des sources d’image 4:2:2. Largement adopté dans l’industrie de la postproduction vidéo, le codec Apple ProRes 422 (HQ) permet de préserver sans perte la vidéo HD professionnelle de la plus haute qualité qu’un signal HD-SDI (liaison simple) peut transporter. Il prend en charge les sources vidéo 4:2:2 en pleine largeur à des profondeurs de pixels de 10 bits, sans aucune perte visuelle après de nombreuses opérations de décodage et de réencodage. Le débit de données cible du codec Apple ProRes 422 (HQ) est d’environ 220 Mbps à 1920 x 1080 et 29,97 ips. Voir aussi Apple ProRes. Apple ProRes 422 Ce codec Apple ProRes procure pratiquement tous les avantages du codec Apple ProRes 422 (HQ), mais à 66 % du débit de données de ce dernier et avec des performances de multidiffusion et de montage en temps réel supérieures. Voir aussi Apple ProRes. Apple ProRes 422 (LT) Avec un débit de données cible équivalent à approximativement 70 % de celui du codec Apple ProRes 422 et des dimensions de fichier inférieures de 30 %, ce codec convient parfaitement aux environnements où la capacité de stockage et la bande passante sont limitées. Voir aussi Apple ProRes. Apple ProRes 422 (Proxy) Ce codec Apple ProRes est destiné aux flux de production offline nécessitant de faibles débits de données, mais une vidéo en pleine résolution. Son débit de données cible correspond à environ 30 pour cent de celui du codec Apple ProRes 422. Voir aussi Apple ProRes. proportions Rapport de la largeur sur la hauteur d’une image vidéo à l’écran. La vidéo en définition standard (SD) (utilisée par les téléviseurs classiques) présente des proportions de 4:3. La vidéo haute définition (HD) présente des proportions de 16:9. Éditeur d’animation audio Vous pouvez afficher l’éditeur d’animation audio pour des plans dans la timeline afin d’ajuster les paramètres des effets, de créer des fondus entrants ou sortants, ou de changer les effets dans le temps à l’aide d’images clés.Glossaire 482 composants audio Les fichiers audio peuvent contenir un seul ou plusieurs canaux audio. Final Cut Pro regroupe automatiquement les canaux audio en composants audio en fonction de la configuration des canaux pour le plan. Dans Final Cut Pro, vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. fréquence d’échantillonnage Nombre de fois qu’un signal audio est mesuré, ou échantillonné, par seconde. Plus la fréquence d’échantillonnage est supérieure, plus l’audio est de qualité élevée et plus les fichiers produits sont volumineux. Audio Units Format de filtre audio en temps réel standard des applications audio utilisées sous OS X. formes d’onde audio Les formes d’onde audio sont des représentations visuelles des sons. Leur amplitude et leur longueur varient selon le volume et la durée du son qu’elles représentent. Un son court et marqué, tel qu’un son de percussion, est représenté par une forme d’onde en pic, alors qu’un bruit de foule étouffé présente une forme d’onde plus basse et prolongée. Ces propriétés permettent de trouver plus facilement des points de montage spécifiques au moment d’appliquer un trim à des plans ou d’ajouter des images clés à des effets. audition Dans Final Cut Pro, vous pouvez regrouper des plans connexes dans des ensembles, appelés auditions, vous permettant de choisir celui à utiliser. Vous pouvez créer une audition composée de différents plans pour tester plusieurs prises ou constituée de plusieurs versions du même plan pour effectuer le preview d’effets divers. Dans le navigateur d’événements et la timeline, les auditions se présentent sous la forme de plans affichant une icône Audition dans le coin supérieur gauche. synchronisation audio automatique L’option « Utiliser l’audio pour la synchronisation » dans le processus de création des plans multicam permet d’effectuer des réglages de synchronisation fins ´l’aide des formes d’onde audio qui s’affichent dans les angles d’un plan multicam. Cette technologie est identique à celle de synchronisation audio utilisable pour analyser et synchroniser automatiquement les plans ensemble en un plan composé. AVCHD Format vidéo haute définition (HD) utilisant la compression AVC (Advanced Video Coding) (également appelée MPEG-4 Partie 10 ou H.264). La plupart des lecteurs Blu-ray peuvent lire des disques à laser rouge avec du contenu au format AVCHD, ce qui permet de distribuer de petits projets vidéo HD à l’aide d’un disque à laser rouge standard. fenêtre Tâches d’arrière-plan La fenêtre Tâches d’arrière-plan affiche la progression des tâches d’importation, de transcodage, d’analyse, de rendu et autres. lot Compressor place dans un lot le ou les fichiers multimédias source que vous voulez convertir, ou transcoder, vers un autre format. Chaque fichier de média source crée sa propre tâche. En d’autres termes, un lot peut contenir plusieurs tâches, chacune d’entre elles s’appuyant sur son propre fichier de média source. En outre, chacune possède au moins un réglage qui définit le format du fichier transcodé. débit binaire Nombre de bits par seconde constituant une ressource audio ou vidéo numérique. Plus le débit binaire est élevé, plus la qualité est haute. Toutefois, un débit binaire élevé implique une taille de fichier importante. outil Lame de rasoir Outil de montage permettant de couper des plans dans la timeline. Pour activer l’outil Lame de rasoir, appuyez sur la touche B.Glossaire 483 support à laser bleu Les graveurs et les lecteurs Blu-ray utilisent un laser bleu pour les supports Blu-ray. La couleur bleue possède une longueur d’onde plus courte, ce qui rend possible un stockage plus important de données sur un disque, comparé aux supports laser rouge. filtrage bleu ou vert Voir incrustation chromatique. adapté à la diffusion Les studios de télédiffusion fixent des valeurs maximales de luminance et de chrominance autorisées pour la diffusion. Si une vidéo dépasse ces limites autorisées, une déformation apparaît et la qualité de la transmission obtenue est inacceptable. Vous pouvez utiliser les instruments vidéo de Final Cut Pro pour vous assurer que les niveaux de luminance et de chrominance définis restent dans les limites acceptables. Roll B Terme utilisé pour décrire une séquence alternative à insérer dans les principaux plans utilisés dans un programme. Un Roll B est fréquemment utilisé pour des plans de coupe. BWF (Broadcast Wave Format) Extension du format de fichier WAV qui intègre des métadonnées supplémentaires telles que le timecode et des informations de production. CAF (Core Audio Format) Le format CAF d’Apple est un format de fichiers souple, destiné au stockage et à la manipulation de données audionumériques. Il est totalement pris en charge par les API Core Audio sous Mac OS X 10.4 ou ultérieur et sous Mac OS X 10.3 avec QuickTime 7 ou ultérieur. Le format CAF, à la fois souple et hautement performant, peut en outre s’adapter aux technologies d’enregistrement, de montage et de lecture ultra haute résolution du futur. chrominance Données sur les couleurs contenues dans un signal vidéo, comprenant la teinte, qui représente la couleur proprement dite, et la saturation, qui représente l’intensité de la couleur. incrustation chromatique Technique d’effets spéciaux permettant de dériver un canal alpha ou un cache à partir de l’arrière-plan bleu ou vert d’un plan vidéo, afin de le rendre transparent en vue d’effectuer un compositing avec d’autres plans. La technologie de filtrage bleu est employée pour montrer les présentateurs météo devant une animation satellite, alors qu’ils se trouvent en réalité devant un mur bleu. Également connue sous le nom de fond bleu ou de fond vert. Voir aussi canal alpha. plan Terme utilisé pour désigner une ressource vidéo ou audio, en particulier après son importation dans Final Cut Pro. Les plans apparaissent dans le navigateur d’événements, la timeline et les navigateurs multimédias. Les plans ou clips dans Final Cut Pro pointent vers des fichiers de média source stockés sur disque. Si vous modifiez un plan ou un clip, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan ou clip dans Final Cut Pro. On parle alors de montage offline. écrêtage Distorsion qui se produit lors de la lecture ou de l’enregistrement d’audio numérique, en raison d’un signal qui dépasse la valeur d’échantillonnage maximale de 0 dBFS. sélection de plans Sélection de plans complets dans le navigateur d’événements ou la timeline. Par rapport à une sélection de plage, une sélection de plans est limitée aux limites des plans. Il est impossible d’ajuster une sélection de plans de façon à inclure des sections de plans. Vous pouvez cependant ajouter ou supprimer des plans entiers. codec Abréviation de compresseur/décompresseur ou encodeur/décodeur. Composant logiciel utilisé pour convertir de l’audio ou de la vidéo dans une forme numérique compressée sous laquelle il est stocké sur le disque dur d’un ordinateur. DV, Photo JPEG et Apple ProRes repré- sentent des codecs vidéo QuickTime répandus.Glossaire 484 balance des couleurs Désigne le mélange de rouge, vert et bleu dans un plan. Dans Final Cut Pro, vous pouvez ajuster la balance des couleurs des zones de tons clairs, intermédiaires ou foncés de votre plan en utilisant le réglage colorimétrique. mires Signal de test de couleur standard affiché sous la forme de colonnes, souvent accompagné d’une tonalité de référence. La mire permet d’ajuster le signal vidéo de la source entrante, afin de conserver des couleurs correctes de l’importation jusqu’à la sortie. réglage colorimétrique Le réglage colorimétrique vous permet d’ajuster manuellement les propriétés des couleurs d’un plan. Il renferme des fenêtres distinctes pour l’ajout ou la soustraction d’une teinte de couleur, le contrôle de l’intensité de la couleur et le contrôle de la luminosité de la vidéo. En plus d’une commande générale, chaque fenêtre dispose de différentes commandes pour la surbrillance, les tons intermédiaires et les zones d’ombrage de l’image. dominante de couleur Teinte indésirable de l’image, généralement provoquée par des problèmes d’éclairage. étalonnage Processus au cours duquel la couleur des plans utilisés dans un programme monté est harmonisée, afin que tous les plans d’une scène donnée coïncident. L’étalonnage est géné- ralement l’une des dernières étapes de finalisation d’un programme monté. Les outils d’étalonnage disponibles dans Final Cut Pro vous permettent de contrôler avec précision l’apparence de chaque plan de votre projet grâce au réglage de la balance des couleurs, des niveaux de noir, des tons intermédiaires et des niveaux de blanc. différence de couleur Dans les formats vidéo utilisant l’espace colorimétrique Y’CbCr pour le stockage des informations sur les couleurs, les canaux de couleur sont dérivés en soustrayant les signaux Y (luminance) des signaux R (rouge) et B (bleu) et sont parfois appelés B-Y et R-Y. Voir aussi Y’CbCr. compositing Processus au cours duquel au moins deux images sont combinées en une seule. Ce terme peut également s’appliquer au processus de création de divers effets vidéo. plan composé Vous pouvez utiliser des plans composés pour regrouper des plans de n’importe quels types dans la timeline ou le navigateur d’événements et imbriquer des plans dans d’autres plans. Vous avez la possibilité d’ouvrir n’importe quel plan composé, en modifier le contenu dans la timeline, puis le refermer. Un plan composé peut contenir des composants de plan vidéo et clip audio, des plans et d’autres plans composés. Il peut en fait être vu comme un mini-projet en soi, avec ses propres réglages de projet. Les plans composés fonctionnent comme les autres plans: vous pouvez les ajouter à votre projet, leur appliquer un trim, les resynchroniser et leur ajouter des effets et des transitions. compression Processus réduisant la taille des fichiers vidéo, graphiques et audio. La compression « avec perte » désigne le processus qui réduit la taille des fichiers vidéo lorsque vous supprimez les données graphiques redondantes ou moins importantes. La compression sans perte réduit la taille des fichiers en consolidant mathématiquement les données graphiques redondantes sans les supprimer. plan connecté Les plans connectés sont associés à des plans du scénario principal dans la timeline. Les plans connectés s’avèrent utiles pour les plans de coupe, les images superposées ou composites et les effets sonores. Les plans connectés restent reliés et synchronisés jusqu’à ce que vous les déplaciez ou les supprimiez manuellement. Une suite de plans connectés compose un scénario.Glossaire 485 contraste Différence entre les valeurs les plus claires et les plus sombres d’une image. Les images qui présentent un grand contraste possèdent un large intervalle de valeurs de l’ombre la plus sombre au ton le plus clair. Les images à faible contraste possèdent une gamme étroite de valeur. L’aspect obtenu est plus « plat ». fondu enchaîné Type courant de transition vidéo dans laquelle le premier plan disparaît progressivement pendant que le second apparaît, lui aussi, progressivement. Lors du fondu enchaîné, les deux plans sont superposés pendant leur fondu respectif. fondu enchaîné Type courant de transition audio dans laquelle l’audio du premier plan s’affaiblit progressivement pendant que l’audio du second monte, lui aussi, progressivement. Lors du fondu enchaîné, l’audio des deux plans est entendu. coupe Montage dans lequel un plan en suit immédiatement un autre, sans effet de transition. Il s’agit du type de montage le plus simple. plan de coupe Plan ayant un rapport avec le sujet actuel et se produisant dans le même laps de temps (par exemple, la réaction d’un interviewer à ce qui se dit dans une interview). Un plan de coupe est souvent utilisé pour éliminer une section visuelle non souhaitée d’un autre plan. L’audio reste généralement continu lors de la coupe, ce qui vous permet de la rendre moins perceptible. panneau de contrôle Le panneau de contrôle apparaît au centre de la barre d’outils et affiche le timecode, ainsi que des icônes indiquant les niveaux audio et l’état des tâches d’arrière-plan. débit des données Vitesse à laquelle les données peuvent être transférées, souvent exprimée en mégaoctets par seconde (Mo/s) ou en mégabits par seconde (Mbps). Plus le débit de données d’un fichier vidéo est élevé, plus sa qualité est optimale, mais plus les ressources système (vitesse du processeur, espace libre sur le disque dur et performances) sont sollicitées. Certains codecs vous permettent de spécifier un débit maximal par film au cours de la capture. décibel (dB) Unité de mesure des niveaux sonores; échelle logarithmique utilisée pour décrire l’intensité d’un son perçu par l’oreille humaine. (1 dB correspond approximativement à la variation de volume la plus faible que l’oreille humaine puisse percevoir.) Pour l’audio numérique, dBFS est l’unité de décibel standard pour la mesure du niveau sonore. destination Ensemble de réglages d’exportation préconfigurés que vous pouvez utiliser pour partager un projet ou un plan depuis Final Cut Pro. Les destinations simplifient l’exportation de votre film en vue de le visionner sur des dispositifs Apple tels que l’iPhone et l’iPad, le publier sur des sites web comme Facebook et YouTube, ou encore le graver sur disque. Final Cut Pro offre une panoplie complète de destinations que vous pouvez en outre modifier à loisir ou en créer d’autres. Pour ajouter et modifier des destinations, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Utilitaire de disque Utilitaire de disque est une application Apple permettant d’exécuter des tâches de gestion de disque dans OS X. Il se trouve dans le dossier /Applications/Utilitaires. sous-mixage Processus utilisé pour combiner plusieurs canaux audio en une seule paire stéréo (ou mono dual). Également appelé mixdown.Glossaire 486 timecode Drop Frame Timecode NTSC qui ignore deux numéros d’image par minute, sauf pour les minutes qui se terminent par 0, afin que le timecode corresponde au temps véritablement écoulé (les numéros de timecode sont passés mais pas les images vidéo proprement dites). Ce saut est effectué pour tenir compte de la fréquence d’images vidéo réelle de la norme NTSC de 29,97 ips qui décale le timecode Non-Drop Frame de 3 secondes et 18 images par heure par rapport au temps réellement écoulé. Pour éviter toute confusion, il faut éviter d’utiliser un timecode Drop Frame dans les productions cinématographiques. Voir aussi timecode Non-Drop Frame. ombre portée Effet qui crée une ombre artificielle derrière une image. Utilisé surtout avec des graphiques et du texte. DV Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage 16 bits et 48 kHz ou quatre pistes audio avec un échantillonnage de 12 bits et 32 kHz. DVCAM Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage 16 bits et 48 kHz ou quatre pistes audio avec un échantillonnage de 12 bits et 32 kHz. DVCPRO Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage audio de 16 bits et 48 kHz. DVCPRO 50 Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 3.3:1 et un échantillonnage des couleurs 4:2:2. Ce format gère quatre pistes audio avec un échantillonnage audio de 16 bits et 48 kHz. DVCPRO HD Format vidéo haute définition (HD) qui enregistre un signal vidéo en composantes 8 bits compressé avec un échantillonnage des couleurs 4:2:2. 720p et 1080i sont pris en charge. Inclut jusqu’à huit pistes audio avec un échantillonnage 16 bits et 48 kHz. Le débit de données total est de 115 Mbps. DVD Disque de la taille d’un CD, mais utilisant des méthodes de stockage haute densité qui augmentent considérablement sa capacité. Généralement utilisés pour la distribution vidéo, les disques DVD-ROM peuvent également être utilisés pour stocker des données informatiques. plage dynamique Différence, exprimée en décibels, entre la partie d’un enregistrement dont le volume est le plus élevé et celle dont le volume est le plus bas. outils d’édition Sept outils parmi lesquels choisir lors de vos manipulations dans la timeline : outil de sélection, outil Trim, outil Position, outil Sélection de plage, outil Lame de rasoir, outil Zoom et outil Main. Après avoir choisi un outil, l’icône du pointeur s’adapte pour refléter l’usage de l’outil en question.Glossaire 487 point de montage Les points de montage définissent la partie d’un plan que vous souhaitez utiliser dans le projet monté. Les points de montage comprennent les points de départ, qui définissent le début d’une section d’un plan ou d’un projet, et les points d’arrivée, qui définissent la fin d’une section d’un plan ou d’un projet. Un point de montage est également un point dans la timeline où le point d’arrivée d’un plan coïncide avec le point de départ du plan suivant. Il peut être sélectionné pour diverses opérations. Navigateur d’effets Navigateur multimédia de Final Cut Pro contenant des effets de plan vidéo et de clip audio. égalisation Un égaliseur (généralement appelé EQ, pour « equalizer ») modèle le son de l’audio entrant en modifiant le niveau de bandes de fréquences spécifiques. L’égalisation constitue l’un des traitements audio les plus couramment utilisés, aussi bien pour les projets de musique que dans les travaux de postproduction vidéo. Vous pouvez passer par l’égalisation pour former subtilement ou plus nettement le son d’un fichier audio, d’un instrument ou d’un projet en ajustant des fréquences précises ou des plages entières. événement Lorsque vous importez du contenu vidéo, audio ou des images fixes ou que vous les enregistrez directement dans Final Cut Pro, les fichiers multimédias source (votre métrage brut) sont stockés dans des événements. Un événement correspond à un dossier qui peut contenir des dizaines, des centaines, voire des milliers de plans vidéo, de clips audio et d’images fixes. Chaque événement de la bibliothèque d’événements correspond à un dossier de votre disque dur qui contient les fichiers de média originaux, tout fichier de rendu relatif à votre média et un fichier de base de données comprenant le suivi de l’emplacement de l’ensemble des éléments. Navigateur d’événements Le navigateur d’événements affiche les plans correspondant à l’élé- ment sélectionné dans la bibliothèque d’événements. Il vous suffit de sélectionner des plans ou des sections de plan dans le navigateur d’événements pour commencer à travailler dessus. Vous pouvez trier les plans dans le navigateur d’événements par date de création, par date d’importation, par bande, par scène, par durée de plan ou par type de fichier. Vous pouvez aussi visualiser vos plans sous forme de pellicule ou de liste. Bibliothèque d’événements La bibliothèque d’événements référence et organise les événements contenant les données que vous avez importées (vidéo, audio et images fixes). Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, le média qu’il contient s’affiche sous forme de plans dans le navigateur d’événements. La bibliothèque d’événements contient également les collections de mots-clés et les collections intelligentes de Final Cut Pro qui vous permettent d’organiser efficacement votre média à l’aide de mots-clés et de filtres de recherche persistants. visualiseur d’événements Le visualiseur d’événements représente un affichage vidéo à part à côté du visualiseur principal, servant uniquement à lire des plans dans le navigateur d’événements. exposition Quantité de lumière dans des images vidéo ou des images de film. L’exposition modifie la luminosité générale de l’image, ainsi que son contraste. fondu Type de transition couramment utilisé pour la vidéo et l’audio. Dans le cas de la vidéo, un fondu sortant commence par un plan dont l’intensité, maximale au début, réduit progressivement jusqu’à disparaître. À l’inverse, un fondu entrant commence par un plan dont l’intensité, nulle au départ, augmente progressivement jusqu’à son niveau maximal. On appelle souvent ces transitions « fondu au noir » et « fondu à l’ouverture ». Les fondus audio commencent pour leur part avec un volume nul qui augmente pour atteindre le volume complet, alors que le fondu sortant commence au volume complet pour se réduire jusqu’au silence.Glossaire 488 pellicule Vos plans vidéo apparaissent sous forme de pellicules dans la timeline (là où vous créez vos projets) et dans le navigateur d’événements (là où sont affichées vos données source). Une seule pellicule vidéo peut représenter plusieurs secondes de vidéo regroupant des centaines d’images vidéo (à savoir des images spécifiques). Les clips exclusivement audio se présentent comme des formes d’onde audio, affichant les changements de volume dans le temps. FireWire Marque déposée d’Apple pour la norme IEEE 1394. FireWire constitue une interface rapide et polyvalente permettant de relier des caméscopes DV à des ordinateurs. FireWire convient parfaitement aux applications déplaçant de grands volumes de données et peut servir à connecter des disques durs, des scanners et d’autres types de périphériques. effets de bruitage Les effets de bruitage sont des effets sonores personnalisés parfaitement synchronisés avec l’image, tels que des bruits de pas sur différentes surfaces, le froissement de vêtements, des sons de combat et le bruit d’objets manipulés. Final Cut Pro inclut un certain nombre de bruitages et d’autres effets sonores que vous pouvez utiliser comme clips audio connectés. image Image fixe isolée. Les films et les vidéos sont composés d’une série de ces images. Même si une image d’un film correspond à une seule image photographique, une image vidéo entrelacée contient deux trames. Voir aussi vidéo entrelacée, vidéo non entrelacée. fusion d’images La duplication d’images en vue de créer un ralenti peut produire un effet stroboscopique perturbant. Pour limiter cet effet, vous pouvez activer la fusion d’images dans le menu local Resynchronisation accessible à partir de la barre d’outils. La fusion d’images crée des images intermédiaires, chacune constituant une image composite des deux images contigües de chaque côté. fréquence d’images Nombre d’images photographiées par seconde pour un plan vidéo. taille d’image Voir résolution. fréquence Nombre de fois qu’un son ou un signal vibre par seconde. La fréquence est exprimée en cycles par seconde, ou hertz (Hz). Les enregistrements audio sont composés d’une large série de formes d’onde, qui utilisent de nombreuses fréquences de son différentes. Chaque fréquence d’enregistrement est associée à une tonalité audio. Par exemple, la note produite par chaque touche d’un piano a sa propre fréquence. Front Row Front Row, application fournie avec OS X, vous permet de parcourir vos données iTunes, iLife et Final Cut Pro à l’aide d’une télécommande Apple Remote ou de l’application Remote. Il est également possible d’ouvrir Front Row en appuyant sur Commande + Échap. gain Niveau de gain d’un signal audio ou vidéo. En vidéo, cette valeur augmente le niveau de blanc ; en audio, c’est le volume qui est augmenté. gamma Courbe décrivant l’intensité d’une image. Gamma constitue une fonction non linéaire souvent confondue avec la « luminosité » ou le « contraste ». La correction gamma est fréquemment utilisée pour atténuer les différences entre les cartes vidéo et les écrans Mac et Windows. plan vide Plan vierge (contenant de la vidéo vierge et du silence) dont vous pouvez définir librement la durée. (L’industrie audiovisuelle emploie le terme d’amorce pour le désigner.) La couleur du plan vide se détermine par celle de l’arrière-plan actif dans Final Cut Pro. Vous pouvez adapter la couleur d’arrière-plan à l’aide du menu local « Arrière-plan du lecteur » dans la fenêtre Lecture des préférences de Final Cut Pro. générateurs Plans synthétisés par Final Cut Pro. Ces derniers peuvent constituer différents types d’arrière-plans, de titres et d’éléments visuels.Glossaire 489 navigateur de générateurs Navigateur multimédia de Final Cut Pro permettant d’accéder à tous les générateurs vidéo inclus dans Final Cut Pro. outil Main Outil de montage permettant de faire défiler la timeline. Pour activer l’outil Main, appuyez sur la touche H. H.264 H.264/MPEG-4 Part 10 ou AVC (Advanced Video Coding) est un standard de compression vidéo largement utilisé pour l’enregistrement, la distribution et la diffusion sur Internet de vidéo en haute définition. HDCAM Format d’enregistrement numérique sur bande vidéo en haute définition (HD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 7.1:1 DCT et un échantillonnage des couleurs 3:1:1. Enregistré sur une bande d’1/2 pouce. Il gère quatre pistes audio. HDV Ce format est destiné à enregistrer de la vidéo haute définition sur bande DV. Le format HDV fait appel à la compression vidéo MPEG-2 avec des échantillons 8 bits et un sous-échantillonnage de chrominance 4:2:0. Il possède un débit vidéo de 18,3 Mbps à 720p (1280 x 720) et de 25 Mbps à 1080i (1440 x 1080). haute définition (HD) Désigne toute vidéo dont la résolution est supérieure à celle de la vidéo NTSC ou PAL en définition standard. Les résolutions haute définition les plus courantes sont 1280 x 720 (720p) et 1920 x 1080 (1080i ou 1080p). Voir aussi format NTSC, format PAL, définition standard (SD). histogramme Instrument vidéo de Final Cut Pro offrant une analyse statistique de l’image en représentant graphiquement le nombre de pixels à chaque pourcentage de luminance ou de couleur. Il est utile pour comparer deux plans afin de mieux faire correspondre leurs valeurs de luminosité. teinte Attribut de perception de la couleur, également appelé phase de couleur. Le rouge, le bleu, le jaune et le vert sont tous des teintes. importation Processus consistant à placer des fichiers multimédias de différents types dans des événements dans Final Cut Pro. Vous pouvez importer des fichiers depuis des caméscopes et d’autres appareils connectés, depuis d’autres applications ou depuis des périphériques de stockage connectés. IMX Format MPEG-2 en définition standard (SD) d’imagesI stockées sur bande, disque optique XDCAM ou disque dur. Certaines platines IMX peuvent lire et convertir les formats tels que Digital Betacam, Betacam SX et Betacam SP en IMX. Le débit des données IMX peut être réglé sur 30, 40 ou 50 Mbps. plan entrant Plan suivant une transition. Par exemple, si le plan A fait l’objet d’un fondu vers le plan B, ce dernier est le plan entrant. Voir aussi plan sortant. inspecteur d’informations L’inspecteur d’informations affiche des informations (appelées métadonnées) concernant un plan ou un groupe de plans sélectionné dans le navigateur d’événements ou la timeline. Il vous est possible d’afficher plusieurs combinaisons de métadonnées avec vos plans, telles que des codecs, les moments de début et de fin du média, la bande, la scène, la prise, les renseignements EXIF et les informations IPTC. Vous pouvez aussi passer par l’inspecteur d’informations pour modifier les métadonnées pour un plan ou groupe de plans choisi, et pouvez créer des ensembles personnalisés de métadonnées affichables par le biais de la fenêtre Présentations des métadonnées accessible depuis l’inspecteur d’informations. point d’entrée Voir point de montage.Glossaire 490 montage par insertion Un montage par insertion place le plan source de façon à ce que tous les plans situés après le point d’insertion soient déplacés vers l’avant (Ripple) dans la timeline pour faire de la place au plan inséré. Aucun plan n’est supprimé de votre projet. Un montage par insertion allonge le projet de la durée du plan inséré. inspecteurs Final Cut Pro comporte un certain nombre d’inspecteurs permettant de consulter et de modifier les attributs des éléments sélectionnés. Par exemple, il est possible de régler des effets vidéo et d’appliquer des étalonnages dans l’inspecteur vidéo. Les autres inspecteurs sont les inspecteurs audio, d’améliorations audio, d’informations, de transition, des titres, de texte, du générateur et de partage. Ils apparaissent dans la fenêtre Inspecteur située dans le coin supérieur droit de la fenêtre principale de Final Cut Pro. vidéo entrelacée Méthode de balayage qui divise une image vidéo en deux trames, chacune d’elles étant constituée de lignes paires et impaires alternées, balayées à différents moments. IRE Unité de mesure d’un signal vidéo analogique pour la luminance, définie par l’Institute of Radio Engineers. coupe en J Voir montage scindé. tâche Chaque fichier multimédia ajouté à un lot dans Compressor constitue une tâche. Chaque tâche possède un fichier de média et un ou plusieurs réglages définissant le type de fichier à rendre. Voir aussi lot. JPEG Format de fichier d’image très répandu permettant de créer des fichiers graphiques très compressés. Le taux de compression peut varier. Plus la compression est faible, plus la qualité de l’image est bonne. image clé Commande représentant la valeur d’un paramètre d’effet vidéo ou audio en un point donné du projet. Lorsque deux images clés avec des valeurs différentes sont définies dans Final Cut Pro, une transition d’une valeur à l’autre est calculée, entraînant un changement dynamique de ce paramètre. Le terme image clé est issu de l’animation traditionnelle, où seules les images importantes (clés) d’une séquence animée étaient dessinées pour esquisser l’animation d’un personnage au fil du temps. Une fois les images clés déterminées, un artiste d’interpolation dessine toutes les images intermédiaires. incrustation Voir incrustation chromatique, incrustation en luminance. collection de mots-clés Lorsque vous appliquez un mot-clé à un plan, une collection de motsclés est automatiquement créée dans la bibliothèque d’événements. Lorsque vous sélectionnez la collection de mots-clés, chaque plan auquel le mot-clé en question a été affecté est affiché. mots-clés Les mots-clés ajoutent des informations descriptives à un plan ou une plage de plan. Vous pouvez faire appel à des mots-clés pour organiser, trier et classifier le média. Il vous est possible d’ajouter manuellement des mots-clés à un plan ; Final Cut Pro peut en outre en ajouter automatiquement lors de l’analyse de plans. Voir aussi Collection de mots-clé. coupe en L Voir montage scindé. montage linéaire Avant l’apparition du montage vidéo numérique, les programmes étaient montés en copiant l’un après l’autre les plans sur une bande Master à partir des bandes source originales. L’assemblage étant linéaire, tout changement de durée apporté à un point anté- rieur de la bande nécessitait le réassemblage du film à partir de ce point. Voir aussi montage non linéaire.Glossaire 491 en boucle Mode de lecture selon lequel les plans et les projets retournent au début à chaque fois que la tête de lecture atteint la fin des données. Vous pouvez activer ou désactiver la lecture en boucle à partir du menu Présentation ou en appuyant sur Commande + L. tiers inférieur Terme utilisé dans le secteur télévisuel pour désigner un graphisme placé dans la zone inférieure de l’écran, généralement pour apporter des précisions sur un sujet ou un produit. Un usage courant des tiers inférieurs est d’identifier des individus à l’écran à l’aide de leur nom et de leur fonction professionnelle. luminance Valeur décrivant la luminosité d’une image vidéo. Un canal de luminance est une image en niveaux de gris indiquant la gamme de luminosité de l’ensemble du plan. incrustation en luminance Filtre utilisé pour exclure les pixels présentant une valeur de luminance (ou une plage de valeurs de luminance) donnée, créant ainsi un cache basé sur la zone la plus claire ou la plus sombre d’une image. L’exclusion de valeurs de luminance est optimale lorsqu’un plan dispose d’un large écart dans son exposition entre les zones de l’image que l’on souhaite exclure et les images de premier plan que l’on veut conserver, par exemple un titre blanc sur un fond noir. Voir aussi incrustation chromatique, cache. Mail Mail est l’application de messagerie électronique fournie avec OS X. marqueurs Les marqueurs permettent d’ajouter des remarques de montage ou d’autres informations descriptives à un emplacement précis d’un plan. Vous pouvez aussi utiliser des marqueurs pour la gestion des tâches. Ils se classifient en marqueurs standard (bleus), en marqueurs de chapitre (orange), en tâches à réaliser (rouges) ou en tâches accomplies (vertes). masque Image ou plan servant à définir des zones de transparence dans un autre plan. S’apparente à un canal alpha. Les outils d’étalonnage peuvent créer des masques d’après une couleur choisie ou une forme créée. Voir aussi canal alpha. cache Parfois appelé cache de maintien. Effet qui exploite les données d’une couche vidéo pour en modifier une autre. Les caches s’avèrent utiles dès qu’il s’agit d’utiliser un plan pour masquer ou révéler de façon sélective une partie d’un autre plan. Vous pouvez par exemple faire appel à une forme représentant une lumière pour révéler des parties d’une couche vidéo. Les effets de cache peuvent servir à masquer des zones d’un plan ou à créer des données de canal alpha pour un plan, afin de tracer une bordure transparente autour du plan à combiner avec d’autres couches. Voir aussi canal alpha, compositing. média Terme générique désignant des éléments tels que des films, des sons et des images. navigateurs multimédias Les données que vous importez dans des événements dans Final Cut Pro sont accessibles via la bibliothèque d’événements et le navigateur d’événements, mais Final Cut Pro propose également un ensemble de navigateurs multimédias que vous pouvez utiliser pour ajouter des plans à votre projet. Les navigateurs multimédias permettent d’accéder aux effets, titres et transitions fournies avec Final Cut Pro ainsi qu’aux fichiers vidéo, audio et d’images tirés d’autres applications sur votre ordinateur. Par exemple, le navigateur de photos vous permet d’accéder aux fichiers vidéo et d’images des bibliothèques Aperture et iPhoto. Final Cut Pro propose également les navigateurs d’effets, de musique et son, de transitions, de titres, de générateurs et de thèmes. Les navigateurs multimédias s’affichent dans la fenêtre Navigateur multimédia située dans le coin inférieur droit de la fenêtre principale de Final Cut Pro. poignée de données Données supplémentaires disponibles avant le point de départ ou après le point d’arrivée d’un plan.Glossaire 492 stems Fichiers audio ou vidéo habituellement exportés séparément pour le mixage audio ou la postproduction, ou encore pour correspondre aux spécifications exigées en cas de remise de fichiers à des réseaux de diffusion. C’est le cas, par exemple, lorsque vous devez remettre un fichier QuickTime multipiste accompagné de stems séparés pour les dialogues, la musique et les effets. mixage Processus qui consiste à ajuster les niveaux audio de tous les clips audio d’un programme monté, notamment l’audio de production, la musique, les effets sonores, les voix off et les bruits de fond ambiants supplémentaires, pour transformer tous ces sons en un tout harmonieux. monochrome Image présentée en nuances d’une même couleur, le plus souvent en nuances de gris dans une image noir et blanc. MP3 Ce terme fait référence au format de fichier et au standard de compression MPEG-1 ou MPEG-2 Audio Layer 3. Comme pour le format AAC, le MP3 utilise un codage audio perceptuel et un algorithme de compression psycho-acoustique pour éliminer l’information superflue inaudible pour l’oreille humaine. MPEG (Moving Picture Experts Group) Groupe de normes de compression pour la vidéo et l’audio, incluant MPEG-1, MPEG-2 et MPEG-4. Plan multicam Ensemble de plans regroupés et synchronisés par un point de synchronisation commun. Vous pouvez exploiter des plans multicam pour monter le métrage de prises multicaméra ou tout autre métrage synchronisé en temps réel. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des coupes et passer facilement d’un angle à l’autre. navigateur de musique et son navigateur multimédia de Final Cut Pro vous permettant d’accéder à votre bibliothèque iTunes, ainsi qu’aux effets sonores et aux boucles de Final Cut Pro et d’iLife. séquence imbriquée Voir plan composé. NLE Abréviation de NonLinear Editor (monteur non linéaire). Voir aussi montage non linéaire. montage non destructif Quelle que soit la façon dont vous montez vos plans dans Final Cut Pro, les données sous-jacentes ne sont jamais modifiées. Cette méthode est connue sous le nom de montage non destructif, car l’ensemble des modifications et des effets appliqués à votre métrage n’a aucun effet sur les fichiers de média source d’origine. Les plans représentent votre média mais ne sont pas des fichiers de média en tant que tels. Les plans dans un projet pointent simplement sur des fichiers de média source se trouvant sur votre disque dur. Si vous modifiez un plan, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan dans le projet. Les parties des plans effacées ou ayant fait l’objet d’un trim ne sont supprimées que du projet, et non des plans source présents dans votre bibliothèque d’événements ni des fichiers multimédias source stockés sur votre disque dur. timecode Non-Drop Frame Timecode dans lequel les images sont numérotées de manière séquentielle, sans suppression de numéros de timecode du décompte. S’agissant de la vidéo NTSC, la fréquence d’images vidéo réelle est de 29,97 ips et le timecode Non-Drop Frame est décalé de 3 secondes et 18 images par heure par rapport au temps réellement écoulé. Voir aussi timecode Drop Frame.Glossaire 493 vidéo non entrelacée Représentation standard des images sur un ordinateur. Autre nom de balayage progressif. Le moniteur affiche l’image en dessinant les lignes une à une, du haut vers le bas. montage non linéaire Méthode de montage vidéo permettant de modifier à tout moment les montages au sein d’un programme sans avoir à recréer l’ensemble du programme. Lorsque vous utilisez une application de montage non linéaire pour un programme, tout le métrage utilisé est stocké sur un disque dur et non sur bande. Vous pouvez ainsi accéder de façon aléatoire à toutes les données vidéo, audio et à toutes les images au cours du montage. Voir aussi montage linéaire. format NTSC Norme vidéo définie par l’organisation NTSC (National Television Standards Committee), à l’origine des normes de télédiffusion en vigueur en Amérique du Nord. La vidéo NTSC analogique comporte 525 lignes entrelacées par image, une fréquence d’images de 29,97 ips et une gamme de couleurs limitée. La vidéo numérique NTSC a une dimension d’image de 720 x 486 pixels (720 x 480 pour DV et DVD) et une fréquence d’images de 29,97 ips. Voir aussi format PAL. montage hors ligne Traitement de postproduction dans lequel le métrage brut est copié et modifié sans affecter les données d’origine de la caméra (données sur film, bande ou par système de fichiers). Après l’usage d’un programme dans un montage offline (généralement par le biais de média proxy dans une résolution inférieure), un montage online est réalisé pour recréer le montage à l’aide du média d’origine. opacité Niveau de transparence d’un plan. plan sortant Plan précédant une transition. Par exemple, si le plan A fait l’objet d’un fondu vers le plan B, le plan A est le plan sortant. Voir aussi plan entrant. point de sortie Voir point de montage. montage par écrasement Dans un montage par écrasement, un ou plusieurs plans source écrasent les plans présents dans le scénario principal ou un scénario sélectionné, en commen- çant au point de départ d’une sélection de plage ou au niveau du skimmer ou de la tête de lecture. Puisqu’aucun élément de plan ne subit de montage Ripple en avant, la durée de votre projet reste inchangée. L’écrasement s’appuie exclusivement sur la durée et ne fonctionne que sur des plages de sélection, indépendamment des limites des plans. format PAL Acronyme de Phase Alternating Line, un format de vidéo entrelacée à 25 ips (625 lignes par image) utilisé dans de nombreux pays européens. Le format vidéo numérique PAL a une dimension d’image de 720 x 576. Voir aussi format NTSC. navigateur de photos Navigateur multimédia de Final Cut Pro vous permettant d’accéder à vos bibliothèques de photos iPhoto et Aperture. tonalité Les sons sont perçus comme aigus ou graves selon leur fréquence, ou le nombre de fois par seconde qu’une onde sonore passe d’une pression positive à une pression négative avant de revenir à une pression positive. Les musiciens utilisent généralement le terme de tonalité pour parler de fréquence. Plus cette dernière est élevée, plus la tonalité l’est aussi. L’adaptation de la vitesse d’un plan influe sur la tonalité de sa piste audio. Une animation plus lente crée une tonalité basse ; à l’inverse, une animation plus rapide entraîne une tonalité plus aigue. pixel Point dans une vidéo ou une image fixe. Plus une image contient de pixels, plus sa résolution est élevée.Glossaire 494 tête de lecture La tête de lecture indique la position actuelle de votre projet dans la timeline ou le navigateur d’événements. Vous pouvez à loisir déplacer la tête de lecture en la faisant glisser ou en cliquant sur une autre zone de la timeline ou du navigateur d’événements. La tête de lecture permet d’effectuer un défilement ou de parcourir votre projet et de le reproduire depuis divers emplacements. La tête de lecture se présente sous la forme d’un trait vertical gris fixe à moins que vous ne la déplaciez ailleurs ou cliquiez sur un autre point. Voir aussi skimmer. outil Position Outil de montage permettant de positionner des éléments dans la timeline. Pour activer l’outil Position, appuyez sur la touche P. postproduction Phase du montage vidéo ou de film au cours de laquelle tous les éléments de production sont organisés, assemblés et utilisés pour générer le fichier de sortie. projet Un projet contient tous vos choix de montage et les données utilisées. Pour créer votre projet, vous ajoutez des plans et vous les montez dans la timeline. Un projet est également défini par ses propriétés vidéo, audio et de rendu. Dans la plupart des cas, Final Cut Pro gère automatiquement les réglages du projet en fonction des propriétés du premier plan que vous ajoutez au projet. bibliothèque de projets La bibliothèque de projets contient tous les projets Final Cut Pro pré- sents sur votre disque dur et sur les lecteurs externes connectés. propriétés du projet Événement par défaut d’un projet, ainsi que les propriétés vidéo, audio et de rendu du projet. Dans la plupart des cas, Final Cut Pro gère automatiquement les propriétés du projet en fonction des propriétés du premier plan que vous y ajoutez. Si vous devez modifier les propriétés du projet, choisissez celles vidéo et audio selon le mode de partage de votre film final avec votre public. Vous définissez en fait les propriétés d’un projet au moment où vous créez un projet Final Cut Pro ; vous pouvez les modifier ensuite à tout moment. fichiers proxy Vous pouvez utiliser Final Cut Pro pour transcoder vos données d’origine afin de créer des fichiers proxy, qui sont des fichiers plus légers avec un débit de données inférieur. Les fichiers proxy peuvent être utilisés pour le montage hors ligne ou pour réaliser un montage sur un ordinateur lent. Final Cut Pro crée les fichiers vidéo proxy à l’aide du codec Apple ProRes 422 (proxy) et les fichiers image proxy à l’aide du format JPEG (si le fichier original ne possède pas d’informations de canal alpha) ou PNG (si le fichier possède des informations de canal alpha). Voir aussi canal alpha. QuickTime Technologie multimédia multiplateforme d’Apple. Très répandue pour la production, la postproduction et la distribution de programmes vidéo, audio et interactifs. plage Au lieu de sélectionner des plans complets, vous pouvez sélectionner une plage au sein d’un plan dans la timeline ou le navigateur d’événements. Vous pouvez appliquer des trims aux sélections de plage, leur attribuer des classements et des mots-clés et les modifier de toute autre manière. Vous pouvez ajuster les points d’entrée et de sortie d’une plage en faisant glisser l’un des bords figurant de part et d’autre de celle-ci.Dans la timeline, vous pouvez également sélectionner une plage couvrant plusieurs plans. Dans le navigateur d’événements, vous avez la possibilité de définir plusieurs plages dans un ou plusieurs plans et vous pouvez sélectionner et désélectionner des plages après les avoir établies. outil Sélection de plage Outil de montage permettant de sélectionner une plage dans la timeline. Pour activer l’outil Sélection de plage, appuyez sur la touche R.Glossaire 495 support à laser rouge Les graveurs et les lecteurs de DVD classiques utilisent un laser rouge pour les supports DVD. Les graveurs et les lecteurs Blu-ray utilisent un laser bleu pour fonctionner avec un support Blu-ray. La couleur bleue possède une longueur d’onde plus courte, ce qui rend possible un stockage plus important de données sur un disque, comparé aux supports laser rouge. rendu Traiter la vidéo et l’audio avec tous les filtres ou les transitions appliqués, puis stocker le résultat sur disque sous forme de fichier de rendu. Ces fichiers de rendu sont stockés avec vos fichiers d’événements et de projets Final Cut Pro. Lors de la publication ou de l’exportation d’un projet, ceux-ci voient leur rendu effectué de façon analogue pour générer les fichiers en sortie. montage par remplacement Dans un montage par remplacement, la sélection source remplace un plan de votre projet dans la timeline. Contrairement aux montages par écrasement, le remplacement ne fonctionne que sur des plans complets de la timeline et peut modifier la durée du projet. résolution La résolution d’une image fait référence au nombre de pixels qu’elle contient. La résolution s’exprime en pixels, pour la largeur et la hauteur de l’image (par exemple, 640 x 360 pixels). Les images de résolution supérieure s’avèrent plus détaillées mais obligent également à des fichiers plus volumineux nécessitant plus de temps à télécharger. Vos dispositifs électroniques (ordinateur, iPhone, iPad, iPod, etc.) sous-entendent aussi une résolution écran. Dans l’idéal, vous devez adapter la résolution d’image de votre média à celle de lecture sur votre appareil. réverbération La réverbération désigne le phénomène de persistance du son du fait des réflexions des ondes sonores sur les surfaces (murs, plafonds, fenêtres, etc.) ou les objets d’un espace, qui s’affaiblissent progressivement jusqu’à devenir inaudibles. Final Cut Pro inclut de nombreux effets audio qui ajoutent de la réverbération au son d’un plan. RVB Abréviation de Rouge, Vert, Bleu. Espace colorimétrique couramment utilisé par les ordinateurs, sur lesquels chaque couleur est définie par la force de ses composantes de rouge, de vert et de bleu. Cet espace procède directement à la transcription en luminophores rouges, verts et bleus utilisés par les écrans d’ordinateurs. La gamme de l’espace colorimétrique RVB est très large, permettant ainsi la reproduction d’une grande variété de couleurs. Cette gamme est habituellement plus large que celle pouvant être reproduite pour la télédiffusion. montage Ripple Le type de trim par défaut dans Final Cut Pro est le trim Ripple qui ajuste le point de départ ou d’arrivée d’un plan sans laisser de vide dans la timeline. La modification de la durée du plan est propagée vers l’extérieur, avançant ou reculant tous les plans suivants dans la timeline. De même, si vous supprimez un plan de la timeline, les plans suivants s’adaptent en amont pour fermer le vide. Les montages Ripple affectent le plan auquel le trim est appliqué, la position de tous les plans suivants sur la timeline et la durée totale du projet. rôle Étiquettes de métadonnées que vous associez à des plans dans le navigateur d’événements ou la timeline. Elles procurent un moyen à la fois souple et performant de gérer des flux de production de montage. Les rôles peuvent être utilisés dans Final Cut Pro pour organiser des plans dans des événements et des projets, contrôler l’apparence de la timeline ou exporter des fichiers vidéo ou audio séparés (également appelés stems) en vue d’un mixage audio, de la postproduction ou d’une remise à des réseaux de diffusion. montage Roll Montage qui modifie deux plans partageant un point de montage. Par exemple, si le plan A fait l’objet d’un cut vers le plan B, un montage Roll ajuste simultanément de la même quantité le point d’arrivée du plan A et le point de départ du plan B. La durée globale du projet reste la même.Glossaire 496 montage brut Premier montage. Le montage brut est une première version d’un film qui regroupe ses éléments de base. La plupart du temps, un montage brut est réalisé avant l’ajout de transitions, de filtres et d’autres effets. saturation Mesure de l’intensité de la couleur du signal vidéo. scène Série de prises de vue qui ont lieu au même moment et au même endroit. Un programme est composé d’une série de scènes. outil Sélectionner Pointeur par défaut en forme de flèche permettant de sélectionner des élé- ments dans la timeline. Vous pouvez l’utiliser pour sélectionner un plan ou un point de montage par exemple. Pour activer l’outil Sélectionner, appuyez sur la touche A. séquence Voir projet, timeline. menu contextuel Menu auquel vous accédez en maintenant enfoncée la touche Contrôle et en cliquant sur un élément à l’écran, ou en appuyant sur le bouton droit de la souris. Parfois appelé menu de raccourci. plan Segment de vidéo enregistrée en continu. Un plan (ou « prise ») est la plus petite unité d’un programme. skimmer Le skimmer permet de prévisualiser des plans dans la timeline, le navigateur d’évé- nements ou la bibliothèque de projets sans modifier la position de la tête de lecture. Utilisez le skimmer pour survoler le contenu ou parcourir à loisir les plans pour effectuer la lecture depuis l’emplacement du pointeur en fonction de sa vitesse de déplacement. Le skimmer se présente sous la forme d’un trait vertical rose au fur et à mesure que vous déplacez le pointeur sur la zone en cours de survol. Si vous avez activé le magnétisme, le skimmer devient orange lorsqu’il est calé sur une position. clap Plan au début d’une scène, qui identifie celle-ci à l’aide d’informations de base sur la production, telles que la prise de vue, la date et le numéro de la scène. Un clap fournit un signal audiovisuel pour la synchronisation lorsque la vidéo et l’audio sont enregistrés séparément. montage par glissement Montage dans lequel la totalité d’un plan est déplacée, ainsi que les points de montage de part et d’autre de celui-ci. La durée du plan déplacé reste inchangée, mais la longueur des plans à sa gauche et à sa droite est modifiée en fonction de la nouvelle position du plan. La durée totale du projet et de ces trois plans reste inchangée. montage par coulissement Montage dans lequel les positions des points de départ et d’arrivée d’un plan du projet sont modifiées simultanément sans modifier la position ou la durée du plan. Ce processus est communément désigné par le terme coulissement, car vous faites coulisser les points de départ et d’arrivée du plan au sein du métrage disponible. La partie du plan visible dans le projet change, mais pas la position du plan dans la timeline. collection intelligente Lorsque vous recherchez des plans dans un événement à l’aide de la fenêtre Filtre, vous pouvez enregistrer vos résultats en créant une collection intelligente qui regroupe les plans correspondant aux critères de recherche. Chaque fois qu’un nouveau plan, qui satisfait les critères de recherche de la collection intelligente, est ajouté à l’événement, il est aussi automatiquement ajouté à celle-ci. Les plans qui s’affichent dans les collections intelligentes ne sont pas dupliqués. Les collections intelligentes filtrent des plans dans un événement pour vous aider à vous centrer sur les plans dont vous avez besoin pour une tâche spécifique.Glossaire 497 magnétisme Lorsque le magnétisme est activé dans Final Cut Pro, les éléments que vous déplacez dans la timeline (notamment la tête de lecture, le skimmer et les plans sélectionnés) semblent se caler directement sur certains points de celle-ci. Cette fonction peut vous aider à aligner rapidement les montages sur d’autres éléments du projet. Le magnétisme affecte les fonctions de nombreux outils de montage dans Final Cut Pro, notamment les outils de sélection, Trim, Position, Sélection de plage et Lame de rasoir. Vous pouvez désactiver le magnétisme lorsqu’un montage de précision image par image s’avère nécessaire. effets sonores Données audio spécifiques, telles que le son d’une porte qui se ferme ou d’un chien qui aboie, provenant de bibliothèques d’effets ou de plans que vous avez enregistrés. Les effets sonores peuvent être utilisés pour remplacer des sons dans l’audio d’un programme ou pour ajouter un son qui n’a pas été enregistré initialement. fichiers multimédias source Fichiers d’origine (vidéo, audio et images fixes ou graphismes) que vous importez dans Final Cut Pro. Un plan utilisé dans Final Cut Pro pointe sur l’emplacement où le fichier de média source est stocké (soit sur un disque, soit sur un caméscope, une caméra ou autre appareil). Les modifications apportées aux plans dans Final Cut Pro n’influent pas sur les fichiers de média source. effets spéciaux Effets visuels appliqués aux plans et aux projets, comme par exemple des effets d’animation, de compositing, d’incrustation et de resynchronisation. élagage L’élagage est une opération d’étalonnage appliquant la couleur complémentaire (opposée) de la couleur rendue transparente pour neutraliser les franges bleues ou vertes ou la réflexion de la lumière qui teinte le sujet incrusté. Les commandes du curseur de Niveau de débordement contrôlent le degré d’élagage appliqué au sujet incrusté. montage scindé Final Cut Pro permet de définir des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan individuel. Ces montages, connus sous le nom de montages scindés, représentent une technique courante dans la plupart des scènes de dialogue dans les films et les programmes télévisés. Vous pouvez utiliser les montages scindés pour introduire le son d’un plan avant l’entrée de la vidéo du plan en question ou de la scène correspondante. À l’inverse, vous pouvez faire appel à un montage scindé pour étendre l’audio d’un plan sur le plan suivant. définition standard (SD) Fait référence aux tailles d’image vidéo NTSC et PAL d’origine. NTSC exploite 480 ou 486 lignes actives par image ; PAL, pour sa part, fait appel à 576 lignes actives. Voir aussi haute définition (HD). stéréo Abréviation de stéréophonique. Audio comportant deux canaux différents. Les modifications du niveau sonore sont automatiquement apportées aux deux canaux simultanément. scénarios Toutes les instances de la timeline comportent un scénario principal, qui est la séquence de plans principale que vous constituez pour créer votre film. Les scénarios constituent des séquences de plans connectés au scénario principal. Vous pouvez utiliser les scénarios aux mêmes fins que les plans connectés (comme par exemple pour créer des plans de coupe, des titres composites et d’autres graphismes, ou pour ajouter des effets sonores et de la musique). coupe droite Coupe dans laquelle les éléments vidéo et audio sont coupés en même temps. sous-image Une sous-image a une durée égale à 1/80 de celle d’une image vidéo et constitue donc une unité de référence plus précise lors du montage de l’audio au niveau des échantillons.Glossaire 498 synchro (synchronisation) Relation entre l’image d’un son créé dans un plan vidéo (par exemple, les propos d’une personne) et le son correspondant dans un clip audio. La synchronisation audio est essentielle lors du montage d’un dialogue. Dans Final Cut Pro X, les plans connectés et les plans composés vous aident à maintenir la synchronisation dans votre programme. navigateur de thèmes Navigateur multimédia de Final Cut Pro permettant d’accéder à l’ensemble des transitions et des effets de titre fournis avec Final Cut Pro, regroupés en thèmes connexes. montage à trois points Technique de montage dans laquelle trois points de montage sur quatre sont définis dans une sélection source et un projet. Lorsque le montage est effectué, le quatrième point de montage est calculé automatiquement par Final Cut Pro. Coupe Point de montage dans lequel le contenu vidéo ou audio d’un côté ou d’un autre du point de montage est continu. TIFF (Tagged Image File Format) Format de fichier graphique bitmap très répandu, développé par Aldus et Microsoft, et gérant le monochrome, les niveaux de gris et les couleurs 8 et 24 bits. Ce format peut contenir des canaux alpha. Voir aussi canal alpha. timecode Signal enregistré avec la vidéo et identifiant chaque image de manière unique. Par défaut, le timecode apparaît dans Final Cut Pro sous la forme heures: minutes: secondes: images. Il prend en charge un grand nombre de fonctions dans Final Cut Pro, notamment la lecture de timeline, la synchronisation des éléments de plans vidéo et de clips audio, le parcours de projets sur la timeline, ainsi que le déplacement et le trim appliqué à des plans. timeline La partie inférieure de la fenêtre de Final Cut Pro contient la timeline, où vous créez votre projet de film en ajoutant et en organisant des plans, et en effectuant tous vos montages. index de la timeline Vous pouvez afficher une liste chronologique textuelle des plans, mots-clés et marqueurs d’un projet à l’aide de l’index de la timeline. Lorsque vous sélectionnez un élément dans l’index de la timeline, la tête de lecture accède directement à l’élément en question sur la timeline. teinte Nuance de couleur ajoutée à une image, généralement pour créer un effet, comme par exemple l’effet sépia. navigateur de titres Navigateur multimédia de Final Cut Pro permettant d’accéder à tous les effets de titre inclus dans Final Cut Pro. barre d’outils La barre d’outils est un ensemble de boutons et d’outils situés au centre de la fenêtre principale de Final Cut Pro. La barre d’outils comprend également le panneau de contrôle chargé d’afficher le timecode relatif au plan sélectionné dans le navigateur d’événements et à l’emplacement de la tête de lecture sur la timeline. transcoder Tous les fichiers multimédias utilisent un format. DV, H.264 et MPEG-2 sont des exemples de format vidéo. Les fichiers vidéo présentent également de nombreuses propriétés, comme par exemple la taille d’image et la fréquence d’images vidéo, le débit des données et la fréquence d’échantillonnage audio. Si vous êtes amené à convertir un fichier de média dans un autre format ou modifier ses propriétés, vous le transcodez en fait dans le nouveau format ou transcodez ses propriétés. Compressor, une application Apple conçue pour fonctionner avec Final Cut Pro, effectue le transcodage des fichiers de média en un processus rapide et simple.Glossaire 499 transitions Effets visuels appliqués à des points de montage afin d’atténuer le passage d’un plan un autre. Dans Final Cut Pro, vous pouvez choisir parmi différentes transitions vidéo, telles que les fondus ou les balayages, ou ajouter un fondu enchaîné entre des clips audio. navigateur de transitions Navigateur multimédia de Final Cut Pro permettant d’accéder à toutes les transitions vidéo incluses dans Final Cut Pro. trim Après avoir grossièrement assemblé vos plans dans l’ordre chronologique dans la timeline, vous pouvez commencer à ajuster le point de montage entre chaque paire de plans contigus. Toute opération de rallongement ou de raccourcissement d’un plan dans un projet représente une opération de trim sur le plan en question. Ceci étant dit, le trim constitue généralement un ajustement précis (qui s’applique aussi bien à une image qu’à plusieurs secondes du plan). Si vous modifiez la durée d’un plan en manipulant des durées plus longues, il s’agit toujours d’opé- rations de trim, bien que cela ne s’inscrive pas encore dans la phase d’affinement du montage. Dans Final Cut Pro, vous pouvez passer par un grand nombre de techniques pour effectuer le trim de plans et de points de montage sur la timeline, notamment les montages Ripple, Roll, par coulissage et par glissement. outil Trim Outil de montage permettant d’appliquer un trim à des éléments dans la timeline. Pour activer l’outil Trim, appuyez sur la touche T. 4:2:2 8 et 10 bits sans compression Ces formats vidéo permettent de stocker de la vidéo Y’CbCr 4:2:2 8 bits ou 10 bits sans faire appel à la compression de données. En contournant la phase de compression, la charge de traitement de l’ordinateur s’en voit réduite mais cela augmente considérablement le débit des données. Un système de stockage RAID de grande capacité est généralement nécessaire pour travailler de façon efficace avec de la vidéo sans compression. Dans de nombreux cas, le format Apple ProRes s’avère particulièrement adapté. Le débit des données vidéo 4:2:2 sans compression varie en fonction de la dimension image et de la fré- quence d’images. Par exemple, une dimension image de 1920 x 1080 et une fréquence d’images de 29,97 ips supposent un débit des données de 1,0 Gbit/s pour de la vidéo 4:2:2 8 bits sans compression et de 1,3 Gbit/s dans le cas de la vidéo 4:2:2 10 bits sans compression. case de valeur Une case de valeur est un type de commande numérique qui s’affiche sous forme de nombre, souvent à droite du curseur de base. Il existe deux façons de régler une case de valeur : faire glisser le nombre pour réduire ou augmenter le paramètre ou double-cliquer sur le nombre et saisir une nouvelle valeur. vitesse variable Vitesse qui varie de manière dynamique, en avant ou en arrière, dans un même plan. VCR Abréviation de VideoCassette Recorder (magnétoscope). Désigne généralement un appareil grand public utilisé pour enregistrer de la vidéo à partir de sources variées. Parfois appelé VTR. Voir aussi VTR. vecteurscope Instrument vidéo de Final Cut Pro indiquant la distribution de la couleur dans votre image sur une échelle circulaire. Le vecteurscope est utile pour comparer la teinte et l’intensité des couleurs entre deux plans à des fins d’étalonnage. Éditeur d’animation vidéo Vous pouvez afficher l’éditeur d’animation vidéo pour des plans dans la timeline afin d’ajuster les paramètres des effets, de créer des fondus entrants ou sortants, ou de changer les effets dans le temps à l’aide d’images clés. Visualiseur Lorsque vous lisez des plans sélectionnés dans le navigateur d’événements et la timeline, ils s’affichent dans le visualiseur.Glossaire 500 VTR Abréviation de VideoTape Recorder (enregistreur de bande vidéo). Désigne généralement le matériel professionnel utilisé pour enregistrer de la vidéo à partir de différentes sources. filigrane Incrustation graphique ou textuelle visible appliquée à une image ou à un plan vidéo pour indiquer qu’il ou elle est protégé(e) par la loi sur les droits d’auteur. Les filigranes servent à décourager l’usage d’images ou de plans vidéo sans l’autorisation explicite du détenteur des droits d’auteur. WAVE (ou WAV) Format de fichiers audio le plus couramment utilisé pour stocker des données audio LPCM (linéaires à modulation d’impulsion codée) sans compression. oscilloscope Instrument vidéo de Final Cut Pro affichant les niveaux relatifs de luminance et de chrominance dans le plan examiné. Les crêtes et les creux des formes d’onde affichées correspondent aux tâches lumineuses et aux zones sombres de votre image. écran large Présentation de n’importe quel film avec des proportions plus larges que 4:3. Dans les salles de cinéma, 1,85 est considéré comme la norme et 2,40 comme une projection sur écran large. Pour la vidéo, 4:3 est considéré comme la norme et 16:9 (qui présente quasiment les mêmes proportions que 1,85) est considéré comme écran large. Voir aussi 4:3, 16:9. balayage Type courant de transition vidéo. Dans un balayage, les scissions de l’écran se déplacent d’un côté de l’image à l’autre pour révéler progressivement le plan suivant. Cette transition s’avère plus voyante (mais aussi plus personnalisable) que le fondu ou le fondu enchaîné. XDCAM Format de disque optique de Sony pour l’enregistrement de vidéo DVCAM et IMX dans des fichiers conteneurs MXF. Voir aussi DVCAM, IMX. XDCAM EX Format de la famille XDCAM de Sony utilisant la compression vidéo MPEG-2 avec sous-échantillonnage de chrominance 4:2:0. Contrairement au format XDCAM HD, le format XDCAM EX prend en charge la vidéo 720p et permet l’enregistrement en pleine résolution HD (1920 x 1080 ou 1280 x 720). Son débit de données maximum est de 35 Mbps. Au lieu de disques optiques, les caméscopes XDCAM EX utilisent des cartes mémoire flash également appelées cartes SxS. Voir aussi HDV. XDCAM HD422 Format de la famille XDCAM de Sony utilisant le sous-échantillonnage de chrominance 4:2:2 pour un débit vidéo de 50 Mbps. À l’instar du format XDCAM EX, il fait appel à la compression vidéo MPEG-2 en pleine résolution HD (1920 x 1080 ou 1280 x 720). Voir aussi HDV. Y’CbCr Espace colorimétrique dans lequel de nombreux formats vidéo numériques stockent des données. Trois composantes sont stockées pour chaque pixel : une pour la luminance (Y) et deux pour les données de couleur (Cb pour les nuances bleues et Cr pour les nuances rouges). Également appelé YUV. Voir aussi pixel. outil Zoom Outil de montage permettant d’effectuer un zoom avant ou arrière sur la timeline. Pour activer l’outil Zoom, appuyez sur la touche Z. Xcode User GuideContents About Xcode 12 At a Glance 12 Get Oriented to Xcode Organization and Features 13 Design the Look and Behavior of Your App 13 Debug and Refine Your Code 13 Safeguard Your Projects Using Source Control 14 See Also 14 Get Oriented 15 Contextual Help: Your Shortcut to Answers 15 The Workspace Window: Where You Get Most of Your Work Done 16 Open Work in Tabs and Windows 18 Work with the Files in Your Workspace 18 Find Information to View or Edit 26 Edit and View Many Types of Data 33 Standard Editing, Assisted Editing, and Versions Editing 45 Find Information that Supplements the Primary Editor 47 Check on the Progress of Xcode Tasks 49 The Organizer Window: Manage Development Resources 49 Manage Development Devices in the Devices Organizer 50 Manage Source Control Repositories in the Repositories Organizer 51 Manage Project Snapshots and Derived Data in the Projects Organizer 52 Browse and Bookmark Documents 52 Start a Project 56 Create a Standalone Project 56 Preconfigure the New Project 58 Create a Git Repository For Your New Project 60 Create a Workspace to Work with Multiple Related Projects 60 Check Out a Working Copy from Your Source Control Repository 63 Close a Project or a Workspace 63 Configure Your Project 64 General Configuration 64 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2Update to Recommended Settings 64 Specify the Targeted OS Version 65 Use Automatic Reference Counting 66 Set the Basic Product Settings 68 Add Build Configurations 71 Add Build Rules 72 Link Frameworks Conditionally 74 iOS Configuration 75 Specify the Targeted iOS Devices 75 Specify the Targeted iOS Architecture 75 Compile Source Code Conditionally for iOS Apps 76 Edit User Interfaces 78 Create Your User Interface 78 Display Your User Interface Objects 79 Connect to Other Files Using Placeholders 80 Select Objects in a User Interface File 83 Lay Out User Interface Controls Using Content-Driven Rules 84 Align and Pin Objects in Your User Interface 86 Allow Objects to Maintain Their Intrinsic Content Size 89 Override Automatic Layout Constraints 90 Set Priorities to Resolve Potential Conflicts Between Layout Constraints 91 Design the User Interface of Your iOS App with Storyboards 91 Create User Interface Classes 92 Add a New Nib File 93 Add a Custom View 94 Add a New Controller 95 Simultaneously Design and Implement User Interface Objects Using Multiple Editors 106 Manage Connections Between User Interface Objects 97 Make Connections Directly Between User Interface Objects and Your Source Files 97 Add Outlets and Actions to Classes Programmatically 99 Use the Connections Inspector or the Connections Panel to Make Connections 100 Configure Connections Between Model and View Objects 103 Create and Configure a Binding with the Bindings Inspector 104 Create a Binding by Dragging Directly to Your Header File 105 Key Paths Are Dependent on Your Data Model 106 Configure the Binding Attributes to Customize the Binding 108 Bind to Objects in a Custom Tree Data Structure 108 Bind to Your Application Preferences 109 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 3 ContentsEdit Source Code 110 Customize the Source Editor with Xcode Preferences 110 Modify Syntax-Aware Fonts and Text Colors 110 Set Your Text-Editing and Automatic Indentation Preferences 113 Enter Code Quickly and Accurately with the Help of the Source Editor 114 Speed Up Typing with Code Completion 114 Balances Delimiters Automatically 116 Have Fix-it Flag Errors as You Type 117 Find and Display Related Content 118 Open a FIle Quickly 118 Split the Editor Area to Display Related Content 120 Customize Keyboard Shortcuts to Determine Where a File’s Contents Are Displayed 122 Jump to a Symbol’s Definition 124 Find Related Items with the Jump Bar 126 Find Related Content Automatically 126 Use Assistant with Interface Builder and Data Models 128 Incorporate Other Source Editor Features into Your Workflow 129 Examine the Structure of Your Code with Code Folding 129 View Preprocessor or Assembly Output 131 View Documentation for a Symbol Using Quick Help 132 Automate Extensive Changes in Your Files 135 Incorporate Files and Code from the Xcode Libraries 136 Use Inspectors to View and Enter Data 140 Build and Run Your App 141 Create, Edit, and Manage Schemes 148 Specify Which Targets Are Built for Each Type of Action 143 Rename or Reorganize Your Schemes 144 Specify How to Build Your Product 146 Control the Order in Which Xcode Builds Your Products 148 The Build-and-Run Workflow 149 Specifying the Buildtime Environment 149 Specifying the Runtime Environment 152 Build Your App 153 Run Your App 154 Troubleshooting: Building Issues 154 Customize Your Build and Run Workflow 155 Manage App Data in iOS Devices 159 Customize Product Actions 161 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 4 ContentsRun Your Application to Debug It 162 Debug vs. Release Builds 162 Arguments and Environment Variables 163 Location Simulation 166 Run Unit Tests to Find Regressions 166 Profile Your Application to Find Problems and Optimize Your Code 167 Perform Static Analysis To Find Semantic Problems 168 Create an Archive for Sharing or Submitting Your Program 169 Initiate a Product Action 169 Debug and Tune Your App 171 Ensure that Your Code Is Correct 194 Find Coding Mistakes 171 Manage Breakpoints 177 Customize the Debug Area 184 Control Program Execution 185 Examine Threads, Stacks, Variables, and Memory 190 Capture OpenGL ES Frames 196 Fix Bugs in Your App 204 Troubleshooting: Debugging Issues 206 Tune the Performance of Your App 207 The Instruments App 207 Make Projectwide Changes 209 Replace Text Strings 209 Replace All Instances of a Text String 210 Replace Selected Instances of a Text String 212 Customize the Search 213 Improve Your Code’s Structure Through Refactoring 215 Select the Source Code to Refactor 215 Preview the Changes Before Executing the Operation 216 Run Unit Tests Before and After Refactoring 216 Choose a Refactoring Operation 217 Manage Your Devices 219 Set Up Your Device 220 Provision a Device 220 Restore or Install a Version of iOS on a Device 223 Run Your Application On a Device 224 Remove an Application from a Device 224 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 5 ContentsDownload Your Application’s Data for Analysis 226 Capture and Use Screenshots from a Device 228 Set a Screenshot as Your iOS Application’s Launch Image 229 Export a Screenshot to Your File System 231 Identify Small UI Changes by Comparing Screenshots 232 Transfer Your Developer Profile to Another Computer 233 Save and Revert Changes to Files 238 Save when Editing 238 Revert to the Last Saved Version 238 Undo Changes Incrementally 240 Unlocking Files 241 Use Snapshots and SCM for Projectwide Change 243 Snapshots Archive Projectwide Changes to Documents and Configuration 243 SCM Repositories Manage Overall Change as Your Project Develops 243 Save and Revert Changes to Projects 245 Take a Snapshot of Your Project 246 Keep Track of Changes with Source Control 247 Why Use Source Control? 271 Choose Git or Subversion 248 Learn SCM Terminology 248 Manage Your Repositories 250 Find SCM Commands 252 Keep Track of Your Files’ SCM Status 254 Work with Git and Subversion 255 Set Up Git Version Control When You Create a New Project 255 Add Git or Subversion Version Control to an Existing Project 255 Clone or Check Out a Copy of a Project to Use Locally 258 Add an Existing SCM Working Copy of a Project to Xcode 259 Create a Branch to Isolate Risky Changes 259 Clone a Specific Branch 262 Add a Folder to a Subversion Repository 264 Commit Files to Add Them to a Repository 265 Reconcile Different Branches 266 Update Your Working Copy from a Remote Repository 267 Send Your Working Copy to the Remote Git Repository 271 Save Internal Project Files in Repositories 272 Compare Revisions 272 Select Specific Revisions 273 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 6 ContentsReview Individual Changes 274 View All Revisions Chronologically 275 Distribute Your App 276 Document Revision History 278 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 7 ContentsFigures, Tables, and Listings Get Oriented 15 Figure 1-1 Contextual help 15 Figure 1-2 The navigator area in the workspace window 16 Figure 1-3 The utility area in the workspace window 17 Figure 1-4 The debug area in the workspace window 18 Figure 1-5 A folder and groups in the project navigator 19 Figure 1-6 The project navigator filtered to show only .m files 22 Figure 1-7 Project navigation 23 Figure 1-8 The Interface Builder jump bar 25 Figure 1-9 The related items pop-up menu 25 Figure 1-10 The navigator selector bar 26 Figure 1-11 Browsing the class hierarchy with the symbol navigator 28 Figure 1-12 Browsing the class hierarchy wiht the jump bar 28 Figure 1-13 Viewing a log 32 Figure 1-14 The source editor 35 Figure 1-15 Target information in the project editor 37 Figure 1-16 Build settings in the project editor 38 Figure 1-17 Quick Help for key values 39 Figure 1-18 The data model editor 43 Figure 1-19 The mapping model editor 44 Figure 1-20 The activity viewer 49 Figure 1-21 The activity pop-up window 49 Figure 1-22 Issues in the activity viewer 49 Figure 1-23 The documentation navigator 53 Figure 1-24 The bookmarks navigator 54 Start a Project 56 Figure 2-1 Options for a new iOS project 58 Figure 2-2 Creating a local Git repository when creating a project 60 Configure Your Project 64 Figure 3-1 Validate Project Settings warning in the Issue navigator 64 Figure 3-2 Project settings recommended changes list 65 Listing 3-1 Determining whether you’re compiling for a simulation environment or for a device 76 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 8Listing 3-2 Using a single source file for iOS and Mac products 76 Edit User Interfaces 78 Figure 4-1 A user interface file in Interface Builder 79 Figure 4-2 Icon view for placeholders and objects in Interface Builder 79 Figure 4-3 Auto Layout 85 Figure 4-4 Custom constraint 87 Figure 4-5 Button set to maintain its intrinsic content size 90 Figure 4-6 Automatic layout constraints 90 Figure 4-7 Custom layout constraints 91 Figure 4-8 Making a connection to source code from a user interface file 97 Table 4-1 Layout constraints 87 Edit Source Code 110 Figure 5-1 Fonts & Colors preferences 111 Figure 5-2 Code completion 114 Figure 5-3 Quick Help for code completion 116 Figure 5-4 Placeholders in code completion text 116 Figure 5-5 The Assistant button 120 Figure 5-6 General preferences 122 Figure 5-7 The Single Assistant navigation chooser dialog 123 Figure 5-8 The navigation chooser dialog 124 Figure 5-9 The assistant editor used with a data model 128 Figure 5-10 The focus ribbon in use 130 Figure 5-11 Preprocessor output 131 Figure 5-12 Generated output in Assistant jump bar 132 Figure 5-13 The Quick Help window 133 Figure 5-14 A file template information pop-up window 137 Figure 5-15 The File inspector 140 Build and Run Your App 141 Figure 6-1 The Scheme pop-up menu 141 Figure 6-2 The manage schemes dialog 145 Figure 6-3 Project editor help topics 146 Figure 6-4 Project with a Missing SDK issue 150 Figure 6-5 Code Signing Identity options with a specialized provisioning profile selected 151 Figure 6-6 Behaviors preferences 155 Customize Product Actions 161 Figure 7-1 The scheme editor Run pane 162 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 9 Figures, Tables, and ListingsFigure 7-2 Choosing a location in the scheme editor 166 Debug and Tune Your App 171 Figure 8-1 The issue navigator 173 Figure 8-2 The debug area 184 Figure 8-3 Choosing a location in the debug bar 186 Figure 8-4 Xcode In Front window mode while the executable is running 189 Figure 8-5 Xcode In Front window mode while the executable is paused 190 Figure 8-6 Enabling OpenGL ES frame debugging 197 Figure 8-7 Frame capture button 198 Figure 8-8 OpenGL ES frame capture 199 Figure 8-9 Controls for stepping through draw calls 200 Figure 8-10 Shortcut menu 201 Figure 8-11 Wireframe view 202 Figure 8-12 Frame capture with two Assistant panes 203 Figure 8-13 Vertex Array Object detail 204 Make Projectwide Changes 209 Figure 9-1 Search and replace using the search navigator 209 Figure 9-2 The refactor preview dialog 216 Manage Your Devices 219 Figure 10-1 Devices organizer 219 Save and Revert Changes to Files 238 Figure 11-1 Workspace window with in-memory changes to files 239 Figure 11-2 Undo Typing command 240 Figure 11-3 File could not be unlocked 241 Figure 11-4 Locked file indicators 242 Save and Revert Changes to Projects 245 Figure 12-1 The Snapshots settings dialog 246 Figure 12-2 Snapshots listed in the Organizer window 247 Figure 12-3 The repositories pane in the Organizer window 250 Figure 12-4 The Source Control submenu of the File menu 253 Figure 12-5 The Source Control submenu of the project navigator shortcut menu 253 Figure 12-6 Repositories organizer buttons 253 Figure 12-7 Source control badges in the project navigator 254 Figure 12-8 A scheme in the commit dialog 272 Figure 12-9 Comparing two revisions of a file with the version editor 273 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 10 Figures, Tables, and ListingsFigure 12-10 The archives organizer 277 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 11 Figures, Tables, and ListingsXcodeistheintegrateddevelopmentenvironment (IDE)designedfordevelopingiOSand Macapps.TheXcode IDE includes editors used to design and implement your app, such as a source code editor and a user interface editor. Xcode also supports multiperson development using source control management (SCM) systems. As you write source code, Xcode can show you mistakes in both syntax and logic, and even suggests fixes. Xcode features a single window, called the workspace window, that holds most of the data you need. Toolbar Debug area Library pane Inspector pane Debug bar Utility area Navigator selector bar Jump bars Inspector selector bar Library selector bar Navigator area Breakpoint gutter Focus ribbon Filter bar Editor area Read this guide to get started using Xcode. At a Glance Xcode has many features to make your job easier: ● Single-window interface. You perform most of your development workflows in one window (you can have multiple workspace windows and multiple tabs per window). 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 12 About Xcode● Graphical user interface design.WiththeXcodeuser interface editor, calledInterfaceBuilder, youspecify most of the details of your app user interface, such as the layout of the user interface controls, and their connection to your app business logic and the data it manages, using a powerful and intuitive graphical user interface. Interface Builder works closely with other editors, such as the source code editor, to take you from design to implementation as fast as possible. ● Assisted editing. When you need to work on different aspects of the same component, such as user interface layout and the implementation of the user interface functionality, you can use multiple editors that open the content you need when you need it. For example, when you work on an implementation file in the primary editor, Xcode can open the corresponding header file in a secondary editor pane. ● Automatic error identification and correction. Xcode checks the source code you type as you type it. When Xcode notices a mistake, the source code editor highlights it. You can then find out details about the error and ask Xcode to fix it for you. ● Source control. You can safeguard all your project files in Git and Subversion source code repositories. Get Oriented to Xcode Organization and Features Xcodeisapowerful tool,butas withany complexproduct, youneedtoknow essential conceptsand workflows before you can start developing products efficiently. Relevant Chapters: "Get Oriented" (page 15), "Start a Project" (page 56). Design the Look and Behavior of Your App Two of the most important tasks you perform while you develop your app are designing its user interface and writing the business code that implements your app’s unique functionality. Relevant Chapters: "Edit User Interfaces" (page 78), "Edit Source Code" (page 110). Debug and Refine Your Code Xcode provides a debugging environment that you can customize to automatically bring forward the parts of your code in which you are most interested. About Xcode At a Glance 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 13Relevant Chapters: "Debug and Tune Your App" (page 171), "Make Projectwide Changes" (page 209). Safeguard Your Projects Using Source Control Xcode provides easy local backups with snapshots and the ability to work in a team using SCM. Relevant Chapters: "Save and Revert Changes to Projects" (page 245). See Also Todevelopapps fordistributiononthe AppStore, youmust configure yourdevelopment environment so that youcaninstall your appsoniOSdevices anddistribute themtoapptesters. SeeApp Distribution Guide tolearn more. About Xcode See Also 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 14When you’ve got yourprojects open inXcode, you can start writing code. This chapterdescribes where to find themost commonlyusedfeaturesofXcode. Theremainingchaptersdescribetheuseofsomeof thesefeatures in more detail. Contextual Help: Your Shortcut to Answers In addition to being listed in the Xcode documentation browser, contextual help is available from shortcut menus throughout the IDE. Control-click in any of the main user-interface areas in the workspace or Organizer windows to see a list of help articles available for that area. Figure 1-1 shows contextual help for the source editor. If there aremore articles thancanbe listedinthe shortcutmenu, choose Show All HelpTopics; thehelp opens in the Organizer window. You can use contextual help to find information about a specific task, or just to learn what tasks can be performed using a particular area of the Xcode user interface. Figure 1-1 Contextual help 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 15 Get OrientedThe Workspace Window: Where You Get Most of Your Work Done Before going any further, you need to get oriented to the Xcode workspace window (Figure 1-2). Figure 1-2 The navigator area in the workspace window The left side of the window is the navigator area, opened to the project navigator in the figure. The project navigator shows the contents of your project or workspace. The right side of the window in Figure 1-2 is the editor area. You can edit many types of files, including source code, property lists (plists), Core Data models, and user interface (nib or storyboard) files, and you can view many more. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 16Tosupplement theinformationintheeditorarea, youcanopentheutilityareaintherightsideof the workspace window (Figure 1-3), which includes inspectors and libraries. Use the view selector ( ) in the toolbar to switch between the navigator, debug, and utility areas. Figure 1-3 The utility area in the workspace window Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 17When you run an app from Xcode, the debug area opens (Figure 1-4). When you stop at a breakpoint, the debug navigator opens as well. Figure 1-4 The debug area in the workspace window Open Work in Tabs and Windows For fast switches between different editors or files, you can add tabs to the Xcode workspace window, or you can open additional windows. To activate tabs, choose View > Show Tab Bar, or add a new tab by choosing File > New > Tab. To open a new workspace window, choose File > New > Window. You configure each tab or workspace window independently of the others. For example, you can use one window to debug and another to edit source code. If you open the same file in two tabs or two windows, the changes you make in one tab or window are reflected in the other. You can reorder tabs, close them independently, or drag them out of the tab bar to create a window, just as you can do in Safari. You can use items in the Window menu (or their keyboard equivalents) to move between tabs. You can also give a tab a name for use in Behaviors preferences (see "Customize Your Build and Run Workflow" (page 155)). Xcode remembers the windows and tabs you had open when you last closed a workspace and reopens them in the same configuration when you start Xcode. Work with the Files in Your Workspace The project navigator shows projects, groups, folders, and files: Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 18● The project or projects in your workspace window are the highest level of the hierarchy in the project navigator. Open the project’s disclosure triangle to see the groups, folders, and files in the project. Select a project to view project information about the project in the project editor. ● A group appears in the project navigator as a yellow folder icon. A group collects files in the project but does does not represent a folder on disk. Although you can organize your project in Xcode to reflect the organization of files on disk, moving files into and out of groups does not affect the content of the folders on disk. ● A folder is a reference to a folder on disk and appears in the project navigator as a blue folder icon. The contents of the folder in the project navigator reflect the contents of the folder on disk. It’s important to note,however, that thefilesthat appear ina folder iconintheprojectnavigator arenotpartof yourproject unless youhave addedthemtotheproject explicitly (in whichcase they appeardirectlyunder theproject or in a group, as well as in the folder). You can view and edit the files in a folder, but to move files in and out of the folder you must use the Finder. ● A file in the project navigator is a reference to a file on disk. Figure 1-5 shows a project (FolderFinder) containing both a group and a folder named ExtraFiles. Although in the figure the group contains the same files as the folder, you could modify the contents of either the group or the folder without affecting the contents of the other container. Figure 1-5 A folder and groups in the project navigator Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 19To add existing files to a project 1. In the project navigator, select the project or group to which you want to add the files. Note that you can’t add files to a folder in the project navigator. When you add a folder reference to a project, changes you make to the contents of the folder in the Finder appear immediately in the project navigator. 2. Choose File > Add Files to “”. 3. Select the file or files you want to add, and click Add. If the file is not in your project folder on disk, you can choose to copy the file into your project folder. If youselect a folder inthedialogandselect the“Createfolder referencesfor any addedfolders”option, Xcode adds a folder reference to the project. Although the project navigator shows the files that are in that folder on disk, Xcode does not add those files to your project. To add files in a folder to your project, select the files individually, or select the “Create groups for any added folders” option. Click the New Folder button to add a folder to the disk and a reference to that folder to the project navigator. Doing so does not add any files to your project. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 20You can use the project navigator to organize the files in your project into groups and to list the files and groups in any order you like. Jump bars in editor panes (such as the primary editor pane or assistant editor panes) show the same organization that the project navigator displays, down to the file that’s open in the editor. Editors such as the source editor show additional elements within the file, such as methods and user interface objects. Click the name of a file in the project navigator to see the file in the primary editor pane. The type of editor or viewer that displays the file depends on the type of file you select. To create a group Do one of the following: ● Place the pointer at the location in the project navigator where you want the group, Control-click, and choose New Group from the shortcut menu. You can drag files into the group, and you can drag the group to a new location in the navigator. ● Select the files that you want to place in a new group, Control-click, and choose New Group from Selection. Note that you can Command-click items in the navigator to get a discontinuous selection. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 21Click the name of the group to edit the name. The project navigator has filters for recently edited files, files with source control status, unsaved files, and filename strings. Figure 1-6, for example, shows a project filtered to show only implementation (.m) files. The filter field and buttons are at the bottom of the navigator area. Figure 1-6 The project navigator filtered to show only .m files Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 22When you navigate to a file in the project navigator, the jump bar in the primary editor pane shows the path to that file (Figure 1-7). Figure 1-7 Project navigation You can use the jump bar to navigate through your project. Use a jump bar to directly navigate to items at any level in your workspace. To use the jump bar 1. Click a level in the jump bar and choose a file to jump to. 2. To open a related file in Assistant, hold down Option and choose that file. 3. In the Assistant jump bar, choose a category of related files. 4. Use the stepper arrows to advance to the desired file. 5. Click the lock button to open a locked file, if appropriate. See the HTML version of this document to view the video. document to view the video. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 23A jump bar is an interactive, hierarchical mechanism for browsing items in your workspace. Each editor area includes a jump bar, as do Interface Builder and the documentation organizer. The configuration and behaviorofeachjumpbar is customizedfor thecontext in whichit appears.Thebasic configurationincludes three components: ● Therelateditemsmenu( )offers additionalselectionsrelevant inthecurrent context,suchasrecently opened files or the interface (.h) file for an implementation (.m) file you are editing. ● Previous/next buttons ( ) allow you to step back and forth through your navigation history. ● Thehierarchicalpathmenu(forexample, ) comprises one or more segments. Click a segment to choose from the menu of the items at that level of the hierarchy. Anexampleof abasic jumpbar isinthedocumentationorganizer. Itsimply allows youtoselectdocuments from installed libraries. Other jump bars have more components. A jumpbar may also include a stepper for iterating through a set of files ( ) or issues. If a lockbutton ( ) appears, you can click it and authenticate to unlock the file, if appropriate. Hold down the Option key when selecting an item in the navigation bar to open Assistant and display that item in the Assistant editor pane. In the Assistant jump bar, the path menu is rooted relative to the content of the regular editor pane, and the root element (flagged with a light-bulb icon) offers selections similar to a related items menu. The video shows using the jump bar to view the class SKTCircle and then using the Assistant jump bar to view its superclasses. Tip: Hold down the Command key when selecting a level in the path menu to view its items alphabetically. Note that every element in the path in the jump bar is a pop-up menu that you can use to navigate through your project. Hold down the Option key when selecting a file in the jump bar to open the file in an assistant editor pane (you can change this behavior in the General pane of Xcode preferences). Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 24The contentsof aneditor jumpbardependonthe typeof fileopeninthe editor.Wheneditingauser interface file, for example, you can use the jump bar to navigate to individual user interface elements (Figure 1-8). Figure 1-8 The Interface Builder jump bar The jump bar also has back and forward buttons for moving through previously viewed files, and a pop-up menu ( ) that displays a variety of useful information about related items, as shown in Figure 1-9. Figure 1-9 The related items pop-up menu Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 25Find Information to View or Edit Xcode provides two ways to navigate through your project: navigators and jump bars. Most of the navigators includetext fieldsforsearchingthroughtheprojector filteringtheitemsinthenavigator;someincludebuttons to restrict the scope of items displayed. Jumpbars appear at the topofprimary and assistant editorpanes and provide an alternate way to navigate through the files and symbols in the project. Because jump bars are always available, you can use them to find items in the project even when the navigator area is closed. Use the navigator selector bar at the top of the navigator area to display a navigator (Figure 1-10). Figure 1-10 The navigator selector bar Symbol Issue Breakpoint Project Search Debug Log These are the navigators in the navigator area: ● Project navigator ● Symbol navigator ● Search navigator ● Issue navigator ● Debug navigator ● Breakpoint navigator ● Log navigator This section introduces most of these navigators, and describes how to jump directly to a file with jump bars. ("Work with the Files in Your Workspace" (page 18) describes the project navigator.) When you need help using a displayed navigator, Control-click in the navigator to get a list of help articles that further describe the use of the navigator. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 26Browse Project Symbols with the Symbol Navigator Note that youneedto waituntilXcode finishesindexingyourprojectbefore youcanuse the symbolnavigator. To browse the class hierarchy Do one of the following: ● Display symbols in a hierarchical or flat list using the buttons at the top of the symbol navigator. Refine which symbols are displayed using the filter bar buttons at the bottom of the navigator. Filter buttons are blue when the corresponding filter is active and black when the filter is inactive: ● The Class button:Shows classes andtheirmembers, includingprotocols, functions,structs,enums, unions, types, and globals. ● The Project button: Shows only symbols defined in the project or workspace. ● The Method button: Shows containers, hiding symbols defined within them such as methods, properties, and variables. ● Filter field: Shows items that match the text entered. Select a symbol to display its header file definition in the source editor. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 27Figure 1-11 shows one filter active and the text drawing in the filter field. In the resulting list, the bezierPathForDrawing method is selected and its definition is highlighted in the primary editor pane. Figure 1-11 Browsing the class hierarchy with the symbol navigator ● Click an element in the jump bar to see a list of symbols at that level in the project hierarchy, as shown in Figure 1-12. Figure 1-12 Browsing the class hierarchy wiht the jump bar Tip: Hold down the Option key when selecting a file in the jump bar to open the file in an assistant editor pane (you can change this behavior in the General pane of Xcode preferences). Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 28Find Text Strings with the Search Navigator Find text strings in your project or workspace with the search navigator. Search a workspace or a find scope for text that matches specific criteria. To search for text in projects and frameworks 1. In the search field, enter the search term. 2. Specify the find criteria. 3. Specify the find scope. 4. Press Return. 5. If desired, refine the results by entering a filter term in the filter field. Use the find criteria to specify the style (textual or regular expression), attributes, and capitalization of the text to find. Use the find scope to confine your search to a particular location or set of files. Use a filter term to remove any results that do not match it from the search list. The screenshot shows the find criteria and find scope areas open, and search results for NSArray filtered by the text circle. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 29Tip: Option-click a search result to see it displayed in an assistant editor pane. To customize the search, click the magnifying glass in the search field and choose Show Find Options. You can specify the type of text and the scope of the search. You can also replace text you’ve found. See "Replace Text Strings" (page 209) for details. Investigate Problems in your Project with the Issue Navigator The issue navigator lists messages, warnings, and errors that Xcode identifies in your code and your project, including issues found by Fix-it, the static analyzer, and the compiler. When a build fails, the issue navigator opens, displaying the problems found in the project. Select an issue to see it displayed in the primary editor pane. You can also navigate through the issues using the arrows and pop-up menu at the right endof theprimary editor jumpbar. See "Locate and Display BuildIssues" (page 173) for more information on the issue navigator. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 30View Threads and Stacks in the Debug Navigator When your running code hits a breakpoint (or you use the debug bar in the debug area to pause execution), thedebugnavigator shows the current stateof the stack ineachrunningthread. Click aniteminthenavigator to see it in your source code and to see the values of variables in the debug area. Formore informationonusingthedebugnavigator whiledebuggingyour code,see "Examine Threads, Stacks, Variables, and Memory" (page 190). Manage Breakpoints with the Breakpoint Navigator Whereas you set breakpoints in the source editor, the breakpoint navigator is where you can see all your breakpoints in one place. In addition, you use the breakpoint navigator to add conditions and options to breakpoints. For more information on using breakpoints in debugging your code, see "Manage Breakpoints" (page 177). Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 31View Build, Source Control, and Debug Session Logs with the Log Navigator When you perform an operation that is normally recorded, such as building or analyzing your code, or that has output to the console, such as a source control operation or a debug session, the record of that operation is listed in the log navigator. Select an item in the log navigator to see the log in the editor pane. You can use the filter button and text field at the bottom of the navigator to limit the logs displayed to recent logs or logs whose names match the text string you enter. The log viewer has two distinct displays: ● For noninteractive tasks, such as building and source control, the log viewer displays a scope bar that you can use to specify the content to display, such as all messages or only errors (see Figure 1-13). Figure 1-13 Viewing a log Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 32Successfuloperationshaveagreencheckmark iconnext tothem. Operations with warningshavea warning icon (an exclamation mark in a yellow triangle). Operations with errors have an error icon (an exclamation mark in a red octagon) next to them. The right side of the operation indicates the number of warnings and errors the operation produced. To view an operation’s warning or error messages, click the disclosure triangle on the left side of the operation. To view an operation’s transcript, click the transcript button ( ) on the right side of the operation. ● For interactive tasks, such as debugging sessions, the log viewer displays a transcript of the session. Edit and View Many Types of Data Xcode includes editors for many types of data, including: ● User interface files ● 3D scene files ● Source code files ● Property list files ● Rich text files ● Core Data models ● Core Data mapping models ● Project and build settings ● AppleScript files ● Scripting dictionary files Xcode also has viewers that can display graphics, videos, and a variety of other file types. Control-click in an editor to get help using it. A file for which Xcode does not have an editor is displayed using Quick Look. (Quick Look is also used by the Finder. In the Finder, select a file and press the Space bar or choose Quick Look from the File menu to see it in use.) Eachdocument-typeeditorhas customcommandsinthe NavigateandEditormenustoactontheinformation in that type of document. Note that the Navigate menu—like several of the menus in Xcode—shows different menu items when you hold down the Option, Shift, or Option and Shift keys. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 33Edit User Interface Files Interface Builder is the editor you use to edit user interface documents (nib files). With this editor you design the user interface of your app by adding user interface controls from a library and by specifying properties for those controls, such as their behavior and their position in a view. For more information on editing user interfaces with Interface Builder, see "Edit User Interfaces" (page 78). Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 34Edit Source Code Files The source editor has many features to help you develop source code. Among other features, you can write and edit source code (see "Edit Source Code" (page 110)), set and enable or disable breakpoints (see "Manage Breakpoints" (page 177)), and control program execution during a debugging session (see "Control Program Execution" (page 185)). Control-click in the source editor to see a list of help topics describing features of the editor and tasks you can accomplish (Figure 1-1 (page 15)). Figure 1-14 The source editor Note: When you edit a file in Xcode, the file’s icon is shaded in the project navigator to indicate that there areunsavedchanges.Youcansave the file,or if youquitXcodeorbuildtheproject,Xcode automatically saves all changedfiles for youbydefault (you can change thisbehavior in the General paneofXcodepreferences).Toensureyoucanreturntoa knownstatebeforeyoubuildyourproject, create a snapshot (see "Take a Snapshot of Your Project" (page 246)). Edit in Hexadecimal Format with the Hex Editor You can view most file types in hexadecimal format by Control-clicking the file in the project navigator and choosing Open As > Hex from the shortcut menu. Some file types that are not editable in the default viewer, such as image files, can be edited in hexadecimal format. You can edit the hexadecimal code directly, or you can edit in the plain text column. Editing either format updates the other. When the hex editor has focus, you can use the Editor menu to customize its display. View and edit a file in its binary format by opening it in the hex editor. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 35To open a file with the hex editor 1. Control-click a file in the project navigator. 2. Choose Open As > Hex. The hex editor has three areas: ● On the left, the line numbers ● In the center, the hexadecimal representation of the bytes in the file, 32 bytes per line, one byte per column ● On the right, the plain-text (ASCII) representation of those bytes From the Editor menu, you can hide the line numbers or theplain-text representation. You can also choose to display the byte codes in groups of 2, 4, 8, 16, or 32. The screenshot shows an image file in the hex editor. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 36Edit Project Information When you click the project icon in the project navigator, the project editor appears to the right of the project navigator, displaying project and target information. Figure 1-15 shows some of the target information in the project editor. Figure 1-15 Target information in the project editor Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 37Click the Basicbuttontoview basicbuildsettingsor click the Allbuttontoview all settings. The valuesofbuild settings can be set at the default, project, or target level. You can edit a build setting at the project or target levels. Click the Levels button to see all the levels of build settings simultaneously, as in Figure 1-16. If you have changed or customized a setting, it’s shown in boldface. Click the Combined button to see just the resolved build settings. Figure 1-16 Build settings in the project editor See "To add a new build configuration" (page 71) for more information on using build settings. Edit Property List Files In addition to the Info.plist file required for every application, the property list editor opens a variety of other property list file types. To edit a key or a value, double-click the item and type a new string into the text field. In some cases, apop-up menu is available, indicated by small vertical arrows. Click the arrows to see the choices. You can add a new property or you can add a new child property for an array or dictionary. The property list editor warns you if you attempt to add a key that already exists in the file. Add a new property to a property list using the property list editor. To add a property to a property list 1. In the property list editor, hold the pointer over an entry and click the Add (+) button. 2. Choose a key name from the pop-up menu. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 383. Choose a value from the pop-up menu in the Value column or enter a value. If you are adding a property that is an array or dictionary, click the disclosure triangle and press Return to add a child property. You can add a property with a name that is not in the pop-up menu. To do so, type the key name in the field at the top of the pop-up menu, choose the data type from the pop-up menu in the Type column, and enter a value in the Value column. Click the minus (–) sign next to any item to remove it from the file. For known property list key types, the Key column in the property list editor shows the descriptive name of the key instead of the key’s literal text. Choose Editor > Show Raw Keys & Values to display the literal text instead. You can also see both the name and the raw key value in Quick Help in the utility area (Figure 1-17). Figure 1-17 Quick Help for key values Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 39Control-click in the editor and select Property List Type to see a list of possible file types for property lists. The type of the current file is indicatedby adashto the left of the filename. You canuse thismenu to change from the default to a specific property type. Set the property list type when creating or editing a property list. If Xcode cannot determine the type of a property list, you may need to set the type manually. To set the property list type 1. Select a property list in the project navigator. 2. Control-click in the property list editor to display a contextual menu. 3. From the Property List Type submenu, choose a new property list type. Property lists that share the same system-defined structure are said to have the same type. In addition to the Info.plist file required for every application bundle, the property list editor in Xcode supports a variety of other types. The property list type determines the list of possible keys in the key’s pop-up menu. In the Property List Type submenu, the current type is indicated by a dash to the left of the type name. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 40Edit Rich Text Files You can write, open, and edit rich text (.rtf) files in Xcode. The editor has a user interface and feature set similar to those of the Mac OS X TextEdit application, but without the capability of converting the file to other formats such as plain text or HTML. Note that Xcode opens plain text (.txt) files with the source editor, not the rich text editor. Edit Data Model Documents If your project uses the Core Data framework, you can use the data model editor to implement or modify your Core Data model (see Core Data Starting Point). Get a jump-start on your Core Data-based project by using one of the project templates that incorporate Core Data. To create a project that uses Core Data 1. Choose File > New > Project. 2. Select the project template for your iOS or OS X product, and click Next. 3. If the Use Core Data option appears in the project options pane, select it and click Next. Otherwise, Core Data is not available in the selected project template. 4. Enter the project name, and specify its location in your file system. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 415. Click Create. The project templates that incorporate Core Data: ● Link against the Core Data framework ● Add a managed object model file ● Add code to create and locate the various parts of the Core Data stack Use the Core Data model editor to edit the managed object model. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 42Important: Not all templates offer a Core Data option. Core Data is an advanced technology that is not required for creating simple applications. The managed object model is a representation of the schema that describes your model objects, including the relationships between them. Figure 1-18 shows the data model editor. Figure 1-18 The data model editor The top-level components area lists the entities, fetch requests, and configurations defined in the model. You can select one or more items at a time within a single group. Use the Add Entity button to add an entity, fetch request, or configuration. To add a fetch request or configuration, press and hold the Add Entity button until it shows the other options. The button retains the label from the last time it was used. The detail area shows the attributes, relationships, and fetched properties associated with the item or items you select in the top-level components area. You can select one or more items from the same group at the same time. There are two styles for the detail area: table and graph. You select the style using the Editor Style buttons at the bottom-right corner of the editor area. You can use the graph style only if you select an entity inthetop-level components area.Youcanuseeitherstyletoedit themodel,however thetablestyleistypically better for detailed editing and inspection, and the graph style is better for visualizing your schema. The Core Data Model inspector in the utility area displays information about the item or items you select in the detail area. By selecting more than one property in the detail area, you can edit several properties at the same time. For example, you can set the Attribute Type for a number of attributes simultaneously. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 43Edit Core Data Mapping Files If you change your Core Data model extensively enough that you need a mapping between an old store and a new one, you can use the Core Data mapping model editor to graphically create the mapping model. A Core Data mapping model describes the transformations needed to convert data described by a Core Data model to another Core Data model with a different schema. The Core Data mapping model editor provides table-based tools to create and edit a mapping model. Tip: Before you create a mapping model, you should consider whether you can transform your data using lightweightmigration(asdescribedinCoreDataModelVersioningandDataMigrationProgrammingGuide). Lightweight migration is much simpler and more efficient than mapping model-driven migration. In some cases, you can make custom transformations by first using lightweight migration, and then performing an additional step in code. The mapping model editor is shown in Figure 1-19. Figure 1-19 The mapping model editor Click the Add Entity Mapping button to display a series of dialogs that you use to configure the new mapping. If necessary, choose the source and destination models for the entity using the corresponding pop-up menus. For complete flexibility, youcanimplement a subclassofNSEntityMigrationPolicytoset it as the custom policy for a mapping. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 44Standard Editing, Assisted Editing, and Versions Editing Xcode provides three editing modes targeted for three particular editing workflows: ● Standard editing: Onedocumenteditorusestheentireeditingarea.Standardeditingisappropriate when a single file or information type requires most of your attention. ● Assisted editing: Oneprimary editorpane andoneormore assistant editorpanesoccupy the editor area. Assisted editing is useful when you work on more than one aspect of your project at the same time. For example, use assisted editing when you are connecting user interface elements to implementation code. You can display two or more different views of a file, or two or more files in the editor panes (side by side or one above the other). Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 45Although you can specify which file to show in each editor pane, it is often helpful to let Xcode find and open a related file for you in assistant editor panes. For more information about assisted editing, see "Split the Editor Area to Display Related Content" (page 120). ● Version editing: In version editing, the versions browser takes up the entire editor area. The versions browser contains adocumenteditor foreditingyour versionof a file, adocument viewer for viewingearlier versions of the file, and a version selector to select the version to view. Version editing mode is useful in projects using source control management (SCM) when you want to compare your version of the file with earlier versions. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 46For more information on the comparison editor, see "Compare Revisions" (page 272). Find Information that Supplements the Primary Editor The utility area contains two subareas: the inspector area and the library area. You use the inspector area to view and set properties of the content open in the primary editor. The library area contains file templates you can use to create files, code snippets you can add to your code, and user interface controls you can add to your user interface files. You can also access all the media files in your project or workspace. To open the utility area, choose View > Utilities. View and Edit the Properties of Specific Items Inspectors arepanesintheinspector areaof theutility area that youusetoreadorenterdata about thecontent in the primary editor (which can be a file, and item in the file, or project information). Which inspectors are available depends on the type of content open in the primary editor. However, two inspectors are available for any content type: the File inspector and the Quick Help inspector. Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 47Get File Templates, Code Snippets, User Interface Objects, and Media Assets The library panes in the library area of the utility area provide file templates and code snippets that you can drag into your project or workspace, user interface elements that you can add to your user interface files, and the media files (graphics, sound files, and so forth) contained in your workspace. For more details on the use of the libraries, see "Incorporate Files and Code from the Xcode Libraries" (page 136). Get Oriented The Workspace Window: Where You Get Most of Your WorkDone 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 48Check on the Progress of Xcode Tasks Theactivityviewer inthe workspace window toolbarshowstheprogressofanytaskXcodeis currentlyexecuting. If two or more tasks are currently underway, a small number appears at the left edge of the activity viewer (Figure 1-20). Click thenumber to openapop-up window that shows the individual status of eachcurrent task (Figure 1-21). Figure 1-20 The activity viewer Figure 1-21 The activity pop-up window If Xcode finds issues in your workspace, an icon in the activity viewer indicates the number and severity of issuesfound(Figure1-22). Click the issuesicontosee the issuesinthe issuenavigator,describedin"Investigate Problems in your Project with the Issue Navigator" (page 30). . Figure 1-22 Issues in the activity viewer The Organizer Window: Manage Development Resources Xcode has two main windows. You’ve seen the workspace window (Figure 1-2 (page 16)), used for editing, debugging, and interface design. The other main window, called the Organizer window, displays information about the devices you use for developing apps, source control repository information, project storage information, information about your archives, and documentation. Get Oriented TheOrganizer Window: ManageDevelopment Resources 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 49To open the Organizer window, choose Window > Organizer. Manage Development Devices in the Devices Organizer Use the Devices organizer to manage your development devices and the digital assets you need to build apps and install them on your devices. Click the Devices button in the Organizer window toolbar to display the Devices organizer. For details on managing development devices, see "Manage Your Devices" (page 219). Get Oriented TheOrganizer Window: ManageDevelopment Resources 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 50Manage Source Control Repositories in the Repositories Organizer In the Repositories organizer you can create local repositories, connect to and manage repositories on servers, andsoforth. Click theRepositoriesbuttoninthe Organizer window toolbar toopentheRepositoriesorganizer. You perform many common SCM operations, such as submitting files, from the workspace window. See "Keep Track of Changes with Source Control" (page 247) for details. Get Oriented TheOrganizer Window: ManageDevelopment Resources 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 51Manage Project Snapshots and Derived Data in the Projects Organizer TheProjectsorganizer liststheprojectsand workspacesyouhaveopened.Youcanopenaprojector workspace by double-clicking its name in the list on the left side of the organizer. By selecting a project or workspace in the list, you can access its derived data and snapshots. Click the Projects button in the Organizer window toolbar to open the Projects organizer. To learn more about snapshots, see "Take a Snapshot of Your Project" (page 246). Browse and Bookmark Documents The Documentationorganizer isarepositoryofallof thedocumentationinyour library. Clickthe Documentation button in the Organizer windows to open the Documentation organizer. Get Oriented TheOrganizer Window: ManageDevelopment Resources 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 52To browse documentation, open the Organizer window, click the Documentation button in the toolbar, and click the Browse button at the top of the navigation pane (Figure 1-23). Figure 1-23 The documentation navigator Get Oriented TheOrganizer Window: ManageDevelopment Resources 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 53While reading any page of a document, you can choose Editor > Add Bookmark or Control-click and choose Add Bookmark for Current Page to bookmark that page. Click the Bookmark button in the navigator pane to see a list of bookmarks (Figure 1-24). Figure 1-24 The bookmarks navigator To select which documentation sets to download, use the Downloads pane in Xcode preferences. To set documentation preferences ● Setpreferencesforupdatingdeveloperdocumentationusingthe Documentationtabof the Downloads preferences pane. Documentation is installedin the form ofdocumentation sets, often calleddoc sets. Appledoc sets for key developer libraries are installed with Xcode, and access to updates for them is controlled by subscription. For your convenience, Xcode can automatically keep these subscriptions up to date. This feature is controlled by the option “Check for and install updates automatically,” which is selected by default. If this option is selected, Xcode displays the date and time of the last check. Get Oriented TheOrganizer Window: ManageDevelopment Resources 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 54Tocheck forupdatesmanually, click the“Check andInstall Now”button. Ifnonew updates areavailable, Xcode displays a message to that effect. When an update for a doc set is available but not yet installed on your system, Xcode displays an Install button on the subscription line for that doc set. Click that Install button to download and install the updated doc set on your system. To install non-Appledocumentation, subscribe to the associateddocumentation feed. First, obtain the web (RSS) feed URL from the publisher. Click the Add (+) button, as shown in the figure, follow the onscreen instructions to enter the URL, and click Add in the dialog. To remove a doc set from your system, select the subscription entry for the doc set, then click the doc set info button. Click the Installed Location link to show the doc set file in the Finder, then delete the file from the Finder. To unsubscribe from non-Apple documentation, select the subscription entry for the doc set, click the Remove (-) button, and confirm the removal operation. Note: You can remove an Apple doc set from your system, but you cannot remove the subscription to its doc set feed. At the bottom of the pane, you can set a minimum font size for Documentation organizer content by selectingtheoption"Neveruse fontsizessmaller than," andthenchoosinga fontsize fromthepop-up menu. Get Oriented TheOrganizer Window: ManageDevelopment Resources 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 55This chapterdescribeshow tostart anew Xcodeproject,eitherby creatingaproject fromscratch,orbyopening an existing project. When you’ve got your projects open, go to "Get Oriented" (page 15) to learn more about using Xcode. Create a Standalone Project If you want to start a new software development undertaking using Xcode, you need to first decide whether you needa single project or multiple relatedprojects. For a simple appor utility, a singleproject shouldsuffice. However, if you have several related executables that need to link to a custom library, you probably want at least a separate project for the library, and possibly a separate project for each executable. Start developing a software product by creating a project. All software products require a project. The project organizes the files and resources needed to build one or more products, such as applications, plug-ins, and command-line tools. To create a standalone project 1. Choose File > New > New Project. 2. Select the project template for your iOS or OS X product, and click Next. 3. Enter the product name and other project details, and click Next. 4. Specify the project’s location in your file system, and click Save. See the HTML version of this document to view the video. document to view the video. The New Project dialog displays platforms, template families, project templates, and a description for the selected project template. In the project options pane you enter information required by the template to generate the project, such as the product name. 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 56 Start a ProjectNote: The New Project dialog appears in the workspace window for the workspace to which Xcode will add the project. When you create a project with no workspace window active, the New Project dialog is attached to a new workspace window that contains only the new project. The project location in your file system and its container in the workspace window are both derived from your selection in the project navigator when you initiated the New Project command. That is, if you have a project selected in the project navigator, Xcode places the new project inside the selected project. The Save dialog lets you specify a different location and container for the new project before completing the operation.Forexample, youcanindicatethat thecontainerof theprojectbeagroup withinyour workspace instead of the workspace itself. The video shows how to create a project named MyProject and place the project directory on the Desktop. Aftersavingtheproject,Xcodeplaces a folder containingthenew project’sfiles at thelocationyouspecified. Once you’ve created a project, you can add new source files and begin writing code. If you have two or more closely related projects, create a workspace and add your projects to it, as described in "Create a Workspace to Work with Multiple Related Projects" (page 60). Start a Project Create a Standalone Project 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 57Preconfigure the New Project The new project dialog shows options tailored for the project’s platform (iOS or Mac) and product type (app, plug-in, and so on). Figure 2-1 shows the options available for a new iOS project. Figure 2-1 Options for a new iOS project Use Storyboards With storyboards, you design iOS user interfaces using scenes and scene transitions (known as segues). Each scene contains a view controller and its view hierarchy. Scenes also have a parent-child relationship between them, which specifies how one scene flows to another, and how data is transferred between scenes. Segues specify the visual transition from one scene to another. To use storyboards to design user interfaces in your project, select the “Use Storyboards” option. See View Programming Guide for iOS for details about using storyboards. Use Core Data With Core Data, you design the data model of your app using a graphical entity-relationship editor. Note that this is an advanced technology that is not required for creating simple applications. You can use Core Data in iOS and Mac projects. To use Core Data in your project, select the “Use Core Data” option. Start a Project Create a Standalone Project 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 58See "Edit Data Model Documents" (page 41) for more information. Use Automatic Reference Counting Automatic Reference Counting (ARC) is a technology that automates memory management for Objective-C objects. ARC makes memory management much easier, greatly reducing memory management problems in your project. To use Automatic Reference Counting, select the “Use Automatic Reference Counting” option. For more information on ARC, see Transitioning to ARC Release Notes. Use Unit Tests Usingunit testsinyourprojecthelpsensurethat themodifications youmaketoyour codedonotbreakexisting functionality. Unit tests are one of the essential building blocks of test-driven development. To use unit testing in your project, select the “Include Unit Tests” option. To learn more about unit tests, see Xcode Unit Testing Guide. Start a Project Create a Standalone Project 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 59Create a Git Repository For Your New Project You can create a local Git repository when you save the new project (Figure 2-2). This is the easiest way to add source control to aproject (see "KeepTrack of Changes withSource Control" (page 247) formore information). Figure 2-2 Creating a local Git repository when creating a project Create a Workspace to Work with Multiple Related Projects A major feature of Xcode is the ability to create a container for multiple projects that you can use to group Xcode projects and other related files. This container is referred to as a workspace. All the projects in the workspace share the same build directory. Putting your related projects in the same workspace affords you several benefits, including: ● One project can use the products of another project while building. ● If one project depends on the products of another in the same workspace, Xcode can detect this and automatically build the projects in the correct sequence. ● Because all the files in one project are visible to all the other projects in the workspace, you don’t need to copy shared libraries into each project folder separately. ● Indexingisdone acrossthe entire workspace, extendingthe scopeof content-aware featuressuchas code completion. Start a Project Create a Workspace to Work with Multiple Related Projects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 60Start a multiproduct development endeavor by creating a workspace. A workspace serves as a common container for several related projects. To create a workspace 1. Choose File > New > New Workspace. 2. Enter the workspace name, and specify its location in your file system. 3. Click Save. See the HTML version of this document to view the video. document to view the video. Xcode uses the workspace to actively manage many explicit andimplicit relationships among the included projects and their targets. For example, this capability lets you specify that when you build an application, Xcode must build any products the application depends on, such as a library. The video illustrates creating a workspace called MyWorkspace, saved on the Desktop. Once your workspace is created, you can create new projects within it, and you can add existing projects to it. Youcanaddanexistingproject tothe workspace,or Control-click inthe structurenavigator below the existing projects and choose New Project to create a project in the workspace. Add an existing project to a workspace to add a product to a multiproduct development endeavor. When you need to work on two or more related projects, you can add them to a workspace so that you can create interproject relationships. To add an existing project to a workspace 1. In the project navigator, Control-click in the empty space below the list. 2. Choose Add Files to “”. 3. Navigate into the folder containing the project package. Start a Project Create a Workspace to Work with Multiple Related Projects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 614. Select the project package and click Add. See the HTML version of this document to view the video. document to view the video. For example, you can have a workspace with an application project, add a framework project to the workspace, andmake the applicationdependentonthe framework.Whenyoubuildthe application,Xcode builds the library first, if it needs to be built. When adding a project to a workspace, you add the project package. A project package is a directory that the Finder displays as a file. It contains information about the project, such as references to the files that are part of the project, the project’s groups, build settings, and target definitions. The video shows the process of adding a second project, called MyFramework, to a workspace called MyWorkspace. After you add a project to your workspace, the project appears in the project navigator. Alternative: You can drag a project package from a Finder window or a workspace window to the project navigator in a workspace window to add the project to the second workspace. When doing so, ensure that you add the project package to the root of the project navigator and not a project within it. Note: If you choose File > New > Project while you have projects or workspaces open, you can use the“Addto”pop-upmenuinthedialogtoaddtheproject toanyof theopenprojectsor workspaces. Because each project retains its individual identity, a project can be included in more than one workspace or removed from a workspace without affecting the project. The workspace file itself merely contains pointers to theprojects andother files that the workspace includes,plus aminimal amountofdata suchas schemes stored in the workspace. The pointers to the source files, included libraries, build configurations, and other data are stored in the project files. Start a Project Create a Workspace to Work with Multiple Related Projects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 62Tip: If you have an Xcode project and would like to create a workspace to contain it, choose File > Save as Workspace. You can assign a new name to the workspace and specify a location for the workspace file. Doing so does not alter the original project or prevent you from adding the project to another workspace as well. If the build product of one project in a workspace is dependent on the build product of another project in the workspace (for example, ifoneprojectbuilds a libraryusedby theotherproject),Xcodediscoverssuchimplicit dependencies and builds in the correct sequence. If you don’t want one project to use the product or files in anotherproject that’sinthesame workspace, youneedtoadjust yourbuildsettings accordingly.See"Configure Your Project" (page 64) for help in finding and understanding the build settings interface in Xcode. Before you build, be sure you’ve created the scheme or schemes you need. See "Customize Product Actions" (page 161) for more information on schemes. Check Out a Working Copy from Your Source Control Repository If your Xcode project is in a Git or Subversion repository, you can check out your project from the repository and open it in Xcode. See "Keep Track of Changes with Source Control" (page 247) for more information on using source control in Xcode. Close a Project or a Workspace Choose CloseProjector CloseWorkspacefromtheFilemenutocloseaprojector workspace.Xcoderemembers which windows youhadopenandhow they were configured, andrestores themwhenyoureopentheproject or workspace. Start a Project CheckOut a Working Copy from Your Source Control Repository 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 63This chapter describes how to specify product details by configuring projects. General Configuration This section describes configuration options that apply to all project types. Update to Recommended Settings When you open a project, Xcode evaluates it to determine whether there are any settings that should be updated. This feature provides an easy way to make sure your projects conform to the latest SDKs and best practices. Open the issue navigator (Figure 3-1) to see whether anything in your project should be updated. Figure 3-1 Validate Project Settings warning in the Issue navigator 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 64 Configure Your ProjectIf the issue navigator lists the Validate Project Settings warning, click the warning to see a list of the recommended changes (Figure 3-2). Deselect any changes you don’t want to change, then click the Perform Changes button to update the project. Figure 3-2 Project settings recommended changes list After performing the changes, whether you choose to make all the changes or not, Xcode does not show the warning again. To validate project settings again, select the project in the project navigator and choose Editor > Validate Settings. Specify the Targeted OS Version Each version of iOS and OS X (and its corresponding SDK) includes features and capabilities not present in earlier versions. As new OS versions are published, some users upgrade immediately while other users wait before moving to the latest version. You can take one of two strategies concerning the OS version to target in developing your app: ● Target the latest OS version. Targeting the latest OS version allows you to take advantage of all the features available in the OS, including newly introduced features. However, this approach means that a smaller set of users is capable of installing your app on their devices because your apps cannot run on OS versions that are earlier than the target version. ● Target an earlier OS version. Targeting an earlier OS version lets a larger set of users install your app. However, targeting an earlier version may limit the operating system capabilities your app can use. To specify the earliest OS version on which you want your app to run: 1. In the project navigator, select the project. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 652. From the target list in the project editor, select the target that builds your app. 3. Click Summary. 4. From the Deployment Target pop-up menu, choose the OS version you want to target. When you build the app, your deployment target selection is reflected in the MinimumOSVersion entry in the Info.plist file for the app. When you publish your app to the App Store, the store indicates the OS version on which your app can run based on the value of this property. Note: If the SDK you use to build the app is more recent than the app’s target OS version (for example, thebaseSDKisiOS6.1andthedeployment target isiOS6.0),Xcodedisplaysbuild warnings when it detects that your app is using a feature that’s not available in the targeted OS version. You must also ensure that the symbols you use are available in the app’s runtime environment. To check for their availability, use the techniques described in SDK Compatibility Guide. Important: When building for a simulation environment, the generated binary runs only on the iOS Simulator app that’s part of the Xcode toolset version used to build the binary. It does not run on earlier or later versions of the iOS Simulator app. Use Automatic Reference Counting Objective-C Automatic Reference Counting (ARC), introduced in Xcode 4.2, automates memory management for Objective-C objects. ARC makes memory management much easier, greatly reducing the chance that your program will have memory leaks. Xcode can update a non-ARC project to ARC, or can assist you in doing so. To add ARC to a new project, see "Preconfigure the New Project" (page 58). Note: ARC requires the Apple LLVM compiler. To update a project so that it uses ARC: 1. Select the project in the project navigator. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 662. Select the targets and source files you want to convert, and click the Check button. 3. Fix issues that prevent the conversion. If thereareissuesthatprevent conversion,Xcodedisplays adialogindicatingthenumberof issuesit found. To see all the memory-management issues that prevent conversion, select the “Continue building after errors” option in General preferences, and retry the conversion. 4. Review the recommended changes. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 67If the conversion requires changes to source files, Xcode presents the comparison editor to show you the changes recommended for each of the selected source files. After reviewing the recommended changes, click Save. If the conversion does not require changes to source files, Xcode presents a dialog indicating so. Click the Update button to modify the settings required to build your app using ARC. For more information on ARC, see Transitioning to ARC Release Notes. Set the Basic Product Settings When you create a project, it includes one or more targets, where each target specifies one build product and the instructions for how the product is to be built. You can use the project editor to specify every aspect of the build, from the version of the SDK to specific compiler options. Most developers never need to change the default of the vast majority of the build settings. However, there are a few basic settings that you must check, and possibly edit, for each target. These settings are gathered into the Summary pane of the target editor and are somewhat different for Mac OS X and iOS projects. To edit the basic settings for an app, select the project in the project navigator, and the app target in the project editor, and click the Summary button. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 68Basic Settings for OS X Apps The Summary pane of the target editor groups the basic settings in three sections: OS X Application Target, Linked Frameworks and Libraries, and Entitlements. The OS X Application Target section specifies: ● The app icon, the icon the OS uses to identify the app to the user ● The app category, the main classification for the app ● The bundle identifier, a string that identifies the app to the operating system and the App Store ● The version number under which to publish the app ● The build number, which identifies a particular build of the app ● The deployment target, which is the earliest OS X version on which the app runs ● The main user interface file, which is the user interface file to load when the app launches ● Code signing: Whether to code sign the app when it is built The Linked Frameworks and Libraries section lists the frameworks and libraries to which to link the app when built. TheEntitlementssectionliststheentitlementsthe OSandthe AppStoreusetogrant theappaccesstorestricted data and special capabilities, such as access to Address Book data and the camera. See App Distribution Guide for more information. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 69Basic Settings for iOS Apps TheSummarypaneof thetargeteditorgroupsthebasic settingsinfivesections: iOS ApplicationTarget, iPhone / iPod Deployment Info, Linked Frameworks and Libraries, Entitlements, and Maps Integration. The iOS Application Target section specifies: ● The bundle identifier, a string that identifies the app to the operating system and the App Store ● The version number under which to publish the app ● The build number, which identifies a particular build of the app ● The devices for which to build the app (iPhone, iPad, or Universal) ● The deployment target, which is the earliest iOS version on which the app runs The iPhone / iPod Deployment Info section specifies: ● The main user interface file, the storyboard or nib file to load when the app launches ● User interface orientations, the orientations the app supports (portrait, upside down, landscape left, landscape right) ● Status bar appearance and behavior, the style, visibility, and color for the status bar ● App icons, the icons the OS uses to identify the app to the user ● Launch images, the screenshots of the app to present when the app launches The Linked Frameworks and Libraries section lists the frameworks and libraries to which to link the app when built. TheEntitlementssectionliststheentitlementsthe OSandthe AppStoreusetogrant theappaccesstorestricted data and special capabilities, such as access to iCloud data. See App Distribution Guide for more information. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 70The MapsIntegrationsectionspecifies whether yourappcanaccept routingrequestsandcanprovidedirections to other apps on the user’s device. See Location Awareness Programming Guide for more information. Add Build Configurations Whenyoucreateaproject,Xcodeprovidestwobuildconfigurations: DebugandRelease, whichdifferprimarily in the inclusion of debug information and in the degree to which the build is optimized. You might want to add more build configurations; for example, you might want a build that’s fully optimized but that includes debug information in order to debug the optimized code. To add a new build configuration 1. Select the project in the project navigator to open the project editor. 2. Select the project in the project editor and click the Info button. 3. Expand the Configurations section in the Info pane, and click the Add (+) button at the bottom of the section. 4. Select one of the existing configurations from the pop-up menu as a starting point for the new configuration. 5. Select the name of the copy and type your preferred name for the configuration. Configure a uniform set of build setting definitions across any number of targets or projects by using a configuration file. A configuration file is a plain text file with a list of build setting definitions, one per line. You can base a build configuration only on a configuration file that is in your project, not on an external file. To base a build configuration on a configuration file 1. In the project editor, select the project for which you want to use a build configuration file. 2. Click Info at the top of the project editor. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 713. In the Configurations section, navigate to the build configuration you want to base on a configuration file. 4. Choose a configuration file from the pop-up menu in the right column. See the HTML version of this document to view the video. document to view the video. When you base a target or project’s build configuration on a configuration file, that build configuration automatically inherits the build setting definitions in that configuration file (and any configuration files it includes). If you then modify the value of any of those build settings in the target or project, the new value is used instead of the value in the configuration file. Build settings defined at the target level override any values assigned to those build settings at the project level. Therefore, target-level configurations take precedence over any project-level configurations. The video shows basing the Debug build configuration on a file called Config.xcconfig at the project level. Add Build Rules Xcode processes your source files according to the file type using a set of built-in rules. For example, property list (plist) files are copied into the product using the CopyPlistFile script located in the Xcode directory. To see the default build rules for a target 1. Select the project in the project navigator. 2. In the project editor, select the target and click the Build Rules button. Because Xcode sets build rules on a per-target basis, no build rules are displayed when you select the project rather than a target. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 723. In the filter bar of the Build Rules pane, click the All button. Inadditiontothedefaultbuildrules, youcanaddcustombuildrulestoyour targetor copydefault targetbuild rules to your target. Change the way files are processed with build rules. To add a build rule 1. In the project editor, select the target to which you want to add a build rule. 2. Click Build Rules at the top of the project editor. 3. Select Target at the top of the Build Rules pane. 4. Click Add Build Rule in the lower-right corner. 5. Choose a file type from the Process pop-up menu. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 736. Choose a compiler from the Using pop-up menu. You can define build rules on a per-target basis. Target-specific build rules can specify files that the system build rules do not directly address and can override the existing system build rules, which are predefined and unmodifiable. The Process and Using menus include many types of files and many compilers, but you can specify custom file types or compilersby choosing “Source files with names matching:” from the Process menu or “Custom script:” from the Using menu. Thescreenshotshowsabuildrulethat compiles C sourcefiles with GCC 4.2rather thanthedefault compiler. Link Frameworks Conditionally There may be occasions when you need to configure your app target so that it links to a framework only if certain conditions are met. To link a framework only when using a particular SDK, conditionally set the Other Linker Flags build setting to: -framework Use this setting in all configurations for the SDK you want the definition to apply to. Configure Your Project General Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 74If you need to, you can add another condition to the Other Linker Flags build setting to specify a different SDK and framework. iOS Configuration This section describes how to specify product details for iOS products. Specify the Targeted iOS Devices The Devicessettingidentifiesthetypeofdevices you want theapptorunon("BasicSettingsfor iOS Apps" (page 70)): Selection Description iPhone Includes iPhone and iPod touch devices. iPad Includes iPad devices. Universal Includes iPhone, iPod touch, and iPad devices. For more information on configuring your app for iPhone, iPad, or both device families, see "Advanced App Tricks". Specify the Targeted iOS Architecture An iOS device uses one of a set of architectures, which include armv6 and armv7. The Architectures build setting identifies the architectures for which your app is built. You have two options for specifying the value of this setting. ● Standard.Produces anappbinary witha commonarchitecture, compatible withallsupportediOSdevices. This option generates the smallest app, but it may not be optimized to run at the best possible speed for all devices. ● Optimized. Produces an app binary optimized for each supported iOS device. However, the build time is longer than when using the Standard option, and the app is also larger because multiple instruction sets are bundled into it. If you need to build your app so that it contains executable code for a different set of architectures than these predefined values offer, you can choose Other from the Architecture build-setting value list and enter the custom iOS-device architecture names. Configure Your Project iOS Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 75Compile Source Code Conditionally for iOS Apps This section shows how to target code to a simulation or device environment and which frameworks (or libraries) to link to, depending on whether you’re building your app to simulate its operation or to run it on a device. AniOSappcanruninsimulationenvironmentsoroniOSdevices.Yourunyour appinsimulationenvironments to simulate the app’s execution on your Mac, and you run the app on devices to test its actual performance. The simulation and device environments are fundamentally different; therefore, when using technology that’s implemented differently in the two environments, you may need to tweak your code so that some of it runs in a simulation environment but not on a device. There may be times when you need to run code in a simulation environment but not on a device, and the other way around. On those occasions, you can use the preprocessor macros TARGET_OS_IPHONE and TARGET_IPHONE_SIMULATOR to conditionally compile code for all iOS-based devices. Listing 3-1 shows how to use the TARGET_IPHONE_SIMULATOR macro to determine whether code meant for iOS is being compiled for a simulator or a device. Listing 3-1 Determining whether you’re compiling for a simulation environment or for a device // Set hello to "Hello, "! #if TARGET_IPHONE_SIMULATOR NSString *hello = @"Hello, iOS Simulator!"; #else NSString *hello = @"Hello, iOS device!"; #endif Listing 3-2 shows how to use the TARGET_OS_IPHONE macro in a source file to be shared between Mac OS X and iOS. Listing 3-2 Using a single source file for iOS and Mac products #if TARGET_OS_IPHONE #import #else #import #endif Configure Your Project iOS Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 76The TARGET_OS_IPHONE and TARGET_IPHONE_SIMULATOR macros are defined in the TargetConditionals.h header file. Configure Your Project iOS Configuration 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 77Interface Builder is an Xcode editor that provides a graphical interface for the creation of user interface files. Like other Xcode editors, Interface Builder is fully integrated into the IDE, so you can write and edit source code and tie it directly to your user interface without leaving the Xcode workspace window. When you create an OS X or iOS app, Xcode includes one or more user interface files in the project. These files, called nib files, have the filename extension nib or xib. Similarly, when you create a view controller, Xcode includes a nib file along with the header and implementation files for the new class. For iOS apps, you can use storyboards instead of nib files, as described in "Design the User Interface of Your iOS App with Storyboards" (page 91). Create Your User Interface Interface Builder, like other Xcode editors, has associated inspectors in the utility area. When you open a user interface file, your user interface objects appear in the editor area, and the Interface Builder inspectors appear intheutility area.Youusetheseinspectorstoconfiguretheinterfaceobjects andtomakeconnectionsbetween them. The Object and Media libraries in the library pane of the utility area are also for use with Interface Builder—you use these libraries to add new objects to your user interface. 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 78 Edit User InterfacesFigure 4-1 shows a user interface file being edited. You can select objects and media files in the library pane and drag them onto the Interface Builder canvas. You can also open an assistant editor to view files associated with the selected in the primary editor. Figure 4-1 A user interface file in Interface Builder Display Your User Interface Objects The dock on the left side of the editor pane shows the user interface objects and placeholders in the user interface file. The dock can display the high-level objects in an icon view (Figure 4-2) or in a list (called the outline view) showingall theobjectsnestedinhigher-levelobjects (Figure 4-1). Storyboardfiles show only the outline view in the dock; however, each scene in the storyboard has its own scene dock displayed below it when you select the scene. Figure 4-2 Icon view for placeholders and objects in Interface Builder EditUser Interfaces Create Your UserInterface 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 79Add new objects to an Interface Builder document using the outline view, a hierarchical tree that reflects the parent-child relationships between the objects in the nib file. To add an object using the outline view 1. With a nib file open, toggle the dock to outline view, if necessary, by clicking the dock mode button at the bottom of the dock. 2. Navigate to the place in the outline where you want to add the object. 3. Drag an object from the Object library (in the utility area) into the outline. See the HTML version of this document to view the video. document to view the video. The video shows how to add a text formatter object to a text field cell using the outline view. Tip: To return to the icon view, click the dock mode button ( ) again. Note that you can also use the Interface Builder jump bar to select any object in the interface. Connect to Other Files Using Placeholders There are two kinds of objects displayed in the Interface Builder dock: interface objects and placeholders. Interface objects are created when the user interface file is loaded and typically comprise the bulk of the objects. Placeholders are files that live outside of the user interface file but are intimately tied to the contents of the nib file. There are normally three placeholders in a nib file: ● File’s Owner ● First Responder ● Application File’s Owner File’s Owner represents the user interface file’s controller object. File’s Owner is the most commonly used placeholder in user interface files. The File’s Owner placeholder is the main bridge between your app and the contents of the user interface file. EditUser Interfaces Create Your UserInterface 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 80You can designate any object in your app as the File’s Owner of an interface file. You tell Interface Builder the class of the File’s Owner so it knows what connections to make available. Typically, the File’s Owner is an instance of a controller class that manages the interactions with the views and other controller objects inside the interface file. To configure the File’s Owner placeholder 1. Select the File’s Owner placeholder in the Interface Builder dock. 2. Open the Identity inspector. 3. In the Class field of the Custom Class section, set the class of the File’s Owner to the corresponding class in your app. Thefollowingtablelistssomeof thestandardclassesthat arecommonlyusedtorepresent File’s Owner in apps: Operating Description system Subclass of Document-basedappsstorethedocument window and other required interface objects in a nib file. The File’s Owner of this nib file is traditionally the document object itself. NSDocument OS X Window controllers provide a great deal of automatic management for nib files and are especially useful when your nib file contains only one window. NSWindowController OS X A view controllersmanagecustomaccessoryviews and other view-based content. NSViewController OS X CustomUIViewControllerobjectsareoftenused to manage the content view for a distinct screen’s worth of content. UI view controllers provide automatic interface-loading and purging support. UIViewController iOS You can use practically any object you like for manual control of an interface file. It is up to you to define the relationships between this class and the objects in the interface file. OS X and iOS Any custom NSObject subclass 4. Control-click the File’s Owner object to see the outlets and actions defined by that object’s class. EditUser Interfaces Create Your UserInterface 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 81To learn about outlets and actions, see "Manage Connections Between User Interface Objects" (page 97). You can use these outlets and actions to connect other objects to File’s Owner. You can use File’s Owner as a target for your bindings. For information about connecting to File’s Owner, see "Make Connections Directly Between User Interface Objects and Your Source Files" (page 97). First Responder The First Responder placeholder represents the first object in the responder chain, which is determined dynamically at runtime by the AppKit and UIKit frameworks. To add new action messages to the First Responder’s supported list 1. Select the First Responder placeholder object in your Interface Builder document. 2. Open the Attributes inspector. 3. Click the Add (+) button at the bottom of the User Defined section to create an action method entry. 4. Double-click the method name in the Action column and type the name of the method. 5. Select the class in which the method will be defined from the pop-up list in the Type column. 6. After youaredonemakingconnectionsinInterfaceBuilder, addthe code for themethodtotheheader and implementation class files in your project that you specified in step 5. The name of the method must match the name specified in step 4. AddingactionmethodtotheFirstResponderplaceholderdoesnotaddthecorrespondingmethoddefinition to your Xcode source files. All it does is let Xcode know that such a method exists in one of the objects in the responder chain of your project. It is up to you to ensure the method names you add to the First Responder placeholder match the names of the methods in your code. Xcode does not validate these method names for you. At runtime, if a method name is misspelled or does not exist in an object, the corresponding action message is never received by the target object. Interface Builder does not prevent you from deleting the standard system messages associated with the First Responder placeholder. Doing so removes the message name only from the current interface file. When the operating system sends a message to your app, the message is sent to your app’s first responder. Thefirst responder istypically thecurrently selectedobjector theobject withthecurrent focusinthefrontmost window.Youusethefirst responder tomakeconnectionstoanymessagesthatoperateonthecurrentselection or needtobe handledby your frontmost window ordocument. For example, if you wanteda menu command to be handled by your frontmost window, you would dispatch that command to your first responder. The First Responder placeholder displays all the actions that are either supported natively by the operating system or defined in your Xcode source files. EditUser Interfaces Create Your UserInterface 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 82Note: The First Responderplaceholder is only for configuringactionmessages. You cannot connect the First Responder placeholder to one of your custom outlets in hopes of receiving a dynamically changing pointer to the selected object in your window. In Mac apps, you should instead use the firstResponder method of the current NSWindow object to get the first responder. In iOS apps, there is no single first responder object; the first responder is always the view that is the target of a touch. Application In OS X user interface files, the Application placeholder gives you a way to connect the outlets of your app’s sharedNSApplicationobject tocustomobjectsintheinterfacefile.Thedefault applicationobjecthasoutlets for its delegate object and, in Mac apps, the menu bar. If you define a custom subclass of NSApplication, you can connect to any additional outlets and actions defined in your subclass. At load time, the interface-loading code automatically replaces the Application placeholder with the shared application object from your app. Select Objects in a User Interface File In Interface Builder, you can usually select an object in an nib or storyboard file by clicking it in the canvas. Many objects are compound, however, such as a text field that contains a number formatter. To select an object using the dock 1. Expand the dock to show the outline view. 2. Use the disclosure triangles to open the objects containing the object you want to select. 3. Select the object in the outline view. Tip: You can make connections directly between the object in the dock and source code or other objects. To select an object using the jump bar 1. If the top-level window oruser interfaceobject isnot alreadydisplayedonthe InterfaceBuilder canvas, select the window or object in the dock. 2. Select an object in the jump bar that contains the object you want to select. EditUser Interfaces Create Your UserInterface 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 83Tip: You can select the top-level object or any object in the hierarchy that contains the target object.Youcannotnavigate toahidden UIobject inthe jumpbarby selectingthenibfile itself. 3. Navigate through the jump bar to the object you want to select. Lay Out User Interface Controls Using Content-Driven Rules InterfaceBuildersupportsthe AppKit AutoLayout feature. AutoLayout, available starting with OSXv10.7 Lion, uses relationships called constraints to govern the layout of objects in the user interface. This feature is a complete replacement for the autoresizing mask. As you make changes to any view or control in Interface Builder (move it around, resize it, change an attribute, add a subview, and so forth), Interface Builder automatically adds and removes constraints based on the new layout. When you enable this feature, Interface Builder shows the constraints as you work, as shown in Figure 4-3. EditUser Interfaces LayOut UserInterface Controls Using Content-Driven Rules 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 84Note: Auto Layout is available only in Mac OS X v10.7 Lion and later. If you are running Xcode 4 in Mac OS X v10.6 Snow Leopard, Auto Layout is not available. Figure 4-3 Auto Layout To use Auto Layout in your project, you turn on the feature on each interface file you want to use it on. Create user interfaces that adapt dynamically to content and sizing changes by enabling Auto Layout. To turn on Auto Layout in an interface file 1. Open the user interface document. 2. Choose View > Utilities > Show File Inspector. 3. In the Interface Builder Document section, select Use Auto Layout. The screenshot shows the Auto Layout option for an OS X user inteface document. EditUser Interfaces LayOut UserInterface Controls Using Content-Driven Rules 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 85Interface Builder treats constraints like other objects in an interface file. As you lay out objects in the canvas, Interface Builder adds constraints to the object or its containing view. There are three ways to see layout constraints: ● View the constraints of a container view: ● View the intrinsic constraints of a control. To see the constraints of a container view or an object in a user interface file 1. Open the user interface file. 2. View the document outline in the Interface Builder dock. 3. Select the view or object for which you want to view constraints. 4. View the constraints in the Constraints list for the container view or control. Align and Pin Objects in Your User Interface As you lay out object in your user interface (by aligning them with other objects, or pinning them to the container view), Interface Builder adds constraints that reflect your layout. Position objects in relation to other objects or their container. To align or pin objects in your interface 1. Select the objects. EditUser Interfaces LayOut UserInterface Controls Using Content-Driven Rules 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 862. From the Align o Pin menus in the Editor menu, choose the appropriate command. If youruser interfacedocumentuses Auto Layout,Xcodeuses constraints to express the objects’ alignment details. Important: TheoptionsinthePinmenuintheEditormenuareavailableonlyinuser interfacedocuments that use Auto Layout. Any constraint that you have modified or added manually is a custom constraint and is shown on the canvas with a thicker line than used for the automatic constraints. In the figure, the custom constraint is the one affecting the width, and the connections to the superview are automatic constraints. Figure 4-4 Custom constraint Table 4-1 lists the types of layout constraints. Table 4-1 Layout constraints Constraint Figure Notes Select the object and choose Editor > Add Constraint > Width or Editor > Constraint > Height. Use the Attributes inspector to specify the value of theconstraint.Forexample, “equal to 80 pixels,” or “less than or equal to 150 pixels.” The figure shows a constraint that keeps the width of a button greater than or equal to some number. Size (width or height) EditUser Interfaces LayOut UserInterface Controls Using Content-Driven Rules 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 87Constraint Figure Notes Select all the objects that you want to include and then chooseeitherEqualWidthsor Equal Heights from the Editor > Add Constraint menu. If all theobjects involvedmaintain their intrinsic contentsize(see "Allow Objects to Maintain Their Intrinsic Content Size" (page 89)), then the widthorheightof theobjects is that of the largest object in the group. If one of the objects has an explicit size, thentheotherobjectsassume the same explicit size. Equal size Select two objects and then choose either Horizontal Spacing or Vertical Spacing from the Editor > Add Constraint menu. The figure shows a button and a text field with a set distance between them. Spacing Select an object an choose one of the superview commands from the Editor > Add Constraintmenu:Leading Space to Superview, Trailing Space to Superview, Top Space to Superview, or Bottom Space to Superview. Use the Attributes inspector to specify the space between the object and its container. The figure shows a constraint holding the leading edge of a button the standard aqua space from the leading edge of the container. Superview-spacing EditUser Interfaces LayOut UserInterface Controls Using Content-Driven Rules 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 88Constraint Figure Notes Select all the objects that you want to include and then choose an item from the Editor > Alignment menu. Alignment constraints are drawnas a straight line rather than an I beam. For example, in the figure, the label and text field are aligned along their baselines. Alignment You can edit constraints to specify such features as absolute or relative widths or heights. To edit a constraint 1. Select the constraint (see "To see the constraints of a container view or an object in a user interface file" (page 86)). 2. Edit the properties of the constraint in the Attributes inspector. Allow Objects to Maintain Their Intrinsic Content Size If there are no explicit constraints for width or height, an object assumes its intrinsic content size, which is the minimum size the object needs to be to hold its contents. For buttons, that might be the title, an image, or both. For text fields, the contents consist of the string and the bezel, for a combo box, the string in the text field and the disclosure button, and so forth. Some objects have an intrinsic content height, but not width. Others, such as buttons, have both an intrinsic height and width. Some objects, such as table views, have no intrinsic content size. When an object is set to maintain its intrinsic content size, it resizes as needed to accommodate changes, such as differences in the length of text strings due to localization. EditUser Interfaces LayOut UserInterface Controls Using Content-Driven Rules 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 89As opposed to an object with an explicit size, an object that maintains its intrinsic content size (and has no other size restraints) does not have the I-beam size constraint under it, as shown in Figure 4-5. To specify intrinsic content size, select the object and choose Size to Fit from the Editor menu. Figure 4-5 Button set to maintain its intrinsic content size Override Automatic Layout Constraints Interface Builder helps you to lay out user interface control by adding automatic constraints as you place objects in a view. For example, if you place a button in the top-left corner of a window following the layout guides, Interface Builder pins the button to the top-left edges of the window (Figure 4-6). Figure 4-6 Automatic layout constraints This means that the button’s left edge is pinned to the window’s left edge. If the user resizes the window by moving its left edge, the left edge of the button maintains its distance from the left of the window as the user drags the window’s edge. The button moves with the left edge. However, if the user drags the window’s right edge, the button does not move. EditUser Interfaces LayOut UserInterface Controls Using Content-Driven Rules 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 90Topin thebutton to the right edge of the view, you wouldselect thebutton andchoose Editor > Pin > Trailing Space to Superview (this action adds a constraint from the trailing edge of the button to the right edge of the containing view, shown in Figure 4-7). Now the button is pinned to both left and right edges. Resizing the window by dragging the left or the right border results in the button changing its size to meet both horizontal-spacing constraints. Figure 4-7 Custom layout constraints Set Priorities to Resolve Potential Conflicts Between Layout Constraints Occasionally, two constraints can come into conflict when a view is being resized. For example, you might have set your buttons not to get below a certain size, and also set a minimum width for the view containing the buttons. You can determine whether the minimum size for the window in this case is determined by the view width constraint or the button width constraint by specifying a lower priority for one than the other. For example, if you set the priority for the button width constraint to 50 while the priority for the view width constraint is1000, AutoLayout will allow theview tobereducedtoitsminimumwidthevenif itmeansreducing the size of the buttons. Design the User Interface of Your iOS App with Storyboards With storyboards you specify your app’s user interface in terms of scenes with transitions between them, and the controls used to trigger the transitions. Thus you can lay out every possible path through your app graphically, greatly reducing the amount of code you need to write for a complex multiscreen app. To create a project that uses storyboards for its user interface files, select the “Use Storyboard” option when you create the project. EditUser Interfaces Design the UserInterface of YouriOS App with Storyboards 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 91Ina storyboardeachobject ina view controller that cancause a change inthedisplay, is connectedto another view controller that configures and implements the subsequent scene. The arrows between view controllers represent the segues from one scene to another. To configure a segue 1. Select the segue in the document outline or in the canvas. 2. Configure the segue in the Attributes inspector. The simplest segue style is Push. The Modal style lets you specify standard transition types, such as flip and cross-dissolve.Youcanalsochoosethe Customstyletousea customtransition. See"CreatingCustomSegues". Create User Interface Classes If you need a custom view object or a view controller, you create the classes in the project navigator. Once you’vecreatedtheinterfaceandimplementationfiles, youcanconnectuser interfaceobjectsinauser interface file directly to your code files or you can add connections in the interface files between interface objects and existing outlets and actions in the user interface file. When you create an OS X app project or an iOS nonstoryboard-based app project, Xcode includes a nib file for your main view and a view controller class. When you create an iOS storyboard-based app project, Xcode includes a storyboard and a view controller class. The view controller is represented in the nib file as the File’s EditUser Interfaces Create UserInterface Classes 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 92Ownerobject.Whenyouneedanew nibfile for aproject, youshouldcreate the interface andimplementation files for the controller first. In many cases, Xcode creates a nib file as well. As nib files usually have controllers already assigned to them, it is rarely necessary to add a separate view controller to a nib file. Add a New Nib File When you need a new nib file, first add interface and implementation files for the controller to the project. In some cases, you automatically get a new nib file as well. If not, you can then add a nib file and link it to the controller. To add a new nib file to a project 1. Choose File > New > File and select the template type for your new controller files, and click Next. 2. Specify the name andparent class of the new controller, select the “WithXIB for user interface” option, and click Next. EditUser Interfaces Create UserInterface Classes 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 93In the figure, for example, the new class will be a subclass of NSWindowController named MyWindowController. 3. Specify the location for the new files, and click Create. Xcode creates a header, implementation, and nib files and adds them to your project. Tip: Alternatively, you can drag controller and interface files from the File Template library into the project navigator. When dragging into the project navigator, be sure the group into which you want to drop the file is highlighted before you drop; you won’t get the results you want if you accidentally drop the file inside another file. To see the outlets and actions provided by the parent class of the File’s Owner, click the File’s Owner object in the dock and open the Connections inspector. To add new actions or outlets to the nib file’s controller, see "Make Connections Directly Between User Interface Objects and Your Source Files" (page 97). Add a Custom View A custom view is a subclass of one of the standard views classes, such as NSView or NSButton. To add a custom view, first create the view’s class in the project navigator, then add the view to your nib. To add a custom view to a user interface file: 1. Add the header and implementation files to your project. EditUser Interfaces Create UserInterface Classes 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 94Select the appropriate Objective-C class template, your custom class’s name, and its superclass. 2. Add a custom view to the interface file. 3. Select the customview andspecify its class as the class youaddedinstep1by identifyingit inthe Identity inspector. Add a New Controller Every nib file is created with a File’s Owner object, which you link to the controller for the file. In the rare event that you need to add another controller to a nib file (to control a subview, for example), you need to create source files for the controller and add a controller object to the nib file so that you can make connections to the controller. To add a controller to a user interface file: 1. Add the header and implementation files to your project. Select the Objective-C Classtemplate,enteryour customcontroller class’sname,andspecifyNSController as its superclass. 2. From the Object library, drag an Object object to the Interface Builder dock. 3. Select the customview andspecify its class as the class youaddedinstep1by identifyingit inthe Identity inspector. EditUser Interfaces Create UserInterface Classes 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 95To see the outlets and actions provided by the controller, select the controller object in the dock and open the Connections inspector. To add new actions or outlets to the controller, see "Make Connections Directly Between User Interface Objects and Your Source Files" (page 97). Simultaneously Design and Implement User Interface Objects Using Multiple Editors When you use custom subclasses in your interface, or add outlets and actions to a controller, you can use an assistant editor pane to work on your interface code at the same time as your UI design. To design and implement user interfaces at the same time 1. Select your user interface file in the project navigator so that Interface Builder becomes the primary editor. 2. Choose View > Assistant Editor > Show Assistant Editor (to open an assistant editor pane). The assistant editor pane contains a source editor with the implementation file for the controller in charge of the interface file. If the assistant editordoesnot automaticallydisplay the file you want,use the jumpbar inthe assistant editor pane to open the file you want to view. EditUser Interfaces SimultaneouslyDesign and Implement UserInterfaceObjects Using Multiple Editors 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 96Manage Connections Between User Interface Objects The objects in your user interface must communicate with each other and with your source code if your app is to interact with the user. To specify which messages are sent and received, you use create connections between objects. There are four fundamental types of connections you can create: ● Outlet connections ● Action connections (Mac OS X only) ● Event connections (iOS only) ● Bindings (Mac OS X only) Make Connections Directly Between User Interface Objects and Your Source Files You can make a connection directly from a user interface object to the appropriate header or implementation file, and, if needed, Xcode inserts code directly into your header and implementation files. Figure 4-8 shows a connection being made to an existing IBAction statement. Figure 4-8 Making a connection to source code from a user interface file Connect an object directly to the declaration of a new outlet in a source file. To create and connect a new outlet 1. With a nib file open, click the Assistant button. 2. In the jump bar, select the header file in which you want to declare a new outlet. 3. Control-drag from a nib object to the location in the header file for the new outlet. 4. In the dialog, choose Outlet from the Connection menu. EditUser Interfaces Manage Connections Between UserInterfaceObjects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 975. Type the name of the new outlet and click Connect. See the HTML version of this document to view the video. document to view the video. As you Control-drag from an object to your source code, Interface Builder indicates where a new outlet is valid. After you enter the name of the outlet, Interface Builder declares the outlet for you and connects the object to it. You can choose to make the outlet an instance variable or a property. You may need to add source code that uses the outlet. You can Option-click the name of your controller's implementation file in the source editor’s jump bar to open the implementation file alongside the header file. The video shows connecting an NSMatrix object to a property outlet in a window controller class. Alternative: Declare the outlet in your source code manually, then connect an object directly to the outlet declaration. Connect an object to the declaration of a new action method in a header file. To create and connect a new action 1. Choose View > Assistant Editor > Open Assistant Editor. 2. In the primary editor, open the user interface document that contains the object that invokes the new action. 3. In an assistant editor, open the header file to which to add the action-method declaration. 4. Control-drag from the object to the header file. 5. Choose Action from the Connection menu. 6. Enter the name of the action method, and click Connect. See the HTML version of this document to view the video. document to view the video. EditUser Interfaces Manage Connections Between UserInterfaceObjects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 98As you Control-drag from an object to your source code, Xcode indicates where a new action is valid. After you enter the name of the action, Xcode declares the action for you and connects the object to it. Xcode also inserts a skeletal definition for the new action in the implementation file. You need to add the source code that implements the action. You can Option-click the name of the implementation file in the source editor’s jump bar to open the implementation file alongside the header file. The video shows connecting a button matrix to a new action in a window controller class. If you make the connection to a header file, Xcode also inserts code in the corresponding implementation file as appropriate. For example, if you use Interface Builder to place a new action called loadComposition in a header file, Xcode inserts the line - (IBAction)loadComposition:(id)sender; in the header file and, in the corresponding implementation file, Xcode inserts - (IBAction)loadComposition:(id)sender { } YoucanthenputyourimplementationcodefortheloadCompositionmethoddirectlyintotheimplementation file. Note: Because Xcode parses both your header files and implementation files for indexing, you can define actions andoutlets inimplementation(.m) files withoutneedingtoplace themintheheader file and you can make connections directly from the user interface file to the implementation file. Therefore, youdonotneedtoexposepartsof your interfaceor actionstoclients whomightbeusing your classes. Note that, because the Control-click key combination is used by Interface Builder to make connections, you must Control-click on the canvas—not on any object in the user interface—to get the shortcut menu with the list of help articles for Interface Builder. Add Outlets and Actions to Classes Programmatically The easiest way to add an outlet or action to your controller class is by dragging from an user interface object, as described in "Make Connections Directly Between User Interface Objects and Your Source Files" (page 97). However, in some cases you might want to define certain outlets or actions in your code before configuring connections in Interface Builder. To do so, you use the IBOutlet, IBOutletConnection, and IBAction EditUser Interfaces Manage Connections Between UserInterfaceObjects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 99keywords in your code. Because Xcode indexes both header and implementation files, you can add outlets and actions to the implementation file only so that you do not expose your connections to clients who use your public header files. Use the Connections Inspector or the Connections Panel to Make Connections You can manage outlet, action, and event connections by using the Connections inspector or the connections panel. These two tools provide the same basic behavior but do so in slightly different ways. The Connections inspector displays the connections associated with the selected object. Changing the selection changes the contents of the inspector. The connections panel is an on-demand window that you open by Control-clicking the object. The connections panel displays the connections for the same object until you dismiss the panel. You can open multiple connections panels at the same time. Youcanusethetechniquesdescribedinthissectiontomakeconnectionsthat arealreadydefinedinthesource code or SDK frameworks. To define new outlets, actions, or events, see "Make Connections Directly Between User Interface Objects and Your Source Files" (page 97). To make a quick connection 1. Control-drag from the source object to the target object. If a connection is possible with the target object, the target object is highlighted. 2. When you complete the drag, Interface Builder displays a prospective list of actions and outlets. 3. Selectanoutlet (of thesourceobject)oranactionorevent (of thetargetobject) tocreatetheconnection. When you use the Control-drag gesture to create a connection for an action or event, the final part of the task involves picking the action or event from a list. Outlet connections display a similar list. If there are previous connections that have the same name, the menu items to pick those names are flagged. If a connection identical to the one being made already exists, the menu item is flagged with a dot. If a connection exists with that name, but to a different object, it is flagged with a dash. Tip: For action connections in Mac apps, this technique is equivalent to opening the connections panel and configuring the source object’s sent actions connection. Because a source object in OS X can send its action message to only one target object, you should use this technique only once to configure a given source object’s actionconnection.Repeatingtheprocessfor the same sourceobjectwouldbreak theoldconnection beforeestablishingthenewone.Youcanusethistechnique,however, toconfigureeachof thesourceobject’s outlets. To make a connection using the Connections inspector 1. Control-click an object and release the mouse button to display the panel. EditUser Interfaces Manage Connections Between UserInterfaceObjects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1002. Drag from the circle on the right side of the action, outlet, or event you want to connect to the target object. If the target of a connection is not visible, placing the pointer over its parent object causes the parent to open and reveal its children. If a connection is possible with the target object, the target object is highlighted. 3. If you are usingthe connectionspanel to configure the sent action or referencingoutlet for the object, when you complete the drag, Interface Builder displays a list of the target object’s action methods or outlets. Select an action method or outlet from the list to finish the connection. 4. If you want toselectotherobjectsinyour interfacebutdonot want theconnectionspanel todisappear, drag the panel to a new location. You do not have to drag the window far; even dragging it a single pixel is sufficient. Note that if you do this, you must dismiss the window yourself by clicking its close box when you are done. After you establish a connection, the connections panel fills the circle next to that action or outlet and displays information about the connection. Each connection also includes a close box icon that you can use to break the connection. If a received action has multiple source objects associated with it, the panel displays a disclosure triangle, which you can use to reveal the individual connections. If you select a connection, Interface Builder displays a path control at the bottom of the panel and a "take me there" button for the selected connection. Theconnectionspanel remains visibleaslongas youuseit. If youclickoutsidethepanel (by selectingadifferent user interfaceobject, for example) InterfaceBuilderdismisses thepanel automatically toget itoutof your way. You can also dismiss the panel explicitly by clicking its close box. You can start an action or event connection at the source object to connect from the sent action selector (for Mac apps)or toconnect fromanevent (for iOSapps).Youcanstart a connectionat thetargetobject toconnect one of its action methods to a source object. When connecting from target to source, you can connect each action method multiple times. After you make the first connection, the circle next to the action method is filled to show that there is an associated source object. Toconnect anadditional sourceobject,dragfromthe circle tothe targetobject. Performingthis action does not remove the original connection. Like action connections, you can create outlet connections starting at either the source or target object. Using an OS X SDK, only one object at a time may be connected to a given outlet. In iOS SDKs, multiple objects can be connected to a given outlet. Youcanalsousethe Connectionsinspector tomakeandview connections.The Connectionsinspectorprovides a summary of the outlets and actions (or events) of the selected object. You can use the inspector to view the status of connections, to create new connections, and to remove existing connections. EditUser Interfaces Manage Connections Between UserInterfaceObjects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 101To make a connection using the Connections inspector 1. Open the Connections inspector and select the object from which you want to connect. 2. Drag from the circle next to the entry you want to connect to the target object for the connection. (If the target of a connection is not visible, placing the pointer over its parent object causes the parent to open and reveal its children.) If a connection is possible with the target object, the target object is highlighted when you hold the pointer over it. 3. If you are using the Connections inspector to configure the sent action or referencing outlet for the object, when you complete the drag, Interface Builder displays a list of the action methods or outlets of the target object. Select an action method or outlet from the list to finish the connection. After you establish a connection, the Connections inspector fills the circle next to that entry and displays information about the connection. Each connection also includes a close box icon that you can use to remove the connection. If a receivedaction hasmultiple source objects associated with it, the Connections inspector displays a disclosure triangle, which you can use to reveal the individual connections. Modify Connections At times you may need to remove an existing connection and replace it with a new one. You can use either the Connections inspector or the connections panel to do so. Change an object’s connections to other objects in a nib file using the connections panel. After making a connection directly to your source code, you may need to change or remove the connection. The connections window shows you all the connections to and from an object, and makes it possible to change or remove them. To change a connection 1. With a nib file open, Control-click an object to open the connections window. 2. Click the X to the left of the connection name to remove a connection. 3. Drag from the connection well directly to your source code to add a connection. See the HTML version of this document to view the video. document to view the video. EditUser Interfaces Manage Connections Between UserInterfaceObjects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 102The specific connections listed in the connections window depend on the object you select. Types of connections include Cocoa Touch events, actions, outlets, outlet collections, and bindings. If a connection exists, the circle on the right (called a connection well) is filled in and the name of the connected object is shown. For actions, Cocoa Touch events, and referencing outlets, you can create a connection by dragging from the connections window directly to your source code. If you’re changing a connection, it’s not necessary to remove the old connection in order to change it. The video shows changing an action connection. Alternative: You can also change an object’s connections using the Connections inspector. Connect Menu Items to Your Code or Your First Responder There are two common techniques for handling menu commands in a Mac app: ● Connect the corresponding menu item to a first responder method. ● Connect themenuitemtoamethodof your customapplicationobjector your applicationdelegateobject. Of these two techniques, the first is somewhat more common given that many menu commands act on the currentdocumentor its contents, whicharepartof theresponder chain.Thesecondtechniqueisusedprimarily to handle commands that are global to the application, such as displaying preferences or creating a new document. It is possible for a custom application object or its delegate to dispatch events to documents, but doing so is generally more cumbersome and prone to errors. Note: In addition to implementing action methods to respond to your menu commands, also remember to implement the methods of the NSMenuValidation protocol to enable the menu items for those commands. Configure Connections Between Model and View Objects Cocoa bindings are a controller-layer mechanism used to synchronize the view and model layers of Mac apps. Bindings establish a mediated connection (through a controller object) between a view and a piece of data, binding them in such a way that a change in one is reflected in the other. EditUser Interfaces Configure Connections Between Model and View Objects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 103One of the advantages of using bindings over traditional glue code is that you can use Interface Builder to configure them. You can configure the bindable properties of an object in the Interface Builder Bindings inspector. The configured bindings are saved in the nib file and re-created at runtime like other types of connections. YouconfigurebindingsinInterfaceBuilderby startingat theobject thatexposesabindableproperty—typically, a view or controller object. You then use the Bindings inspector to specify the target of the binding and the binding options. You must configure each binding separately and each binding can be attached to a different target object. The target of a binding is always one of the recognized controller objects in your nib file, which typically includestheFile’s Owner, theapplication, theshareduserdefaults controller, andany customcontroller objects (especially NSController objects) you add to the nib file. For more information about how Cocoa bindings work, see Cocoa Bindings Programming Topics. Note: Cocoa bindings are not available in iOS. Create and Configure a Binding with the Bindings Inspector In Interface Builder, you typically bind views and controller objects in your nib file to the data in your custom controller objects. To create a binding 1. Create the views needed to display your data. 2. Create any intermediate controller objects needed to manage your data. (Typical controller objects include instancesof your customNSDocumentorNSWindowControllersubclasses,NSController subclasses, or custom NSObject subclasses that you create to manage your data structures.) EditUser Interfaces Configure Connections Between Model and View Objects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1043. Use the Bindings inspector to configure each binding. Although each binding displays several configuration options, the most important part of a binding is the target of the binding. You must configure, at a minimum, the following fields for any given binding: ● Bind to ● Model Key Path The Bind to field specifies the controller object to use as the starting point for accessing the target data. The Model Key Path field contains a string representing the key path for the data. Key path strings are of the form [.]*. The first property name in this string is a property on the controller object specified by the Bind to field. Each subsequent property name corresponds to a property of the object returnedby thepreviousproperty name. Say, for example, that you have a customcontroller object and the key path string person.address.street. The person property returns the person object of the bound controller. The address property returns the address of the corresponding person object. And the street property returns the data value stored in the address object. Create a Binding by Dragging Directly to Your Header File As with outlets and actions, you can drag directly from an object in your nib file to code in your header file to create a binding. Bind an object directly to a declaration in a header file. EditUser Interfaces Configure Connections Between Model and View Objects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 105To create a binding by dragging 1. With a nib file open, display the Assistant editor. 2. In the jump bar of the Assistant editor, choose the header file of the object to which you will make the binding. 3. Control-drag from a nib object to the symbol in the header file for the new binding. 4. In the dialog, configure the binding and click Connect. See the HTML version of this document to view the video. document to view the video. As you Control-drag from an object to your source code, Interface Builder indicates where a new binding is valid. After you’ve made the connection, Xcode displays a dialog you use to configure the binding. You can use the dialog to configure all aspects of the binding. Interface Builder uses the Xcode index to determine which key paths are valid, and can also discover what controller it should connect through—you can therefore connect from a user interface element such as a table column to a property in a model class header. Note: If the dock on the left of your Interface Builder editor does not look like the one in the video, click thebutton at thebottom of thedock ( ) to toggle fromoutline view to icon view. Key Paths Are Dependent on Your Data Model The best way to understand how to bind key paths in Interface Builder is to go through some examples. The following sections show how to bind a text field to an NSNumber object to display the number value in that text field. In each successive example, the data model used to access the number value gets progressively more complex, and so the bindings must be adjusted in accordance with the increased complexity. For bindings examples, see Cocoa Bindings Programming Topics. Bind a Document Object Directly to a Value The simplest key path occurs when you bind a user interface object directly to a data value in your code. EditUser Interfaces Configure Connections Between Model and View Objects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 106To set up a simple object-data relationship 1. Set the target object to the document’s File’s Owner. The document object must be KVC compliant. 2. Set the model key path to the name of the instance variable. Bind a Document Object to a Data Object Through an Object Controller Frequently, theFile’s Owner isn't themaindata-containingobject. Instead, youtypicallyhaveotherdataobjects (often held in a collection), referenced by the File’s Owner. In this case, you should add an object controller (an NSObjectController object) and bind the user interface object (the view object) to the data object through the controller object and the File’s Owner. The controller object acts somewhat like a buffer layer between your view and data object and the controller object acts as a placeholder for the document’s current Entry object, providing a valid binding target even if the document’s entry property becomes nil. To bind to a data object through an object controller 1. Set the target object to the NSObjectController object. The object controller, document object, and data object must all be KVC compliant. 2. Choose either selection or selectedObjects in the Controller Key pop-up menu. 3. Add the target property in the Model Key Path field. OS X combines the strings in the Controller Key and Model Key Path fields to get the final key path. Bind to a Collection of Objects Through an Object Controller Using controller objects,binding to a collection of objects is as simple asbinding to a single object. In fact, the bindingsthemselves arealmost identical. Insteadofbindingtoa singleobject, youbindtheview toa collection ofobjectsthroughanNSArrayControllerobject.Thearray controllermanagesboththecollectionofobjects andthelistof indexes correspondingtotheselectedobjectsandusesthat informationtoprovideanappropriate value to the text field. To bind to a collection of objects 1. Bind the text field to an NSArrayController object’s selection property, which represents the currently selected Entry object. 2. Specify the quantity string for the key path. EditUser Interfaces Configure Connections Between Model and View Objects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 107Configure the Binding Attributes to Customize the Binding Although the Bindings inspector may seem complex at first, for many bindings, you need to configure only a few options initially. You may not needto configure every option every time (except for the Bindto and Model Key Path fields). During your initial design phase, you can probably leave most of the options configured with their default values. As you improve your design, you can customize the options more until you have the behavior you want. For a complete list of bindings available for a given view or controller object, see Cocoa Bindings Reference. Bind to Objects in a Custom Tree Data Structure If yourprogramcontainsacustomtreedatastructure, youcanuseanNSTreeControllerobject tocoordinate bindings to the objects in that data structure. Tree controllers are often used to bind data objects to an NSBrowser or NSOutlineView object in order to display hierarchical sets of data to the user. To configure a tree controller object 1. Add the tree controller object to your document and select it. 2. Open the Attributes inspector. 3. Fill in the Object Controller section. ● In the Class Name field, specify the class name of the objects in the tree. ● Optionally, specify any custom keys of the tree objects that you want to expose in the Model Key Path field of the bindings inspector. 4. Fill in the Tree Controller section. ● Inthe Childrenfield, specify the keypathfor theproperty that identifies the childnodesof agiven tree object. ● In the Count field, specify the key path for the property that indicates how many children a given tree object has. (This key path is optional.) ● In the Leaf field, specify the key path for the property that identifies whether the current tree object is a leaf node. (This key path is optional but recommended because it can improve the tree controller’s performance as it navigates your tree at runtime.) For more information on using tree controllers, see Cocoa Bindings Programming Topics. EditUser Interfaces Configure Connections Between Model and View Objects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 108Bind to Your Application Preferences An NSUserDefaultsController object is most often used when implementing a preferences window or in any situation where you want to bind a view to values in the defaults database. Although you can add a new NSUserDefaultsController objects to your nib file, you generally do not need to do so. Interface Builder provides a shared user defaults controller object that you can use to bind to your application’s preferences. To use the shared defaults controller to implement your application’s preferences window 1. Select the control you want to bind to a preference. 2. Open the Bindings inspector. 3. In the appropriate binding for your control, set the Bind to field to Shared User Defaults Controller. 4. In the Model Key Path field, enter the key name of the preference you want to associate with the control. Tip: By default, the shared user defaults controller sets the value in the Controller Key field to values. Because individual preference values are accessed through this property on the user defaults controller, you should leave this field configured as is. Formoreinformationonconfiguringuserdefaultsbindings,see"User DefaultsandBindings" inCocoaBindings Programming Topics. EditUser Interfaces Configure Connections Between Model and View Objects 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 109You write and edit code with the Xcode source editor, which has many professional-level features, such as automatic formatting, code completion and correction, and online documentation. You can discover most of these features by looking in the Edit and Editor menus as well as Control-clicking in the editor to see the contextual menu. This chapterbriefly reviews the features you are likely to use most often anddescribes some features that you might not discover easily by yourself. Inadditionto writingandeditingcodeinthesourceeditor, youcansetbreakpoints, view thevaluesof variables, step through running code, and review issues found during builds or code analysis. These features are part of the debugging and build-run workflows, and so are discussed in other chapters (see "Debug and Tune Your App" (page 171) and "Configure Your Project" (page 64)). Customize the Source Editor with Xcode Preferences Here are some of the ways you can customize both the appearance and function of the source editor in Xcode preferences by using the Fonts & Colors, Text Editing, and Key Bindings panes. Modify Syntax-Aware Fonts and Text Colors Xcodeparses codebasedonthelanguage(asdeterminedfromthefilenameextension) andassigns a syntactic label to each token or string: comment, keyword, class name defined in the project, other class name, and so forth. By default, Xcode assigns a color and font to each syntactic type to make it easier for you to read the code.Xcode Fonts & Colorspreferences allows youtoselect amongseveral font andcolor themes; for example, 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 110 Edit Source Codethe Presentation theme increases the font sizes so that the text is easier to read when projected on a screen. You can also create your own custom font and color theme. For example, in Figure 5-1, symbols defined in the project are given a distinct color to make them easier to pick out. Figure 5-1 Fonts & Colors preferences Customize the appearance of source code and console text by changing their colors and fonts in Fonts & Colors preferences. For example, you could display your code comments in purple in the source editor. For the console, you could set your debugger input and your debugger output to a 14-point font. To set font and color preferences 1. Choose Xcode > Preferences and click Fonts & Colors. 2. Click either Source Editor or Console near the top of the preferences window. 3. Select a theme. 4. Select a syntax category. 5. To change the font, click the Fonts window button, and make your selections in the Fonts window. 6. To change the text color, click the font color well, and choose a new color in the Colors window. Edit Source Code Customize the Source Editor with Xcode Preferences 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1117. To change the color of other items in the source editor or console, click a color well at the bottom of the pane, and choose a new color. Thesourceeditor’s Comments category for the Default themeisselectedinthescreenshot. A themeincludes preset colors andfontsfor all thesyntax categories.Xcodeincludes a setofstandardthemes,suchas Default, that you can modify or delete. You can restore any of the standard themes by selecting from a set of templates that are displayed when you click the Add (+) button at the bottom of the theme list. For the source editor and the console, you can also customize colors for the: ● Background ● Selection ● Cursor ● Instruction pointer (for the console) Tip: Youcanchangethefontor fontsizefor all thesyntax categoriesina theme.Select a category, press Command-A to select all categories, and modify the settings for the font or font size. Customize the keyboard shortcut for a command by editing its key sequence in the Key Bindings preferences pane. To customize keyboard shortcuts 1. In the Key Bindings preferences pane, choose a command set to edit. 2. Locate the command for which you want to change the shortcut. 3. Double-click a key sequence to select it. Edit Source Code Customize the Source Editor with Xcode Preferences 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1124. Type a new key sequence to replace the selected one. 5. Click elsewhere in the detail area to apply your change. See the HTML version of this document to view the video. document to view the video. To edit the key binding for a command, double-click its key field, and then: ● To change a selected sequence, type a new one to replace it. ● To remove a selected sequence, click the Remove (—) button. (Do not press the keyboard Delete key; that just adds Delete to the key sequence.) ● To enter a sequence in an empty key field, type the sequence. ● To add a sequence to an existing one, click the Add (+) button and type the new sequence. This only works for text commands; you cannot assign more than one sequence to a menu command. Important: Whenyouhavemadeyour changes,besuretoclickoutsidethekey fieldtocloseit.Pressing any key while the field is open changes the key sequence. Specify a key sequenceby typingit just as you wouldtype it touse it; for example, tospecify ^A,holddown the Control key and type the letter a. A specific key sequence can be bound to only one command; if you enter one that is already assigned to another command, Xcode removes it from that other command. Thevideoshowsaddingthekeysequence Control-Option–Right Arrow asashortcut for the MoveExpression Right command. For detailed information about key bindings, see “Text System Defaults and Key Bindings” in Cocoa Event-Handling Guide. Set Your Text-Editing and Automatic Indentation Preferences You can set several preferences that control the appearance and behavior of the source editor—including whether line numbers are displayed, how delimiter balancing and the code focus ribbon work, and some aspects of code completion—in the Editing pane of Text Editing preferences.. You can control many of the automatic-indenting features of the editor in the Indentation pane of Text Editing preferences. Control-click in either pane to see a help article that describes the use of the fields. Edit Source Code Customize the Source Editor with Xcode Preferences 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 113Enter Code Quickly and Accurately with the Help of the Source Editor The source editor includes several features that help you enter code and avoid mistakes: ● Code completion ● Quick Help ● Automatic delimiter balancing ● Automatic indenting ● Syntax formatting ● Fix-it Speed Up Typing with Code Completion When you begin typing the name of a symbol that Xcode has indexed, it offers an inline suggestion for completing the symbol name plus a list of possibilities (Figure 5-2). Click an item in the suggestion list or use the Up Arrow and Down Arrow keys to select one. As you do so, the inline suggestion changes as well. Furthermore, as you can see in the figure, if you open the Symbol inspector in the utility pane, you can read documentation about each selection. You can turn off automatic code completion in the Text Editing pane of Xcode preferences, but you can always invoke code completion by pressing Control–Space bar or Esc. Figure 5-2 Code completion Finish entering a symbol by accepting an Xcode suggestion for completion. The proposed symbol is based on the text you have typed so far and the surrounding context. Continue typing to refine the list of choices. Edit Source Code Enter CodeQuickly and Accurately with theHelp ofthe Source Editor 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 114To enter text with code completion 1. Begin typing the name of a symbol. 2. Click an item in the suggestion list. 3. Press Return to accept the suggestion. See the HTML version of this document to view the video. document to view the video. If all of the possible completions have a common prefix, the prefix is indicated with a dotted underline. Press the Tab key to accept only the prefix, or press Return to accept the entire suggestion. Press Control–Space bar to toggle the completion suggestion on or off. That is, if the inline suggestion and list are being displayed, pressing Control–Space bar cancels the code completion operation. (Pressing the Esc key or clicking elsewhere in the text also cancels the operation.) If there is no suggestion displayed, placetheinsertionpointat theendofapartially-typedsymbolandpress Control–Spacebar toget completion suggestions. To turn off the code completion feature, choose Xcode > Preferences and click Text Editing. In the Editing pane, deselect the option “Suggest completions while typing.” You can always invoke code completion by pressing Control–Space bar. A Quick Helppop-up window isavailablefromcodecompletion. Holdthepointerover thecodecompletion option you’re interested in until a question mark icon appears. Click the question mark to open Quick Help. As before, press the Tab key to accept the prefix or Return to accept the entire suggestion. Click the Done button in the Quick Help window to close the window. When a method or function contains parameters or arguments, code completion includes a placeholder foreach. ChoosetheJumpto NextPlaceholder (Control-/)andJumptoPreviousPlaceholder (Control-Shift-?) items in the Navigate menu to move from one placeholder to another. Edit Source Code Enter CodeQuickly and Accurately with theHelp ofthe Source Editor 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 115Note: The code completion feature is not fully functional until Xcode finishes indexing your project. Code completion inline quick help is shown in Figure 5-3. Code completion placeholders for parameters are shown in Figure 5-4. Figure 5-3 Quick Help for code completion Figure 5-4 Placeholders in code completion text Balances Delimiters Automatically When you create a new file or edit an existing one, Xcode determines the source language from the filename extension and attempts to determine the syntax of the text based on the source type. For example, a file with a .h or .m extension is assumed to be a variety of C and formatted accordingly. In that case, the editor indents the text according to the rules you set in Text Editing preferences and uses fonts and colors for the various syntax elements (variables, constants, comments, and so forth) according to the settings in the Fonts & Colors pane of Xcode preferences. When you’re writing code, type an opening brace ({), and continue typing, Xcode automatically adds a closing brace (}) unless you’ve deactivated this feature in Text Editing preferences. There are several other features that help you to balance delimiters, including double-clicking a delimiter to select the entire expression. To get assistance in balancing delimiters Do one of the following: Edit Source Code Enter CodeQuickly and Accurately with theHelp ofthe Source Editor 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 116● Type an opening brace. Xcodeautomatically inserts a closingbraceafter youenter a linebreak. (If youdon’t want closingbraces automatically inserted, choose Xcode > Preferences, click Text Editing, and deselect “Automatically insert closing ‘}’”.) ● Use the Right Arrow key to move the insertion point past a closing delimiter. Xcode briefly highlights its counterpart. ● Double-click any delimiter. Xcode selects everything up to and including the matching delimiter. ● Position the pointer over the focus ribbon. Xcode highlights the scope at that location. ● Type a closing brace or other delimiter. Xcode causes its counterpart to blink. ● Choose Editor > Structure > Balance Delimiter. Xcode selects the text surrounding the insertion point, up to the nearest set of enclosing delimiters. Have Fix-it Flag Errors as You Type When your target is set to use the LLVM compiler, a feature called Fix-it scans your source text as you type. Correct mistakes with Fix-it as you enter source code. To catch mistakes with Fix-it 1. In a target built with the LLVM compiler, open a source file. 2. Introduce an error in the code. 3. When a red underbar or a caret appears, click the symbol in the gutter to see the error message. 4. If Fix-it suggests corrections, select a correction and press Return. See the HTML version of this document to view the video. document to view the video. Edit Source Code Enter CodeQuickly and Accurately with theHelp ofthe Source Editor 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 117Fix-it scans your source text as you type. Fix-it marks syntax errors with a red underbar or a caret at the position of the error, and a symbol in the gutter. Clicking the symbol displays a message describing the possible syntax error and, in many cases, offers to repair it automatically. Select a suggested correction and press Return to accept it. Press Esc to cancel the operation. To use Fix-it, you must build the target with the LLVM compiler and the indexing of your project must be complete. Fix-it works with the C, Objective-C, and Objective-C++ languages. The video shows correcting a double equals sign in an assignment statement. Tip: If there are several Fix-it warnings ina file, you cannavigate to thenext orprevious warning by choosing Navigate > Jump to Next Issue or Navigate > Jump to Previous Issue. Find and Display Related Content Xcode provides several features that help you find content related to the code you’re currently editing: you can open a file based on a partial string, you can jump to a symbol definition, you can navigate to related content using a button in the jump bar in the primary editor or in a split editor, or you can split the editor and have Assistant find related content for you. Open a FIle Quickly Sometimes you may need to open a file whose location you don’t know, or you may want to open the file that defines a particular symbol, such as a variable, method, or class. The Open Quickly command finds files that define a specified symbol or whose filename contains a specified string. Open Quickly searches are case insensitive and limited to the current project and the active SDK. To use the Open Quickly command 1. Choose Open Quickly from the File menu. 2. In the search field, type any portion of the name of the file you want to open or the symbol you want to find. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 118Tip: Select a filename or symbol name in the editor and invoke the Open Quickly command to prefill the dialog’s search field with the selected text. Or, to open a header file referenced in a #include or #import statement, place the cursor on the line of the statement and invoke the Open Quickly command to search for the header file. 3. From the search results list, double-click the file you want to open, or select the file you want to open and click Open. Tip: To open the file in the assistant editor, hold down the Option key when you double-click or click Open. To open the file in a separate window, hold Option-Shift. To see a dialog letting you specify where the file should open, hold down Option-Shift-Click. You can change these behaviors in the General preferences pane. Infilename-basedsearches,Xcode searches forheader files, implementationfiles,model files,nibfiles,plist files, and project packages. In symbol-name–based searches, it searches source code files only. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 119Split the Editor Area to Display Related Content Xcode allows you to split the editor pane to provide multiple views of the same file or to view multiple files at once. To split the editor, open an assistant editor pane by choosing View > Editor > Assistant or by clicking the Assistant button in the workspace toolbar (Figure 5-5). Figure 5-5 The Assistant button To see the same file in each pane 1. Open an assistant editor pane. 2. Select Manual from the Assistant pop-up menu ("To set the behavior of the assistant editor" (page 126)). Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 120You can view any portion of the file in either split plane, and you can edit the file in either pane. Any changes made in one pane are instantly reflected in the other. The split can be horizontal (as shown in the figure) or vertical. To change the orientation of the split, choose View > Assistant Layout. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 121Customize Keyboard Shortcutsto Determine Where a File’s Contents Are Displayed Selectinga fileintheprojectnavigatoror jumpbar causesthat filetoopeninthenormaleditorpane. If Assistant is set to tracking mode, it tracks the change. By default, if you hold down the Option key when selecting a file in the project navigator or jump bar, Xcode displays that file in the Assistant pane rather than the standard pane. Doing so switches Assistant to manual mode. You can customize the behavior of the single click, Option-click, and double-click keyboard shortcuts in the General pane of Xcode preferences (Figure 5-6). Figure 5-6 General preferences To customize the behavior of keyboard shortcuts for opening a file, open General Preferences and choose an option from each navigation pop-up menu. The options include: ● Primary editor: Opens the file in the primary editor pane in the window and tab already open. ● Focused editor: Opens the file in whichever editor pane currently has focus. ● Single assistant editor: When the navigation originates in a navigator pane or the primary editor (using the jump bar or the jump to definition command), if the assistant editor is not open or is not split, opens the file in the assistant editor. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 122If the assistant editor is split, displays a navigation chooser dialog (Figure 5-7) showing the current layout of editorpanes in the window that has focus, with the option of selecting any open editorpane or adding a new one. Double-click your selected pane, or make your selection and press Return. Press Esc to cancel. Figure 5-7 The Single Assistant navigation chooser dialog If the file is already open in one of the editor panes, the navigation chooser displays a star to indicate the pane containing the file. When the navigation originates in an assistant editor pane, Xcode opens the file in the primary editor. ● Separate assistant editor: If the assistant editor is closed and is not split, opens the file in the assistant editor. If the assistant editor is open, opens the file in a new assistant editor pane. If the assistant editor is split but closed, opens the file in the most-recently-opened assistant editor pane, replacing the file that was in that pane. If the file is already open in an assistant editor pane, switches the focus to that pane. ● Separate tab: If the file is not already open in the current window, opens the file in a new tab. If the file is already open in another tab in the same window, switches the focus to that tab. ● Separate window: If the file is not already open in a separate window, opens the file in a new window. If the file is already open in a separate window, switches the focus to that window. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 123The Option-Shift-Click key combinationopens anavigationchooserdialog(Figure5-8 (page124))showingthe current layout with the options of selectingany open editorpane in any window andany tab, or addinga new editor pane, window, or tab. Double-click your selection, or make your selection and press Return. Press Esc to cancel. Figure 5-8 The navigation chooser dialog Jump to a Symbol’s Definition You can jump to the definition of a symbol and display it in the primary editor window, in a split editor pane, in another tab, or in another window. To jump to a symbol’s definition 1. Hold down the Command key., and command-click the symbol in which you’re interested. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1242. Move the pointer over text to highlight each symbol that can be used as a link to a definition. 3. If there is more than one definition for the symbol, Xcode displays a list of possibilities. Click the one you want. Alternatively, select the symbol in which you’re interested and choose Navigate > Jump to Definition or Control-click the symbol and choose Jump to Definition from the shortcut menu. Tip: Use one of the modifier keys set in the General pane of Xcode preferences together with any of the methods described here to open the definition in a split editor pane, a tab, or another window. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 125Find Related Items with the Jump Bar Use the related items pop-up menu in the jump bar (Figure 1-9 (page 25)) to jump to files and classes related to the file you have open. For example, you can find superclasses and subclasses of the class defined in the open file, headers included in the file, or headers that include the file. For a header file you can jump to the implementation file, and vice versa. Find Related Content Automatically When you open an assistant editor pane, you can set Assistant to either of two modes: tracking (or automatic) mode or manual mode. Tracking mode has several criteria from which you can choose, such as counterparts, superclasses, subclasses, or siblings. Assistant selects the file or files that best meet the selected criterion and opens those files in the assistant editor pane. In manual mode, you select the file to display by navigating to it in the jump bar. You can split the assistant editor into as many panes as you wish. To set the behavior of the assistant editor 1. Open an assistant editor pane. 2. Open the Assistant pop-up menu. The Assistant pop-up menu is the first item to the right of the back and forward arrows in the assistant editor jump bar. 3. Make a selection from the menu. Tip: The choicesofferedinthe Assistantpop-upmenudependonthe typeof filebeingedited. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 126To split the assistant editor 1. Click the plus sign at the right end of the assistant editor jump bar to split the editor. 2. Set each Assistant pane to manual or tracking. 3. Set each tracking pane to a tracking criterion. The figure shows one file on the left of the split editor pane, the counterpart file in the upper-right Assistant pane, and another view of the file in the lower-right Assistant pane. Tip: To change the orientation of the split editor panes, choose View > Assistant Layout. Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 127Use Assistant with Interface Builder and Data Models When you’re using Interface Builder to design a user interface, you can use Assistant to automatically display the code file most relevant to the interface element you’re working with. See "Simultaneously Design and Implement User Interface Objects Using Multiple Editors" (page 106) for details. Similarly, when you use the Core Data modeling editor, the assistant editor can display model classes related to the entities in your model (Figure 5-9). The Core Data modeling editor is discussed in "Edit Data Model Documents" (page 41). Figure 5-9 The assistant editor used with a data model Edit Source Code Find andDisplay Related Content 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 128Incorporate Other Source Editor Features into Your Workflow The source editor provides many features to make it easier to write and maintain your code. This section highlights a few of these features not described elsewhere in this document. Examine the Structure of Your Code with Code Folding One powerful way to examine the structure of source code is to use the focus ribbon, also called the code folding ribbon. Focus your attention on aparticular methodor function in source codeby hidingthe otherparts of the source code. To fold and unfold source code 1. With a source file open, click anywhere in the source code. 2. Choose Editor > Code Folding > Fold Methods & Functions. 3. Navigate to the method you want to unfold. 4. Double-click the ellipsis button to unfold the method. 5. Use the focus ribbon to select the method’s scope. 6. Click in the focus ribbon to fold the method. See the HTML version of this document to view the video. document to view the video. The Code Folding submenu provides several options for folding and unfolding code. The focus ribbonis locatedbetweenthe editorgutter andthe source code. Move thepointer intothe focus ribbon to display a scope in the focus box. Then click in the focus ribbon to fold the code in scope. The video shows the steps for folding all the methods and functions in the source code, unfolding the method naturalSize, and folding the same method using the focus ribbon. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 129If you have the option “Focus code blocks on hover” selected in Text Editing preferences, then you can move the pointer over the focus ribbon to examine the various scopes of code blocks in a file. In Figure 5-10, for example, the pointer is over the focus ribbon next to an if statement and three scopes are indicated by degrees of shading in the code: the if statement, the method (showOrHideWindow) containing the if statement,andtheclassimplementation(NSWindowController(SKTConvenience))containingthemethod. Figure 5-10 The focus ribbon in use Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 130View Preprocessor or Assembly Output You can use commands in the Product > Generate Output menu to process source files and generate the preprocessed output (Figure 5-11) or assembly output. Figure 5-11 Preprocessor output The preprocessor evaluates directives in your source code (instructions starting with the pound sign (#) such as includes, defines, and conditional logic) and converts them into C code to be sent to the compiler. You can examine the preprocessed output to make sure that the logic in your source code is being interpreted by the preprocessor as you expect in order to debug compilation problems. The assembly output is the set of instructions that the compiler generated from the preprocessed output. You can study the assembly output to see how the instructions were formed or ordered, to seek out better optimization patterns, or to look for compiler bugs. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 131The output type is also a new category in the assistant editor for a selected primary file (Figure 5-12). Figure 5-12 Generated output in Assistant jump bar View Documentation for a Symbol Using Quick Help You use Quick Help in the Symbol inspector to get information about API symbols, user interface objects, and build settings. Find concise reference documentation for an API symbol without moving away from your source file. To look up documentation for an API symbol 1. With a source file open, click the Symbol inspector button in the utility area. 2. Place the insertion point in an API symbol in the source editor. 3. View the documentation under Quick Help in the Symbol inspector. 4. To view more detailed information, click the API name at the top of Quick Help. See the HTML version of this document to view the video. document to view the video. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 132When you place the insertion point in a symbol, summary reference information appears in the Symbol inspector in the utility area. The information includes links to: ● Complete reference documentation for the symbol ● The header file where the symbol is declared ● Related programming guides ● Related sample code Alternative: To view concise reference information for an API symbol in a pop-up window, Option-click the symbol in the source code. To get information about a symbol when the utility area is closed, you can open a Quick Help window by Option-clicking the symbol (“Find and Display Related Content”). Figure 5-13 The Quick Help window Findconcisedocumentationforanobjectusing Quick Help.Youcanfindconciseclassreferencedocumentation for a single object without taking your focus away from your nib file. To look up documentation for an Interface Builder object 1. With a nib file open, click the Quick Help button. 2. Click the object about which you want information. 3. View the documentation under Quick Help. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1334. To view more detailed information, click the title of the reference document. See the HTML version of this document to view the video. document to view the video. Quick Help offers a persistent location for API reference documentation. When you click an object, Quick Help displays information about that object. For complete reference information about the object, click the title of the reference document listed in Quick Help. The reference document opens in the Organizer window. You can also open relevant programming guides, sample code, and other related documents by clicking their titles in Quick Help. Find concise documentation for a build setting using Quick Help. To look up documentation for a build setting 1. Click Build Settings at the top of the project editor. 2. Display the Symbols inspector. 3. Select a build setting. 4. View the documentation under Quick Help in the Symbols inspector. See the HTML version of this document to view the video. document to view the video. Quick Help provides a persistent location for build setting documentation without taking your focus away from the build settings pane. Whenever you select a build setting, Quick Help displays information about that item. The video shows viewing information on a build setting in Sketch. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 134Alternative: Option—double-click a build setting to open Quick Help in a separate window. Unlike Quick Help in the utility area, the Quick Help window is not persistent. Automate Extensive Changes in Your Files Inadditiontoall thefeaturesXcodeprovidestomakeiteasier toenter andcorrect your code, therearefeatures at several scales to help you make changes that apply to more than one line of text. These include Edit All in Scope, Search and Replace, and Refactor. Simultaneously modify all the occurrences of a symbol within a scope with the Edit All in Scope feature. For example, you can change the name of a local variable or parameter everywhere in a scope at the same time. To edit a symbol everywhere in a scope 1. Place the insertion point in the symbol you want to edit. 2. When the pop-up menu appears, select Edit All in Scope. 3. Edit the symbol. See the HTML version of this document to view the video. document to view the video. Placing the insertion point in a symbol underlines all occurrences of that symbol in the scope and lets you see the extent to which it is used. Choosing Edit All in Scope from the pop-up menu selects all occurrences of the symbol. As you type new text, all selections of the symbol change simultaneously. ThevideodemonstrateschangingthesymbollowerRighttolowerRightCorner withinthealignedRect method. To find and change all the instances of a text string in a single file, choose Edit > Find > Find and Replace. To find and change all the instances of a text string in your project or workspace, use the Replace option of the search navigator (see "Replace Text Strings" (page 209)). Torefactor code(that is, tochangethecode without changingitsbehavior),see"ImproveYour Code’sStructure Through Refactoring" (page 215). Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 135Incorporate Files and Code from the Xcode Libraries Xcode provides libraries of file templates and code snippets that you can use in your program. It also has libraries of Interface Builder objects and media files that you can use in your nib files. The library pane is in the lower part of the utility area (see “The Xcode 4 workspace window” (page 12)). Each of the buttons at the top of this pane selects a category of library objects, as follows: ● File templates range from templates for applications to subclasses of commonly used Cocoa classes. File templates have subcategories, which you can choose from the pop-up menu below the line of buttons. You can display the templates as icons only or as icons and text. Drag file and project templates to the project navigator. ● Code snippets are short pieces of source code that you can use in your software. To use one, drag it directly into your source code file. Alternatively, you can select a portion of the code from the code information pop-up window and drag that into your file. When you create a code snippet, you can add a completion shortcut, which you can use when editing source code. Type the shortcut and select the completionshortcut fromthe completionlist to addthe code snippet to your file. Note that thenew code snippet is flagged with the word “User”. ● Interface builder objects are organized with subcategories and provide information pop-up windows like those for the file templates andcode snippets. Dependingontheobject, youdragitontothe Interface Builder canvas, into another object on the canvas, or into the Interface Builder dock. See "Edit User Interfaces" (page 78) for more information on Interface Builder. ● Media files include all the graphics, icons, sound files, and other media files that you use in your code. When you’re editing an Interface Builder document, the Media library also shows the built-in template images from NSImage and sounds provided by the system. In Interface Builder, you can drag an image from the library and drop it into your user interface. Interface Builder creates an image view to hold the dropped image. Alternatively, you can drag an image into an existing button, image view, or any other object that can contain an image. You can set a sound on an NSButton object. Add a new file to a project or workspace using the File Template library. This library offers a convenient way to create files in your project or workspace. To add a new file from the File Template library 1. Choose File Template Library from the Utilities menu under the View menu. 2. Select the file template in the library. 3. Drag the template to a project or group in the project navigator. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1364. Name the file, and click Save. See the HTML version of this document to view the video. document to view the video. The videoillustratesusinga template fromthe File Template library toaddan Objective-C classtoaproject. Note that the library button is labeled with a file icon. Using the provided file templates ensures that certain minimal file characteristics are correct for a file. For example, asseeninthevideo,Xcodeautomatically createsboththeimplementation(.m) fileandtheheader (.h) file for the new Objective-C class. When you click a template, an information window pops open with information about the use of the template (Figure 5-14). Figure 5-14 A file template information pop-up window Add frequently-used source code to your project by using a snippet from the Code Snippet library. To drag a code snippet to a source file 1. With a source file open, click the Code Snippet library button. 2. Select a code snippet. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1373. Drag the snippet to the source file. See the HTML version of this document to view the video. document to view the video. The system-supplied snippets in the library are designed to speed development and help ensure code integrity. You can also create custom code snippets. The videoillustratesusinga code snippet toaddaninitmethodtothe implementationof an Objective-C class. Extend the scope of the Code Snippet library by creating custom snippets. The Code Snippet library provides a number of useful standard snippets. You can add to this collection by creating your own custom snippets. To create a custom code snippet 1. Open the Code Snippet library. 2. Select some text in a source file and drag it to the library. 3. Open the new custom snippet and click Edit. 4. Give the snippet a name and click Done. See the HTML version of this document to view the video. document to view the video. Code snippets let you enter source text with minimum effort. You can drag a standard or custom code snippet into a source file. You can also type a completion shortcut to enter a snippet. Tip: Youcaninclude tokensina customsnippet. For example, the string<#Code#>adds a token labeled Code in the source text created by the snippet. Enter source code text with minimum effort by typing a completion shortcut for a code snippet. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 138To determine the shortcut for a code snippet 1. In the Code Snippet library, select the snippet for which you want to use a shortcut. 2. Click Edit. 3. In the Completion Shortcut field, note the shortcut or add one. 4. Click Done. Code snippets let you quickly enter source code. You can drag a snippet from the Code Snippet library into a source file. Or, for maximum efficiency, type a snippet shortcut in the text of your source code, then press Esc and then Return to enter the snippet. In most cases, when you begin typing the snippet’s completion shortcut,Xcode suggests it, so you need only accept itbypressing Return. Both standard and custom code snippets support completion shortcuts. You can edit the shortcut for a custom snippet. The screenshot shows a completion shortcut highlighted. Filter the library items displayed in the selected library by entering text into the search field at the bottom of the library pane. Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 139Use Inspectors to View and Enter Data Inspectors are panes in the utility area that you can use to read or enter data about files, Interface Builder objects, symbols, and data models. Figure 5-15 shows the File inspector. Figure 5-15 The File inspector The Symbol inspector isdiscussedin"View Documentationfor a Symbol Using Quick Help" (page132). The File inspector and Symbol inspector are always available. Other inspectors appear when appropriate. For more information about Interface Builder, see "Edit User Interfaces" (page 78). Edit Source Code IncorporateOther Source Editor Features into Your Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 140To build and run your app, Xcode uses the settings in your project and information in a build plan known as a scheme. Create, Edit, and Manage Schemes InXcode,beforeyoubuild, youselectascheme, whichspecifies whichtargetstobuild, whatbuildconfiguration to use, and the executable environment to use when the product specified by the target is launched. You also select a run destination. When you create a new Mac OS X project, Xcode provides a default scheme and two run destinations: local 32-bit and local 64-bit. For an iOS application, the run destinations are devices and simulators. You can add as many additional schemes as you want. For example, you might want one scheme that builds both your application and a plug-in before running, and another that builds the product without the plug-in. Or if you have two different but commonly used Instruments templates, you might have one scheme for profiling with one of the templates and a different scheme for the other one. You use the Scheme pop-up menu in the upper-left corner of the workspace window (Figure 6-1) to select a scheme and run destination. Choose the scheme you want to edit and then choose Edit Active Scheme from that menu to edit an existing scheme. Choose Manage Schemes to change the list of schemes, where they’re stored, and whether they’re shared. Choose New Scheme to add a scheme to your project. Alternatively, you can choose Edit Scheme, New Scheme, or Manage Schemes from the Product menu. Figure 6-1 The Scheme pop-up menu 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 141 Build and Run Your AppThe left column of the scheme editing dialog (referred to hereafter for brevity’s sake as the scheme editor) has a list of actions you can perform, plus the Build item, which you use to determine which targets are built for eachtypeof action. Eachactioncanbe set toproduce either adebugor releasebuild(or, if you’ve addedmore build configurations, those are listed as well). There are options for building, running, testing, profiling (using Instruments), analyzing, and archiving your products. You can execute scripts andhaveXcode sendemailsbefore or after abuildor any of the actions in the scheme editor. To set up pre- or post-actions 1. In the scheme editor, open the disclosure triangle next to Build or any of the actions in the left pane. 2. Click the Add button at the bottom of the right pane and choose New Run Script Action or New Send Email Action. 3. In the template that opens, fill in the fields. The figure shows two pre-run actions: an email that’s sent and a script that’s executed before the product is launched. Build and Run YourApp Create, Edit, and Manage Schemes 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1424. For a Run Script pre-or post-action, if your script needs to access values from target build settings, choose the target from the “Provide build settings from” pop-up menu. Specify Which Targets Are Built for Each Type of Action By default, Xcode creates one scheme per target in your project or workspace, and the Targets column shows the target for which the scheme was created. However, you can add as many targets from your project or workspace to a single scheme as you wish. Edit a scheme to determine which targets are built when you choose Run, Test, Profile, Analyze, or Archive from the Product menu. To build multiple targets 1. From the Scheme toolbar menu, choose a scheme. 2. From the same menu, choose Edit Active Scheme to display the scheme dialog. 3. In the left column, select Build. 4. For each target, select the actions for which to build the target. Build and Run YourApp Create, Edit, and Manage Schemes 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1435. Click OK. Targets which are required due to their use in the Run, Test, or Profile actions cannot be turned off. SelectParallelizeBuildif you want tobuildall independent targets at thesametime. If youselect thisoption, the build is faster but it may not produce correct results unless you set up target dependencies correctly. The Find Implicit Dependencies option is selected by default. Deselect this option if you add a project to your workspace that you don’t want used automatically. Rename or Reorganize Your Schemes By choosing Manage Schemes from the Product menu (or from the Scheme pop-up menu) you can see a list of all the schemes in the project. You can rename or reorganize the schemes in the menu. You can also specify whether each scheme should be displayed in the pop-up menu, where the scheme is stored (in the project or workspace) and whether the scheme should be shared with others using the project or workspace. Build and Run YourApp Create, Edit, and Manage Schemes 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 144The Manage Schemes dialog has four settings for each scheme plus several other controls, as shown in “The manage schemes dialog.” Figure 6-2 The manage schemes dialog The four columns in the Manage Schemes dialog are used as follows: Show Displays or hides the scheme in the Scheme menu. Scheme Specifies the name of the scheme. You can edit this name. Specifies whether a scheme should be stored in a project—in which case it’s available in every workspace that includes that project—or in the workspace—in which case it’s available only in that workspace. Container Specifiesthat theschemeisvisibletoanyoneusingthatprojector workspace(depending on where the scheme is stored). Be sure to check with other people using the project or workspace before deleting or modifying a shared scheme. Shared You can drag the schemes to reorder their appearance in the dialog and the Scheme menu. The Add (+) button allows you to create a new scheme or duplicate the selected scheme. The Remove (–) button allows you to delete the selected scheme. The Action menu allows you to export the selected scheme or import an exported scheme. The Edit button dismisses this dialog and displays the selected scheme in the scheme editor. If the Autocreateschemes checkbox isselected, whenyouaddanew target toyourproject,Xcodeautomatically creates a scheme for it. If the checkbox isnot checked, thenyou canclick the Autocreate Schemes Now button to have Xcode create new schemes for any targets that don’t have them. Build and Run YourApp Create, Edit, and Manage Schemes 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 145Specify How to Build Your Product Most developers can get by with the default build settings, except for the few that must be set—or at least checked—for every project (see "Set the Basic Product Settings" (page 68)). You may have special needs, however, that require anythingfromtweakinga settingor two to creatinganentirelynew buildconfiguration. To check or change build settings, click the project in the project navigator to open the project editor. Control-click in the left column of the project editor where the projects and targets are listed to see a list of project editor help topics. Figure 6-3 Project editor help topics You can editbuild settings at theproject or target levels. Mostbuild settings have a system default. If you click Levelsinthebuildsettingsheaderbar,Xcode shows youthe resolvedvalue for eachbuildsettingandindicates with green highlighting the level at which the value was set. Customize aspects of your product’s build process by editing its build settings. To edit a build setting 1. In the project editor, select the project or target whose build setting you want to edit. 2. Click Build Settings at the top of the project editor. 3. Locate the build setting in the left column. Build and Run YourApp SpecifyHow to Build Your Product 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1464. Set the value for the build setting in the right column. See the HTML version of this document to view the video. document to view the video. You set build settings at either the project level or the target level. To see all the levels of build settings, select Levels rather than Combined. The lowest level at which a build setting is defined takes precedence. If you define a build setting at the project level, thedefinitionisset for thecorrespondingproject,andit’sappliedtoall thetargetsthatbelong tothatproject.If youdefineabuildsettingat thetarget level, thedefinitionappliesonly tothecorresponding target. Definitions applied at the target level override definitions set at the project level. The level at which the buildsettingisdefinedishighlightedingreen. For example, at thebeginningof the video, the Architecture build setting is highlighted in green at the default level. At the end of the video, after the setting has been redefined at the target level, the Architecture build setting is highlighted in green at the target level. If you have changed or customized a setting, it’s shown in boldface. The video shows changing the compiler build setting for a target. You can see documentation on a build setting in the Symbol inspector in the utility area. Find concise documentation for a build setting using Quick Help. To see documentation on a build setting 1. Click Build Settings at the top of the project editor. 2. Display the Symbols inspector. 3. Select a build setting. 4. View the documentation under Quick Help in the Symbols inspector. See the HTML version of this document to view the video. document to view the video. Build and Run YourApp SpecifyHow to Build Your Product 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 147Quick Help provides a persistent location for build setting documentation without taking your focus away from the build settings pane. Whenever you select a build setting, Quick Help displays information about that item. The video shows viewing information on a build setting in Sketch. Alternative: Option—double-click a build setting to open Quick Help in a separate window. Unlike Quick Help in the utility area, the Quick Help window is not persistent. Control the Order in Which Xcode Builds Your Products Xcode detects when one of your products is dependent on another and automatically builds them in the correct order. However, in the unusual event that you need to control the order in which Xcode builds your products, you can create explicit target dependencies by using the Build Phases pane of the project editor. Ensure that targets are built in the proper order using target dependencies. In a complex project, you may have several targets that create related products. Frequently, these targets need to be built in a specific order. To ensure products are built in the correct order 1. In the project editor, select the target to which you want to add a dependency. 2. Click Build Phases at the top of the project editor. 3. Open the Target Dependencies section. 4. Click the Add (+) button to add a target dependency. 5. Select a target from the list and click Add. See the HTML version of this document to view the video. document to view the video. Forexample,aproject foraclient-serversoftwarepackagemaycontaintargetsthat createaclientapplication, a server application, tools that provide command-line interfaces to the client and server, and a private framework that all the other targets use. For the project to build correctly, the private framework needs to be built before the other targets—that is, the other targets have a dependency on the private framework. The video illustrates adding a private framework to the client application target’s dependency list. Build and Run YourApp SpecifyHow to Build Your Product 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 148The Build Phases pane of the project editor also lets you specify the order in which files are compiled and linked, specify which bundle resources are copied and in what order, and so forth. You can drag the build phases into a different sequence if you wish, and you can drag the individual files in each build phase into whateverorder you want. Doingsois advisableonly if youhave agoodreasontodosoandknow exactly what you’re doing. The Build-and-Run Workflow This section describes each of the steps in the build-and-run workflow. Specifying the Buildtime Environment Whenyoubuildyourapp,Xcodeusesabuildenvironmentmadeupof frameworks,libraries,apps, command-line tools, and other resources. Each revision of the iOS SDK makes improvements to this environment to, for example, add user-interface features or improve compilers and resource-processing tools. In addition to these resources, you can specify whether you want to build your app to debug it or to distribute it to customers. This section describes how to set your build-time environment. Setting the SDK Used to Build Your App One of the main factors that determine how Xcode builds your app is the SDK used to build it. To specify the SDK to use to build your app, set the Base SDK build setting to the appropriate SDK. Build and Run YourApp The Build-and-Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 149Note: To ensure minimal reconfiguration of your projects as you adopt new SDK releases, instead of a specific SDKrelease,set thebaseSDKfor yourprojectstoLatest iOS. This way yourproject always uses the latest available SDK in the toolset. Base SDK Missing If your project has its Base SDK setting set to a particular iOS SDK release, when you open that project with a later Xcode toolset distribution in which that SDK release is not available, the Base SDK setting has no valid value. In this case, the issue navigator lists a Missing SDK issue, as shown in “Create User Interface Classes.” To fix the Missing SDK issue, set the base SDK for the target to an available SDK release or to Latest iOS. Figure 6-4 Project with a Missing SDK issue Setting Your Code Signing Identity When you build your app to run it on a device, Xcode signs it with a development certificate (also known as a code signing identity) stored on your keychain. To learn how to obtain and install development certificates, see “Provisioning a Device for Development” (page $@). Build and Run YourApp The Build-and-Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 150The Code SigningIdentitybuildsettingspecifies theprovisioningprofile andcode signingidentityXcodeuses to sign your binary. Xcode looks for code signing identities in your default keychain. The possible values for the Code Signing Identity build setting are: ● Don’t Code Sign. Choose this option to build only for a simulator. ● Automatic Profile Selector. Choose an option under this selector to select a provisioning profile whose name starts with “iPhone Developer” or “iPhone Distribution.” ● Specific Profile. Choose the code-signing identity under a specific provisioning profile when your app requires special entitlements. Expired or otherwise invalid provisioning profiles are dimmed and cannot be used. Figure 4-3 shows a set of options for the Code Signing Identity build setting with a provisioning profile for specialized development selected. Figure 6-5 Code Signing Identity options with a specialized provisioning profile selected Build and Run YourApp The Build-and-Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 151Project templates are configured to use the automatic selector to set the signing identity. You need to change the value of the Code Signing Identity build setting only when your app uses a specialized provisioning profile. See App Distribution Guide for details on using specialized provisioning profiles. Important: If you need to use different code signing identities that have the same name, you must use a separate Mac OS X user account for each identity. Specifying the Runtime Environment Three aspects of your app’s runtime environment are: where your app runs, what app-data is placed in its sandbox, and what location or track the Core Location framework reports to it. Specifying the Run Destination Before building your app, Xcode has to know where you want to run it. You specify this run destination in the Scheme toolbar menu. Using that menu you can switch from running your app in a simulator to running it on your device to, for example, test the device performance of your app. Whenyouplugintoyour Mac adevice witha validprovisioningprofile, itsnameandtheiOS versionit’srunning appear as an option in the Scheme toolbar menu. Use the menu to switch between running your app on a device or in a simulator. Troubleshooting: ● "Device Not Listed as a Run Destination" (page 154). ● "Xcode Displays the “Unknown iOS Detected” Dialog When You Plug In a Device" (page 206). Specifying the App Data The Run action in a scheme determines the app data Xcode places in your app’s sandbox before running it. Using a particular app-data archive is particularly useful in application unit tests, which check for the correct operationof criticalunitsof code inyour application.Basingyour testsona knowndata set allows youperform detailed unit tests without having to configure the test data in the tests themselves. Build and Run YourApp The Build-and-Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 152Note: Eachschemecanspecifyonlyoneapp-dataarchive.If youneedtousemorethanoneapp-data archive regularly, define a scheme for each archive. Important: In Run actions, you can specify only app-data archives that that are part of your project. See "Add a New Nib File" (page 93) for details. To specify the app data to place in the app’s sandbox before the app runs: 1. From the Scheme toolbar menu, choose the scheme you want to use. 2. Select the Run action. 3. From the Application Data pop-up menu, choose the app-data archive you want to use. Specifying a Location or Track To test a location-based app, you can specify a location or a track the run destination reports to the app when it launches and as it runs. A GPSeXhangeFormat(GPX) filespecifies a singlelocation(a single waypoint)or a track (anorderedcollection of waypoints). When you simulate track, the simulator or the device reports the waypoints in the order they are specified in the track. To make a GPX file available for use in your project, add it to the project, or add a new GPX file to the project and specify the location or track details. Build Your App Tostart thebuildprocess, chooseProduct > Build. If theBuildoptionisdimmed, choosea validrundestination, as described in "First Responder " (page 82). The activity viewer, in the middle of the workspace window toolbar, indicates the progress of the build and whether there are build problems. If the build fails or produces warnings, you can view details about the build in the log viewer: 1. Choose View > Navigators > Log to display the log navigator. 2. In the list on the left, select the build task for which you want to view details. The log viewer in the editor area lists the operations that are part of the build. If the build completes successfully, you can run your app as described in "Run Your App" (page 154). Build and Run YourApp The Build-and-Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 153Run Your App To run your app, choose Product > Run. When you run your app, Xcode places it in a simulation environment or on a device, and launches it. When your app runs on a device, you can ensure that it performs as you intend, using all the capabilities of your device. You should especially ensure that your app uses the device’s resources—CPU, memory, battery, andsoon—asefficiently aspossible. See"TunethePerformanceofYour App" (page207) formoreinformation. Note: To run your appon adevice, thedevice mustbe connectedto your Mac through a USB cable. Troubleshooting: Building Issues Device Not Listed as a Run Destination If you have a project or workspace open and your plugged in device is not listed as a run destination in the Scheme toolbar menu: 1. Ensure that the app’s targeted iOS version is equal to or greater than the iOS version installed on your device. See “Specifying the Targeted iOS Version” (page $@), and “Installing iOS on a Device” (page $@) for details. 2. Ensure that your device contains a valid provisioning profile. See “Provisioning a Device for Development” (page $@). 3. Ensure that the version number of the iOS SDK your project uses is equal to or greater than the version number of the iOS version on your device. For example, ifXcode showsiOS SDK4.3but yourdevicehasiOS 5.0 installed, youneedtoinstall anXcode version that includes iOS SDK 5.0 on your Mac. Build and Run YourApp The Build-and-Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 154Customize Your Build and Run Workflow You can specify behaviors that affect your build and run workflow through the Xcode Behaviors preferences. TheBehaviorspreferencespanelets youspecify whatshouldhappen whena varietyofeventsoccur (“Behaviors preferences”)—including, but not limited to, scheme actions. Figure 6-6 Behaviors preferences For example, you can have Xcode display the debug area when your code pauses at a breakpoint, or Xcode can display the issue navigator when a build fails. If you are searching for text or a symbol name in a large project, youcansetpreferencestolet youknow whenthe searchhas completed, either withor without results. Tip: In addition to the Behaviors preferences setting to create a snapshot, you can specify that Xcode create a snapshot before a mass editing operation such as a refactoring transformation. To do so, select the Snapshots pane in the File > Project Settings or File > Workspace Settings dialog. You can name a tab and specify that tab as the display to use when an event occurs. Then you can set up the display in that tab exactly as you want it. If the tab doesn’t exist when the alert is triggered, Xcode creates the tab for you, set up as it was when you created it. For example, in “Behaviors preferences,” Xcode is configured to play a sound and open a tab named SketchDebug when the run pauses (such as when a breakpoint is Build and Run YourApp Customize Your Build and Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 155triggered). The tab will have the debug area and debug navigator open. If you configure the tab to include an assistant editor and to display the debug area with the log pane closed, then every time a breakpoint is triggered, a tab named SketchDebug opens with those characteristics. To name a tab ● To give a custom name to a tab, double-click the title of the tab and type the new name. Tab names are case sensitive in the Show Tab field of the Behaviors preferences. Xcode remembers the state of the named tab—including which window it was in—when it reopens the tab. By naming a tab in a separate window, you can use the “Show tab” option in Behaviors preferences to automatically open a new window. To automatically open a new window 1. Open and name a new tab. 2. Drag the tab out of the workspace window to create a new window. 3. Set up the new window exactly as you want it. 4. In Behaviors preferences, select the event for which you want the new window to open. 5. For that event, select the Show tab checkbox and type the name of the tab. You can also can design custom behaviors that are triggered by menu items or their key equivalents. To create a custom behavior 1. In the Behaviors preferences pane, click the plus button at the bottom of the left column. Build and Run YourApp Customize Your Build and Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1562. type the name of the new behavior and press Return. 3. Select checkboxes to specify what should happen when you invoke this behavior. For example, youcancreate a "Unit Testing"behavior that creates a snapshot andruns yourunit tests. After you’ve created a behavior, it appears in the Xcode > Behaviors menu. You can assign a key equivalent for each of your custom behaviors. Build and Run YourApp Customize Your Build and Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 157To assign a key equivalent to a custom behavior 1. In the Key Bindings preferences pane, select the Customized tab to find the behavior for which you want to assign a key equivalent. 2. Click the Key column on the line of the behavior in order to open a text field. 3. With the text field selected, press the keys you want to use for the key binding. 4. Click outside the text field to complete the operation. Note: If you don’t click outside the text field and instead press a key (such as Return), Xcode enters the key you pressed into the text field. Build and Run YourApp Customize Your Build and Run Workflow 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 158Tip: If the key binding you specify conflicts with another, a red circle with an exclamation mark appears at the right edge of the key column. Xcode does not save the new key binding until you resolve the conflict. Click the Conflicts tab to see the other command or commands that use the same key combination. Manage App Data in iOS Devices When an app is first installed on a device or in a simulation environment, iOS creates a sandbox (also known as the app home directory) for it. As described in “File and Data Management” in iOS App Programming Guide, an iOS app can access only files that reside in its sandbox. Xcode doesn’t remove app data as it reinstalls an app. But you may need to erase that information as part of testing your app the way users will use it. To do so, remove the app from the Home screen. See "Add Build Rules" (page 72) for details. You may also want to replace the app data in your app’s sandbox with a known configuration to test specific conditions, such as when performing application unit tests. The first step is to create an archive of the app data from a development device (you cannot generate app-data archives from simulators). Then you can change the app data on your Mac and copy it back to the device. To copy app data from a development device: 1. Plug in the device containing the app whose data you want to copy. 2. Copy the app’s data from the device. After copying the app data to the file system, you can modify it to, for example, make changes that wouldbe tedious todointhe appitself. Toaccess the contentsof the app-data archive, Control-click the archive in the Finder and choose Show Package Contents. If you want to use a particular configuration of your app’s data when you run the app, add the appropriate app-data archive to your project, and specify that archive in the Run action of the appropriate scheme. See “Specifying the App Data” (page 84) for more information. To copy app data to a development device: 1. Plug in the device containing the app whose data you want to replace. 2. Copy the app data to the device. Build and Run YourApp Manage AppData in iOSDevices 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 159To access your app’s simulation-environment sandbox, navigate to the directory ~/Library/Application Support/iPhone Simulator//Applications in the Finder. Then open each directory in the Applications directory to find your app’s binary file. Alongside the binary file are the directories that make up your app’s sandbox, including Documents and Library. Build and Run YourApp Manage AppData in iOSDevices 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 160There are five actions that you can perform with Xcode: ● Run ● Test ● Profile ● Analyze ● Archive Each of these actions requires you to first build your code. Exactly what is built is specified by the scheme you choose and how that scheme is configured. In addition to the Build pane in the scheme editor, which specifies which targets are built for each action, there is a configuration pane for each action. 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 161 Customize Product ActionsRun Your Application to Debug It Although a scheme can specify any number of targets to be built when you click the action button, Xcode can launch and debug only one executable at a time. Listing 3-2 shows the Info pane for the Run action. Figure 7-1 The scheme editor Run pane You can specify whether to use a debug or release build configuration (or any other build configurations you added) and which debugger to use. Debug vs. Release Builds A debug build includes symbols that can be used by a debugger to display your source code when your program stops at a breakpoint and to show you the values of your variables at that point. For a release build, you normally want to strip that information out, because the debug information makes it very easy to reverse-engineer the program. Release builds also typically do code optimization that isn’t done for debug builds.BecausetheRunactionisnormallyusedfordebugging,mostdevelopersuseadebugbuildconfiguration for the Run action. However, you might occasionally want to build and run your application with the release configuration to see what size your application will be and to make sure there are no problems introduced by the code optimization; that is, to make sure your application runs as you expect. Customize ProductActions Run Your Application toDebug It 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 162Arguments and Environment Variables Otherpanesfor theRunactionlet youprovidearguments andenvironment variablestopasstoyourexecutable on launch, and a number of diagnostic options, such as for memory management and logging. Specify runtime arguments for your application when you run it in Xcode. To run your application with arguments 1. From the Scheme toolbar menu, choose a scheme. 2. From the same menu, choose Edit Active Scheme to display the scheme dialog. 3. In the left column, select Run. 4. To specify runtime arguments, click Arguments. 5. Click OK. 6. Click the Run button or choose Product > Run. Customize ProductActions Run Your Application toDebug It 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 163Schemes contain a Run action that affects what happens when you choose Product > Run. To specify runtime arguments, click the Arguments tab. You can specify arguments passed on launch, environment variables, and modules for which to load debug symbols. During the test and debug phases of your product development, configure a scheme to run your application withvariousmemorymanagementdiagnostics andloggingoptions enabled. Schemeshave aRunaction with a Diagnostics pane that allows you to choose from a selection of runtime diagnostic tools. To run your application with diagnostics 1. From the Scheme toolbar menu, choose a scheme. 2. From the same menu, choose Edit Active Scheme to display the scheme dialog. 3. In the left column, select Run. 4. To specify runtime diagnostics, click Diagnostics. 5. Click OK. 6. Click the Run button or choose Product > Run. Customize ProductActions Run Your Application toDebug It 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 164Select thetoolsthat you wantXcodetouse.Youcanview output fromthesetoolsinthedebugareaconsole and in the debug log in the log navigator. Memory Management options: ● Enable Scribble. Fill allocated memory with 0xAA and deallocated memory with 0x55. ● Enable Guard Edges. Add guard pages before and after large allocations. ● Enable Guard Malloc. Use libgmalloc to catch common memory problems such as buffer overruns and use-after-free. ● Enable Zombie Objects. Replace deallocated objects with a “zombie” object that traps any attempt to use it. When you send a message to a zombie object, the runtime logs an error and crashes. You can look at the backtrace to see the chain of calls that triggered the zombie detector. Logging options: ● Distributed Objects. Enable logging for distributed objects (NSConnection, NSInvocation, NSDistantObject, and NSConcretePortCoder). ● Garbage Collection Activity.Enablevariousloggingfacilitiesinthegarbage-collectedmemoryallocator. Log when a collection occurs, log when new regions are allocated, and log all weak reference manipulations. ● Malloc Stack. Record stack logs for memory allocations and deallocations. ● Log Exceptions. Log Objective-C runtime exception handling. ● Log DYLD API Usage. Log dynamic-linker API calls (for example, dlopen). ● Log Library Loads. Log dynamic-linker library loads. Debugger options: ● Stop on Debugger() and DebugStr(). Enable Core Services routines that enter the debugger with a message. These routines send a SIGINT signal to the current process. Customize ProductActions Run Your Application toDebug It 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 165Location Simulation Youcansimulatelocationsother thanyour current locationiniOS appsthatuse CoreLocation. Toset a location, choose Edit Scheme from the scheme selector in the toolbar, select the Run action, and click the Options tab. You can then choose a location from the Location menu (“Choosing a location in the scheme editor”). To set a location in the debug bar, see "Set a Location in the Debug Bar" (page 186). Figure 7-2 Choosing a location in the scheme editor Run Unit Tests to Find Regressions Whenever you make changes to your code, there’s a chance that you’ve introduced bugs and that the code will no longer run as expected. As a quality control measure, you can create programs, called unit tests, that automatically exercise the featuresof your applicationandcheck the results. Eachunit test is a separatebundle containing code for a set of test cases, each of which exercises some subset of your application’s features. Test cases are organized into test suites. In code, you create classes that are subclasses of the SenTestKit test suite base class. Each such class in the bundle is a test suite, and any methods in those classes that begin with the string test are the test cases. Choosing the Test action causes Xcode to build the targets you specified for the test action in the Build pane of the scheme editor and then executes the test cases you enabled in the Test pane. Normally, you create one or more test targets that are separate from your application product targets. Customize ProductActions Run Unit Tests to Find Regressions 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 166The Xcode development installation includes a framework for testing Objective-C code—the senTestingKit framework—which provides methods you can use to exercise methods in your code and test the results. For references and more reading on unit tests and the senTestingKit framework, see the Sen:te website. For details about using unit tests in your project, see Xcode Unit Testing Guide. Profile Your Application to Find Problems and Optimize Your Code You can profile your application in order to find problems and optimize your code. Do so using the built-in Instruments application. Instruments runs your executable, collecting and displaying data that you can use to find problems such as memory leaks and unguarded file system access. It also helps you optimize aspects of execution, such as CPU use, file activity, and the use of threads. There are also specialized instruments for specific frameworkssuchas Core Data and OpenGL. Althoughyoucanrunindividual instruments, it’s common to run sets of instruments together, such as several instruments that monitor overall system activity. The Instruments application comes with a set of templates, each of which includes one or more instruments. You can also define your own templates. For more information on the Instruments application and instruments templates, see Instruments User Guide. You use the scheme editor’s profile pane to specify which template Instruments should use when you choose the Profile action. To specify an Instruments template for the Profile action 1. Open the scheme editor. Customize ProductActions Profile Your Application to Find Problems andOptimize Your Code 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1672. Select the Profile action. 3. Choose an instrument template from the Instrument pop-up menu. The default choice is Ask on Launch, which causes Instruments to display its template chooser dialog when it starts up. If you select a blank template from the Instruments template chooser, you can drag one or more individual instrumentsintotheInstruments window toberun withyourapplication.Youcansavethesetof instruments as a custom template, in which case it becomes available as a choice in the Instrument pop-up menu of the Profile pane. Perform Static Analysis To Find Semantic Problems The Analyzeactionperformsastaticanalysisof your code.Theonlyoptionfor the Analyzeactioninthescheme editor is whether to analyze a debug or release build. To specify which targets should be included in the analysis, use the checkboxes in the Analyze column of the Build pane. Static analysis is discussed in "Locate Possible Semantic Problems" (page 171). Customize ProductActions Perform Static Analysis To Find Semantic Problems 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 168Create an Archive for Sharing or Submitting Your Program The Archive action creates an application bundle you can use to share your program with others or to submit your application to the App Store. Because it’s unusual to share a debug version of an application, most developers set the build configuration to Release in the Archive pane of the scheme editor. To distribute frameworks, plug-ins, and other targets with your application, select the checkboxes for those targets under the Archive column in the Build pane of the scheme editor. You probably don’t want to distribute unit tests with your application, on the other hand, so you should not select the checkbox for the test target in the Archive column. For more information on the use of archives, see "Distribute Your App" (page $@). Initiate a Product Action You can initiate an action in several ways. To initiate an action Do one of the following: ● Click and hold the action button at the left end of the toolbar, then choose the action you want from the pop-up menu. If you click this button without holding it, Xcode initiates the action currently displayed by the button. ● Choose an action from the Product menu. ● Use a keyboard shortcut. There are keyboard shortcuts for every action except Archive (open the Product menu to see the list). Tip: Hold down the Option key to see additional shortcuts. Customize ProductActions Create an Archive for Sharing or Submitting Your Program 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 169The action button and each of the items at the top of the Product menu (Run, Test, Profile, Analyze, Archive) cause the targets specifiedby the Buildpane of the scheme tobebuiltbeforeperformingthe specifiedaction. Other items in the menu allow you to build without other actions, or to perform the other actions using the last build without building again. To open the scheme editor before initiating an action 1. Hold down the Option key and Choose Product > Profile. The scheme editor opens to give you the opportunity to check or change the scheme settings before you executing the action. The OKbuttonat thebottomof theschemeeditor isreplaced withtwobuttons: thenameof theaction (here, Profile) and Done. 2. Click the action button in the scheme editor. Any changes you made to the scheme are saved and the action is carried out using the new settings. Tip: Click Done tosave anynew scheme settings andclose the scheme editor withoutbuilding the application. Customize ProductActions Initiate a Product Action 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 170Xcode provides all the facilities you need to make sure that your code is correct, that it performs well, and it uses device and network resources appropiately. Ensure that Your Code Is Correct Unit tests help you write robust and secure code by testing your application’s functionality. Xcode provides aneasy-to-useandflexibleunit-testingenvironment forensuringthat your codecontinuesto work asdesigned as you make changes to it. You can perform two types of unit tests: logic tests and application tests. With logic tests you can ensure that your code works at the lowest level, usually methods and single classes. With application tests you make sure that your app’s classes work as designed within the app. Xcode makes it easy to create projects and products that include unit-testing support. But you can also add unit testing to existing projects and products. To learn how to integrate unit testing in your project, see Xcode Unit Testing Guide. Find Coding Mistakes At any time in your code development, you can run the static analyzer to find potential semantic problems in your code. In addition, when you build your project, the compiler returns messages, warnings and errors that you can use to find and correct mistakes in your code. Note that if you use the LLVM compiler, Fix-it scans your code and flags possible errors as you type ("Have Fix-it Flag Errors as You Type" (page 117)). Locate Possible Semantic Problems Use static analysis to examine the semantics of your code to find potential problems with your program logic. Xcode lets you perform the analysis, examine the results, and edit your source files all within the workspace window. 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 171 Debug and Tune Your AppYou run the static analyzer by selecting the project you want to analyze in the project navigator and then choosing Analyze from the Product menu. You can use the Build pane of the scheme editor to specify which targets are included in the analysis. Tip: If you want to open the scheme editor to set options before running the static analyzer, hold the Option key while choosing Product > Analyze. Find flaws—potential bugs—in the source code of a project with the static analyzer built into Xcode. Source code may have subtle errors that slip by the compiler and manifest themselves only at runtime, when they could be difficult to identify and fix. To perform static code analysis 1. Choose Product > Analyze. 2. Select an analyzer message in the issue navigator. 3. Click the corresponding message in the source editor. 4. Use the pop-up menu in the analysis results bar above the edit area to study the flow path of the flaw. 5. Edit the code to fix the flaw. See the HTML version of this document to view the video. document to view the video. The Xcode static analyzer parses the project source code and identifies these types of problems: ● Logic flaws, such as accessing uninitialized variables and dereferencing null pointers ● Memory management flaws, such as leaking allocated memory ● Dead store (unused variable) flaws ● API-usage flaws that result from not following the policies required by the frameworks and libraries the project is using Youcansuppressfalsepositivemessagesfromtheanalyzerusingassertions, attributes,orpragmadirectives. When you analyze a project for the first time, you may uncover a lot of issues. But if you run the static analyzer regularly and fix the flaws it uncovers, you should see fewer problems in subsequent analyses. Analyze early; analyze often. It’s good for the code. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 172Note that if the static analyzer reports no problems, you can't assume that there are none. The tool cannot necessarily detect all the flaws in the source code. The video shows the process of looking at a flaw in the source file SKTText.m. Tip: Choose Product > Clean to remove the analyzer messages from the issue navigator. Locate and Display Build Issues You can build and run the executable specified by the active scheme by clicking the action button at the left end of the toolbar. Other options, such as running without building or building without running, are available in the Product menu. Figure 8-1 The issue navigator If the compiler finds any problems while building, the issue navigator opens. You can display problems by file or by type (Figure 8-1). Filters at the bottom of the navigator let you display only issues from the latest build, only issues associated with the current scheme, only errors (suppressing any warnings), or only issues that include text matching a string you enter in the filter field. To navigate through build issues Do one of the following: ● Use the issue pop-up menu at the right end of the jump bar. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 173The issue menu appears as a yellow triangle if the most serious issue listed is a warning ( ) or as a red octagon if any errors are listed ( ). Choose an error from the menu or use the arrows to cycle through the errors. ● Select any of the errors or warnings in the issue navigator to display in the source editor the line of code where the problem was discovered. Click the number at the right margin of an issue to see a list of all the issues associated with the line of code. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 174To view build issues with the log navigator 1. Select a build in the build log. The build results are displayed in the editor area. 2. Open an assistant editor and set it to Referenced Files. 3. Select an issue in the log to see it displayed in the assistant editor. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1754. Double-click an issue in the log to see it displayed in a separate window or tab (depending on the double-click setting in the General pane of Xcode Preferences). Whereas the issue navigator is the common place to go to see build errors and warnings, build logs are where you can see details about what happened during a build. For example, if you want to make sure files were built in the right order, ensure that a particular file got rebuilt, or track down some advanced project configuration problem, you can get the information you need in the build log. To view build result details Do one of the following: ● Click the list icon( ) at the endof abuildcommandline inthebuildlogtosee the fullbuildcommand and results. ● Option-click a build issue to open the full build results to that issue. The issue highlights briefly when the full build results open. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 176As of Xcode 4.1, you can select what kind of content to view when debugging: source only (when available), disassembly only, or source and disassembly. The disassembly is the set of assembly-language instructions seen by the debugger while your program is running. Viewing the disassembly can give you more insight into what your code is doing when it’s stopped at a breakpoint. By viewing the disassembly and source code together, you can more easily relate the instruction being executed with the code you wrote. To view disassembly while debugging Do one of the following: ● Choose Product > Debug Workflow > Show Disassembly When Debugging. The disassembly is displayed in the editor pane. ● Open an assistant editor and choose Disassembly from the Assistant pop-up menu in the assistant editor jump bar. The source and disassembly are shown in the split editor pane. Manage Breakpoints Although you can use the debugger to pause execution of your program at any time and view the state of the running code, it's usually helpful to set breakpoints before running your executable so that you can stop at known points and view the values of variables in your source code. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 177Add and Activate Breakpoints To set breakpoints, open a source-code file and click in the gutter next to the spot where you want execution to stop. When you add a breakpoint to the code, Xcode automatically activates breakpoints, as indicated by the breakpoint-state button in the toolbar (active: inactive: ). You can toggle the state of breakpoints at any time by clicking the breakpoint-state button. You can also disable an individual breakpoint by clicking its icon. To remove a breakpoint completely, drag it out of the gutter. Youcansetseveraloptionsforeachbreakpoint,suchas a condition, thenumberof timestopassthebreakpoint before it’s triggered, or an action to perform when the breakpoint is triggered. To set breakpoint actions and options 1. Inthebreakpointnavigator, Control-click thebreakpoint,andchooseEditBreakpoint fromtheshortcut menu. 2. Set the actions and the options for the breakpoint in the breakpoint editor. Specify what Xcode does when a breakpoint is triggered with the breakpoint editor. Each breakpoint type has specific properties that define it, such as condition and ignore count (for file line breakpoints), symbolname (for symbolicbreakpoints), andexceptiontype (for exceptionbreakpoints). But all breakpoint types share two properties: ● Action: Specifies what actions Xcode performs when the breakpoint is triggered. You can have Xcode execute an AppleScript script or a shell or debugger command, log or speak a message, or emit a sound. ● Options: Specifies additional breakpoint behavior, such as whether to continue program execution after performing actions. The screenshotshows a file linebreakpoint that isignoredthe first five timesit ishit. Subsequenthitstrigger the breakpoint, which causes Xcode to emit a sound and continue program execution. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 178In addition to conditional breakpoints, which are triggered when a specific condition is met, you can create breakpointsthat aretriggered whena specific typeofexceptionisthrownor caught, andsymbolicbreakpoints, which are triggered when a specific method or function begins execution. Add an exception breakpoint to your project in the breakpoint navigator. To add an exception breakpoint 1. In the bottom-left corner of the breakpoints navigator, click the Add button. 2. Choose Add Exception Breakpoint. 3. Choose the type of exception from the Exception pop-up menu. 4. Choose the phase of the exception handling process at which you want program execution to stop. 5. Click Done. The Exception pop-up menu specifies the type of exceptions on which you want execution to stop: ● All. Stops on all exceptions. ● Objective-C. Stops on Objective-C exceptions. ● C++. Stops on C++ exceptions. To stop on a particular C++ exception, specify the exception name. The screenshot shows the properties of an exception breakpoint. To add a symbolic breakpoint 1. In the bottom-left corner of the breakpoint navigator, click the Add button. 2. Choose Add Symbolic Breakpoint. 3. Enter the symbol name in the Symbol field. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1794. Click Done. Adda symbolicbreakpoint toyourproject inthebreakpointnavigator. Symbolicbreakpointsstopprogram execution when a specific function or method starts executing. You can specify the symbol as: ● A method name. For example, pathsMatchingExtensions:. ● A method of a particular class. For example, [SKTLine drawHandlesInView], people::Person::name(). ● A function name. For example, _objc_msgForward. If the symbol is declared in more than one library, enter the name of the appropriate library in the Module field. The screenshot shows the properties of a symbolic breakpoint. Edit Breakpoints Forexistingbreakpoints,youcaneditoptionsor changetheirscope—that is, theprojector workspacein which the breakpoint appears. To edit breakpoint options 1. Open the breakpoint navigator and Control-click the breakpoint whose options you want to edit. 2. From the shortcut menu, choose Edit Breakpoint. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1803. In the Condition field of the options dialog, specify an execute condition for the breakpoint (if any). Thebreakpoint istriggeredonly if the conditionistrue (for example, i == 24).Youcanuse any variables that are in the current scope for that breakpoint. You must cast an function calls to the appropriate return type. 4. Specify values for any other actions you want to set and click Done. By default, a new breakpoint is local to the workspace you have open. If you add the project containing that breakpoint toanother workspace, thebreakpoint isnot copiedtothenew workspace.Youcanassignbreakpoints to other scopes, however. If you move a breakpoint to User scope, it appears in all of your projects and workspaces. If you move a breakpoint to a specific project, then you see this breakpoint whenever you open that project, regardless of which workspace the project is in. To change the scope of a breakpoint 1. In the breakpoint navigator, select the breakpoint or breakpoints you want to assign to a new scope. 2. Control-click one of the breakpoints, and from the shortcut menu, choose Move Breakpoints To. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1813. If you have a workspace window open, your choices include Workspace, User, and all of the projects in the workspace: If you have a project open without a workspace, your choices are User and the project you have open: 4. Choose Workspace to have the breakpoint appear only in this workspace. Choose User to have the breakpoint appear in all your workspaces and bare projects. Choose a specific project to have the breakpoint appear whenever that project is open, regardless of which workspace it’s in. 5. Your choice is reflected in the organization of the breakpoint navigator. Share Breakpoints You can share any breakpoints with other users. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 182To share breakpoints 1. In the breakpoint navigator, select the breakpoint or breakpoints you want to share. 2. Control-click one of the breakpoints, and from the shortcut menu, choose Share Breakpoints. 3. Xcode moves the shared breakpoints into their own category in the breakpoint navigator: A breakpoint with Userscopecannotbeshared. If youselect a Userbreakpoint andchooseShareBreakpoint fromtheshortcutmenu,Xcodemovesthebreakpoint tothelocal (Workspaceor individualproject) category and shares it. Set Preferences for Breakpoint Behavior The “Run pauses” option in Behaviors preferences specifies what Xcode does when a breakpoint is triggered and the running application pauses. By default, Xcode opens the debug navigator and debug area, showing the location of the breakpoint in your code and the status of the application’s threads and stacks. However, you can customize this behavior, specifying various sorts of behaviors (such as a sound or announcement), which navigator to open, and whether to navigate to the first new issue. You can even design a tab with the layout you prefer, name the tab, and have Xcode re-create it when a breakpoint is triggered. For more information on Behaviors preferences, see "Customize Your Build and Run Workflow" (page ?). Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 183Customize the Debug Area If you pause execution or a breakpoint is triggered, the debug area opens, displaying the values of variables and registers plus the debug console (Figure 8-2). You can use the buttons at the right end of the debug area toolbar to display both the variables and console panes or to hide either one. Figure 8-2 The debug area The Variables Pane The variables pane displays variables and registers. You specify which items to display using the pop-up menu in the top-left corner of the variables pane: ● Auto displays only the variables you’re most likely to be interested in, given the current context. ● Local displays local variables. ● All displays all variables and registers. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 184Use the search field to filter the items displayed in the variables pane. The Console Pane The console pane displays program output and lets you enter commands to the debugger tool. You specify the type of output the console displays with the pop-up menu in the top-left corner of the console pane: ● All Output displays target and debugger output. ● Debugger Output displays debugger output only. ● Target Output displays target output only. Control Program Execution When you execute a program from Xcode, the debug bar appears at the bottom of the editor pane. You can use the debug bar to control program execution and to navigate through threads and stacks. You can also step through code and control execution in the source editor and you can suspend a thread in your running application. To make it easier todebug full-screen applications, you can setXcode to a window-in-front mode that lets you control program execution without obscuring your program window. Step Through Code with the Debug Bar The debug bar includes buttons to: ● Open or close the debug area ● Pause or resume execution of your code ● Stepover; that is, execute the current lineof code andif it is a routine) returntothenext line inthe current file ● Step in; that is, execute the current line of code and (if it is a routine) jump to its first line ● Stepout of a jumped-to routine; that is, complete the current routine and stepto the next routine orback to the calling routine Control-click to step through your code by assembly language instruction instead of by statement. The step icons change to show a dot rather than a line under the arrow. Control-Shift-click to perform the action in the active thread while holding other threads stopped. The step icons show a dashed rather than solid line under the arrow. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 185Tip: Toseewhichkey combinationperformswhichaction, look intheProduct> Debugmenuwhileadebugging session is in process. Set a Location in the Debug Bar if you are running an application for iOS 5.0 or later that uses Core Location, the debug bar has a location drop-down menu (Figure 8-3). To set a location in the Run action of the scheme editor, see "Location Simulation" (page ?). Figure 8-3 Choosing a location in the debug bar Step Through Code in the Source Editor Whileyour codeispausedat abreakpointorbecauseyouclickedthepausebutton, youcancontinueexecution or step through your code in the source editor. To continue execution to a specific line of code, hold the pointer over the gutter next to the target code line until the continue-to-here icon appears, then click the icon. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 186Tosteptothenext instruction,holdthepointerover thegutternext totheinstructionpointeruntil thestep-over icon appears, then click the icon. Suspend a Thread Suspend a thread to prevent it from running during your debugging session. You might suspend a thread if the thread is about to crash or if you want to prevent it from doing work that could interfere with the rest of your application. To suspend a thread in your running application 1. Pause your application’s execution, or wait for it to hit a breakpoint. 2. In the Debug navigator, Control-click the desired thread. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1873. In the contextual menu, choose Suspend Thread. A suspended thread does not run when you step through your code or continue execution. The debug navigator places a red status icon next to suspended threads. Toresumeathreadthat is currentlysuspended, Control-clickitandselectResumeThreadfromthecontextual menu. The screenshot shows the Suspend Thread command in the contextual menu of the debug navigator. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 188Important: Although suspending threads can help you debug your application, it can also have other consequences.Forexample,suspendingathreadthatholdsalock couldcauseother threadstodeadlock. Set Xcode Window Behavior When you run your application from Xcode in order to debug it, you have both Xcode and your application open on your monitor. In some cases—for example, when you have a full-screen application and only one monitor—you might want to keep Xcode behind your application and use keyboard shortcuts to control window execution. ChooseProduct >Window Behavior > XcodeBehindtokeepXcodebehindyourapplication. If youneedtobe able tosee thedebugarea andotherdebugginginformation whenyoustopyour application or it pauses at a breakpoint, however, you can instead choose Product > Window Behavior > Xcode In Front tokeepXcode infrontof your application. Inthis case, while your applicationisrunning, theXcode application shrinks to a minimum size, displaying a minimum set of controls. In Figure 8-4, the Xcode window is indicated with a red box. Figure 8-4 Xcode In Front window mode while the executable is running Click the Console button to open the debug console while the application is running. Click the Focus button to allow the focus to switch between the application and Xcode. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 189Whenyoupause executionor yourprogramhits abreakpoint,Xcode expandstoshow thedebugpane (Figure 8-5). When you continue execution, Xcode shrinks again. Figure 8-5 Xcode In Front window mode while the executable is paused Examine Threads, Stacks, Variables, and Memory When you pause execution of your code (see "Control Program Execution" (page 185)) or the running code triggers a breakpoint, Xcode opens the debug navigator, displaying the threads that were running when execution paused. Under each thread is the stack at that point in program execution. You can examine the threads andstacks in thedebugnavigator, usingthe filters at thebottom of the navigator to control the scope of threads and stacks so you can concentrate on the level of detail that is most useful to you. You can also navigate through threads and stacks in the debug bar of the debug area. You can view variable values in the debug area or source editor, and you can use the debug area and editor pane together to view the contents of memory locations. To view threads and stacks in the debug navigator 1. Set breakpoints at the locations where you want to examine threads and stacks. 2. Choose Run from the Product menu (or click the Run button). 3. When execution pauses, select a stack frame in the debug navigator. The corresponding source file or disassembled object code is shown in the source editor. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 190The slider at the bottom of the debug navigator controls how much stack information the threads and stacks navigator displays. At the left end of the slider, the debug navigator shows only the top frame of each stack. At the right end, it shows all stack frames. Click the button at the left end of the slider ( ) to toggle between displaying all the active threads or only threads that have your code in them (as opposed to system library code). The figure shows the debug navigator when execution has stopped at a breakpoint. To view threads and stacks in the debug area 1. With the debug area open, run your application. 2. Pause your application’s execution, or wait for your code to stop at a breakpoint. 3. Choose a thread from the pop-up menu in the debug bar. 4. Examine the corresponding source or assembly code. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 191The debug area lets you examine the threads and stacks of a program being debugged. When you select athreadorastack withinathreadinthedebugbar,Xcodedisplaysthecorrespondingsourcefileorassembly code in the main editor. The screenshot shows the debug area while choosing a thread and a stack frame to examine. Alternative: You can also view threads in the debug navigator. Filter threads andsymbolstoremoveextraneousinformationandfocusonyourowncodeduringadebugging session. The debug navigator sports two controls for filtering extraneous threads and program symbols: the thread filter and the call stack slider. To filter threads and symbols in the debug navigator 1. Pause your application’s execution or wait for your code to stop at a breakpoint. 2. Use the thread filter button to hide threads that are not relevant to debugging. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1923. Use the call stack slider to adjust the amount of detail shown for each thread. The thread filter button shows or hides threads that may not be relevant to debugging your code right now. Examples of such threads include the heartbeat and dispatch management threads and any threads that are idle and not currently executing any specific application code. Hiding these threads allows you to focus on the threads that are doing actual work for your application. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 193For each thread, the call stack slider dynamically collapses or expands the list of symbols displayed by that thread. Collapsing the list helps you focus your debugging effortsby hiding calls that are far removed from your code. (The presence of hidden symbols is indicated by a dotted line in the stack frame.) Expanding the list lets you see the precise set of calls that occurred to reach the current stopping point. The screenshots show the debug navigator in two states. The screenshot on the left shows the debug navigator withthethreadfilter turnedoff andthecallstack sliderset toshow allstack frames.Thescreenshot on the right shows it with the thread filter turned on and the call stack slider set to show only the most relevant stack frames. Note: Filteringappliesonly tothreads andtheir contents anddoesnot apply toviewedmemory locations. To view memory locations 1. In the debug area, Control-click the variable whose memory you want to view. 2. Choose View Memory of “variable” from the shortcut menu. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 1943. Use the debug navigator to select from among the viewed memory locations. View memory locations to examine the raw contents of program variables. When you view a new memory location from the debug area, an entry is added to the debug navigator and selected. The contents of the selected memory entry are then displayed in the memory browser in editor pane. The bottom of the memory browser contains controls you use to navigate the memory and customize its display: ● Address. Specifies the beginning address of the memory displayed in the memory browser. ● Memory Page. Moves back or forward a memory page. ● Number of Bytes. Specifies the number bytes in a memory page. ● Byte Grouping. Specifies the size of the memory chunks displayed. Memory locations are valid only while the application is running in the current debugging session. When you quit the application, Xcode removes all memory entries from the debug navigator and discards them. To remove a memory entry while you are still debugging, select the entry and press Delete. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 195Inspect the value of a variable in a datatip to uncover a problem in the source code. To view variable values in the source editor 1. Place a breakpoint in the method you want to investigate. 2. Run the project. 3. When execution stops, place the pointer on a variable that comes before the breakpoint. 4. In the datatip that appears, inspect the current value of the variable. See the HTML version of this document to view the video. document to view the video. You can also view the values of variables in the variables pane of the debug area. The video illustrates inspecting the value of an integer variable in the method windowDidLoad. Capture OpenGL ES Frames The debugging features for iOS OpenGL ES applications includes a facility for capturing and analyzing frames. Whenframecaptureisenabledintheschemefor theapplication, thedebugbarprovides a control forentering the OpenGL ES frame debugging view. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 196To enable this feature, you must run the app on a device and the device must be running iOS 5.0 or later. Set the destination in the scheme menu to an iOS device and choose Edit Scheme from the scheme selector in the toolbar. Select the Run action, click the Options tab, and choose either Automatically Enabled or Enabled from the OpenGL ES Enable Frame Capture pop-up menu (Figure 8-6). Figure 8-6 Enabling OpenGL ES frame debugging Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 197When you build and run your OpenGL ES application, the debug bar includes a frame capture button (Figure 8-7). Click that button to capture a frame. Figure 8-7 Frame capture button You can use OpenGL frame capture to: ● Inspect OpenGL ES state information. ● Introspect OpenGL ES objects such as view textures and shaders. ● Step through draw calls and watch the changes with each call. ● Step through the state calls that precede each draw call to see exactly how the image is constructed. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 198Figure 8-8 shows a captured frame. The debug navigator has a list of every draw call and state call associated with that frame. Thebuffers associated with the frame are shown in the editorpane, and the state information is shown in the debug pane. Figure 8-8 OpenGL ES frame capture Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 199You can stepthroughdraw calls in thedebug navigator, orby using thedouble arrows andslider in thedebug bar (Figure 8-9). Figure 8-9 Controls for stepping through draw calls Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 200When you use the draw call arrows or slider, you can have Xcode select the stepped-to draw call in the debug navigator. To do so, Control-click below the captured frame and choose Reveal in Debug Navigator from the shortcut menu (Figure 8-10). Figure 8-10 Shortcut menu Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 201You can also use the shortcut menu to toggle between a standard view of the drawing and a wireframe view (Figure 8-11). The wireframe view highlights the element being drawn by the selected draw call. Figure 8-11 Wireframe view Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 202Open the Assistant editor to see the objects associated with the captured frame. In the Assistant editor you can choose to see all the objects, only bound objects, or the stack. Open a second Assistant editor pane to see both the objects and the stack for the frame at the same time (Figure 8-12). Figure 8-12 Frame capture with two Assistant panes Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 203Double-click an object in the Assistant editor to see details about that object. For example, if you double-click a texture object, you can see the texture in detail. Figure 8-13 shows the data in a vertex array (VAO) object. Figure 8-13 Vertex Array Object detail Fix Bugs in Your App Thissectionprovides anoverview of theXcodedebuggingfacilities anddescribeshow toview consoleoutput. Part of your debugging workflow may require viewing or manipulating data your app writes in its sandbox. For example, you may need to edit the data that the app has stored so you can recreate a particular condition to test it. See "To design and implement user interfaces at the same time" (page 96) for details about manipulating your app’s data. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 204Debugging Facilities Overview Xcode provides several integrated debugging facilities, which provide both a general view of your app’s code and details when you need them. ● The debug navigator. This navigator (on the left of the workspace window) shows your app’s threads and stack frames, which you use to navigate your running code. Selecting an item in the debug navigator opens its file in the source editor. ● The source editor. You use the source editor (in the editor area) to debug your code right in your code. It provides most of the debugging features you need. You can: ● Set breakpoints ● View the value of variables by holding the pointer over them ● Continue execution up to a particular code line ● Step in to, out of, or over function or method calls ● The debug area. The debug area (below the source editor) presents a variables list and a console pane to show your program’s console output. You can also issue debugger commands in the console pane. You usethedebugbar,at thetopof thedebugarea, tocontrol yourprogram’sexecutionbypausing, continuing, and stepping through code. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 205Important: To debug an app successfully on a device, ensure that the version number of the iOS SDK your project uses is equal to or greater than the version number of the iOS version on your device. Installing the latest public version of Xcode from the App Store or the latest beta version from http://developer.apple.com/devcenter/ios should suffice. Viewing Console Output and Device Logs The iOS frameworks, such as UIKit, send log entries to the console to indicate, among other things, when an unexpected event occurs. You can emit console messages in your iOS apps, too. One way to emit console messages is to use the NSLog function. Console logs can help you analyze your app’s logic and track down bugs. When running your app in a simulator, you can access the app’s console logs in the Console app (located in /Applications/Utilities). When you run the app on a device, log entries from your app appear in the Xcode Organizer. To view a device’s console output: 1. Choose Window > Organizer to open the Organizer window. 2. Click Devices to display the devices organizer. 3. In the section for the device whose logs you want to view, select Device Logs. The Device Logs pane in the Organizer contains information about app crashes. You may have to unplug your device and plug it in again to refresh the crash list. Formoreinformationabout crashlogs,see Understandingand AnalyzingiPhone OS Application CrashReports. Troubleshooting: Debugging Issues Xcode Displays the “Unknown iOS Detected” Dialog When You Plug In a Device To successfully debug apps on the device, you must have Xcode collect the information it needs from the device. Debug and Tune YourApp Ensure that Your Code Is Correct 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 206Tune the Performance of Your App Optimizing your app’s performance is an important part of the development process. This optimization is especially important in iOS-based devices, which, although powerful computing devices, do not have the memory or CPU power that desktop or portable computers possess. You also have to pay attention to your app’s battery use because it directly impacts the user’s battery-life experience. This section introduces Instruments, the Xcode graphical tool that you use to measure and tune your app’s performance. For general performance guidelines, see "Performance Tuning". The Instruments App Withthe Instruments app, yougather a variety of appperformancemetrics, suchasmemory andnetwork use. You can gather data from iOS apps running in a simulator or a development device. It is important that your iOS apps use device resources as efficiently as possible to provide a satisfactory experience for your customers. For example, your app should not use resources in a way that makes the app feel sluggish to users or that drains their batteries too quickly. Apps that use too much memory run slowly. Apps that rely on network access for their operation must use it as sparingly as possible because powering up the radios for network communications is a significant drag on the battery. The Instruments app provides an advanced data gathering interface that lets you know exactly how your app uses resources, such as the CPU, memory, the file system, and so on. Instruments uses software-baseddata-gatheringtools, known as instruments, to collectperformancedata. An instrument collects a specific type of data, such as network activity or memory usage. A trace document contains one or more instruments that collect data about an app. Although most iOS apps can run in a simulator and you can test most design decisions there, a simulator cannot completely match the behavior of a device. For example, it doesn’t replicate a device’s performance characteristics such as CPU speed or memory throughput. To effectively measure your app’s performance on user devices, you must use an actual device. Only on a device can you get an accurate representation of the runtime environment (in terms of processor speed, memory limitations, specialized hardware requirements, and the like). Behavior you cannot test in a simulator and therefore must test on devices: ● Events involving more than two fingers. ● Actual accelerometer readings. Although you can access your computer’s accelerometer (if it has one) through the UIKit framework, its readings differ from the accelerometer readings on a device. This discrepancy stems largely from the difference in the positioning of the screen in relation to the rest of the hardware between computers and iOS-based devices. Debug and Tune YourApp Tune the Performance of Your App 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 207● Rendering by OpenGL ES. OpenGL ES uses renderers on devices that are slightly different from those it usesinasimulator.Therefore,asceneinthesimulatorandthesamesceneonadevicemaynotbeidentical at the pixel level. See “Drawing with OpenGL ES” in iOS App Programming Guide for details. To measure your app’s performance on a device: 1. Buildandrunyour apponthedeviceasdescribedin"Simultaneously DesignandImplement User Interface Objects Using Multiple Editors" (page 106). 2. Stop the app. 3. Launch Instruments. The Instruments app is located at /Applications. ( refers to the installation location of the Xcode toolset.) 4. Choose a template, such as Activity Monitor, to create the trace document. 5. From the Target toolbar menu, choose the device containing the app from which you want to collect performance data. 6. Add or remove instruments from the trace document to collect the data you want. 7. From the Target toolbar menu, choose the app to launch (the same app you ran in step 1). 8. Click Record to start collecting data. 9. Use your app, exercising the areas you want to examine. To learn more about measuring and analyzing app performance, see Instruments User Guide. Debug and Tune YourApp Tune the Performance of Your App 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 208Xcode enables you to replace text strings throughout your project and to perform refactoring operations. A refactoring operation—such as creating accessor methods for a symbol or creating a superclass from a class—changes code without changing its behavior. Replace Text Strings You can use the search navigator to replace text strings throughout your project or workspace (Figure 9-1). (To make syntax-aware changes to symbol names, including within nib files, use the Rename refactoring operation instead.) Figure 9-1 Search and replace using the search navigator Thesearchandreplaceoperationcanbecustomized—forexample, tolimit thescopeof thesearchor tomatch the case of letters in the string—and provides a preview that you can use to accept or reject individual replacements. 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 209 Make Projectwide ChangesNote: Thefirst timeyouperformamass-editingoperationsuchassearchandreplace,Xcodedisplays a dialog giving you the option of first enabling automatic snapshots. You can change this setting any time in the Snapshots pane of the File > Project Settings or File > Workspace Settings dialog. You can use a snapshot to back out all of your changes at once if necessary. If you don't have automatic snapshots enabled, you can make a manual snapshot of your project before performing the operation by choosing File > Create Snapshot. Replace All Instances of a Text String The Replace command does pattern matching in text files and replaces instances of the search string with the replacement text you specify. To find and replace text in your project 1. Click the Find pop-up menu in the search navigator and choose Replace. 2. Type the text you want to find in the top text field and press Return. Make Projectwide Changes Replace Text Strings 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 210Note: Xcodedoesnotsearchfor the textuntil youpressReturn while the cursor isinthe search field. The Preview and Replace buttons are not active until after you’ve performed the search and one or more results are returned. The Activity viewer in the workspace toolbar indicates when the find operation is in progress. 3. Type the replacement text in the lower text field. 4. Click Replace All to replace every occurrence of the Find text with the Replace text. To replace a single result, click that result to select it and click Replace. To replace a subset of the occurrences found, use Shift-click or Command-click to make your selection and click Replace. Make Projectwide Changes Replace Text Strings 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 211Toseeapreview of thechangesbeforeproceeding, follow theprocedurein"ReplaceSelectedInstances of a Text String" (page 212). Replace Selected Instances of a Text String See what your changes will look like in your source code before deciding which occurrences to replace by using the search navigator’s preview feature. To preview changes before replacing text 1. Click the Preview button below the Replace text field. The preview dialog appears, showing the current version of each potential replacement in the right column and the new version in the left column. Each arrow points at the version being used. All the potential replacements are selected by default. 2. To change the status (from selected to deselected, or vice versa) of one or more replacements, do one of the following: ● Click the checkbox for that change in the left pane of the dialog. Click the checkbox next to a filename to change all the items in that file. ● Click the button in the center of the right pane for each item whose status you want to change. Make Projectwide Changes Replace Text Strings 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 212● Use Shift-click or Command-click to select items in the list in the left pane, then press the Space bar to change their status. 3. Click Replace to carry out the replacement of the selected items. Customize the Search The search navigator provides Find options to customize a search. For example, you can specify its scope and whether the search should be case sensitive. To specify a new scope for a search 1. In the search navigator, click the magnifying glass in the search field to open the Find options. 2. Open the “Find in” pop-up menu. The default scope is the workspace. If you have more than one project in the workspace, your projects are listed. 3. Choose Custom to create your own custom scopes. Make Projectwide Changes Replace Text Strings 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2134. In the Find Scopes dialog, click the Add (+) button to add a new custom scope. 5. Use the pop-up menus to specify the scope. Depending on your choices, you might also have to fill in or select a value for a third scope parameter. 6. Select the name of the scope and type a new name for the scope to appear in the “Find in” menu. You can reopen this dialog and change the name at any time. 7. Repeat this procedure as many times as necessary to define all the custom scopes you want to use. Click Done when you’re finished. Make Projectwide Changes Replace Text Strings 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2148. To see your custom scopes, open the “Find in” pop-up menu. Improve Your Code’s Structure Through Refactoring A refactoring operation improves the structure of source code without changing its behavior. You refactor to make the code easier to maintain, or as a first step in making further changes to the code. Note: Refactoring works only with C and Objective-C files. Select the Source Code to Refactor Before you can choose a refactoring operation (also called a transformation) from the Refactor submenu in the Edit menu or from the shortcut menu in the source editor, you have to select the symbol or source code that you want to refactor. Only the refactoring operations appropriate for the selected text are available in the menu. The descriptions of the refactoring operations at the end of this chapter specify what code to select for each type of refactoring operation. When you select the code andthe refactoring operation,Xcodepresents adialog to let you select options and specify symbol names where necessary. Make Projectwide Changes Improve Your Code’s Structure Through Refactoring 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 215Preview the Changes Before Executing the Operation Youhavetheopportunity topreview thechangesanddecide whichfilestoincludebeforeapplyingthechanges by using the refactor preview dialog (Figure 9-2). Figure 9-2 The refactor preview dialog Deselect a file in the leftmost pane of the preview dialog to leave it out of the refactoring operation. You can edit your source code directly in the preview dialog. Any such edits are shown in the preview and included in the refactoring operation. Before you’ve saved your updated files, you can use the Undo command in the Edit menu on a per-file basis to back out changes. Important: Bydefault, your changes aresavedautomatically whenyoucloseorbuildtheproject.Tochange this behavior, open the General pane of Xcode preferences and set the Auto-save option to Ask or Never Save. Run Unit Tests Before and After Refactoring As part of your refactoring workflow, you should develop unit tests for code you plan to refactor. Run these tests before and after a refactoring to verify that the refactoring operation doesn’t change the behavior of the modified code. For more information on unit tests, see "iOS Configuration" (page 75). Make Projectwide Changes Improve Your Code’s Structure Through Refactoring 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 216Choose a Refactoring Operation The refactoring operations provided by Xcode include renaming a symbol, extracting a function or method fromother code, encapsulatingaccessors for a symbol, creatinga superclass of a class,movinganitemupinto a superclass, and moving an item down into one or more subclasses. The Rename refactoring operation changes the name of the selected item throughout your project files. To change the name of an item throughout your project ● Select any symbol except the declaration of a method inside a protocol interface, and choose Rename from the Refactor submenu in the Edit menu (or from the shortcut menu in the source editor). (You can rename such a method if the selection is a definition of such a method in a class that adopts the protocol. That is, if the container of the selection is a protocol, you cannot rename it; if the container of the selection is a class, you can.) The Rename refactoring operation differs from the Find and Replace command in that Rename is symbol- and context-aware. Find only matches strings. Rename is particularly useful with properties. If you’re renaming a class and you have files that use that class in the filename, select the “Rename related files” option to rename the files as part of the refactoring operation. The Extract refactoring operation creates a function or method from selected code. To extract a function or method 1. Select code or code and comments within a function or method implementation, and choose Extract from the Refactor submenu in the Edit menu (or from the shortcut menu in the source editor). Xcode analyzes the context of the selected code and the variables it uses to determine the generated routine’s parameters and return value. 2. Inthedialogthat appears,name thenew routine anditsparameters, andselect whether it is amethod or function. The Encapsulate refactoring operation creates accessors (“get” and “set” methods) for a symbol and changes code that directly accesses the item to use the accessor methods instead. To create accessors for a symbol ● Select a symbol that is aninstance variable (ivar)or amemberof a structure, andchoose Encapsulate from the Refactor submenu in the Edit menu (or from the shortcut menu in the source editor). The Create Superclass refactoring operation creates a superclass from a class. Make Projectwide Changes Choose a RefactoringOperation 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 217To create a superclass 1. Select a symbol that is a class defined in your project, and choose Create Superclass from the Refactor submenu in the Edit menu (or from the shortcut menu in the source editor). The Create Superclass refactoring operation creates skeletal interface and implementation statements forasuperclassplacedintheinheritancehierarchybetweentheselectedclassanditsexistingsuperclass. 2. In the dialog that appears, name the new superclass and select whether to create new header and implementation files for its interface and implementation statements or put them in the existing file. The Move Up refactoring operation moves the declaration and definition of an item into the superclass of the class where they currently reside, removing them from their former location. To move the declaration and definition of an item into a superclass 1. Select a symbol that is a method or instance variable in a class, not a category, where the class and superclass are defined in your project, and choose Move Up from the Refactor submenu in the Edit menu (or from the shortcut menu in the source editor). 2. In the dialog that appears, select whether also to move methods that directly access the refactoring item and that are defined in the same class as the refactoring item. The Move Down refactoring operation moves the declaration and definition of the refactoring item to one or more of the subclasses of the class that declares and defines the item. To move the declaration and definition of an item into one or more subclasses 1. Select a symbol that is an instance variable in a class, not a category, where the class is defined in your project and one or more subclasses already exist, and choose Move Down from the Refactor submenu in the Edit menu (or from the shortcut menu in the source editor). The Move Down refactoring operation moves the declaration and definition of the selected variable into a subclass of the class where it currently resides, removing it from its former location. 2. In the dialog that appears, specify the subclass into which to move the variable declaration and definition. Make Projectwide Changes Choose a RefactoringOperation 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 218You manage iOS devices in Xcode using the Devices pane of the Organizer window (Figure 10-1). Figure 10-1 Devices organizer Althoughyoucandomuchof yourdebuggingandtestingof aniOSapplicationusingiOSSimulator,simulation cannot completely match the results of running your application on the target devices; you must test your application on actual devices to ensure that it runs as intended and to tune it for performance on actual hardware. 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 219 Manage Your DevicesNote: Before you can run your application on a device, you must first become a member of the iOS DeveloperProgram.Seehttp://developer.apple.com/programs/iostolearnhow tobecomeamember. Set Up Your Device To use a device with Xcode, you must provide the device with a provisioning profile and install iOS on the device. Provision a Device If you are a team administrator, or if your team administrator has already configured the necessary credentials foryouandyourdevice,youcanusethedevicesorganizer toautomaticallydownloadandapplytheprovisioning profile. Provision your iOS device to run generic apps on your device, such as sample apps. To provision a device automatically for development 1. Open the Devices organizer. 2. Connect your device to your Mac. Manage YourDevices Set Up YourDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2203. Select the device, and click “Use for Development.” Developing apps requires a provisioned device. The provisioning process sets up the required certificates and configuration data that Xcode needs to install your apps on your device. When you provision a device forgenericdevelopment,Xcodeadds yourdevicetothegeneric teamprovisioningprofile.Thisprovisioning profile allows development of most (but not all) types of apps. For some types of apps (such as those that use push notifications or in-app purchases), you must use a manually configured provisioning profile. Some types of applications require manual provisioning. In such cases, your team administrator must first configure the necessary credentials for you, using the iOS Provisioning Portal. Follow your administrator’s instructions to download the appropriate provisioning profile, and then use the devices organizer to locate the provisioning profile on your file system and apply it. Provision your device manually when you develop an app that requires a specialized provisioning profile. Manage YourDevices Set Up YourDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 221To provision a device manually for development 1. In the Devices organizer, select Provisioning Profiles in the Library section. 2. Click Refresh. 3. Identify the specialized provisioning profile you need to use. 4. Drag the provisioning profile to the Provisioning Profiles group of the target device. Apps that supportpushnotificationsor in-apppurchases cannotuse thegeneric teamprovisioningprofile. Instead, those types of apps must use a specialized provisioning profile, which you create in the iOS Provisioning Portal. Manage YourDevices Set Up YourDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 222Important: Before you can install a specialized provisioning profile on your device, that provisioning profile must: ● Include your development certificate ● Identify your device Note: All of the credentialing and provisioning procedures can be performed using the iOS ProvisioningPortal, a restricted-access areaof the iOS Dev Center thatstoresinformationabout your development devices. For details, see Tools Workflow Guide for iOS. Restore or Install a Version of iOS on a Device You should test your iOS application on devices running the version of iOS version targeted by the SDK you’re using. The devices organizer enables you to restore a currently installed version of iOS or to install a new version. Install a new version of iOS when you want to upgrade a device for development. To restore or install iOS on your development device 1. Select the device you want to update from the Devices organizer. 2. Select an iOS version from the Software Version pop-up menu. 3. Click the Restore button, and confirm you want to install the software. 4. When installation is complete, activate the device and restore its contents using iTunes. 5. Back in Xcode, click “Use for Development” in the Devices organizer to reenable development for the device. See the HTML version of this document to view the video. document to view the video. You may need to install iOS on your development device to run your app on a beta or GM version of the iOS software. Manage YourDevices Set Up YourDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 223The Software Version pop-up menu displays the versions of iOS that are available for you to install. If the versionyou want isnot listed, youmust addit tothismenubeforeyoucaninstall it. Toaddthenew software version to the menu, select Other Version and navigate to the software image on your computer. Xcode then adds the version to the pop-up menu and makes it available for installation. Whenyouenableadevicefordevelopment,Xcodeinstallsanyprovisioningprofilesanddevelopment-related data associated with the device. Xcode asks you for your developer program credentials and provisions any new devices automatically before making them available for development. Important: The version of iOS you install must be the same as or newer than the version currently installed on the device. Attempting to install an older software image will fail. After a failed installation attempt, you must reinstall the last successfully installed version or a newer version of iOS. Note: You can download seed releases of the iOS SDK and iOS, when they are available, from the iOS Dev Center. Run Your Application On a Device Set the run destination to iOS device in the scheme editor and build and run your application. Xcode transfers the application to the device and executes it. Remove an Application from a Device Successful development and testing frequently depend on starting with a clean execution environment. To achieve this state, you can completely remove your application from a device. Delete an app from your device to remove all data files associated with the app. To remove your application from a device 1. In the Devices organizer, select Applications in the device. 2. Select an app from the list of installed apps. Manage YourDevices Run Your ApplicationOn aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2243. Click Delete, and confirm that you want to remove the app. During development, you might remove an app in order to test code that runs only when your app is first launched. FromXcode, youcanremoveonly theappsthat youcreated.Youcannot removeanyof thesystem-installed or third-party apps from the device using Xcode. Manage YourDevices Run Your ApplicationOn aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 225Alternative: Another way to remove a third-party app (including your own) from a device is to touch and hold the app icon on the device until the icons start wiggling. Then tap the close box on a given app to remove it from the device. When you are done, press the Home button. Download Your Application’s Data for Analysis You probably have favorite tools that you use in inspecting application-generated data. To use such tools, you need to copy that data to your computer intact. To do so, you download the data from the devices organizer, specifying a location for the data on your local file system. Copy an app’s data from its sandbox on an iOS device to your file system to examine or modify the data. To download your application’s data from a device 1. In the Devices organizer, select Applications in the device. 2. Select the app. 3. Click Download. Manage YourDevices Run Your ApplicationOn aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2264. Specify the name and location of the app-data package. Manage YourDevices Run Your ApplicationOn aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 227When you copy the app data, the app itself is not copied, and neither is any data the app stores in the keychain. Analyzing the contents of an app’s sandbox may provide important information to help you diagnose problemsor tune the app. Youcanexamine files that the appcreated—or that itobtainedfromanexternal source—to find out whether the files contain valid information or indicate a problem. Capture and Use Screenshots from a Device Screenshots are important in several aspects of development and distribution—for example, serving as illustrations in documentation and as graphics for the App Store and other marketing needs. In the organizer you can capture and manipulate screenshots of your application running on the device. Capture a screenshot on your device to document your progress during development, and create launch images for your iOS apps. To capture screenshots from a device 1. On the device, configure the screen the way you want it. 2. In the Devices organizer, select Screenshots in the device. Manage YourDevices Capture and Use Screenshots from aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2283. Click New Screenshot. When generating your app’s default images, you should always capture images from devices with the appropriate screen size and resolution. For a universal app, this means capturing screenshots both from aniPadandfromaniPhoneor iPodtouch. For anappthat alsosupportsRetinadisplays, itmeans capturing screenshots from an iPhone 4 in addition to any other devices. Set a Screenshot as Your iOS Application’s Launch Image An application launch image, or default image, enhances the user’s experience at application launch. When the user starts your application, iOS immediately displays this image. Your application then displays its first screen as soon as possible, replacing the launch image. Set the launch image of your app to give the user immediate feedback that the app launched. Manage YourDevices Capture and Use Screenshots from aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 229To set a screenshot as your iOS application's default image 1. In the Devices organizer, select Screenshots for a device or for the Library section. 2. Select an image. 3. Click “Save as Launch Image.” 4. Specify the name of the image and the target app, and click Next. A launch image acts as a placeholder for your app’s user interface at launch time. When the user launches your app, the iOS presents this image until your app displays its main window and starts responding to events. An iPhone app has only one launch image, typically named Default.png. An iPad app can have multiple launchimages, eachonepresentingthe app’suser interface ina specificdeviceorientation. Launchimages may have names other than Default.png. Manage YourDevices Capture and Use Screenshots from aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 230To help avoid a jarring experience when this switch occurs, the ideal default image looks identical to the first screen your application displays, except that it should omit any UI elements that could change. Export a Screenshot to Your File System To use a screenshot outside your application, for example, in documentation or marketing materials, you can export it from within the devices organizer. Save a screenshot to your file system to archive it or use it for materials related to your app. To export a screenshot to your file system 1. In the Devices organizer, select the appropriate Screenshots group. 2. Select the screenshot, and click Export. 3. When prompted, enter a name and location for the screenshot, and click Save. Manage YourDevices Capture and Use Screenshots from aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 231You may want to provide one or more screenshots of your app when submitting it for publication on the App Store. Saved screenshots are exported as high-quality PNG files. With the screenshot file on your computer file system, you can modify it with any graphics editing application that accepts PNG files. Identify Small UI Changes by Comparing Screenshots Asdevelopmentprogresses,small changes youhavemadetoyour UImaybeunrecordedandremainunnoticed until late in the development cycle. To help mitigate this problem, you can compare different versions of a screenshot to determine exactly what has changed. Compare screenshots to detect subtle changes to your user interface. To compare screenshots 1. In the Devices organizer, select the appropriate Screenshots group. 2. Select two or more screenshots. 3. Select the Compare option. Manage YourDevices Capture and Use Screenshots from aDevice 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2324. Use the Tolerance slider to adjust the comparison threshold. The screenshots you select must be the same size and at least somewhat similar. You cannot compare screenshots whose resolution or dimensions are different. For example, you cannot compare a screenshot taken on a Retina display with one taken on a lower-resolution display. If the content of the screenshots is completely different, the Compare option is not available. Transfer Your Developer Profile to Another Computer Yourdeveloperprofileis yourofficialdigital identificationfor iOSapplicationdevelopment. If yourdevelopment workflow requires you to use another user account or another computer, you must copy that profile to that other account or computer. Manage YourDevices Transfer YourDeveloper Profile to Another Computer 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 233To do so, you first export your profile, which archives the profile into a password-protected secure file in a location that you specify on your operating system. This export is performed in the devices organizer. Archive your code signing assets to keep them safe or to use them on another Mac. To export your developer profile 1. In the Devices organizer, select your team in the Teams section. 2. Click Export. 3. Specify a filename and a password, and click Save. Manage YourDevices Transfer YourDeveloper Profile to Another Computer 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 234The file produced contains the items you need to code sign apps, including the provisioning profiles, certificates, and private keys needed to install apps in development on a device. Because it contains sensitive information that can be used to sign apps in your name, the contents of the file are stored in an encrypted format using the password you provide. That password is required later to import the file to another system. Next, you copy the archive file to the other account or computer. Finally, in the other account or on the other computer, you use the devices organizer to import your profile by extracting it from the archive file. Place your code signing assets on a new Mac by importing the code signing assets exported from another Mac. To import your developer profile 1. In the Devices organizer, select your team in the Teams section. 2. Click Import. 3. Select the file containing your code signing assets. Manage YourDevices Transfer YourDeveloper Profile to Another Computer 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2354. Enter the password for the file, and click Open. The importation process installs the certificates, private keys, and provisioning profiles that are stored in the developer-profile file. Troubleshooting: If you don’t see the Team section in the devices organizer: ● Drag the password-protected file that contains your code signing assets to the Xcode icon in the Dock. Manage YourDevices Transfer YourDeveloper Profile to Another Computer 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 236Finally, in the other account or on the other computer, you use the devices organizer to import your profile by extracting it from the archive file. Manage YourDevices Transfer YourDeveloper Profile to Another Computer 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 237As youcreate your app,Xcode automatically saves changes tosource,project, and workspace files. This feature simplifies workflow, helps keep you from losing any of your work, and requires no configuration. When creating an app, sometimes you may want to experiment with a new user interface layout and then revert to the previous one. Or you may need to undo some code that you’ve just written because you found an error orproblem. These circumstances require that you understand how Xcode saves your work to disk and know how to revert your work to a prior state. This chapter explains how Xcode automatically saves your work and shows how to use the Revert Document and Undo commands. The Snapshot feature is introduced as well as Xcode’s built-in interface to source code management so that you understand how they relate to the overall tasks of change management in your development projects. Save when Editing As youedit,Xcodecontinuously tracks changesandsavesthem,but itdoesnot continuously writethechanges to disk. They are saved in memory as you work. Xcode then automatically writes your changes to disk when one of five operations is performed: ● You build and run your app. ● A snapshot is created. ● You commit files to an SCM repository. ● You close the project. ● You quit Xcode You can also save changes to disk manually using the Save command in the File menu. Revert to the Last Saved Version To discard all changes you’ve made to a file since it was last saved, use the Revert Document command in the File menu. After a confirmation dialog appears, click the Revert button to complete the operation. 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 238 Save and Revert Changes to FilesThe Revert Document command is available only when the contents of a file have been changed since it was last saved to disk. Files with in-memory changes are indicated in two places: The file icon is highlighted in the project navigator and in the associated editor pane’s jump bar. Highlighted icons in the project navigator let you see which files have in-memory changes throughout the entireproject. The highlightedicon in an editor’s jump bar indicates whether any changes to the document currently in view were made since it was last saved. For example, in Figure 11-1 you see a workspace window with the file MainMenu.xib open in the primary editor and three text files (Controller.h, Controller.m, and ReadMe.txt) open in assistant editors. Figure 11-1 Workspace window with in-memory changes to files Open with changes Threeof thefour filesopeninFigure11-1havechangedsincethey werelastsaved, indicatedby thehighlighted icons in the jump bars and in the project navigator. The Revert Document command allows you to revert to the last savedversionof eachfile, one at a time. It acts onthe file that currentlyhas the editingfocus, obtained by clickinginits editorpaneorby clickingitsname intheprojectnavigator. Inthisillustration,MainMenu.xib has the editing focus, which you can tell by the slightly darker coloring of the jump bar in the primary editor. Using Revert Document in Xcode always returns the contents of the file to the last saved version on disk. If you are not sure when the file was last saved to disk relative to when you made changes, or you would prefer to back out changes one at a time, use the Undo command in the Edit menu. Save and Revert Changes to Files Revertto the Last Saved Version 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 239Undo Changes Incrementally To back out changes to a file incrementally, use the Undo command in the Edit menu, shown in Figure 11-2. Figure 11-2 Undo Typing command Note: The Undocommandis contextsensitivetothelasteditingoperationperformed. Forexample, the command changes from Undo to Undo Typing or to Undo Add Menu Item depending on the context of the last operation performed. After you’ve chosen the Undo command, the Redo command becomes available to reverse the last undo operation. The Undo command in Xcode allows you to incrementally back out all changes to a file since the start of an editing session. An editing session begins when you open a project with Xcode and ends when you close the project. When you work on a file in a single session, Xcode lets you undo all the edits in that session, even those already saved to disk. Whenyou work ina textdocument andchoose Undo, the source editor sets the insertionpoint tothe affected sectionof thetext andbringsthatsectionintoview. Inthis way, youknow thechangethat the Undocommand has undone. Save and Revert Changes to Files Undo Changes Incrementally 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 240Note: Using the Revert Document command clears the Undo history; you cannot undo a revert operation. Unlocking Files Files included in a project may be locked for several reasons. For example, they may be header files included in system frameworks, or they may havebeen intentionally locked in the Finder toprevent accidental deletion and renaming. Locked files cannot be edited; they are available only for reading, searching, and selecting portions to copy. If you attempt to edit the contents of a locked file, Xcode presents a notification asking whether you want to unlock the file. Click the Unlock button to continue the unlocking operation. If the file cannot be unlocked, you receive another notification (see, for example, Figure 11-3). Figure 11-3 File could not be unlocked Save and Revert Changes to Files Unlocking Files 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 241Locked files are indicated in the Xcode workspace by a locked file icon in the project navigator or by a lock icon in the associated editor pane’s jump bar. The locked file icon also appears in the workspace window title when the document is in the primary editor pane (see Figure 11-4). Figure 11-4 Locked file indicators Locked file icon Locked file icon Lock icon Note: The lockedfile iconappearsintheprojectnavigatoronly for filesthat are lockedinthe Finder. Files locked for write access due to ownership permissions or read-only media show the lock icon in the jump bar. When you start editing a locked file, Xcode asks whether you want to unlock it. You can also unlock a file by using the Unlock command in the File menu or by clicking on the lock icon in the jump bar of its associated editor pane. Save and Revert Changes to Files Unlocking Files 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 242Use Snapshots and SCM for Projectwide Change When you develop a project, you often make changes on a larger scale than changes to individual files. The snapshot and source code management systems provide save and revert facilities that operate project wide. Snapshots Archive Projectwide Changes to Documents and Configuration Use the Create Snapshot command in the File menu to create an archive of the project or workspace. You can make three types of projectwide changes for which the Revert Document and Undo commands are not supported: ● Xcode projectwide operations, which involve changes to many document files and potentially to project settings. These operations include refactoring code, adding Automatic Reference Counting to an existing project, and performing project validation. ● Adjustmentstothe workspaceandprojectsettings.Xcodesavesthesechangestodiskastheyareperformed by modifying the .xcodeproj and .xcworkspace files. ● Your global editing operations using search and replace functions. Snapshots are archives that include the current state of all project and workspace settings and all document files included in the project context. All document files are saved when a snapshot is created. Xcode always stores snapshots in your local file system. Creating a snapshot before making changes to project settings, and before using global search and replace, gives you the ability to revert the entire project to the state it was in before you performed a projectwide operation. Note: Xcodeautomaticallycreatesasnapshotof theprojectbeforeperformingrefactoring,automatic reference counting conversion, and validation. For more information about snapshots, see "Save and Revert Changes to Projects" (page 245). SCM Repositories Manage Overall Change as Your Project Develops The Source Control commands in the File menu allow you to manage your project files with a source code management (SCM) repository. Automatic save, revert, undo, and snapshots are intended to help the flow of editing and making adjustments as you develop your project with respect to the document files it includes. These features are not intended to be the way you manage overall project change through the development history of a project. To support this Save and Revert Changes to Files Use Snapshots and SCM for Projectwide Change 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 243larger scope of managing change in your development work, Xcode provides built-in access to source code management commands that allow you to use both locally stored and server-based SCM repositories. Using an SCM repository is strongly recommended even for small development projects. Formore informationabout usingsource codemanagement, see "Save andRevert Changes to Projects" (page 245). Save and Revert Changes to Files Use Snapshots and SCM for Projectwide Change 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 244Xcode provides several ways to save versions of your project: ● A snapshot saves the current state of your project or workspace on disk for possible restoration later. ● Source control repositories keep track of individual changes to files and enable you to merge different versions of a file. ● An archive packages your products for distribution, either through your own distribution mechanism or for submission to the App Store. Xcode provides direct support for Git and Subversion repositories, including an option to create a local Git repository when you create a new project. Because it’s so easy to set up a repository to use with your Xcode project, Xcode provides a special editor, called the version editor, that also makes it easy to compare different versions of files saved in repositories. This chapter assumes that some developers using Xcode are new to repositories. If you’re an experienced repositoryuser,skipover theintroductorymaterial ineachsectionandgostraight tothedescriptionsof aspects of Xcode’s repository UI. 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 245 Save and Revert Changes to ProjectsTake a Snapshot of Your Project A snapshot provides an easy way to back up the current version of your project or workspace so that, if something goes wrong with a change or process, you can restore the earlier version. Xcode can create a snapshot automatically before a major change such as refactoring your code or executing a Find and Replace operation. You can change this setting any time in the Snapshots pane of the File > Project Settings or File > Workspace Settings dialog (Figure 12-1). Figure 12-1 The Snapshots settings dialog You can also set Xcode to automatically create snapshots in other circumstances, such as before a build, by selecting the Create Snapshot option in the Behaviors pane of Xcode preferences ("Customize Your Build and Run Workflow" (page 155)). You can create a snapshot manually whenever you like by choosing File > Create Snapshot. To see where Xcode stores your snapshots, or to change the location, look in the Locations pane of Xcode preferences or the Snapshots pane of the Project (or Workspace) Settings dialog. Important: To use snapshots, you must have selected System Tools in the Xcode installer. This option is selected by default. To see the snapshots for a project or workspace, click the project in the projects organizer. To restore from a snapshot in Xcode 4.0, select a snapshot in the projects organizer and click the Restore Snapshot button at the bottom of the window. In Xcode 4.1 and later, to restore a snapshot, choose Restore Snapshot from the File menu and select the snapshot to restore. Xcode displays a preview dialog in which you can review the differences between the current version of the project and the snapshot version. When you click Restore, Xcode replaces the current version of the project with the version in the snapshot. Xcode makes a snapshot of the current version before replacing it. Save and Revert Changes to Projects Take a Snapshot of Your Project 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 246To restore a snapshot in a new location instead of restoring on top of the current project, select the project in the Projects pane of the Organizer window, choose the snapshot you want to restore, and click the Export Snapshot button at the bottom of the window (Figure 12-2). Figure 12-2 Snapshots listed in the Organizer window Because Xcode 4 keeps track of all your projects and displays them in the projects organizer even if they no longer exist, you can restore a deleted project from a snapshot. Keep Track of Changes with Source Control When working on a software project, it can be very useful to use software control management (SCM) to keep track of changes in the code and coordinate work groups. An SCM system, also referred to as source control, savesmultipleversionsofeachfileondisk,storingmetadata abouteachversionofeachfileina locationknown as an SCM repository. Why Use Source Control? There are two fundamental reasons for using source control: Save and Revert Changes to Projects Keep Track of Changes with Source Control 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 247● A source control system helps you reconstruct past versions of the software and the process used to develop it. If you are working on a project by yourself, you can commit a file to your SCM repository each timeyoumakeamajor change.Then,ifyoufindyou’veintroducedbugs,youcancomparethenew version with a past version that worked correctly to help to locate the source of the trouble. In the worst-case scenario, you can revert to an earlier version and start over from there to reimplement the new feature. If you keep your repository, or a copy of the repository, in another, physically safe location, you can even reconstruct your project if your computer is lost or destroyed. ● When two or more people are working on the same project, source control helps prevent conflicts and helps resolve conflicts should they arise. By keeping a central repository that holds the canonical copy of the software, the source control system allows each programmer to work on his or her own local copy without anydangerof corruptingthe canonical version. If yousetupa systemof checkingout a filebefore working on it, you can ensure that two people are not working on the same code at the same time. If two people do change the same code, the SCM software helps you to merge the two versions. You can also look through past changes to see what they were and who made them, which can be a great help in managing the project and in fixing bugs. Choose Git or Subversion XcodesupportstwoSCM systems:Subversion(oftenabbreviatedsvn)and Git.Subversionisalwaysserver-based and the server is normally on a remote machine, though it is possible to install one locally. Git can be used purely as a local repository, or you can install a Git server on a remote machine to share files among team members. The Xcode 4 installer installs the Git and Subversion tools when you select System Tools. If you are working alone, it’s generally easiest to use Git, as you don’t need to set up a server. In fact, Xcode can automatically set up a Git repository for you when you create a new project (see "Create a Git Repository For Your New Project" (page 60)). For a group project, the choice of Subversion or Git is usually a matter of taste and prior experience. In so far as is possible, Xcode provides a consistent user interface and workflow for users of either Subversion or Git. Learn SCM Terminology In general, you work on a copy of the project (called, appropriately, a working copy). The command to create a working copy is clone for Git and checkout for Subversion. When you have changed one or more files and want to add your changes to the repository, you execute a commit command to the SCM software. The SCM software records the date and time of the commit, any comments you include to help you remember later why you committed this version of the code, your identity (that is, the identity of the person who executed the commit command), and any other information the SCM software needs in order to keep track of the software. Save and Revert Changes to Projects Keep Track of Changes with Source Control 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 248Because Subversion repositories always reside on a server, when you commit changes to your project, Xcode sends those changes back to the server. Because Git repositories can be local or on a server, the situation is a bit different with Git. For Git, your working copy is also a local repository, so once you’ve committed the file, the repository has been updated. Even if you have a remote Git server, committing a file in Git does not automatically send changes to the server. To update the Git repository on a remote server, you use a push command. Toupdate your workingcopy withthe latest versionof the file ina remote repository, youuse a pull command (in Git) or update command (in Subversion). For a local Git repository, the pull command is not needed. The main line of code for development is often referred to as the trunk. To avoid modifying the trunk while developingnew features, youcancreateanew copyof theproject referredtoas abranch.Eventually,branches aremergedback intothe trunk. In Git, abranchissimply a workingcopyof theproject. InSubversion, abranch is a copy maintained by the repository. You can check out any number of working copies of a Subversion branch. When you update your local working copy with the update or pull command, and when you merge two branches or merge a branch into the trunk, Xcode displays a dialog that lets you reconcile differences between the versions. You can also use the version editor to compare two versions of a file at any time. Save and Revert Changes to Projects Keep Track of Changes with Source Control 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 249Manage Your Repositories In Xcode, you configure SCM repositories in the Organizer (Figure 12-3). Figure 12-3 The repositories pane in the Organizer window The repositories pane of the Organizer window (referred to hereafter as the repositories organizer) lets you examine the structure of the repository (folders, files, and branches) and your working copy. In addition to the more obvious features provided by the repositories organizer, it lets you assign address-book information to theperson who committedeachversionlistedandyou canexamine the changes to eachfile for eachcommit. To assign address book information to identities in the organizer 1. Click a repository in the navigation pane of the repositories organizer. Save and Revert Changes to Projects Keep Track of Changes with Source Control 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2502. Click the icon well next to the commit ID number. 3. Fill in the information about the person who executed the commit, or if the person is in your address book, click Choose Card and select that person’s card in your address book. If your address book has a picture associated with the entry, the picture is displayed in the organizer. Save and Revert Changes to Projects Keep Track of Changes with Source Control 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 251View files in a specific commit version to inspect changes that you have made to those files. To view changes for a specific commit version 1. In the navigation pane of the repositories organizer, select the working copy folder of the project. 2. Click the disclosure triangle next to the commit ID number. 3. Click View Changes. 4. Select a file in the navigation pane. 5. Scroll, if necessary, to view changes in the file. See the HTML version of this document to view the video. document to view the video. Clicking the disclosure triangle for a commit version reveals a list of changed files, allowing you to quickly scan for the one you want to inspect. In the inspection dialog, Xcode displays the changes between the file you have chosen and the previous commit of the same file. For convenience, each change is highlighted in the editor pane and indicated by a red mark in the scroll bar. The video shows viewing changes in the SKTLine.h file in the most recent commit version of the Skecth_git_M repository. Find SCM Commands SCM commands are located in the main Xcode menu, in the shortcut menu, and in the repositories organizer. Save and Revert Changes to Projects Keep Track of Changes with Source Control 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 252Source control commands are in the Source Control submenu of the File menu (Figure 12-4). Figure 12-4 The Source Control submenu of the File menu The project navigator shortcut menu contains a subset of these commands (Figure 12-5). Figure 12-5 The Source Control submenu of the project navigator shortcut menu Many SCM commands can be executed by using buttons at the bottom of the repositories organizer. Which buttons are available andactivedepends onyour selectioninthenavigatorpane of the repositories organizer. For example, Figure 12-6 shows the buttons at the bottom of the repositories organizer when a git working copy is selected. Figure 12-6 Repositories organizer buttons Update and commit operations are recorded in the log navigator. Select a log to see the individual steps of that operation in the log viewer. Save and Revert Changes to Projects Keep Track of Changes with Source Control 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 253Keep Track of Your Files’ SCM Status You can keep track of your files’ SCM status in the project navigator. SCM status is shown as a badge next to the file name (Figure 12-7), as follows: Badge SCM status Locally modified M Updated in repository U Locally added A Locally deleted D Ignored I Replaced in the repository R The contents of the folder have mixed status; display the contents to see individual status – Not under source control ? Figure 12-7 Source control badges in the project navigator Badgespropagateuptothehighest containersoyoucansee the source controlstatusof the whole workspace regardless of the disclosure level. Detailed SCM status is shown in the Source Control area of the File inspector in the utility pane. Save and Revert Changes to Projects Keep Track of Changes with Source Control 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 254Work with Git and Subversion Common source control tasks include setting up a repository, checking files out of and in to a repository, reconciling different versions of a file, and using branches to isolate risky changes to your code. Set Up Git Version Control When You Create a New Project As described in "Create a Git Repository For Your New Project" (page 60), Xcode creates a Git repository for a new project if youselect theSource ControloptionintheSave Asdialog.Whenyoudoso,Xcodeadds ahidden file (named .git) to the folder containing the project. That file contains all the information Git needs to keep track of the files in the project and the changes made to them. Xcode also performs an initial commit of the files in the folder. Any time you add files to your project or modify any of the files in the project, you need to commit them to add them to the repository (see "Commit Files to Add Them to a Repository" (page 265)). Add Git or Subversion Version Control to an Existing Project You may need to create your own repository if, for example, you want to start managing an existing project under source control. You can use command-line tools to set up a Git or Subversion repository. The necessary tools are installed during Xcode installation, if you select the System Tools package. Use command-line commands to set up a Git repository for an existing project. To set up a Git repository from the command line 1. Use the cd command to switch to your project directory, making it the current working directory. 2. Enter git init to create an empty repository. 3. Enter git add . to copy your project files into the repository. 4. Enter git commit -m "Initial commit" to commit all the files. // Step 1 $ cd /Users/me/sample_code/Sketch // Step 2 $ git init Initialized empty Git repository in /Users/me/sample_code/Sketch/.git/ // Step 3 $ git add . Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 255// Step 4 $ git commit -m "Initial commit" [master (root-commit) 173067e] Initial commit ... 74 files changed, 10198 insertions(+) create mode 100644 .DS_Store create mode 100644 Arrow.tiff create mode 100644 Circle.tiff create mode 100644 Cross.tiff create mode 100644 Draw2App.icns create mode 100644 Draw2File.icns create mode 100644 English.lproj/Draw2.nib/classes.nib ... create mode 100644 Sketch.xcodeproj/xcuserdata/ernest.xcuserdatad/xcdebugger/Breakpoints.xcbkptlist create mode 100644 Sketch.xcodeproj/xcuserdata/ernest.xcuserdatad/xcschemes/Sketch.xcscheme create mode 100644 Sketch.xcodeproj/xcuserdata/ernest.xcuserdatad/xcschemes/xcschememanagement.plist create mode 100644 TextGraphic.tiff To set up a repository for an existing project, you have to use the command-line shell implemented by the Terminal utility app. Use command-line commands to set up a Subversion repository. To set up a Subversion repository from the command line 1. Use the mkdir command to create a directory with three subdirectories named branches, tags, and trunk to hold a temporary copy of your project. 2. Copy the project directory into the trunk subdirectory. 3. Create a directory for the Subversion repository. 4. Use the svnadmin create command to create an empty Subversion repository. 5. Use the svn import command to import your project directory into the new Subversion repository. // Step 1 Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 256$ mkdir /Sketch_svn_tmp $ mkdir /Sketch_svn_tmp/trunk $ mkdir /Sketch_svn_tmp/branches $ mkdir /Sketch_svn_tmp/tags // Step 2 $ cp -R /Users/me/sample_code/Sketch /Sketch_svn_tmp/trunk // Step 3 $ mkdir /svn_rep // Step 4 $ svnadmin create /svn_rep/Sketch_svn // Step 5 $ svn import /Sketch_svn_tmp file:///svn_rep/Sketch_svn -m "Initial import" Adding /Sketch_svn_tmp/trunk Adding /Sketch_svn_tmp/trunk/Sketch Adding /Sketch_svn_tmp/trunk/Sketch/SKTGraphicView.h Adding (bin) /Sketch_svn_tmp/trunk/Sketch/Cross.tiff Adding /Sketch_svn_tmp/trunk/Sketch/SKTAppDelegate.h ... Adding /Sketch_svn_tmp/trunk/Sketch/NSColor_SKTScripting.m Adding /Sketch_svn_tmp/branches Adding /Sketch_svn_tmp/tags Committed revision 1. To set up a Subversion repository, you have to use the command-line shell implemented by the Terminal utility app. If you don’t have an existing project, use Xcode to create a project before setting up your repository. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 257Note: By convention, a Subversion repository contains three additional subdirectories named branches, tags, and trunk. Clone or Check Out a Copy of a Project to Use Locally If you or your work group have a Subversion server or a master copy of a Git repository shared on a file server, you can create a local working copy by checking out (Subversion) or cloning (Git) a copy of the master. You can then use the source control commands in Xcode to commit changes to your local copy, update your local copy fromthemaster copy, andpushyour changesuptothemaster copy (for Git). Note that it isnotnecessary to clone a copy of a local Git repository, as in this case the master copy is also your working copy. Check out or clone a repository to create a copy on your local system. To check out or clone a repository 1. In the repositories organizer, click the Add button and choose Checkout or Clone Repository. 2. Enter the pathname or URL for the file. 3. When the “Host is reachable” indicator turns green, click the Next button. 4. Enter a local name for the repository and click Clone (or Checkout) to copy it. 5. Choose a location and click the highlighted Clone (or Checkout) button to save the local repository. See the HTML version of this document to view the video. document to view the video. By abstracting common repository operations, Xcode supports both Git and Subversion (SVN) repositories with a single, unified graphical user interface and workflow. Depending on your choice, this one operation checks out (for SVN) or clones (for Git) the repository and integrates it with your project. Cloning a Git repository in Xcode sets up a complete repository on your local system and integrates that repository with your workspace so that you can quickly start using it. This approach gives you the benefits of distributed version control, including full commit rights, whether you’re online or not. An SVN checkout operation does not create a local repository. You must have a network connection to the repository server to be able to commit changes. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 258For SVN, you must also provide the relative paths to the trunk, branches, and tags directories. To do so, click the name of the new repository in the repositories organizer and fill in the associated fields. If your SVN server requires authentication, fill in the user name and password as well. The video shows cloning a Git repository for the Sketch sample code project. Add an Existing SCM Working Copy of a Project to Xcode If you have a working copy of a project that was checked out of Subversion or cloned from Git using the command line or another tool, you can add it to your Xcode SCM repository support. To do so, click the Add button (+) at the bottom of the navigation pane in the repository organizer and choose Add Working Copy. Create a Branch to Isolate Risky Changes After you’ve been working on a project for a while, you are likely to have a body of reliable, stable code. Althougharepositoryenablesyoutorevert toanearlierversionifyoudestabilizeyourprogramwhileattempting to adda new feature, youmight want tobe able to work on the new feature while stillmaintainingyour stable bodyof code. That way,oneof themembersof your teamcan(for example) workonrefiningtheuser interface or fixing minor bugs while another team member works on a risky new feature. In order to implement such a scheme, most source control systems (including Git and Subversion) allow you to create a branch, which is another copy of your code that you can modify independently of the original body of code (or of any other branches). You can base a branch on the trunk or on any other branch. Subversion keeps all the information about branches, submissions, updates, and so forth on the server. You needtobe connectedtothe server tosee anyof this informationinXcode. In Git, whenyouclone a repository, youget a copyof allof themetadata associated withtherepository as well as copiesof all theexistingbranches. To see the structure of a Subversion repository without checking out a working copy, or to see the branches of a remote Git repository soyoucancloneanindividualbranch,usethe AddRepositorymenuitem(see"Clone a Specific Branch" (page 262)). Create a branch in a repository to isolate specific aspects of your software development efforts and to work in parallel with other developers. To create a branch in a Git repository 1. In the repositories organizer, select the appropriate Branches directory in the navigator pane and click the Add Branch button. 2. Enter a name for the new branch. 3. From the pop-up menu, choose an existing branch to serve as the starting point for this new branch. 4. If appropriate, select the option to automatically switch to the new branch. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2595. Click Create. Git creates the new branch in your local repository. To make the branch available to others on a remote Git repository, you need to use the Push command. The illustration shows adding a branch named Third, using the branch named Second as a starting point. Important: Consistent branching practices are critical to successful source control management. Be sure to understand and adhere to your organization’s branching strategy. Create a branch in a repository to isolate specific aspects of your software development efforts and to work in parallel with other developers. To create a branch in a Subversion repository 1. In the repositories organizer, select the appropriate Branches directory in the navigator pane and click the Add Branch button. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2602. Enter a name for the new branch. 3. From the pop-up menu, choose an existing branch to serve as the starting point for this new branch. 4. Enter a log message if you wish. 5. If appropriate, select the option to automatically check out the new branch. 6. Click Create. Subversion creates the new branch in the remote repository; to work on it locally, you must first check it out. Selecting the “Automatically checkout this branch” option causes Xcode to check it out for you. If you select this option, Xcode opens a Save As dialog so you can specify the name and location for the working copy of the new branch. If you do not select this option, you have to check out the branch before you can work with it. The illustration shows adding a branch named Sixth, using the branch named Fifth as a starting point. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 261Important: Consistent branching practices are critical to successful source control management. Be sure to understand and adhere to your organization’s branching strategy. Switch to another branch of a repository to work on a different line of code development or to prepare for a branch merge. To switch branches 1. In the navigation pane of the repositories organizer, click the working copy folder for the repository. 2. Click the Switch Branch button at the bottom of the Organizer window. 3. In the Select a Branch dialog, choose the branch you want to use from the pop-up menu. 4. Click OK to confirm the switch. See the HTML version of this document to view the video. document to view the video. Whenthe workingcopyof abranchisselectedinthenavigationpane, thenameandlocationof thecurrent branchdisplay at thetopof theorganizerpane.Whentheswitchingoperationissuccessful, thisdesignation updates to reflect the new current branch. The video shows switching from the Henchley_01 branch to the Cardiff_02 branch of the Sketch svn_M repository. Clone a Specific Branch Rather than clone an entire remote repository, you might want to clone only a specific branch. Use the Add Repository command for thispurpose. You can also use the Add Repository command tobrowse a Subversion repository without creating a working copy. To clone specific branches of a remote repository 1. Open the repositories organizer, click the Add button (+) at the bottom of the navigator pane, and choose Add Repository. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2622. Inthe AddaRepositorydialog, fill inaname for your local workingcopy andthe locationof the remote repository. Click Add. 3. Select the branch for which you want a local working copy and click Clone. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 263Add a Folder to a Subversion Repository When you select a folder such as Trunk for a Subversion repository in the navigation pane of the repositories organizer, or any folder in the outline view of a Subversion repository, a New Directory button is available at the bottom of the window. This button creates a new directory, represented as a folder in the organizer. If no folder isselectedintheoutlineview, thefolder is createdat thesamelevel asthetop-level foldersintheoutline view. If a folder in the outline view is selected, the new folder is created inside that folder. Tip: Xcodeprovidesthe NewDirectorybuttonintherepositoriesorganizer tohelpyouadministeryourSubversion directory. It’snot intendedformodifyingyourXcodeproject. Toadda folder toaproject,use theprojectnavigator in the workspace window. Once you create a new Subversion directory, you can add files to it. Add nonproject files to a repository folder created with the repositories organizer. To add files to a new Subversion directory 1. In the repositories organizer, select the folder to which the files will be added. 2. Click the Import button at the lower right corner of the window. 3. Locate and select the desired file or folder. 4. Click Import. 5. Enter a commit message and click Import. See the HTML version of this document to view the video. document to view the video. The repositories organizer supports creating a folder in a subversion repository for maintaining and administering the repository. For example, you might want to include documents that provide details for a specific branch or that specify any deviations from your organization’s branching and merging protocols. To add folders and files to a project, use the project navigator in the workspace window. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 264Alternative: You can drag files to the folder from the Finder. If you use this approach, an Import dialog appears in which you can add an import message and confirm the operation. The video shows adding the file Branching_conventions_and_protocols.txt to the Admin_Docs Subversion directory. Commit Files to Add Them to a Repository When you edit a file, it is changed locally but the changes are not included in the source control repository. To add the changes to the repository, you must commit the file. You must save the file before you can commit it, but note that saving a file is not the same as committing it to source control—you must explicitly commit the file. To see which files have been modified locally but not committed, look for the M badge next to the filename in the project navigator. (New files that have never been committed to source control have the A badge. Files that are not under source control have a question mark badge.) You can use the SCM status filter at the bottom of the project navigator to display only files with SCM status. Commit changed files to ensure that those changes are preserved and managed as part of a repository. To commit files to a repository 1. Ensure that you have saved all file changes. 2. Choose File > Source Control > Commit. 3. In the confirmation dialog, deselect any files that you do not wish to commit. 4. Review and edit (as appropriate) any changes to be committed. 5. Enter a commit comment. 6. Click Commit. See the HTML version of this document to view the video. document to view the video. You can use the confirmation dialog to compare your new version with any past version and to make any necessary edits in the current version. Any changes you make as you review a file are included in the committed file and saved in your project. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 265If you’re using Subversion, a commit operation copies the changes from selected files into the remote Subversionrepository.Therefore, youmustbeconnectedtotherepositorybeforeyoucancommit changes. (For details, see your repository administrator.) If you’re using Git, the commit operation adds your changes to your local working copy. If you're using a remote Git repository, youhave toperformapushoperationtoaddyour committedchanges tothe shared repository. A commit comment is required; the Commit button is disabled until you enter one. Good comments are specific, but concise; suggested content includes a brief description of the changes, what they are meant to accomplish, and URLs or ID numbers of any relevant bugs. The version editor displays the affected code together with your name and commit comment, so you can omit information that’s in code comments or that’s obvious from looking at the line of code. The video shows committing changes in four files in the Sketch project to a local Git repository. Tip: To commit one or a small number of files, select those files in the project navigator, Control-click one of them, and choose Source Control > Commit Selected Files from the shortcut menu. Alternative: You can select the working copy in the repositories organizer navigation pane and click the Commit button at the bottom of the Organizer window. Reconcile Different Branches When you’re ready to merge the code in a separate branch back into the main branch, or when you want to combinethecodeinany twobranches, youcanusethemergefacilityof yoursourcecontrolsystemtoreconcile differences between the branches. Merge two branches to combine the code in them and reconcile differences between them. To merge two branches 1. With the workspace window active, choose File > Source Control > Merge. 2. From the pop-up menu, choose the branch to merge into the current branch and click Choose. 3. Select a difference or conflict. 4. Use the left and right buttons to specify which file’s contents should be used. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2665. After resolving all differences and conflicts, click Merge. See the HTML version of this document to view the video. document to view the video. Before merging, save and commit any unsaved changes in both branches. The Merge command merges a branch that you choose into the current branch, so you may also need to switch the current branch before the merge operation. The left pane of the merge dialog shows what the merged file will look like. The right pane shows the file with the changes to be merged in. For each difference between the files, an indicator in the center points to the file taking precedence. To select a difference, click its indicator. You use the buttons at the bottom to set the direction of the merge. For example, if the difference is a line of code on the right that’s missing from the file on the left (your working copy) click the Right button (which sets the indicator to the right) to specify that the line of code be includedin the working copy when the merge is complete. Note thatbecause the leftpane shows what the merged file will look like, you then see this line of code in both panes. If a line of code hasbeen changedinboth versions of the filebeing merged, thedifferences are considered a conflict and are shown in red. There are two additional buttons for reconciling conflicts by taking the code lines from both files, either listing the ones in the left file first and those in the right file second, or vice versa. To reconcile any differences not handled by the four button choices, you can edit the file in the working copy. Update Your Working Copy from a Remote Repository Whentwoormorepeople are workingona automataproject, fromtime totime youneedtosynchronize your working copy with changes made in the remote repository. You use the Pull command in Git or the Update command in Subversion to do so. Use a pull operation to update local files with changes from a shared or remote Git repository to ensure that your local repository is up to date. To pull changes from a remote Git repository 1. Choose File > Source Control > Pull. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2672. In the Pull dialog, select a file in the navigation pane. 3. Select a difference to reconcile by clicking its indicator. 4. Use the left and right buttons to specify how the difference is to be reconciled. 5. After reconciling all differences, click Pull to complete the operation. Before you can push changes in your local repository to a shared repository, Git requires a pull operation, in which you reconcile differences between the two repositories. This reconciliation helps prevent your accidentally modifying or undoing other developers’ changes. You need to save changes you’ve made and commit them to your local repository before pulling changes from the shared repository. In the Pull dialog, you select a difference by clicking the indicator between the two files. You then click one of the four buttons at the bottom to choose how that difference is to be reconciled. The indicator updates to reflect your choice. A difference in which a line of code has been changed in both versions of the file is considered a conflict, and its indicator is a question mark. You can’t complete the pull operation until you specify how to resolve all conflicts. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 268If you wish, you can edit the local revision of the file in the Pull dialog to reconcile any differences not handled by the four button choices. In busy times , multiple developers may attempt to submit changes to the shared repository at the same time. If another developer’s submission completes before yours, Xcode informs you that you must first perform a new pull operation. In larger organizations, particularly just prior to a product release, you may find that you have to pull changes more than once. After the pull operation, you have to commit the changes files in your local repository that are updated by the pull operation. The illustration shows the Pull dialog, with a conflict selected. Tip: To pull changes for one file or a small number of files, select those files in the project navigator, Control-click one of them, and choose Source Control > Update Selected Files from the shortcut menu that appears. Update your local working copy with changes from a shared or remote Subversion repository to ensure that your local copy is up to date. To update changes from a remote Subversion repository 1. Choose File > Source Control > Update. 2. In the Update dialog, select a difference to reconcile. 3. Use the left and right buttons to specify which file’s contents should be used. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2694. After reconciling all differences, click Update to complete the operation. With a shared repository, there is a potential for one developer’s changes to undo or overwrite those of another developer. To prevent this problem, Subversion requires that you update your local copy with the changes already submitted to the shared repository. Note: Youmusthaveanactivenetwork connectiontotheserver thatholdstheremoterepository. You need to save changes you’ve made and commit them to your local repository before updating files with changes from the shared repository. In the update dialog, you select a difference by clicking the indicator between the two files. You then click one of the four buttons at the bottom to choose how that difference is to be reconciled. The indicator updates to reflect your choice. A difference in which a line of code has been changed in both versions of the file is considered a conflict, and its indicator is a question mark. You can’t complete the update operation until you specify how to resolve all conflicts. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 270If you wish, you can edit the local revision of the file in the update dialog to reconcile any differences not handled by the four button choices. In busy times , multiple developers may attempt to submit changes to the shared repository at the same time. If another developer’s submission completes before yours, Xcode informs you that you must first perform a new update operation. In larger organizations, particularly just prior to a product release, you may find that you have to update more than once. After the update, you have to commit the changes files in your local repository that are updated by the update. The illustration shows the dialog for reconciling differences, with a conflict selected. Tip: To update one file or a small number of files, select those files in the project navigator, Control-click one of them, and choose Source Control > Update Selected Files from the shortcut menu that appears. Send Your Working Copy to the Remote Git Repository If you’re using a remote Git repository, when you’re ready to share your work with the other members of your team, youcanpushyour filesback tothe remote repository. (If you’reusingSubversion, the commit command updates the remote repository.) If you cloned your working copy from a repository, you should see the remote repository in the repository organizer. Before performing a push, you have to save and commit all changes and execute the Pull command to reconcile any differences between your version and the one on the server. Then, choose File > Source Control > Push. Save and Revert Changes to Projects Work with Git and Subversion 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 271Save Internal Project Files in Repositories In Xcode 4.1 and later, you can use repositories to view internal project files (for example, schemes and user interface settings) when looking at SCM details in the SCM commit and update workflows. You can use this facility to save and keep track of versions of project files in the same way as you save and keep track of source files. Figure 12-8 shows a commit dialog displaying two versions of a scheme. Figure 12-8 A scheme in the commit dialog Compare Revisions You use the Xcode version editor to compare revisions. To compare any two versions of a file under source control in a side-by-side view, select the file in the project navigator and click the version editor button ( ). Use the jump bar underneath either editor pane to select the version of the file to compare with the one in the other pane (Figure 12-9). You can select any committed version of that file in any branch. Save and Revert Changes to Projects Compare Revisions 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 272Buttons under the version editor ( ) allow you to show a file comparison and timeline, change logs for the file, or individual change annotations (“blame”) for each line of the file. Figure 12-9 Comparing two revisions of a file with the version editor You can edit the current working copy of the file in the version editor and you can copy code from an older version and paste it into the current version. Select Specific Revisions Click the timeline icon ( ) in the center column to show a visual timeline of all repository versions; use the sliders to control which version is displayed on each side. Use the version timeline to choose file versions based on their chronological order. To compare versions of a file with the timeline 1. With a source file open in the version editor, click the Comparison button. 2. Click the timeline viewer icon. 3. Browse the timeline with your pointer to reach the version you want to compare. Save and Revert Changes to Projects Compare Revisions 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 2734. Click the right triangular indicator to open that version in the right editing pane. See the HTML version of this document to view the video. document to view the video. The version timeline is available in the comparison view. Clicking the timeline viewer icon displays the timeline between the two editing panes. You move the pointer (cursor) up or down through the timeline to browse the available versions. Versions are listed chronologically, with a line for each version; newer versions are at the bottom of the timeline. Each major division in the timeline groups revisions submitted within a twenty-four hour period. Asyoureacheachversioninthetimeline,additionalinformationfor thatversionisdisplayedinanannotation. When you find the version you want, click the left or right indicator triangle to display that version in the corresponding editor pane. For example, the video shows choosing an older version of a file from the repository (for display on the right) to compare it with the newer local version of that file (displayed on the left). Clicking the left indicator triangle allows you to compare another version in the left pane with the version in the right. Review Individual Changes In blame mode, the current revision of the file is displayed along with the last revision that modified each line of the file. To see who is responsible for the last revision of a line of code ● Click the blame mode button at the bottom of the version editor. Save and Revert Changes to Projects Compare Revisions 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 274Each blame mode entry is aligned with the line in the file where the change was made. The entry includes the name of the person who committed the change, the date, and the ID of the commit. Tip: Next to the entry is an arrow button. Click the arrow next to any change that interests you to see that change displayed in Comparison mode. View All Revisions Chronologically To review all revisions to a file listed in chronological order, use Log mode. Each change is listed individually, and you can click the arrow next to the log entry to see the change displayed in Comparison mode. To review all revisions to a file ● Click the log mode button at the bottom of the version editor. Save and Revert Changes to Projects Compare Revisions 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 275All the log entries for the file are listed in chronological order and include the name of the person who committed the change, the date, the ID of the commit, and the commit comments. Tip: Click the arrow next to any entry to see that change displayed in Comparison mode. Tip: You can view all the commits for a project, listed by file, in the Organizer window. See "Why Use Source Control?" (page 271) for details. Distribute Your App Archives package your products for distribution. Use archives to distribute your program through your own distributionmechanismor tosubmit anapplicationtoiTunes Connect for inclusionintheiOSor Mac appstore. To build your project and save the resulting application or a disk image of the set of build products, choose Product > Archive. Xcode creates an archive of your project using the build configuration and name you specified in the Archive pane of the scheme editor (Figure 3-2 (page 65)) and saves the archive in the location specified in the Locations pane of Xcode preferences. Save and Revert Changes to Projects Distribute Your App 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 276To see the archives for your project, open the archives organizer (Figure 12-10). You can add a comment by clicking in the text field in the Comment column. Figure 12-10 The archives organizer For details on how to use archives to distribute your products, see "Distribute Your App" (page $@). Save and Revert Changes to Projects Distribute Your App 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 277This table describes the changes to Xcode User Guide. Date Notes 2013-04-23 Made minor content fixes. 2013-01-28 Incorporated content from Tools Workflow Guide for iOS. 2012-09-19 Made available in PDF. 2012-06-11 Added chapter about saving and reverting changes to files. Added "Save and Revert Changes to Files" (page 238). 2011-10-12 Added features new in Xcode 4.2. 2011-08-10 Added features new in Xcode 4.1. The following sections contain new information: "Close a Project or a Workspace" (page 63); "Open a FIle Quickly" (page 118); "View Preprocessor or Assembly Output" (page 131); “Upgrade Interface Builder Files That Use Plug-ins”; “Configure Sandboxing”; "Customize Your Build and Run Workflow" (page 155); "Take a Snapshot of Your Project" (page 246); "Save Internal Project Files in Repositories" (page 272). 2011-05-07 Made editorial and format changes throughout. New document that explains how to useXcode 4 to developsoftware for iOS and OS X. 2011-03-02 2013-04-23 | ©2013 Apple Inc. All Rights Reserved. 278 Document Revision HistoryApple Inc. ©2013 Apple Inc. Allrights reserved. 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F3027Q45C\D.book Page 2 Thursday, April 7, 2005 3:18 PM3 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 PM59 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 PM61 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 PM67 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 PM85 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 PM87 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 PM89 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 Let’s get started When you start your MacBook Air for the first time, Setup Assistant will help you get going. Just follow a few simple steps to quickly connect to your Wi-Fi network, transfer your stuff from another Mac or a PC, and create a user account for your Mac. You’ll also be able to log in with your Apple ID, so you can download apps from the App Store, shop the iTunes Store and the Apple Online Store, access iCloud, and make video calls with FaceTime. If you don’t have an Apple ID, creating one is easy and free. Multi-Touch gestures You can do a lot of things on your MacBook Air using simple gestures on the trackpad. Here are some of the most popular ones. Get to know your desktop The desktop is where you can find everything and do anything on your Mac. The Dock at the bottom is a handy place to keep the apps you use most. It’s also where you can open System Preferences, which lets you customize your desktop and other settings on your Mac. Click the Finder icon to quickly get to all your files and folders. The menu bar at the top has lots of useful information about your Mac. To check the status of your wireless Internet connection, click the Wi-Fi icon. Your Mac automatically connects to the network you chose during setup. Hello. Multi-Touch trackpad MagSafe 2 power connector Power adapter AC power cord Power button Click Press down anywhere on the trackpad to click. Or, with Tap to Click enabled, simply tap the surface. Secondary click (right click) Click with two fingers to open shortcut menus. Or, with Tap to Click enabled, tap two fingers anywhere. Swipe to navigate Swipe with two fingers to flip through web pages, documents, and more. Double click Press down two times anywhere on the trackpad. Or, with Tap to Click enabled, double-tap the surface. Two-finger scroll Brush two fingers along the trackpad to scroll in any direction—up, down, or sideways. Smart zoom Double-tap the trackpad with two fingers to quickly magnify a web page. Pinch to zoom Zoom in and out of photos and web pages more precisely by pinching your thumb and finger. Switch between full-screen apps Swipe with three fingers to move from one full-screen app to another. View Launchpad Pinch with four fingers to view all your apps in Launchpad. Rotate Turn your thumb and finger clockwise or counterclockwise to rotate an image. View Mission Control Swipe up with three fingers to see every open window on your Mac. Learn more Choose System Preferences from the Apple menu and click Trackpad to learn more about gestures. iCloud iCloud stores your music, photos, mail, and more. And it wirelessly pushes them to your Mac, iPad, iPhone, iPod touch, and even your PC. All without docking or syncing. So when you buy a song on one device, it’s automatically downloaded to all your others. And with Photo Stream, your latest photos appear everywhere you want to see them. To customize your iCloud settings, open the Apple menu, select System Preferences, and click iCloud. Then sign in with your Apple ID and choose the iCloud features you want to use. An important note Please read this document and the safety information in the Important Product Information Guide carefully before you first use your computer. Learn more You can find more information, watch demos, and learn even more about MacBook Air features at www.apple.com/macbookair. Help You can often find answers to your questions, as well as instructions and troubleshooting information, in Help Center. Click the Finder icon, click Help in the menu bar, and choose Help Center. Mac OS X Utilities If you have a problem with your Mac, Mac OS X Utilities can help you repair your computer’s flash storage, restore your software and data from a Time Machine backup, or erase your flash storage and reinstall OS X Lion and Apple applications. You can also use Safari to get online help. If your Mac detects a problem, it opens Mac OS X Utilities automatically. Or you can open it manually by restarting your computer while holding down the Command and R keys. 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 Service Provider. Visit www.apple.com/support/macbookair for MacBook Air technical support. Or call 1-800-275-2273. In Canada, call 1-800-263-3394. Not all features are available in all areas. TM and © 2012 Apple Inc. All rights reserved. Designed by Apple in California. Printed in XXXX. 034-6355-A AC plug Help menu Menu bar Finder Dock System Preferences Quick Start Guide Let’s get moving It’s easy to move files like documents, email, photos, music, and movies to your new Mac from another Mac or a PC. The first time you start your new Mac, it will walk you through the process step by step. All you have to do is follow the onscreen instructions. Welcome to your new MacBook Air. We’d like to show you around. USB 3 FaceTime HD camera SD USB 3 MagSafe 2 Thunderbolt Wi-Fi status HeadphoneClick the icon in the Dock, and surf the web quickly and easily using Multi-Touch gestures. Scroll up or down with two fingers on the trackpad. Swipe right or left with two fingers to go back and forth Safari web browser Mail Top Sites Get a quick overview of the sites you visit most often. One-stop email View all your accounts in Mail for one-click access. Conversation view See all the email messages from a conversation thread. Search Quickly narrow search results to find exactly what you want. Mail lets you manage all your email accounts from a single, ad-free inbox, even when you’re not connected to the Internet. It works with most email standards— including POP3 and IMAP—and between pages. Double-tap with two fingers to magnify a page, then double-tap again to return to the original size. Or pinch to zoom in or out. popular email services like Gmail, Yahoo! Mail, and AOL Mail. You can also use Mail with the free me.com email account you get with iCloud. The first time you open Mail, Setup Assistant will help you get started. Launchpad Open Launchpad Click the Launchpad icon in the Dock. Folders Group apps in folders by dragging one app on top of another. Launchpad is the home for all the apps on your Mac. Just click the Launchpad icon in the Dock and your open windows are replaced by a full-screen display of all your apps. Arrange apps any way you want, group them together in folders, or delete them from your Mac. When you download an app from the Mac App Store, it automatically appears in Launchpad. Mission Control Mission Control gives you a bird’s-eye view of everything running on your Mac. Click the Mission Control icon in the Dock, and your desktop zooms out to display all the open windows in every application, all your full-screen apps, and Dashboard, the home of mini-apps called widgets. Click anything to zoom in on it. Think of Mission Control as the hub of your system—view everything and go anywhere with just a click. Open Mission Control Click the Mission Control icon in the Dock. Add desktop spaces Click the + button to the right of the top row to add a new space. Dashboard Located at the top left for easy access. Reading List Click the glasses icon to save pages to read later. Mac App Store The Mac App Store is the best way to find and download thousands of apps for your Mac, from games and social networking to productivity apps and more. New apps install in one step to Launchpad. You can install apps on every Mac authorized for your personal use and even download them again. The Mac App Store lets you know when app updates are available, so you always have the latest versions. Open the Mac App Store by clicking its icon in the Dock. iTunes With iTunes, you can organize and play your digital music and videos on your Mac. And you can shop the iTunes Store for new music, movies, TV shows, books, and more. iTunes is also where you’ll find the App Store for iPad, iPhone, and iPod touch. iTunes Store Discover and buy new music, movies, and more. Genius Mixes Let iTunes search your music library and group songs that go great together. iCal Multiple calendars Access all your calendars from one place. Keep track of your busy schedule with iCal. You can create separate calendars—one for home, another for school, a third for work. See all your calendars in a single window or choose to see only the calendars you want. Create and send invitations using contact info from your Address Book, then see who has responded. Use iCloud to update calendars on all your devices automatically or share calendars with other iCloud users. iPhoto Create Create books, cards, and calendars. Faces iPhoto can even organize your photos based on who’s in them. Events Double-click any Event to browse photos. iPhoto is the best way to organize, browse, edit, and share your photos on your Mac. You can organize your photo library by Faces, Places, and Events. To send photos by email or publish them to Facebook, just select the photo and click Share in the bottom right of your screen. Or click Create to turn your favorite shots into photo books, calendars, and cards. iMovie Event browser Your imported videos appear here so you can access all your clips. Project browser Simply drop your selection in a project to create a great movie. iMovie puts all your video clips in one place, and gives you all the editing tools, themes, and special effects you need to quickly turn them into something special. You can make great-looking movies or even Hollywood-style movie trailers with just a few clicks. And iMovie lets you import video from most popular digital video cameras, your iPad, iPhone, or iPod touch, or the FaceTime camera on your Mac. FaceTime FaceTime for Mac lets you talk face to face with anyone on an iPad, iPhone, iPod touch, or Mac—from your Mac.* To set up FaceTime, all you need is your Apple ID and email address. To start a video call, just click an entry in your Address Book contacts list. Favorites Add your frequent contacts to Favorites for easy access. *Requires FaceTime-enabled device for both caller and recipient. Not available in all areas. Calendar view Select the view you prefer—day, week, month, or year. Full-screen view Click the full-screen button to go full screen. Always up to date Updates to your purchased apps appear automatically. Add an event Double-click to create a new event. Discover new apps Browse thousands of apps and download them straight to Launchpad. Power Mac G5 Guide de l’utilisateur Inclut les informations de configuration, d’extension et de dépannage pour votre ordinateur Power Mac G5Apple Computer Inc. © 2004 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, Apple Store, AppleShare, AppleTalk, DVD Studio Pro, Final Cut Pro, FireWire, iCal, iMovie, iTunes, Mac, Mac OS, Macintosh, Power Mac, Power Macintosh, QuickTime et Sherlock sont des marques d’Apple Computer Inc. déposées aux États-Unis et dans d’autres pays. Finder, le logo FireWire, iDVD, iPhoto, iPod, Safari et SuperDrive sont des marques d’Apple Computer, Inc. AppleCare est une marque de service d’Apple Computer, Inc., déposée aux États-Unis et dans d’autres pays. .Mac est une marque de service d’Apple Computer, Inc. ENERGY STAR est une marque déposée aux États-Unis. PowerPC et le logo PowerPC sont des marques d’International Business Machines Corporation, utilisées sous licence. La marque et les logos Bluetooth sont la propriété de Bluetooth SIG, Inc. et sont utilisés sous licence par Apple Computer, Inc. Ce produit inclut le logiciel développé par l’Université de Californie, Berkeley et ses collaborateurs. 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. Publié simultanément aux États-Unis et au Canada.3 1 Table des matières Chapitre 1 5 Installation 5 Positionnement de l’ordinateur et du moniteur 6 Branchement de l’ordinateur 10 Utilisation d’un clavier d’une souris sans fil 10 En cas de problème 10 Réglage de votre moniteur 11 Et ensuite ? 12 Procédure à suivre lorsque vous avez fini de travailler 14 Familiarisation avec votre ordinateur 16 Ports et connecteurs : extension des capacités de votre ordinateur 18 Intérieur de votre Power Mac G5 : options d’extension interne de votre ordinateur Chapitre 2 21 Utilisation de votre ordinateur 22 Utilisation de votre clavier Apple 23 Utilisation de votre souris Apple Mouse 23 Branchement d’un second moniteur 24 Connexion d’un téléviseur, d’un magnétoscope ou de tout autre appareil vidéo 26 Utilisation de l’Universal Serial Bus (USB) 28 Utilisation de FireWire 30 Utilisation des périphériques audio 32 Utilisation de appareils Bluetooth 34 Utilisation de votre lecteur optique 36 Utilisation de votre modem 37 Connexion à un réseau Ethernet 39 Accès sans fil à Internet et à votre réseau local via AirPort 41 Suspension de l’activité de l’ordinateur pour économiser l’énergie 42 Transfert d’informations entre deux ordinateurs Macintosh Chapitre 3 43 Interventions à l’intérieur de l’ordinateur 44 Ouverture de l’ordinateur 49 Installation de mémoire 56 Installation d’unités de stockage internes4 Table des matières 64 Installation d’une carte d’extension PCI ou remplacement de la carte AGP 69 Installation d’une carte AirPort Extreme 70 Remplacement de la pile Chapitre 4 73 Dépannage 75 Problèmes de logiciels 76 Problèmes de moniteur 77 Utilisation de Apple Hardware Test 78 Installation de logiciels sur votre ordinateur 80 Optimisation des performances Ethernet 80 Localisation du numéro de série de votre produit Annexe A 81 Caractéristiques Annexe B 87 Environnement de travail, sécurité et entretien 87 Consignes de sécurité importantes 90 Entretien général 91 Informations importantes sur l’organisation de l’espace de travail et la santé Annexe C 93 Connexion à Internet 95 Collecte des informations nécessaires 96 Saisie de vos informations 97 Modem téléphonique avec connexions PPP (Point-To-Point Protocol) 99 Connexions à Internet par ligne DSL, modem câble ou réseau LAN 105 Connexion sans fil AirPort Extreme 108 Dépannage de votre connexion 111 Communications Regulation Information1 5 1 Installation Félicitations pour l’acquisition de votre nouvel ordinateur Power Mac G5 à hautes performances. Ce chapitre contient des instructions pour l’installation de l’ordinateur et du moniteur. Votre Power Mac G5 est doté de la dernière technologie informatique, notamment d’un processeur 64 bits évolué, de la mémoire rapide, d’une carte graphique AGP 8X Pro pour des effets visuels impressionnants et d’un stockage interne Serial ATA, le tout réuni dans un châssis en aluminium anodisé avec accès facile aux éléments internes. Positionnement de l’ordinateur et du moniteur Soulevez l’ordinateur par ses deux poignées en utilisant des techniques de levage adaptées. Si votre moniteur est lourd, veillez à utiliser également des techniques de levage correctes lorsque vous le mettez en place. Placez le moniteur et l’écran de sorte que : • ils reposent sur une surface plane et robuste ; • les fiches des câbles d’alimentation ne soient coincées ni contre un mur ni contre tout autre objet ; • rien n’obstrue la circulation d’air devant, derrière ou au-dessous du moniteur ou de l’ordinateur ; • le plateau du lecteur optique dispose d’assez d’espace pour s’ouvrir. Avertissement : Apple vous recommande d’utiliser votre Power Mac G5 en position verticale avec le panneau latéral placé correctement. L’ordinateur ne fonctionne pas correctement lorsqu’il est placé sur le côté ou lorsque le panneau latéral n’est pas en place.6 Chapitre 1 Installation Le seul moyen de couper totalement l’alimentation de votre ordinateur et de votre moniteur consiste à débrancher leur fiche de la source d’alimentation électrique. Assurez-vous que les câbles d’alimentation de votre ordinateur et de votre moniteur soient facilement accessibles, pour pouvoir débrancher l’ordinateur ou le moniteur en cas de besoin. Branchement de l’ordinateur 1 Enlevez tout film protecteur à l’intérieur du panneau latéral. Vous trouverez des instructions pour ouvrir le panneau latéral dans la section “Ouverture de l’ordinateur” à la page 44. 2 Enfoncez le câble d’alimentation fermement et complètement dans la prise encastrée au dos de l’ordinateur et branchez l’autre extrémité dans une prise de courant ou multiprise avec mise à la terre. Fiche du câble d’alimentation Prise du câble d’alimentationChapitre 1 Installation 7 3 Connectez les câbles du moniteur comme illustré ci-dessous : Important : en fonction de votre moniteur, vous devrez connecter un seul ou plusieurs câbles. Vérifiez les instructions fournies avec le moniteur pour d’autres informations sur sa configuration. La carte d’affichage à l’intérieur de votre ordinateur est dotée des ports suivants : • Un port de connecteur ADC (Apple Display Connector) pour connecter des moniteurs Apple à écran plat ; • Un port DVI (Digital Visual Interface) pour connecter des écrans numériques pourvus de connecteurs VI. • Pour connecter un moniteur VGA, utilisez un adaptateur DVI vers VGA (fourni avec votre ordinateur) afin de pouvoir connecter le moniteur au port DVI. • Pour connecter un deuxième moniteur ADC, utilisez un adaptateur DVI-ADC (non inclus) pour relier le moniteur au port DVI. • Pour connecter une télévision, un magnétoscope ou un autre appareil vidéo, utilisez un adaptateur DVI vers Vidéo (non inclus) pour relier l’appareil au port DVI. Pour plus d’informations sur la connexion d’un second moniteur, consultez les instructions du le chapitre 2, “Utilisation de votre ordinateur”. Ports d’écran Ports USB Câble de l’écran Port de moniteur DVI Port de moniteur ADC8 Chapitre 1 Installation 4 Pour accéder à Internet ou à un réseau, connectez votre ordinateur à un modem DSL ou câble, branchez votre modem à une ligne téléphonique analogique, ou connectezvous à un réseau Ethernet. Port modem Port EthernetChapitre 1 Installation 9 5 Connectez le câble du clavier à l’un des ports USB ( ) situés sur l’ordinateur ou sur le moniteur. Branchez le câble de la souris sur l’un des ports USB du clavier. Remarque : si le câble du clavier n’est pas assez long pour atteindre un port USB de votre ordinateur, employez le câble d’extension clavier fourni avec votre ordinateur. 6 Allumez votre ordinateur en appuyant sur le bouton d’alimentation (®) en façade. Avec certains moniteurs Apple, vous pouvez également allumer l’ordinateur à l’aide du bouton d’alimentation du moniteur. Si votre moniteur doit être allumé séparément, faites-le en appuyant sur son bouton d’alimentation. Clavier Souris Branchez la souris sur l'un des ports USB à l'arrière du clavier. Si vous voyez des bouts de film plastique à l'intérieur du panneau latéral (utilisés comme protection lors du transport), ouvrez le panneau latéral et enlevez-les. Câble d’extension clavier Apple Keyboard10 Chapitre 1 Installation Utilisation d’un clavier 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 Power Mac G5, consultez les instructions fournies avec ces périphériques pour les configurer avec votre ordinateur. En cas de problème Si rien n’apparaît à l’écran après quelques instants ou si vous pensez que votre ordinateur n’a pas démarré correctement, effectuez les vérifications suivantes afin de tenter d’identifier la cause du problème : • L’ordinateur est-il connecté à une source d’alimentation ? S’il est connecté à une multiprise munie d’un interrupteur, est-elle allumée ? • Le câble d’alimentation est-il branché sur la prise située à l’arrière de l’ordinateur et correctement enclenché ? • Les câbles du clavier et du moniteur sont-ils correctement connectés ? • Le moniteur est-il allumé ? Les contrôles de luminosité et de contraste du moniteur sont-ils correctement réglés ? Si votre moniteur est muni de tels contrôles, réglez-les. • Redémarrez votre ordinateur. Appuyez sur le bouton de mise en marche de l’ordinateur et maintenez-le enfoncé pendant environ 5 secondes jusqu’à ce que l’ordinateur s’éteigne. Appuyez à nouveau sur ce bouton pour allumer l’ordinateur. • Si un point d’interrogation clignote à l’écran ou que le voyant d’état émet une série de clignotements lorsque vous allumez l’ordinateur, consultez le le chapitre 4, “Dépannage”, à la page 73. Réglage de votre moniteur Pour ajuster les réglages de votre moniteur, sélectionnez le menu Pomme (K) > Préférences Système et cliquez sur Moniteurs. Pour plus de détails sur le dépannage de votre moniteur, consultez la section “Problèmes de moniteur” à la page 76. Pour plus de détails sur l’entretien de votre moniteur, consultez la section “Entretien de votre moniteur” à la page 90. L’Aide Mac OS contient des informations supplémentaires sur l’utilisation de votre moniteur. Chapitre 1 Installation 11 Et ensuite ? Vous avez à présent accompli toutes les tâches nécessaires pour rendre votre Power Mac G5 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 votre compte sur votre ordinateur. Si vous possédez déjà un autre ordinateur Mac, l’Assistant réglages peut également vous aider à transférer des fichiers, des applications et d’autres informations de votre ancien Mac vers votre nouveauPower Mac G5. Transfert d’informations vers votre Power Mac G5 Vous pouvez utiliser l’Assistant réglages pour transférer automatiquement des informations d’un autre Mac vers votre nouveau Power Mac G5. Pour transférer des informations, assurez-vous des points suivants : • Vous devez disposer d’un câble FireWire 6 broches vers 6 broches. • L’autre ordinateur Mac dont vous disposez doit Mac OS X 10.1 ou ultérieur installé. • Votre autre ordinateur Mac doit disposer d’un port FireWire intégré et prendre en charge le mode disque FireWire. 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 Power Mac G5 n’affecte pas les informations se trouvant sur votre autre Mac. 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 ; • les applications*, pour que toutes les applications que vous utilisiez sur votre autre ordinateur Mac soient désormais sur votre nouveau Power Mac G5 ; • les fichiers et dossiers qui se trouvent sur votre disque dur et sur vos partitions. Cela vous permet d’accéder facilement aux fichiers et dossiers que vous utilisiez sur votre ancien Mac. *Il est possible que vous ayez à réinstaller des applications que vous transférez. Si vous n’utilisez pas l’Assistant réglages pour transférer des informations lorsque vous démarrez l’ordinateur pour la première fois, vous pouvez le faire plus tard. Allez dans le dossier Applications, ouvrez Utilitaires et double-cliquez sur “Assistant réglages”.12 Chapitre 1 Installation Configuration de votre Power Mac G5 pour Internet Si vous n’avez pas transféré les informations concernant le compte d’utilisateur et les réglages de réseau, l’Assistant réglages vous guide tout au long de la configuration de votre ordinateur et vous assiste 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 ne disposez d’aucun compte Internet, l’assistant vous facilitera son obtention. • Si vous disposez déjà d’un compte Internet, consultez l’annexe C, “Connexion à Internet”, à la page 93 pour savoir quelles sont les informations à saisir. Procédure à suivre lorsque vous avez fini de travailler Lorsque vous avez terminé de travailler avec votre Power Mac G5, suspendez l’activité de votre ordinateur ou éteignez-le. Suspension de l’activité de votre Power Mac G5 Cette option convient si vous n’utilisez pas votre Power Mac G5 pendant une période limitée. Lorsque l’ordinateur est en mode de suspension d’activité, son écran est noir. Vous pouvez le réactiver rapidement sans passer par la procédure de démarrage. Pour suspendre rapidement l’activité de votre ordinateur, sélectionnez l’une des méthodes suivantes : • Choisissez menu Pomme (K) > Suspendre l’activité. • Appuyez sur le bouton d’alimentation. Pour remettre votre ordinateur en activité : m Appuyez sur n’importe quelle touche du clavier. Pour en savoir plus sur la suspension d’activité, consultez la section “Suspension de l’activité de l’ordinateur pour économiser l’énergie” à la page 41. Chapitre 1 Installation 13 Éteindre votre Power Mac G5 Cette option est préférable si vous ne comptez pas utiliser votre Power Mac G5 pendant un jour ou deux. Pour éteindre votre ordinateur : m Choisissez menu Pomme (K) > Éteindre. Avertissement : n’éteignez jamais votre ordinateur via l’interrupteur d’une multiprise ou en débranchant sa fiche d’alimentation, sauf si vous ne parvenez pas à l’éteindre d’une autre manière. Toute extinction incorrecte de l’ordinateur risque d’endommager vos fichiers ou logiciels système. Avertissement : éteignez votre Power Mac 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.14 Chapitre 1 Installation Familiarisation avec votre ordinateur Lecteur optique Prise pour casque d'écoute f ®Bouton d'alimentation Témoin d'alimentation Port USB 2.0 Port FireWire 400Chapitre 1 Installation 15 Lecteur optique Votre ordinateur possède une unité combinée ou Combo (DVD-ROM/CD-RW), ou un SuperDrive (DVD-R/CD-RW). Ces deux unités peuvent lire les disques DVD, les films DVD, les CD-ROM, les CD photos, les CD de musique, les disques audio standard et d’autres types de supports. Ils peuvent tous deux graver de la musique, des documents et d’autres types de fichiers numériques sur des disques CD-R et CD-RW vierges. Le graveur SuperDrive peut également enregistrer sur des disques DVD-R vierges. Pour ouvrir le lecteur optique, appuyez sur la touche d’éjection ( ) située sur votre clavier Apple. Voyant d’état Une lumière blanche indique que l’ordinateur est en activité, une lumière clignotante indique que l’ordinateur est en suspension d’activité. ® Bouton d’alimentation Appuyez sur ce bouton pour allumer votre Power Mac G5, suspendre son activité ou la lui faire reprendre. Pour redémarrer votre ordinateur, maintenez ce bouton enfoncé pendant environ 5 secondes jusqu’à ce que l’ordinateur s’éteigne, puis appuyez dessus une nouvelle fois pour allumer l’ordinateur. Avec certains moniteurs Apple, vous pouvez également toucher ou enfoncer le bouton d’alimentation du moniteur pour allumer l’ordinateur ou suspendre son activité. Port FireWire 400 Connectez votre Macintosh à des périphériques FireWire tels que l’iPod, des caméras vidéo numériques, des scanners et des disques durs. FireWire permet un transfert de données grande vitesse à tous ces périphériques. Le port FireWire 400 supporte des vitesses de transfert de 100, 200 et 400 mégabits par seconde (Mbps). f Prise pour casque d’écoute Connectez des écouteurs à votre Macintosh via la prise pour écouteurs. Lorsqu’une prise est insérée dans la prise pour écouteurs, le haut-parleur interne est désactivé. Port USB 2.0 Connectez votre Macintosh à des périphériques USB tels que claviers, souris, imprimantes, scanners, haut-parleurs, microphones et concentrateurs. Il est également possible que votre écran soit doté de ports USB.16 Chapitre 1 Installation Ports et connecteurs : extension des capacités de votre ordinateur Loquet Capots d’accès aux logements d’extension PCI Port de moniteur DVI Port d’antenne AirPort Port d’antenne Bluetooth Port de modem interne (sur certains modèles) Port optique de sortie audio numérique Port optique d’entrée audio numérique Prise d'alimentation Port de moniteur ADC Ports USB 2.0 (2) Port FireWire 400 W - √ Port FireWire 800 GPort Ethernet Port de sortie audio Port d’entrée audioChapitre 1 Installation 17 s Ç Loquet Soulevez le loquet pour ouvrir le panneau latéral et accéder aux éléments internes de votre Power Mac G5. Il est aussi possible de placer un verrou sur ce loquet pour empêcher l’accès aux éléments internes. Port de moniteur DVI Branchez un moniteur qui utilise un connecteur Digital Visual Interface (DVI). Vous pouvez également utiliser l’adaptateur DVI-VGA, fourni avec l’ordinateur, afin de connecter ce dernier aux moniteurs dotés d’un connecteur VGA. Port d’antenne Airport Extreme Branchez l’antenne AirPort Extreme sur ce port si une carte optionnelle AirPort Extreme est installée dans votre Macintosh. Port d’antenne Bluetooth Si votre ordinateur est doté d’un module Bluetooth optionnel, branchez votre antenne Bluetooth®. Ports USB 2.0 Connectez votre Macintosh à des périphériques USB tels que claviers, souris, imprimantes, scanners, haut-parleurs, microphones et concentrateurs USB. Votre clavier Apple et votre moniteur peuvent également être équipés de ports USB. Ports FireWire 400 et 800 Le port FireWire 400 supporte des vitesses de transfert de 100, 200 et 400 Mbps. Le port FireWire 800 supporte des vitesses de transfert de 100, 200, 400 et 800 Mbps. Prise d’alimentation Branchez-y le câble d’alimentation de l’ordinateur. Capots d’accès aux logements d’extension PCI (3) Étendez les capacités de votre Macintosh en installant jusqu’à 3 cartes PCI (Peripheral Component Interconnect) dans les logements couverts numérotés 2, 3 et 4. Port de moniteur ADC Branchez un moniteur équipé d’un connecteur Apple Display Connector (ADC). Port optique de sortie audio numérique Reliez votre Macintosh à un récepteur ou à d’autres périphériques audio numériques. Port optique d’entrée audio numérique Reliez votre Macintosh à des périphériques audio numériques, tels que lecteurs CD et minidisque. - Port analogique de sortie audio Il permet de connecter des équipements MP3, CD et autres matériels audio à votre Macintosh. √ Port analogique d’entrée audio Il permet de connecter des microphones et autres matériels audio à alimentation externe à votre Macintosh. G Port Ethernet paire torsadée 10/100/1000 Connectez votre Macintosh à un réseau Ethernet grande vitesse pour accéder à Internet ou à des ressources du réseau tels que des imprimantes ou des serveurs et partager des informations à travers le réseau. W Port de modem interne Connectez à une ligne téléphonique ordinaire si votre Macintosh est doté d’un modem interne 56K V.92 optionnel.18 Chapitre 1 Installation Intérieur de votre Power Mac G5 : options d’extension interne de votre ordinateur Baie de disque dur inférieure Lecteur optique Baie de disque dur supérieure Logement 1 : logement AGP 8X Pro (graphics card installed) Logements SDRAM DDR (4 ou 8 logements, selon le modèle) Logements 2–4 : logements PCI ou PCI-X (selon le modèle) Pile Connecteur de carte AirPort ExtremeChapitre 1 Installation 19 Lecteur optique Votre ordinateur possède soit un lecteur Combo (DVD-ROM/CD-RW) soit un lecteur-graveur SuperDrive (DVD-R/CD-RW). Pour plus d’informations sur le lecteur optique, voir “Utilisation de votre lecteur optique” à la page 34. Pile Votre ordinateur utilise une pile qu’il n’est nécessaire de remplacer que très rarement. Si votre ordinateur a des problèmes au démarrage ou que la date et l’heure du système sont souvent incorrectes, c’est qu’il est peut-être souhaitable que vous remplaciez la pile. Pour plus d’informations, consultez la section “Remplacement de la pile” à la page 70. Connecteur de la carte AirPort Extreme Connectez la carte AirPort Extreme, qui permet à votre ordinateur de communiquer avec un réseau sans fil. Pour en savoir plus, reportez-vous à la “Installation d’une carte AirPort Extreme” à la page 69. Logements de mémoire SDRAM DDR Augmentez la mémoire de votre ordinateur jusqu’à 4 ou 8 giga-octets (Go), selon votre modèle d’ordinateur. L’ajout se fait par insertion de paires de modules DIMM DDR SDRAM dans les logements mémoire. Pour plus d’informations, consultez la section “Installation de mémoire” à la page 49. Baies de disque dur Votre ordinateur est fourni avec un disque dur, installé dans la baie de disque dur supérieure. Vous pouvez installer un disque dur supplémentaire dans la baie de disque dur inférieure. Votre ordinateur accepte jusqu’à deux disques Serial ATA. Pour plus d’informations, consultez la section “Installation d’unités de stockage internes” à la page 56. Logements PCI ou PCI-X Selon le modèle, votre ordinateur dispose de logements d’extension PCI ou PCI-X, avec un total de trois logements. Vous pouvez installer des cartes PCI dans les logements 2 à 4 pour étendre les possibilités de votre ordinateur. Pour plus d’informations, consultez la section “Installation d’une carte d’extension PCI ou remplacement de la carte AGP” à la page 64. Logement de carte AGP 8X Pro Connectez votre moniteur à la carte insérée dans le logement AGP 8X Pro (advanced graphics port), qui fournit la puissance nécessaire au traitement rapide des graphiques. Vous pouvez aussi connecter un moniteur muni d’un connecteur de moniteur Apple (ADC) ou d’un connecteur d’interface visuelle numérique (DVI). 20 Chapitre 1 Installation Informations supplémentaires Pour obtenir davantage d’informations, consultez les sections suivantes : Pour en savoir plus sur... Consultez la section... L’extinction ou la suspension d’activité de votre ordinateur “Procédure à suivre lorsque vous avez fini de travailler” à la page 12. Utilisation d’une caractéristique matérielle spécifique de votre Power Mac G5 le chapitre 2, “Utilisation de votre ordinateur”, à la page 21. Installation de disques durs, de lecteurs, de mémoire et de cartes supplémentaires ou remplacement de la pile le chapitre 3, “Interventions à l’intérieur de l’ordinateur”, à la page 43. Que faire en cas de problème vous empêchant d’utiliser votre ordinateur le chapitre 4, “Dépannage”, à la page 73. Installation de la gestion de Classic pour utiliser les applications Mac OS 9 avec votre ordinateur le chapitre 4, “Dépannage”, à la page 73 Connexion de votre ordinateur à Internet l’annexe C, “Connexion à Internet”, à la page 93.2 21 2 Utilisation de votre ordinateur Ce chapitre fournit des instructions concernant l’utilisation des fonctions importantes de votre ordinateur Power Mac G5, notamment le clavier, la souris, les ports FireWire, USB, audio, la technologie sans fil Bluetooth et la mise en réseau. Ce chapitre fournit des explications sur les sujets suivants : • “Utilisation de votre clavier Apple” à la page 22 • “Utilisation de votre souris Apple Mouse” à la page 23 • “Branchement d’un second moniteur” à la page 23 • “Connexion d’un téléviseur, d’un magnétoscope ou de tout autre appareil vidéo” à la page 24 • “Utilisation de l’Universal Serial Bus (USB)” à la page 26 • “Utilisation de FireWire” à la page 28 • “Utilisation des périphériques audio” à la page 30 • “Utilisation de appareils Bluetooth” à la page 32 • “Utilisation de votre lecteur optique” à la page 34 • “Utilisation de votre modem” à la page 36 • “Connexion à un réseau Ethernet” à la page 37 • “Accès sans fil à Internet et à votre réseau local via AirPort” à la page 39 • “Suspension de l’activité de l’ordinateur pour économiser l’énergie” à la page 41 • “Transfert d’informations entre deux ordinateurs Macintosh” à la page 4222 Chapitre 2 Utilisation de votre ordinateur Utilisation de votre clavier Apple Votre clavier Apple Keyboard dispose de touches de fonction préréglées pour les tâches récurrentes. Appuyez sur la touche d’éjection de disque ( ) pour éjecter les disques du lecteur optique. Appuyez sur les touches de hausse et de baisse du volume pour régler le son ou sur la touche Silence pour l’activer ou le désactiver. Utilisez les touches d’augmentation et de réduction de la luminosité pour régler la luminosité d’un moniteur Apple. Remarque : appuyez sur la touche F12 sur un clavier qui n’est pas de la marque Apple pour éjecter les disques du lecteur optique. Le clavier Apple est doté de deux ports Universal Serial Bus (USB) 1.1. Vous pouvez brancher le câble de votre souris ou d’autres périphériques USB dans les ports USB à l’arrière du clavier. Remarque : si vous avez acheté un clavier Apple Wireless Keyboard avec votre Power Mac G5, consultez les instructions livrées avec votre clavier pour obtenir de plus amples informations. Informations supplémentaires à propos de votre clavier Des informations supplémentaires sur votre clavier sont disponibles dans l’Aide Mac OS. Choisissez Aide > Aide Mac, puis recherchez “clavier”. Touches de fonction Touche de baisse du volume -Touche d’augmentation du volume Touche de baisse de la luminosité Touche d’augmentation de la luminosité — Touche Silence Touche d’éjection de disque Câble clavier Ports USB Chapitre 2 Utilisation de votre ordinateur 23 Utilisation de votre souris Apple Mouse Votre souris Apple Mouse utilise un système de repérage optique. Pour positionner le pointeur à l’aide de votre souris, déplacez celle-ci sur n’importe quelle surface adaptée, telle que le bureau, le tapis de souris ou toute autre surface granuleuse (certaines surfaces lisses et brillantes ne permettent pas un contrôle du pointeur aussi performant que d’autres). Pour cliquer sur un objet, appuyez une fois sur le corps de la souris jusqu’à ce que vous ressentiez un clic. Pour double-cliquer sur un élément, appuyez deux fois successivement et rapidement. Remarque : si vous avez acheté une souris Apple Wireless Mouse avec votre Power Mac G5, consultez les instructions livrées avec votre souris pour obtenir de plus amples informations. Informations supplémentaires à propos de votre souris Des informations supplémentaires sur votre souris sont disponibles dans l’Aide Mac OS. Choisissez Aide > Aide Mac, puis recherchez “souris”. Branchement d’un second moniteur Vous pouvez connecter deux moniteurs à votre carte graphique et les utiliser simultanément. Si un deuxième moniteur est connecté, vous pouvez soit afficher la même image sur les deux moniteurs (mode miroir), soit utiliser le deuxième écran pour étendre la taille de votre bureau Mac OS X (mode bureau étendu). Il est nécessaire de disposer du câble approprié pour chaque moniteur à connecter. Pour utiliser plusieurs moniteurs : 1 Éteignez les moniteurs et votre ordinateur. 2 Branchez le câble vidéo de chaque moniteur au port approprié de la carte graphique. 3 Allumez les moniteurs et démarrez votre ordinateur. Pour régler les moniteurs, sélectionnez menu Pomme (K) > Préférences Système et cliquez sur Moniteurs. Si vous êtes en bout de course faute de place mais que vous voulez conserver le clic lorsque vous soulevez la souris, cliquez, puis appuyez sur les côtés avec le pouce et les doigts tandis que vous soulevez.24 Chapitre 2 Utilisation de votre ordinateur Par défaut, votre ordinateur démarre en mode bureau étendu. Pour travailler en mode miroir, sélectionnez Pomme (K) > Préférences Système, cliquez sur Moniteurs et sélectionnez En miroir. Pour en savoir plus sur les moniteurs Pour obtenir des informations sur la connexion de votre moniteur, lisez les instructions d’installation dans le chapitre 1, “Installation”. L’Aide Mac OS fournit des informations supplémentaires sur l’utilisation et la configuration d’un moniteur externe. Choisissez Aide > Aide Mac, puis recherchez “moniteur”. Connexion d’un téléviseur, d’un magnétoscope ou de tout autre appareil vidéo Vous pouvez connecter votre Power Mac G5 à une télévision, un magnétoscope, un projecteur ou un autre périphérique vidéo externe grâce à l’adaptateur DVI vers Vidéo, conçu pour être employé avec un Power Mac G5. Vous trouverez un adaptateur DVI vers Vidéo chez votre revendeur agréé Apple, dans un centre de distribution Apple ou en ligne sur Apple Store à l’adresse www.apple.com/store. Pour connecter un périphérique vidéo : 1 Éteignez le périphérique vidéo et votre ordinateur. 2 Connectez l’extrémité DVI de l’adaptateur DVI vers Vidéo au port DVI de la carte graphique de votre Power Mac G5. 3 Connectez l’autre extrémité de l’adaptateur au port vidéo composite (RCA) ou S-vidéo du téléviseur, du magnétoscope ou du projecteur. 4 Allumez le périphérique vidéo et démarrez votre ordinateur.Chapitre 2 Utilisation de votre ordinateur 25 Pour ajuster l’image, sélectionnez menu Pomme (K) > Préférences Système, puis cliquez sur Moniteurs. Port d’affichage DVI Port de sortie S-vidéo Adapteur DVI vers Vidéo Port de sortie vidéo Composite26 Chapitre 2 Utilisation de votre ordinateur Utilisation de l’Universal Serial Bus (USB) Votre Power Mac G5 est équipé de trois ports USB 2.0 ; un en façade et deux à l’arrière. Votre clavier Apple Keyboard possède également deux ports USB 1.1. Ces ports USB permettent de connecter de nombreux types de périphériques, notamment des imprimantes, des scanners, des appareils photo numériques, des microphones, des manettes de jeu, des claviers, des souris et des unités de stockage. La technologie USB facilite la connexion de périphériques externes. 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, sans avoir à redémarrer votre ordinateur. Utilisation de périphériques USB Apple fournit d’origine des logiciels compatibles avec de nombreux périphériques USB. Dans la plupart des cas, il n’est pas nécessaire d’installer le pilote fourni avec le périphérique. Si vous connectez un périphérique USB et que votre Power Mac G5 ne trouve pas le pilote approprié, vous pouvez soit installer le pilote fourni avec le périphérique, soit vous adresser au fabricant du périphérique pour trouver, télécharger et installer le pilote approprié. Ports USB 2.0Chapitre 2 Utilisation de votre ordinateur 27 Connexion de plusieurs périphériques USB Pour connecter plus de trois périphériques USB, vous pouvez vous procurer un concentrateur USB. Ce dernier se connecte à un port disponible de votre ordinateur et offre des ports USB supplémentaires (généralement quatre ou sept). Remarque : pour utiliser certains périphériques USB, il se peut que vous ayez besoin d’un concentrateur USB. Informations supplémentaires sur la technologie USB L’Aide Mac OS fournit des informations supplémentaires sur la technologie USB. Choisissez Aide > Aide Mac, puis recherchez “USB”. Vous trouverez d’autres informations sur le site Web USB d’Apple, à l’adresse www.apple.com/usb. Pour obtenir des informations concernant les périphériques USB disponibles pour votre ordinateur, consultez le Guide des produits Macintosh à l’adresse www.apple.com/guide. Concentrateur USB28 Chapitre 2 Utilisation de votre ordinateur Utilisation de FireWire FireWire est un système de transfert de données à haute vitesse qui vous permet de connecter et déconnecter aisément des périphériques tels que l’iPod, les caméras vidéonumériques (DV), les imprimantes, les scanners et les disques durs. Vous pouvez connecter et déconnecter des périphériques FireWire sans redémarrer votre ordinateur. Votre ordinateur est équipé de trois ports FireWire externes. • Deux ports FireWire 400, un en façade et un à l’arrière, acceptent un taux de transfert de données maximal de 400 mégabits par seconde (Mbps). • À l’arrière, un port rapide FireWire 800 accepte un taux de transfert de données maximal de 800 mégabits par seconde (Mbps). Le port FireWire 800 de votre Power Mac G5 peut transférer des données depuis des périphériques FireWire 800 Mbps bien plus rapidement qu’auparavant. Ce port est équipé d’un connecteur à 9 broches et est compatible avec les premiers périphériques FireWire, qui ont des connecteurs de 4 ou 6 broches. Avec un câble approprié, le port 9 broches est parfaitement compatible avec tous les périphériques FireWire. Des câbles sont disponibles pour connecter le port 9 broches à des périphériques 4, 6 ou 9 broches. Ports FireWire 400 Port FireWire 800 FireWire 400 (6 broches) FireWire 400 (4 broches) FireWire 800 (9 broches)Chapitre 2 Utilisation de votre ordinateur 29 Utilisation de périphériques FireWire La technologie FireWire vous permet de : • Connecter une caméra vidéo numérique FireWire et capturer ou transférer directement de la vidéo de haute qualité vers ou à partir de votre ordinateur, puis d’utiliser ensuite un logiciel de montage vidéo tel que iMovie pour monter vos images vidéo. • Connecter un disque dur FireWire externe pour faire une copie de sauvegarde des données ou transférer des fichiers. Une unité de disque avec icône FireWire apparaît sur votre bureau une fois que vous connectez le disque dur à votre Power Mac G5. Certains disques durs FireWire sont alimentés via le câble FireWire, ce qui vous dispense de les brancher sur une source d’alimentation externe. • Si une défaillance empêche votre ordinateur de démarrer ou de transférer des fichiers, il est possible de connecter votre Power Mac G5 à un autre ordinateur via FireWire afin que votre Power Mac G5 apparaisse comme un disque dur externe sur l’autre ordinateur (fonctionnalité appelée mode disque cible FireWire). Consultez ci-dessous la section “Mode disque cible FireWire” pour plus d’informations. Pour utiliser un périphérique FireWire, connectez-le à l’ordinateur et installez les pilotes éventuellement fournis avec le périphérique. Votre ordinateur détecte automatiquement la connexion d’un nouveau périphérique. Pour démarrer à partir d’un disque dur FireWire sur lequel est installé Mac OS X, sélectionnez menu Pomme (K) > Préférences Système, cliquez sur Disque de démarrage et sélectionnez le disque dur FireWire. Si votre disque dur FireWire ne figure pas dans la liste ou que vous ne pouvez pas le sélectionner, contactez votre revendeur pour obtenir des pilotes mis à jour. Pour déconnecter votre disque dur FireWire en toute sécurité, faites glisser son icône dans la Corbeille avant de déconnecter le câble FireWire. Mode disque cible FireWire Si vous souhaitez transférer des fichiers de votre Power Mac G5 vers un autre ordinateur équipé de la technologie FireWire, ou que vous êtes confronté à un problème qui empêche le démarrage de votre ordinateur, utilisez le mode disque cible FireWire pour connecter votre Power Mac G5 à un autre ordinateur. Remarque : pour que votre Power Mac G5 puisse fonctionner en mode disque cible FireWire, l’ordinateur associé doit disposer de n’importe quelle version de Mac OS X ou de Mac OS 9 et de FireWire version 2.3.3 ou ultérieure. Utilisez Informations Système, dans les répertoires Applications/Utilitaires, pour vérifier la version de FireWire installée. Si l’autre ordinateur dispose d’une version antérieure, vérifiez s’il existe une mise à jour sur le site Web AppleCare Support à l’adresse www.apple.com/support. 30 Chapitre 2 Utilisation de votre ordinateur Pour connecter votre Power Mac G5 en mode disque cible FireWire : 1 Éteignez votre Power Mac G5. 2 Utilisez un câble FireWire muni de connecteurs appropriés à 6 ou 9 broches à chaque extrémité pour connecter votre ordinateur à un autre ordinateur équipé de FireWire. 3 Démarrez ou redémarrez votre Power Mac G5 et maintenez immédiatement la touche T enfoncée. Le moniteur de votre Power Mac G5 affiche l’indicateur de mode du disque FireWire et l’icône du disque dur interne du Power Mac G5 apparaît sur le bureau de l’autre ordinateur. 4 Lorsque vous avez terminé le transfert de fichiers : sur l’autre ordinateur, glissez l’icône du disque dur Power Mac G5 jusqu’à la Corbeille pour démonter le disque. 5 Appuyez sur le bouton d’alimentation du Power Mac G5 pour éteindre ce dernier, puis déconnectez le câble FireWire. Informations supplémentaires sur la technologie FireWire Des informations supplémentaires relatives à FireWire sont disponibles sur le site Web FireWire d’Apple à l’adresse www.apple.com/firewire. Vous trouverez également des informations dans l’Aide Mac OS. Choisissez Aide > Aide Mac, puis recherchez “FireWire”. Pour obtenir des informations sur les périphériques FireWire disponibles pour votre ordinateur, consultez le Guide des produits Macintosh à l’adresse www.apple.com/guide. Utilisation des périphériques audio Votre Power Mac G5 est doté de nombreux dispositifs audio, notamment une prise casque en façade, ainsi que des ports de sortie audio numérique, entrée audio numérique optique, sortie audio analogique et entrée audio analogique à l’arrière. Ports audio numérique optique Un câble numérique optique ou Toslink permet de connecter un lecteur Digital Audio Tape (DAT) ou un lecteur CD au port d’entrée audio numérique optique, pour enregistrer et mixer votre propre musique. Chapitre 2 Utilisation de votre ordinateur 31 Vous pouvez également brancher un récepteur audio ou audiovisuel (AV) au port de sortie audio numérique optique pour construire un système home cinema à partir du Power Mac G5. Prise pour écouteurs Sur l’ordinateur, la prise pour écouteurs est prévue pour brancher des écouteurs. Lorsqu’une prise y est insérée, votre haut-parleur intégré est désactivé. Important : ne branchez pas de périphériques de sortie dans la prise pour écouteurs. Utilisez pour cela le port de sortie analogique à l’arrière. Ports audio analogique Au dos de l’ordinateur, les mini-jacks d’entrée et sortie analogique permettent de connecter un microphone externe ou d’autres équipements audio. Pour sélectionner le périphérique audio d’entrée ou de sortie à employer, utilisez la fenêtre Son des Préférences Système. Port optique d’entrée audio numérique Port optique de sortie audio numérique Câble optique numérique Câble optique numérique Récepteur AV Vers haut-parleurs ou autres sorties Lecteur CD ou autre source numérique32 Chapitre 2 Utilisation de votre ordinateur Utilisation de appareils Bluetooth Votre Power Mac G5 peut se connecter et transférer des informations vers des périphériques exploitant la technologie sans fil Bluetooth®, comme le clavier et la souris sans fil d’Apple, des téléphones portables, des assistants numériques personnels (PDA) et des imprimantes, ce qui permet ainsi d’éliminer les câbles servant traditionnellement à relier les périphériques. Les périphériques Bluetooth peuvent communiquer entre eux dans un rayon de 10 mètres. Si votre ordinateur est fourni avec un module Bluetooth intégré, assurez-vous de branchez l’antenne Bluetooth accompagnant votre ordinateur dans le port d’antenne Bluetooth ( ) à l’arrière de l’ordinateur. La petite antenne cylindrique Bluetooth permet la réception des périphériques Bluetooth. Insérez l’antenne Bluetooth dans le port prévu à cet effet.Chapitre 2 Utilisation de votre ordinateur 33 Voici quelques activités réalisables avec la technologie sans fil Bluetooth : • Utiliser un clavier Apple Wireless Keyboard ou une souris Apple Wireless Mouse avec votre Power Mac G5. • Communiquer avec votre assistant personnel (PDA). 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 votre Power Mac G5 pour communiquer avec un téléphone mobile compatible avec la technologie Bluetooth. Utiliser iSync pour mettre à jour votre téléphone avec les informations de contact du Carnet d’adresses de votre Macintosh. Si votre Power Mac G5 n’est pas équipé d’un module Bluetooth, vous pouvez télécharger le logiciel Bluetooth et connecter un adaptateur USB Bluetooth externe d’une autre marque à l’un des ports USB disponibles sur votre ordinateur. Pour plus d’informations sur la technologie sans fil Bluetooth Si votre ordinateur a été livré avec un module Bluetooth intégré, vous pouvez obtenir de l’aide sur l’utilisation de la technologie Bluetooth en ouvrant l’application Échange de fichiers Bluetooth (dans le répertoire Applications/Utilitaires) et en sélectionnant Aide Bluetooth dans le menu Aide. Vous trouverez d’autres informations sur le site Web Bluetooth d’Apple, à l’adresse www.apple.com/bluetooth. Important : les modules Bluetooth ne peuvent pas être installés par l’utilisateur. Si vous avez acheté un Power Mac G5 sans module Bluetooth, vous pouvez acheter un adaptateur externe Bluetooth USB chez votre revendeur agréé Apple, dans un centre de distribution Apple ou en ligne sur Apple Store à l’adresse www.apple.com/store.34 Chapitre 2 Utilisation de votre ordinateur Utilisation de votre lecteur optique Votre lecteur optique permet d’installer ou d’exécuter des applications à partir de CD ou DVD. Il permet également de lire des données multimédia à partir de CD, d’écouter de la musique à partir de CD audio, de graver de la musique, des documents et autres fichiers numériques sur des disques CD-R ou CD-RW. Vous pouvez également lire des films DVD et utiliser la plupart des disques DVD. Si votre ordinateur est équipé d’un graveur SuperDrive, vous pouvez enregistrer des informations sur disques DVD-R (DVD enregistrables) vierges. Remarque : si vous disposez de logiciels anciens stockés sur disquettes, contactez les éditeurs concernés pour savoir s’il existe des versions disponibles sur CD ou achetez un lecteur de disquettes USB externe adapté à votre Power Mac G5 chez votre distributeur agréé Apple, dans un centre de distribution Apple ou sur le site Apple Store à l’adresse www.apple.com/store. Insertion d’un disque Pour installer ou utiliser des programmes à partir de CD ou de DVD : 1 L’ordinateur étant allumé, ouvrez le lecteur en appuyant sur la touche d’éjection de disque ( ) de votre clavier Apple Pro Keyboard. 2 Placez un disque sur le plateau en veillant à le poser bien à plat, étiquette vers le haut. 3 Appuyez à nouveau sur la touche d’éjection de disque ( ) ou poussez doucement le plateau afin de le fermer. Dès que l’icône du disque s’affiche à l’écran, le disque est prêt à être utilisé. Éjection d’un disque Vous pouvez éjecter un disque soit en glissant son icône dans la Corbeille, soit en appuyant sur la touche d’éjection de disque ( ) de votre clavier Apple. Vous pouvez également éjecter un disque en maintenant le bouton de la souris enfoncé lors du redémarrage de votre ordinateur.Chapitre 2 Utilisation de votre ordinateur 35 Enregistrement d’informations sur CD Votre lecteur optique permet de graver vos morceaux de musique, programmes et fichiers favoris sur des disques CD-R et CD-RW. Créez vos propres CD de musique et écoutez-les sur n’importe quel lecteur audio standard. Vous pouvez également enregistrer des fichiers informatiques, tels que des applications, des documents ou autres fichiers numériques sur un CD enregistrable. Avec les disques enregistrables CD-R (CD enregistrable), vous ne pouvez enregistrer les informations qu’une seule fois. Bien que vous ne puissiez pas modifier les informations enregistrées, vous avez peut-être la possibilité d’ajouter des informations jusqu’à ce que le disque soit plein, selon l’application utilisée. Pour obtenir des informations spécifiques concernant l’enregistrement sur votre disque CD-R, reportez-vous à la documentation fournie avec votre application. Il est préférable d’utiliser des disques CD-R pour graver des CD audio, car il se peut que votre lecteur CD ne puisse pas lire les disques CD-RW (disques réenregistrables). Avec les disques CD-RW, vous pouvez sauvegarder et modifier des informations sur un même CD à l’infini. Toutefois, certains logiciels conçus pour enregistrer des fichiers multimédia sur CD ne peuvent enregistrer qu’une seule fois des données sur un disque. Pour enregistrer de la musique provenant de la bibliothèque iTunes sur un CD-R : 1 Ouvrez iTunes (cliquez sur son icône dans le Dock). 2 Sélectionnez la liste de lecture à enregistrer. 3 Insérez un disque CD-R vierge. 4 Cliquez sur le bouton Graver le CD, en haut de la fenêtre iTunes. Pour enregistrer des données sur un CD-R à partir du Finder : 1 Insérez un disque CD-R vierge. 2 Dans la boîte de dialogue qui apparaît, attribuez un nom au disque et sélectionnez le format souhaité. Une icône correspondant au CD apparaît sur le bureau. 3 Double-cliquez sur l’icône du CD, 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. Pour savoir comment faire afin d’enregistrer des fichiers musicaux sur un CD avec iTunes, consultez l’Aide iTunes. Ouvrez iTunes (dans Applications) et sélectionnez Aide > Aide iTunes et Music Store.36 Chapitre 2 Utilisation de votre ordinateur Enregistrement d’informations sur un DVD Si vous disposez d’un SuperDrive, vous pouvez enregistrer un DVD interactif avec vos propres films numériques sur un disque DVD-R (DVD enregistrable) vierge. Vous pouvez également enregistrer d’autres types de données numériques sur les disques DVD-R afin, par exemple, de sauvegarder des fichiers. Toutefois, une fois que vous avez enregistré des informations sur un disque DVD-R, elles ne peuvent plus être écrasées. Avec les applications telles que iDVD ou DVD Studio Pro, vous pouvez créer votre propre projet DVD personnalisé, le graver sur un disque DVD-R et le lire sur la plupart des lecteurs DVD standards. Pour graver un disque avec iDVD : 1 Ouvrez iDVD ainsi que votre projet DVD final. 2 Cliquez sur le bouton Graver le DVD. 3 Insérez un disque DVD-R vierge dans le graveur dès qu’un message vous y invite. 4 Cliquez de nouveau sur le bouton Graver le DVD. Pour graver des données sur un DVD-R à partir du Finder : 1 Insérez un disque DVD-R vierge dans le graveur. 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. Pour plus d’informations sur iDVD, ouvrez iDVD (dans Applications) et sélectionnez l’Aide iDVD dans le menu Aide. Utilisation de votre modem Votre Macintosh peut être fourni avec un modem interne 56 K Apple. Pour connecter le modem interne 56K Apple, branchez l’une des extrémités du câble modem ou du câble RJ-11 sur le port du modem qui se trouve à l’arrière de l’ordinateur et l’autre extrémité sur une prise téléphonique RJ-11 standard. Port modem Icône du port modemChapitre 2 Utilisation de votre ordinateur 37 Important : veillez à connecter le modem interne à une ligne téléphonique analogique (type le plus répandu chez les particuliers). S’il est branché sur une ligne téléphonique numérique, le modem ne fonctionnera pas et risquera même d’être endommagé. Pour obtenir des informations sur la manière d’établir une connexion à Internet, consultez l’annexe C, “Connexion à Internet”, à la page 93. Des informations supplémentaires à propos du modem interne sont également disponibles dans l’Aide Mac OS. Connexion à un réseau Ethernet Votre ordinateur comprend des fonctionnalités intégrées de mise en réseau Ethernet par câbles à paires torsadées à un débit de 10/100/1000 mégabits par seconde (Mbps). Vous pouvez les utiliser pour vous connecter à un réseau, à un modem câble ou à un modem DSL. La connexion à un réseau vous donne accès à d’autres ordinateurs Elle vous permet de stocker et de récupérer des informations, d’utiliser les imprimantes d’un réseau et une messagerie électronique ou de vous connecter à Internet. Vous pouvez également utiliser Ethernet pour partager des fichiers entre deux ordinateurs ou établir un petit réseau. Si vous vous connectez à un réseau existant, vous pouvez obtenir des renseignements sur le réseau lui-même et sur les logiciels nécessaires à son utilisation auprès de l’administrateur de réseau qui supervise son fonctionnement. Avant de commencer, identifiez votre administrateur de réseau. Suivez les instructions ci-après lorsque vous choisissez un câble pour votre réseau : Connexion à un réseau Ethernet à paires torsadées Vous pouvez vous connecter directement à un réseau Ethernet 10/100/1000 à paires torsadées. Remarque : vous pouvez également connecter votre ordinateur à un réseau Ethernet utilisant des câbles coaxiaux fins. Pour cela, procurez-vous un adaptateur coaxial fin RJ-45 (disponible auprès d’autres fabricants). Adressez-vous à votre revendeur agréé Apple pour plus d’informations sur les adaptateurs de support Ethernet. Avertissement : par temps d’orage, déconnectez votre modem de la prise téléphonique pour éviter qu’il ne soit endommagé par une surcharge de tension. Type de port Ethernet à paires torsadées Types de câbles à paires torsadées à utiliser 10 Mbps Classe 3, 5 ou 6 100/1000 Mbps Classe 5 ou 638 Chapitre 2 Utilisation de votre ordinateur Pour connecter votre Macintosh à un réseau centralisé Ethernet 10/100/1000 à paires torsadées : 1 Connectez l’extrémité d’un câble à paire torsadée RJ-45 au port Ethernet de votre Macintosh. 2 Connectez l’autre extrémité à une prise murale RJ-45 ou à un concentrateur externe Ethernet RJ-45 relié à un réseau Ethernet à paires torsadées. Après avoir démarré l’ordinateur, vous devez configurer votre logiciel de connexion au réseau. Votre administrateur de réseau peut vous fournir les informations nécessaires. Vous pouvez également obtenir de l’aide pour la configuration de votre logiciel de réseau en consultant l’Aide Mac OS dans le menu Aide. Pour configurer les réglages Réseau : 1 Sélectionnez menu Pomme (K) > Préférences Système puis cliquez sur Réseau. 2 Dans le menu local Afficher, sélectionnez Ethernet intégré. 3 Cliquez sur l’onglet TCP/IP et saisissez les informations concernant votre réseau. Par défaut, le réglage est Configurer : Via DHCP. 4 Cliquez sur Appliquer. Port Ethernet (Ethernet à paire torsadée) Prise murale RJ-45 Câble Ethernet à paire torsadée Commutateur ou concentrateur EthernetChapitre 2 Utilisation de votre ordinateur 39 Informations supplémentaires sur l’utilisation d’Ethernet Des informations supplémentaires, y compris sur la configuration d’un réseau Ethernet ou le transfert de fichiers via Ethernet, sont disponibles dans l’Aide Mac OS. Choisissez Aide > Aide Mac, puis recherchez “Ethernet” ou “réseau”. Pour plus d’informations sur la mise en réseau de votre Power Mac G5, consultez le Support AppleCare à l’adresse www.apple.com/support. Pour des informations sur les produits de mise en réseau que vous pouvez utiliser avec votre Power Mac G5, consultez le Guide des Produits Macintosh à l’adresse www.apple.com/guide. Accès sans fil à Internet et à votre réseau local via AirPort AirPort constitue une méthode simple et peu coûteuse pour établir un accès sans fil à Internet à partir de n’importe quel endroit dans une maison, un bureau ou une salle de classe. 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. Votre Power Mac G5 est préconfiguré pour l’utilisation d’AirPort. La seule chose que vous avez à ajouter est une carte AirPort Extreme. Voir “Installation d’une carte AirPort Extreme” à la page 69. Vous devez installer cette dernière dans un logement à l’intérieur de l’ordinateur, la connecter directement à l’extrémité d’un fil d’antenne intégré et installer une antenne AirPort. Pour obtenir des instructions sur l’utilisation de votre carte AirPort Extreme, consultez la brochure fournie avec votre carte et intitulée À propos de votre carte AirPort Extreme . Connexions sans fil à un réseau En installant une carte AirPort Extreme, vous pourrez : • Connecter votre ordinateur à un réseau disposant d’un accès sans fil. • Utiliser votre ordinateur pour permettre à d’autres ordinateurs d’accéder au réseau à l’aide de cartes de communication sans fil. • Établir une connexion sans fil et partager des données avec un autre ordinateur équipé d’une carte AirPort, une carte sans fil 802.11b ou une carte sans fil 802.11g. Pour plus d’informations sur la zone de couverture du point d’accès sans fil au réseau, adressez-vous à l’administrateur de réseau. Si votre ordinateur a été fourni avec une carte AirPort Extreme ou que vous en installez une, vous devez également installer dans le port d’antenne AirPort l’antenne AirPort fournie avec votre ordinateur( ) à l’arrière de l’ordinateur. Pour toute information supplémentaire, consultez la section “Installation d’une carte AirPort Extreme” à la page 69.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. Le combiné du téléphone établit une connexion sans fil avec la base qui est reliée à la ligne téléphonique. De même, votre ordinateur établit une connexion sans fil avec la borne qui est connectée à la ligne téléphonique ou à votre réseau Ethernet. Remarque : la carte Airport Extreme est compatible avec toutes les versions de la borne d’accès Airport. Important : plusieurs types d’objets placés près de l’ordinateur peuvent provoquer des interférences. Pour des informations sur la façon d’éviter les interférences, reportezvous aux instructions accompagnant la carte AirPort Extreme ou la borne d’accès AirPort Extreme. Pour plus d’informations, rendez-vous sur le site d’assistance AppleCare à l’adresse www.apple.com/support. Borne d’accès AirPort Extreme Connexion téléphonique ou Ethernet Chapitre 2 Utilisation de votre ordinateur 41 Informations supplémentaires sur AirPort Pour acheter une carte ou une borne d’accès AirPort Extreme, rendez-vous dans un centre de distribution Apple, contactez votre distributeur agréé Apple ou consultez le site Apple Store à l’adresse www.apple.com/store. Pour plus d’informations sur AirPort, recherchez le terme “AirPort” dans l’Aide Mac OS. Vous pouvez également trouver des informations sur le site Web AirPort d’Apple à l’adresse www.apple.com/airport. Suspension de l’activité de l’ordinateur pour économiser l’énergie Les ordinateurs Power Mac G5 sont configurés de manière à suspendre leur activité après une période d’inactivité. La suspension d’activité permet à votre ordinateur de consommer un minimum d’énergie. L’activité de l’ordinateur peut être suspendue à tout moment. Remarque : les ordinateurs Power Mac G5 sont réglés pour suspendre leur activité automatiquement après 15 minutes d’inactivité. Vous pouvez toutefois modifier les réglages de suspension d’activité automatique dans Préférences Système. À la réactivation de l’ordinateur, vos programmes, documents et réglages d’ordinateur réapparaissent exactement tels que vous les aviez laissés. Pour économiser davantage d’énergie, éteignez votre ordinateur lorsqu’il n’est pas utilisé. Vous pouvez utiliser une des méthodes suivantes pour mettre votre ordinateur en veille : • Appuyez sur le bouton d’alimentation situé à l’avant de l’ordinateur. • Choisissez menu Pomme (K) > Suspendre l’activité. • Sélectionnez menu Pomme (K) > Préférences Système, cliquez sur Économiseur d’énergie et choisissez un délai de suspension d’activité. Lorsque l’activité de l’ordinateur est suspendue, le témoin d’alimentation situé sur le panneau avant clignote. Pour réactiver l’ordinateur, appuyez sur le bouton d’alimentation en façade ou appuyez sur une touche du clavier. Vous pouvez également appuyer sur le bouton d’alimentation de certains moniteurs Apple pour suspendre l’activité de l’ordinateur ou le réactiver. Les cartes PCI ou les cartes de rechange AGP ne sont pas toutes conformes aux normes de consommation électrique de l’ordinateur. Si vous installez une carte non-conforme, l’ordinateur pourra toujours suspendre son activité, mais il se peut que les économies d’énergie obtenues ne soient pas optimales. Pour plus d’informations sur les options d’économie d’énergie, consultez l’Aide Mac OS.42 Chapitre 2 Utilisation de votre ordinateur Transfert d’informations entre deux ordinateurs Macintosh Si deux ordinateurs Macintosh ne sont pas connectés via un réseau Ethernet, AirPort ou Bluetooth, vous pouvez transférer des informations de l’un à l’autre en les reliant à l’aide d’un câble Ethernet Cat 5 standard (créant ainsi un mini réseau constitué de deux ordinateurs). Ce type de câble est disponible auprès d’un revendeur agréé Apple. Branchez le câble sur chaque port Ethernet de votre ordinateur et activez le partage de fichiers sur les deux ordinateurs. Vous pouvez également configurer les réglages Ethernet sur les deux ordinateurs pour créer un petit réseau. Vous devez d’abord activer le partage de fichiers sur les deux ordinateurs : 1 Choisissez menu Pomme (K) > Préférences Système. 2 Cliquez sur Partage, puis sur Démarrer. 3 Ouvrez les préférences Réseau, sélectionnez AppleTalk, puis Activer AppleTalk” Ensuite, procédez comme suit sur un seul ordinateur : 1 Choisissez Aller > “Se connecter au serveur”. 2 Cliquez sur Réseau local. 3 Sélectionnez l’ordinateur auquel vous souhaitez avoir accès. Pour plus d’informations sur la configuration Ethernet, recherchez “Ethernet“ dans l’Aide Mac OS. Si vous disposez d’un réseau sans fil Bluetooth ou AirPort, vous pouvez aussi transférer des informations entre deux ordinateurs Macintosh. Pour plus d’informations sur les réseaux sans fil AirPort ou Bluetooth, recherchez “AirPort” ou “Bluetooth” dans l’Aide Mac OS. Vous pouvez également connecter deux ordinateurs Macintosh à l’aide d’un câble FireWire. Cela vous permet d’utiliser le mode disque cible FireWire pour transférer des fichiers d’un ordinateur à l’autre. Pour plus d’informations, consultez la section “Mode disque cible FireWire” à la page 29. Si vous disposez d’une connexion à Internet, vous pouvez également transférer des fichiers via le Web vers votre iDisk .Mac, d’où ils peuvent être téléchargés par vous ou par un autre utilisateur .Mac.3 43 3 Interventions à l’intérieur de l’ordinateur Vous pouvez personnaliser et accroître les capacités de votre Power Mac G5 selon vos besoins. Ce chapitre fournit des informations et des instructions sur les interventions à l’intérieur de votre ordinateur et présente les procédures suivantes : • “Ouverture de l’ordinateur” à la page 44 • “Installation de mémoire” à la page 49 • “Installation d’unités de stockage internes” à la page 56 • “Installation d’une carte d’extension PCI ou remplacement de la carte AGP” à la page 64 • “Installation d’une carte AirPort Extreme” à la page 69 • “Remplacement de la pile” à la page 70 Avertissement : Apple recommande de faire appel à un technicien agréé Apple pour l’installation de modules de mémoire, de cartes d’extension PCI et d’unités de stockage internes. Consultez les informations relatives à l’assistance et à la maintenance fournies avec l’ordinateur pour savoir comment joindre un fournisseur de services agréé Apple. Si vous tentez d’installer vous-même ces composants, vous risquez d’endommager votre système et les dommages ne seront pas couverts par la garantie limitée de votre ordinateur. Adressez-vous à un revendeur ou à un centre de maintenance agréé Apple pour toute information complémentaire sur l’étendue de la garantie.44 Chapitre 3 Interventions à l’intérieur de l’ordinateur Ouverture de l’ordinateur 1 Avant d’ouvrir votre ordinateur, éteignez-le en sélectionnant le menu Pomme (K) > Éteindre. 2 Patientez 5 à 10 minutes, le temps que les composants internes de l’ordinateur refroidissent. 3 Touchez les couvercles métalliques d’accès PCI de l’arrière de l’ordinateur pour décharger l’énergie statique que peut emmagasiner votre corps. Important : veilllez à toujours vous décharger 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 du composant concerné et d’avoir refermé l’ordinateur. Avertissement : veillez à toujours éteindre votre Power Mac G5 avant de l’ouvrir pour éviter d’endommager ses composants internes ou les composants à installer. N’ouvrez pas votre ordinateur et n’essayez pas d’y installer des composants s’il est allumé. Avertissement : même une fois votre ordinateur éteint, les composants internes peuvent être très chauds. Laissez refroidir l’ordinateur avant de continuer. Touchez la partie métallique des capots d’accès aux ports PCI.Chapitre 3 Interventions à l’intérieur de l’ordinateur 45 4 Débranchez tous les câbles de l’ordinateur, excepté le câble d’alimentation. 5 Tenez le panneau latéral et soulevez le loquet à l’arrière de l’ordinateur. Avertissement : débranchez toujours votre Power Mac G5 pour éviter d’endommager ses composants internes ou ceux que vous souhaitez installer. N’essayez pas d’installer des composants dans l’ordinateur quand il est branché. Tout en maintenant le panneau latéral, soulevez la languette.46 Chapitre 3 Interventions à l’intérieur de l’ordinateur 6 Enlevez le panneau latéral. Important : lorsque vous ôtez le panneau latéral, tenez-le fermement. Écartez la partie supérieure du panneau de l’ordinateur et soulevez-la pour l’extraire.Chapitre 3 Interventions à l’intérieur de l’ordinateur 47 7 Démontez le déflecteur d’air et placez-le sur un tissu doux et propre. Important : n’oubliez pas de replacer le déflecteur d’air à la fin de l’intervention à l’intérieur de l’ordinateur. Votre ordinateur ne fonctionnera pas correctement sans le déflecteur d’air. Pour retirer l’extracteur d’air de l’ordinateur, soulevez-le et ôtez-le en tirant au niveau de l’alvéole.48 Chapitre 3 Interventions à l’intérieur de l’ordinateur 8 Tirez le ventilateur de façade par la poignée pour l’enlever de l’ordinateur. Mettez-le de côté. Remarque : il est inutile de démonter le ventilateur de façade pour installer des disques durs, des cartes PCI et AGP, ou pour remplacer la pile. Retirez le ventilateur de l’ordinateur.Chapitre 3 Interventions à l’intérieur de l’ordinateur 49 Installation de mémoire Selon le modèle, votre Power Mac G5 est doté de quatre ou huit logements pour modules DIMM de mémoire SDRAM DDR. Votre ordinateur est fourni avec au minimum 256 Mo de mémoire RAM, installée sous forme d’une paire de modules DIMM de 128 Mo dans deux des logements DIMM. Vous pouvez installer des paires supplémentaires de DIMM dans les logements DIMM disponibles sur la carte mère de votre ordinateur. Les modules DIMM doivent être installées par paires de capacité identique et se conformer aux caractéristiques suivantes : • 400 MHz, PC 3200 DIMM • 2,5 volts (V) • Module 184 broches • Nombre maximal d’éléments de mémoire sur la SDRAM DDR : 16 • Sans parité • Sans code de correction d’erreurs • Sans tampon ; n’utilisez pas de SDRAM DDR enregistrée ou avec tampon. Important : il se peut que la mémoire provenant d’anciens ordinateurs Macintosh ne soit pas compatible avec votre Power Mac G5. Remarque : lorsque vous achetez de la mémoire SDRAM DDR pour ordinateurs Macintosh, assurez-vous qu’elle est conforme aux spécifications JEDEC (Joint Electron Device Engineering Council). Vérifiez auprès de votre vendeur que la mémoire SDRAM DDR gère les modes d’horloge adéquats et que la fonction SPD (Serial Presence Detect) a été correctement programmée, conformément aux spécifications JEDEC. Pour vérifier la comptabilité de vos modules DIMM SDRAM DDR, consultez le guide des produits Macintosh sur le site Web d’Apple, à l’adresse www.apple.com/guide. Vous pouvez acheter de la mémoire de marque Apple sur le site Web Apple Store, à l’adresse store.apple.com.50 Chapitre 3 Interventions à l’intérieur de l’ordinateur Pour installer de la mémoire : 1 Ouvrez votre ordinateur, démontez le panneau latéral, le déflecteur d’air et le ventilateur en suivant les instructions commençant la page 44. 2 Localisez les logements DIMM dans l’ordinateur. Important : installez toujours les DIMM par paires de capacité égale et dans l’ordre indiqué par l’illustration ci-dessus. Quel que soit le nombre de logements de mémoire SDRAM fourni avec votre ordinateur, les modules DIMM SDRAM doivent être installés par pair (un DIMM par banque). Des modules DIMM sont déjà installés dans ces deux logements. Installez d’abord les modules supplémentaires dans les deux logements suivants. Si des logements sont disponibles et que vous désirez plus de mémoire, installez les modules DIMM supplémentaires de la même manière : par pairs, un par banque, du centre vers l’extérieur. Banque 1 Banque 2Chapitre 3 Interventions à l’intérieur de l’ordinateur 51 3 Ouvrez les éjecteurs des logements DIMM en les écartant. 4 Placez une main à l’arrière de l’ordinateur pour le maintenir, positionnez le premier DIMM dans le logement et poussez les deux extrémités du DIMM vers le bas jusqu’à ce que les languettes soient en position verticale et que les éjecteurs reprennent leur place. Important : ne touchez pas aux connecteurs du module DIMM. Manipulez le module DIMM en le tenant uniquement par les bords. 5 Positionnez le second DIMM dans le logement opposé et poussez jusqu’à ce que les éjecteurs reprennent leur place. Modules DIMM DDR SDRAM (La forme et les composants des modules DIMM peuvent varier.) L'insertion des modules DIMM DDR SDRAM dans le logement ne s’effectue que de la manière suivante : alignez l’entaille du module DIMM avec l’épaulement situé à l’intérieur du logement, puis une fois les éjecteurs ouverts (comme illustré ci-contre), enfoncez le module DIMM jusqu'à ce qu'il se mette en place. Les éjecteurs se ferment alors automatiquement. Connecteurs Entaille Logement DDR SDRAM Éjecteurs (Ils doivent être enfoncés vers l’extérieur, comme indiqué ci-dessus, pour être en position fermée.) Pour vous assurer que les modules DIMM sont correctement installés dans leur logement, maintenez d’une main l’ordinateur afin d’empêcher tout mouvement de ce dernier, puis enfoncez fermement avec l’autre main le module DIMM dans son logement. Votre ordinateur est équipé de 4 ou 8 logements DDR SDRAM, selon le modèle. Épaulement (à l’intérieur du logement)52 Chapitre 3 Interventions à l’intérieur de l’ordinateur 6 Replacez le ventilateur de façade en le repoussant fermement dans l’ordinateur via la poignée, jusqu’à connexion. Important : vérifiez que le ventilateur est inséré dans le connecteur sous peine que votre ordinateur ne fonctionne pas correctement. Tirez légèrement sur le ventilateur pour voir s’il est correctement connecté. S’il résiste et reste en place, c’est qu’il est correctement branché. Glissez la saillie en plastique du ventilateur dans la partie découpée de la cloison métallique située à l’intérieur de l’ordinateur. Le ventilateur doit être inséré dans ce connecteur.Chapitre 3 Interventions à l’intérieur de l’ordinateur 53 7 Replacez le déflecteur d’air. Important : n’oubliez pas de replacer le déflecteur d’air. Votre ordinateur ne fonctionnera pas correctement si le déflecteur d’air n’est pas en place. Insérez les trois languettes du déflecteur d’air dans les logements prévus à cet effet, puis mettez-le en place.54 Chapitre 3 Interventions à l’intérieur de l’ordinateur 8 Replacez le panneau latéral. Important : replacez toujours le panneau latéral avant de démarrer votre ordinateur. Votre ordinateur ne fonctionnera pas correctement si le panneau latéral n’est pas en place. Insérez le panneau latéral dans le logement de l’ordinateur prévu à cet effet, puis remettez en place le panneau latéral.Chapitre 3 Interventions à l’intérieur de l’ordinateur 55 9 Poussez le loquet vers le bas pour verrouiller le panneau latéral. Important : lorsque vous replacez le panneau latéral, maintenez-le bien de façon qu’il reste bien en place lorsque vous abaissez le loquet. Tout en maintenant le panneau latéral contre l’ordinateur, abaissez le loquet jusqu’à ce qu’il soit bien fixé à l’arrière de l’ordinateur. Pour verrouiller le panneau latéral ou par mesure de sécurité, abaissez la languette de verrouillage avant de fermer le loquet, de manière à pouvoir fixer un verrou ou un câble à la boucle métallique.56 Chapitre 3 Interventions à l’intérieur de l’ordinateur Installation d’unités de stockage internes Votre Macintosh dispose de trois baies d’unités internes : une baie de lecteur optique et deux baies de disque dur. Dans la plupart des configurations, un disque dur occupe la baie de disque dur du haut et un lecteur optique se trouve dans la baie de lecteur optique de devant. Vous pouvez ajouter un disque dur Serial ATA dans le logement vide de la baie de disque dur. Les disque durs doivent respecter les spécifications suivantes : • Type : serial ATA • Largeur : 102 mm (3,9 pouces) • Profondeur : 147 mm (5,7 pouces) • Hauteur : 25,4 mm (1 pouce) Important : utilisez les câbles Apple d’origine fournis avec votre Macintosh quand vous installez des disque durs ATA ou des lecteurs optiques. Pour plus d’informations sur les conditions requises et les périphériques compatibles, consultez votre distributeur agréé Apple et la section d’assistance technique du site Web Apple sur www.apple.com/support.Chapitre 3 Interventions à l’intérieur de l’ordinateur 57 Installation de disques durs Serial ATA Votre Macintosh peut accueillir un disque dur Serial ATA supplémentaire d’une hauteur de 25,4 mm (1 pouce ) dans la baie de disque dur, soit un total de deux disques durs. Votre ordinateur est fourni avec un disque dur Serial ATA, généralement dans la baie de disque dur du haut. Vous pouvez installer un deuxième disque dur Serial ATA dans la baie de disque dur inférieure. 1 Ouvrez votre ordinateur et ôtez le panneau latéral en suivant les instructions commençant la page 44. 2 Dévissez les quatre guides de disque dur du côté gauche de la baie de disque dur et vissez-les sur les côtés du disque dur comme illustré ci-dessus. Important : si la carte à circuit imprimé est visible au-dessous du disque dur, tenez le disque par ses côtés. Pour éviter d’endommager le disque dur, ne touchez pas le circuit imprimé pendant l’installation. Insérez les quatre guides de l’unité dans quatre des trous taraudés sur les côtés de celle-ci. Utilisez, si possible, les trous situés aux coins. Pour pouvoir relier les câbles d’alimentation et de données, l’unité doit être dotée de ces connecteurs en forme de lame. Certaines unités peuvent également être équipées de connecteurs en forme de broche. Ceux-ci ne permettent pas la connexion de câbles. Les quatre guides de l’unité se trouvent sur la cloison en plastique à côté des baies de disque dur.58 Chapitre 3 Interventions à l’intérieur de l’ordinateur 3 Pour installer un disque dur supplémentaire, glissez-le dans la baie de disque inférieure, en insérant les guides du disque dur dans les rails du bas, et poussez doucement le disque dur jusqu’à ce qu’il soit en place. 4 Pour remplacer le disque dur dans la baie de disque supérieure, retirez de celle-ci le disque dur d’origine et faites-le glisser légèrement vers le bas jusqu’à ce que la baie de disque soit vide. Faites glisser le disque de remplacement dans la baie de disque supérieure, en insérant les guides du disque de devant dans le rail du milieu. Enclenchez les guides du disque de derrière dans le rail supérieur à mesure que le disque s’emboîte dans la baie de disque. Poussez doucement le disque dans la baie jusqu’à ce qu’il soit en place. Insérez les guides du disque dur dans le rail inférieur et glissez le disque jusqu'à ce qu’il soit en place. Guides du disque durChapitre 3 Interventions à l’intérieur de l’ordinateur 59 Remarque : si un disque dur est installé dans la baie de disque inférieure, retirez-le avant de remplacer le disque dur de la baie de disque supérieure. 5 Abaissez la languette de la baie de disque pour verrouiller le disque dur. 6 Reliez au disque dur le câble d’alimentation et le câble de données Serial ATA. 7 Replacez le panneau latéral en suivant les instructions qui commencent la page 54. Pour installer un lecteur de remplacement dans la baie supérieure du disque dur, placez les guides avant dans les rails du milieu et enfoncez le lecteur. Les guides arrière doivent suivre les rails supérieurs au fur et à mesure de son installation dans la baie. Glissez le lecteur jusqu'à ce qu’il se mette en place et consolidez son installation à l’aide de la languette de la baie supérieure. Guides du disque dur Connectez le câble d’alimentation et le câble de données au lecteur du disque dur. Afin de consolider l’installation du disque dur, rabaissez la patte des baies jusqu'à ce qu'elle soit en position fermée (horizontale). Reliez le câble d’alimentation et celui des données au disque dur. 60 Chapitre 3 Interventions à l’intérieur de l’ordinateur Remplacement du lecteur optique Votre ordinateur est fourni avec un lecteur optique, de type SuperDrive ou Combo. Suivez ces instructions pour replacer le lecteur optique dans la baie de lecteur optique. Important : pour savoir si votre lecteur est réglé pour le mode de sélection par câble, adressez-vous au fabricant ou visitez son site Web. Avant l’installation, réglez le lecteur sur la sélection par câble si cela n’a pas été fait par le fabricant. 1 Ouvrez votre ordinateur et ôtez le panneau latéral en suivant les instructions qui commencent la page 44. 2 Débranchez le câble en nappe du lecteur optique de la carte mère. 3 Relevez les leviers du lecteur optique pour le libérer. Avant d’extraire le lecteur optique, déconnectez ce câble de la carte mère. Ouvrez les deux leviers du lecteur optique.Chapitre 3 Interventions à l’intérieur de l’ordinateur 61 4 Glissez soigneusement une partie du lecteur en dehors de la baie. 5 Débranchez le câble en nappe au dos du lecteur d’origine et tirez doucement sur le câble via l’ouverture dans la cloison métallique à l’arrière de la baie de lecteur optique. 6 Insérez deux ou trois doigts dans l’ouverture à l’arrière de la baie de lecteur optique et repoussez le lecteur légèrement pour pouvoir le retirer de l’ordinateur. 7 Débranchez le câble d’alimentation du lecteur. 8 Dévissez les quatre tenons de guidage situés au-dessous du lecteur optique d’origine et positionnez-les au-dessous du lecteur de remplacement. 9 Retirez la protection métallique à l’avant du lecteur et positionnez-la à l’avant du lecteur de remplacement. Retirez la protection métallique du lecteur optique. Retirez les quatre tenons de guidage métalliques du lecteur optique situés au-dessous de celui-ci. Retirez le câble d’alimentation de l’arrière du lecteur optique. Retirez le lecteur de la baie en insérant deux doigts dans l’ouverture du câble en nappe et en poussant sur le lecteur. Retirez le câble en nappe de l’arrière du lecteur optique. Glissez l’autre extrémité du câble à travers l’ouverture de la cloison métallique située à l’intérieur de l'ordinateur.62 Chapitre 3 Interventions à l’intérieur de l’ordinateur 10 Débranchez soigneusement le câble en nappe du haut du lecteur d’origine et rebranchez-le sur le lecteur de remplacement. Important : placer de la bande adhésive réutilisable sur le dessous du câble en nappe permet de maintenir le câble sur le lecteur. Lors de la déconnexion du câble du lecteur d’origine, veillez à conserver la bande avec le câble. 11 Branchez le connecteur du câble en nappe et le câble d’alimentation à l’arrière du lecteur de remplacement. 12 Insérez partiellement le lecteur dans la baie de disque, pliez l’extrémité libre du câble en nappe, et passez-la dans l’ouverture de la cloison métallique à l’arrière de la baie de lecteur optique. Installez la protection métallique sur le lecteur optique. Insérez les quatre tenons de guidage métalliques du lecteur optique dans la partie inférieure de celui-ci. Reliez le câble d’alimentation à la partie arrière du lecteur optique. Reliez le câble en nappe à la partie arrière du lecteur optique. Glissez l’autre extrémité de ce câble (vers le bas) à travers l’ouverture de la cloison métallique située à l’intérieur de l’ordinateur. Chapitre 3 Interventions à l’intérieur de l’ordinateur 63 13 Glissez le reste du lecteur dans la baie de disque en l’alignant avec les tenons de guidage, et poussez doucement le lecteur en place. 14 Lorsque le lecteur est installé correctement, les leviers du lecteur optique se referment. S’ils ne se referment pas, appuyez doucement dessus. 15 Reliez le câble en nappe du lecteur optique à son connecteur sur la carte mère. 16 Replacez le panneau latéral en suivant les instructions qui commencent la page 54. Pour installer le lecteur optique, enfoncez-le de sorte à ce que les broches d’alignement s’insèrent dans les quatre logements de l’ordinateur. Une fois l’installation terminée, fermez les leviers du lecteur optique. Reliez à nouveau le câble au connecteur de la carte mère. 64 Chapitre 3 Interventions à l’intérieur de l’ordinateur Installation d’une carte d’extension PCI ou remplacement de la carte AGP Vous pouvez accroître les capacités de votre Power Mac G5 en installant des cartes dans ses logements d’extension. Votre Power Mac G5 dispose de quatre logements de cartes d’extension : trois réservés aux cartes PCI (Peripheral Component Interconnect) et un destiné à accueillir une carte AGP (Advanced Graphics Port). Les cartes AGP et PCI étant munies de connecteurs différents, vous ne pouvez pas insérer une carte PCI dans un logement destiné à une carte AGP. À propos des cartes AGP Votre carte AGP, installée dans le logement 1, contient l’unité de processeur graphique (GPU - graphics processor unit) et fournit les ports du moniteur de l’ordinateur. Le logement 1 est spécialement conçu pour accueillir les cartes AGP. Ce logement à 533 mégahertz (MHz) abrite les cartes AGP à 1,5 volt (V) (voir l’illustration la page 67). Vous pouvez remplacer la carte fournie avec votre ordinateur par une carte AGP 8X ou AGP 8X Pro. Les cartes AGP de rechange doivent disposer de pilotes compatibles Mac OS X. À propos des cartes d’extension PCI Votre Macintosh compte trois logements d’extension (numéros 2, 3 et 4) qui acceptent des cartes d’une longueur maximale de 30 mm (12 pouces). Selon le modèle de votre Power Mac G5, vous pouvez installer des cartes PCI ou PCI-X. Type de carte prise en charge Logement Vitesse de la carte PCI1 logements 2, 3 et 4 64 bits, 33 MHz PCI-X logements 2 et 3 logement 4 64 bits, 100 MHz 64 bits, 133 MHz 1Les logements PCI peuvent contenir des cartes de différentes tensions (5,0 V, 12 V ou 3,3 V), mais uniquement en signalisation 3,3 V, avec des tailles de données de 32 ou 64 bits et une fréquence de 33 MHz. Vous pouvez installer une carte cadencée à 66 MHz dans un logement PCI 33 MHz si la carte fonctionne également à la fréquence inférieure de 33 MHz. Avertissement : n’installez pas dans les logements PCI 33 MHz de cartes PCI ne fonctionnant qu’à 66 MHz : cela risquerait d’endommager votre matériel. Si vous avez une carte PCI fonctionnant à 66 MHz, vérifiez auprès de son fabricant qu’elle peut également fonctionner à 33 MHz.Chapitre 3 Interventions à l’intérieur de l’ordinateur 65 La quantité totale d’énergie consommée par les quatre logements d’extension (les trois cartes d’extension PCI et la carte AGP) ne doit pas excéder 90 watts (W). Pour savoir si votre ordinateur dispose de logements PCI ou PCI-X, lisez l’étiquette d’identification, située sur le côté de l’ordinateur, en bas, sous le déflecteur d’air. Vous pouvez aussi identifier votre modèle en fonction du nombre de logements DIMM. Les ordinateurs dotés de 4 logements DIMM ont des logements PCI 33 MHz ; les ordinateurs dotés de 8 logements DIMM disposent de logements PCI-X 100 et 133 MHz. L’étiquette d’identification de votre ordinateur vous propose des informations sur la configuration matérielle. Elle contient des codes et présente la même forme que l’étiquette illustrée ci-dessous. Si votre ordinateur est équipé de logements PCI-X, il sera répertorié dans la présente liste. Dans le cas contraire, il est alors doté de logements PCI. 66 Chapitre 3 Interventions à l’intérieur de l’ordinateur Installation de votre carte Vous pouvez installer une carte AGP uniquement dans le logement 1. Le logement AGP accepte des cartes AGP ou AGP Pro standard. Vous pouvez indifféremment installer des cartes PCI ou PCI-X dans les logements PCI 2, 3 et 4. Voir le tableau de la page 64. 1 Ouvrez votre ordinateur et ôtez le panneau latéral et le déflecteur d’air en suivant les instructions de la page 44. 2 Enlevez la vis du capot d’accès aux ports, retirez le capot et mettez-le de côté. Remarque : pour éviter que les vis du capot d’accès PCI tombent dans le boîtier, employez un tournevis magnétique, disponible dans la plupart des magasins d’électronique. Attention à ne pas placer le tournevis magnétique près des disques durs ou de support tels que CD ou DVD. Avertissement : éteignez et débranchez toujours votre Power Mac G5 pour éviter d’endommager ses composants internes ou ceux que vous souhaitez installer. Attendez 5 ou 10 minutes pour qu’il refroidisse. N’essayez pas d’y installer des composants quand il est branché. Capot d’accès aux ports Enlevez la vis qui maintient en place le capot d’accès aux ports. Si vous devez retirer la carte du logement AGP, faites en sorte de libérer la languette de retenue.Chapitre 3 Interventions à l’intérieur de l’ordinateur 67 3 Sortez la carte à installer de son sachet antistatique en la tenant par les coins et en veillant à ne toucher ni le connecteur en or, ni aucun des composants. 4 Alignez le connecteur de la carte sur le logement d’extension, puis appuyez vers le bas jusqu’à ce que le connecteur soit enclenché. Si vous installez une carte de 30 mm (12 pouces), assurez-vous que la carte est engagée dans le guide approprié. Ouverture d’accès au port Logement PCI Remettez la vis afin de consolider l’installation de la carte. Si vous installez une carte PCI pleine longeur (12 pouces), veillez à ce qu’elle tienne dans l’un des guides de la carte.68 Chapitre 3 Interventions à l’intérieur de l’ordinateur Appuyez sur la carte délicatement mais fermement jusqu’à ce que le connecteur soit complètement enclenché. • Ne balancez pas la carte d’un côté à l’autre. Enfoncez-la verticalement dans le logement. • Insérez la carte sans forcer. En cas de résistance, retirez la carte. Vérifiez si le connecteur et le logement sont endommagés ou obstrués, puis essayez à nouveau. • Tirez légèrement sur la carte pour voir si elle est correctement connectée. Si elle résiste, reste en place et que ses connecteurs en or sont à peine visibles, la carte est connectée. 5 Réinsérez la vis du capot d’accès aux ports, puis serrez-la afin de maintenir la carte en place. 6 Replacez le déflecteur d’air et le panneau latéral, en suivant les instructions la page 53. Avertissement : si vous retirez une carte sans en installer une autre, veillez à recouvrir le logement vide au moyen d’un capot d’accès aux ports. Les capots permettent d’empêcher l’entrée d’objets étrangers dans l’enceinte. Un logement non couvert peut affecter la circulation d’air qui refroidit les composants internes de l’ordinateur et causer des dommages.Chapitre 3 Interventions à l’intérieur de l’ordinateur 69 Installation d’une carte AirPort Extreme AirPort permet d’accéder sans fil à Internet en toute simplicité ; cela sans vous ruiner et n’importe où, que ce soit chez vous, au bureau ou dans un établissement scolaire. Vous pouvez installer une carte AirPort Extreme sur votre Power Mac G5. Important : vous devez installer une carte AirPort Extreme. Les anciennes cartes Airport ne fonctionnent pas dans le Power Mac G5. 1 Ouvrez votre ordinateur conformément aux instructions de la page 44. 2 Positionnez la carte Airport Extreme avec le logo Apple vers le haut, insérez la carte dans le logement et enfoncez-la fermement dans le connecteur. 3 Connectez avec soin le câble coaxial de l’antenne au port de l’extrémité de la carte AirPort Extreme. Insérez la carte AirPort Extreme (le logo Apple vers le haut) dans le logement prévu à cet effet. Enfoncez-la fermement dans le connecteur. Branchez le câble de l’antenne dans l’orifice situé à l’extrémité de la carte AirPort Extreme. Le logement de la carte AirPort Extreme se trouve sous la cloison métallique. Le câble de l’antenne de la carte AirPort Extreme est fixé sous la cloison métallique à l’aide d’une agraphe. Retirez-la avant de relier le câble à la carte.70 Chapitre 3 Interventions à l’intérieur de l’ordinateur 4 Replacez le ventilateur, le déflecteur d’air et le panneau latéral, en suivant les instructions la page 52. 5 Reliez l’antenne AirPort Extreme au port d’antenne Airport ( ) sur le panneau arrière. Pour régler la réception, faites pivoter l’antenne. Remplacement de la pile Votre ordinateur dispose d’une pile au lithium de 3,6 V placée sur la carte mère. Si vous constatez des problèmes intermittents de démarrage de l’ordinateur ou des changements aléatoires de date et d’heure, il est peut-être temps de changer cette pile. Achetez une pile de rechange chez un revendeur agréé Apple. Important : les piles contiennent des substances chimiques dont certaines sont néfastes pour l’environnement. Veillez à respecter les directives et la législation en vigueur dans votre pays en matière de protection de l’environnement lorsque vous vous débarrassez des piles usagées. Avertissement : les règlements FCC prévoient que l’opérateur ou toute autre personne soit à plus de 1 centimètre (0,4 pouce) de l’antenne AirPort Extreme pendant la transmission. De plus, l’antenne AirPort Extreme ne doit pas être située près d’un autre transmetteur ou d’une autre antenne, à l’exception du modèle d’antenne Apple Bluetooth A1067. Installez l’antenne AirPort dans le port prévu à cet effet. Vous pouvez la faire pivoter sur 360°.Chapitre 3 Interventions à l’intérieur de l’ordinateur 71 Pour remplacer la pile : 1 Ouvrez votre ordinateur conformément aux instructions de la page 44. 2 Si une carte PCI est installée à côté de la pile, retirez la carte. 3 Enlevez la pile de son réceptacle en notant le sens des pôles. (Un signe plus figure sur le réceptacle ou à côté de ce dernier.) Si nécessaire, écartez les languettes qui retiennent la pile afin de pouvoir la retirer. Écartez les languettes doucement pour ne pas les casser. 4 Introduisez la pile neuve dans le réceptacle en vous assurant que le signe plus de la pile coïncide avec le signe plus du réceptacle. 5 Replacez le déflecteur d’air et le panneau latéral, en suivant les instructions qui commencent à la page 53. Sortez la pile de son réceptacle en la tirant vers le haut. Il peut s’avérer nécessaire d’écarter légèrement ces languettes. Avertissement : une mise en place incorrecte de la pile peut provoquer une explosion. Assurez-vous de respecter la position des pôles. Utilisez uniquement une pile du même type ou une pile équivalente approuvée par le fabricant de la pile d’origine.4 73 4 Dépannage En cas de problèmes de fonctionnement de l’ordinateur, voici quelques suggestions susceptibles d’y remédier. Si l’ordinateur ne répond pas ou que le pointeur est bloqué. Assurez-vous tout d’abord que la souris et le clavier sont connectés. • Débranchez puis rebranchez les connecteurs et vérifiez qu’ils sont correctement insérés. Essayez ensuite d’annuler l’opération en cours. • Appuyez simultanément sur les touches Commande (x) et Q pour essayer de fermer l’application en cours d’exécution. • Appuyez simultanément sur les touches Commande (x) et point. Si une boîte de dialogue apparaît, cliquez sur Annuler. • Sous Mac OS X, sélectionnez menu Pomme (K) > “Forcer à quitter”, puis sélectionnez l’application que vous souhaitez fermer. Redémarrez l’ordinateur en allant dans le menu Pomme (K) > Redémarrer pour être sûr que le problème est complètement résolu. Il est aussi possible de forcer l’application à quitter en appuyant simultanément sur les touches Échap + Option + Commande (x). • Sous Classic, appuyez simultanément sur les touches Échap + Option + Commande (x) pour forcer une application à quitter. • Si cela ne fonctionne pas, maintenez appuyé durant 5 secondes le bouton d’alimentation de la face avant de l’ordinateur. Après la mise hors tension de l’ordinateur, appuyez à nouveau sur ce bouton pour redémarrer. • En dernier recours, débranchez le câble d’alimentation pour éteindre l’ordinateur, puis rebranchez-le à nouveau et utilisez le bouton d’alimentation de la face avant pour redémarrer l’ordinateur. • Si le problème ne survient que lorsque vous utilisez un programme en particulier, vérifiez auprès de son fabricant s’il est compatible avec votre ordinateur. • Si le problème survient fréquemment, sélectionnez Aide > Aide Mac. • Sous Mac OS X, recherchez “dépannage”. • Dans Classic, consultez la section expliquant comment éviter et résoudre les problèmes. Envisagez également le problème des conflits d’extension.74 Chapitre 4 Dépannage L’ordinateur ne démarre pas ou ne s’allume pas. Assurez-vous que le câble d’alimentation est branché sur une prise électrique en état de fonctionnement. La fiche du câble d’alimentation doit être totalement insérée dans la prise de l’ordinateur pour que celui-ci fonctionne correctement. Réinitialisez ensuite la mémoire vive des réglages de l’ordinateur (PRAM). Allumez l’ordinateur et maintenez immédiatement les touches Commande (x)+ Option + P + R enfoncées jusqu’à ce que vous entendiez une deuxième fois le signal sonore de démarrage. Définissez ensuite votre disque dur comme disque de démarrage de l’ordinateur. m Sélectionnez menu Pomme (K) > Préférences Système et cliquez sur Disque de démarrage, puis sélectionnez votre disque dur. Le voyant d’état clignote et l’ordinateur ne démarre pas. • Si vous avez récemment ajouté de la mémoire, une carte d’extension PCI ou tout autre composant interne, assurez-vous qu’il est correctement installé et compatible avec votre ordinateur. Essayez de l’enlever pour savoir si l’ordinateur peut démarrer. • Si le voyant d’état continue à clignoter, déterminez le nombre de clignotements pour identifier le problème : • 2 clignotements : RAM absente • 3 clignotements : RAM installée incompatible • 4 clignotements : banques DIMM incorrectes • 5 ou 6 clignotements : contactez un fournisseur de services agréé Apple. Impossible d’éjecter un disque. Un fichier est peut-être en cours d’utilisation sur ce disque. Quittez toutes les applications ouvertes, puis essayez à nouveau. Si cela ne fonctionne pas, sélectionnez menu Pomme (K) > Redémarrer et maintenez enfoncé soit le bouton de la souris soit la touche d’éjection ( ) de votre clavier Apple Keyboard. Si le problème persiste : 1 Éteignez l’ordinateur. 2 Appuyez doucement sur le panneau protégeant le plateau du lecteur et repérez le petit orifice situé sous le plateau. 3 Insérez avec précaution l’extrémité d’un grand trombone déplié dans cet orifice. 4 Poussez fermement jusqu’à ce que le plateau s’ouvre. 5 Tirez sur le plateau pour l’ouvrir, retirez le disque et repoussez le plateau pour le fermer.Chapitre 4 Dépannage 75 Problèmes de logiciels Important : pour utiliser les applications Mac OS 9 avec votre ordinateur, vous devez installer la gestion de Classic (voir “Installation de la gestion de Classic et d’autres applications” à la page 79). Pour démarrer l’environnement Classic, ouvrez une application Mac OS 9 ou double-cliquez sur un document qui en nécessite une. Classic fonctionne en arrière-plan pour permettre l’accès aux fonctionnalités et applications Mac OS 9. Vous rencontrez un problème avec une application. • Utilisez la mise à jour de logiciels afin de vous assurer que vous disposez des tous derniers pilotes, débogueurs et autres mises à jour. • Pour les problèmes liés aux logiciels provenant d’éditeurs tiers, contactez l’éditeur concerné. Vous rencontrez un problème de fonctionnement de votre ordinateur ou de Mac OS X. • Consultez l’Aide Mac OS (dans le menu d’Aide) pour obtenir des instructions et des informations de dépannage. • Pour obtenir les informations de dépannage et les mises à jour de logiciels les plus récentes, rendez-vous sur le site Web de l’assistance Apple à l’adresse suivante : www.apple.com/support. Vous éprouvez des difficultés à utiliser la communication sans fil AirPort. • Vérifiez que vous avez correctement configuré le logiciel en respectant les instructions fournies avec la carte AirPort Extreme ou la borne d’accès AirPort. • 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. Il est possible que l’icône d’état AirPort de la barre des menus indique quatre barres. • Pour plus d’informations, veuillez lire les instructions fournies avec votre périphérique sans fil ou effectuer une recherche “AirPort” dans l’Aide Mac OS.76 Chapitre 4 Dépannage Problèmes de moniteur Aucune image ne s’affiche à l’écran. • Assurez-vous que le moniteur et l’ordinateur sont sous tension. • Vérifiez que les câbles sont correctement connectés à l’ordinateur et au moniteur. • Assurez-vous que votre ordinateur n’est pas en veille. Appuyez sur le bouton d’alimentation ou sur n’importe quelle touche pour voir si cela réactive l’ordinateur. • Assurez-vous que la luminosité et le contraste du moniteur sont réglés correctement. Certains moniteurs disposent de commandes de luminosité et de contraste situées sur ou sous leur face avant. • Réinitialisez la mémoire des paramètres (PRAM) en redémarrant l’ordinateur tout en maintenant les touches Commande (x) + Option + P + R enfoncées, jusqu’à ce que vous entendiez une deuxième fois le signal de démarrage. Démarrez alors en utilisant le disque d’installation du logiciel fourni avec l’ordinateur. L’image à l’écran est sombre ou vacillante. • Réglez la luminosité et le contraste. Certains moniteurs disposent de commandes de luminosité et de contraste situées sur ou sous leur face avant. Si besoin est, vous pouvez ajuster la luminosité ou le contraste de votre moniteur dans la fenêtre Moniteurs des Préférences Système. • Calibrez le moniteur en sélectionnant menu Pomme (K) > Préférences Système. Cliquez sur Moniteurs, sélectionnez Couleur puis cliquez sur Calibrer. • Il se peut que le vacillement soit dû à des interférences provoquées par la proximité d’une ligne électrique, d’une lampe fluorescente ou d’un appareil électrique tel qu’une radio, un four à micro-ondes ou un autre ordinateur. Essayez de trouver un autre endroit pour les appareils électriques situés à proximité ou de déplacer le moniteur et l’ordinateur. Les couleurs n’apparaissent pas à l’écran ou présentent un aspect inhabituel. • Assurez-vous que le moniteur est correctement connecté à l’ordinateur. • Calibrez votre moniteur comme décrit précédemment. Consultez l’Aide Mac OS pour en savoir plus sur les couleurs et sur votre moniteur. • Ouvrez la fenêtre Moniteurs des Préférences Système et vérifiez que votre moniteur est réglé pour afficher les couleurs. Consultez l’Aide Mac OS pour en savoir plus sur les couleurs et sur votre moniteur. Avertissement : si vous rencontrez un problème avec votre moniteur Apple Display et que vous ne parvenez pas à le résoudre à l’aide de ce manuel, sollicitez l’assistance d’un fournisseur de services agréé Apple ou d’Apple. Si vous tentez de le réparer vous-même, les dommages éventuels ne seront pas couverts par la garantie limitée de votre moniteur. Adressez-vous à un revendeur ou à un centre de maintenance agréé Apple pour toute information complémentaire sur l’étendue de la garantie.Chapitre 4 Dépannage 77 Les icônes du bureau changent de place après la modification de la résolution d’écran. Toute modification de la résolution d’écran affecte l’affichage des informations à l’écran. Une fois la résolution d’écran modifiée, le système d’exploitation est susceptible de réorganiser les icônes. Écran figé. • Forcer l’application bloquée à quitter. Allez dans le menu Pomme (K), cliquez sur “Forcer à quitter” puis sélectionnez l’application à fermer. • Si cela ne fonctionne pas, forcez l’ordinateur à redémarrer en enfonçant environ 5 secondes le bouton d’alimentation de sa face avant. Le voyant situé sur la face avant du moniteur clignote. Sur certains moniteurs à écran plat Apple, le témoin d’alimentation clignote rapidement pendant quelques instants lorsqu’une erreur a été détectée. • Si vous voyez une séquence répétée de trois flashs courts, cela signifie que le moniteur détecte une entrée dont le format vidéo est incorrect. Assurez-vous que votre moniteur est compatible avec la carte graphique et que vous avez installé le bon pilote (si le moniteur a été livré avec un logiciel d’installation). • Si vous voyez une séquence répétée de deux flashs courts et un flash long, le moniteur détecte un problème de lampe de rétro-éclairage. Contactez un revendeur ou un centre de maintenance agréé Apple. 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 disque “Logiciels supplémentaires et Apple Hardware Test” fourni avec votre ordinateur. 3 Puis redémarrez votre ordinateur en maintenant la touche C enfoncée lors du démarrage. Une liste de volumes de démarrage disponibles apparaît alors. Cliquez sur Apple Hardware Test, puis sur la flèche droite. 4 Lorsque l’écran principal Apple Hardware Test apparaît environ 45 secondes plus tard, suivez les instructions affichées à l’écran. 5 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 de matériel, il est probable que le problème soit lié aux logiciels.78 Chapitre 4 Dépannage Pour en savoir plus sur Apple Hardware Test, consultez le fichier Ouvrez-moi À propos de Apple Hardware Test sur le disque “Logiciels supplémentaires et Apple Hardware Test”. Installation de logiciels sur votre ordinateur Les disques d’installation de logiciels fournis avec votre ordinateur permettent d’installer Mac OS X, les applications livrées avec votre ordinateur et Classic Support. 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 et des applications Pour installer Mac OS X et les applications fournies avec votre ordinateur, veuillez procéder comme suit : 1 Sauvegardez vos fichiers essentiels si cela est possible. 2 Insérez le disque 1 d’installation de Mac OS X 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 disque 2 d’installation de Mac OS X. Remarque : si vous souhaitez rétablir les réglages d’origine du logiciel sur votre ordinateur, cliquez sur Options dans la sous-fenêtre “Sélectionner une destination” du programme d’installation, puis choisissez “Effacer et installer”. Important : nous vous conseillons de sauvegarder vos fichiers essentiels avant d’installer Mac OS X et les autres applications car l’option “Effacer et installer” efface votre disque de destination.Chapitre 4 Dépannage 79 Installation des applications Pour installer uniquement les applications fournies avec votre ordinateur, veuilles procéder comme suit. Mac OS X doit déjà être installé sur votre ordinateur. 1 Sauvegardez vos fichiers essentiels si cela est possible. 2 Insérez le disque 1 d’installation de Mac OS X 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. Il se peut que votre ordinateur redémarre et vous demande d’insérer le disque 2 d’installation de Mac OS X. Remarque : pour installer iCal, iChat AV, iMovie, iPhoto, iSync, iTunes et Safari, suivez les instructions du paragraphe “Installation de Mac OS X et des applications” ci-dessus. Installation de la gestion de Classic et d’autres applications Utilisez le disque “Logiciels supplémentaires et Apple Hardware Test” pour installer la gestion de Classic ainsi que d’autres applications qui ne sont pas incluses sur le disque 1 d’installation de Mac OS X. Installez la gestion de Classic si vous souhaitez utiliser des applications de Mac OS 9 avec votre ordinateur. Procédez comme suit pour installer la gestion de Classic ou d’applications supplémentaires : 1 Sauvegardez vos fichiers essentiels si cela est possible. 2 Insérez le disque “Logiciels supplémentaires et Apple Hardware Test” fourni avec votre ordinateur. 3 Double-cliquez sur “Installer les logiciels complémentaires Test”. 4 Suivez les instructions à l’écran. 5 Après avoir sélectionné le disque de destination pour l’installation, suivez les instructions à l’écran pour une installation standard, ou cliquez sur “Personnaliser” pour choisir les applications que vous désirez installer. 80 Chapitre 4 Dépannage Optimisation des performances Ethernet Votre ordinateur fonctionne de façon optimale lorsque le port Ethernet auquel il est connecté est réglé sur la négociation automatique. Demandez à votre administrateur de réseau de vérifier ce réglage. Important : si vous rencontrez des problèmes de connexion sur votre réseau, vérifiez, si possible, que le commutateur de réseau est réglé sur la négociation automatique. Si le port du commutateur ne fonctionne pas en négociation automatique, votre ordinateur détectera la vitesse appropriée, mais se réglera par défaut sur le mode semiduplex. Si le port du commutateur à l’autre extrémité de la liaison est configuré en mode bidirectionnel simultané (full duplex), un grand nombre d’événements retardés peuvent se produire sur la liaison. S’il n’est pas possible de régler le commutateur sur la négociation automatique, réglez alors le port du commutateur sur semi-duplex. Pour plus d’informations, reportez-vous à la documentation fournie avec le commutateur Ethernet. Remarque : si vous connectez votre ordinateur directement à un commutateur Ethernet configurable, demandez à votre administrateur de réseau de désactiver l’arborescence sur ce port. Dans le cas contraire, il se peut que votre ordinateur duplique l’adresse AppleTalk d’un autre ordinateur du même réseau, ce qui rendrait instables les deux connexions au réseau. Localisation du numéro de série de votre produit Le numéro de série de votre Power Mac G5 se trouve sur l’étiquette de configuration, à l’intérieur du panneau latéral, directement sous le déflecteur d’air. Vous le trouverez également dans les Informations Système. Ouvrez les Informations Système (dans Applications/Utilitaires) et cliquez sur l’onglet Informations Système.81 A Annexe A Caractéristiques Caractéristiques techniques du processeur et de la mémoire Processeur • Processeur PowerPC avec 512 Ko de mémoire cache sur puce L2 par processeur Mémoire vive (RAM) • Mémoire dynamique synchrone (SDRAM) à double vitesse de transfert (DDR) • Toute la mémoire SDRAM DDR est fournie sous forme de modules DIMM (Dual Inline Memory Modules) • Modules DIMM installés par paires de capacité égale • Quatre ou huit logements DIMM sont disponibles pour la mémoire PC 3200 SDRAM DDR à 400 MHz, en fonction du modèle de votre ordinateur Les modules DIMM de 256 Mo doivent être conformes à la technologie 128 ou 256 mégabits (Mbits), les modules DIMM de 512 Mo à la technologie 256 Mbits et les modules DIMM de 1 Go à la technologie 512 Mbits. • 2,5 volts (V) sans tampon • 184 broches • Sans code de correction d’erreurs • Sans parité Les Informations Système, dans le répertoire Applications/Utilitaires, fournissent des informations sur votre ordinateur et notamment sur la quantité de mémoire. Contrôleur graphique • Carte graphique AGP 8X Pro munie d’un connecteur ADC (Apple Display Connector) et d’un connecteur DVI (Digital Visual Interface). Compatible AGP 3.0 ou AGP Pro. Modes d’affichage vidéo Pour les caractéristiques techniques de votre moniteur : • Moniteurs Apple : rendez-vous sur le site Internet Apple et vérifiez les caractéristiques de votre produit sur www.apple.com/displays. • Moniteurs de tierce partie : rendez-vous sur www.apple.com/guide.82 Annexe A Caractéristiques Caractéristiques techniques de l’unité Combo (DVD-ROM/CD-RW) • Diamètres de disque gérés : 12 cm et 8 cm Formats de données • CD-ROM • CD Audio • CD-R • CD-RW • CD-I • CD-I Bridge • CD Extended (CD étendu) • CD Mixed Mode (CD en mode mixte) • CD Photo • CD Vidéo • CD Extra • DVD vidéo • DVD-ROM • DVD-R (lecture seule) Caractéristiques techniques de l’unité SuperDrive (DVD-R/CD-RW) • Diamètres de disque gérés : 12 cm et 8 cm Formats de données • CD-ROM • CD Audio • CD-R • CD-RW • CD-I • CD-I Bridge • CD Extended (CD étendu) • CD Mixed Mode (CD en mode mixte) • CD Photo • CD Vidéo • CD Extra • DVD vidéo • DVD-ROM • DVD-R Annexe A Caractéristiques 83 Caractéristiques techniques des ports USB • Gestion d’Universal Serial Bus (USB) 2.0 et 1.1 • Cinq ports USB externes Type A • Un port USB 2.0 en façade • Deux ports USB 2.0 à l’arrière • Deux ports USB 1.1 intégrés au clavier Apple • Chaque port arrière se trouve sur un canal USB distinct de 480 mégabits par seconde (Mbps). • Intensité disponible pour chaque port USB de 500 milliampères (mA) à 5 V, pour un total de 1,5 ampère Caractéristiques techniques de FireWire • Gestion de FireWire 400 et FireWire 800 • Trois ports FireWire externes • Un port FireWire 400 en façade • Un port FireWire 400 et un port FireWire 800 à l’arrière • Vitesse de transfert de données : • FireWire 400 : 100, 200 et 400 Mbps • FireWire 800 : 100, 200, 400 et 800 Mbps Puissance • Plage de tension de sortie : environ 13 à 25 V • Plage de puissance de sortie : jusqu’à 15 W Caractéristiques techniques du réseau Ethernet • Conforme à la directive IEEE 802.3 • Longueur maximale du câble : 100 mètres (m) • Protocoles : Open Transport, AppleShare, AppleTalk, NetWare pour Macintosh, TCP/IP • Connecteur : RJ-45 pour 10Base-T, 100Base-TX et 1000Base-T • Support, 10Base-T : câble UTP de catégorie 3 ou supérieure sur 2 paires jusqu’à 100 m • Support, 100Base-TX : câble UTP de catégorie 5 sur 2 paires jusqu’à 100 m • Support, 1000Base-T : câble UTP de catégorie 5 et 6 sur 4 paires jusqu’à 100 m • Vitesses de canal : auto-négociation IEEE de 10Base-T, 100Base-TX et 1000Base-T Caractéristiques techniques du modem • Norme de transmission de données : K56Flex et V.92 • Vitesse : 53 kilobits par seconde (Kbps) • Norme de télécopie : ITU V.17 Caractéristiques Bluetooth (facultatif) • Vitesse de transfert de données sans fil : jusqu’à 1 Mbps • Portée : jusqu’à 10 mètres (le débit de transmission de données peut varier en fonction des conditions ambiantes) • Bande de fréquences : 2,4 gigahertz (GHz)84 Annexe A Caractéristiques Caractéristiques AirPort Extreme Card (facultatif) • Vitesse de transfert de données sans fil : jusqu’à 54 Mbps • Portée : jusqu’à 45,72 mètres (le débit de transmission de données peut varier en fonction des conditions ambiantes) • Bande de fréquences : 2,4 gigahertz (GHz) • Puissance de sortie radio : 15 dBm (nominal) Compatibilité • Norme 802.11 DSSS (Direct Sequence Spread Spectrum) 1 et 2 Mbps • standard 802.11b 11 Mbps • standard 802.11b 54 Mbps Caractéristiques Audio numérique optique • Format de données : Protocole Sony/Phillips Digital Interface (S/PDIF) (IEC60958-3) • Type de connecteur : Optique Toslink (IEC60874-17) • Bits par échantillon : 16 bits ou 24 bits Sortie audio numérique optique Basé sur situation typique, avec lecture d’une onde sinusoïdale 1 kHz, -1 dBFS 24 bits, fréquence d’échantillonnage en sortie de 44,1 kHz, sauf indications contraires cidessous. • Fréquence d’échantillonnage en sortie : 32 kHz, 44,1 kHz ou 48 kHz • Rapport signal-bruit : Supérieur à 130 dB • Total distorsion harmonique + bruit : Inférieur à -130 dB (0,00001 pour cent) Entrée audio numérique optique Basé sur situation typique, avec lecture d’une onde sinusoïdale 1 kHz, -1 dBFS 24 bits, sauf indications contraires ci-dessous. • Fsi–fréquence d’échantillonnage d’entrée (mode horloge externe) : 32 kHz, 44,1 kHz ou 48 kHz • Fsi–fréquence d’échantillonnage d’entrée (mode horloge interne) : 16 kHz à 96 kHz • Rapport signal sur bruit (mode horloge externe) : Supérieur à 130 dB • Rapport signal sur bruit (mode horloge interne, 16 kHz < Fsi < 96 kHz) : Inférieur à -112 dB • Total distorsion harmonique + bruit (mode horloge externe) : Inférieur à -130 dB (0,00001 %) • Total distorsion harmonique + bruit (mode horloge interne, 16 kHz < Fsi < 96 kHz) : Inférieur à -112 dB (0,0003 %)Annexe A Caractéristiques 85 Caractéristiques audio analogique • Fréquence d’échantillonnage : 32 kHz, 44,1 kHz ou 48 kHz • Type de jack : Mini-jack 3,5 mm • Bits par échantillon : 16 bits ou 24 bits • Réponse en fréquence : 20 Hz à -20 kHz, +0,5 dB/-3 dB Sortie audio via la prise d’écouteurs • Tension de sortie : 1,4 volts (valeur efficace) (Vrms) (+4 dbu) • Impédance de sortie : 24 ohms • Puissance de sortie : 20 milliwatts (mW) • Rapport signal-bruit : supérieur à 90 dB • Distorsion harmonique totale : inférieure à -80 dB (0,01 pour cent) • Séparation des voies : supérieure à 65 dB Entrée audio analogique • Tension d’entrée maximale : 2 volts (valeur efficace) (Vrms) (+8 dbu) • Impédance d’entrée : supérieure à 47 kilohms • Rapport signal-bruit : supérieur à 90 dB • Distorsion harmonique totale : inférieure à -85 dB (0,006 percent) • Séparation des voies : supérieure à 75 dB Sortie audio analogique • Tension de sortie : 1,4 volts (valeur efficace) (Vrms) (+4 dbu) • Impédance de sortie : 24 ohms • Rapport signal-bruit : supérieur à 90 dB • Distorsion harmonique totale : inférieure à -80 dB (0,01 pour cent) • Séparation des voies : supérieure à 65 dB Alimentation Entrée de ligne CA • Gamme de tensions : Courant alternatif (AC) de 100 à 240 V • Intensité : 7,5 ampères (A) monoprocesseur ou 9,5 ampères (A) double processeur • Fréquence : 50-60 Hz Sortie du moniteur DC • 4,0 A maximum pour un courant continu (CC) de tension nominale 25 V provenant du connecteur ADC (Apple Display Connector)86 Annexe A Caractéristiques Alimentation requise pour les périphériques que vous pouvez connecter Cartes d’extension • La quantité maximale et totale d’énergie consommée par les cartes AGP et PCI est de 90 W. Périphériques USB • Chacun des ports USB intégrés dispose de 500 mA. Périphériques FireWire • L’ordinateur peut fournir un total de 15 W aux ports FireWire. Horloge et pile du système • Circuit CMOS personnalisé avec pile longue durée au lithium. Vous pourrez remplacer la pile de l’ordinateur (voir “Remplacement de la pile” à la page 70) par une nouvelle pile que vous pouvez acheter auprès d’un distributeur agréé Apple. Dimensions et conditions de fonctionnement Dimensions • Poids : 17,84 kg (39.32 lb) Le poids dépend du modèle. Le poids indiqué ci-dessus correspond au modèle de base : monoprocesseur, un lecteur optique et un disque dur. Le poids peut être plus élevé si des périphériques optionnels sont installés. • Hauteur : 511 mm (20,12 pouces) • Largeur : 206 mm (8,11 pouces) • Profondeur : 475 mm (18,70 pouces) Conditions de fonctionnement • Température de fonctionnement : 10 °C à 35 °C (50 °F à 95 °F) • Température de stockage : 40 °C à 47 °C (40 °F à 116 °F) • Humidité relative : 5 % à 95 % (sans condensation) • Altitude : 0 à 3 048 mètres (0 à 10,000 pieds)87 B Annexe B Environnement de travail, sécurité et entretien Cette annexe contient des informations importantes concernant les consignes de sécurité et l'entretien ainsi que des remarques sur l'organisation de l'espace de travail pour l'utilisation de votre ordinateur et de votre moniteur. Consignes de sécurité importantes Le seul moyen de couper totalement l'alimentation de votre ordinateur consiste à débrancher le câble d'alimentation de la source d'alimentation principale. Pour déconnecter complètement votre moniteur, vous devez également débrancher le câble d'alimentation qui le raccorde à l'ordinateur ou à la source d'alimentation. Assurez-vous qu'au moins une des extrémités du câble d'alimentation du périphérique peut être atteinte facilement de manière à pouvoir débrancher l'ordinateur ou le moniteur quand cela est nécessaire. Pour votre propre sécurité et celle de votre matériel, respectez toujours les consignes suivantes. Si l'un des cas suivants se présente, débranchez la fiche d'alimentation (en tirant sur la fiche et non sur le câble) de l'ordinateur ou du moniteur et débranchez le câble du téléphone : • Le câble ou la fiche d'alimentation est usé(e) ou endommagé(e). • Vous avez renversé quelque chose dans le boîtier de l'ordinateur. • L'ordinateur ou le moniteur a été exposé à la pluie ou à tout autre type d'humidité excessive. • L'ordinateur ou le moniteur est tombé ou son boîtier a été endommagé. • Vous pensez que l’ordinateur ou le moniteur doit faire l’objet d’une révision ou d’une réparation. • Vous voulez nettoyer l’écran ou le boîtier de l’ordinateur ou du moniteur. • Vous remarquez une fuite du liquide de refroidissement à l’intérieur ou à l’extérieur de votre ordinateur (pour les modèles de Power Mac G5 équipés d’un système de refroidissement liquide)88 Annexe B Environnement de travail, sécurité et entretien Si vous avez l’intention de ranger votre ordinateur pour une période prolongée, retirez la batterie. Pour prévenir les accidents et éviter d’endommager votre ordinateur ou votre moniteur, veillez à toujours observer les consignes suivantes : • Maintenez votre ordinateur éloigné de toute source de liquide et d’humidité. • Ne placez aucun objet sur le dessus de l’ordinateur ou du moniteur. • Veillez à ce que les grilles d’aération de l’ordinateur et du moniteur ne soient pas obstruées. • N’enlevez jamais le boîtier du moniteur et n’ouvrez pas l’ordinateur quand il est allumé. Vous risquez de recevoir une décharge électrique. • Lorsque le temps est orageux, déconnectez votre modem de la prise téléphonique afin d’éviter qu’une surcharge de tension n’endommage ce dernier. Déplacez avec soin votre ordinateur et votre moniteur. Pour soulever l’appareil, veillez à suivre la procédure recommandée qui consiste à fléchir les jambes. Quand vous transportez le moniteur, assurez-vous que vous faites face à l’écran. Ne le transportez pas en le saisissant par le socle. Système de refroidissement liquide Certains modèles de Power Mac G5 utilisent un système de refroidissement liquide pour contrôler la température à l’intérieur de l’ordinateur. Le système de refroidissement liquide est scellé et conçu pour être ouvert uniquement par un fournisseur de services agréé Apple (Apple Authorized Service Provider ou AASP). Avertissement : votre Macintosh est équipé d’une prise de mise à la terre à trois fils, c’est-à-dire une prise munie d’une troisième broche reliée à la terre. Il s’agit d’une mesure de sécurité. Ne modifiez pas la fiche pour pouvoir l’insérer dans une prise non reliée à la terre. Faites appel à un électricien agréé pour installer une prise correctement reliée à la terre. Ne dérogez en aucun cas à cette consigne. Avertissement : le matériel électrique peut s’avérer dangereux s’il n’est pas utilisé correctement. L’utilisation de ce produit par un enfant 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. Avertissement : n’essayez pas d’ouvrir ou de réparer le système de refroidissement liquide. L’ouverture du système de refroidissement liquide peut endommager votre matériel, et de tels dommages ne sont pas forcément couverts par la garantie limitée de votre ordinateur.Annexe B Environnement de travail, sécurité et entretien 89 Pour des réparations ou des questions liées à votre garantie, contactez un fournisseur de services agréé Apple (Apple Authorized Service Provider) ou Apple. La documentation fournie avec votre ordinateur contient des informations relatives à l’assistance et à la maintenance. Apple et l’environnement Apple reconnaît sa responsabilité en matière de minimisation de l’impact de ses opérations et de ses produits sur l’environnement. Pour plus d’informations Rendez-vous sur le site Web www.apple.com/about/environment. Avertissement : utilisez toujours votre ordinateur en position verticale. Au cas improbable où le liquide fuirait à l’intérieur ou à l’extérieur de votre ordinateur, déconnectez toute alimentation électrique de votre ordinateur et ne le redémarrez pas. Contactez un fournisseur de services agréé Apple (Apple Authorized Service Provider) ou contactez Apple pour obtenir des informations sur la réparation de votre ordinateur. Après avoir déconnecté l’alimentation électrique, vous pouvez nettoyer le liquide de refroidissement avec un tissu absorbant. Évitez toute inhalation ou tout contact direct avec la peau : le liquide peut entraîner une légère irritation de la peau. En cas de contact avec la peau, laver abondamment au savon et à l’eau. En cas de contact avec les yeux, rincer abondamment à l’eau. Les matériaux ayant servi au nettoyage doivent être recyclés ou traités conformément aux lois, normes et directives locales. Le liquide de refroidissement peut être nocif s’il est avalé. Des fiches toxicologiques (Material Safety Data Sheets ou MSDS) sont disponibles sur le site www.apple.com/about/environment/use/lcs.html.90 Annexe B Environnement de travail, sécurité et entretien Entretien général Pour nettoyer votre ordinateur ou le moniteur de manière plus complète, procédez comme suit : 1 Éteignez l’ordinateur et le moniteur. 2 Déconnectez le câble d’alimentation de l’ordinateur au niveau de la prise ou multiprise électrique. Si votre moniteur est branché sur une prise, débranchez-le également. 3 Débranchez les câbles du moniteur au niveau de l’ordinateur. 4 Nettoyez l’écran du moniteur à l’aide d’un papier absorbant ou d’un tissu doux et non pelucheux imbibé d’eau légèrement savonneuse. 5 Nettoyez délicatement le boîtier de l’ordinateur ou du moniteur à l’aide d’un chiffon propre, doux et humide. Important : n’utilisez pas d’alcool, d’aérosols ni de produits solvants ou abrasifs susceptibles d’endommager la finition du boîtier. Protection de votre lecteur optique Pour garantir le bon fonctionnement de votre lecteur optique : • Placez votre ordinateur de sorte que le plateau du lecteur ne heurte aucun obstacle lors de son ouverture. • Laissez le lecteur fermé lorsque vous ne l’utilisez pas. • Ne placez aucun objet sur le plateau du lecteur lorsqu’il est ouvert. • Ne touchez pas la lentille du lecteur optique avec vos doigts. N’essuyez pas la lentille du lecteur avec un mouchoir en papier ni aucune autre matière abrasive. Si vous devez la nettoyer, procurez-vous les produits adéquats auprès d’un fournisseur de services agréé Apple. • Maintenez votre ordinateur éloigné de toute source d’humidité. Entretien de votre moniteur Pour entretenir votre moniteur et en garantir la longévité : • N’appuyez pas sur la surface de l’écran. • N’écrivez pas sur l’écran et ne le touchez pas avec un objet tranchant. • Si vous comptez ne pas utiliser le moniteur ni l’ordinateur pendant au moins une journée, éteignez-les ou utilisez les réglages Économiseur d’énergie. • En cas d’inactivité prolongée de votre ordinateur, éteignez l’écran, baissez la luminosité ou utilisez un programme d’économie d’écran qui assombrit ou modifie l’image affichée. Avertissement : ne vaporisez pas de liquide directement sur l’écran du moniteur. Une partie de ce liquide pourrait s’infiltrer à l’intérieur et provoquer une décharge électrique.Annexe B Environnement de travail, sécurité et entretien 91 Informations importantes sur l’organisation de l’espace de travail et la santé Voici quelques conseils permettant d’adapter votre environnement de travail à votre morphologie et prévenir la fatigue oculaire. • Optez pour un siège de bureau réglable et offrant un dossier et une assise confortables. Réglez la hauteur du siège de manière à ce que vos cuisses soient légèrement inclinées et que vos pieds soient posés 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. • Lorsque vous utilisez le clavier de l’ordinateur, vos épaules doivent être détendues. Le bras et l’avant-bras doivent former un angle droit, ou presque, et votre main doit être dans le prolongement du poignet. 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. Si vous disposez d’un bureau modulaire, vous pouvez 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. • Veillez à ce que la souris se trouve à hauteur du clavier. Prévoyez également un espace suffisant pour pouvoir la manipuler commodément. • 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. 92 Annexe B Environnement de travail, sécurité et entretien • Positionnez le moniteur de façon à éviter d’être ébloui par la réflexion sur ce dernier de l’éclairage au plafond ou de la lumière des fenêtres de la pièce. Si possible, utilisez un pied de moniteur inclinable. Le pied vous permet de régler le meilleur angle de vision et de réduire ou d’éliminer l’éblouissement causé par les sources lumineuses impossibles à déplacer. Pour plus d’information sur l’hygiène, la sécurité et la maintenance, consultez la page Internet d’Apple sur l’ergonomie à l’adresse www.apple.com/about/ergonomics. Cuisses légèrement inclinées Épaules détendues Écran orienté de manière à réduire les reflets Mains dans le prolongement des avant-bras Avant-bras à l’horizontale ou légèrement relevés Dossier soutenant la région lombaire Pieds à plat sur le sol ou sur un repose-pied Haut de l’écran au niveau des yeux ou légèrement en dessous. (Vous devrez peut-être ajuster la hauteur du moniteur en surélevant votre plan de travail ou le moniteur lui-même.) Espace dégagé sous le plan de travail 45–70 cm 93 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. Pour utiliser Internet, vous avez besoin d’un compte auprès d’un FAI. L’Assistant réglages peut en configurer un pour vous. Dans certains pays, l’Assistant réglages ne peut pas vous configurer un compte auprès d’un FAI. Vous devez donc contacter un FAI pour obtenir un compte. Utilisez ensuite les informations contenues dans cette annexe pour configurer votre connexion 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 cet 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 via un modem câble ou DSL à haut débit : l’ordinateur est relié via un câble Ethernet à un modem spécial fourni par un FAI. • Connexion sans fil AirPort Extreme : votre ordinateur est connecté sans fil à Internet via une borne d’accès AirPort Extreme. • 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.94 Annexe C Connexion à Internet Avant de vous connecter à Internet : 1 Procurez-vous les informations de connexion auprès de votre FAI ou de votre administrateur réseau. Consultez la section suivante, “Collecte des informations nécessaires”, pour savoir quelles sont les informations dont vous avez besoin pour chaque type de connexion. 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 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. 2 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.Annexe C Connexion à Internet 95 Collecte des informations nécessaires 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. Pour configurer une connexion téléphonique classique, procurez-vous les informations suivantes : • Nom du fournisseur d’accès • Nom d’utilisateur ou de compte • Mot de passe • Numéro de téléphone du FAI • Numéro de téléphone de remplacement • Préfixe pour obtenir une ligne extérieure Pour configurer une connexion DSL, modem câble, LAN ou sans fil AirPort Extreme : m Choisissez d’abord votre méthode de connexion (en cas de doute, consultez votre administrateur système ou votre FAI) : • Manuellement • Utilisation de DHCP avec une adresse manuelle • Via DHCP • Via BootP • PPP Si vous ne savez pas quelle méthode utiliser, il est recommandé d’activer l’option “Via DHCP”, car le réseau fournit alors la plupart des informations requises automatiquement. Si vous avez sélectionné “Manuellement” ou “Utilisation de DHCP avec une adresse manuelle” procurez-vous les informations suivantes : • Adresse IP • Masque de sous-réseau • Adresse du routeur Remarque : si vous avez sélectionné “Utilisation de DHCP avec une adresse manuelle”, vous n’avez pas besoin d’un masque de sous-réseau ni d’adresse de routeur.96 Annexe C Connexion à Internet Si vous avez sélectionné “Via DHCP”, procurez-vous les informations suivantes facultatives (le cas échéant, consultez votre FAI) : • ID client DHCP • serveurs DNS Si vous avez sélectionné “PPP” (pour des connexions PPPoE), procurez-vous les informations suivantes : • Fournisseur d’accès • Nom du compte • Mot de passe • Nom du service PPPoE Les informations ci-dessous sont facultatives. Consultez votre FAI ou votre administrateur système si nécessaire. • serveurs DNS • Nom de domaine • Serveur proxy Saisie de vos informations Après vous être procuré les informations de configuration spécifiques auprès de votre FAI ou de votre administrateur réseau, vous pouvez soit cliquer sur le bouton “Assistezmoi” dans la fenêtre des préférences Réseau pour ouvrir l’Assistant réglages de réseau, soit saisir les informations manuellement. Pour saisir vos informations manuellement, suivez les étapes correspondant à votre mode de connexion. • Modem téléphonique avec connexion PPP (Point-to-Point Protocol) (voir la page 97) • Connexion via modem câble, DSL ou réseau LAN (la page 100) avec les configurations suivantes : • Manuelle • DHCP • PPPoE • Connexion sans fil AirPort Extreme (voir la page 105)Annexe C Connexion à Internet 97 Modem téléphonique avec connexions PPP (Point-To-Point Protocol) 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 (voir la page 95). Pour configurer l’utilisation du port de modem interne dans les préférences Réseau : 1 Dans la barre des menus, sélectionnez le menu Pomme (K) > Préférences Système. 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. 98 Annexe C Connexion à Internet 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.Annexe C Connexion à Internet 99 Pour vous connecter automatiquement dès que vous ouvrez une application TCP/IP, telle qu’un navigateur Web ou une messagerie électronique, procédez de la manière suivante : 1 Cliquez sur Options PPP (dans la fenêtre PPP des préférences Réseau). 2 Cochez la case “Se connecter automatiquement si nécessaire”. 3 Cliquez sur OK, puis sur Appliquer. 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 : dans le cas d’une configuration manuelle, votre FAI ou administrateur réseau vous indique une adresse IP statique et d’autres informations que vous devez saisir dans les préférences Réseau. • Via le protocole DHCP (Dynamic Host Configuration Protocol). avec une configuration DHCP, le serveur DHCP saisit automatiquement les informations à votre place. • Via 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, 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 (voir la page 95).100 Annexe C Connexion à Internet Pour configurer les Préférences réseau pour le port Ethernet intégré : 1 Dans la barre des menus, sélectionnez le menu Pomme (K) > Préférences Système. 2 Cliquez sur Réseau. 3 Dans le menu local Afficher, sélectionnez Configurations de ports réseau. 4 Sélectionnez Ethernet intégré. 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.Annexe C Connexion à Internet 101 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 (voir la page 95). 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.102 Annexe C Connexion à Internet Configuration DHCP Après avoir choisi une configuration DHCP, le serveur DHCP fournit automatiquement vos informations de réseau. Pour configurer 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.Annexe C Connexion à Internet 103 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 : Ayez à portée de main le nom d’utilisateur, le mot de passe et, si cela est nécessaire, l’adresse du serveur DNS fournis par votre FAI (voir la page 95). 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”. Remarque : pour vous connecter automatiquement au démarrage d’une application TCP/IP, telle qu’un navigateur Web ou une application de courrier électronique, cliquez sur Options PPPoE, puis sélectionnez “Se connecter automatiquement si nécessaire”.104 Annexe C Connexion à Internet 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. 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. Annexe C Connexion à Internet 105 Connexion sans fil AirPort Extreme Vous pouvez configurer votre réseau AirPort Extreme et votre connexion Internet à l’aide de l’Assistant réglages AirPort, situé dans le dossier Utilitaires de votre dossier Applications. L’assistant vous aide à configurer votre borne d’accès AirPort Extreme et à régler votre ordinateur pour qu’il utilise AirPort Extreme. Pour en savoir plus sur votre borne d’accès AirPort Extreme, consultez le Guide de configuration de la borne d’accès AirPort Extreme livré avec votre borne d’accès. Si votre borne d’accès AirPort Extreme est déjà configurée, votre carte AirPort Extreme peut dans la plupart des cas y accéder immédiatement. Pour vérifier l’accès au réseau AirPort Extreme : 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 fenêtre Réseau des Préférences Système. 106 Annexe C Connexion à Internet Configuration manuelle d’une connexion AirPort Extreme Pour configurer une connexion manuelle utilisant des adresses spécifiques affectées par avance pour vos serveurs et votre ordinateur, procurez-vous les informations suivantes auprès de votre administrateur de système. 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 régler vos Préférences réseau pour un port AirPort Extreme : 1 Dans la barre des menus, sélectionnez le menu Pomme (K) > Préférences Système. 2 Cliquez sur Réseau. 3 Dans le menu local Afficher, sélectionnez Configurations de ports réseau. 4 Cochez la case Activé à côté d’AirPort.Annexe C Connexion à Internet 107 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. • 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 Extreme : 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.108 Annexe C Connexion à Internet Dépannage de votre connexion Connexion à Internet par modem câble, ligne DSL et réseau LAN Si vous ne parvenez pas à vous connecter à Internet à l’aide de votre modem câble ou DSL ou via votre réseau local (LAN), suivez les étapes ci-après. Important : les instructions relatives aux modems ne concernent pas les utilisateurs de réseau LAN. Contrairement aux utilisateurs de modems câble et DSL, les utilisateurs de réseau LAN peuvent disposer de concentrateurs, de commutateurs, de routeurs et autres dispositifs de connexion. Ils doivent faire appel à leur administrateur réseau plutôt qu’à un FAI. 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. Éteignez puis rallumez le modem et réinitialisez les composants matériels du modem. Éteignez votre modem DSL ou votre modem câble pendant quelques minutes puis rallumez-le. 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.Annexe C Connexion à Internet 109 Connexions PPPoE Si vous n’arrivez pas à vous connecter à votre FAI via PPPoE, commencez par vérifier les câbles et l’alimentation, puis éteignez le modem et rallumez-le et réinitialisez le matériel modem. Vérifiez les réglages de Préférences Système 1 Dans la barre des menus, sélectionnez le menu Pomme (K) > 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, saisissez-le à nouveau afin d’être sûr(e) qu’il est correct. 10 Cliquez sur TCP/IP. Assurez-vous d’avoir saisi dans cette fenêtre les informations correctes fournies par votre FAI. 11 Cliquez sur Appliquer.110 Annexe C Connexion à Internet 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/airport. Si ces instructions s’avèrent insuffisantes pour résoudre les problèmes rencontrés, contactez votre FAI.111 Communications Regulation Information FCC Compliance Statement This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. 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 EMC compliance under conditions that included the use of Apple peripheral devices and Apple shielded cables and connectors between system components. It is important that you use Apple peripheral devices and shielded cables and connectors between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. You can obtain Apple peripheral devices and the proper shielded cables and connectors through an Apple Authorized Reseller. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. Responsible party (contact for FCC matters only): Apple Computer, Inc. Product Compliance, 1 Infinite Loop M/S 26-A, Cupertino, CA 95014-2084, 408-974-2000. Industry Canada Statement 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 Conforme aux directives européennes 72/23/CEE, 89/336/CEE et 99/5/CEE. 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. If you have an internal Apple CD-ROM, DVD-ROM, or DVD-RAM 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 service-accessible area. The labels on your product may differ slightly from the ones shown here. 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 label112 Laser Specifications Laser on pickup unit (when reading a CD): • Type: Semiconductor GaAlAs laser • Wavelength: 790 nm • Power out of objective lens: 3.3 mW • Beam divergence: horizontal 12º vertical 35º Exposure to Radio Frequency Energy The radiated output power of the optional AirPort Extreme Card is far below the FCC radio frequency exposure limits. Nevertheless, it is advised to use the wireless equipment in such a manner that the potential for human contact during normal operation is minimized. Informations sur la souris et le clavier La souris optique d’Apple est un appareil à diode électroluminescente de catégorie 1. 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. 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. Conformité ENERGY STAR® En tant que partenaire ENERGY STAR® Apple a configuré ce produit de telle sorte qu’il respecte les recommandations d’économie d’énergie d’ENERGY STAR®. Le programme ENERGY STAR® est un partenariat avec les fabricants de matériel de bureau visant à promouvoir une consommation efficace de l’énergie. La réduction de la consommation d’énergie des appareils de bureau permet de réaliser des économies et contribue à réduire la pollution en éliminant le gaspillage d’énergie. Informations sur l’élimination des piles usagées Les batteries 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. Informations sur l’élimination de l’ordinateur usagé Votre Power Mac G5 doit être recyclé ou éliminé conformément aux lois, normes et directives locales pour les matériels électriques et électroniques. 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 (part numbers M9455 and M9457) and 0.6B (part number M9454). The REN is useful for determining 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.113 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 department. If disconnecting the modem eliminates the problem, the modem itself may need service. Pour obtenir de l’assistance, reportez-vous aux informations relatives à l’assistance et à la maintenance fournies avec votre produit Apple pour vous entrer en contact avec Apple ou un fournisseur de services agréé Apple. 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, 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. 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 (part numbers M9455 and M9457) and 0.2 (part number M9454). 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 le raccorder au réseau de l’entreprise locale de télécommunication. Le matériel doit également être installé en suivant une méthode acceptée de raccordement. Dans certains cas, le câblage appartenant à l’entreprise utilisé pour un service individuel à ligne unique peut être prolongé au moyen d’un dispositif homologué de raccordement (cordon prolongateur téléphonique). 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. 114 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 entreprises de télécommunication ne permettent pas que l’on raccorde un matériel aux prises d’abonnés, sauf dans les cas précis prévus par les tarifs particuliers de ces entreprises. Les réparations de matériel homologué doivent être effectuées par un centre d’entretien canadien autorisé désigné par le 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 clientèle d’Apple Canada : 800-263-3394 L’utilisateur ne doit pas tenter de faire ces raccordements lui-même ; il doit avoir recours à un service d’inspection des installations électriques ou à un électricien, selon le cas. • Numéro de charge : 0,2 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 für 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. Informations pour la France Ce matériel est conforme aux normes applicables de sécurité électrique d’après la directive 73/23/CEE et aux normes applicables de comptabilité électromagnétique d’après la directive 89/336/CEE, modifiée 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. Avertissement : Pour sa propre sécurité, 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.115 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 (part numbers M9455 and M9457) and PTC 211/01/062 (part number M9454). 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. MacBook Guide de l’utilisateur Contient des informations sur la configuration, l’extension et le dépannage de votre MacBook F3626M42.book Page 1 Wednesday, April 5, 2006 2:17 PMK Apple Computer, Inc © 2006 Apple Computer, Inc. Tous droits réservés. En application des lois et conventions en vigueur, aucune reproduction totale ni partielle du manuel n’est autorisée, sauf consentement écrit préalable d’Apple. 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 ou d’impression. Apple 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, le logo Apple, AirPort, AppleTalk, Final Cut, FireWire, iCal, iDVD, iLife, iMac, iMovie, iPhoto, iPod, iTunes, Mac, le logo Mac, Mac OS, Macintosh et QuickTime sont des marques d’Apple Computer, Inc. déposées aux États-Unis et dans d’autres pays. AirPort Express, Exposé, FileVault, Finder, le logo FireWire, iSight, MacBook, Guide des Produits Macintosh, MagSafe, Safari, Spotlight, SuperDrive et Tiger sont des marques d’Apple Computer Inc. AppleCare, Apple Store et iTunes Music 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. ENERGY STAR® est une marque déposée aux États-Unis. Intel et Intel Core sont des marques d’Intel Corp. aux États-Unis et dans d’autres pays. La marque et les logos Bluetooth® sont la propriété de Bluetooth SIG, Inc. et sont utilisés sous licence par Apple Computer, Inc. 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. F3626M42.book Page 2 Wednesday, April 5, 2006 2:17 PMLe 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 nos 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. F3626M42.book Page 3 Wednesday, April 5, 2006 2:17 PMF3626M42.book Page 4 Wednesday, April 5, 2006 2:17 PM5 Table des matières 9 Chapitre 1 : Premiers contacts 10 Configuration de votre MacBook 18 Composants de base de votre MacBook 20 Fonctionnalités du clavier de votre MacBook 22 Composants supplémentaires de votre MacBook 24 Extinction ou suspension d’activité de votre MacBook 26 Étalonnage de la batterie 27 Informations supplémentaires 28 Obtention de réponses grâce à l’Aide Mac 29 Chapitre 2 : Familiarisation avec votre MacBook 30 Réglage de l’écran 32 Utilisation de l’adaptateur secteur 34 Utilisation du trackpad 35 Utilisation du clavier 36 Utilisation d’une souris 37 Utilisation de la télécommande Apple Remote et de Front Row 43 Utilisation de la caméra vidéo iSight intégrée F3626M42.book Page 5 Wednesday, April 5, 2006 2:17 PM6 Table des matières 48 À propos de Mac OS X 49 Personnalisation du bureau et réglage des préférences 50 Utilisation des applications 51 Lorsqu’une application ne répond plus 51 Maintien à jour de vos logiciels 52 Connexion à une imprimante 53 Lecture d’un CD et connexion d’un casque d’écoute 54 Connexion d’un appareil photo ou de tout autre périphérique FireWire ou USB 54 Transfert de fichiers depuis ou vers un autre ordinateur 57 Chapitre 3 : Utilisation de votre MacBook 58 Utilisation de périphériques USB (Universal Serial Bus) 62 Connexion via FireWire 66 Fonctionnement de l’accès sans fil à Internet via AirPort 67 Utilisation de la technologie sans fil Bluetooth 69 Connexion via Ethernet 71 Gestion de la vidéo externe 75 Connexion de haut-parleurs et autres périphériques audio 76 Utilisation du lecteur optique 81 Technologie Sudden Motion Sensor 81 Utilisation de la batterie 87 Protection de votre MacBook F3626M42.book Page 6 Wednesday, April 5, 2006 2:17 PMTable des matières 7 89 Chapitre 4 : Ajout de mémoire à votre MacBook 90 Installation de mémoire supplémentaire 97 Reconnaissance de la nouvelle mémoire par votre MacBook 99 Chapitre 5 : Dépannage 100 Problèmes vous empêchant d’utiliser votre ordinateur 103 Autres problèmes 106 Réinstallation des logiciels fournis avec votre ordinateur 108 Utilisation d’Apple Hardware Test 109 Localisation du numéro de série de votre produit 111 Annexe A : Caractéristiques 113 Annexe B : Consignes de sécurité, d’utilisation et d’entretien 113 Consignes générales de sécurité 115 Configuration de votre MacBook et de l’adaptateur secteur 116 Utilisation de votre MacBook 118 Comment éviter les problèmes auditifs 120 Ergonomie 122 À propos d’Apple et de l’environnement 123 Annexe C : Connexion à Internet 125 Regroupement des informations nécessaires 127 Saisie de vos informations F3626M42.book Page 7 Wednesday, April 5, 2006 2:17 PM8 Table des matières 129 Dépannage de votre connexion 133 Annexe D : Les dix questions principales 139 Communications Regulation Information F3626M42.book Page 8 Wednesday, April 5, 2006 2:17 PM9 1 1 Premiers contacts Votre MacBook comprend les composants suivants : Important : lisez attentivement toutes les instructions d’installation (et les consignes de sécurité de l’annexe B, «Consignes de sécurité, d’utilisation et d’entretien», à la page 113) avant de brancher votre ordinateur sur une prise secteur. Câble secteur Télécommande Apple Remote Fiche secteur Adaptateur secteur MagSafe de 60 W MENU F3626M42.book Page 9 Wednesday, April 5, 2006 2:17 PM10 Chapitre 1 Premiers contacts Configuration de votre MacBook Votre MacBook est conçu pour être configuré rapidement et utilisé immédiatement. Les pages suivantes contiennent des informations qui vous guident tout au long du processus de configuration, notamment :  branchement de l’adaptateur secteur Apple MagSafe de 60 W ;  connexion des câbles ;  mise sous tension de votre MacBook ;  configuration d’un compte d’utilisateur et d’autres paramètres via Assistant réglages. Étape 1 : branchez l’adaptateur secteur Apple MagSafe de 60 W Si l’adaptateur secteur est entouré d’un film protecteur, retirez ce dernier avant de configurer votre MacBook. m Branchez la fiche secteur de votre adaptateur sur une prise secteur. Branchez ensuite la fiche de l’adaptateur secteur sur le port d’adaptateur secteur du MacBook. Lorsque vous rapprochez la fiche du port, vous ressentirez la force d’un aimant attirant la fiche de l’adaptateur secteur. Fiche secteur F3626M42.book Page 10 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 11 Pour étendre la portée de votre adaptateur, vous pouvez y connecter le câble d’alimentation secteur. Tirez d’abord sur la fiche secteur pour la retirer de l’adaptateur, puis connectez-y le câble d’alimentation secteur inclus. Branchez l’autre extrémité sur une prise secteur. Une illustration de cette opération se trouve à la page 33. Étape 2 : connectez vos câbles Pour obtenir une connexion Internet, connectez votre MacBook à un modem DSL, un modem câble, un modem externe ou un réseau Ethernet. Si vous vous connectez à un réseau sans fil tel qu’AirPort Extreme, vous n’avez pas besoin de câbles. Pour obtenir des informations sur les types de connexions, consultez l’annexe C, «Connexion à Internet», à la page 123. Avertissement : assurez-vous que la fiche secteur est complètement insérée dans l’adaptateur et que les broches de votre fiche secteur sont complètement déployées avant de brancher l’adaptateur sur la prise secteur. ¯ Câble secteur Fiche secteur Fiche de l’adaptateur Port de l’adaptateur secteur secteur F3626M42.book Page 11 Wednesday, April 5, 2006 2:17 PM12 Chapitre 1 Premiers contacts Remarque : pour une connexion par ligne téléphonique, vous aurez besoin du modem USB externe d’Apple, disponible sur l’Apple Store en ligne à l’adresse www.apple.com/francestore ou auprès des revendeurs agréés Apple. Branchez le modem USB d’Apple dans un port USB du MacBook, puis connectez un câble téléphonique (non inclus) entre le modem et une prise téléphonique. Pour se connecter à un modem DSL ou câble ou à un réseau Ethernet : m Connectez le câble à votre modem DSL ou modem câble comme indiqué dans les instructions du modem ou bien connectez le câble Ethernet à un concentrateur ou une prise Ethernet. Branchez ensuite l’autre extrémité du câble au port Ethernet de l’ordinateur. Remarque : si vous souhaitez utiliser AirPort pour vous connecter sans fil, les réseaux sans fil disponibles sont détectés lorsque vous allumez votre ordinateur. Si nécessaire, choisissez «Activer AirPort» dans le menu d’état AirPort (Z) de la barre des menus, puis choisissez votre réseau. G Câble Ethernet Port Ethernet Gigabit (10/100/1000Base-T) F3626M42.book Page 12 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 13 Étape 3 : allumez votre MacBook 1 Pour allumer votre MacBook, appuyez rapidement (jusqu’à une seconde) sur le bouton d’alimentation (®). Votre ordinateur émet un signal sonore lorsque vous l’allumez. Après avoir entendu ce signal, n’appuyez pas sur le bouton d’alimentation, car vous risqueriez d’éteindre l’ordinateur. Sa mise en route prend quelques instants. Après le démarrage, Assistant réglages s’ouvre automatiquement. ® Bouton d’alimentation Lampe témoin de suspension d’activité F3626M42.book Page 13 Wednesday, April 5, 2006 2:17 PM14 Chapitre 1 Premiers contacts 2 Le trackpad de votre MacBook permet de sélectionner et de déplacer des éléments à l’écran de la même façon que la souris d’un ordinateur de bureau.  Pour déplacer le pointeur à l’écran, glissez votre index sur le trackpad. Important : n’utilisez qu’un seul doigt sur le trackpad pour déplacer le pointeur. Le trackpad vous permet de faire défiler en déplaçant deux doigts. Cette fonction est activée par défaut. Pour toute information supplémentaire, consultez la section «Utilisation du trackpad» à la page 34.  Utilisez le bouton du trackpad pour sélectionner un élément, cliquer ou faire un double-clic. Trackpad Bouton du trackpad F3626M42.book Page 14 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 15 Étape 4 : configurez votre MacBook à l’aide d’Assistant réglages La première fois que vous démarrez votre ordinateur, Assistant réglages se met en route. Il vous aide à saisir les informations concernant la configuration Internet et le courrier électronique et à configurer un compte d’utilisateur sur votre ordinateur. Si vous possédez déjà un ordinateur Macintosh, l’Assistant réglages peut vous aider à transférer automatiquement les fichiers, les applications et d’autres informations depuis votre ancien ordinateur vers votre nouveau MacBook. Problèmes de mise sous tension de l’ordinateur Rien ne se produit lorsque vous appuyez sur le bouton d’alimentation (®).  La batterie est peut-être déchargée. Assurez-vous que l’adaptateur secteur est fermement connecté à l’ordinateur et relié à une prise secteur. La prise de l’adaptateur secteur doit s’éclairer lorsque que vous la branchez sur l’ordinateur.  Si l’ordinateur ne démarre toujours pas, consultez la section «Problèmes vous empê- chant d’utiliser votre ordinateur» à la page 100. Un point d’interrogation clignotant sur une icône de disque ou de dossier apparaît à l’écran. Cette icône signifie généralement que l’ordinateur ne parvient pas à localiser le logiciel système sur le disque dur interne ou sur tout disque externe relié à l’ordinateur. Déconnectez tous les périphériques externes puis essayez de redémarrer. Maintenez enfoncé le bouton d’alimentation (®) de 8 à 10 secondes jusqu’à l’arrêt de l’ordinateur. Appuyez ensuite de nouveau sur le bouton d’alimentation. Si le problème persiste, vous devrez peut-être réinstaller le logiciel système. Voir «Réinstallation des logiciels fournis avec votre ordinateur» à la page 106. F3626M42.book Page 15 Wednesday, April 5, 2006 2:17 PM16 Chapitre 1 Premiers contacts Pour transférer des informations, vérifiez les éléments suivants :  Votre autre ordinateur Mac dispose d’un port FireWire intégré et prend en charge le mode disque cible FireWire.  Votre autre ordinateur Mac fonctionne sous Mac OS X version 10.1 ou ultérieure.  Vous disposez d’un câble FireWire standard 6 broches vers 6 broches. 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 des informations vers votre MacBook n’a aucune conséquence sur les informations qui se trouvent sur l’autre Mac (si vous avez partitionné le disque dur du nouveau MacBook, toutes les informations présentes sur l’autre Mac seront transférées vers une seule partition). Assistant réglages vous permet de transférer :  les comptes d’utilisateur, y compris les préférences et le courrier électronique ;  les réglages de réseau, pour que votre nouveau MacBook soit automatiquement configuré avec les mêmes réglages de réseau que votre autre Mac ;  les fichiers et dossiers qui se trouvent sur votre disque dur et sur vos partitions. Cela vous permet d’accéder facilement aux fichiers et dossiers que vous utilisiez sur votre autre Mac ;  le dossier Applications, pour que la plupart des applications que vous utilisiez sur votre autre Mac soient installées sur votre nouveau MacBook (vous devrez peut-être réinstaller certaines applications transférées). Important : veillez à ne pas écraser des versions plus récentes d’applications déjà installées sur votre MacBook lors du transfert de ces applications. F3626M42.book Page 16 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 17 Si vous ne comptez pas conserver ou utiliser votre autre Mac, il est préférable de lui retirer son autorisation de lecture de musique, de clips vidéo ou de livres audio achetés sur le magasin de musique en ligne iTunes Music Store. Le retrait d’autorisation d’accès à un ordinateur empêche toute autre personne de lire la musique, les clips vidéo et les livres audio que vous avez achetés et permet de libérer une autre autorisation (un compte iTunes vous permet d’autoriser jusqu’à cinq ordinateurs seulement). Pour plus d’informations sur le retrait d’autorisation, ouvrez iTunes et choisissez Aide > Aide iTunes et Music Store. Si vous n’utilisez pas l’Assistant réglages pour transférer vos informations lors du démarrage initial de votre MacBook, vous pouvez le faire ultérieurement. Allez dans le dossier Applications, ouvrez le dossier Utilitaires, puis double-cliquez sur Assistant migration. Remarque : si vous avez utilisé Assistant réglages pour transférer vos informations à partir de votre autre Macintosh et que vous souhaitez utiliser l’Assistant migration pour transférer à nouveau des informations, assurez-vous que FileVault est désactivé sur l’autre Macintosh. Pour désactiver FileVault, ouvrez la fenêtre Sécurité des Préférences Système et cliquez sur Désactiver FileVault. Suivez les instructions à l’écran. Assistant réglages peut également vous aider à configurer la connexion à Internet de votre ordinateur. Pour les particuliers, l’accès à Internet requiert généralement l’ouverture d’un compte auprès d’un fournisseur d’accès à Internet (éventuellement payant). Si vous disposez déjà d’un compte Internet, consultez l’annexe C, «Connexion à Internet», à la page 123 pour savoir quelles sont les informations à saisir. Félicitations, votre ordinateur est prêt ! F3626M42.book Page 17 Wednesday, April 5, 2006 2:17 PM18 Chapitre 1 Premiers contacts Composants de base de votre MacBook ®? ® Bouton d’alimentation Lampe témoin de la caméra Caméra iSight Microphone Haut-parleurs stéréo Lampe témoin de suspension d’activité Récepteur à infrarouge Trackpad Bouton du trackpad Lecteur optique à chargement par fente F3626M42.book Page 18 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 19 Microphone Permet de capturer des sons directement avec ce microphone intégré (situé à gauche de la caméra iSight). Caméra iSight intégrée et lampe témoin de la caméra Participez à une vidéoconférence avec d’autres via l’application iChat AV incluse. La lampe témoin de la caméra brille lorsque la caméra capture et affiche des données vidéo. Haut-parleurs stéréo intégrés (3) Permettent d’écouter de la musique, des films, des jeux et d’autres types de données multimédia. Trackpad Permet de déplacer le pointeur sur l’écran du MacBook en utilisant un doigt ; inclut également une fonction de défilement en utilisant deux doigts sur le trackpad. Lampe témoin de suspension d’activité Une lumière blanche clignote lorsque le MacBook est en suspension d’activité. Récepteur à infrarouge intégré Utilisez votre télécommande Apple Remote et le récepteur infrarouge intégré pour contrôler votre MacBook à distance. Lecteur de disque optique à chargement par fente Votre disque optique peut lire des disques CD et DVD et écrire sur des CD. Si vous disposez d’un lecteur SuperDrive, vous pouvez également écrire sur des disques DVD. Consultez «Utilisation du lecteur optique» à la page 76 pour obtenir plus de détails. ® Bouton d’alimentation Permet d’allumer ou d’éteindre votre MacBook ou d’en suspendre l’activité. F3626M42.book Page 19 Wednesday, April 5, 2006 2:17 PM20 Chapitre 1 Premiers contacts Fonctionnalités du clavier de votre MacBook esc num F1 F2 F3 F4 F5 F6 F7 F8 F9 F10 F11 F12 lock — i C - Touche de fonction (Fn) Touches de réglage du volume Touches de réglage de la luminosité Touche de verrouillage numérique Touche d’éjection de disques Touche Silence Touches de fonction standard Touche de bascule du mode vidéo F3626M42.book Page 20 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 21 Touche de fonction (Fn) Maintenez cette touche enfoncée pour activer les actions personnalisées affectées aux touches de fonction (F1 à F12). Pour apprendre comment personnaliser les touches de fonction, choisissez Aide > Aide Mac dans la barre des menus, puis recherchez «touches de fonction». Touches de réglage de la luminosité Permettent d’augmenter ( ) ou de diminuer ( ) la luminosité de l’écran de votre MacBook. — Commande Silence Permet de désactiver le son provenant des haut-parleurs intégrés et du port de sortie casque. - Touches de réglage du volume Permettent d’augmenter (-) ou de diminuer (–) le volume du son provenant des haut-parleurs intégrés et du port de sortie casque. Touche de verrouillage numérique Permet d’activer et de désactiver le pavé numérique intégré au clavier du MacBook. Lorsque le pavé numérique est activé, une lumière verte brille sur la touche de verouillage numérique. i Touche de bascule du mode vidéo Permet de passer du mode double-écran (affichage de votre bureau sur l’écran intégré et sur un écran externe) au mode de recopie vidéo (affichage des mêmes informations sur les deux écrans) et vice versa. F11, F12 Par défaut, la touche F11 ouvre Exposé et la touche F12 ouvre Dashboard. C Touche d’éjection de disque Maintenez cette touche enfoncée pour éjecter un disque. Il est également possible d’éjecter un disque en faisant glisser son icône dans la Corbeille. F3626M42.book Page 21 Wednesday, April 5, 2006 2:17 PM22 Chapitre 1 Premiers contacts Composants supplémentaires de votre MacBook ¯ Port Ethernet Gigabit (10/100/ 1000 Base-T) G Logement de sécurité Port de sortie casque/audio numérique optique f Port d’entrée de ligne audio/ audio numérique optique , Port Mini-DVI £ Port FireWire 400 H Ports USB 2.0 Port d d’adaptateur secteur MagSafe F3626M42.book Page 22 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 23 ¯ Port de l’adaptateur secteur Apple MagSafe Branchez-y l’adaptateur secteur Apple MagSafe 60 W fourni pour recharger la batterie de votre MacBook. G Port Ethernet Gigabit (10/100/1000Base-T) Permet de se connecter soit à un réseau Ethernet haute vitesse, soit à un autre ordinateur et de transférer des fichiers. La fonction de détection automatique du port Ethernet détecte d’autres périphériques Ethernet sans avoir besoin de câble croisé Ethernet pour établir la connexion. £ Port Mini-DVI (sortie vidéo) Permet de se connecter à un affichage externe ou à un appareil de projection utilisant un connecteur DVI, VGA, composite ou S-Vidéo. Selon le type de périphérique externe auquel vous connectez votre ordinateur, utilisez un adaptateur Mini-DVI vers DVI, Mini-DVI vers VGA ou Mini-DVI vers Vidéo, tous vendus séparément à l’adresse www.apple.com/francestore. H Port FireWire 400 Permettent de connecter des périphériques à haute vitesse tels que des caméras vidéo numériques et des périphériques de stockage externes. d Deux ports haute vitesse USB 2.0 (Universal Serial Bus) Permettent de connecter des périphériques supplémentaires à votre MacBook, notamment imprimantes, unités de stockage externes, appareils photo numériques, modems, claviers ou manettes de jeu. , Port d’entrée de ligne audio/audio numérique optique Permet de connecter un micro ou un appareil audio numérique à votre MacBook. f Port de sortie casque/audio numérique optique Il permet de connecter des haut-parleurs externes, un casque ou des appareils audio numériques. Logement de sécurité Permet de protéger votre MacBook contre le vol en l’attachant à l’aide d’un câble de sécurité (vendu séparément). F3626M42.book Page 23 Wednesday, April 5, 2006 2:17 PM24 Chapitre 1 Premiers contacts Pour des informations supplémentaires sur ces fonctionnalités, consultez le chapitre 3, «Utilisation de votre MacBook», à la page 57. Extinction ou suspension d’activité de votre MacBook Une fois que vous avez fini d’utiliser votre MacBook, vous pouvez suspendre son activité ou l’éteindre. Suspension de l’activité de votre MacBook Suspendez l’activité de votre MacBook si vous ne comptez vous en éloigner que quelques instants. Vous pourrez ensuite le réactiver sans avoir à le redémarrer. Pour suspendre l’activité de votre ordinateur, procédez de l’une des manières suivantes :  Rabattez l’écran.  Choisissez Pomme () > Suspendre l’activité, dans la barre des menus.  Appuyez sur le bouton d’alimentation (®) et cliquez sur Suspendre l’activité dans la zone de dialogue qui apparaît.  Choisissez le menu Pomme () > Préférences Système, cliquez sur Économiseur d’énergie et définissez un délai pour la minuterie de mise en veille. F3626M42.book Page 24 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 25  Maintenez enfoncé le bouton Lecture/Pause (’) de la télécommande Apple Remote pendant 3 secondes. Pour réactiver l’ordinateur :  Si l’écran est fermé, il suffit de l’ouvrir pour réactiver votre MacBook.  Si l’écran est déjà ouvert, appuyez sur le bouton d’alimentation (®), sur l’une des touches du clavier ou sur un bouton de la télécommande Apple Remote. Extinction de votre MacBook Si vous ne comptez pas utiliser votre MacBook pendant un jour ou deux, il est préférable de l’éteindre. La lampe témoin de suspension d’activité reste allumée quelques instants au moment de l’extinction. Pour éteindre votre ordinateur, procédez de l’une des manières suivantes :  Choisissez Pomme () > Éteindre, dans la barre des menus.  Appuyez sur le bouton d’alimentation (®) et cliquez sur Éteindre dans la zone de dialogue qui apparaît. Si vous comptez ranger votre MacBook pour une durée prolongée, consultez la section «Rangement de votre MacBook» à la page 117 afin d’obtenir des informations sur les mesures à prendre pour éviter que votre batterie ne se décharge complètement. Avertissement : patientez quelques secondes jusqu’à ce que la lampe témoin de suspension d’activité clignote (signalant que l’activité de l’ordinateur est suspendue et que le disque dur a cessé de tourner) avant de déplacer votre MacBook. 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. F3626M42.book Page 25 Wednesday, April 5, 2006 2:17 PM26 Chapitre 1 Premiers contacts Étalonnage de la batterie Pour obtenir une autonomie optimale de votre batterie, effectuez son étalonnage durant la première semaine d’utilisation de votre MacBook et répétez régulièrement cette procédure afin que votre batterie fonctionne à pleine capacité. Pour étalonner votre batterie : 1 Branchez votre adaptateur secteur et chargez complètement la batterie de votre MacBook jusqu’à ce que le témoin lumineux de l’adaptateur passe au vert et que l’icône de la batterie dans la barre des menus indique que la batterie est complètement chargée. 2 Laissez la batterie complètement rechargée pendant deux heures ou plus. Vous pouvez utiliser votre ordinateur durant cette période à condition de brancher l’adaptateur secteur. 3 Débranchez l’adaptateur secteur en gardant le MacBook allumé et commencez à l’utiliser avec la batterie. Vous pouvez utiliser votre ordinateur durant cette période. Lorsque votre batterie est presque déchargée, un message d’avertissement apparaît à l’écran. 4 Gardez votre ordinateur allumé jusqu’à ce qu’il suspende son activité. Enregistrez votre travail et fermez toutes les applications lorsque la batterie est presque déchargée et avant que le système ne suspende son activité. 5 Éteignez l’ordinateur ou mettez-le en mode de suspension d’activité pendant cinq heures ou plus. 6 Connectez l’adaptateur secteur jusqu’à ce que la batterie soit complètement rechargée. Important : recommencez la procédure d’étalonnage environ tous les deux mois afin de maintenir votre batterie dans un état optimal. Si vous n’utilisez pas fréquemment votre MacBook, il est préférable d’étalonner à nouveau la batterie au moins une fois par mois. F3626M42.book Page 26 Wednesday, April 5, 2006 2:17 PMChapitre 1 Premiers contacts 27 Si vous avez acheté des batteries supplémentaires, appliquez-leur également la procédure d’étalonnage. Pour plus d’informations, consultez la section «Utilisation de la batterie» à la page 81. Informations supplémentaires Pour en savoir plus sur votre MacBook, consultez les ressources suivantes :  Consultez le chapitre 2, «Familiarisation avec votre MacBook», à la page 29, pour découvrir les notions importantes élémentaires.  Si vous n’êtes pas familiarisé avec Mac OS X, lisez le fascicule Bienvenue sur Tiger livré avec votre ordinateur et ouvrez l’Aide Mac pour y explorer les informations disponibles. Pour plus d’informations, consultez la section «Obtention de réponses grâce à l’Aide Mac» à la page 28.  Si un problème vous empêche d’utiliser votre ordinateur, consultez le chapitre 5, «Dépannage», à la page 99.  Consultez les questions les plus fréquemment posées dans «Les dix questions principales» à la page 133 .  Pour plus d’information sur l’assistance, les groupes de discussion et les dernières nouveautés logicielles Apple à télécharger, visitez le site www.apple.com/fr/support.  Si vous ne trouvez pas de réponse à votre problème, consultez le Guide de service et support AppleCare qui accompagne votre ordinateur pour savoir comment joindre Apple. F3626M42.book Page 27 Wednesday, April 5, 2006 2:17 PM28 Chapitre 1 Premiers contacts Obtention de réponses grâce à l’Aide Mac La plupart des informations sur l’utilisation de votre Macintosh sont disponibles directement sur votre ordinateur, dans l’Aide Mac. Pour faire apparaître l’Aide Mac : 1 Cliquez sur l’icône Finder dans le Dock (barre d’icônes située au bas de l’écran). 2 Choisissez Aide > Aide Mac (cliquez sur le menu Aide dans la barre des menus puis sélectionnez Aide Mac). 3 Cliquez dans le champ Rechercher, tapez votre question et appuyez sur la touche Retour du clavier. Champ Rechercher F3626M42.book Page 28 Wednesday, April 5, 2006 2:17 PM29 2 2 Familiarisation avec votre MacBook Ce chapitre présente des notions élémentaires importantes concernant votre MacBook. Lorsque vous cessez d’utiliser votre MacBook, patientez quelques instants avant de transporter l’ordinateur afin de laisser le temps au disque dur ou à tout disque optique situé dans votre lecteur (CD ou DVD) d’arrêter de tourner. Évitez de bousculer ou de heurter votre MacBook pendant que des disques sont en train de tourner. Remarque : votre MacBook utilise la technologie Sudden Motion Sensor qui contribue à protéger le disque dur en cas de chute ou de vibrations subies par l’ordinateur. Pour plus de détails, consultez la section «Technologie Sudden Motion Sensor» à la page 81. Lorsque vous utilisez votre MacBook ou que vous rechargez sa batterie, il est normal de constater une augmentation de la température de la partie inférieure du boîtier. En cas d’utilisation prolongée, placez votre MacBook sur une surface plane et stable. Le dessous du boîtier est légèrement surélevé pour permettre la circulation d’air et assurer ainsi à l’équipement une température de fonctionnement normale. F3626M42.book Page 29 Wednesday, April 5, 2006 2:17 PM30 Chapitre 2 Familiarisation avec votre MacBook Vous entendrez parfois de petits bruits émis par le système au démarrage ou lorsque le lecteur de disque dur et le lecteur optique sont utilisés. De même, il arrive qu’après une certaine période de fonctionnement du MacBook, un petit ventilateur se mette en marche pour refroidir le système, ce qui peut produire un léger bruit. Ce genre de sons, qu’émet le système, font partie du fonctionnement normal de votre ordinateur. Pour obtenir plus de consignes de sécurité sur la manipulation et l’utilisation de votre MacBook dans différents lieux, veuillez consulter l’annexe B, «Consignes de sécurité, d’utilisation et d’entretien», à la page 113. Le reste du présent chapitre comprend des sections concernant l’utilisation des composants de votre MacBook, notamment l’affichage, l’adaptateur secteur, le trackpad, le clavier, la caméra iSight intégrée et la télécommande Apple Remote. Vous trouverez également des informations sur Mac OS X, l’Aide Mac, les applications et la connexion de périphériques. Réglage de l’écran Après avoir commencé à travailler sur votre nouvel MacBook, réglez si nécessaire la luminosité de l’écran pour un meilleur confort visuel. Utilisez les touches F1 et F2 portant l’icône de luminosité (¤) pour régler la luminosité de l’écran. Pour régler les préférences de votre écran dans le but d’optimiser la durée de vie de la batterie : 1 Ouvrez Préférences Système puis cliquez sur Économiseur d’énergie. 2 Dans le menu local «Réglages de», choisissez Batterie puis cliquez sur Options. F3626M42.book Page 30 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 31 3 Décochez la case «Réduire la luminosité de l’écran lors de l’utilisation de cette source d’énergie» si vous ne souhaitez pas que votre écran s’assombrisse pour réduire la consommation de la batterie. Lorsque cette fonction est activée, votre écran s’assombrit légèrement lorsque vous passez de l’utilisation de l’adaptateur secteur à celle de la batterie. Lorsque vous branchez à nouveau l’adaptateur secteur, votre écran revient à son niveau précédent de luminosité. Décochez la case «Réduire automatiquement la luminosité de l’écran avant sa mise en veille» si vous ne souhaitez pas que l’écran s’assombrisse avant que le MacBook ne suspende son activité. Modification de la taille des images à l’écran Votre MacBook est équipé d’un écran large de 13,3 pouces doté d’une résolution par défaut de 1280 x 800. Vous pouvez modifier la taille des images affichées en réglant la résolution de l’écran. Vous pouvez choisir une résolution inférieure dans la fenêtre Moniteurs des Préférences Système. Lorsque vous diminuez la résolution, les éléments apparaissent plus grands à l’écran et sont par conséquent plus faciles à visualiser. Les résolutions réduites ne sont cependant pas toujours aussi nettes que la résolution d’écran par défaut. Lorsque vous employez certaines résolutions, deux bandes noires apparaissent des deux côtés de l’écran. Si vous souhaitez supprimer ces bandes, vous pouvez choisir une version «étirée» de la résolution, afin que l’image couvre l’ensemble de l’écran et les bandes. Pour changer la résolution de votre écran : m Choisissez le menu Pomme () > Préférences Système dans la barre des menus. Ouvrez la fenêtre Moniteurs des Préférences Système. F3626M42.book Page 31 Wednesday, April 5, 2006 2:17 PM32 Chapitre 2 Familiarisation avec votre MacBook Pour changer la résolution de votre écran via le menu d’état Moniteurs de la barre des menus, cliquez sur l’option «Ouvrir Moniteurs dans la barre des menus». Utilisation de l’adaptateur secteur Le branchement de l’adaptateur secteur alimente le MacBook et recharge sa batterie. Important : pour des performances optimales, n’utilisez que l’adaptateur secteur livré avec votre ordinateur ou procurez-vous un adaptateur secteur MagSafe Apple de 60 W supplémentaire. La première fois que vous connectez l’adaptateur secteur à votre ordinateur, une lampe témoin placée sur la fiche de l’adaptateur s’illumine. Une lumière orange indique que la batterie est alimentée. Une lumière verte indique que la batterie n’est pas alimentée, ce qui peut signifier que la batterie est complètement rechargée, n’est pas installée ou présente un problème. Si vous ne voyez pas de lampe témoin, votre fiche n’est probablement pas branchée correctement. Si des débris sont présents, enlevez-les. Vous pouvez contrôler le niveau de la batterie soit à l’aide du menu d’état Batterie de la barre des menus, soit en vérifiant les lampes témoins de niveau de la batterie situés sur la partie inférieure de la batterie (voir la page 81). Avertissement : le port d’adaptateur secteur du MacBook contient un aimant qui peut effacer les données d’une carte de crédit, d’un iPod ou d’autres périphériques. Pour préserver vos données, maintenez-les, ainsi que les autres supports magnétiques, à distance du port d’adaptateur secteur. F3626M42.book Page 32 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 33 Pour rallonger le câble de l’adaptateur secteur, tirez d’abord sur la fiche secteur pour la retirer de l’adaptateur. Connectez le câble secteur inclus à l’adaptateur, en vous assurant qu’il est fermement connecté. Branchez l’autre extrémité sur une prise secteur. Le câble d’alimentation secteur fournit une connexion avec mise à la terre. Utilisez le câble d’alimentation secteur et connectez-le à une prise secteur de terre chaque fois que cela est possible. Utilisez uniquement le câble d’alimentation secteur fourni avec votre adaptateur secteur. Veillez à ce que le connecteur soit fermement engagé dans le port de l’adaptateur secteur de l’ordinateur afin de garantir l’arrivée de courant à l’ordinateur. Si le câble est correctement branché, une lampe témoin s’allume à l’extrémité du câble branché sur votre MacBook . Lorsque vous déconnectez l’adaptateur secteur d’une prise de courant ou de l’ordinateur, débranchez la prise et non le câble. Pour obtenir des consignes de sécurité concernant l’utilisation de votre adaptateur secteur, consultez la section «Configuration de votre MacBook et de l’adaptateur secteur» à la page 115. Câble secteur Fiche secteur F3626M42.book Page 33 Wednesday, April 5, 2006 2:17 PM34 Chapitre 2 Familiarisation avec votre MacBook Utilisation du trackpad La distance de déplacement du pointeur à l’écran dépend de la vitesse à laquelle vous déplacez votre doigt sur le trackpad. Pour déplacer le pointeur sur une courte distance à l’écran, faites glisser l’index lentement sur le trackpad ; plus le déplacement du doigt est rapide, plus la distance parcourue par le pointeur à l’écran est grande. Vous pouvez également régler la vitesse de déplacement dans la fenêtre Clavier et souris des Préférences Système. Vous pouvez faire défiler verticalement ou horizontalement une fenêtre munie de barres de défilement en déplaçant deux doigts sur le trackpad. Vous pouvez activer ou désactiver cette option dans la fenêtre Clavier et souris des Préférences Système. Conseils d’utilisation du trackpad Pour optimiser votre utilisation du trackpad :  N’utilisez qu’un seul doigt, sauf si la fonction de défilement est activée et que vous souhaitez l’utiliser.  N’utilisez pas de stylo ou tout autre objet.  Veillez à ce que votre doigt et le trackpad soient secs. Si l’humidité ou la condensation provoque une accumulation de buée sur le trackpad, essuyez-le avec un chiffon propre avant de l’utiliser.  N’utilisez jamais de produit nettoyant sur le trackpad. Pour en savoir plus sur l’utilisation du trackpad, choisissez Aide > Aide Mac dans la barre des menus, en haut de l’écran. F3626M42.book Page 34 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 35 En plus d’utiliser le bouton du trackpad, vous pouvez utiliser votre doigt pour cliquer ou double-cliquer directement sur le trackpad. Les options du trackpad peuvent être activées via la fenêtre Clavier et souris des Préférences Système. Remarque : s’il vous arrive souvent que le pointeur bouge lorsque vous tapez parce que vous effleurez le trackpad par inadvertance, sélectionnez l’option «Ignorer les utilisations accidentelles du trackpad» dans la fenêtre Clavier et souris des Préférences Système. Utilisation du clavier Votre MacBook est équipé d’un pavé numérique intégré au sein des touches normales du clavier. Les touches utilisées par le pavé numérique sont pourvues d’une indication secondaire. Touche de verrouillage numérique Pavé numérique F3626M42.book Page 35 Wednesday, April 5, 2006 2:17 PM36 Chapitre 2 Familiarisation avec votre MacBook Pour utiliser le pavé numérique, appuyez sur la touche de verrouillage numérique. Lorsque le pavé numérique est actif, l’indicateur de la touche de verrouillage numérique brille. Lorsque vous avez fini de l’utiliser, appuyez à nouveau sur la touche de verrouillage numérique pour le désactiver. Important : si votre clavier ne semble pas fonctionner correctement, vérifiez la touche de verrouillage numérique. Lorsque le pavé numérique est activé, les autres touches et raccourcis clavier correspondant à des commandes de menu (comme x + Q pour quitter l’application en cours) sont désactivées. Vous pouvez utiliser votre clavier ou la télécommande Apple Remote pour contrôler l’application Front Row. (Voir «Utilisation du clavier pour contrôler Front Row» à la page 42.) Si vous souhaitez utiliser les raccourcis clavier pour travailler de manière plus efficace, ouvrez l’Aide Mac et recherchez «raccourcis de clavier». Vous y trouverez une liste complète de raccourcis clavier pour un grand nombre de procédures et d’applications courantes. Utilisation d’une souris Si vous disposez d’une souris Apple dotée d’un connecteur USB, insérez celui-ci dans le port USB 2.0 pour l’utiliser immédiatement. Si vous possédez une souris Apple Wireless Mouse, consultez la section «Utilisation de la technologie sans fil Bluetooth» à la page 67 pour obtenir des informations sur son utilisation. Vous pouvez vous procurer une souris sans fil ou USB sur l’Apple Store en ligne à l’adresse www.apple.com/francestore ou chez un revendeur agréé Apple. F3626M42.book Page 36 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 37 Utilisation de la télécommande Apple Remote et de Front Row Votre télécommande Apple Remote fonctionne avec l’interface de Front Row et le récepteur infrarouge intégré, situé en bas et à droit de la face avant de votre MacBook. Utilisez la télécommande Apple Remote pour ouvrir Front Row et interagir à distance avec entre autres iTunes, iPhoto, iMovie et Lecteur DVD. Utilisez votre télécommande Apple Remote pour :  ouvrir Front Row et parcourir les menus Musique, Photos, Clips vidéo et DVD ;  régler le volume d’un morceau, lire ou mettre en pause un morceau ou passer à la piste suivante ou précédente dans iTunes ;  visualiser un diaporama à partir d’un album photo dans iPhoto ;  lire des séquences dans votre dossier Séquences ou regarder des bandes-annonces QuickTime en ligne ;  lire un disque DVD dans votre lecteur optique avec Lecteur DVD ;  parcourir les présentations Keynote ;  suspendre l’activité de votre MacBook ou le réactiver. Pour utiliser votre télécommande Apple Remote avec Front Row, dirigez-la vers l’avant du MacBook et :  appuyez sur le bouton Menu (») pour ouvrir ou fermer Front Row ou pour revenir au menu précédent lorsque vous explorez Front Row ;  appuyez sur le bouton Suivant/Avance rapide (‘) ou sur le bouton Précédent/ Retour rapide (]) pour passer d’une application à l’autre dans Front Row ;  appuyez sur les boutons Augmenter le volume/Élément de menu précédent (∂) et Baisser le volume/Élément de menu suivant (D) pour vous déplacer parmi les options d’un menu ou régler le volume ; F3626M42.book Page 37 Wednesday, April 5, 2006 2:17 PM38 Chapitre 2 Familiarisation avec votre MacBook  appuyez sur le bouton Sélection/Lecture/Pause (’) pour sélectionner un élément de menu ou pour lire ou mettre en pause un morceau, un diaporama ou un DVD ;  appuyez sur le bouton Suivant/Avance rapide (‘) ou sur le bouton Précédent/Retour rapide (]) pour explorer votre contenu multimédia (maintenez les boutons enfoncés pour accélérer le défilement) ;  maintenez le bouton Sélection/Lecture/Pause (’) enfoncé pendant 3 secondes pour suspendre l’activité de votre MacBook. Bouton Suivant/Avance rapide Bouton Sélection/Lecture/Pause Compartiment de la pile Bouton Augmenter le volume/Élément de menu précédent Fenêtre infrarouge Bouton Baisser le volume/ Élément de menu suivant Bouton Précédent/ Retour rapide Bouton Menu F3626M42.book Page 38 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 39 Utilisation de la télécommande Apple Remote avec Keynote Si Keynote est installé sur votre ordinateur, vous pouvez contrôler vos présentations avec la télécommande Apple Remote. Une fois Keynote ouvert, appuyez sur le bouton Sélection/Lecture/Pause (’) pour lancer une présentation. Ensuite, selon l’endroit de l’application où vous souhaitez travailler (dans une présentation ou dans le classeur de diapositives), dirigez la télécommande Apple Remote vers votre MacBook et appuyez sur ses boutons pour contrôler Keynote suivant les indications du tableau suivant. Appuyez sur le bouton... dans une présentation dans le classeur de diapositives ’ (Sélection/Lecture/Pause) pour interrompre/reprendre la présentation pour passer à la diapositive sélectionnée » (Menu) pour lancer le classeur de diapositives pour quitter le classeur de diapositives » et maintenez-le enfoncé pour quitter l’application pour quitter la présentation ] (Précédent/Retour rapide) pour passer à la diapositive précédente pour sélectionner la diapositive précédente ] et maintenez-le enfoncé pour passer à la première diapositive ‘ (Suivant/avance rapide) pour passer à la diapositive suivante pour sélectionner la diapositive suivante ‘ et maintenez-le enfoncé pour passer à la dernière diapositive ∂ (Augmenter le volume/ Élément de menu précédent) pour augmenter le volume pour augmenter le volume D (Baisser le volume/ Élément de menu suivant) pour baisser le volume pour baisser le volume F3626M42.book Page 39 Wednesday, April 5, 2006 2:17 PM40 Chapitre 2 Familiarisation avec votre MacBook Jumelage de votre télécommande Apple Remote Si vous possédez dans une pièce plusieurs ordinateurs ou autres appareils dotés de récepteurs à infrarouge intégrés (par exemple, plusieurs MacBook ou iMac dans un bureau personnel ou un laboratoire), vous avez la possibilité de «jumeler» votre télé- commande Apple Remote avec un ordinateur ou un appareil précis. Le jumelage permet de configurer l’ordinateur ou l’appareil récepteur de façon à ce qu’il ne soit contrôlé que par une télécommande Apple Remote spécifique. Pour jumeler votre télécommande Apple Remote avec votre MacBook : 1 Mettez la télécommande Apple Remote à 8 à 10 centimètres du récepteur infrarouge de votre MacBook. 2 Maintenez simultanément enfoncés les boutons Menu (») et Suivant/Avance rapide (‘) de votre télécommande Apple Remote pendant 5 secondes. Lorsque vous avez correctement jumelé votre télécommande Apple Remote avec votre MacBook, le symbole d’un maillon de chaîne ( ) apparaît à l’écran. Pour annuler le jumelage de la télécommande Apple Remote et du MacBook : 1 Choisissez le menu Pomme () > Préférences Système dans la barre des menus. 2 Cliquez sur Sécurité puis sur Désactiver le jumelage. F3626M42.book Page 40 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 41 Remplacement de la batterie La télécommande Apple Remote inclut une pile non rechargeable. Si nécessaire, remplacez la pile par une pile CR 2032. N’essayez pas de recharger la pile. Pour remettre la pile en place : 1 Ouvrez le logement de la pile en appuyant sur le bouton (illustré ci-dessus) avec un petit objet, tel que l’extrémité d’un trombone. 2 Ôtez le compartiment de la pile et retirez-la. 3 Insérez la nouvelle pile, son côté positif (+) tourné vers le haut. 4 Refermez le logement de la pile. Appuyez sur ce bouton à l’aide d’un petit objet arrondi pour éjecter partiellement le logement de la pile. Face positive (+) vers le haut. Tirez afin de libérer le logement de la pile. MENU F3626M42.book Page 41 Wednesday, April 5, 2006 2:17 PM42 Chapitre 2 Familiarisation avec votre MacBook Désactivation de la réception infrarouge Vous pouvez utiliser les préférences Sécurité pour activer ou désactiver la réception infrarouge sur votre MacBook. Pour désactiver la réception infrarouge :  Choisissez le menu Pomme () > Préférences Système dans la barre des menus et cliquez sur Sécurité.  Cochez la case «Désactiver le récepteur à infrarouge de la télécommande». Utilisation du clavier pour contrôler Front Row Vous pouvez utiliser votre clavier au lieu de la télécommande Apple Remote pour contrôler Front Row. Les touches suivantes correspondent aux boutons de la télécommande Apple Remote : Équivalent clavier Bouton de la télécommande Apple Remote Commande (x) - Échap Ouvrir menu (») Échap Quitter menu (») Espace ou Retour Sélection/Lecture/Pause (’) Flèche vers le haut (Ò) Augmenter le volume/Élément de menu précédent (∂) Flèche vers la bas (¬) Baisser le volume/Élément de menu suivant (D) Flèche vers la droite (˚) Suivant/avance rapide (‘) Flèche vers la gauche (k) Précédent/Retour rapide (]) F3626M42.book Page 42 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 43 En savoir plus sur la télécommande Apple Remote L’Aide Mac fournit des informations supplémentaires sur la télécommande Apple Remote. Choisissez Aide > Aide Mac dans la barre des menus, puis recherchez «Apple Remote». Utilisation de la caméra vidéo iSight intégrée À l’aide de la caméra iSight intégrée, vous pouvez prendre des photos avec Photo Booth ou participer à des conférences vidéo avec d’autres utilisateurs d’iChat AV. Prise de photos avec Photo Booth Utilisez Photo Booth pour prendre des photos et ajouter des effets visuels amusants tels que sépia, noir et blanc, éclat, crayon de couleur et plus encore. Caméra iSight Lampe témoin de la caméra Microphone F3626M42.book Page 43 Wednesday, April 5, 2006 2:17 PM44 Chapitre 2 Familiarisation avec votre MacBook Pour prendre une photo avec Photo Booth : 1 Cliquez sur l’icône de Photo Booth dans le Dock pour ouvrir Photo Booth, puis allumez la caméra iSight intégrée. La lampe témoin située à côté de la caméra brille lorsque celle-ci est allumée. 2 Vous pouvez sélectionner un effet à appliquer à votre photo. 3 Cliquez sur l’icône de caméra sous l’image pour prendre une photo. Enregistrez l’image comme photo de contact iChat, envoyez-la par courrier électronique à vos amis ou enregistrez-la dans votre photothèque iPhoto. Pour utiliser une photo comme photo de contact ou de compte : 1 Ouvrez Photo Booth et prenez une photo. 2 Sélectionnez la photo que vous souhaitez utiliser comme photo de contact ou photo de compte. 3 Cliquez sur l’icône de photo de contact ou de compte pour automatiquement mettre à jour votre photo. Pour plus d’informations sur Photo Booth, choisissez Aide > Aide Mac dans la barre des menus, puis sélectionnez Centre d’aide > Aide Photo Booth. Utilisation de votre caméra iSight avec iMovie HD Vous pouvez capturer de la vidéo en direct de votre caméra iSight, directement dans iMovie HD. Pour capturer de la vidéo en direct : 1 Ouvrez iMovie HD en cliquant sur son icône dans le Dock. F3626M42.book Page 44 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 45 2 Cliquez sur l’option de changement de mode pour régler iMovie HD sur le mode caméra intégrée. 3 Cliquez sur l’icône de caméra à gauche de l’option de changement de mode puis choisissez iSight intégrée dans le menu local. 4 Cliquez sur le bouton «Enregistrer avec iSight» dans le moniteur iMovie pour commencer à enregistrer. La vidéo que vous voyez dans le moniteur iMovie est enregistrée comme clip dans le panneau des clips iMovie. 5 Cliquez à nouveau sur le bouton «Enregistrer avec iSight» pour arrêter l’enregistrement. Vous pouvez enregistrer de la vidéo tant que votre MacBook possède suffisamment d’espace libre. L’Aide Mac fournit des informations supplémentaires sur iMovie HD. Choisissez Aide > Aide Mac dans la barre de menus, puis choisissez Centre d’aide > Aide iMovie HD. Vidéoconférences avec iChat AV Lorsque vous ouvrez iChat AV, la lampe témoin de la caméra s’allume. Cliquez sur l’icône vidéo d’un contact pour participer avec lui à une vidéoconférence iChat AV, en temps réel avec animation vidéo intégrale. Votre MacBook est également doté d’un micro intégré, ce qui vous permet de profiter à la fois du son et de l’image durant vos vidéoconférences iChat AV. Option de changement de mode F3626M42.book Page 45 Wednesday, April 5, 2006 2:17 PM46 Chapitre 2 Familiarisation avec votre MacBook Pour utiliser la caméra iSight intégrée en vue de lancer une vidéoconférence, vous avez besoin des éléments suivants :  un compte .Mac, America Online (AOL) ou AOL Instant Messenger (AIM) (requis pour iChat AV) ;  une connexion à Internet à haut débit via câble modem ou DSL ou un réseau local (LAN). Veuillez notez que les vidéoconférences ne sont pas possibles sous une connexion à Internet par ligne commutée. Pour débuter une vidéoconférence : 1 Ouvrez iChat AV. 2 Cliquez sur le bouton représentant une caméra situé à côté d’un contact dans votre liste de contacts. Pour en savoir plus sur l’ajout de contacts à votre liste, choisissez Aide > Aide iChat AV. Lorsque vous cliquez sur un bouton représentant une caméra dans la liste des contacts, la lampe témoin de la caméra brille pour indiquer que vous affichez de la vidéo. Cela enverra également une invitation à votre contact et vous permettra de voir de quoi vous avez l’air à la caméra. Lorsqu’un contact accepte votre invitation, vous pouvez le voir apparaître sur votre écran, ainsi que vous-même. F3626M42.book Page 46 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 47 Vidéoconférence avec plusieurs contacts Il est possible de réaliser des vidéoconférences en compagnie de deux, et jusqu’à trois, contacts à la fois. Un des contacts accueille la vidéoconférence et les autres y participent. Pour débuter une vidéoconférence avec plusieurs contacts : 1 Ouvrez iChat AV. 2 Maintenez enfoncée la touche Commande tout en sélectionnant les contacts que vous souhaitez inviter. 3 Cliquez sur le bouton représentant une caméra situé au bas de votre liste de contacts. Extinction de la caméra iSight Pour éteindre la caméra iSight, fermez la fenêtre active iChat. La lampe témoin de la caméra s’éteint, ce qui indique que la caméra iSight est éteinte et que l’enregistrement a été interrompu. Utilisation de votre photo en tant qu’image de contact Vous avez la possibilité de vous prendre en photo à l’aide de la caméra iSight et d’utiliser cette photo comme image de contact. Elle apparaîtra dans la liste de contacts des autres utilisateurs, si vous en faites partie. Pour définir votre image de contact : 1 Ouvrez iChat AV. 2 Choisissez Contacts > Changer ma photo. 3 Cliquez sur le bouton représentant une caméra. F3626M42.book Page 47 Wednesday, April 5, 2006 2:17 PM48 Chapitre 2 Familiarisation avec votre MacBook À propos de Mac OS X Votre ordinateur est doté de Mac OS X version 10.4 Tiger qui comprend entre autres Spotlight (un moteur de recherche qui répertorie automatiquement l’ensemble de vos fichiers), Dashboard (qui vous permet de garder à portée de mains des «widgets», ou mini-applications, très pratiques) et Exposé (qui dispose et affiche de manière élégante toutes les fenêtres des applications ouvertes). Lorsque vous serez prêt à en apprendre davantage sur Mac OS X et les applications iLife maintes fois primées qui accompagnent votre ordinateur, consultez le livret Bienvenue sur Tiger fourni avec votre MacBook ou consultez les informations dans l’Aide Mac. En cas de problèmes lors de l’utilisation de Mac OS X, consultez le chapitre 5, «Dépannage», ou l’Aide Mac. Pour obtenir des informations sur les applications qui sont compatibles avec Mac OS X ou pour en savoir plus sur Mac OS X en général, consultez le site web d’Apple à l’adresse www.apple.com/fr/macosx. F3626M42.book Page 48 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 49 Personnalisation du bureau et réglage des préférences Grâce aux Préférences Système, vous pouvez donner à votre bureau l’apparence souhaitée sans perdre de temps. Choisissez le menu Pomme () > Préférences Système dans la barre des menus. N’hésitez pas à expérimenter avec les réglages apparaissant dans les fenêtres suivantes :  Apparence : sélectionnez cette fenêtre de préférences pour changer entre autres la couleur des boutons, menus et fenêtres, ainsi que celle de mise en surbrillance.  Dashboard et Exposé : sélectionnez cette fenêtre des Préférences pour définir les coins d’écran actifs et les raccourcis de Dashboard, de votre bureau, des fenêtres de l’application ainsi que de toutes les fenêtres. F3626M42.book Page 49 Wednesday, April 5, 2006 2:17 PM50 Chapitre 2 Familiarisation avec votre MacBook  Bureau et économiseur d’écran : sélectionnez cette fenêtre de préférences pour changer la couleur et le motif du bureau ou pour le 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 fenêtre de préférences pour modifier la taille, l’emplacement et le comportement de votre Dock (c’est-à-dire, la barre d’icônes au bas de votre écran). Tout en vous familiarisant avec votre ordinateur, découvrez progressivement les autres Préférences Système. Préférences Système constitue le poste de commande qui vous permet d’effectuer la plupart des réglages de votre MacBook. Pour en savoir plus, ouvrez l’Aide Mac et recherchez «Préférences Système» ou la fenêtre de préférences spécifique que vous souhaitez modifier. Remarque : Apple publiant régulièrement de nouvelles versions et mises à jour de son logiciel système, ses applications et ses sites Internet, il est possible que les illustrations figurant dans ce manuel diffèrent légèrement de celles qui apparaissent sur votre écran. Utilisation des applications Votre MacBook est accompagné d’applications logicielles vous permettant d’envoyer des messages électroniques, de naviguer sur Internet et de bavarder en ligne. Il inclut également la suite d’applications iLife, utile par exemple pour l’organisation de votre musique et de vos photos numériques, la création de séquences et de sites web. Pour en savoir plus sur ces applications, consultez le livret Bienvenue sur Tiger fourni avec votre ordinateur. F3626M42.book Page 50 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 51 Lorsqu’une application ne répond plus Il peut arriver, très rarement, qu’une application se «fige» à l’écran. Mac OS X permet de quitter une application figée sans redémarrer votre ordinateur. Vous pouvez ainsi enregistrer le travail effectué dans d’autres applications ouvertes. Pour forcer une application à se fermer : 1 Appuyez sur les touches Commande (x) + Option + Échap ou choisissez Pomme () > Forcer à quitter dans la barre des menus. La boîte de dialogue Forcer à quitter des applications apparaît. L’application est sélectionnée. 2 Dans la zone de confirmation, cliquez sur Forcer à quitter. L’application se ferme, en laissant toutes les autres applications ouvertes. Si nécessaire, vous pouvez également redémarrer le Finder à partir de cette zone de dialogue. Si vous rencontrez d’autres difficultés avec une application, consultez le chapitre 5, «Dépannage», à la page 99. Maintien à jour de vos logiciels Vous pouvez vous connecter à Internet pour télécharger et installer automatiquement les dernières versions de logiciels, gestionnaires et autres améliorations fournies par Apple. Chaque fois que vous vous connectez à Internet, «Mise à jour de logiciels» consulte les serveurs Internet d’Apple pour rechercher les mises à jour disponibles pour votre ordinateur. Vous pouvez configurer votre Mac pour qu’il recherche régulièrement dans les serveurs Apple des mises à jour de logiciels, puis les télécharge et les installe. F3626M42.book Page 51 Wednesday, April 5, 2006 2:17 PM52 Chapitre 2 Familiarisation avec votre MacBook Pour rechercher des logiciels mis à jour : 1 Ouvrez les Préférences Système. 2 Cliquez sur l’icône «Mise à jour de logiciels» et suivez les instructions à l’écran.  Pour plus d’informations, recherchez «Mise à jour de logiciels» dans l’Aide Mac.  Pour obtenir les toutes dernières informations concernant Mac OS X, accédez au site web Mac OS X à l’adresse www.apple.com/fr/macosx. Connexion à une imprimante Suivez les instructions fournies avec votre imprimante pour installer les logiciels requis et connecter l’imprimante. Mac OS X intègre la plupart des gestionnaires d’imprimantes. Vous pouvez connecter la plupart des imprimantes au moyen d’un câble USB ; d’autres peuvent requérir une connexion en réseau, par exemple via Ethernet. Si vous possédez une borne d’accès AirPort Express ou AirPort Extreme, vous pouvez connecter une imprimante USB à la borne d’accès (plutôt qu’à l’ordinateur) pour effectuer des tâches d’impression sans fil. Pour en savoir plus sur les ports USB, consultez la section «Utilisation de périphériques USB (Universal Serial Bus)» à la page 58. Pour en savoir plus sur les connexions réseau ou sans fil, consultez la section «Fonctionnement de l’accès sans fil à Internet via AirPort» à la page 66 et «Connexion via Ethernet» à la page 69. Lorsque vous connectez une imprimante USB, elle est normalement automatiquement détectée par votre ordinateur qui l’ajoute alors à la liste des imprimantes disponibles. Il se peut que vous ayez besoin du nom réseau ou de l’adresse des imprimantes connectées à un réseau pour pouvoir imprimer. Utilisez la fenêtre Imprimantes et fax des Préférences Système pour sélectionner votre imprimante. F3626M42.book Page 52 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 53 Remarque : si votre imprimante ne fonctionne pas, il sera peut-être nécessaire de consulter le site web de son fabricant pour obtenir le logiciel de gestionnaire d’imprimante compatible à installer. Pour configurer une imprimante : 1 Ouvrez Préférences Système et cliquez sur l’icône Imprimantes et fax. 2 Cliquez sur Impression puis sur le bouton Ajouter (+) pour ajouter une imprimante. 3 Sélectionnez l’imprimante que vous souhaitez utiliser, puis cliquez sur Ajouter. 4 Utilisez les boutons Ajouter (+) et Supprimer (–) pour choisir les imprimantes que vous souhaitez voir apparaître dans la liste des imprimantes. Contrôle de l’impression Après avoir envoyé un document à une imprimante, vous pouvez contrôler l’impression, interrompre votre tâche d’impression ou la placer temporairement en attente. Cliquez sur l’icône Imprimante dans le Dock pour ouvrir la fenêtre Imprimante. Pour plus d’informations, choisissez Aide > Aide Mac et recherchez «impression». Lecture d’un CD et connexion d’un casque d’écoute Vous pouvez utiliser iTunes, un juke-box numérique et magasin facile à utiliser, d’où vous pouvez télécharger de la musique, des clips vidéos, des podcasts et des livres audio et écouter votre musique iTunes et des CD tout en utilisant votre ordinateur. Insérez un CD de musique dans votre lecteur optique et iTunes apparaîtra automatiquement à l’écran. Vous pouvez écouter de la musique soit via les haut-parleurs internes du MacBook, soit en branchant un casque d’écoute sur le port de sortie casque de votre MacBook. Pour en savoir plus sur iTunes : m Ouvrez iTunes et choisissez Aide > Aide iTunes et Music Store. F3626M42.book Page 53 Wednesday, April 5, 2006 2:17 PM54 Chapitre 2 Familiarisation avec votre MacBook Connexion d’un appareil photo ou de tout autre périphérique FireWire ou USB Vous pouvez connecter un iPod, un appareil photo numérique, une caméra vidéo, un scanneur ou tout autre appareil doté d’un connecteur FireWire ou USB à votre MacBook. Suivez les instructions d’installation fournies avec votre appareil. Pour obtenir des informations sur FireWire, consultez la section «Connexion via FireWire» à la page 62. Pour obtenir des informations sur les connexions USB, consultez la section «Utilisation de périphériques USB (Universal Serial Bus)» à la page 58. Transfert de fichiers depuis ou vers un autre ordinateur Si vous souhaitez transférer des fichiers ou des documents depuis ou vers un autre ordinateur, vous pouvez procéder de différentes manières.  Vous pouvez facilement transférer tous vos fichiers à l’aide d’Assistant migration et d’un câble FireWire (vendu séparément).  Vous pouvez également vous connecter à un autre Mac à l’aide d’un câble FireWire et démarrer votre MacBook en mode disque cible FireWire. Votre MacBook apparaît alors en tant que disque dur sur l’autre ordinateur et vous pouvez y faire glisser des fichiers. Pour plus d’informations sur l’utilisation de FireWire pour transférer des fichiers, consultez la section «Connexion de votre MacBook à un autre ordinateur via FireWire» à la page 64.  Si vous possédez un lecteur de disque dur externe, un iPod, un lecteur flash ou tout autre périphérique de stockage de données qui se connecte via un câble USB ou FireWire, vous pouvez l’utiliser pour transférer des fichiers.  Si vous disposez d’un compte de messagerie, vous pouvez envoyer vos fichiers par courrier électronique vers un autre ordinateur. F3626M42.book Page 54 Wednesday, April 5, 2006 2:17 PMChapitre 2 Familiarisation avec votre MacBook 55  Si vous souscrivez un compte .Mac (payant) auprès d’Apple, vous pouvez l’utiliser pour transférer des fichiers. Avec un compte .Mac, vous obtenez un iDisk qui vous fournit un espace Internet pour la sauvegarde et le stockage de fichiers, afin que d’autres ordinateurs puissent accéder aux fichiers que vous y transférez.  À l’aide d’un lecteur optique enregistrable, vous pouvez enregistrer des fichiers pour les transférer sur CD ou DVD.  Si vous connectez votre ordinateur à un réseau via Ethernet, vous pouvez échanger des fichiers avec d’autres ordinateurs du réseau. Vous pouvez accéder à un serveur ou à un autre ordinateur en cliquant sur Réseau dans la barre latérale du Finder ou en choisissant Aller > «Se connecter au serveur» dans la barre des menus du Finder.  Vous pouvez créer un petit réseau Ethernet en connectant un câble Ethernet depuis votre MacBook jusqu’au port Ethernet d’un autre ordinateur. Après vous être connecté à l’autre ordinateur, vous pouvez transférer des fichiers directement d’un ordinateur à l’autre. Pour plus d’informations, ouvrez l’Aide Mac et recherchez «Connexion de deux ordinateurs».  Vous pouvez vous connecter à un réseau sans fil AirPort Extreme pour transférer des fichiers. Pour plus d’informations, consultez la section «Fonctionnement de l’accès sans fil à Internet via AirPort» à la page 66.  Si vous avez accès à des appareils qui communiquent via la technologie sans fil Bluetooth®, vous pouvez transférer des fichiers vers d’autres appareils équipés de cette technologie. Pour plus d’informations, consultez la section «Utilisation de la technologie sans fil Bluetooth» à la page 67. Pour obtenir des informations générales sur le transfert de fichiers et de documents, ouvrez l’Aide Mac et recherchez «transfert» ou le type de connexion dont vous avez besoin. F3626M42.book Page 55 Wednesday, April 5, 2006 2:17 PMF3626M42.book Page 56 Wednesday, April 5, 2006 2:17 PM57 3 3 Utilisation de votre MacBook Votre MacBook comporte de nombreuses fonctions et capacités de connexion intégrées. En voici la liste :  des ports USB 2.0 (Universal Serial Bus) pour la connexion d’appareils, notamment iPod, imprimantes ou scanneurs (voir «Utilisation de périphériques USB (Universal Serial Bus)» à la page 58) ;  un port FireWire 400 pour connecter des périphériques à haute vitesse, tels que caméras vidéo numériques et disques durs externes (voir «Connexion via FireWire» à la page 62) ;  la connectivité sans fil Bluetooth, la capacité réseau sans fil AirPort Extreme et la capacité réseau Ethernet Gigabit. (voir «Fonctionnement de l’accès sans fil à Internet via AirPort» à la page 66 et «Connexion via Ethernet» à la page 69) ;  un port d’entrée de ligne audio/audio numérique optique et un port de sortie casque/ audio numérique optique pour connecter un casque, des haut-parleurs et des appareils audio numériques (voir «Connexion de haut-parleurs et autres périphériques audio» à la page 75) ; F3626M42.book Page 57 Wednesday, April 5, 2006 2:17 PM58 Chapitre 3 Utilisation de votre MacBook  un port vidéo mini-DVI pour connecter votre MacBook à un moniteur externe via un adaptateur Mini-DVI vers DVI ou Mini-DVI vers VGA : utilisez un adaptateur Mini-DVI vers Vidéo pour connecter tout appareil vidéo nécessitant une connexion composite ou S-Vidéo ; tous les adaptateurs sont vendus séparément (voir «Gestion de la vidéo externe» à la page 71) ;  un lecteur optique à chargement par fente pour la lecture de CD et de DVD et pour la gravure de CD ; si vous disposez d’un lecteur SuperDrive, vous pouvez également graver des DVD (voir «Utilisation du lecteur optique» à la page 76) ;  la technologie Sudden Motion Sensor qui contribue à protéger le disque dur en cas de chute ou de vibrations subies par votre MacBook (voir «Technologie Sudden Motion Sensor» à la page 81) ;  une batterie MacBook dont vous pouvez facilement consulter l’état de charge (voir «Utilisation de la batterie» à la page 81) ;  un logement de sécurité pour éviter que votre MacBook ne disparaisse (voir «Protection de votre MacBook» à la page 87). Utilisation de périphériques USB (Universal Serial Bus) Votre MacBook est livré avec deux ports USB 2.0 (d), ou ports USB haute vitesse, à utiliser pour connecter de nombreux périphériques externes, notamment iPod, imprimantes, scanneurs, appareils photo numériques, manettes de jeu, claviers ou lecteurs de disquette. Ces ports USB 2.0 sont compatibles avec les anciens modèles de périphériques USB. Vous pouvez, dans la plupart des cas connecter et déconnecter un périphérique USB pendant que l’ordinateur est allumé. Vous pouvez utiliser les périphériques dès leur branchement. Il n’est pas nécessaire de redémarrer ni de reconfigurer votre ordinateur. F3626M42.book Page 58 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 59 Pour utiliser un périphérique USB avec votre ordinateur, connectez-le. Votre ordinateur détecte automatiquement tout nouveau périphérique connecté et ouvre le logiciel adéquat. Remarque : si vous avez connecté un périphérique USB et que votre MacBook ne trouve pas le gestionnaire approprié, vous pouvez installer le gestionnaire fourni avec le périphérique ou consulter le site web du fabricant du périphérique afin de trouver et installer le gestionnaire approprié. Périphériques USB et énergie de la batterie Vous pouvez utiliser des périphériques USB, tels qu’une manette de jeu ou un clavier, qui sont alimentés via le port USB de votre MacBook plutôt que via un adaptateur secteur distinct. Ce type de périphérique USB peut toutefois provoquer un déchargement plus rapide de la batterie du MacBook. Si vous comptez connecter le périphérique pendant une longue période, il est recommandé de brancher le MacBook à son adaptateur secteur. F3626M42.book Page 59 Wednesday, April 5, 2006 2:17 PM60 Chapitre 3 Utilisation de votre MacBook Utilisation simultanée de plusieurs périphériques USB Vous pouvez vous procurer un concentrateur USB pour connecter plusieurs périphériques USB à votre ordinateur. Vous pouvez connecter le concentrateur à un port USB disponible de votre ordinateur pour disposer de ports USB supplémentaires (en général quatre ou sept). Les concentrateurs haute vitesse prennent en charge les périphériques USB 2.0 haute vitesse, ainsi que les périphériques compatibles USB 1.1. Les concentrateurs USB 1.1 ne permettent pas aux périphériques USB haute vitesse de fonctionner à leur vitesse maximale. La plupart des concentrateurs USB disposent d’un adaptateur secteur et doivent être branchés sur une prise secteur. Remarque : si vous utilisez une chaîne de périphériques et de concentrateurs USB, certains d’entre eux risquent de ne pas fonctionner s’ils sont connectés via une combinaison de concentrateurs USB 2.0 haute vitesse et de concentrateurs USB 1.1 à vitesse normale ou faible. Il se peut, par exemple, qu’aucun disque dur externe USB ne s’affiche sur votre bureau. Pour éviter ce problème, ne connectez pas ensemble des périphériques USB pré- sentant des vitesses différentes. Connectez directement votre concentrateur à haut débit à votre ordinateur, puis connectez-y des périphériques à haut débit. Connectez directement un concentrateur à vitesse normale ou faible à votre ordinateur, puis connectez-y des périphériques de vitesse similaire. F3626M42.book Page 60 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 61 Pour en savoir plus à propos de la technologie USB L’Aide Mac contient des informations supplémentaires sur la technologie USB. Choisissez Aide > Aide Mac dans la barre des menus 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 F3626M42.book Page 61 Wednesday, April 5, 2006 2:17 PM62 Chapitre 3 Utilisation de votre MacBook Connexion via FireWire Votre ordinateur est équipé d’un port FireWire 400 (H). La technologie FireWire vous permet de connecter et de déconnecter aisément des périphériques haute vitesse, tels que des caméras haute définition HDV ou numériques DV et des disques durs, sans redémarrer votre ordinateur. Vous pouvez connecter un périphérique FireWire standard à 6 broches directement au port FireWire 400 (H). Le port fournit en alimentation les périphériques connectés (ces derniers n’ont donc pas besoin de prise d’alimentation séparée). F3626M42.book Page 62 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 63 La technologie FireWire vous permet notamment de :  connecter une caméra HDV ou DV 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 HD, Final Cut Express ou Final Cut Studio (vendus séparément) ;  connecter un disque dur FireWire externe et l’utiliser pour sauvegarder des données ou transférer des fichiers ;  démarrer à partir d’un disque dur externe FireWire : connectez un disque dur FireWire externe (doté de Mac OS X version 10.4.6 ou ultérieure), ouvrez la fenêtre Démarrage des Préférences Système, puis cliquez sur l’icône de disque dur FireWire et redémarrez votre ordinateur) ;  transférer des fichiers entre votre MacBook et un autre ordinateur FireWire via le mode disque cible FireWire : pour toute information supplémentaire, consultez la section «Connexion de votre MacBook à un autre ordinateur via FireWire» à la page 64. Utilisation de périphériques FireWire Pour utiliser un périphérique FireWire avec votre ordinateur, connectez-le à l’ordinateur et installez tout logiciel fourni avec le périphérique en question. Votre ordinateur détecte automatiquement les nouveaux périphériques connectés. Remarque : si vous avez connecté un périphérique FireWire et que votre MacBook ne trouve pas le gestionnaire approprié, vous pouvez installer le gestionnaire fourni avec le périphérique ou consulter le site web du fabricant du périphérique afin de trouver et installer le gestionnaire approprié. F3626M42.book Page 63 Wednesday, April 5, 2006 2:17 PM64 Chapitre 3 Utilisation de votre MacBook Périphériques FireWire et énergie de la batterie Vous pouvez utiliser des périphériques FireWire (comme certains disques durs externes) alimentés par la connexion FireWire du MacBook plutôt que par un adaptateur secteur séparé. Ce type de périphérique FireWire peut toutefois provoquer un déchargement plus rapide de la batterie du MacBook. Si vous comptez connecter un périphérique pendant une longue période, il est recommandé de brancher le MacBook sur son adaptateur secteur. Remarque : le port FireWire (H) est conçu pour prendre en charge l’alimentation des périphériques FireWire (7 watts maximum). Il est possible de connecter plusieurs périphériques entre eux, puis de connecter cette chaîne de périphériques au port FireWire de votre ordinateur, à condition que seul l’un d’eux soit alimenté directement par l’ordinateur. Les autres périphériques de la chaîne doivent alors être alimentés par des adaptateurs secteur distincts. La connexion de plusieurs périphériques FireWire alimentés par le port peut poser des problèmes. En cas de problème, éteignez l’ordinateur, déconnectez les périphériques FireWire, puis redémarrez l’ordinateur. Connexion de votre MacBook à un autre ordinateur via FireWire Si vous souhaitez transférer des fichiers de votre MacBook à un autre ordinateur Macintosh équipé de la technologie FireWire ou que vous êtes confronté à un problème qui empêche le démarrage de votre ordinateur, utilisez le mode disque cible FireWire pour vous connecter à l’autre ordinateur. Lorsque vous démarrez votre ordinateur en mode disque cible FireWire, l’autre ordinateur peut accéder à votre MacBook comme s’il s’agissait d’un disque dur externe. Remarque : lorsque vous utilisez le mode disque cible FireWire, il est conseillé de connecter l’adaptateur secteur à votre MacBook. F3626M42.book Page 64 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 65 Pour connecter votre MacBook avec un autre ordinateur en mode disque cible FireWire : 1 Assurez-vous que votre MacBook est éteint. 2 Utilisez un câble FireWire pour connecter votre MacBook à un autre ordinateur équipé de FireWire. 3 Démarrez votre MacBook, puis maintenez immédiatement la touche T enfoncée. L’écran de votre MacBook affiche alors le logo FireWire. L’écran de l’autre ordinateur affiche l’icône du disque dur interne de votre MacBook. Vous pouvez maintenant glisser-déposer des fichiers entre les deux ordinateurs. 4 Une fois que vous avez terminé de transférer les fichiers, faites glissez l’icône du disque dur du MacBook dans la corbeille (icône d’éjection). 5 Appuyez sur le bouton d’alimentation (®) de votre MacBook pour l’éteindre, puis débranchez le câble FireWire. Pour en savoir plus à propos de FireWire L’Aide Mac fournit des informations supplémentaires sur FireWire. Choisissez Aide > Aide Mac dans la barre des menus du Finder et cherchez «FireWire». Vous trouverez d’autres informations sur le site web FireWire d’Apple, à l’adresse www.apple.com/fr/firewire. F3626M42.book Page 65 Wednesday, April 5, 2006 2:17 PM66 Chapitre 3 Utilisation de votre MacBook Fonctionnement de l’accès sans fil à Internet via AirPort Grâce à la technologie AirPort Extreme, votre MacBook établit une connexion sans fil à une borne d’accès AirPort Express ou AirPort Extreme ou à tout produit compatible 802.11b ou 802.11g, qui est connecté à Internet via une ligne téléphonique, un modem DSL ou câble ou un réseau local (LAN). Pour en savoir plus sur AirPort Extreme Pour acheter une borne d’accès AirPort Extreme ou AirPort Express, accédez à l’Apple Store en ligne, à l’adresse www.apple.com/francestore ou adressez-vous à votre revendeur agréé Apple. Connexion à Internet AirPort Express Prise secteur Modem câble ou DSL F3626M42.book Page 66 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 67 Des informations complémentaires sur AirPort Extreme et AirPort Express sont disponibles dans l’Aide AirPort. Sélectionnez Aide > Aide Mac, puis Centre d’aide > Aide AirPort. Des informations supplémentaires sont disponibles sur le site AirPort d’Apple aux pages www.apple.com/fr/airportexpress et www.apple.com/fr/airportextreme. Utilisation de la technologie sans fil Bluetooth La technologie sans fil Bluetooth est intégrée à votre MacBook. Elle vous permet d’établir des connexions sans fil de faible portée entre ordinateurs de bureau ou portables, assistants personnels (PDA), téléphones portables, téléphones appareils photo, imprimantes, appareils photo numériques et périphériques sans fil tels que le clavier Apple Wireless Keyboard ou la souris Apple Wireless Mouse (disponibles sur l’Apple Store en ligne à l’adresse www.apple.com/francestore). La technologie sans fil Bluetooth permet d’éliminer les câbles reliant normalement les périphériques. Les périphériques équipés de la technologie 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. Grâce à la technologie sans fil Bluetooth, vous pouvez :  utiliser votre MacBook pour communiquer avec un téléphone portable compatible Bluetooth : votre téléphone peut servir de modem pour vous connecter à un fournisseur d’accès sans fil, à un débit égal ou inférieur à 56 kilobits par seconde (kbps), suffisant pour vous connecter à Internet ; F3626M42.book Page 67 Wednesday, April 5, 2006 2:17 PM68 Chapitre 3 Utilisation de votre MacBook  synchroniser votre ordinateur avec votre organiseur de poche équipé de la technologie 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 ;  échanger des fichiers entre ordinateurs et périphériques équipés de la technologie Bluetooth, même entre Mac et PC ;  utiliser une imprimante, un clavier, une souris ou un casque d’écoute sans fil Bluetooth. Configuration d’un périphérique Bluetooth Avant de pouvoir utiliser un périphérique Bluetooth avec votre MacBook, vous devez configurer le périphérique de manière à ce qu’il puisse fonctionner avec votre ordinateur. Une fois que vous avez configuré le périphérique, celui-ci est jumelé avec votre ordinateur et apparaît dans la fenêtre Périphériques des Préférences Bluetooth. Le jumelage du périphérique avec votre ordinateur ne doit être effectué qu’une seule fois. Il demeure activé aussi longtemps que vous ne le supprimer pas de manière explicite. Pour configurer un périphérique Bluetooth : 1 Choisissez Configurer l’appareil Bluetooth dans le menu d’état Bluetooth (◊). 2 Suivez les instructions affichées à l’écran pour le type de périphérique que vous souhaitez configurer. Si le menu d’état Bluetooth (◊) n’apparaît pas dans la barre des menus, ouvrez 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. F3626M42.book Page 68 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 69 2 Cliquez sur Périphériques et choisissez le périphérique dans la liste. 3 Cliquez sur Supprimer. Pour en savoir plus sur la technologie sans fil Bluetooth Pour plus d’informations sur Bluetooth, ouvrez l’application 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 Bluetooth d’Apple, à l’adresse www.apple.com/fr/bluetooth. Connexion via Ethernet Votre ordinateur est fourni avec des capacités de mise en réseau Ethernet Gigabit (G) intégrées, qui permettent de vous connecter à un réseau, à un modem DSL ou à un modem câble. F3626M42.book Page 69 Wednesday, April 5, 2006 2:17 PM70 Chapitre 3 Utilisation de votre MacBook La connexion à un réseau permet d’accéder à d’autres ordinateurs et potentiellement à des imprimantes réseau, des modems, le courrier électronique et Internet. Vous pouvez utiliser Ethernet pour partager des fichiers entre deux ordinateurs ou établir un petit réseau. Le port Ethernet de votre MacBook détecte automatiquement les autres périphériques Ethernet. Pour établir des connexions à d’autres périphériques Ethernet, il est inutile d’utiliser un câble croisé Ethernet. Pour en savoir plus sur l’utilisation d’Ethernet Des informations supplémentaires, y compris sur la configuration d’un réseau Ethernet et le transfert de fichiers via Ethernet, sont disponibles dans l’Aide Mac. Choisissez Aide > Aide Mac, puis recherchez «Ethernet» ou «réseau». Pour obtenir des informations sur les produits de mise en réseau que vous pouvez utiliser avec votre MacBook, consultez le Guide des produits Macintosh à l’adresse www.apple.com/fr/guide/. F3626M42.book Page 70 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 71 Gestion de la vidéo externe Votre ordinateur est équipé d’un port de moniteur externe (mini DVI) permettant une connexion directe à un écran ou à un projecteur muni d’un port DVI ou VGA. Utilisez l’adaptateur Mini-DVI vers DVI d’Apple (vendu séparément) pour connecter votre MacBook à un moniteur ou projecteur DVI. Utilisez l’adaptateur Mini-DVI vers VGA d’Apple (vendu séparément) pour connecter votre MacBook à un moniteur ou projecteur VGA. Vous pouvez également afficher des images sur un téléviseur, enregistrer des images numériques sur un magnétoscope ou lire des DVD sur votre téléviseur à l’aide d’un adaptateur Mini-DVI vers Vidéo d’Apple à utiliser avec des connecteurs composite ou S-Vidéo. Vous pouvez vous procurer les adaptateurs chez un revendeur agréé Apple, dans un magasin Apple Store ou sur l’Apple Store en ligne à l’adresse www.apple.com/francestore. F3626M42.book Page 71 Wednesday, April 5, 2006 2:17 PM72 Chapitre 3 Utilisation de votre MacBook Lorsqu’un moniteur externe ou un téléviseur est connecté, vous pouvez soit faire en sorte que la même image s’affiche sur l’écran intégré et le moniteur externe (c’est ce que l’on appelle la recopie vidéo), soit utiliser le moniteur externe pour étendre la taille du bureau Mac OS (on parle dans ce cas de mode double-écran ou de bureau étendu). Par défaut, votre MacBook démarre en mode double-écran. Appuyez sur la touche F7 (i) pour alterner entre les modes double-écran et recopie vidéo. Si vous souhaitez que le son soit émis par un écran externe (un projecteur ou un téléviseur, par exemple), vous devez relier le port de sortie casque (f) de l’ordinateur à ce périphérique via un câble audio (non inclus). Remarque : en raison des limites d’affichage de la plupart des téléviseurs, les images apparaissent avec une qualité inférieure à celle de l’écran intégré ou du moniteur externe. Connexion d’un écran externe ou d’un projecteur Pour connecter à votre ordinateur un écran externe ou un projecteur via un connecteur DVI ou VGA : 1 Allumez l’écran externe ou le projecteur. 2 Vérifiez que le câble de l’écran est bien relié au projecteur ou à l’écran externe. 3 Connectez le câble de l’écran à votre MacBook à l’aide de l’adaptateur adéquat (adaptateur Mini-DVI vers DVI ou Mini-DVI vers VGA d’Apple). Votre MacBook détecte automatiquement l’écran externe ou le projecteur. 4 Réglez la résolution d’un écran externe via la fenêtre Moniteurs des Préférences Système ou l’icône Moniteurs de la barre de menus. Remarque : votre MacBook gère les résolutions de moniteurs externes jusqu’à 1920 x 1200 (moniteurs DVI d’Apple) ou 1600 x 1200 (moniteurs VGA). F3626M42.book Page 72 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 73 Utilisation de votre MacBook écran rabattu Vous pouvez utiliser votre MacBook en gardant l’écran rabattu si l’ordinateur est connecté à un moniteur, un clavier et une souris externes. Important : pour utiliser votre MacBook écran rabattu, branchez-le sur une prise secteur. Pour utiliser votre ordinateur écran rabattu avec un moniteur externe connecté : 1 Connectez un clavier et une souris USB à votre MacBook. 2 Connectez l’adaptateur secteur à votre MacBook et à une prise secteur. Vérifiez que la lampe de l’adaptateur secteur est allumée. 3 Rabattez l’écran du MacBook afin d’en suspendre l’activité. 4 Connectez votre MacBook à un écran externe en suivant les étapes décrites dans la section précédente. 5 Attendez quelques secondes, puis appuyez sur n’importe quelle touche du clavier externe pour réactiver le MacBook. F3626M42.book Page 73 Wednesday, April 5, 2006 2:17 PM74 Chapitre 3 Utilisation de votre MacBook Connexion d’un téléviseur, d’un magnétoscope ou de tout autre appareil vidéo Pour connecter un téléviseur ou tout autre appareil vidéo nécessitant une connexion composite ou S-Vidéo : 1 Connectez l’adaptateur Mini-DVI vers vidéo d’Apple (vendu séparément) au port Mini-DVI de votre MacBook. 2 Connectez le périphérique à l’adaptateur. 3 Si vous souhaitez que le son de votre MacBook soit restitué sur le périphérique, connectez le port de sortie casque (f) de votre MacBook aux ports d’entrée audio du périphérique via un câble mini-jack vers RCA (non inclus). 4 Allumez l’appareil. 5 Pour détecter le téléviseur ou tout autre périphérique externe, maintenez la touche Commande (x) enfoncée et appuyez sur la touche F2. Vous pouvez également ouvrir la fenêtre Moniteurs des Préférences Système et cliquez sur le bouton Détecter les moniteurs. 6 Pour régler l’apparence de l’image affichée à l’écran, ouvrez la fenêtre Moniteurs des Préférences Système. Pour en savoir plus 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 dans la barre des menus, puis recherchez «moniteur externe». F3626M42.book Page 74 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 75 Connexion de haut-parleurs et autres périphériques audio Votre MacBook est équipé de trois haut-parleurs intégrés, d’un microphone intégré, d’un port d’entrée ligne audio/audio numérique optique et d’un port de sortie casque/ audio numérique optique (f). Vous pouvez connecter des haut-parleurs externes, des écouteurs et d’autres périphériques de sortie audio au port de sortie casque (f). Ce port de sortie constitue également une prise mini-phono stéréo S/PDIF de 3,5 mm. Les haut-parleurs intégrés n’émettent aucun son lorsque des périphériques sont branchés sur l’ordinateur. Pour que le son soit émis de ces haut-parleurs, débranchez le casque ou les haut-parleurs externes éventuellement connectés à l’ordinateur. Vous pouvez enregistrer des sons sur votre disque dur à l’aide du micro intégré situé à côté de la caméra iSight intégrée. Vous avez également la possibilité de connecter des micros externes ou tout autre appareil audio sur le port d’entrée de ligne audio. Le port d’entrée de ligne audio constitue également une prise mini-phono stéréo S/PDIF de 3,5 mm. Étant donné que cette prise ne permet pas d’alimenter les périphériques connectés, ces derniers doivent être auto-alimentés. Si vous disposez d’un adaptateur Toslink prise vers mini-jack, vous pouvez utiliser un câble Toslink pour connecter un lecteur Digital Audio Tape (DAT) ou des instruments numériques afin d’enregistrer et de mixer votre propre musique. Pour les applications capables d’enregistrement audio, telles qu’iMovie HD, utilisez la fenêtre Son des Préférences Système pour sélectionner le périphérique d’entrée audio à utiliser (y compris des micros connectés via USB). F3626M42.book Page 75 Wednesday, April 5, 2006 2:17 PM76 Chapitre 3 Utilisation de votre MacBook Les commandes de volume de votre clavier vous permettent de régler facilement le volume de sortie. Vous pouvez également régler le volume d’entrée et de sortie dans la fenêtre Son des Préférences Système. Pour plus d’informations sur l’utilisation ou le dépannage du son de votre ordinateur, choisissez Aide > Aide Mac, puis effectuez une recherche à l’aide du mot son. Utilisation du lecteur optique Votre MacBook comprend un lecteur optique, Combo ou SuperDrive. Avec votre lecteur optique, vous pouvez :  installer ou utiliser des logiciels à partir de CD et de DVD ;  lire de la musique et des fichiers multimédia à partir de CD ;  écrire des fichiers musicaux, des documents et d’autres fichiers numériques sur CD-R ou CD-RW ;  lire des films DVD ainsi que la plupart des disques DVD. Si vous disposez d’un lecteur SuperDrive, vous pouvez également enregistrer des données sur des disques DVD±R ou DVD±RW vierges. Important : le lecteur optique de votre MacBook gère les disques standard circulaires de 12 cm de diamètre. Les disques de forme irrégulière et les disques de moins de 12 cm ne peuvent pas être lus. Les disques de ce type risquent de se bloquer dans le lecteur. F3626M42.book Page 76 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 77 Insertion d’un CD ou DVD Pour installer ou utiliser des logiciels à partir d’un CD ou d’un DVD : 1 L’ordinateur étant allumé, introduisez le disque (étiquette vers le haut) dans la fente du lecteur jusqu’à ce que le lecteur le saisisse. Il se peut qu’il faille insérer le disque presque entièrement avant que cela ne se produise. Cela est normal. 2 Dès que son icône apparaît sur le bureau, le disque peut être utilisé. Éjection d’un disque Pour éjecter un disque, procédez comme suit :  Glissez l’icône du disque dans la Corbeille (icône d’éjection).  Maintenez enfoncée la touche d’éjection de disque (C) du clavier jusqu’à ce que le disque soit éjecté. Attendez que le disque soit complètement éjecté avant de le retirer ou de le réinsérer. ®? F3626M42.book Page 77 Wednesday, April 5, 2006 2:17 PM78 Chapitre 3 Utilisation de votre MacBook 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 du trackpad enfoncé. Lecture de DVD Pour lire un disque vidéo DVD sur votre MacBook, insérez le DVD. Lecteur DVD s’ouvre automatiquement. Vous pouvez constater que Lecteur DVD offre des commandes simples d’utilisation pour lancer, interrompre et visionner les DVD. Si vous avez connecté votre MacBook à un téléviseur afin de pouvoir regarder le 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 fenêtre Moniteurs des Préférences Système. Il est très facile de connecter votre MacBook à une chaîne stéréo. Utilisez un câble mini-jack vers RCA (non inclus) pour relier le port de sortie casque (f) de votre MacBook aux ports d’entrée audio de votre chaîne stéréo. Enregistrement de disques CD-R ou CD-RW Votre MacBook peut enregistrer des données sur des disques CD-R ou CD-RW. Si vous disposez d’un lecteur SuperDrive, vous pouvez également enregistrer vos propres films numériques sur des disques DVD±R ou DVD±RW enregistrables vierges. Vous pouvez également enregistrer d’autres types de données numériques, telles que des sauvegardes de fichiers, sur un DVD enregistrable. F3626M42.book Page 78 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 79 Pour enregistrer des données sur des disques CD-R, CD-RW, DVD±R ou DVD+RW : 1 Insérez un disque CD ou DVD (SuperDrive seulement) enregistrable vierge dans le lecteur optique. 2 Dans la zone de dialogue qui apparaît, attribuez un nom au disque et sélectionnez le format que vous souhaitez utiliser. 3 Double-cliquez sur l’icône du disque qui apparaît sur votre bureau, puis faites-y glisser des fichiers et des dossiers. 4 Cliquez sur l’icône Graver le disque située à côté du nom du disque dans la barre latérale du Finder. Vous pouvez également enregistrer de la musique sur des disques CD ou DVD directement à partir de votre bibliothèque iTunes. Pour enregistrer de la musique depuis votre bibliothèque iTunes : 1 Cliquez sur l’icône iTunes dans le Dock. 2 Sélectionnez la liste de lecture ou les morceaux à enregistrer. 3 Insérez un disque CD ou DVD (SuperDrive seulement) vierge. 4 En haut de la fenêtre iTunes, cliquez sur l’option Graver le CD. Important : si votre batterie se décharge lors de la gravure d’un CD, il se peut que la gravure échoue et que le CD devienne inutilisable. Pour éviter cela, utilisez toujours votre adaptateur secteur lorsque vous gravez un CD. F3626M42.book Page 79 Wednesday, April 5, 2006 2:17 PM80 Chapitre 3 Utilisation de votre MacBook Si vous disposez d’un lecteur SuperDrive, vous pouvez enregistrer vos films numériques sur des disques DVD enregistrables vierges. Vous pouvez également enregistrer d’autres types de données numériques. Vous pouvez, par exemple, sauvegarder des fichiers sur des DVD enregistrables. Les applications telles qu’iDVD vous permettent de créer vos propres projets multimédias numériques, de les graver sur des disques DVD enregistrables vierges, puis de les lire sur la plupart des lecteurs DVD standard. Pour graver un projet iDVD sur un disque vierge DVD±R ou DVD±RW : 1 Ouvrez iDVD puis votre projet iDVD. 2 Cliquez sur le bouton Graver. 3 À l’invite, insérez un disque DVD enregistrable vierge dans le lecteur. 4 Cliquez de nouveau sur le bouton Graver. Pour en savoir plus, ouvrez iDVD puis choisissez Aide > Aide iDVD. Important : si votre batterie se décharge lors de la gravure d’un DVD, il se peut que la gravure échoue et que le DVD devienne inutilisable. Pour éviter cela, utilisez toujours votre adaptateur secteur lorsque vous gravez un DVD. Pour en savoir plus Pour obtenir davantage d’informations sur Lecteur DVD et iTunes, consultez les sources suivantes :  Pour plus d’informations sur l’utilisation de l’application Lecteur DVD, choisissez Aide > Aide Lecteur DVD au sein de Lecteur DVD.  Pour obtenir des informations sur la manière d’utiliser iTunes afin d’enregistrer des fichiers de musique sur disque CD ou DVD, choisissez Aide > «Aide iTunes et Music Store» dans l’application iTunes. F3626M42.book Page 80 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 81 Technologie Sudden Motion Sensor Votre MacBook utilise la technologie Sudden Motion Sensor qui contribue à protéger le disque dur contre tout dommage en cas de chute ou de vibrations subies par l’ordinateur. En règle générale, la protection Sudden Motion Sensor ne modifie en rien les performances du disque dur au cours du fonctionnement normal du MacBook. Il peut arriver que des vibrations anormalement fortes activent le capteur Sudden Motion Sensor pendant que votre MacBook est en cours d’écriture ou de lecture intense (comme lors de la lecture ou de l’enregistrement vidéo ou audio). Si vous constatez des pertes d’images ou d’éléments sonores, assurez-vous que votre MacBook se trouve dans un environnement stable protégé contre les vibrations et les mouvements brusques. Utilisation de la batterie Lorsque l’adaptateur secteur externe n’est pas connecté, votre ordinateur est alimenté par sa batterie. L’autonomie de votre MacBook varie en fonction des applications utilisées et des périphériques externes connectés. La désactivation de fonctions telles qu’AirPort Extreme ou Bluetooth contribue à économiser l’énergie de votre batterie. Pour plus d’informations sur l’utilisation de la batterie, lisez la section «Conseils pour économiser la batterie» à la page 85. Pour connaître le niveau de charge de votre batterie, vous pouvez observer les lampes témoins de niveau de charge dont elle est dotée. Appuyez sur le bouton situé en regard des témoin lumineux afin que ces derniers brillent brièvement pour indiquer le niveau de charge de la batterie. Vous pouvez vérifier le niveau de charge, que la batterie soit ou non insérée dans votre MacBook. F3626M42.book Page 81 Wednesday, April 5, 2006 2:17 PM82 Chapitre 3 Utilisation de votre MacBook Si votre batterie faiblit pendant que vous travaillez, branchez l’adaptateur secteur et laissez la batterie se recharger. Pour remplacer une batterie presque déchargée par une batterie chargée lorsque votre ordinateur n’est pas connecté à un adaptateur secteur, éteignez l’ordinateur. Important : si un seul témoin est allumé, le niveau restant est très faible. Si aucun témoin n’est allumé, c’est que la batterie est complètement vide et que l’ordinateur ne pourra démarrer sans l’adaptateur secteur. Branchez l’adaptateur secteur et laissez la batterie se recharger ou remplacez la batterie à plat par une batterie complètement rechargée (voir «retrait de la batterie» à la page 90). Batterie Témoins LED de la batterie Bouton ¥ Á F3626M42.book Page 82 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 83 Si l’icône de la batterie (dans la barre des menus du Finder) est réglée pour afficher le pourcentage de charge, vous constaterez parfois que la batterie n’indique pas un niveau de charge de 100 pour cent alors que l’adaptateur secteur est branché. Cela est tout à fait normal : le niveau de la batterie est maximisé lorsque le chargement n’est pas continu, et cette fonction est désactivée lorsque la capacité de charge de la batterie est située entre 95 et 100 pour cent. Dès que le niveau de la batterie passe en dessous de 95 pour cent, elle est automatiquement rechargée jusqu’à 100 pour cent. Retrait et remise en place de la batterie Pour obtenir des instructions sur le retrait et la remise en place de la batterie, consultez les sections «retrait de la batterie» à la page 90 et «remplacement de la batterie» à la page 96. Remarque : jetez vos batteries usagées en respectant les lois et les consignes environnementales locales. Pour plus d’informations, consultez la section «Informations sur l’enlèvement de la batterie» à la page 142. F3626M42.book Page 83 Wednesday, April 5, 2006 2:17 PM84 Chapitre 3 Utilisation de votre MacBook Recharge d’une batterie Lorsque l’adaptateur secteur est connecté à votre ordinateur, la batterie se recharge, que l’ordinateur soit éteint, allumé ou en mode de suspension d’activité. La recharge sera toutefois plus rapide si l’ordinateur est éteint ou en mode de suspension d’activité. Lorsque l’ordinateur est allumé, vous pouvez contrôler le niveau de charge de la batterie au moyen de l’icône d’état Batterie dans la barre des menus. Le niveau affiché dépend de la quantité d’énergie restant dans la batterie, mais aussi des applications et des périphériques en cours d’utilisation, ainsi que des réglages de votre système (luminosité de l’écran, réglages d’Économiseur d’énergie, etc.). Pour disposer de plus d’énergie, fermez des applications, déconnectez les périphériques non utilisés et réglez Économiseur d’énergie (voir section suivante). F3626M42.book Page 84 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 85 Conseils pour économiser la batterie L’autonomie assurée par la batterie de votre MacBook avant qu’il soit nécessaire de la recharger dépend des applications et des périphériques utilisés, ainsi que des mesures prises pour économiser l’énergie. Pour économiser l’énergie de la batterie, procédez comme suit :  Déconnectez les périphériques USB ou FireWire alimentés par bus lorsqu’ils ne sont pas utilisés.  Quittez les applications ouvertes non utilisées.  Désactivez AirPort et Bluetooth quand vous ne les utilisez pas : utilisez les icônes d’état AirPort et Bluetooth dans la barre des menus. Si ces icônes n’apparaissent pas dans la barre des menus, vous pouvez les activer dans les fenêtres Réseau et Bluetooth des Préférences Système.  Éjectez les CD ou DVD non utilisés.  Réduisez la luminosité de l’écran à l’aide des boutons de réglage de luminosité situés sur le clavier du MacBook.  Réglez le disque dur afin qu’il réduise sa vitesse de rotation après un bref délai. Dans la fenêtre Économiseur d’énergie des Préférences Système, sélectionnez l’option «Suspendre l’activité du/des disque(s) dur(s) chaque fois que possible».  Réglez votre MacBook afin qu’il suspende son activité après un maximum de cinq minutes. F3626M42.book Page 85 Wednesday, April 5, 2006 2:17 PM86 Chapitre 3 Utilisation de votre MacBook  Votre MacBook est préréglé pour réduire automatiquement sa vitesse de traitement durant les périodes de faible activité, lorsqu’il est alimenté via la batterie, afin d’économiser de l’énergie. Vous pouvez déterminez cela via l’option Normal du menu local Optimisation des réglages (situé dans la fenêtre Économiseur d’énergie des Préférences Système). Pendant les périodes de grande activité, votre ordinateur passera automatiquement à une vitesse de traitement plus élevée. Pour prolonger au maximum la durée de vie de la batterie, choisissez «Meilleure autonomie de la batterie» dans le menu local Optimisation des réglages. Cette option risque toutefois de diminuer les performances de votre ordinateur. Pour régler votre ordinateur afin qu’il utilise sa vitesse de traitement maximale en permanence, choisissez Meilleures performances. Informations supplémentaires concernant la batterie de votre MacBook De plus amples informations sont disponibles dans l’Aide Mac. Choisissez Aide > Aide Mac, puis effectuez une recherche sur le terme «batterie». Vous trouverez également des informations sur la manière de prolonger la durée de vie de votre batterie sur le site www.apple.com/fr/batteries/notebooks.html. F3626M42.book Page 86 Wednesday, April 5, 2006 2:17 PMChapitre 3 Utilisation de votre MacBook 87 Protection de votre MacBook Vous pouvez vous procurer un câble de sécurité pour protéger votre MacBook. Ce câble vous permet d’attacher votre ordinateur à un bureau ou une table. Pour en savoir plus sur les options de sécurité L’Aide Mac contient des informations supplémentaires concernant les fonctions de sécurité logicielles de votre MacBook, y compris les mots de passe pour plusieurs utilisateurs et le chiffrement de fichiers. Choisissez Aide > Aide Mac, puis effectuez une recherche sur les termes «sécurité» ou «utilisateurs multiples». Dispositif de verrouillage avec câble de sécurité Logement de sécurité F3626M42.book Page 87 Wednesday, April 5, 2006 2:17 PMF3626M42.book Page 88 Wednesday, April 5, 2006 2:17 PM89 4 4 Ajout de mémoire à votre MacBook Ce chapitre fournit des informations et des instructions pour installer de la mémoire supplémentaire et pour retirer et remettre en place la batterie de votre MacBook. Votre ordinateur est doté de deux logements de mémoire auxquels vous pouvez accéder en retirant sa batterie. Votre MacBook est fourni avec un minimum de 512 mégaoctets (Mo) de mémoire DDR2 (Double Data Rate) 667 MHz SDRAM (Synchronous Dynamic Random-Access Memory). Les deux logements de mémoire peuvent accueillir un module SDRAM conforme aux spécifications suivantes :  format DDR2 SO-DIMM (Double Data Rate Small Outline Dual Inline Memory Module) ;  taille inférieure à 3,8 cm ;  256 Mo, 512 Mo ou 1 Go ; Avertissement : Apple vous recommande de confier l’installation de mémoire à un technicien agréé Apple. Consultez les informations sur l’assistance technique fournies avec l’ordinateur pour savoir comment joindre la société Apple. 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. F3626M42.book Page 89 Wednesday, April 5, 2006 2:17 PM90 Chapitre 4 Ajout de mémoire à votre MacBook  200 broches ;  mémoire RAM de type PC2-5300 DDR2 667 MHz. Pour optimiser les performances, installez des modules mémoire de même type dans chaque logement. La quantité maximale de mémoire que vous pouvez installer sur votre MacBook est de 2 Go, en insérant une barrette DIMM de 1 Go dans chaque logement. Installation de mémoire supplémentaire Pour installer de la mémoire, il faut enlever et remettre en place la batterie. La procédure suivante inclut des instructions sur l’ajout de mémoire et la remise en place de la batterie. Étape 1 : retrait de la batterie 1 Éteignez votre MacBook. Débranchez l’adaptateur secteur, le câble Ethernet et tous les autres câbles connectés au MacBook afin d’éviter toute détérioration. F3626M42.book Page 90 Wednesday, April 5, 2006 2:17 PMChapitre 4 Ajout de mémoire à votre MacBook 91 2 Retournez le MacBook et repérez l’emplacement du verrou de la batterie. Utilisez une pièce de monnaie pour faire tourner le verrou d’un quart de tour vers la droite afin de débloquer la batterie, puis retirez cette dernière avec précaution. Avertissement : les composants internes de votre MacBook risquent d’être chauds. Si vous venez d’utiliser votre MacBook, attendez 10 minutes après l’extinction, afin de laisser aux composants internes le temps de se refroidir. ¥ Á ¥ Á F3626M42.book Page 91 Wednesday, April 5, 2006 2:17 PM92 Chapitre 4 Ajout de mémoire à votre MacBook Étape 2 : installation de mémoire 1 Desserrez les trois vis imperdables maintenant le support en L, tirez sur la barre la plus longue pour retirer le support et écartez celui-ci. Les leviers situés dans les logements de mémoire se soulèvent automatiquement lorsque vous retirez le support. 2 Touchez la surface métallique de l’intérieur de l’ordinateur afin de décharger toute électricité statique que vous pouvez avoir emmagasinée. Desserrez les trois vis Tirez sur cette barre ¥ Á F3626M42.book Page 92 Wednesday, April 5, 2006 2:17 PMChapitre 4 Ajout de mémoire à votre MacBook 93 3 Pour retirer un module de mémoire installé dans un logement, placez le levier correspondant complètement vers la gauche jusqu’à ce que le bord du module de mémoire se soulève. Retirez le module de mémoire. Répétez l’opération avec l’autre module de mémoire. Leviers ¥ Á F3626M42.book Page 93 Wednesday, April 5, 2006 2:17 PM94 Chapitre 4 Ajout de mémoire à votre MacBook 4 Insérez les nouveaux modules de mémoire dans les logements : a Commencez par insérer le bord doré, avec l’encoche sur le côté gauche. bPoussez fermement avec deux doigts sur les modules de mémoire pour les mettre en place. Vous devriez entendre un clic lorsque la mémoire s’enclenche. c Si les leviers ne reviennent pas en position fermée, déplacez-les vers la droite pour les fermer. Encoches ¥ Á F3626M42.book Page 94 Wednesday, April 5, 2006 2:17 PMChapitre 4 Ajout de mémoire à votre MacBook 95 5 Replacez le support en L en insérant d’abord le bras le plus court, puis resserrez les vis. Insérez Resserrez les trois vis d’abord ce bras ¥ Á F3626M42.book Page 95 Wednesday, April 5, 2006 2:17 PM96 Chapitre 4 Ajout de mémoire à votre MacBook Étape 3 : remplacement de la batterie 1 Placez le bord droit de la batterie dans son compartiment. Appuyez doucement sur le bord gauche de la batterie jusqu’à ce que le loquet soit bloqué. 2 Reconnectez l’adaptateur secteur et tout autre câble connecté auparavant à l’ordinateur. ¥ Á ¥ Á F3626M42.book Page 96 Wednesday, April 5, 2006 2:17 PMChapitre 4 Ajout de mémoire à votre MacBook 97 Reconnaissance de la nouvelle mémoire par votre MacBook Après avoir ajouté de la mémoire dans votre MacBook, vérifiez si elle est reconnue. Pour vérifier la mémoire de votre ordinateur : 1 Démarrez votre MacBook. 2 Lorsque le bureau Mac OS s’affiche, choisissez le menu Pomme () > À propos de ce Mac. Pour plus de détails sur la mémoire installée sur votre ordinateur, ouvrez Informations Système en cliquant sur Plus d’infos puis sur Mémoire. Si votre ordinateur ne reconnaît pas la mémoire ou qu’il ne démarre pas correctement, éteignez-le et relisez les instructions afin de vous assurer que la mémoire est correctement installée et compatible avec votre MacBook. 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 sur votre MacBook F3626M42.book Page 97 Wednesday, April 5, 2006 2:17 PMF3626M42.book Page 98 Wednesday, April 5, 2006 2:17 PM99 5 5 Dépannage Si vous rencontrez un problème avec votre MacBook, commencez par rechercher ici des solutions et des conseils. Il existe généralement une solution simple et rapide aux problèmes que vous pourriez rencontrer au cours de l’utilisation de votre MacBook. Réfléchissez aux conditions qui ont entraîné l’apparition de ce problème. Ce récapitulatif de la totalité des opérations effectuées avant que le problème ne survienne permet de restreindre les causes possible et de trouver la solution. Notez les choses suivantes :  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 ;  les logiciels que vous avez installés récemment, notamment ceux qui ont ajouté des éléments à votre Dossier Système ;  tout composant matériel installé (mémoire supplémentaire ou périphérique, par exemple). F3626M42.book Page 99 Wednesday, April 5, 2006 2:17 PM100 Chapitre 5 Dépannage Vous trouverez des informations supplémentaires concernant le dépannage dans l’Aide Mac et sur le site web de service et d’assistance Apple à l’adresse www.apple.com/fr/support. Problèmes vous empêchant d’utiliser votre ordinateur Si l’ordinateur ne répond plus ou que le pointeur se fige  Appuyez sur Commande (x) + Option + Échap pour forcer la fermeture d’une application figée. Sélectionnez l’application que vous souhaitez quitter dans le zone de dialogue qui apparaît, puis cliquez sur Forcer à quitter. Enregistrez ensuite votre travail dans les applications ouvertes, puis redémarrez l’ordinateur afin de vous assurer que le problème est entièrement réglé.  Si vous ne parvenez pas à forcer la fermeture d’une application, maintenez enfoncé le bouton d’alimentation (®) durant quelques secondes pour éteindre l’ordinateur.  Si l’ordinateur ne répond toujours pas, essayez de le redémarrer en appuyant simultanément sur le bouton d’alimentation (®) et les touches Commande (x) et Contrôle. Si le problème survient fréquemment, choisissez Aide > Aide Mac dans la barre des menus en haut de l’écran. Recherchez le mot «bloquer» pour obtenir de l’aide en cas de blocage de l’ordinateur ou s’il ne répond pas. Si le problème ne survient que lorsque vous utilisez une application particulière, vérifiez auprès de son éditeur si elle est compatible avec votre ordinateur. Si vous savez qu’une application est compatible, vous devrez peut-être réinstaller le logiciel système de votre ordinateur. F3626M42.book Page 100 Wednesday, April 5, 2006 2:17 PMChapitre 5 Dépannage 101 Si l’ordinateur se bloque au démarrage, un point d’interrogation clignotant apparaît ou l’écran est éteint et la lampe témoin de suspension d’activité reste allumée (pas en mode de suspension d’activité)  Patientez quelques secondes. Si l’ordinateur ne démarre pas après un court instant, éteignez-le en maintenant le bouton d’alimentation (®) enfoncé pendant 5 secondes environ, jusqu’à ce qu’il s’éteigne complètement. Maintenez ensuite la touche Option enfoncée puis appuyez à 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 cela ne donne pas de résultats, essayez d’utiliser Utilitaire de disque pour réparer le disque. Insérez le disque 1 d’installation de Mac OS X dans votre ordinateur. Redé- marrez ensuite votre ordinateur en maintenant la touche C enfoncée lors du démarrage. Choisissez Installation > Ouvrir Utilitaire de disque. Lorsque Utilitaire de disque s’ouvre, suivez les instructions dans la fenêtre S.O.S pour tenter de le réparer. Si Utilitaire de disque ne résout pas le problème, vous devrez peut-être réinstaller le logiciel système de votre ordinateur. Pour obtenir des instructions, consultez la section «Réinstallation des logiciels fournis avec votre ordinateur» à la page 106. Si l’ordinateur ne s’allume ou ne démarre pas  Assurez-vous que l’adaptateur secteur est connecté à l’ordinateur et branché sur une prise secteur en état de marche. Veillez à utiliser l’adaptateur secteur fourni avec votre ordinateur. Si l’adaptateur secteur ne recharge plus l’ordinateur et que la lampe témoin de l’adaptateur secteur ne s’allume pas lorsque vous branchez le câble d’alimentation, essayez de le débrancher puis de le brancher à nouveau afin de le réinitialiser. F3626M42.book Page 101 Wednesday, April 5, 2006 2:17 PM102 Chapitre 5 Dépannage  Vérifiez si votre batterie à besoin d’être rechargée. Appuyez sur le petit bouton situé sur la batterie. Vous devriez voir apparaître un à quatre voyants indiquant le niveau de charge de la batterie. Si une seule lampe témoin de niveau de la batterie clignote, branchez l’adaptateur secteur pour charger la batterie jusqu’à ce qu’au moins une lampe témoin reste allumée en permanence.  Si vous avez suivi les deux premiers conseils sans succès, rétablissez les réglages par défaut de l’ordinateur en débranchant l’adaptateur secteur, en retirant la batterie et en maintenant le bouton d’alimentation (®) enfoncé pendant au moins 5 secondes.  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 «installation de mémoire» à la page 92).  Si cela ne fonctionne pas, appuyez sur le bouton d’alimentation (®) et maintenez immédiatement les touches Commande (x), Option, P et R enfoncées jusqu’à ce que vous entendiez une deuxième fois le signal sonore de démarrage.  Si vous ne parvenez toujours pas à démarrer votre MacBook, consultez les informations sur service après-vente fournies avec votre MacBook pour savoir comment contacter Apple. Si l’écran devient soudainement noir ou que votre système se bloque Essayez de redémarrer votre ordinateur. 1 Débranchez tout périphérique connecté à votre MacBook excepté l’adaptateur secteur. 2 Maintenez les touches Commande (x) et Contrôle enfoncées, puis appuyez sur le bouton d’alimentation (®) pour redémarrer le système. 3 Le niveau de charge de la batterie doit atteindre au moins 10 pour cent avant la connexion d’un périphérique et la reprise du travail. F3626M42.book Page 102 Wednesday, April 5, 2006 2:17 PMChapitre 5 Dépannage 103 Pour vérifier le niveau de charge de la batterie, observez le menu d’état Batterie dans la barre des menus. Votre écran pourrait également s’assombrir si les fonctions d’économie d’énergie sont réglées pour l’utilisation de la batterie. Pour plus d’informations, consultez la section «Réglage de l’écran» à la page 30. Autres problèmes Si vous avez oublié votre mot de passe Vous pouvez réinitialiser votre mot de passe d’administrateur et les mots de passe de tous les autres comptes. 1 Insérez le CD «Mac OS X Install Disc 1». Ensuite, redémarrez votre ordinateur et maintenez la touche C enfoncée pendant le démarrage. 2 Choisissez Installation > Réinitialiser le mot de passe dans la barre des menus. Suivez les instructions à l’écran. 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 fournissent souvent des mises à jour logicielles sur leurs sites web.  Vous pouvez configurer votre MacBook pour qu’il cherche et installe automatiquement les dernières mises à jour Apple via la fenêtre Mise à jour de logiciels des Préférences Système. Pour plus d’informations, choisissez Aide > Aide Mac, puis recherchez «mise à jour de logiciels». Remarque : les applications Classic (ou Mac OS 9) ne sont pas compatibles avec votre ordinateur et ne s’ouvriront pas. F3626M42.book Page 103 Wednesday, April 5, 2006 2:17 PM104 Chapitre 5 Dépannage En cas de problèmes avec les communications sans fil AirPort Extreme  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 vous êtes bien dans la zone de couverture de l’antenne de l’autre ordinateur ou du point d’accès du réseau en vérifiant le menu d’état AirPort (Z) dans la barre des menus. Jusqu’à quatre barres de mesure apparaissent pour indiquer la puissance du signal. 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 tournant et en réorientant l’ordinateur.  Assurez-vous que le logiciel est correctement configuré conformément aux instructions incluses avec votre borne d’accès ou point d‘accès.  Pour plus d’informations, consultez l’Aide AirPort (choisissez Aide > Aide Mac, puis Bibliothèque > Aide AirPort dans la barre des menus), ainsi que les instructions fournies avec votre appareil sans fil. Si le disque dur de votre ordinateur n’enregistre pas les données correctement  Il peut arriver, dans certains cas très rares, qu’en raison de vibrations anormalement fortes subies par le disque dur, le capteur Sudden Motion Sensor s’active et provoque des pertes d’images ou des portions de son ou de données non enregistrées lorsque le disque est en train d’enregistrer de manière intensive. Si cela se produit, assurez-vous que votre MacBook est dans un environnement stable sans vibrations ni mouvements brusques.  Si les vibrations ne sont pas la source du problème, ouvrez Utilitaire de disque (dans /Applications/Utilitaires) pour vérifier le lecteur. F3626M42.book Page 104 Wednesday, April 5, 2006 2:17 PMChapitre 5 Dépannage 105 En cas de problème à l’éjection d’un disque m Fermez toutes les applications susceptibles d’utiliser le disque et essayez à nouveau. Si cela ne donne pas de résultats, redémarrez l’ordinateur tout en maintenant le bouton du trackpad enfoncé. Si vous suspectez un problème matériel  Vous pouvez utiliser l’application «Apple Hardware Test» pour déterminer s’il existe un problème dû à l’un des composants de votre ordinateur, tels que la mémoire ou le processeur. Pour plus d’informations sur Apple Hardware Test, consultez la section «Utilisation d’Apple Hardware Test» à la page 108. 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 à Internet par ligne commutée, veillez à ce que votre câble téléphonique soit bien branché sur le modem USB d’Apple (vendu séparément) et non au port Ethernet (G) de l’ordinateur.  Ouvrez la fenêtre Réseau des Préférences Système et vérifiez auprès de votre Fournisseur d’Accès Internet (FAI) ou de votre administrateur réseau les informations qui y sont saisies. 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, choisissez Aide > Aide Mac dans la barre des menus et recherchez des instructions et des informations sur le dépannage.  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. F3626M42.book Page 105 Wednesday, April 5, 2006 2:17 PM106 Chapitre 5 Dépannage 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. 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 et des applications Pour installer Mac OS X et les applications qui accompagnent votre ordinateur : 1 Sauvegardez vos fichiers essentiels. Nous vous conseillons de sauvegarder vos fichiers essentiels avant d’installer Mac OS X et d’autres applications car l’option Effacer et installer efface votre disque de destination. 2 Assurez-vous que l’adaptateur secteur est correctement branché. 3 Insérez le disque 1 d’installation de Mac OS X livré avec votre ordinateur. 4 Double-cliquez sur «Install Mac OS X and Bundled Software». 5 Suivez les instructions à l’écran. 6 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 invite à insérer le disque d’installation Mac OS X suivant. Remarque : pour rétablir les réglages d’origine de Mac OS X sur votre ordinateur, cliquez sur Options dans la fenêtre Sélectionner une destination du programme d’installation, puis choisissez Effacer et installer. F3626M42.book Page 106 Wednesday, April 5, 2006 2:17 PMChapitre 5 Dépannage 107 Après avoir sélectionné le disque de destination de l’installation, continuez à suivre les instructions à l’écran pour effectuer une installation de base de Mac OS X. Pour personnaliser l’installation des applications, cliquez sur Personnaliser, cliquez sur le triangle en regard de l’application et sélectionnez la version que vous souhaitez installer. Installation des applications Pour installer uniquement les applications fournies avec votre ordinateur, veuillez procéder comme suit. Mac OS X doit déjà être installé sur votre ordinateur. 1 Sauvegardez vos fichiers essentiels. 2 Assurez-vous que l’adaptateur secteur est correctement branché. 3 Insérez le disque 1 d’installation de Mac OS X livré avec votre ordinateur. 4 Double-cliquez sur «Install Bundled Software Only». 5 Suivez les instructions à l’écran. 6 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 invite à insérer le disque d’installation Mac OS X suivant. Remarque : pour installer iCal, iChat AV, iSync, Safari et les applications iLife, suivez les instructions exposées dans «Installation de Mac OS X et des applications» à la page 106. Il est possible que vous deviez insérer le disque 2 d’installation de Mac OS X, selon les applications que vous souhaitez installer. F3626M42.book Page 107 Wednesday, April 5, 2006 2:17 PM108 Chapitre 5 Dépannage Utilisation d’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 externes de votre ordinateur, sauf l’adaptateur secteur. Si un câble Ethernet est connecté, déconnectez-le. 2 Insérez le disque 1 d’installation de Mac OS X livré avec votre ordinateur. 3 Redémarrez ensuite votre ordinateur en maintenant la touche D enfoncée lors du démarrage. 4 Lorsque l’écran principal d’Apple Hardware Test s’affiche, suivez les instructions à l’écran. 5 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 «À propos d’AHT» sur le disque «Mac OS X Install Disc 1». F3626M42.book Page 108 Wednesday, April 5, 2006 2:17 PMChapitre 5 Dépannage 109 Localisation du numéro de série de votre produit Utilisez l’une des méthodes suivantes pour trouver le numéro de série de votre ordinateur :  Choisissez Apple () > À propos de ce Mac puis cliquez sur le numéro de version au-dessous des mots «Mac OS X». Cliquez pour afficher l’un après l’autre la version de Mac OS X, le numéro de sous-version et le numéro de série.  Ouvrez Informations Système (dans /Applications/Utilitaires/), et cliquez sur Matériel. Vous pouvez également ouvrir Informations Système en cliquant sur le bouton Plus d’infos dans la zone de dialogue À propos de ce Mac.  Retirez la batterie. Le numéro de série de votre MacBook se trouve dans la baie de la batterie. Pour en savoir plus sur l’extraction de la batterie, consultez la section «retrait de la batterie» à la page 90 . F3626M42.book Page 109 Wednesday, April 5, 2006 2:17 PMF3626M42.book Page 110 Wednesday, April 5, 2006 2:17 PM111 A Annexe A Caractéristiques Vous pouvez utiliser Informations Système pour obtenir des informations détaillées sur votre MacBook. Vous y trouverez entre autres la quantité de mémoire vive, la taille du disque dur, les périphériques connectés et le numéro de série du produit. Pour accéder au contenu des Informations Système, sélectionnez le menu Pomme () > À propos de ce Mac dans la barre des menus, puis cliquez sur Plus d’infos ou ouvrez Informations Système, situé dans /Applications/Utilitaires. Dans la fenêtre qui s’ouvre, cliquez sur les triangles pour afficher ou cacher le contenu des différentes catégories. F3626M42.book Page 111 Wednesday, April 5, 2006 2:17 PM112 Annexe A Caractéristiques Conditions de fonctionnement  Température de fonctionnement : 10° C à 35° C  Altitude : 3 048 m maximum  Humidité relative : de 0 % à 90 % sans condensation Adaptateur secteur  Entrée : 100 à 240 Volts (V), 50/60 Hertz (Hz)  Sortie : 16,5 V à 3,65 A Batterie  Sortie : 10,8 V  Capacité : 55 Wh Des informations supplémentaires sont disponibles sur le site d’Apple aux pages www.apple.com/fr/macbook et www.apple.com/fr/support. F3626M42.book Page 112 Wednesday, April 5, 2006 2:17 PM113 B Annexe B Consignes de sécurité, d’utilisation et d’entretien Veuillez lire attentivement les consignes de sécurité et d’entretien suivantes concernant votre MacBook. Les produits Apple sont conçus et évalués selon les standards de sécurité les plus récents de l’équipement des technologies de l’information. Cependant, pour assurer une utilisation sûre, il est important de suivre les consignes de sécurité indiquées sur le produit et dans la documentation. Consignes générales de sécurité Lisez et suivez toutes les consignes indiquées sur le produit et dans ce manuel avant d’utiliser votre MacBook. Gardez ces instructions dans un endroit facile d’accès pour vous et pour les utilisateurs éventuels.  Installez votre MacBook sur un plan de travail stable.  Évitez de placer votre ordinateur à proximité d’un évier, d’un lavabo, d’une baignoire ou d’une douche, par exemple.  Protégez votre ordinateur de l’humidité et des intempéries (neige, pluie, brouillard par exemple). F3626M42.book Page 113 Wednesday, April 5, 2006 2:17 PM114 Annexe B Consignes de sécurité, d’utilisation et d’entretien  Pour votre propre sécurité et celle de votre matériel, veillez à toujours prendre les précautions ci-après. Débranchez le cordon d’alimentation (en tirant sur la prise plutôt que sur le cordon), retirez la batterie et débranchez tous les autres câbles si l’un des cas suivants se présente :  Vous souhaitez installer de la mémoire.  Vous voulez retirer un ou plusieurs composants.  La prise ou le câble d’alimentation est endommagé.  Un liquide a été renversé dans le boîtier.  Votre ordinateur est exposé à la pluie ou à une humidité excessive.  Votre ordinateur a subi une chute ou le boîtier a été endommagé de quelque autre façon.  Vous pensez que votre ordinateur a besoin d’être inspecté ou réparé.  Vous souhaitez nettoyer le boîtier (pour ce faire, suivez à la lettre les instructions fournies plus bas).  Le port d’adaptateur secteur du MacBook contient un aimant. Ne mettez pas des matériaux ou des appareils à sensibilité magnétique à 25 mm ou moins de ce port.  N’introduisez jamais d’objets d’aucune sorte dans les ouvertures de ventilation de le MacBook.  La batterie du MacBook peut présenter un risque d’incendie ou de brûlure en cas de mauvais traitement. Ne la désassemblez pas, ne la chauffez pas au-delà de 100 º C et ne l’incinérez pas. Ne remplacez la batterie que par une batterie certifiée par Apple pour ce produit. L’utilisation de toute autre batterie peut présenter un risque d’incendie ou d’explosion. Éliminez rapidement les batteries usagées conformément aux directives d’environnement locales en vigueur. F3626M42.book Page 114 Wednesday, April 5, 2006 2:17 PMAnnexe B Consignes de sécurité, d’utilisation et d’entretien 115 Configuration de votre MacBook et de l’adaptateur secteur Assurez-vous que la fiche ou le câble d’alimentation CA est complètement inséré dans l’adaptateur secteur avant de brancher l’adaptateur sur la prise secteur. Pour un fonctionnement optimal, veillez à connecter l’adaptateur via le câble d’alimentation CA et à utiliser une prise secteur de terre. Utilisez uniquement l’adaptateur secteur fourni avec votre MacBook. Les adaptateurs destinés à d’autres appareils électroniques (y compris à d’autres modèles de MacBook Pro et d’ordinateurs portables) peuvent sembler similaires, mais risquent d’avoir une incidence négative sur les performances de votre ordinateur, voire de l’endommager. L’adaptateur secteur peut chauffer pendant l’utilisation normale de votre MacBook. Faites toujours en sorte que l’adaptateur soit correctement ventilé et soyez prudent lorsque vous le manipulez pendant ou immédiatement après l’avoir utilisé. Si possible, placez l’adaptateur secteur sur une surface plane et dure pour dissiper la chaleur. Ne forcez jamais l’insertion d’un connecteur dans un port. Vérifiez la présence d’obstructions sur le port. Si le connecteur ne se raccorde pas facilement au port, c’est qu’ils sont probablement incompatibles. Assurez-vous que le connecteur correspond bien au port et que vous l’avez correctement positionné par rapport à ce dernier. La présence de débris dans le port d’adaptateur secteur peut empêcher l’adaptateur secteur de se brancher correctement. Nettoyez doucement les débris avec une tige de coton ouaté. F3626M42.book Page 115 Wednesday, April 5, 2006 2:17 PM116 Annexe B Consignes de sécurité, d’utilisation et d’entretien Utilisation de votre MacBook Lorsque vous utilisez votre MacBook ou que vous rechargez la batterie, il est normal que la température du dessous du boîtier s’élève. En cas d’utilisation prolongée, placez votre MacBook sur une surface plane et stable. Ne laissez pas la partie inférieure de votre MacBook au contact de vos genoux ou de toute autre surface de votre corps de manière prolongée. Un contact étendu avec votre corps pourrait provoquer des douleurs et éventuellement des brûlures. Cette partie du boîtier du MacBook sert de surface de refroidissement et permet d’évacuer la chaleur de l’ordinateur vers l’extérieur. Le dessous du boîtier est légèrement suré- levé pour permettre la circulation d’air et assurer ainsi à l’équipement une température de fonctionnement normale. De plus, l’ordinateur dégage de l’air chaud des logements à l’arrière du boîtier. Avertissement : ne posez pas votre MacBook allumé sur un oreiller ou toute autre surface dans laquelle il pourrait s’enfoncer, car cela pourrait bloquer les conduites d’aération, en particulier les conduites arrière, et entraîner une surchauffe de l’ordinateur. Évitez également de placer des objets sur le clavier lors de l’utilisation avec écran rabattu. Cela risque de provoquer une succession d’arrêts et de mises en marche de votre ordinateur, entraînant une surchauffe et la décharge de la batterie. N’allumez jamais l’ordinateur tant que tous ses composants internes ou externes ne sont pas en place. L’utilisation de l’ordinateur lorsque son boîtier est ouvert ou que certains composants ont été démontés peut s’avérer dangereuse et risque de l’endommager. F3626M42.book Page 116 Wednesday, April 5, 2006 2:17 PMAnnexe B Consignes de sécurité, d’utilisation et d’entretien 117 Transport de votre MacBook Si vous transportez votre MacBook dans un sac ou dans un attaché-case, assurez-vous que ce dernier ne contient pas d’objets non attachés (tels que des trombones ou des pièces de monnaie) qui pourraient pénétrer accidentellement dans l’ordinateur par une ouverture telle que la fente du lecteur optique ou se coincer à l’intérieur d’un port. Maintenez également à l’écart du port de l’adaptateur secteur tout objet magnétiquement sensible. Rangement de votre MacBook Si vous décidez de ranger votre MacBook pendant une période de temps prolongée, placez-le dans un endroit frais (idéalement à 22 ° C) et prenez l’une des mesures suivantes afin de préserver la durée de vie de la batterie :  Déchargez la batterie à 50 pour cent avant de ranger votre MacBook.  Avant de ranger votre ordinateur pour une période de temps supérieure à cinq mois, déchargez la batterie jusqu’à environ 50 pour cent, puis retirez-la du MacBook. Si vous décidez de ranger votre ordinateur pour une période prolongée, pensez à recharger la batterie de 50 pour cent tous les six mois environ. Nettoyage de votre MacBook Respectez les consignes suivantes lors du nettoyage de votre ordinateur et de ses accessoires :  Éteignez votre MacBook, débranchez l’adaptateur secteur et retirez la batterie.  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 dissolvants, ni abrasifs qui pourraient endommager le fini. F3626M42.book Page 117 Wednesday, April 5, 2006 2:17 PM118 Annexe B Consignes de sécurité, d’utilisation et d’entretien Nettoyage de l’écran de votre MacBook Pour nettoyer l’écran de votre MacBook, procédez comme suit :  Éteignez votre MacBook, débranchez l’adaptateur secteur et retirez la batterie.  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. Comment éviter les problèmes auditifs Informations se rapportant au laser Avertissement : l’utilisation d’écouteurs ou d’un casque d’écoute à un niveau de volume trop élevé peut provoquer une perte d’acuité auditive permanente. L’oreille peut s’adapter petit à petit à des volumes sonores de plus en plus élevés qui peuvent sembler normaux, mais qui risquent à la longue d’endommager votre système auditif. En cas de sifflements ou de perte d’acuité auditive, arrêtez d’utiliser le casque ou les écouteurs et consultez un médecin. Plus le volume est élevé, plus votre audition risque d’être affectée rapidement. Pour protéger votre système auditif, les spécialistes conseillent de prendre les mesures suivantes :  Limitez la durée d’utilisation à volume élevé de vos écouteurs ou de votre casque d’écoute.  Évitez d’augmenter le volume afin de bloquer les bruits environnants.  Baissez le volume si vous ne parvenez pas à entendre une personne qui parle à côté de vous. Avertissement : l’exécution de réglages ou d’opérations qui ne sont pas spécifiés dans la manuel de votre équipement risque de vous exposer à des rayonnements dangereux. F3626M42.book Page 118 Wednesday, April 5, 2006 2:17 PMAnnexe B Consignes de sécurité, d’utilisation et d’entretien 119 N’essayez pas de démonter le boîtier qui contient le laser. Le faisceau laser utilisé dans ce produit est nocif pour les yeux. L’utilisation d’instruments optiques, tels que les loupes grossissantes, avec ce produit augmente les risques potentiels pour vos yeux. Afin d’assurer votre sécurité, cet équipement ne doit être réparé que par un fournisseur de services agréé Apple. Votre ordinateur est classé comme produit laser de Catégorie 1 à cause de son lecteur optique. L’étiquette de Catégorie 1, située dans un emplacement accessible à l’utilisateur, indique que le lecteur obéit aux exigences minimales de sécurité. Une étiquette de mise en garde destinée au réparateur est située dans un emplacement qui lui est accessible. Les étiquettes placées sur votre produit peuvent être légèrement différentes de celles qui sont affichées ici. 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. Étiquette «Catégorie 1» Étiquette de mise en garde destinée au réparateur F3626M42.book Page 119 Wednesday, April 5, 2006 2:17 PM120 Annexe B Consignes de sécurité, d’utilisation et d’entretien Ergonomie Voici quelques conseils sur la mise en place d’un environnement de travail sain. Clavier et trackpad Lorsque vous tapez au clavier ou que vous vous servez du trackpad, vos épaules doivent être détendues. Le bras et l’avant-bras doivent former un angle droit, la main étant placée dans le prolongement du poignet. Vous devez avoir les mains et les doigts détendus lorsque vous tapez au clavier ou que vous utilisez le trackpad. Évitez de replier les pouces à l’intérieur des paumes. Position à éviter Position recommandée F3626M42.book Page 120 Wednesday, April 5, 2006 2:17 PMAnnexe B Consignes de sécurité, d’utilisation et d’entretien 121 Modifiez fréquemment la position de vos mains pour éviter la fatigue. Après un travail continu et intensif sur ordinateur, certains utilisateurs peuvent ressentir des douleurs aux mains, aux poignets ou aux bras. Si ces douleurs persistent, consultez un spécialiste. Siège Optez pour un siège de bureau réglable et offrant un dossier et une assise confortables. Réglez la hauteur du siège de telle 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. Si vous disposez d’un bureau modulaire, vous pouvez 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 clavier est situé plus bas que le plan de travail. Position à éviter Position recommandée F3626M42.book Page 121 Wednesday, April 5, 2006 2:17 PM122 Annexe B Consignes de sécurité, d’utilisation et d’entretien Souris externe Si vous utilisez une souris externe, veillez à ce qu’elle se trouve à hauteur du clavier. Ménagez un espace suffisant pour la manipuler avec aisance. Écran intégré Orientez l’écran de manière à réduire le plus possible les reflets de l’éclairage électrique et de la lumière du jour. Ne forcez pas l’écran si vous rencontrez une résistance. L’angle d’ouverture maximal de l’écran ne peut dépasser 130 degrés. Réglez la luminosité et le contraste de l’écran chaque fois que vous déplacez l’ordinateur ou que l’éclairage ambiant change. Pour en savoir plus Accédez au site web www.apple.com/about/ergonomics. À propos d’Apple et de 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 en savoir plus, consultez la page www.apple.com/environment/summary.html. F3626M42.book Page 122 Wednesday, April 5, 2006 2:17 PM123 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. Utilisez ces informations pour vous aider à vous connecter à Internet. Lors du premier démarrage de Mac OS X, Assistant réglages vous aide à saisir vos informations concernant la configuration Internet. Si vous n’avez pas utiliser Assistant réglages pour configurer votre connexion à Internet, vous pouvez utiliser Assistant réglages de Réseau plus tard (consultez «Utilisation d’Assistant réglages de réseau pour se connecter» à la page 127 ). Si vous choisissez de ne pas utiliser Assistant réglages de réseau, vous pouvez utiliser les informations figurant dans cette annexe pour configurer votre connexion manuellement. Il existe quatre types de connexion à Internet :  connexion via un modem câble ou DSL à haut débit : l’ordinateur est relié via un câble Ethernet à un modem spécial fourni par un FAI ;  connexion sans fil : l’ordinateur est connecté sans fil via une borne d’accès AirPort Extreme, AirPort Express ou un autre point d’accès 802.11ou 802.11 ; F3626M42.book Page 123 Wednesday, April 5, 2006 2:17 PM124 Annexe C Connexion à Internet  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.  connexion par ligne téléphonique : l’ordinateur est connecté à un modem externe branché sur une prise téléphonique murale via un câble téléphonique. Avant de vous connecter à Internet : 1 Ouvrez un compte auprès d’un fournisseur d’accès à Internet (FAI). 2 Procurez-vous les informations concernant la connexion auprès de votre fournisseur d’accès à Internet ou de votre administrateur réseau. Consultez la section suivante «Regroupement des informations nécessaires», pour savoir quelles sont les informations dont vous avez besoin pour chaque type de connexion. Vous pouvez écrire ces informations directement sur les pages suivantes, puis les saisir dans Assistant réglages. 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 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 d’un ordinateur Windows : Les informations d’un PC Windows concernant la connexion se trouvent à deux endroits.  Pour rechercher 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. F3626M42.book Page 124 Wednesday, April 5, 2006 2:17 PMAnnexe C Connexion à Internet 125 3 Si vous utilisez un modem externe, tel que le modem USB d’Apple (vendu séparément), branchez-le dans un port USB de votre MacBook, puis utilisez un câble téléphonique (non inclus) pour connecter le modem à 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 Assistant réglages pour configurer votre connexion à Internet. Remarque : si vous avez déjà démarré votre ordinateur sans utiliser Assistant réglages pour configurer votre connexion à Internet, consultez «Utilisation d’Assistant réglages de réseau pour se connecter» à la page 127 . Regroupement des informations nécessaires Vous pouvez noter sur ces pages les informations obtenues auprès de votre FAI, de votre administrateur réseau ou récupérées sur un autre ordinateur, puis les saisir dans Assistant réglages de réseau. Pour configurer une connexion téléphonique classique, procurez-vous les informations suivantes :  nom du fournisseur d’accès ;  nom d’utilisateur ou de compte ;  mot de passe ;  numéro de téléphone du FAI ;  autre numéro de téléphone ;  préfixe pour obtenir la ligne externe. F3626M42.book Page 125 Wednesday, April 5, 2006 2:17 PM126 Annexe C Connexion à Internet Pour configurer un modem DSL, un modem câble, un réseau local (LAN) ou une connexion AirPort Extreme sans fil, choisissez votre méthode de connexion (en cas de doute, adressez-vous à votre administrateur système ou à votre FAI) :  manuellement ;  utilisation de DHCP (Dynamic Host Configuration Protocol, protocole de configuration dynamique d’hôte) avec une adresse manuelle ;  via DHCP ;  via BootP ;  PPP (Point-to-Point Protocol, protocole point à point). En cas de doute sur la méthode à utiliser, l’option «Via DHCP» peut s’avérer un bon choix car le réseau fournit automatiquement la plupart des informations requises. Si vous sélectionnez «Manuellement» ou «Via DHCP avec une adresse manuelle», rassemblez les informations suivantes :  adresse IP ;  masque de sous-réseau ;  adresse du routeur. Remarque : si vous sélectionnez «Utilisation de DHCP avec une adresse manuelle», vous n’avez pas besoin d’un masque de sous-réseau ou d’une adresse de routeur. Si vous sélectionnez «Via DHCP», rassemblez les informations facultatives suivantes (demandez à votre FAI si c’est nécessaire) :  numéro de client DHCP ;  serveurs DNS. F3626M42.book Page 126 Wednesday, April 5, 2006 2:17 PMAnnexe C Connexion à Internet 127 Si vous sélectionnez «PPPoE» (pour les connexions via PPP sur Ethernet ), rassemblez les informations suivantes :  fournisseur d’accès ;  nom de compte ;  mot de passe ;  nom de service PPPoE. Les informations ci-dessous sont facultatives. Demandez à votre fournisseur d’accès à Internet ou à votre administrateur système si elles sont requises.  serveurs DNS ;  nom de domaine ;  serveur proxy. Saisie de vos informations Après vous être procuré les informations spécifiques concernant la configuration auprès de votre FAI ou de votre administrateur réseau, vous pouvez utiliser Assistant réglages de réseau pour vous connecter ou pour saisir les informations manuellement. Utilisation d’Assistant réglages de réseau pour se connecter Si vous n’avez pas utilisé l’Assistant réglages pour configurer vos réglages Internet au premier démarrage de votre MacBook, vous pouvez utiliser l’Assistant réglages de réseau à tout moment pour configurer votre connexion à Internet ou pour modifier vos réglages. F3626M42.book Page 127 Wednesday, April 5, 2006 2:17 PM128 Annexe C Connexion à Internet Pour utiliser Assistant réglages de réseau : 1 Choisissez le menu Pomme () > Préférences Système. 2 Cliquez sur Réseau puis cliquez sur «Assistant». 3 Cliquez sur Assistant pour lancer Assistant réglages de réseau. 4 Suivez les instructions à l’écran. Pour plus d’informations sur la configuration d’une connexion à Internet, consultez l’Aide Mac. Choisissez Aide > Aide Mac puis recherchez «connexion à Internet». Saisie manuelle de vos informations Pour saisir vos informations manuellement : 1 Ouvrez Préférences Système > Réseau. 2 Faites votre sélection dans le menu local Afficher et réglez les options selon le type de connexion souhaité :  connexion par modem câble, modem DSL ou LAN en utilisant l’une de ces configurations :  manuellement : dans le cas d’une configuration manuelle, votre FAI ou administrateur réseau vous indique une adresse IP statique et d’autres informations que vous devez 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, contactez votre FAI pour savoir si vous devez vous connecter via PPPoE ; F3626M42.book Page 128 Wednesday, April 5, 2006 2:17 PMAnnexe C Connexion à Internet 129  modem téléphonique externe avec connexion PPP (Point-to-Point Protocol) : saisissez le nom et le mot de passe de votre compte, votre numéro de téléphone et les autres informations requises ;  connexion sans fil AirPort Extreme : vous pouvez configurer votre réseau AirPort Extreme et votre connexion Internet via Assistant réglages AirPort, situé dans le dossier /Applications/Utilitaires. 3 Cliquez sur «Assistant» pour obtenir une assistance supplémentaire. Dépannage de votre connexion En cas de problèmes avec votre connexion à Internet, vous pouvez essayer les méthodes de cette section pour votre type de connexion ou vous pouvez utiliser Diagnostic réseau. Pour utiliser Diagnostic réseau : 1 Choisissez le menu Pomme () > Préférences Système. 2 Cliquez sur Réseau puis cliquez sur «Assistant». 3 Cliquez sur Diagnostic pour lancer Diagnostic réseau. 4 Suivez les instructions à l’écran. 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 auquel vous essayez de vous connecter, du périphérique externe utilisé pour la connexion au fournisseur d’accès à Internet ou du serveur auquel vous essayez d’accéder. Vous pouvez également essayer les méthodes suivantes. F3626M42.book Page 129 Wednesday, April 5, 2006 2:17 PM130 Annexe C Connexion à Internet Connexions à Internet par modem câble, modem DSL ou réseau local (LAN) Si vous ne parvenez pas à vous connecter à Internet à l’aide de votre modem câble ou DSL ou via votre réseau local (LAN), suivez les instructions ci-après. Important : les instructions relatives aux modems ne concernent pas les utilisateurs de réseau LAN. Contrairement aux utilisateurs de modems câble et de modems DSL, les utilisateurs de réseau LAN peuvent disposer de concentrateurs, commutateurs, routeurs et autres dispositifs de connexion. Ils doivent faire appel à leur administrateur réseau plutôt qu’à un FAI. 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. Éteignez puis rallumez le modem et réinitialisez les composants matériels du modem. Éteignez votre modem DSL ou votre modem câble pendant quelques minutes, puis rallumez-le. Certains fournisseurs d’accès à Internet 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. F3626M42.book Page 130 Wednesday, April 5, 2006 2:17 PMAnnexe C Connexion à Internet 131 Connexions PPPoE Si vous n’arrivez pas à vous connecter à votre fournisseur d’accès à Internet via PPPoE, commencez par vérifier les câbles et l’alimentation, puis éteignez le modem et rallumez-le et réinitialisez le matériel modem. Vérifiez ensuite vos réglages dans la fenêtre Réseau des Préférences Système. Pour vérifier les réglages des Préférences Système : 1 Choisissez le menu Pomme () > Préférences Système dans la barre des menus. 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 fournisseur d’accès à Internet. 9 Si vous avez choisi d’enregistrer votre mot de passe, saisissez-le à nouveau afin d’être sûr qu’il est correct. 10 Cliquez sur TCP/IP. Assurez-vous d’avoir saisi dans cette fenêtre les informations correctes fournies par votre fournisseur d’accès à Internet. 11 Cliquez sur Appliquer. F3626M42.book Page 131 Wednesday, April 5, 2006 2:17 PM132 Annexe C Connexion à Internet 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 fournisseur d’accès à Internet fournit une adresse IP ou plusieurs (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’adresses 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 obtenir plus d’informations sur l’utilisation de la borne d’accès AirPort Extreme, consultez l’aide à l’écran ou le site web AirPort, à l’adresse www.apple.com/fr/airportextreme. Si ces instructions s’avèrent insuffisantes pour résoudre les problèmes rencontrés, contactez votre fournisseur d’accès à Internet. F3626M42.book Page 132 Wednesday, April 5, 2006 2:17 PM133 DAnnexe D Les dix questions principales Une question ? Les dix questions les plus fréquemment posées par les nouveaux utilisateurs du MacBook sont les suivantes : Ma connexion Internet ne semble pas fonctionner. Comment la configurer ? Il y a différents types de connexions Internet. Vous pouvez, par exemple, vous connecter via un modem, une connexion DSL, une connexion sans fil AirPort ou un réseau Ethernet. Vous devez saisir sous Mac OS X des informations spécifiques sur votre type de connexion, votre fournisseur d’accès Internet ou votre réseau. La première étape de configuration de votre connexion consiste à regrouper les informations requises pour votre type de connexion. Pour connaître les informations requises et savoir comment configurer votre type de connexion, consultez l’annexe C, «Connexion à Internet», à la page 123 . Votre ordinateur dispose également de l’application Assistant réglages pour vous aider à configurer votre connexion Internet. Ouvrez Préférences Système, puis cliquez sur Réseau. Cliquez sur le bouton d’assistance pour ouvrir Assistant réglages de réseau. F3626M42.book Page 133 Wednesday, April 5, 2006 2:17 PM134 Annexe D Les dix questions principales Comment configurer mon imprimante ? Est-elle compatible avec mon MacBook ? Commencez par connecter votre imprimante et installer tous les logiciels en suivant les instructions incluses avec l’imprimante. Ensuite, ouvrez les Préférences Système, puis cliquez sur l’icône Imprimantes et fax. Utilisez la fenêtre Imprimantes et fax pour configurer votre MacBook de façon qu’il puisse utiliser l’imprimante. Vous trouverez de plus amples informations sur la configuration des imprimantes dans l’Aide Mac (choisissez Aide > Aide Mac dans la barre des menus, puis recherchez «imprimante»). Consultez également «Connexion à une imprimante» à la page 52. Si votre imprimante ne fonctionne pas comme prévu, consultez le site web du fabricant pour obtenir les gestionnaires d’imprimante mis à jour. La dernière version du logiciel d’imprimante est souvent disponible en téléchargement. Si vous envoyez une tâche à votre imprimante et que celle-ci n’imprime pas, cliquez sur l’icône de l’imprimante dans le Dock pour vérifier si l’impression est interrompue ou si la tâche est en pause. (Si aucune icône n’apparaît dans le Dock, ouvrez Configuration d’imprimante dans le dossier /Applications/Utilitaires et double-cliquez sur le nom de l’imprimante.) Si la fenêtre de l’imprimante annonce «Tâche suspendue», cliquez sur le bouton Démarrer tâches. Si «Pause» apparaît à côté du nom de la tâche, reprenez l’impression en sélectionnant le nom de la tâche, puis en cliquant sur Reprendre. Si l’impression d’une tâche a été interrompue à la suite d’une erreur technique, effacez la tâche défectueuse en la sélectionnant et en cliquant sur Effacer. Essayer ensuite d’imprimer à nouveau la tâche. F3626M42.book Page 134 Wednesday, April 5, 2006 2:17 PMAnnexe D Les dix questions principales 135 Comment fonctionne l’interface Mac OS X ? Les utilisateurs qui découvrent Mac OS X se demandent souvent comment exécuter certaines tâches. L’ Aide Mac constitue la meilleure source d’informations sur Mac OS X. Elle comprend des explications préliminaires destinées aux nouveaux utilisateurs, aux utilisateurs Windows s’initiant à Mac OS X, ainsi qu’aux utilisateurs ayant effectué une mise à niveau de Mac OS 9. Ouvrez l’Aide Mac en choisissant Aide > Aide Mac dans la barre des menus du Finder, en haut de votre écran. Explorez les informations destinées aux nouveaux utilisateurs Mac OS X. La plupart des tâches élémentaires recherchées par l’utilisateur impliquent le Finder, essayez donc de rechercher «Finder» également. Comment prolonger la longévité de la batterie de mon MacBook ? N’oubliez pas d’étalonner votre batterie lors de la première utilisation (voir «Étalonnage de la batterie» à la page 26). Vous pouvez économiser l’énergie de la batterie en utilisant les options de la fenêtre des préférences Économiseur d’énergie pour spécifier quand l’ordinateur doit suspendre son activité et quand l’écran doit s’éteindre. Ouvrez Préférences Système et cliquez sur l’icône Économiseur d’énergie. Choisissez les réglages les mieux adaptés à votre mode d’utilisation. L’utilisation de périphériques, tels que les disques durs, qui tirent leur énergie de votre ordinateur, peut aussi contribuer à diminuer l’autonomie de votre batterie. Vous pouvez économiser l’énergie de la batterie en déconnectant ces appareils. Vous pouvez également vous procurer une batterie supplémentaire et la brancher sur votre ordinateur lorsque la batterie est faible. Pour obtenir plus d’informations sur les moyens d’économiser l’énergie de la batterie, consultez la section «Conseils pour économiser la batterie» à la page 85. F3626M42.book Page 135 Wednesday, April 5, 2006 2:17 PM136 Annexe D Les dix questions principales J’ai inséré un disque dans le lecteur optique, mais rien ne se passe. Comment savoir si le disque est compatible avec mon lecteur optique ? Appuyez sur la touche d’éjection de disque (C) pour éjecter le disque. Les lecteurs optiques à chargement par fente Apple ne prennent en charge que des disques circulaires de 12 cm. Les disques non standard et les disques n’ayant pas une forme circulaire ne fonctionnent pas avec le lecteur optique. Pour plus d’informations sur les disques non standard, accédez au site d’assistance et de service Apple à l’adresse www.apple.com/fr/support, puis recherchez «disques non standard». Comment connecter un moniteur externe, un téléviseur ou un projecteur à mon MacBook ? 1 Allumez l’écran externe ou le projecteur. 2 Vérifiez que le câble de l’écran est bien relié au projecteur ou à l’écran externe. 3 Connectez le câble du moniteur à votre MacBook à l’aide du câble adéquat. a Si vous connectez un périphérique externe via une connexion DVI, utilisez l’adaptateur Mini-DVI vers DVI d’Apple (vendu séparément). bSi vous connectez un périphérique externe via une connexion VGA, utilisez l’adaptateur Mini-DVI vers VGA d’Apple (vendu séparément). c Si vous connectez un périphérique externe via une connexion S-vidéo, utilisez l’adaptateur Mini-DVI vers Vidéo Apple (vendu séparément). Votre MacBook détecte automatiquement le moniteur externe, le téléviseur ou le projecteur. Avertissement : l’insertion d’un disque non standard peut endommager le lecteur. F3626M42.book Page 136 Wednesday, April 5, 2006 2:17 PMAnnexe D Les dix questions principales 137 4 Réglez la résolution de l’écran externe via la fenêtre Moniteurs des Préférences Système ou le menu d’état Moniteurs de la barre de menus. Pour obtenir plus d’informations sur la connexion d’écrans et autres périphériques, consultez «Gestion de la vidéo externe» à la page 71. J’ai oublié mon mot de passe. Comment le réinitialiser ? Pour réinitialiser votre mot de passe, démarrez à partir du disque d’installation de logiciels fourni avec votre ordinateur. Une fois le programme d’installation ouvert, sélectionnez Installation > «Réinitialiser le mot de passe» dans la barre des menus. Suivez les instructions à l’écran. J’entends un ventilateur se déclencher et la température de mon MacBook semble augmenter. Est-ce normal ? Votre MacBook est conçu pour fonctionner dans le cadre de limites thermiques sûres. Le ventilateur se déclenche et fonctionne pour maintenir le MacBook à des températures normales lorsqu’il est en activité. La partie inférieure de votre MacBook peut s’échauffer car elle sert à évacuer la chaleur du boîtier. Il s’agit d’un comportement tout à fait normal. Pour plus d’informations, consultez la section «Utilisation de votre MacBook» à la page 116. F3626M42.book Page 137 Wednesday, April 5, 2006 2:17 PM138 Annexe D Les dix questions principales Une application ou Mac OS X semble ne pas fonctionner correctement. Dois-je réinstaller Mac OS X ? Le processus de dépannage d’un problème demande que vous répondiez à plusieurs questions, notamment si le problème survient toujours avec une application spécifique, s’il est lié au système d’exploitation ou s’il est dû à un matériel défectueux. Avant de réinstaller, consultez la section «Dépannage» à la page 99 pour vous aider à analyser le problème. Apple fournit également de nombreuses explications et des conseils techniques de résolution de problèmes sur le site d’assistance et de service Apple, à l’adresse www.apple.com/fr/support. Si vous constatez qu’une réinstallation de Mac OS X s’impose, vous trouverez toutes les instructions nécessaires dans la section «Réinstallation des logiciels fournis avec votre ordinateur» à la page 106. J’ai installé une application sur mon MacBook, mais elle ne semble pas fonctionner. Où trouver de l’aide ? Vérifiez la documentation fournie avec l’application pour savoir comment obtenir de l’assistance. Les fabricants sont souvent conscients des problèmes courants susceptibles de survenir avec leurs applications et fournissent des solutions et des mises à jours à usage immédiat. Si votre application n’est pas un produit Apple, contactez directement l’éditeur concerné afin d’obtenir une assistance adaptée. F3626M42.book Page 138 Wednesday, April 5, 2006 2:17 PM139 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. 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 radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures:  Turn the television or radio antenna until the interference stops.  Move the computer to one side or the other of the television or radio.  Move the computer farther away from the television or radio.  Plug the computer in to an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple-authorized service provider or Apple. See the service and support information that came with your Apple product. Or, consult an experienced radio/television technician for additional suggestions. 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 has demonstrated EMC compliance under conditions that included the use of compliant peripheral devices and shielded cables between system components. It is important that you use compliant peripheral devices and shielded cables between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. F3626M42.book Page 139 Wednesday, April 5, 2006 2:17 PM140 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. 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 the AirPort Extreme technology is below the FCC radio frequency exposure limits. Nevertheless, it is advised to use the wireless equipment in such a manner that the potential for human contact during normal operation is minimized. FCC Bluetooth Wireless Compliance The antenna used with this transmitter must not be collocated 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 Classe 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 specifications EN 300 328, EN 301-489, and EN 60950 following the provisions of the R&TTE Directive. Europe - EU Declaration of Conformity The equipment complies with the RF Exposure Requirement 1999/519/EC, Council Recommendation of 12 July 1999 on the limitation of exposure of the general public to electromagnetic fields (0 Hz to 300 GHz). This equipment meets the following conformance standards: EN300 328, EN301 893, EN301 489-17, EN60950 Par la présente Apple Computer, Inc. déclare que l’appareil 802.11a/b/g Mini-PCIe card est conforme aux exigences essentielles et aux autres dispositions pertinentes de la directive 1999/5/CE. Complies with European Directives 72/23/EEC, 89/336/EEC, 1999/5/EC See http://www.apple.com/euro/compliance F3626M42.book Page 140 Wednesday, April 5, 2006 2:17 PM141 Korea Statements Singapore Wireless Certification Taiwan Wireless Statements Taiwan Class B Statement VCCI Class B Statement Informations sur les modems USB externes Si vous connectez votre MacBook à une ligne téléphonique par le biais d’un modem USB externe, veuillez vous reporter aux informations fournies par l’agence de télécommunications mentionnées dans la documentation livrée avec votre 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 office product equipment manufacturers to promote energyefficiency. Reducing energy consumption of office products saves money and reduces pollution by eliminating wasted energy. F3626M42.book Page 141 Wednesday, April 5, 2006 2:17 PM142 Informations sur l’élimination et le recyclage La lampe du rétro-éclairage interne à ce produit contient du mercure. Elle doit être recyclée ou traitée conformément à la législation locale, nationale et fédérale. Pour vous informer sur le programme de recyclage d’Apple, rendez-vous sur le site www.apple.com/environment/summary.html Informations sur l’enlèvement de la batterie Disposez des batteries conformément aux directives d’environnement locales en vigueur. Deutschland: Das Gerät enthält Batterien. Diese gehören nicht in den Hausmüll. Sie können verbrauchte Batterien beim Handel oder bei den Kommunen unentgeltlich abgeben. Um Kurzschlüsse zu vermeiden, kleben Sie die Pole der Batterien vorsorglich mit einem Klebestreifen ab. Nederlands:Gebruikte batterijen kunnen worden ingeleverd bij de chemokar of in een speciale batterijcontainer voor klein chemisch afval (kca) worden gedeponeerd. Taïwan: Union européenne—instructions concernant l’élimination des déchets : Le symbole ci-dessus signifie que vous devez vous débarrasser 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. F3626M42.book Page 142 Wednesday, April 5, 2006 2:17 PM Motion 3 Manuel de l’utilisateurK Apple Computer Inc. Copyright © 2007 Apple Computer Inc. Tous droits réservés. Vos droits sur le logiciel sont régis par le contrat de licence du logiciel annexé. Tout propriétaire ou utilisateur habilité d’une copie légale du logiciel Final Cut Studio est autorisé à reproduire cette publication, dans le but d’apprendre à l’utiliser. Toutefois, il est interdit de reproduire ou de transmettre à des fins commerciales tout ou partie de cette publication, ainsi que d’en vendre des exemplaires ou de la mettre à disposition dans le cadre de services d’assistance payants. Le logo Apple est une marque d’Apple Computer, Inc. déposée aux États-Unis et dans d’autres pays. L’utilisation du logo Apple « clavier » (Maj + Option + K) à des fins commerciales sans l’autorisation écrite préalable d’Apple peut constituer une contrefaçon de marque et une concurrence déloyale en violation des lois fédérales et nationales. Tous les efforts ont été mis en œuvre pour garantir l’exactitude des informations contenues dans le présent manuel. Apple Computer, Inc. ne saurait être tenu pour responsable des coquilles, ni des erreurs d’écriture. Remarque : Apple mettant fréquemment à disposition de nouvelles versions et des mises à jour de son logiciel système, de ses applications et de ses sites Internet, les illustrations présentes dans ce manuel peuvent présenter de légères différences avec ce qui apparaît sur votre écran. Apple Computer Inc. 1 Infinite Loop Cupertino, CA 95014–2084 408-996-1010 www.apple.com Apple, le logo Apple, DVD Studio Pro, Exposé, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, iMovie, iPhoto, iPod, iTunes, LiveType, Logic, Mac, Mac OS, Monaco, Pixlet, Shake, Soundtrack et TrueType sont des marques d’Apple Computer, Inc. déposées aux États-Unis et dans d’autres pays. Finder et GarageBand sont des marques d’Apple Computer, Inc. iTunes Store est une marque de service d’Apple Computer, Inc. déposée aux États-Unis et dans d’autres pays. Certaines images utilisées dans ce manuel ont été acquises auprès de Getty Images, Inc. Tous droits réservés. 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l’espace de travail de Motion 32 Barre d’outils 43 Canevas 74 Sous-fenêtre Projet 93 Fenêtre Contrôle du temps 121 Fenêtre Utilitaire 149 Palette 151 Préférences 175 Menus Chapitre 2 197 Création et gestion de projets 197 Création de projets 210 Gestion des projets 218 Modification des propriétés de projet 220 Navigation parmi les fichiers de médias dans Motion 226 Types de fichiers pris en charge par Motion 238 Ajout de médias à votre projet 243 Gestion des couches de votre projet 248 Suppression d’objets d’un projet 249 Échange de médias dans un projet 250 Paramètres d’objet disponibles dans l’onglet Média 254 Utilisation des médias de la Bibliothèque 260 Organisation des groupes et des couches dans Motion 278 Personnalisation et création de nouveaux modèles Chapitre 3 287 Compositing standard 289 Ordre des groupes et des couches4 Table des matières 291 Transformation d’objets et de couches dans le Canevas 315 Clonage de couches 317 Modification de l’opacité et de la fusion 342 Ombres portées 345 Resynchronisation Chapitre 4 353 Utilisation de la Timeline 355 Familiarisation avec la Timeline 363 Utilisation de la Timeline 375 Modification d’objets dans la Timeline 391 Utilisation de la réglette 398 Ajout de marqueurs Chapitre 5 405 Utilisation des comportements 409 Recherche de comportements 410 Application et suppression de comportements 423 Modification des comportements 425 Utilisation des comportements 430 Changement du contrôle du temps des comportements 439 Animation de paramètres de comportements 442 Enregistrement et partage de comportements personnalisés 446 Descriptions de comportements 528 Exemples de comportements Chapitre 6 547 Images et clés et courbes 551 Animation dans le Canevas 556 Animation à l’aide de la palette 561 Animation à l’aide de l’Inspecteur 566 Animation dans la Timeline 572 Animation dans l’Éditeur d’images clés 608 Animation à la volée Chapitre 7 615 Utilisation de texte 616 Utilisation de texte dans Motion 618 Réglage de préférences relatives à la durée des couches 619 Utilisation du texte 626 À propos des polices 630 Utilisation des outils Texte 635 Modification de texte dans l’Inspecteur 702 Utilisation des comportements Animation et Séquence de texte 733 Utilisation d’autres comportements avec du texte 735 Utilisation des comportements pour animer du texte en 3D 736 Animation de texte à l’aide d’images clés 738 Utilisation de polices LiveFontsTable des matières 5 Chapitre 8 743 Utilisation des particules 745 Anatomie d’un système de particules 747 Utilisation des systèmes de particules 770 Création de graphismes et d’animations pour les systèmes de particules 771 Commandes avancées des systèmes de particules 798 Animation d’objets dans des systèmes de particules 803 Application de filtres à des systèmes de particules 803 Exemples de systèmes de particules 813 Enregistrement d’effets de particules personnalisés dans la Bibliothèque Chapitre 9 815 Utilisation du Réplicateur 818 Anatomie d’un réplicateur 821 Utilisation du Réplicateur 844 Utilisation de réplicateurs 3D 846 Application de masques au réplicateur 847 Commandes avancées des réplicateurs 882 Animation des paramètres de réplicateur 888 Utilisation du comportement Réplicateur de séquence 904 Utilisation de comportements avec les réplicateurs 907 Application de filtres aux réplicateurs 907 Enregistrement de réplicateurs personnalisés dans la Bibliothèque Chapitre 10 909 Utilisation des filtres 909 À propos des filtres 910 Utilisation de filtres 910 Introduction aux filtres 918 Utilisation de filtres 1026 Filtres de mosaïque 1036 Utilisation de filtres de tierce partie Chapitre 11 1037 Utilisation de générateurs 1037 À propos des générateurs Chapitre 12 1071 Utilisation des formes et des masques 1073 Différence entre les formes, les traits de peinture et les masques 1074 Outils de dessin des formes et des masques 1083 Création et modification de formes 1110 Création d’illustrations à l’aide des outils de formes 1112 Paramètres de forme disponibles dans l’Inspecteur 1146 Animation de formes 1167 Enregistrement de formes et de styles de formes 1172 Masquage de couches pour créer une transparence 1190 Application de masques d’image à une couche 1195 Utilisation des masques pour faciliter les effets d’incrustation6 Table des matières 1199 Manipulation des canaux alpha à l’aide de filtres Chapitre 13 1203 Utilisation de données audio 1204 Fichiers audio dans des projets Motion 1213 Utilisation de pistes audio 1221 Animation des variations de niveau et de balance avec des images clés 1226 Comportements Audio 1229 Comportement de Paramètre Audio 1232 Utilisation de Soundtrack Pro avec Motion 1234 Exportation de données audio Chapitre 14 1235 Exportation de projets Motion 1236 Exportation de votre projet 1238 Utilisation des préréglages d’exportation 1242 Configuration des options d’exportation 1248 Exportation d’une sélection 1249 Exportation avec Compressor 1253 Rendu d’un projet pour le lire sur un iPod 1253 Exportation d’un fichier audio Annexe A 1255 Raccourcis clavier 1255 Commandes générales de l’interface 1257 Menu Motion 1257 Menu Fichier 1258 Menu Édition 1259 Menu Marquer 1261 Menu Objet 1262 Menu Présentation 1264 Menu Fenêtre 1265 Menu Aide 1265 Éditeur audio 1266 Onglet Audio 1266 Canevas 1275 Palette 1275 Navigateur 1276 Inspecteur 1276 Éditeur d’images clés 1277 Couches 1278 Bibliothèque 1279 Onglet Média 1279 Timeline 1281 Commandes d’animation avec des images clés 1281 Commandes Forme et MasqueTable des matières 7 1282 Barre d’outils 1283 Commandes 3D 1284 Utilisation de l’Éditeur de raccourcis Annexe B 1293 Formats vidéo et de fichiers 1293 Formats de fichiers pris en charge 1296 Comparaison entre les formats vidéo en définition standard et haute définition 1301 Codecs vidéo courants pour l’échange de fichiers 1303 Définition de l’ordre de trame 1304 Utilisation de pixels carrés ou non carrés lors de la création de graphismes 1306 Différences de couleur entre graphismes d’ordinateur et de vidéo 1306 Utilisation des polices et création de dessins au trait pour la vidéo 1306 Mise à l’échelle de graphismes à haute résolution importés 1307 Création de graphismes pour des projets HD Annexe C 1309 Utilisation de Final Cut Pro 1309 Utilisation de Motion avec Final Cut Pro 1310 Importation d’un projet Motion dans Final Cut Pro 1310 Modification d’un plan Motion dans Final Cut Pro 1311 Restrictions lors de l’utilisation de plans Motion dans Final Cut Pro 1311 Envoi de plans et de séquences Final Cut Pro vers Motion 1315 Rendu des projets Motion pour les utiliser dans Final Cut Pro 1315 Utilisation de modèles Motion dans Final Cut Pro 1316 Création d’un modèle dans Motion pour l’utiliser dans Final Cut Pro 1320 Modèles master dans Final Cut Pro Annexe D 1325 Utilisation des gestes avec une tablette graphique Annexe E 1335 Utilisation de Motion et After Effects 1335 Intégration d’After Effects d’Adobe Index 13379 Préface Documentation et ressources relatives à Motion 3 Grâce à Motion, vous allez être en mesure de créer des contenus graphiques animés élaborés que vous pourrez intégrer à des programmes à diffuser ou à de vidéos. Découvrez toutes les ressources à votre disposition pour apprendre à utiliser cette application polyvalente. Cette préface fournit des informations sur la documentation disponible au sujet de Motion, ainsi que sur les ressources Motion accessibles sur le web. Aide en ligne L’aide en ligne (accessible via le menu Aide) offre un accès simple à diverses informations alors que vous êtes en train de travailler dans Motion. Elle met à votre disposition un certain nombre de documents, comme le Manuel de l’utilisateur Motion 3 et d’autres documents au format PDF et HTML, dont la Documentation supplémentaire de Motion qui contient des informations détaillées sur le compositing 3D et les comportements Suivi de l’animation. Pour accéder à l’aide en ligne : m Dans Motion, choisissez l’une des options proposées par le menu Aide. Manuel de l’utilisateur Le Manuel de l’utilisateur Motion 3 contient des informations détaillées sur la majorité des fonctionnalités de l’application. Pour accéder à ce manuel de l’utilisateur : m Dans Motion, choisissez Aide > Manuel de l’utilisateur Motion. À l’ouverture du Manuel de l’utilisateur Motion 3, vous accédez directement à une page d’accès. Le tiroir Preview sur le côté contient une liste de signets servant à localiser des informations spécifiques dans le manuel de l’utilisateur. Cliquez sur l’un de ces signets pour commencer à explorer le manuel de l’utilisateur. 10 Préface Documentation et ressources relatives à Motion 3 Les liens dans le corps de la page d’accès offrent un moyen supplémentaire de localiser de nombreuses sources d’aide et d’autres outils de documentation vous permettant d’apprendre à utiliser Motion. La plupart de ces liens sont également disponibles directement à partir du menu Aide : Documentation supplémentaire Disponible au format PDF, la Documentation supplémentaire de Motion contient des informations sur le compositing 3D, notamment l’espace de travail 3D, les lumières, les caméras et leurs comportements, ainsi que le tramage. Cette documentation traite également de l’utilisation des comportements Suivi de l’animation. Pour accéder à la documentation supplémentaire, procédez de l’une des manières suivantes : m Dans Motion, choisissez Aide > 3D et suivi m Accédez à http://manuals.info.apple.com/fr/Motion_Supplemental_Documentation.pdf Notes sur la version Le document Notes sur la version contient des informations sur les problèmes concernant le matériel et les logiciels tiers, ainsi que les dysfonctionnements connus. Il comporte également des informations sur les nouvelles fonctionnalités et les modifications apportées au logiciel après la finalisation du Manuel de l’utilisateur Motion 3. Pour accéder au document Notes sur la version : m Dans Motion, choisissez Aide > Notes sur la version. Nouvelles fonctionnalités Le document Nouvelles fonctionnalités décrit brièvement les nouveautés de la dernière version de Motion et explique l’emplacement des informations détaillées sur ses fonctionnalités dans le manuel de l’utilisateur ou la Documentation supplémentaire de Motion. Pour accéder au document Nouvelles fonctionnalités : m Dans Motion, choisissez Aide > Nouvelles fonctionnalités.Préface Documentation et ressources relatives à Motion 3 11 Sites web Apple Il existe une multitude de forums de discussion et de sources d’informations relatifs à Motion sur Internet. Sites web Motion Les sites web suivants fournissent des informations d’ordre général, des mises à jours, des conseils et de l’assistance sur Motion, ainsi que les nouveautés, les ressources et les supports de formation les plus récents. Pour en savoir plus sur Motion, visitez le site :  http://www.apple.com/fr/finalcutstudio/motion Pour davantage d’informations sur les outils tiers, les ressources et les groupes d’utilisateurs, accédez au site :  http://www.apple.com/fr/finalcutstudio/resources Pour des informations sur le programme Apple intitulé Pro Training, visitez le site :  http://www.apple.com/software/pro/training (en anglais) Pour transmettre à Apple vos commentaires sur Motion, accédez au site :  http://www.apple.com/fr/feedback/motion.html Site Web d’assistance et de support d’Apple Le site web d’assistance et de support d’Apple met à votre disposition les dernières mises à jour logicielles et vous fournit des réponses aux questions les plus fréquentes au sujet des produits Apple, y compris Motion. Vous y avez également accès aux spécifications des produits, aux documentations de référence et à des articles techniques d’Apple et de tierce partie :  http://www.apple.com/fr/support1 13 1 Premiers contacts avec Motion Ce chapitre présente les concepts de base de l’animation ainsi que l’interface de Motion. Il décrit également la manière d’utiliser l’ensemble des outils élémentaires nécessaires pour commencer. Motion est une application d’animation graphique basée sur des « comportements » qui vous permettent de créer des effets étonnants dans une grande variété de projets, notamment les séquences de générique, les graphismes diffusés et les simulations élaborées. Grâce à Motion, vous pouvez créer des mouvements et une multitude d’autres effets à la volée et en temps réel. Faites simplement glisser l’un des comportements (comme Rotation ou Lancer) ou l’un des filtres (comme Éclat ou Stoboscope) fournis avec Motion sur un objet dans le Canevas, puis observez votre composition prendre vie sous vos yeux, avec des tourbillons, des glissades sur l’écran, des pulsations luminescentes ou des centaines d’autres effets. Vous pouvez bien sûr recourir à une technique d’animation plus classique, à l’aide d’images clés, mais les comportements de Motion vous offrent une réponse instantanée. Il ne vous reste donc plus qu’à vous asseoir avec vos clients, vos directeurs artistiques ou vos amis et à concevoir de manière interactive votre projet d’animation. Vous avez envie qu’un titre s’estompe, oscille légèrement, puis glisse hors du champ ? Cliquez tout simplement sur le bouton de lecture, puis faites glisser les comportements Fondu, Animation aléatoire et Gravité sur le titre en question dans le Canevas. Inutile d’attendre le rendu pour prévisualiser l’effet obtenu !14 Chapitre 1 Premiers contacts avec Motion Motion peut aussi bien servir à créer des publicités, des documentaires, des génériques, des émissions, des graphiques Internet, des présentations d’entreprise, des menus de DVD, que vos propres projets vidéo. Que vous ayez besoin de la précision de l’animation par images clés, du flux plus libre des effets animés des comportements ou des deux, Motion dispose de tous les outils nécessaires pour répondre à vos besoins. Ce chapitre contient une introduction à l’animation graphique et à l’espace de travail de Motion, ainsi que des instructions relatives à la navigation et à l’utilisation des outils et des commandes les plus courants. À propos de l’animation graphique L’animation graphique est un type de création d’effets visuels généralement associé aux séquences de générique et d’introduction des émissions, aux coupures et aux publicités interstitielles, ainsi qu’à la conception d’interfaces telles que les menus des DVD. L’animation graphique est également fréquemment utilisée dans les environnements techniques pour créer des simulations de systèmes mobiles tels que les modèles de circulation ou les modèles scientifiques. Elle incorpore habituellement plusieurs objets simultanés à l’écran et repose généralement sur des considérations liées à la création et à un sens aigu de l’impact visuel. Les graphistes les plus sophistiqués associent souvent des techniques de dessin et de présentation traditionnelles à des outils empruntés au domaine des effets spéciaux, tels que l’incrustation, les masques, le mixage et les systèmes de particules, afin de créer des œuvres animées dynamiques. Les outils utilisés habituellement pour l’animation graphique sont répartis en trois catégories. Outils de création Les graphistes utilisent depuis de nombreuses années des logiciels qui leur facilitent le travail. Motion intègre donc plusieurs des outils les plus intéressants et les plus couramment utilisés dans les applications de PAO et de conception, notamment les guides, l’alignement et la manipulation directe pour le positionnement, la transformation et la déformation de couches. Il contient également quelques-uns des outils les plus souples et les plus sophistiqués pour la création et la gestion d’éléments de texte. Cela s’avère particulièrement important car le texte constitue un élément critique de la création d’animations graphiques.Chapitre 1 Premiers contacts avec Motion 15 Outils de contrôle du temps La différence principale entre la création traditionnelle et l’animation graphique, c’est le contrôle du temps. Cela signifie que vous devez non seulement créer une maquette lisible et bien composée, mais également manipuler cette maquette tout au long de la durée de votre création. Motion fournit une Timeline qui contient des outils généralement disponibles dans les applications de montage vidéo (tels que le Trim, les marqueurs, le coulissement et le magnétisme) pour vous aider à affiner et composer les aspects temporels de votre projet. Motion gère également les fichiers audio, y compris le mixage audio de base, ce qui vous permet de créer une bande-son pour votre projet et de prendre des décisions en matière de contrôle du temps en fonction non seulement des éléments visuels, mais également des éléments sonores. Vous pouvez animer des couches, des filtres, des comportements et d’autres éléments, afin de créer des compositions élégantes et précises. Qui plus est, vous avez la possibilité de resynchroniser une séquence à l’aide de la technologie du flux optique ou d’appliquer des comportements Resynchronisation à des plans pour obtenir des effets très funky, tels que des images cadencées ou éclairées. Compositing 2D et 3D Dès que votre projet implique la présence simultanée de plusieurs couches à l’écran, vous devez utiliser une méthode de compositing pour combiner ces éléments. Vous êtes alors amené à déplacer des couches à l’écran pour éviter qu’elles ne se chevauchent, régler leur opacité pour les rendre partiellement visibles ou incorporer des modes de fusion permettant divers mixages des images superposées. Le compositing constitue un aspect fondamental du travail d’animation graphique. Heureusement, Motion est là pour vous simplifier la vie comme jamais : vous avez la possibilité de contrôler l’ordre des couches et des groupes, de verrouiller les couches de certains groupes, ainsi que d’appliquer plus de 25 options de fusion, et d’obtenir ainsi des effets hors de commun. Vous pouvez également combiner des groupes 2D et 3D au sein d’un même projet, ce qui vous autorise un compositing standard sur certains éléments et des animations 3D complexes sur d’autres. Outils d’effets spéciaux Vous pouvez améliorer vos projets d’animation graphique en utilisant de nombreux outils identiques à ceux utilisés au cinéma afin de combiner, par exemple, des dinosaures et des acteurs vivants, faire couler des navires de croisière ou créer des batailles spatiales. Motion est doté de plusieurs de ces outils, notamment l’incrustation (pour isoler le plan d’un objet sur un arrière-plan de couleur unie), les masques (pour masquer des câbles ou d’autres objets qui ne doivent pas apparaître sur l’image finale) et les systèmes de particules (pour simuler des phénomènes naturels, comme la fumée, le feu ou l’eau). Motion peut, de fait, être utilisé pour créer ce genre d’effets spéciaux, mais sa puissance réelle provient du fait qu’il intègre ces outils aux outils de création et de montage décrits plus haut.16 Chapitre 1 Premiers contacts avec Motion Outils uniques Les différents jeux d’outils disponibles dans les applications les plus courantes se sont développés au fur et à mesure de l’évolution de l’animation graphique. Motion adopte toutefois une approche totalement inédite pour ce genre de tâche. Il incorpore le dernier cri en matière de logiciels de création tout en exploitant pleinement la puissance du matériel Apple le plus récent. Bien qu’il comprenne les outils et les techniques auxquels les artistes se sont accoutumés, il intègre également un nouvel ensemble d’outils appelés comportements qui simplifient les procédures auparavant complexes (voire quasi impossibles) et les rendent aussi simples qu’un glisser-déposer. Un outil appelé réplicateur permet même de créer un motif personnalisé à partir de copies d’une couche, générant ainsi très rapidement des effets de conception complexes qui nécessiteraient des heures dans d’autres applications. D’autres outils doués d’une très grande flexibilité, pour le dessin et les formes, vous permettent également d’ajouter et de créer des formes tracées au fil du temps dans le Canevas. Comportements Les comportements proposés dans Motion simplifient les tâches les plus courantes, telles que la mise à l’échelle, les fondus et les déplacements d’éléments. Ils vous permettent également de créer des interactions 2D ou 3D d’une grande complexité, comme des effets du type Collision sur les bords (pour faire rebondir des éléments sur les bords que vous avez indiqués) ou Attracteur (pour donner à un élément une force d’attraction gravitationnelle sur les éléments avoisinants). D’autre part, le texte revêtant une telle importance dans les animations graphiques, Motion inclut plus de 100 comportements spécialement conçus pour les éléments de texte, capables de traiter chaque lettre individuellement tout en affectant l’ensemble de la couche correspondante. Grâce aux comportements Simulation, les textes, particules, éléments du motif d’un réplicateur et touches d’un trait de peinture peuvent être extraits du plan bidimensionnel, puis attirés par une couche présentant un décalage sur l’axe Z. Palette Devoir rechercher sans cesse l’emplacement de réglages particuliers est un problème qui peut perturber considérablement le déroulement de votre travail. Motion utilise une fenêtre flottante spéciale, appelée la palette, qui vous offre un accès immédiat aux paramètres que vous utilisez le plus fréquemment. La palette est mise à jour de façon dynamique en fonction de l’élément sélectionné. Elle seule vous permet d’ailleurs d’accéder aux commandes visuelles de certains comportements. Chapitre 1 Premiers contacts avec Motion 17 La palette vous assure également la possibilité d’ajouter rapidement des comportements à des paramètres particuliers d’un objet. Ces comportements Paramètre vous permettent d’affecter un seul aspect d’un objet (sa position, son échelle ou son opacité, par exemple), sans modifier l’objet dans son ensemble. Pour ce faire, cliquez sur un paramètre dans la palette tout en maintenant la touche Contrôle enfoncée, puis choisissez un comportement Paramètre dans le menu local. Pour en savoir plus sur les comportements Paramètre, voir « Application de comportements Paramètre » à la page 417. Réponse en temps réel Moyennant une configuration matérielle adéquate, sachez que vous avez la possibilité de visualiser en temps réel la plupart des effets et des réglages que vous effectuez. En d’autres termes, vous pouvez observer les interactions entre les différents éléments de votre composition au fur et à mesure de vos modifications. Vous bénéficiez non seulement de la réduction du délai nécessaire à votre ordinateur pour convertir vos actions (clics, glisser-déposer, etc.) en un film regardable, mais vous êtes en mesure d’interagir avec votre création de manière plus fluide et agréable. Plutôt que d’élaborer de multiples hypothèses, puis d’attendre de voir comment elles se concrétisent, vous pouvez désormais vérifier immédiatement la manière dont vos idées se réalisent et effectuer instantanément des modifications. Cette réponse en temps réel transforme la création d’une séquence d’animation graphique en un processus d’exploration et de découverte, plus conforme à la manière dont la plupart des artistes préfèrent travailler. Motion n’offre pas seulement un nouvel ensemble de pinceaux pour le concepteur d’animation, mais plutôt un type totalement nouveau d’environnement de travail. 18 Chapitre 1 Premiers contacts avec Motion Remarques relatives à l’utilisation de la souris et aux raccourcis clavier Si vous disposez d’une souris à trois boutons, il vous suffit de cliquer à l’aide du bouton droit pour accéder aux commandes indiquées dans ce manuel de l’utilisateur via la combinaison clic + touche Contrôle enfoncée (par exemple : cliquez sur la barre d’outils tout en maintenant la touche Contrôle enfoncée, puis choisissez Personnaliser la barre d’outils dans le menu local). Si vous travaillez sur un PowerBook G4, un MacBook ou un MacBook Pro, gardez à l’esprit que certains raccourcis clavier nécessitent d’utiliser la touche Fonction (fn, à côté de la touche Contrôle) en plus des touches mentionnées dans ce manuel. Par exemple, vous devez utiliser la touche Fonction en combinaison avec les touches F1 à F10, ainsi que de nombreuses lettres, pour activer certains raccourcis clavier, comme le signe plus (+), moins (–), etc. Pour en savoir plus sur les raccourcis clavier dans Motion, voir l’annexe A, « Raccourcis clavier », à la page 1255. À propos de Motion Dans Motion, vous avez la possibilité de créer des graphismes animés et des projets de compositing 2D ou 3D à partir d’images importées (comme des fichiers Adobe Photoshop ou Illustrator), de séquences d’images, séquences QuickTime, fichiers audio, ainsi que d’objets créés dans Motion. Le texte, les masques, les formes, les particules, les traits de peinture, etc. figurent au nombre de ces objets. Activation des touches de fonction habituelles sur les ordinateurs portables Macintosh Sur un Powerbook, un MacBook ou un MacBook Pro, les touches F1 à F12 sont par défaut affectées aux contrôles matériels, tels que la luminosité, le volume audio, le verrouillage numérique, etc. Vous devez donc appuyer sur la touche Fonction (Fn) en plus de la touche de fonction indiquée, si vous souhaitez activer une commande associée à une touche de fonction dans vos applications. Vous pouvez modifier les préférences relatives à votre clavier, afin que les touches de fonction fonctionnent normalement, sans avoir à appuyer sur la touche Fn. Si vous avez décidé d’activer cette option, appuyez sur la touche Fn en plus d’une des touches de fonction pour exécuter les contrôles matériels. Pour activer les touches de fonction habituelles : m Sous l’onglet Clavier des préférences Clavier et souris dans les Préférences Système, cochez la case « Utiliser les touches F1-F12 pour contrôler les fonctions logicielles ». Il vous suffit de la désactiver pour restaurer le réglage par défaut.Chapitre 1 Premiers contacts avec Motion 19 Un projet Motion est constitué de groupes contenant une ou plusieurs couches. D’ailleurs, tous les médias importés dans Motion ou les éléments créés dans un projet sont considérés comme des couches. Toute couche doit être placée au sein d’un groupe. Le groupe tient le rôle de « parent » vis-à-vis des couches qu’il contient. Vous pouvez sélectionner plusieurs couches d’un groupe pour créer un groupe imbriqué. Un groupe peut être défini en 2D ou en 3D. Il est possible d’ajouter des caméras et des tables lumineuses aux projets. Si vous ajoutez une caméra à un projet, vous avez la possibilité de basculer le projet en mode 3D ou de le conserver en mode 2D (à moins que le projet ne soit vide ou entièrement en 2D, auquel cas il est automatiquement basculé en 3D). Tout groupe 3D peut contenir des groupes 2D. Un groupe 2D peut même être imbriqué dans un groupe 3D et inversement. Néanmoins, si vous imbriquez un groupe 3D dans un groupe 2D, il est aplati, ce qui signifie que le groupe 3D incorporé se comporte comme un objet plat et qu’il ignore la caméra. Qui plus est, le groupe aplati ne croise plus les couches du groupe 2D ou d’autres groupes au sein du projet. Les transformations, filtres ou comportements appliqués à un groupe sont également appliqués aux couches situées dans ce groupe. Si vous déplacez ou appliquez un filtre ou un comportement à un groupe, toutes les couches de ce groupe sont donc affectées. Vous pouvez également appliquer des filtres et des comportements à des couches particulières au sein d’un groupe. Un filtre est en fait un processus qui modifie l’apparence d’une image. Un filtre Flou, par exemple, utilise une image d’entrée et génère une version floue de cette image. Un comportement est un processus qui applique une plage de valeurs aux paramètres d’un objet, afin de créer une animation à partir des paramètres affectés. Le comportement Rotation fait par exemple pivoter un objet au fil du temps, à une vitesse définie par vos soins. Groupes et couches peuvent être déplacés et animés à l’aide de comportements ou d’images clés. Quant aux filtres, ils peuvent également être animés. Un projet représente un seul et même flux de données graphiques, établi de bas en haut. Dans un montage composite constitué d’un seul groupe, les couches de ce groupe sont empilées les unes sur les autres. Les filtres et les comportements appliqués à une couche apparaissent en dessous de cet objet dans la liste de couches. Le groupe est l’image combinée obtenue à partir des couches et des comportements, filtres et modes composites (modes de fusion) appliqués à ces couches.20 Chapitre 1 Premiers contacts avec Motion Pour utiliser un exemple simple, prenons un groupe contenant une seule image à laquelle sont appliqués les filtres Étalonnage et Flou (dans cet ordre). L’image fournit les données d’entrée au filtre Étalonnage. Les données de sortie de ce filtre constituent les données d’entrée du filtre Flou. Au final, le groupe correspond au résultat de ce flux de données graphiques. Groupes et couches sont également empilés les uns sur les autres au sein d’un projet : les données de sortie de la couche située tout en bas de la pile sont les données d’entrée de la couche située au-dessus dans la pile, et ainsi de suite. Lorsque vous travaillez en 3D, une couche située en dessous d’une autre dans la liste de couches peut cependant apparaître au-dessus dans le Canevas, si sa position Z est plus proche de la caméra. Vous pouvez forcer les couches à respecter l’ordre de la liste de couches en activant l’option Ordre de couche dans l’onglet Groupe de l’Inspecteur. À propos de l’espace de travail de Motion Lorsque vous ouvrez Motion, l’espace de travail remplit tout votre écran, mais l’interface est en réalité constituée de plusieurs fenêtres indépendantes. Il est possible de modifier les dimensions et les dispositions de ces fenêtres afin de les adapter aux exigences des différents projets. Il est possible d’afficher d’autres fenêtres en plus de celles par défaut. L’illustration suivante représente la disposition Cinéma. Fenêtre Utilitaire Canevas (au-dessus de la fenêtre Contrôle du temps) InspecteurChapitre 1 Premiers contacts avec Motion 21 Fenêtre Utilitaire À l’ouverture de Motion, une fenêtre Utilitaire apparaît à gauche de l’écran. Elle contient le Navigateur à partir duquel vous pouvez ajouter des fichiers à votre projet. Elle comporte également des onglets pour afficher la Bibliothèque (qui comprend tous les effets, les modèles et d’autres éléments utiles fournis avec Motion) et l’Inspecteur, dans lequel vous pouvez ajuster les réglages de ces effets. Remarque : en présentation Cinéma, l’onglet Inspecteur est affiché dans une fenêtre Utilitaire séparée, située à droite de l’espace de travail. Navigateur Bibliothèque Inspecteur22 Chapitre 1 Premiers contacts avec Motion Canevas La majorité de l’écran est occupée par votre zone de travail principale, le Canevas. Cette zone est similaire à la fenêtre de document que l’on trouve dans de nombreuses autres applications. Le Canevas vous sert à organiser et à présenter les couches qui constituent votre composition. Pour ajouter des couches et des effets à votre projet, il vous suffit de les faire glisser depuis la fenêtre Utilitaire vers le Canevas. Lorsque vous souhaitez lire votre projet, les commandes de lecture en bas de cette fenêtre (en dessous du Canevas) vous permettent d’effectuer la lecture à vitesse normale ou image par image. La mini-Timeline se situe juste au-dessus des commandes de lecture et sous la partie principale de la fenêtre. Elle indique les points de départ et de fin (dans le temps) des couches sélectionnées dans le Canevas. Mini-Timeline Commandes de lectureChapitre 1 Premiers contacts avec Motion 23 Menu contextuel du Canevas Le Canevas dispose de son propre menu contextuel. Il vous permet d’accéder à certains outils nécessaires à votre travail dans le Canevas. Pour utiliser le menu contextuel du Canevas : m Cliquez sur une zone vierge du Canevas tout en maintenant la touche Contrôle enfoncée (une zone grise en dehors du projet en cours), puis choisissez une option dans la liste affichée :  Nouveau groupe : ajoute un nouveau groupe au projet, au-dessus de tous les groupes présents dans l’onglet Couches.  Importer : ouvre la zone de dialogue Importation, qui vous permet d’importer des fichiers à partir du Finder.  Coller: colle tout élément (précédemment copié dans le Presse-papiers) dans un nouveau groupe du projet. Ce nouveau groupe est ajouté au-dessus de tous les groupes présents dans l’onglet Couches.  Propriétés du projet : ouvre la zone de dialogue du même nom, qui vous permet de modifier la couleur d’arrière-plan, les proportions, le rendu de trames, le flou d’animation, etc. du projet. Pour en savoir plus sur les propriétés du projet, voir « Création de projets vierges à partir de préréglages de projet » à la page 201. Le Canevas contient également deux fenêtres supplémentaires qui ne sont pas affichées par défaut. Sous-fenêtre Projet La sous-fenêtre Projet contient trois onglets donnant chacun accès à différents aspects de votre projet. L’onglet Couches affiche la hiérarchie des objets (groupes, couches, caméras, lumières, comportements, filtres, etc.) contenus dans votre projet. L’onglet Média affiche tous les fichiers importés dans votre projet, avec une option vous permettant d’indiquer si vous souhaitez visualiser le média correspondant, qu’il apparaisse ou non dans le Canevas. Quant à l’onglet Audio, il vous donne accès aux fichiers audio de votre projet et vous permet de les contrôler. Tous ces onglets sont décrits de manière plus détaillée plus loin dans ce chapitre.24 Chapitre 1 Premiers contacts avec Motion Fenêtre Contrôle du temps La fenêtre Contrôle du temps comporte également trois onglets, chacun contrôlant un aspect particulier de votre projet. L’onglet Timeline offre une vue d’ensemble de tous les objets et de leur disposition dans le temps. L’onglet Éditeur d’images clés affiche les courbes d’animation des paramètres animés et des effets, alors que l’onglet Audio affiche les commandes de réglage des niveaux et de la balance des éléments audio de votre projet. Tous ces onglets sont décrits de manière plus détaillée plus loin dans ce chapitre et tout au long de ce manuel. Sous-fenêtre Projet Fenêtre Contrôle du tempsChapitre 1 Premiers contacts avec Motion 25 Présentation des fenêtres Chaque flux de travaux requiert l’affichage d’un ensemble particulier de fenêtres, dans des tailles différentes. Ainsi, la création d’une maquette de composition requiert un grand Canevas, tandis que la mise au point et le réglage final d’un effet animé nécessitent plus d’espace pour la fenêtre Contrôle du temps et l’Inspecteur. Dans Motion, vous pouvez passer rapidement d’un mode de présentation à l’autre, voire enregistrer vos modes de présentation personnalisés. Présentations prédéfinies Motion propose trois dispositions de fenêtres prédéfinies, encore appelées présentations. Ces présentations répartissent les fenêtres de l’application de diverses manières en fonction du type de flux de travaux. Pour choisir une présentation de fenêtre prédéfinie : m Choisissez Fenêtre > Présentations, puis sélectionnez une présentation dans le sous-menu. Présentation Standard : affiche la fenêtre Utilitaire à gauche et le Canevas à droite. 26 Chapitre 1 Premiers contacts avec Motion Présentation Alternative : affiche deux fenêtres Utilitaire à gauche : la fenêtre supérieure contient l’Inspecteur et la fenêtre inférieure contient le Navigateur et la Bibliothèque. Le Canevas occupe le reste de l’écran à droite. Présentation Cinéma : elle affiche également deux fenêtres Utilitaire. La fenêtre à gauche de l’espace de travail gauche contient le Navigateur et la Bibliothèque, alors que la fenêtre de droite contient l’Inspecteur. Le Canevas se trouve au milieu, la sous-fenêtre Projet et la fenêtre Contrôle du temps étant également affichées. Pour utiliser la présentation Cinéma, la résolution minimale de votre écran en largeur doit être égale à 1 325. Chapitre 1 Premiers contacts avec Motion 27 Commandes de fenêtre élémentaires Outre la possibilité de choisir parmi plusieurs dispositions prédéfinies, vous avez également la possibilité d’arranger manuellement vos fenêtres, de les redimensionner ou de les envoyer dans le Dock. Pour déplacer une fenêtre : m Cliquez sur la barre de titre de la fenêtre, puis faites-la glisser vers un nouvel emplacement. Pour redimensionner une fenêtre : m Faites glisser la commande de redimensionnement qui se trouve dans l’angle inférieur droit de la fenêtre, afin de donner à cette dernière la taille souhaitée. Pour redimensionner simultanément plusieurs fenêtres adjacentes : m Faites glisser la limite entre les deux fenêtres (la ligne noire le long du bord de la fenêtre). Le pointeur change de forme lorsque vous placez le curseur sur la limite, vous permettant ainsi de redimensionner les deux fenêtres. Pour placer une fenêtre dans le Dock : m Cliquez sur le bouton de réduction qui se trouve dans la barre de titre. Vous pouvez également double-cliquer sur la barre de titre du Canevas afin de le placer dans le Dock. Remarque : il est impossible de placer les fenêtres Utilitaire dans le Dock. Pour fermer une fenêtre, procédez de l’une des manières suivantes : m Cliquez sur le bouton de fermeture. m Appuyez sur les touches Commande + W dans une fenêtre active. Faites glisser la ligne noire fine entre les deux fenêtres afin de les redimensionner.28 Chapitre 1 Premiers contacts avec Motion Onglets Motion utilise des fenêtres à onglets pour fournir un accès simple et direct à diverses fenêtres. Vous pouvez passer d’une fenêtre à l’autre en cliquant simplement sur l’onglet correspondant. Vous pouvez en outre faire glisser les onglets hors de leur position d’ancrage pour afficher la fenêtre correspondante dans une fenêtre séparée. Vous pouvez également faire glisser un onglet dans une autre fenêtre. Cela vous permet de visualiser simultanément plusieurs fenêtres à onglets provenant d’un même groupe. Vous pouvez, par exemple, faire glisser l’onglet Inspecteur vers un nouvel emplacement afin de visualiser simultanément les fenêtres Bibliothèque et Inspecteur. Pour détacher un onglet: m Faites glisser l’onglet hors de sa position d’ancrage vers un nouvel emplacement. L’onglet se transforme en fenêtre autonome dès que vous relâchez le bouton de la souris. Vous pouvez alors utiliser toutes les commandes de fenêtre standard telles que fermer, réduire et redimensionner. Pour rattacher un onglet: m Faites glisser l’onglet en haut de la fenêtre dans son emplacement initial. Par exemple, faites glisser l’onglet Inspecteur jusque dans son groupe d’onglets initial, puis relâchez le bouton de la souris. L’onglet est alors rattaché. Pour afficher ou masquer un onglet: m Dans le menu Fenêtre, choisissez le nom de l’onglet à afficher ou à masquer. Par exemple, choisissez Fenêtre > Timeline pour afficher ou masquer l’onglet Timeline. Vous pouvez également choisir Éditeur d’images clés ou Éditeur audio pour afficher ou masquer ces onglets. Si l’onglet est détaché de la zone de la Timeline, cliquez sur le bouton de fermeture. La fenêtre se ferme et ne réapparaît pas sous la forme d’un onglet. Pour afficher à nouveau la fenêtre, utilisez le menu Fenêtre, puis choisissez la commande adéquate pour afficher la fenêtre souhaitée. Pour réorganiser les onglets : m Faites glisser un onglet vers la gauche ou la droite dans la zone des onglets pour réordonner ces derniers.Chapitre 1 Premiers contacts avec Motion 29 Interversion de la sous-fenêtre Projet et du Canevas De même qu’il est possible de modifier l’ordre des onglets, il est également possible de déterminer si la sous-fenêtre Projet doit être affichée à gauche du Canevas (position par défaut) ou à droite. Cela peut s’avérer particulièrement utile lorsque vous travaillez sur plusieurs écrans. Si, par exemple, le Canevas occupe la totalité de l’écran de gauche et vos fenêtres Utilitaire se trouvent sur l’écran de droite, le déplacement de la sousfenêtre Projet à droite du Canevas permettrait de la rapprocher des fenêtres Utilitaire. Pour placer la sous-fenêtre Projet de l’autre côté du Canevas : m Choisissez Fenêtre > Présentations > Intervertir la fenêtre du projet et le Canevas. Enregistrement de présentations personnalisées Après avoir disposé vos fenêtres selon vos besoins, vous pouvez enregistrer la présentation de l’écran en lui attribuant un titre significatif qui vous aidera à la retrouver plus tard. Cette procédure vous permet de configurer aisément des présentations qui vous aideront à réaliser des tâches spécifiques. Vous pourriez par exemple configurer une présentation adaptée au montage des courbes, tandis qu’une autre présentation pourrait contenir une Timeline étendue pour le montage des images clés. Vous pouvez changer de pré- sentation via le sous-menu Présentations ou supprimer et dupliquer des présentations via la fenêtre Gérer les présentations. Lorsque vous enregistrez une présentation, les éléments suivants sont enregistrés :  La position des fenêtres (taille et emplacement)  L’ordre des colonnes (dans la fenêtre du projet)  La position de la fenêtre du projet (à gauche ou à droite) Remarque : l’ordre des onglets ainsi que les options d’affichage de la Timeline et du Canevas ne sont pas enregistrés dans la présentation personnalisée. Pour enregistrer une présentation : 1 Disposez les fenêtres à l’écran comme vous le souhaitez. 2 Choisissez Fenêtre > Enregistrer la présentation actuelle. La zone de dialogue Créer une présentation de fenêtre apparaît. 3 Tapez le nom sous lequel vous souhaitez enregistrer la présentation, puis cliquez sur Enregistrer.30 Chapitre 1 Premiers contacts avec Motion La présentation est enregistrée et apparaît dans le sous-menu Présentations. Vous pouvez également créer une nouvelle présentation personnalisée (à partir de la présentation en cours) en cliquant sur le bouton Ajouter (+) dans la zone de dialogue Gérer les présentations. Pour activer une présentation personnalisée enregistrée : m Choisissez Fenêtres > Présentations, puis choisissez la présentation personnalisée dans le sous-menu. La nouvelle présentation apparaît dans la partie inférieure du sous-menu.Chapitre 1 Premiers contacts avec Motion 31 Pour supprimer une présentation personnalisée : 1 Choisissez Fenêtre > Gérer les présentations. La zone de dialogue Gérer les présentations s’ouvre. 2 Sélectionnez la présentation à supprimer. 3 Cliquez sur le bouton Supprimer (–) afin de supprimer l’élément de la liste. 4 Cliquez sur le bouton Terminé. Pour dupliquer une présentation : 1 Choisissez Fenêtre > Gérer les présentations. La zone de dialogue Gérer les présentations s’ouvre. 2 Sélectionnez la présentation à dupliquer. 3 Cliquez sur le bouton Dupliquer. Une copie de la présentation est ajoutée à la liste. Le mot « copie » est ajouté au nom. 4 Cliquez sur Terminé. Pour renommer une présentation dans la liste : 1 Choisissez Fenêtre > Gérer les présentations. La zone de dialogue Gérer les présentations s’ouvre. 2 Double-cliquez sur la présentation à renommer dans la liste. Le nom se transforme en champ. 3 Tapez le nouveau nom dans ce champ. 4 Cliquez sur Terminé. Mode plein écran Motion possède une option qui permet au Canevas d’occuper la totalité de l’espace de votre écran. Cette option est utile si vous voulez visionner votre projet sans être distrait par l’interface du logiciel. Dans ce mode, tous les outils et toutes les commandes en rapport avec le Canevas demeurent actifs, mais vous devez utiliser les raccourcis clavier et les menus contextuels (clic + Contrôle) pour passer d’un outil ou d’une commande à l’autre. Vous pouvez accéder à la barre des menus en plaçant votre pointeur en haut de l’écran, à l’endroit où se trouvent habituellement les menus. Pour passer en mode plein écran, procédez de l’une des manières suivantes : m Choisissez Présentation > Mode plein écran. m Appuyez sur la touche F8. Pour revenir en mode d’affichage normal, procédez de l’une des manières suivantes : m Placez votre pointeur au-dessus du menu, puis choisissez à nouveau Présentation > Mode plein écran. m Appuyez à nouveau sur la touche F8.32 Chapitre 1 Premiers contacts avec Motion Barre d’outils La barre d’outils de Motion est située en haut de la fenêtre principale. L’ensemble de commandes par défaut donne accès à tous les outils nécessaires pour manipuler des objets dans le Canevas et dans le reste de l’application. Elle comporte des outils destinés à créer de nouvelles couches de texte ou de forme, ainsi que des masques. Elle affiche également des icônes servant à appliquer des filtres et des comportements, voire à créer des systèmes de particules et des réplicateurs. Enfin, certaines icônes permettent d’afficher et de masquer les fenêtres de l’interface de Motion, telles que la Timeline, la palette et bien d’autres encore. Groupes d’outils Les outils sont regroupés de différentes manières. En effet, plusieurs possèdent des modes ou des options variés. C’est le cas notamment des outils Forme, qui peuvent êtres réglés sur Rectangle, Cercle ou Ligne. Les outils Cercle et Ligne sont masqués tant que vous n’avez pas cliqué sur l’outil Rectangle tout en maintenant le bouton de la souris enfoncé. Les outils dotés d’états supplémentaires sont signalés par une petite flèche pointant vers le bas dans l’angle inférieur droit. Les outils sont également regroupés par catégories d’utilisation. La première catégorie d’outils est appelée Présentation, car elle regroupe les outils destinés à modifier les méthodes d’affichage et de manipulation dans le Canevas. La deuxième catégorie est appelée Créer et contient les outils qui permettent d’ajouter de nouveaux éléments au projet, tels que du texte et des formes. La catégorie Masque contient les outils permettant d’ajouter un masque à une couche ou à un groupe existant. Tout en haut à droite de la barre d’outils, une série d’icônes permet d’ajuster l’interface de Motion. Ces commandes servent à masquer et à afficher les sous-fenêtres, onglets et fenêtres qui constituent l’interface de Motion. Flèche indiquant l’existence d’états d’outil cachésChapitre 1 Premiers contacts avec Motion 33 Le tableau suivant décrit, en les divisant en groupes, chacun des outils figurant dans l’ensemble par défaut. Le premier groupe est constitué par l’ensemble Présentation. Dès lors que vous avez sélectionné un outil et un objet dans le Canevas, appuyez sur la touche de tabulation pour passer à l’outil suivant. Appuyez simultanément sur les touches Maj + Tabulation pour parcourir les outils dans l’ordre inverse. Outils de présentation Les outils de présentation permettent de disposer et de manipuler des objets dans le Canevas. Le premier bouton de ce groupe donne accès à huit sous-outils. Pour consulter une liste de tous ces sous-outils, cliquez sur ce bouton et maintenez le bouton de la souris enfoncé. Bouton Nom de l’outil Raccourci clavier Description Sélectionner/ Transformer (flèche) S (Appuyez sur la touche de tabulation pour passer d’un outil à l’autre. Vous devez avoir sélectionné un objet pour pouvoir faire défiler les outils.) Outil par défaut. Il sert à sélectionner et à déplacer des objets dans le Canevas. Vous pouvez alors les redimensionner en faisant glisser leurs angles ou les faire pivoter en faisant glisser leur point central. Remarque : si vous avez sélectionné un autre outil, comme un outil Masque, appuyez sur la touche de tabulation pour réactiver la dernière option sélectionnée parmi les outils Sélectionner/ Transformer. Si vous êtes en train d’utiliser l’outil Ajuster transformation 3D, appuyez sur les touches Maj + S pour choisir l’outil Sélectionner/ Transformer. Ajuster le point d’ancrage S (Appuyez sur la touche de tabulation pour passer d’un outil à l’autre.) Change le point autour duquel un objet pivote ou est redimensionné. Pour l’utiliser, faites glisser le point d’ancrage actuel vers une nouvelle position. Ajuster la déformation S (Appuyez sur la touche de tabulation pour passer d’un outil à l’autre.) Déforme un objet en déplaçant simultanément deux angles adjacents de cet objet et en maintenant les deux autres angles en place. Ajuster l’ombre portée S (Appuyez sur la touche de tabulation pour passer d’un outil à l’autre.) Change la direction et le décalage de l’ombre portée d’un objet. Cet outil ne déplace jamais l’objet proprement dit. Ajuster les quatre angles S (Appuyez sur la touche de tabulation pour passer d’un outil à l’autre.) Déforme un objet en déplaçant l’un de ses angles et en maintenant les trois autres en place. L’image est étirée et déformée pour s’adapter à la forme que vous créez.34 Chapitre 1 Premiers contacts avec Motion Ajuster le rognage S (Appuyez sur la touche de tabulation pour passer d’un outil à l’autre.) Vous permet de masquer des parties d’un objet (hormis les formes) en faisant glisser l’un des bords ou de ses angles. Ajuster les points de contrôle S (Appuyez sur la touche de tabulation pour passer d’un outil à l’autre.) Modifie les points et les poignées de Bézier pour les masques, les formes et les trajectoires d’animation. Ajuster l’élément S (Appuyez sur la touche de tabulation pour passer d’un outil à l’autre.) Outil contextuel qui vous permet de modifier certaines commandes spéciales, telles que le point central d’un flou circulaire, la forme d’un émetteur de particules ou d’un réplicateur, ou les points de début et de fin d’un dégradé. Ajuster transformation 3D Q Vous permet de manipuler des objets dans un espace tridimensionnel grâce à des commandes de transformation et de rotation en 3D. Pour revenir aux commandes 2D, cliquez sur l’outil Sélectionner/Transformer. Pour afficher des commandes de rotation dans le Canevas, appuyez sur la touche Commande. Balance H Fait glisser votre vue du Canevas dans différentes directions. L’outil Balance ne déplace jamais d’objets individuels. Pour réinitialiser la balance, double-cliquez sur l’outil Balance. Pour effectuer la balance du Canevas sans sélectionner l’outil Balance, appuyez sur la barre espace et faites glisser la souris dans le Canevas. Bouton Nom de l’outil Raccourci clavier DescriptionChapitre 1 Premiers contacts avec Motion 35 Outils de création Ces outils servent à créer de nouvelles couches. Vous pouvez ensuite modifier les attributs de ces nouvelles couches dans l’Inspecteur. Zoom Z Effectue un zoom avant ou arrière sur le Canevas. Cliquez sur le point du Canevas sur lequel vous souhaitez effectuer le zoom, puis faites glisser le pointeur vers la gauche pour un zoom avant ou vers la droite pour un zoom arrière. Pour réinitialiser le zoom, double-cliquez sur l’outil Zoom. Pour effectuer un zoom sur une zone spécifique du Canevas, appuyez sur les touches Commande + barre d’espace (dans cet ordre), puis définissez cette zone du Canevas à l’aide du pointeur. Tout en continuant d’appuyer sur les touches, cliquez afin d’effectuer un zoom avant sur le Canevas par incréments de 50 %. Appuyez sur les touches Barre d’espace + Commande + Option (dans cet ordre), puis cliquez dans le Canevas pour effectuer un zoom arrière par incréments de 50 pour cent. Orientation caméra Aucun Vous permet de naviguer dans votre scène comme si vous marchiez avec la caméra. Cliquez sur cette icône, puis appuyez sur la touche Flèche vers le haut, le bas, Flèche droite ou gauche pour naviguer. Bouton Nom de l’outil Raccourci clavier Description Bouton Nom de l’outil Raccourci clavier Description Rectangle R Crée un nouvelle forme rectangulaire dans le Canevas, puis ajoute la couche correspondante à la liste de couches. Cliquez sur l’emplacement où vous souhaitez placer l’un des angles du rectangle, puis faites glisser le pointeur jusqu’à l’emplacement correspondant à l’angle opposé. Appuyez sur Maj tout en faisant glisser le pointeur pour tracer une couche carrée. Cercle C Crée un nouvelle forme circulaire dans le Canevas, puis ajoute la couche correspondante à la liste de couches. Cliquez sur l’emplacement où vous souhaitez placer un point de la circonférence du cercle, puis faites glisser le pointeur jusqu’au point opposé. Appuyez sur Maj tout en faisant glisser l’objet pour tracer un cercle.36 Chapitre 1 Premiers contacts avec Motion Ligne Aucun Crée un nouvelle forme de ligne dans le Canevas, puis ajoute la couche correspondante à la liste de couches. Cliquez à l’endroit où vous souhaitez commencer la ligne, puis faites glisser le pointeur jusqu’à son extrémité opposée. Appuyez sur Maj tout en faisant glisser le pointeur pour tracer une ligne avec des angles particuliers. Bézier B Alterne entre les outils Bézier et B-Spline Crée une forme libre à l’aide de points de Bézier. Pour créer une forme, cliquez de manière répétée dans le Canevas pour ajouter des points à votre forme. Pour fermer la forme, cliquez à nouveau sur le premier point de la forme ou appuyez sur la touche C. Pour créer une forme ouverte, doublecliquez sur le dernier point. B-Spline B Alterne entre les outils Bézier et B-Spline Crée une forme libre à l’aide de sommets B-Spline. Pour créer une forme, cliquez de manière répétée dans le Canevas pour ajouter des points à votre forme. Pour fermer la forme, cliquez sur le premier point de la forme et appuyez sur C. Pour créer une forme ouverte, double-cliquez sur le dernier point. Trait de peinture P Crée une forme basée sur des traits de peinture. Cliquez à l’endroit où vous souhaitez commencer le trait, puis faites glisser le pointeur pour créer le trait. Appuyez sur Commande tout en faisant glisser le pointeur pour ajuster la taille du trait avant de le tracer. Texte T Crée un nouveau texte ou vous permet de modifier le texte déjà présent dans une couche de texte. Pour créer une couche de texte, cliquez sur cet outil dans le Canevas, à l’endroit correspondant à la position du début du texte, puis commencez à saisir. Cliquez sur l’outil Sélectionner/Transformer (ou appuyez sur Échap) pour sélectionner ou déplacer la nouvelle couche de texte. Pour modifier le texte d’une couche de texte existante, cliquez sur l’outil Texte, puis sur le texte. Le texte peut alors être modifié. Bouton Nom de l’outil Raccourci clavier DescriptionChapitre 1 Premiers contacts avec Motion 37 Outils Masque Les outils Masque ne sont accessibles que si une couche (un objet visible dans le Canevas, tel qu’une image ou un réplicateur) ou un groupe 2D est déjà sélectionné. L’utilisation d’un outil Masque crée un nouveau masque qui cache certaines parties de la couche sélectionnée. Par défaut, la zone située à l’intérieur du masque reste visible. Les masques possèdent leurs propres commandes disponibles via l’Inspecteur. Icône Nom de l’outil Raccourci clavier Description Masque rectangulaire Option + R Crée un nouveau masque rectangulaire dans le Canevas. Cliquez sur l’emplacement où vous souhaitez placer l’un des angles du rectangle, puis faites glisser le pointeur jusqu’à l’emplacement correspondant à l’angle opposé. Appuyez sur Maj tout en faisant glisser le pointeur pour tracer un masque carré. Masque circulaire Option + C Crée un nouveau masque circulaire dans le Canevas. Cliquez sur l’emplacement où vous souhaitez placer un bord du masque, puis faites glisser le pointeur jusqu’au point opposé. Appuyez sur Maj tout en faisant glisser l’objet pour tracer un masque en forme de cercle. Masque à main levée Aucun Crée un nouveau masque de la forme que vous tracez dans le Canevas. Faites simplement glisser le pointeur pour tracer une forme. La forme s’assure de fermer automatiquement le masque en reliant son premier et son dernier points. Masque de Bézier Option + B Alterne entre les outils Masque de Bézier et B-Spline Crée un nouveau masque de forme libre à l’aide de points de Bézier. Pour créer une forme, cliquez de manière répétée dans le Canevas pour ajouter des points à votre masque. Pour fermer le masque, cliquez sur le premier point de la forme et appuyez sur C. Pour créer un masque ouvert, double-cliquez sur le dernier point. Masque B-Spline Option + B Alterne entre les outils Masque de Bézier et B-Spline Crée un nouveau masque libre à l’aide de sommets B-Spline. Pour créer une forme, cliquez de manière répétée dans le Canevas pour ajouter des points à votre masque. Pour fermer le masque, cliquez sur le premier point de la forme et appuyez sur C. Pour créer une forme ouverte, double-cliquez sur le dernier point.38 Chapitre 1 Premiers contacts avec Motion Icônes pour les caméras et les effets La première icône située à droite de la barre d’outils vous permet d’ajouter une nouvelle caméra à votre projet. Les quatre icônes suivantes sont réservées aux commandes Effets. Ces commandes spéciales fournissent un accès instantané aux effets les plus courants. Comme ces commandes appliquent des effets à des objets existants, elles ne sont disponibles que si vous avez déjà sélectionné un objet. Icône Nom de l’icône Description Nouvelle caméra Ajoute une nouvelle caméra à l’espace de travail. Si vous ajoutez une caméra à un projet 2D, une zone de dialogue vous demande si vous souhaitez convertir vos groupes 2D en 3D. Bien qu’il soit possible d’ajouter une caméra à un projet 2D, elle n’a aucun effet sur les groupes 2D. Ajouter comportement Active un menu local de comportements. Le choix d’un élément dans le menu applique ce comportement à l’objet sélectionné. Vous avez la possibilité d’appliquer des comportements à divers types d’objets, notamment des couches (images, émetteurs de particules, etc.), des groupes, des caméras et des lumières. En règle générale, la palette n’affiche qu’un sous-ensemble des commandes disponibles pour un comportement. Pour accéder à toutes ses commandes, affichez l’Inspecteur. Si l’outil Ajuster l’élément est sélectionné, les commandes à l’écran du comportement sont disponibles (le cas échéant). Ajouter filtre Active un menu local de filtres. Le choix d’un élément dans le menu applique ce filtre à l’objet sélectionné. Vous ne pouvez appliquer des filtres qu’aux couches (images, texte, formes, émetteurs de particules, masques, réplicateurs, générateurs, etc.). Il est toutefois impossible de les appliquer à des caméras ou à des lumières. La palette n’affiche qu’un sous-ensemble des commandes disponibles pour un filtre. Pour accéder à toutes ses commandes, affichez l’Inspecteur. Si l’outil Ajuster l’élément est sélectionné, les commandes à l’écran du filtre sont disponibles (le cas échéant). Générer particules Utilise la couche sélectionnée (forme, texte, image, etc.) comme source de la cellule de particule. La couche sélectionnée à l’origine est alors désactivée. La palette n’affiche qu’un sous-ensemble des commandes disponibles pour un système de particules. Pour accéder à toutes ses commandes, affichez l’Inspecteur. Si l’outil Ajuster l’élément est sélectionné, les commandes à l’écran de l’émetteur de particules sont disponibles (sauf si vous avez choisi Point dans le menu local Forme de l’émetteur). Répliquer Utilise la couche sélectionnée (forme, texte, image, etc.) comme cellule source du réplicateur. La couche sélectionnée à l’origine est alors désactivée. La palette n’affiche qu’un sous-ensemble des commandes disponibles pour un réplicateur. Pour accéder à toutes ses commandes, affichez l’Inspecteur. Si l’outil Ajuster l’élément est sélectionné, les commandes à l’écran du réplicateur sont disponibles.Chapitre 1 Premiers contacts avec Motion 39 Icônes d’interface Les icônes d’interface qui se trouvent à l’extrême droite de la barre d’outils donnent accès aux principaux éléments de l’interface de Motion. En cliquant sur ces icônes, vous pouvez afficher ou masquer la fenêtre ou l’onglet correspondant. Personnalisation de la barre d’outils Plusieurs options vous sont proposées pour personnaliser la barre d’outils. Vous pouvez définir les commandes qui apparaissent dans la barre d’outils ainsi que l’ordre dans lequel elles apparaissent. Vous pouvez même insérer des espaces et des séparateurs entre les outils, afin de les regrouper selon vos besoins. Il est également possible de visualiser toutes les commandes sous la forme d’icônes, d’icônes accompagnées de descriptions ou de simples descriptions. Pour ajouter des commandes à la barre d’outils : 1 Pour afficher la zone de dialogue Personnaliser la barre d’outils, procédez de l’une des manières suivantes :  Choisissez Affichage > Personnaliser la barre d’outils.  Cliquez sur la barre d’outils en maintenant la touche Contrôle enfoncée, puis choisissez Personnaliser la barre d’outils dans le menu contextuel. 2 Faites glisser les boutons ou les icônes à ajouter dans l’emplacement de votre choix dans la barre d’outils. 3 Cliquez sur le bouton Terminé pour fermer la zone de dialogue. Icône Nom de l’icône Raccourci clavier Description Palette F7, D F7 active/désactive l’affichage de la palette. Si la palette n’apparaît pas, appuyez sur D. Une fois qu’elle est affichée, appuyez à nouveau sur D pour afficher les diverses palettes disponibles pour l’objet sélectionné. Navigateur Commande + 1 Affiche/masque le Navigateur. Masque et affiche la fenêtre Utilitaire, si le Navigateur est le seul onglet ouvert. Bibliothèque Commande + 2 Affiche/masque la Bibliothèque. Masque et affiche la fenêtre Utilitaire, si la Bibliothèque est le seul onglet ouvert. Inspecteur Commande + 3 Affiche/masque l’Inspecteur. Masque et affiche la fenêtre Utilitaire, si l’Inspecteur est le seul onglet ouvert. Sous-fenêtre Projet F5 Affiche/masque la sous-fenêtre Projet. Fenêtre Contrôle du temps F6 Affiche/masque la fenêtre Contrôle du temps. 40 Chapitre 1 Premiers contacts avec Motion Pour supprimer un élément de la barre d’outils : m Cliquez sur le bouton ou l’icône à supprimer en maintenant la touche Contrôle enfoncée, puis choisissez Supprimer l’élément dans le menu contextuel. Remarque : vous pouvez également supprimer des éléments de la barre d’outils lorsque la fenêtre Personnaliser la barre d’outils est ouverte. Pour ce faire, faites glisser les éléments hors de la barre d’outils, puis relâchez le bouton de la souris. Un « petit nuage » apparaît puis disparaît pour indiquer que le bouton a été supprimé. Espaces et séparateurs Outre l’ajout et la disposition des commandes dans la barre d’outils, vous pouvez également ajouter des espaces, des espaces flexibles et des séparateurs afin d’arranger et de regrouper le contenu de votre barre d’outils. Séparateur : ligne verticale pointillée placée entre deux commandes. Le séparateur ne possède qu’un rôle purement organisationnel. Dans la présentation par défaut, un séparateur est placé entre les icônes des effets et d’interface. Espace : cette fonction permet d’insérer un espace d’une largeur équivalente à celle d’une icône entre les commandes. Espace flexible : un espace flexible permet de répartir uniformément les commandes dans la barre d’outils, en utilisant autant ou aussi peu d’espace que nécessaire pour remplir les parties inoccupées de la barre. Dans la présentation par défaut, un espace flexible est utilisé entre les outils Masque et les icônes des effets. Boutons et icônes supplémentaires La zone de dialogue Personnaliser la barre d’outils donne accès à des icônes supplé- mentaires qui ne font pas partie de l’ensemble par défaut. Bouton Nom de l’outil Description Personnaliser Ouvre la zone de dialogue Personnaliser la barre d’outils. Couleurs Ouvre la fenêtre Couleurs.Chapitre 1 Premiers contacts avec Motion 41 Pour en savoir plus sur l’utilisation du Navigateur de modèles, voir « Création de nouveaux projets à partir de modèles » à la page 199. Polices Ouvre le panneau Polices de Mac OS X. Vous pouvez également parcourir les polices contenues dans la Bibliothèque de Motion. Pour en savoir plus, voir l’annexe , « Utilisation de la zone de Preview des polices dans la Bibliothèque », à la page 627. Nouvelle table lumineuse Ajoute une nouvelle table lumineuse au projet, visible dans l’espace de travail 3D. Couches Affiche ou masque l’onglet Couches dans la sous-fenêtre Projet. Média Affiche ou masque l’onglet Média dans la sous-fenêtre Projet. Audio Affiche ou masque l’onglet Audio dans la sous-fenêtre Projet. Timeline Affiche ou masque la Timeline dans la fenêtre Contrôle du temps. Éditeur d’images clés Affiche ou masque l’Éditeur d’images clés dans la fenêtre Contrôle du temps. Éditeur audio Affiche ou masque l’Éditeur audio dans la fenêtre Contrôle du temps. Navigateur de modèles Ouvre le navigateur de modèles. Bouton Nom de l’outil Description42 Chapitre 1 Premiers contacts avec Motion Moniteur vidéo : lorsqu’un moniteur supplémentaire est connecté à votre système, cliquez sur cette icône afin d’envoyer la sortie vers le moniteur externe. Cliquez de nouveau dessus afin de désactiver la sortie vers le moniteur externe. Si vous n’utilisez pas cette icône, vous devez choisir Motion > Préférences (ou appuyer sur les touches Commande + virgule), puis modifiez les réglages Sortie. Ce bouton comporte deux états, selon que l’option Moniteur vidéo est activée ou non. Modification de la présentation par icônes Les commandes de la barre d’outils peuvent être affichées sous forme d’icônes, de texte ou d’un mélange des deux. Par défaut, elles sont représentées par une icône et un nom. Une fois que vous vous êtes familiarisé avec les icônes, vous pouvez masquer les noms pour économiser de l’espace sur votre bureau. Pour économiser davantage d’espace, vous pouvez choisir de n’afficher que les noms. Pour modifier la présentation de la barre d’outils, procédez de l’une des manières suivantes : m Cliquez sur la barre d’outils en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le menu contextuel. m Choisissez une option dans le menu local Afficher qui se trouve dans l’angle inférieur gauche de la zone de dialogue Personnaliser la barre d’outils. Icône et texte Icône seulement Texte seulementChapitre 1 Premiers contacts avec Motion 43 Masquage de la barre d’outils Une fois que vous vous êtes familiarisé avec les commandes et les raccourcis clavier les plus courants, vous pouvez masquer complètement la barre d’outils, afin de simplifier l’interface et d’attribuer plus d’espace au Canevas. Pour masquer la barre d’outils, procédez de l’une des manières suivantes : m Cliquez sur le bouton de la barre d’outils situé dans l’angle supérieur droit de la fenêtre principale. m Choisissez Présentation > Masquer la barre d’outils. m Appuyez simultanément sur les touches Commande + Option + T. Si la barre d’outils est actuellement masquée, les mêmes commandes ont pour fonction de l’afficher plutôt que de la masquer. Canevas Le Canevas constitue l’élément clé de l’espace de travail dans Motion. Tout ce que vous voyez dans le Canevas reflète exactement ce que vous obtenez après avoir exporté ou sorti votre projet. Cette fenêtre n’est toutefois pas simplement un endroit où vous pouvez voir le résultat de votre travail, mais également un endroit où vous pouvez modifier et arranger les éléments de votre projet. Bouton de la barre d’outils44 Chapitre 1 Premiers contacts avec Motion Vous pouvez manipuler directement les éléments dans le Canevas, afin de modifier leurs attributs physiques tels que la position, l’échelle et la rotation, ou utiliser les techniques habituelles de glisser-déposer pour leur appliquer directement des comportements ou des filtres. Pour en savoir plus sur ces fonctions, voir le chapitre 5, « Utilisation des comportements », à la page 405 et le chapitre 10, « Utilisation des filtres », à la page 909. Barre d’état Une Barre d’état affichée en haut du Canevas, sous la barre d’outils, fournit des informations sur votre projet. Elle peut contenir trois types d’informations : Couleur, Coordonnées et Fréquence d’images. Barre d’état Options de présentation Mini-Timeline Commandes de lectureChapitre 1 Premiers contacts avec Motion 45 Couleur Certains projets d’animation graphique nécessitent parfois l’harmonisation des différentes couleurs de votre projet. La Barre d’état peut vous fournir des informations visuelles et numériques sur la couleur du pixel actuellement situé sous le pointeur, ainsi que sur la valeur du canal alpha. Il n’est pas nécessaire de cliquer : les informations de la Barre d’état sont actualisées au fur et à mesure que vous déplacez le pointeur. Pour afficher la couleur du pixel actuel dans la Barre d’état: m Cliquez sur la Barre d’état tout en maintenant la touche Contrôle enfoncée, choisissez Couleur dans le menu contextuel, puis positionnez le pointeur sur le Canevas. Vous pouvez ainsi savoir quelles sont les valeurs exactes de couleur et alpha du pixel examiné. La couleur est indiquée numériquement dans l’un des trois formats suivants : RVBA : composantes rouge, verte, bleue et alpha de la couleur exprimées sous forme de valeurs comprises entre 0 et 255. RVBA (en pour cent) : composantes rouge, verte, bleue et alpha de la couleur exprimées sous forme de valeurs comprises entre 1 et 100. TSL : la teinte est représentée par des nombres allant de 1 à 360, tandis que la saturation et la valeur (luminance) sont représentées par des nombres allant de 1 à 100. Pour choisir entre l’affichage des couleurs RVB, RVB (en pour cent) et TSL : m Cliquez sur la Barre d’état tout en maintenant la touche Contrôle enfoncée, choisissez un espace colorimétrique dans le menu contextuel. Remarque : l’option Couleur doit être activée dans la Barre d’état pour pouvoir choisir un espace colorimétrique. Coordonnées Pour placer avec précision des objets dans le Canevas, il peut s’avérer utile de connaître à tout moment la position exacte du pointeur exprimée en pixels. La Barre d’état peut afficher cette information dans un système de coordonnées X et Y (cartésien). Le point central du Canevas occupe la position 0,0. Pour afficher la position actuelle du pointeur dans la Barre d’état : m Cliquez sur la Barre d’état tout en maintenant la touche Contrôle enfoncée, puis choisissez Coordonnées dans le menu contextuel.46 Chapitre 1 Premiers contacts avec Motion Fréquence d’images L’une des méthodes utilisées par Motion pour lire votre projet en temps réel consiste à réduire la fréquence d’images dès que la séquence est trop complexe pour effectuer un rendu à la vitesse normale. Vous pouvez surveiller la fréquence d’images actuelle dans la Barre d’état. Elle est exprimée en images par seconde (ips). Remarque : ce nombre n’apparaît que durant la lecture du projet. Pour surveiller la fréquence d’images de lecture du projet : m Cliquez sur la Barre d’état en maintenant la touche Contrôle enfoncée, puis choisissez Fréquence d’images dans le menu contextuel. Vous pouvez également activer ou désactiver les éléments de la Barre d’état via la fenêtre de Préférences Apparence. Pour afficher les préférences de Motion, sélectionnez Motion > Préférences. Options de présentation du Canevas Le Canevas est un espace de travail polyvalent doté de nombreuses options destinées à optimiser le flux de travaux de différents types de projets. Il comprend par exemple des règles, des grilles et des guides pour vous aider à aligner et à disposer les objets. Il comprend également un certain nombre de commandes destinées à visualiser un seul canal de couleur dans le Canevas. Vous pouvez utiliser ces commandes pour examiner les canaux alpha des couches ou pour manipuler des effets qui n’ont un impact que sur un seul canal de couleur. Vous pouvez également définir des options permettant d’accélérer la lecture en réduisant la qualité d’image, afin de pouvoir visionner des projets complexes à des fréquences d’images élevées à mesure que vous les construisez. Cela vous permet d’obtenir rapidement une ébauche de votre composition. Il est possible de désactiver temporairement certains effets, tels que le flou d’animation et le rendu de trames, qui ont un impact important sur la durée du rendu. Chapitre 1 Premiers contacts avec Motion 47 Par ailleurs, vous pouvez afficher le Canevas en mode 2D ou 3D, ce qui vous permet de positionner des couches et des groupes dans un espace tridimensionnel. Pour en savoir plus sur l’utilisation du Canevas en mode 3D, voir « Canevas en mode 3D » à la page 61. Les cinq menus locaux situés à droite de la Barre d’état vous permettent d’accéder aux réglages suivants : Niveau de zoom, Résolution, Canaux, Affichage et options d’incrustation, ainsi que les options de présentation 3D. Niveau de zoom Vous pouvez effectuer un zoom avant sur le Canevas pour aligner et placer des objets de manière précise et un zoom arrière pour obtenir une vue d’ensemble du projet ou visualiser la trajectoire d’un objet mobile. Le menu local Niveau de zoom propose plusieurs niveaux de zoom par défaut. Vous pouvez également utiliser les modes de zoom dynamique pour effectuer rapidement un zoom avant ou arrière sur le Canevas, ou pour effectuer un zoom sur des zones spécifiques du Canevas. Le fait d’effectuer un zoom sur le Canevas ne modifie pas réellement la taille des images de votre projet. Cela ne fait que modifier la présentation actuelle de la totalité de la fenêtre. Pour effectuer un zoom avant ou arrière sur le Canevas : m Choisissez un niveau de zoom dans le menu local Niveau de zoom. Dans l’image ci-dessous, le menu local Niveau de zoom est réglé sur 50 %. Canaux Affichage et incrustation Niveau de zoom Résolution Présentation 3D48 Chapitre 1 Premiers contacts avec Motion Pour utiliser le mode de zoom dynamique : m Appuyez sur Commande + barre espace, puis faites glisser la souris en diagonale sur le Canevas. Le zoom est effectué autour du point sur lequel vous avez cliqué dans le Canevas. Pour effectuer un zoom avant sur une zone spécifique du Canevas : m Appuyez sur les touches Barre d’espace + Commande (dans cet ordre), puis définissez à l’aide du pointeur la zone du Canevas sur laquelle vous souhaitez effectuer un zoom. Tout en continuant à appuyer sur ces touches, cliquez afin d’effectuer un zoom avant par incréments de 50 % par rapport au niveau de zoom actuel. Appuyez sur les touches Barre d’espace + Commande + Option (dans cet ordre), puis cliquez dans le Canevas pour effectuer un zoom arrière par incréments de 50 pour cent par rapport au niveau de zoom actuel. Remarque : pour effectuer la balance du Canevas sans sélectionner l’outil Balance, appuyez sur la barre espace et faites glisser la souris dans le Canevas. Pour réinitialiser le niveau de zoom du Canevas, procédez de l’une des manières suivantes : m Choisissez 100 % dans le menu local Niveau de zoom. m Dans la barre d’outils, double-cliquez sur l’outil Zoom (entre les outils Balance et Orientation caméra). Pour réinitialiser la balance du Canevas : m Dans la barre d’outils, double-cliquez sur l’outil Balance. Pour zoomer sur le Canevas de façon à ce que toute la zone affichable du projet remplisse la fenêtre : m Choisissez Ajuster à la fenêtre dans le menu local Niveau de zoom. Résolution Si vous travaillez sur un projet très complexe que votre ordinateur n’arrive à lire qu’à une fréquence d’images très basse, vous pouvez réduire la résolution du Canevas afin de diminuer la charge du processeur. Cela vous évite de devoir attendre la fin du rendu de l’image en résolution complète chaque fois que vous effectuez une modification. Plus la résolution est faible, plus la texture transmise à votre carte graphique est peu précise. Le menu local Résolution vous propose les options suivantes : Complète : affiche le Canevas en haute résolution Moitié : affiche le Canevas à la moitié de la résolution Tiers : affiche le Canevas à un tiers de la résolution Quart : affiche le Canevas à un quart de la résolutionChapitre 1 Premiers contacts avec Motion 49 Pour modifier la résolution du Canevas : m Choisissez le niveau de réduction d’image souhaité via le menu local Résolution. Remarque : il existe une autre commande Qualité de rendu dans le menu Affichage et incrustation qui gère en post-traitement la qualité du rendu des images, du texte ou des particules, plutôt que de l’ensemble du Canevas. Pour en savoir plus, voir « Affichage et incrustation » à la page 50. Canaux Le menu local Canaux permet de déterminer quels canaux de couleur sont affichés dans le Canevas. Ce menu propose les options suivantes : Couleur : affiche l’image telle qu’elle apparaît sur un moniteur vidéo. Les couches visibles sont affichées en couleurs naturelles et les zones transparentes révèlent la couleur d’arrière-plan définie dans la zone de dialogue Propriétés du projet. Par défaut, cette couleur est réglée sur noir. Pour modifier la couleur d’arrière-plan du projet, choisissez Édition > Propriétés du projet (ou appuyez sur les touches Commande + J), puis cliquez ou cliquez tout en maintenant la touche Contrôle enfoncée sur le cadre Couleur d’arrière-plan. Remarque : dans l’onglet Générales de la zone de dialogue Propriétés du projet, le menu local Arrière-plan doit être réglé sur Couleur unie pour que la couleur d’arrièreplan soit exportée avec le projet. Cette option crée un canal alpha opaque au moment de l’exportation (en cas d’utilisation d’un codec prenant en charge les canaux alpha). Si le menu local Arrière-plan doit est réglé sur Transparent, le couleur est visible dans le Canevas, mais son rendu n’est pas effectué comme faisant partie du canal alpha. Transparent : affiche la zone d’arrière-plan du Canevas comme si elle était transparente. Un motif en damier est affiché par défaut lorsqu’aucune image ne bloque l’arrière-plan. Incrustation alpha : affiche l’image en couleurs normales, mais ajoute une surbrillance rouge sur les zones transparentes de l’image. RVB seulement : affiche le mélange normal des canaux rouge, vert et bleu, mais les zones transparentes (y compris les zones semi-transparentes) apparaissent comme des zones opaques. Rouge : n’affiche que le canal rouge comme plage allant du noir au blanc. Vert : n’affiche que le canal vert comme plage allant du noir au blanc. Bleu : n’affiche que le canal bleu comme plage allant du noir au blanc. Alpha : affiche le canal alpha (transparence) des couches dans le Canevas. Alpha inversé : ce réglage affiche une vue inversée du canal alpha (transparence).50 Chapitre 1 Premiers contacts avec Motion Affichage et incrustation Ce menu local donne accès à divers types de guides et de commandes que vous avez la possibilité d’afficher dans le Canevas. Il comporte également des commandes permettant de désactiver les fonctions nécessitant beaucoup de rendu, par exemple le flou d’animation, afin d’accélérer la lecture du Canevas. Lorsqu’une option est activée, une coche apparaît en regard de son nom dans le menu. Remarque : ces options sont également disponibles dans le menu déroulant Présentation. Afficher les incrustations : active ou désactive l’affichage de toutes les incrustations dans le Canevas. Ce réglage doit être activé pour visualiser un élément incrusté quelconque (grille, guide, etc.). Pour activer/désactiver les incrustations de caméra, choisissez Afficher les incrustations 3D. Remarque : vous pouvez également appuyer sur les touches Commande + /. Règles : active ou désactive l’affichage des règles tout autour du Canevas. Vous pouvez spécifier l’emplacement des règles via la section Canevas des préférences de Motion. Pour en savoir plus sur l’utilisation des règles, voir « Utilisation des règles du Canevas » à la page 59. Remarque : vous pouvez également appuyer sur les touches Commande + Maj + R. Grille : active ou désactive l’affichage d’une grille sur le Canevas. Vous pouvez définir la couleur et le pas (espacement) de la grille dans la section Canevas des préférences de Motion. Remarque : vous pouvez également appuyer sur les touches Commande + apostrophe (‘). Guides : active ou désactive l’affichage des guides créés manuellement. Les guides ne peuvent être créés que si les règles sont également affichées. Vous pouvez modifier la couleur des guides via la section Canevas des préférences de Motion. Remarque : vous pouvez également appuyer sur les touches Commande + point-virgule (;). Guides dynamiques : active ou désactive l’affichage des guides dynamiques automatiques. Ces guides apparaissent lorsque vous faites glisser une couche au-delà des bords d’autres couches. Vous pouvez modifier la couleur des guides dynamiques via la section Canevas des préférences de Motion. Remarque : vous pouvez également appuyer sur les touches Commande + Maj + point-virgule (;). Zones sécurisées : active ou désactive l’affichage des guides Titre sécurisé et Zone d’action sécurisée. Ces guides sont réglés par défaut sur 80 et 90 %. Vous pouvez modifier ces réglages ainsi que la couleur des guides via la section Canevas des préférences Motion.Chapitre 1 Premiers contacts avec Motion 51 Remarque : vous pouvez également appuyer sur la touche Apostrophe (‘). Zone du film : active ou désactive l’affichage des guides de proportions. Cette option peut s’avérer utile si vous êtes en train de créer un projet sur bande vidéo destiné à être transféré sur film. Vous pouvez modifier la taille des guides ainsi que leur couleur via la section Canevas des préférences de Motion. Remarque : vous pouvez également appuyer sur les touches Maj + apostrophe (‘). Poignées : active ou désactive l’affichage des poignées d’objet dans le Canevas. Leur affichage est nécessaire pour effectuer certaines transformations à l’écran, telles que le redimensionnement. Les poignées n’apparaissent que sur les objets sélectionnés. Lignes : active ou désactive l’affichage des lignes de contour d’un objet. Trajectoire d’animation : active ou désactive les trajectoires d’animation. Ces trajectoires modifiables indiquent le parcours emprunté par les objets animés. Si l’objet sélectionné n’est pas animé en fonction de sa position, cette commande ne semble avoir aucun effet. Si les poignées ne sont pas affichées, il est impossible d’ajuster les trajectoires d’animation dans le Canevas. Les trajectoires d’animation créées par des comportements, à l’exception du comportement Trajectoire d’animation, sont simplement affichées, mais ne peuvent pas être modifiées. Afficher les incrustations 3D : désactive toutes les incrustations 3D, notamment celles des caméras, des outils Présentation 3D, Boussole, Présentation cadre, Grille 3D et des Icônes scène 3D. Remarque : vous pouvez également appuyer sur les touches Commande + Option + /. Outils Présentation 3D: active et désactive le menu Caméra ainsi que les outils Présentation 3D. Boussole : active et désactive l’outil Boussole 3D. Grâce à des axes rouge, vert et bleu, la boussole vous affiche l’orientation actuelle dans l’espace 3D. L’axe X (horizontal) est rouge, l’axe Y (vertical) vert et l’axe Z (profondeur) bleu. Menu Caméra Outils Présentation 3D Balance Travelling En orbite Caméra en cours de modification52 Chapitre 1 Premiers contacts avec Motion Si vous maintenez le pointeur au-dessus de la boussole 3D, il se transforme en sélecteur de présentation 3D. Cliquez sur l’une des icônes de couleur (Avant, Gauche, Droite, Perspective, etc.) pour afficher la présentation correspondante. Le Canevas s’anime alors en fonction de la nouvelle présentation sélectionnée. Pour en savoir plus sur l’utilisation de la boussole et des diverses présentations, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Présentation cadre : active et désactive la présentation cadre. Lorsque cette option est activée, une fenêtre temporaire apparaît dans le coin inférieur droit du Canevas. Elle affiche la vue de la caméra activée ou la vue en perspective de votre projet, ce qui vous aide à vous orienter au fil du déplacement d’objets dans l’espace 3D. Vous pouvez modifier sa taille et indiquer si vous souhaitez qu’elle apparaisse lors des transformations seulement, lors de toutes les modifications ou à la demande. La Présentation cadre affiche la vue Perspective ou Caméra activée. La vue Perspective est mise à jour de façon dynamique pour s’ajuster aux objets affichés par la Présentation cadre (même si ces objets ne sont plus visibles dans la fenêtre principale). Elle est déclenchée si vous êtes déjà en train d’observer les objets au moyen d’une caméra. Quant à la vue Activée, elle est déclenchée si vous avez choisi une présentation de caméra diffé- rente de la caméra activée (comme Face). Pour en savoir plus sur la Présentation cadre, voir « 3D » à la page 164. Boussole 3D Sélecteur de présentation 3DChapitre 1 Premiers contacts avec Motion 53 Remarque : les éléments d’un projet étant des objets 2D (plats), ils ne sont pas visibles lorsque vous utilisez les vues orthogonales d’une caméra (Gauche, Droite, Haut et Bas), sauf si ces éléments sont pivotés en 3D (ou que le paramètre Face à la caméra du texte, des particules ou du réplicateur est activé dans l’Inspecteur). En effet, les vues orthogonales sont réalisées à angle droit par rapport aux éléments (perpendiculairement). Lorsqu’un objet est sélectionné, il est représenté par une fine ligne grise dans le Canevas. Pour en savoir plus sur l’utilisation des caméras, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Grille 3D: active ou désactive la grille sur les présentations 3D. Cette grille 3D vous aide à vous orienter et peut servir de guide lors du positionnement d’objets dans votre projet. Elle n’apparaît que si vous vous trouvez dans un espace de travail 3D. Présentation cadre Les particules en forme de cœur sont visibles dans la Présentation cadre (qui constitue une vue en perspective du projet), car le paramètre Face à la caméra est activé dans l’Inspecteur Émetteur de particules.54 Chapitre 1 Premiers contacts avec Motion Icônes scène 3D : affiche ou masque les caméras et les lumières. Ces icônes apparaissent sur le Canevas comme des éléments jaunes en fil de fer. Les lumières sont affichées avec des poignées d’ajustement 3D rouge (X), verte (Y) et bleue (Z) qui vous permettent de les transformer et les faire pivoter. Ces poignées restent affichées même si l’option Icônes scène 3D est désactivée. Pour en savoir plus sur les icônes scène 3D, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Respecterles proportions : applique une déformation artificielle du Canevas pour les projets à pixels non carrés. Lorsque cette option est activée, votre moniteur simule l’affichage d’un écran télévision. Lorsque l’option est désactivée, les projets à pixels non carrés prennent un aspect étiré. Cela tient au fait que les moniteurs informatiques affichent des pixels carrés. Cette option ne modifie pas le projet final proprement dit. Afficher zone de présentation totale : vous permet de visualiser une partie d’une couche située au-delà des limites du Canevas. Ce réglage est désactivé par défaut, car il ralentit l’interactivité de votre projet. Lumière CaméraChapitre 1 Premiers contacts avec Motion 55 Qualité de rendu : définit le mode d’affichage des objets, tels que le texte et les images, dans le Canevas. Vous avez le choix entre : Brouillon, Normale ou Optimale.  Brouillon : exécute un rendu de faible qualité des objets dans le Canevas, afin d’assurer une interactivité optimale à votre projet.  Normale : réglage par défaut. Exécute un rendu de qualité moyenne des objets dans le Canevas.  Optimale : exécute un rendu d’excellente qualité des objets dans le Canevas. Cette option ralentit l’interactivité de votre projet. Remarque : dans le Canevas, les fichiers YUV à 10 bits sont rendus à 8 bits, à moins que la Qualité de rendu ne soit réglée sur Optimale. ∏ Astuce : si vous cochez la case « Séquence - Utiliser les réglages du projet et du Canevas actuels » lors de l’exportation d’un projet (dans le menu local Utiliser de la zone de dialogue d’exportation), réglez Qualité de rendu sur Optimale avant de procéder à l’exportation. Éclairage : active ou désactive l’effet des lumières dans votre projet. Bien que cette option ne désactive pas les lumières dans la liste des couches, ni les icônes scène 3D des lumières, elle désactive les effets de lumière dans le Canevas. Lorsque ce réglage est activé et que vous utilisez un préréglage d’exportation par défaut (tel que film DV NTSC), votre projet est exporté avec les lumières. En effet, les préréglages d’exportation sont exportés par défaut avec l’option « Utiliser les réglages du projet et du Canevas actuels » activée (dans l’onglet Sortie de la zone de dialogue Options d’exportation). Si cette case est cochée, tout ce qui est activé dans le menu Présentation est également exporté. Pour remplacer les réglages actuels du projet relatifs à l’éclairage lors de l’exportation : 1 Choisissez Fichier > Exporter. 2 Facultatif : sélectionnez un nom et un emplacement pour le fichier enregistré. 3 Dans la zone de dialogue d’exportation, cliquez sur le bouton Options en regard du menu local Exporter. 4 Sous l’onglet Sortie de la zone de dialogue Options d’exportation, désactivez l’option « Utiliser les réglages actuels du projet et du Canevas ». Les options affichées par l’onglet Sortie sont alors accessibles, notamment les réglages Résolution, Couleur, Fréquence d’images, Caméra, Éclairage, Qualité de rendu, Rendu de trames, Flou d’animation et Fusion d’images. Lorsque la case Éclairage est cochée, le projet est exporté avec les lumières, quel que soit l’état Éclairage dans le menu Présentation.56 Chapitre 1 Premiers contacts avec Motion Rendu de trames : la désactivation de cette option désactive le rendu de trames requis pour une lecture fluide sur un écran de télévision. Comme le rendu de trame double la durée du rendu, la désactivation de cette option peut améliorer considérablement les performances. Si ce réglage est activé dans le menu Présentation et que vous utilisez un préréglage d’exportation par défaut (« Séquence - Utiliser les réglages du projet et du Canevas actuels »), votre projet est exporté avec le rendu de trames. (Le codec utilisé par défaut est alors Animation, 8 bits, Couleur + Alpha.) Si vous conservez ce réglage par défaut, toutes les options choisies dans le menu local Présentation (ou le menu déroulant Présentation), ainsi que tous les réglages effectués dans la zone de dialogue Propriétés du projet sont également exportés. Toutefois, si vous choisissez un autre préréglage, le rendu de trames est activé sur la base du préréglage sélectionné (si ce codec particulier exige ou non des trames). Par exemple, si vous choisissez Film NTSC DV, le rendu trames est activé, car des trames sont attendues pour ce format. En revanche, si vous choisissez Film DVCPRO HD 720p24, le rendu de trames est désactivé, car il s’agit d’un format de film à balayage progressif (sans trame). Remarque : lorsque vous ouvrez un projet Motion dans une autre application, telle que Final Cut Pro ou DVD Studio Pro, le réglage Rendu de trames du menu local Présentation ne contrôle pas si le rendu de trames est activé ou non. Ce paramètre est contrôlé dans la zone de dialogue Propriétés du projet (accessible en appuyant sur les touches Commande + J). Si l’option Ordre de trame est définie sur toute autre valeur que Aucun, le rendu de trames est utilisé dans l’autre application, quel que soit l’état Rendu de trames dans le menu Présentation. Pour remplacer les réglages actuels du projet relatifs au rendu de trames lors de l’exportation : 1 Choisissez Fichier > Exporter. 2 Facultatif : sélectionnez un nom et un emplacement pour le fichier enregistré. 3 Dans la zone de dialogue d’exportation, cliquez sur le bouton Options en regard du menu local Exporter. 4 Sous l’onglet Sortie de la zone de dialogue Options d’exportation, désactivez l’option « Utiliser les réglages actuels du projet et du Canevas ». Remarque : si vous avez déjà choisi un autre préréglage d’exportation dans le menu local Utiliser de la zone de dialogue d’exportation, l’option « Utiliser les réglages du projet et du Canevas actuels » est désactivée. Les options affichées par l’onglet Sortie sont alors accessibles, notamment les réglages Résolution, Couleur, Fréquence d’images, Caméra, Éclairage, Qualité de rendu, Rendu de trames, Flou d’animation et Fusion d’images.Chapitre 1 Premiers contacts avec Motion 57 Lorsque la case Rendu de trames est cochée dans l’onglet Sortie, le projet est exporté avec le rendu de trames, quel que soit l’état Rendu de trames dans le menu Présentation. Flou d’animation : la désactivation de ce réglage désactive la prévisualisation du flou d’animation dans le Canevas, ce qui peut entraîner une amélioration considérable des performances. Lors de l’utilisation d’un préréglage d’exportation par défaut, ce réglage n’a aucun effet sur la sortie actuelle de votre projet. Aucun des préréglages d’exportation par défaut n’est réglé pour utiliser le flou d’animation. Si ce réglage est activé dans le menu Présentation et que vous utilisez un préréglage d’exportation par défaut (« Séquence - Utiliser les réglages du projet et du Canevas actuels »), votre projet est exporté avec le flou d’animation. (Le codec utilisé par défaut est alors Animation, 8 bits, Couleur + Alpha.) Si vous conservez ce réglage par défaut, toutes les options choisies dans le menu local Présentation (ou le menu déroulant Présentation), ainsi que tous les réglages effectués dans la zone de dialogue Propriétés du projet sont également exportés. Toutefois, si vous choisissez un autre préréglage, le flou d’animation est désactivé par défaut et doit être activé manuellement dans le préréglage sélectionné. Par exemple, si vous choisissez Film NTSC DV, le flou d’animation est désactivé. Vous pouvez toujours modifier les paramètres d’un préréglage, comme indiqué ci-après. Remarque : lorsque vous ouvrez un projet Motion dans une autre application, telle que Final Cut Pro, le réglage Flou d’animation dans le menu local Présentation contrôle si le flou d’animation est appliqué ou non. Pour remplacer les réglages actuels du projet relatifs au flou d’animation lors de l’exportation : 1 Choisissez Fichier > Exporter. 2 Facultatif : sélectionnez un nom et un emplacement pour le fichier enregistré. 3 Dans la zone de dialogue d’exportation, cliquez sur le bouton Options en regard du menu local Exporter. 4 Sous l’onglet Sortie de la zone de dialogue Options d’exportation, désactivez l’option « Utiliser les réglages actuels du projet et du Canevas ». Remarque : si vous avez déjà choisi un autre préréglage d’exportation dans le menu local Utiliser de la zone de dialogue d’exportation, l’option « Utiliser les réglages du projet et du Canevas actuels » est désactivée. Les options affichées par l’onglet Sortie sont alors accessibles, notamment les réglages Résolution, Couleur, Fréquence d’images, Caméra, Éclairage, Qualité de rendu, Rendu de trames, Flou d’animation et Fusion d’images. Lorsque la case Flou d’animation est cochée, le projet est exporté avec le flou d’animation, quel que soit l’état Flou d’animation dans le menu Présentation.58 Chapitre 1 Premiers contacts avec Motion Fusion d’images : la désactivation de ce réglage désactive la fusion d’images dans le Canevas. La fusion d’images permet de lisser l’apparence des images vidéo en interpolant les pixels situés entre deux images adjacentes, afin de créer une transition plus lisse. Si ce réglage est activé dans le menu Présentation et que vous utilisez un préréglage d’exportation par défaut (« Séquence - Utiliser les réglages du projet et du Canevas actuels »), votre projet est exporté avec la fusion d’images. (Le codec utilisé par défaut est alors Animation, 8 bits, Couleur + Alpha.) Si vous conservez ce réglage par défaut, toutes les options choisies dans le menu local Présentation (ou le menu déroulant Présentation), ainsi que tous les réglages effectués dans la zone de dialogue Propriétés du projet sont également exportés. Toutefois, si vous choisissez un autre préréglage, la fusion d’images est activée sur la base du préréglage sélectionné. Par exemple, si vous choisissez Film NTSC DV, la fusion d’images est activée. Vous pouvez toujours modifier les paramètres d’un préréglage, comme indiqué ci-après. Pour remplacer les réglages actuels du projet relatifs à la fusion d’images lors de l’exportation : 1 Choisissez Fichier > Exporter. 2 Facultatif : sélectionnez un nom et un emplacement pour le fichier enregistré. 3 Dans la zone de dialogue d’exportation, cliquez sur le bouton Options en regard du menu local Exporter. 4 Sous l’onglet Sortie de la zone de dialogue Options d’exportation, désactivez l’option « Utiliser les réglages actuels du projet et du Canevas ». Remarque : si vous avez déjà choisi un autre préréglage d’exportation dans le menu local Utiliser de la zone de dialogue d’exportation, l’option « Utiliser les réglages du projet et du Canevas actuels » est désactivée. Les options affichées par l’onglet Sortie sont alors accessibles, notamment les réglages Résolution, Couleur, Fréquence d’images, Caméra, Éclairage, Qualité de rendu, Rendu de trames, Flou d’animation et Fusion d’images. Lorsque l’option Fusion d’images est activée, le projet est exporté avec la fusion d’images, quel que soit l’état Fusion d’images dans le menu Présentation. Preview de la profondeur de bits en virgule flottante : lors de l’utilisation de l’espace en virgule flottante, la désactivation de cette option passe à 8 bits le Preview dans le Canevas. Étant donné que l’utilisation de l’espace en virgule flottante augmente de façon considérable le temps de traitement, la désactivation de ce paramètre permet d’accélérer les opérations. Cette option ne modifie pas le projet final proprement dit. Remarque : pour en savoir plus sur l’espace en virgule flottante, voir « À propos de la profondeur de bits » à la page 203.Chapitre 1 Premiers contacts avec Motion 59 Utilisation des règles du Canevas L’utilisation des règles du Canevas peut vous aider à composer ou à aligner les éléments de votre projet, ainsi qu’à aligner les objets sur les règles. Pour activer les règles : m Dans le menu local Présentation, activez l’option Règles (ou appuyez sur les touches Commande + Maj + R). Lorsque cette option est activée, une coche apparaît en regard de l’élément dans le menu local. Par défaut, les règles apparaissent le long des côtés gauche et supérieur du Canevas. Vous pouvez modifier l’emplacement des règles dans la section Canevas des préférences Motion. Pour ajouter un guide horizontal ou vertical au Canevas : 1 Dans la barre d’outils, cliquez sur l’outil Sélectionner/Transformer (ou appuyez sur la touche S). 2 Cliquez dans la zone grise de la règle horizontale ou verticale et faites glisser la souris dans le Canevas. Tandis que vous faites glisser la souris, la valeur du guide s’affiche dans le Canevas. Remarque : l’option Guides doit être activée dans le menu Présentation (en appuyant sur les touches Commande + point-virgule). Les unités de la règle sont en pixels, avec le point 0,0 au centre du Canevas. 3 Lorsque le guide apparaît à l’endroit souhaité, relâchez le bouton de la souris.60 Chapitre 1 Premiers contacts avec Motion Pour ajouter simultanément une règle horizontale et verticale au Canevas : 1 Dans la barre d’outils, cliquez sur l’outil Sélectionner/Transformer (ou appuyez sur la touche S). 2 Faites glisser à partir de l’angle dans lequel les règles se rejoignent dans le Canevas. 3 Lorsque les guides apparaissent à l’endroit souhaité, relâchez le bouton de la souris. Pour supprimer un guide du Canevas : m Dans la barre d’outils, cliquez sur l’outil Sélectionner/Transformer (ou appuyez sur S), puis faites glisser le guide à l’extérieur du Canevas. Pour changer l’emplacement des règles : 1 Choisissez Motion > Préférences. 2 Dans la section Canevas, choisissez une présentation de règle dans le menu local Emplacement de la règle. Pour changer la couleur des guides : 1 Choisissez Motion > Préférences. 2 Dans la section Canevas, cliquez ou cliquez tout en maintenant la touche Contrôle enfoncée sur le cadre Couleur des guides, puis sélectionnez une couleur. Présentation 3D Ce menu local vous permet d’indiquer la façon dont vous souhaitez visualiser votre projet dans le Canevas. En effet, vous avez le choix d’afficher le Canevas comme un espace de travail unique ou opter pour l’une des dispositions de fenêtres disponibles dans ce menu. Les exemples suivants illustrent deux des présentations proposées. Remarque : bien que les diverses présentations de l’espace de travail soient disponibles pour les projets 2D, elles revêtent tout leur intérêt lorsque vous travaillez en 3D. Disposition avec deux fenêtres en haut et une en bas Disposition avec quatre fenêtresChapitre 1 Premiers contacts avec Motion 61 Canevas en mode 3D Hormis l’espace de travail habituel pour les projets 2D, Motion offre un espace de travail 3D dans lequel vous pouvez organiser et animer divers objets, comme des groupes, des couches, des caméras et des lumières. Dès que vous basculez en mode 3D, le Canevas affiche des commandes complémentaires adaptées à ce nouvel environnement. Un jeu d’outils de présentation 3D restreint apparaît dans le coin supérieur droit du Canevas, alors qu’une boussole 3D est affichée dans le coin inférieur gauche. Un menu Caméra apparaît également dans le coin supérieur gauche du Canevas pour vous permettre de choisir quelle caméra utiliser pour visualiser votre projet en espace 3D. Remarque : vous devez ajouter au moins une caméra à votre projet pour créer un espace de travail 3D. Pour ajouter une caméra à votre projet: 1 Cliquez sur l’icône Nouvelle caméra dans la barre d’outils. Une zone de dialogue vous invite à convertir vos groupes 2D en 3D. 2 Cliquez sur Basculer en 3D pour ajouter une caméra et créer un projet 3D. Remarque : si vous cliquez sur Conserver en 2D, une caméra est ajoutée à votre projet, mais tous les groupes restent en 2D. Utilisation de la présentation 3D L’espace de travail 3D comporte des outils qui vous permettent de modifier manuellement la présentation ou le mode d’affichage de votre scène à partir d’une caméra particulière, grâce à des options telles que Avant, Arrière, Haut, Bas, etc. Vous pouvez également choisir de visualiser la scène au travers de toute caméra ajoutée à votre projet. Remarque : les présentations de caméra Gauche, Droite, Bas et Haut sont des vues orthogonales. Vous ne pouvez ni les animer, ni les exporter. Pour régler la présentation en cours : m Cliquez sur le menu Caméra dans le coin supérieur gauche du Canevas, puis choisissez une caméra. Le Canevas s’anime alors en fonction du nouvel affichage sélectionné. Si vous avez modifié la présentation, un astérisque apparaît en regard de son nom.62 Chapitre 1 Premiers contacts avec Motion Remarque : si vous avez isolé une couche ou un groupe (en choisissant Objet > Isoler), le menu Caméra affiche le nom de l’objet isolé comme étant la présentation actuelle. Pour en savoir plus sur la fonction Isoler, voir « Onglet Couches » à la page 75. Pour utiliser les outils Présentation 3D : m Faites glisser l’outil Balance, Orbite ou Travelling parmi les outils Présentation 3D. Comme si la caméra se déplaçait, l’affichage bouge, pivote ou est agrandi/réduit. Important : l’icône représentant la caméra grise est un rappel : lorsque vous utilisez les outils Présentation 3D, vous déplacez la caméra activée. Pour réinitialiser votre caméra, procédez de l’une des manières suivantes : m Double-cliquez sur l’outil Balance, Orbite ou Travelling. m Cliquez sur le menu Caméra (dans le coin supérieur gauche du Canevas), puis choisissez Réinitialiser la présentation. m Dans l’onglet Propriétés de l’Inspecteur, cliquez sur le bouton Réinitialiser au sein des paramètres Transformation. Utilisation d’objets en espace 3D L’espace de travail 3D vous fournit divers outils de manipulation des objets en 3D. Ces outils comprennent les commandes 3D à l’écran qui servent à manipuler un objet directement, les commandes de transformation 3D de la palette et les paramètres de l’onglet Propriétés de l’objet sélectionné. Pour transformer un objet en 3D: 1 Sélectionnez l’objet à transformer, puis cliquez sur l’icône Ajuster transformation 3D dans la barre d’outils. Balance Travelling Orbite Caméra en cours de modificationChapitre 1 Premiers contacts avec Motion 63 Des poignées d’échelle apparaissent sur le contour de l’objet, alors que trois poignées d’axe 3D de couleur sont affichées au niveau du point d’ancrage de l’objet. Chacune de ces poignées en forme de flèche correspond à l’axe le long duquel vous pouvez déplacer l’objet. 2 Faites glisser la poignée de transformation appropriée pour déplacer l’objet le long de l’axe sélectionné. L’axe X (horizontal) est rouge, l’axe Y (vertical) vert et l’axe Z (profondeur) bleu. Pour faire pivoter un objet en 3D: 1 Sélectionnez l’objet à transformer, puis cliquez sur l’icône Ajuster transformation 3D dans la barre d’outils. Des poignées d’échelle apparaissent sur le contour de l’objet, alors que trois poignées d’axe 3D de couleur sont affichées au niveau du point d’ancrage de l’objet. Les trois petits cercles situés à proximité des poignées d’axe sont des poignées de rotation 3D. Chacune de ces poignées de rotation correspond à l’axe autour duquel vous pouvez faire pivoter l’objet. 2 Placez le pointeur au-dessus de l’une des trois poignées de rotation situées de chaque côté ou au-dessus des flèches de couleur.  Le cercle rouge indique une rotation autour de l’axe X.  Le cercle vert indique une rotation autour de l’axe Y.  Le cercle bleu indique une rotation autour de l’axe Z. Poignées d’axe 3D représentées par des flèches de couleur.64 Chapitre 1 Premiers contacts avec Motion 3 Une fois que l’une des poignées de rotation 3D est activée, faites-la glisser vers la gauche ou la droite sur le Canevas pour appliquer une rotation à l’objet autour de l’axe sélectionné. Pour réinitialiser un objet transformé : 1 Sélectionnez l’objet à réinitialiser. Dans l’onglet Propriétés de l’Inspecteur, cliquez sur le bouton Réinitialiser au sein des paramètres Transformation. Pour en savoir plus sur le travail en 3D et l’utilisation des outils de transformation 3D disponibles dans la palette, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Les poignées de rotation 3D vous aident à sélectionner un axe. Au fur et à mesure de la rotation, une petite fenêtre d’information vous affiche les valeurs modifiées. Bouton RéinitialiserChapitre 1 Premiers contacts avec Motion 65 Lecture de votre projet Utilisez les commandes de lecture, situées en bas du Canevas, pour visionner votre projet et voir comment il évolue dans le temps. Vous pouvez mettre la lecture en boucle ou définir les points d’entrée et de sortie de la lecture pour votre projet. Vous pouvez activer et désactiver l’audio. Lecture/Pause : démarre et met en pause la lecture. La touche de raccourci clavier correspondante est la barre d’espace. Lecture en boucle : permet de déterminer si la lecture est en boucle ou si elle s’arrête à la fin de la plage de lecture. Le raccourci clavier correspondant est Maj + L. Pour en savoir plus sur le réglage de la plage de lecture d’un projet, voir « Définition de la plage de lecture » à la page 394. Lire depuis le début : lit le projet à partir du point d’entrée de la plage de lecture jusqu’au point de sortie de la plage de lecture. Vous pouvez ainsi ne visionner qu’une partie du projet. Pour en savoir plus sur la définition des points d’entrée et de sortie, voir « Définition de la plage de lecture » à la page 394. Aller au début du projet : renvoie automatiquement la tête de lecture au début du projet. Le raccourci clavier correspondant est la touche Début. Aller à la fin du projet : déplace automatiquement la tête de lecture à la fin du projet. Le raccourci clavier correspondant est la touche Fin. Reculer d’une image : recule la tête de lecture d’une image. Si vous cliquez sur ce bouton (ou maintenez la touche de raccourci clavier enfoncée), le projet est rembobiné d’une image à la fois. Le raccourci clavier correspondant est la touche Flèche gauche (ou Page préc.). Avancer d’une image : avance la tête de lecture d’une image. Si vous cliquez sur ce bouton (ou maintenez la touche de raccourci clavier enfoncée), le projet avance d’une image à la fois. Le raccourci clavier correspondant est la touche Flèche droite (ou Page suiv.). Lire/désactiver l’audio : active ou désactive le son. Aller au début du projet Avancer d’une image Aller à la fin du projet Reculer d’une image Lire depuis le début Lecture en boucle Lecture/Pause Enregistrer Lire/désactiver l’audio66 Chapitre 1 Premiers contacts avec Motion Remarque : la désactivation du son peut améliorer les performances de lecture. Enregistrer: active ou désactive l’enregistrement de l’animation. Si l’enregistrement est activé, tous les curseurs des paramètres susceptibles d’être animés apparaissent en rose dans l’Inspecteur, ce qui vous rappelle que toute modification effectuée (telle que le déplacement d’un objet dans le Canevas ou le réglage d’un curseur) a pour effet de créer des images clés. Remarque : lorsque l’option « Enregistrer les images clé sur les paramètres animés seulement » est activée dans la zone de dialogue Options d’enregistrement, les images clés sont ajoutées uniquement aux paramètres animés. Pour en savoir plus, voir « Enregistrement d’images clés sur les paramètres animés uniquement » à la page 613. Preview RAM Lorsque vous visionnez votre projet, Motion effectue des calculs complexes afin de représenter les objets et les effets qui apparaissent dans chaque image. Ce processus s’appelle le rendu. Le projet est lu aussi vite que possible à la fréquence d’images spécifiée dans la zone de dialogue Propriétés du projet. La fréquence d’images des projets très complexes risque d’être considérablement réduite, rendant ainsi très difficile d’obtenir un aperçu fidèle de l’aspect du projet lorsqu’il est lu à vitesse normale. Vous pouvez rendre certaines portions de votre projet et stocker ces images en mémoire RAM. Ce procédé permet de visionner votre projet à la vitesse normale. C’est ce que l’on appelle le Preview RAM. Vous pouvez choisir de rendre la plage de lecture, une sélection ou la totalité du projet (option Tout). Au fur et à mesure que les images sont rendues, une zone de dialogue indique l’image en cours de traitement, le nombre d’images restantes et une estimation de la durée restante. Vous pouvez interrompre le Preview RAM en cliquant sur le bouton Arrêter. La section ayant déjà été rendue est alors stockée en mémoire RAM. Remarque : comme les diverses parties du projet peuvent présenter différents niveaux de complexité, la valeur Temps restant ne constitue qu’une estimation. Pour effectuer le Preview RAM de la totalité de votre projet : m Choisissez Marquer > Preview RAM > Tout. La zone de dialogue Preview RAM s’ouvre pour afficher une barre de progression. Elle se referme une fois que le Preview RAM a été effectué.Chapitre 1 Premiers contacts avec Motion 67 Lorsqu’une partie de votre projet est stocké en mémoire RAM, la Timeline et la miniTimeline adoptent la couleur verte pour indiquer les images stockées. Zones de Preview RAM La prévisualisation de grandes parties de votre projet via la fonction Preview RAM requiert une quantité importante de mémoire RAM pour stocker les images. Il se peut que vous ne disposiez pas de la quantité nécessaire pour stocker toutes les images à prévisualiser. Vous pouvez limiter le nombre d’images à rendre en choisissant de ne rendre que la plage de lecture ou une sélection. L’utilisation de la fonction Preview RAM sur une sélection a pour effet de rendre toutes les couches visibles du projet, depuis la première image de la sélection jusqu’à la dernière. Pour effectuer le Preview RAM de la plage de lecture : m Choisissez Marquer > Preview RAM > Plage de lecture. La zone de dialogue Preview RAM s’ouvre pour afficher une barre de progression. Elle se referme une fois que le Preview RAM a été effectué. Pour effectuer le Preview RAM d’une sélection : 1 Dans la Timeline, faites glisser le pointeur sur la zone à prévisualiser tout en maintenant les touches Commande + Option enfoncées. Une bande bleu clair apparaît sur les images sélectionnées. Pour en savoir plus sur les zones, voir « Utilisations des régions » à la page 395. 2 Choisissez Marquer > Preview RAM > Sélection. Indicateurs de Preview RAM68 Chapitre 1 Premiers contacts avec Motion La zone de dialogue Preview RAM s’ouvre. Elle se referme une fois que le Preview RAM a été effectué. Remarque : l’utilisation du mode en virgule flottante n’a aucun effet sur le Preview RAM. Bien que le projet soit rendu en mode virgule flottante, la prévisualisation sur le moniteur fait l’objet d’une conversion en 8 bits. Effacement du Preview RAM Vous pouvez supprimer manuellement un Preview RAM pour faire place à une nouvelle prévisualisation ou pour libérer de la mémoire RAM pour d’autres opérations. Pour effacer le Preview RAM : m Choisissez Marquer > Preview RAM > Effacer le Preview RAM. Mini-Timeline La mini-Timeline est affichée juste au-dessus des commandes de lecture, sous le Canevas. Cette commande permet de voir en un coup d’œil où se trouvent les objets sélectionnés dans votre projet. La mini-Timeline possède également une tête de lecture pour indiquer l’image en cours de lecture, ainsi que des marqueurs d’entrée et de sortie pour identifier la plage de lecture. La longueur de la mini-Timeline représente la durée totale du projet. Vous pouvez faire glisser la tête de lecture à travers la mini-Timeline pour faire défiler votre projet ou accéder directement à un moment particulier. Vous pouvez également modifier la plage de lecture ou les points d’entrée et de sortie d’une couche en faisant glisser les marqueurs d’entrée et de sortie. Lorsque vous faites glisser un point d’entrée ou de sortie, la tête de lecture est temporairement déplacée au niveau du pointeur. Vous pouvez ainsi visionner l’image sur laquelle votre point d’entrée et de sortie sera défini. Dès que vous relâchez le bouton de la souris, la tête de lecture revient à sa position antérieure. Les marqueurs de projet définis dans la Timeline sont indiqués dans la mini-Timeline par une fine ligne grise. Pour en savoir plus sur les marqueurs de projet et d’objet, voir « Ajout de marqueurs » à la page 398. Remarque : les marqueurs d’objet n’apparaissent pas dans la mini-Timeline. Point d’entrée Tête de lecture Point de sortie Plan sélectionnéChapitre 1 Premiers contacts avec Motion 69 Montage dans la mini-Timeline La mini-Timeline vous permet d’exécuter de nombreuses fonctions de montage non linéaire. Vous pouvez notamment faire glisser des objets (des plans, des images ou des éléments enregistrés dans la Bibliothèque, comme des formes, du texte, des caméras, des lumières, etc.) directement de la fenêtre Utilitaire vers la mini-Timeline. Vous pouvez également déplacer des objets, leur appliquer un Trim et les faire coulisser, afin de modifier la partie de ces objets qui apparaît à un moment donné. Pour en savoir plus sur les fonctions de modification, telles que Déplacer, Trim et Coulisser, voir « Modification d’objets dans la Timeline » à la page 375. Pour ajouter un objet dans la mini-Timeline : 1 Faites glisser l’objet du Navigateur vers la mini-Timeline. Au fur et à mesure que vous faites glisser les objets, une légende indique l’image sur laquelle votre opération de montage aura lieu. 2 Une fois arrivé à l’image souhaitée, relâchez le bouton de la souris. L’objet est ajouté au projet débutant à cette image. Vous pouvez également ajouter simultanément plusieurs objets à la mini-Timeline. Vous pouvez choisir s’il faut ajouter les objets de manière séquentielle (l’un après l’autre) ou sous forme de composite (tous sur le même point dans le temps). ∏ Astuce : si la Timeline contient des marqueurs de projet, vous pouvez aligner l’objet importé sur un marqueur. Faites glisser la couche sur la mini-Timeline, puis relâchez le bouton de la souris dès qu’une barre noire apparaît au niveau du point d’alignement. Le point d’entrée de la couche correspond alors au marqueur de projet. Pour ajouter plusieurs objets dans la mini-Timeline : 1 Faites glisser les objets du Navigateur vers la mini-Timeline. Au fur et à mesure que vous faites glisser les objets, une légende indique l’image sur laquelle votre opération de montage aura lieu. 2 Tout en maintenant le bouton de la souris enfoncé, faites glisser le pointeur vers l’image souhaitée.70 Chapitre 1 Premiers contacts avec Motion Un menu déroulant s’ouvre. 3 Choisissez le type de montage souhaité dans le menu déroulant, puis relâchez le bouton de la souris. Selon le type d’élément glissé sur la Timeline, ce menu peut comporter jusqu’à quatre options différentes. Pour en savoir plus sur le menu déroulant Timeline, voir « Ajout d’objets dans la Timeline » à la page 363. Pour déplacer un objet dans le temps : 1 Sélectionnez l’objet à déplacer dans l’onglet Couches, la liste de couches de la Timeline ou le Canevas. L’objet apparaît dans la mini-Timeline. 2 Dans la mini-Timeline, faites glisser l’objet vers la gauche ou la droite pour le repositionner dans le temps. Une légende indique les nouveaux points d’entrée et de sortie de l’objet, ainsi que le changement par rapport à la position précédente. 3 Une fois arrivé à la position souhaitée, relâchez le bouton de la souris. Pour raccourcir ou rallonger un objet: 1 Sélectionnez l’objet afin qu’il soit visible dans la mini-Timeline. 2 Placez le pointeur sur le bord de début ou de fin de l’objet. Le pointeur se transforme alors en pointeur de Trim. Début des médias Pointeur TrimChapitre 1 Premiers contacts avec Motion 71 3 Faites glisser le bord de l’objet pour en modifier la durée. Une bulle d’aide indique les nouveaux points d’entrée ou de sortie, ainsi que l’ampleur du changement provoqué par votre opération de montage. Remarque : vous n’êtes pas autorisé à appliquer un Trim à un objet dans le but de le rendre plus long que le nombre d’images disponibles dans le fichier de média correspondant, à moins que sa Condition de fin soit réglée sur Suspendre, Boucle ou Ping-Pong dans les commandes Contrôle du temps affichées par l’onglet Propriétés de l’Inspecteur. Pour faire coulisser un objet dans la mini-Timeline : 1 Sélectionnez l’objet à modifier. 2 Placez le pointeur sur la partie principale de l’objet dans la mini-Timeline, puis appuyez sur la touche Option. Le pointeur se transforme alors en pointeur de coulissement. 3 Faites glisser le plan vers la gauche ou la droite pour utiliser une partie ultérieure ou antérieure du plan. Une légende indique les nouveaux points d’entrée et de sortie. Remarque : il est impossible de faire coulisser un plan tant que l’on n’a pas effectué de Trim sur ce plan. Pour en savoir plus, voir « Coulissement de plans » à la page 378. Pour aligner la tête de lecture sur un marqueur de projet dans la mini-Timeline : m Maintenez la touche Maj enfoncée tandis que vous faites glisser la tête de lecture dans la mini-Timeline. Champs Timecode et Image actuelle Il existe deux champs de timecode situés en bas du Canevas, à droite et à gauche des commandes de lecture. Le champ situé à gauche est le champ Sur l’image actuelle ; il indique l’image ou le numéro de timecode sur lequel est placé la tête de lecture. Vous pouvez déplacer cette dernière en modifiant la valeur du champ Sur l’image actuelle. Début des médias Pointeur Coulisser Fin des médias72 Chapitre 1 Premiers contacts avec Motion Le champ situé à droite est le champ Durée du projet. Ce champ indique la durée de votre projet actuel. Vous pouvez modifier la durée du projet en modifiant la valeur de ce champ. Si le signe deux points apparaît entre les secondes et les valeurs des images, il indique que des images sont actuellement ignorées (Drop Frames). Ces deux champs peuvent être modifiés de plusieurs manières et affichés sous la forme de numéros d’images ou de valeurs de timecode à huit chiffres. Pour modifier l’image actuelle ou la durée : m Cliquez sur le champ, tapez une nouvelle valeur, puis appuyez sur Tab ou Retour afin de confirmer la saisie. Pour augmenter ou diminuer l’image actuelle ou la durée d’une image à la fois : m Cliquez sur la flèche vers la gauche ou vers la droite du champ que vous souhaitez modifier. Remarque : vous pouvez également avancer ou reculer image par image la tête de lecture en appuyant sur Flèche gauche (ou Page préc.) pour reculer et sur Flèche droite (ou Page suiv.) pour avancer. Pour changer la durée en secondes, minutes ou heures, saisissez ce qui suit dans le champ Durée du projet: m Pour définir la durée en secondes, entrez un nombre de secondes suivi d’un point. Par exemple, pour créer un projet de 10 secondes, tapez 10. dans le champ, puis appuyez sur Retour. m Pour définir la durée en minutes, entrez un nombre de minutes suivi de deux points. Par exemple, pour créer un projet de 10 minutes, tapez 10.. dans le champ, puis appuyez sur Retour. m Pour définir la durée en heures, entrez un nombre d’heures suivi de trois points. Par exemple, pour créer un projet de 1 heure, tapez 1... dans le champ, puis appuyez sur Retour. Cette procédure fonctionne aussi bien avec le timecode qu’avec les images. Le signe deux points à cet endroit indique des images ignorées Flèche gauche Flèche droite Curseur de valeur Faites glisser le pointeurChapitre 1 Premiers contacts avec Motion 73 Pour avancer ou reculer d’un certain nombre de secondes, minutes ou heures, saisissez ce qui suit dans le champ Image actuelle : m Pour avancer d’un certain nombre de secondes, saisissez le signe plus (+) suivi du nombre de secondes dont vous souhaitez avancer, puis un point. Par exemple, pour avancer de 2 secondes, tapez +2. dans le champ, puis appuyez sur Retour. Pour avancer de minutes, tapez deux points après le nombre, et pour avancer d’heures, tapez trois points après le nombre. m Pour reculer d’un certain nombre de secondes, saisissez le signe moins (–) suivi du nombre de secondes dont vous souhaitez reculer, puis un point. Par exemple, pour reculer de 2 secondes, tapez –2. dans le champ, puis appuyez sur Retour. Pour reculer de minutes, tapez deux points après le nombre, et pour reculer d’heures, tapez trois points après le nombre. Pour déplacer la tête de lecture vers une image spécifique : m La sous-fenêtre Canevas ou Projet étant active, tapez le timecode ou numéro d’image souhaité dans le champ Image actuelle. Appuyez sur Retour afin de confirmer la saisie. Pour avancer d’un nombre spécifique d’images : m Saisissez le signe plus (+) suivi du nombre d’images dont vous souhaitez avancer. Pour reculer d’un nombre spécifique d’images : m Saisissez le signe moins (–) suivi du nombre d’images dont vous souhaitez reculer. Pour modifier l’image actuelle ou la durée de manière dynamique : m Cliquez dans la zone centrale du champ (zone contenant les nombres), puis faites glisser le pointeur vers la gauche pour augmenter la valeur ou vers la droite pour la diminuer. Faire glisser le champ Sur l’image actuelle de cette manière revient à faire glisser la tête de lecture le long de la mini-Timeline. Pour alterner entre les numéros d’image et les valeurs de timecode, procédez de l’une des manières suivantes : m Cliquez sur l’icône Sur l’image actuelle située directement à gauche du champ Sur l’image actuelle. Icône Sur l’image actuelle74 Chapitre 1 Premiers contacts avec Motion m Cliquez sur l’icône Durée qui se trouve juste à gauche du champ Durée du projet. Le fait de cliquer sur l’une ou l’autre de ces icônes alterne entre l’affichage des numéros d’image et des valeurs de timecode pour toutes les commandes des projets ouverts. Sous-fenêtre Projet Lorsque vous vous attaquez à des projets plus complexes, vous pouvez visualiser leurs composants sous forme de liste, ce qui vous permet de consulter et modifier la hiérarchie des objets, notamment en regroupant des couches et en modifiant l’ordre des groupes. Vous pouvez alors désactiver temporairement certains objets et effets pour simplifier votre composition. Vous avez même la possibilité de visualiser et modifier les fichiers de médias associés aux couches de votre projet. Qui plus est, vous pouvez modifier certains attributs des couches et des groupes, tels que l’opacité, le mode de fusion et les niveaux audio. Icône Durée Affichage du temps Motion vous propose deux méthodes pour afficher les numéros d’image de votre projet. Vous pouvez afficher le temps sous forme d’images incrémentielles, allant de 1 ou 0 jusqu’à l’infini. La méthode alternative consiste à utiliser le système vidéo standard des valeurs de timecode, qui utilise une notation semblable à celle des chronomètres, en partant de 00:00:00:00 jusqu’à 23:59:59:29. Les deux premiers chiffres représentent les heures, les deux suivants, les minutes, les deux suivants, les secondes et les deux derniers chiffres, les images (HH:MM:SS:II). Certains formats de timecode sautent des chiffres pour mieux refléter les imprécisions de fréquences d’images de certains formats vidéo. Les modes d’affichage en images et en timecode possèdent chacun des avantages, en fonction principalement du format d’origine et du format final. Si vous êtes, par exemple, en train de créer une séquence de titre pour un film en 35 mm, qui doit contenir exactement 720 images, il est préférable de régler vos compteurs sur un affichage en numéros d’images. Si vous êtes en train de réaliser un spot télévisé destiné à être diffusé ou transféré sur bande vidéo, vous devriez probablement régler vos compteurs sur un affichage en timecode, afin que les numéros d’image correspondent aux numéros figurant sur la bande vidéo.Chapitre 1 Premiers contacts avec Motion 75 Tout cela peut être effectué via la sous-fenêtre Projet, située généralement à gauche du Canevas. Pour afficher la sous-fenêtre Projet, effectuez l’une des opérations suivantes : m Cliquez sur l’icône Projet dans la barre d’outils. m Appuyez sur la touche F5. m Faites glisser la barre de séparation sur le bord gauche du Canevas. Vous pouvez également changer la disposition des fenêtres afin que la sous-fenêtre projet soit affichée à droite du Canevas. Pour intervertir le Canevas et la sous-fenêtre Projet: m Choisissez Fenêtre > Présentations > Intervertir la fenêtre du projet et le Canevas. La sous-fenêtre Projet comporte trois onglets : Couches, Média et Audio. Chacun de ces onglets permet de visualiser des éléments de votre projet sous forme de liste. Onglet Couches L’onglet Couches de la sous-fenêtre Projet fournit une vue d’ensemble des couches, effets et masques actuellement utilisés dans votre projet. La hiérarchie des éléments de la liste décrit la manière dont les objets sont superposés dans le Canevas. Tous les objets, à l’exception des caméras et des lumières, doivent être intégrés à des groupes. Les masques, comportements et effets s’appliquent à des groupes ou à des couches particulières. D’ailleurs, une fois appliqués, ils sont répertoriés en dessous du groupe ou de la couche qu’ils affectent, avec un léger décalage sur la droite.76 Chapitre 1 Premiers contacts avec Motion Les colonnes Nom et État de la liste de couches affichent diverses icônes représentant les éléments audio liés, la version 2D/3D ou le verrouillage. Par défaut, cette liste affiche également les masques, comportements et filtres appliqués. Vous pouvez activer et désactiver l’affichage de ces objets dans l’onglet Couches. Pour afficher l’onglet Couches, procédez de l’une des manières suivantes : m Cliquez sur l’icône Projet dans la barre d’outils. m Choisissez Fenêtre > Couches. m Appuyez simultanément sur les touches Commande + 4. m Si la sous-fenêtre Projet est déjà affichée, cliquez sur l’onglet Couches situé en haut. Les informations sont affichées dans une colonne et de nombreuses commandes permettent de personnaliser le mode de présentation pendant que vous êtes en train de travailler. Vous pouvez redimensionner et réarranger les colonnes, masquer certaines colonnes et afficher celles qui ne sont pas visibles par défaut. L’onglet Couches contient les colonnes suivantes : Activé : contient une case d’activation qui permet d’activer ou de désactiver la visibilité de l’objet. Quand la visibilité de l’objet est désactivée, il est toujours possible de modifier les paramètres de l’objet et de manipuler ses commandes à l’écran.Chapitre 1 Premiers contacts avec Motion 77 Preview : affiche l’objet sous forme de vignette. La vignette d’un groupe représente le résultat cumulé du travail de montage composite jusqu’à ce point du projet. Nom : correspond au nom de l’objet. Pour modifier un nom, double-cliquez sur la zone de texte de l’objet sélectionné, saisissez un nouveau nom, puis appuyez sur Retour. Dans les projets contenant une caméra, le bouton Isoler apparaît dans cette colonne. Bouton Isoler : ce bouton n’apparaît que dans les projets contenant une caméra. Lorsque vous ajoutez une caméra à un projet, tous ses groupes sont convertis en 3D (si vous cliquez sur Basculer en 3D dans la zone de dialogue Nouvelle caméra). En revanche, si vous cliquez sur Conserver en 2D dans la zone de dialogue Nouvelle caméra, une caméra est ajoutée à votre projet, mais tous les groupes restent en 2D. Une fois la caméra ajoutée au projet, le bouton Isoler est affiché pour le groupe, la couche ou la caméra sélectionné. Ce bouton peut être activé ou désactivé. Si vous cliquez dessus pour une couche ou un groupe, vous restaurez l’orientation de face et vers l’avant d’origine de l’objet correspondant (vous pouvez ainsi lui appliquer un masque, par exemple). Cliquez à nouveau dessus pour revenir à l’affichage précédent. Si vous cliquez dessus pour une caméra, vous accédez à l’affichage de cette caméra. Remarque : si vous isolez un groupe ou une couche, son nom remplace la liste des caméras actuelles dans le menu Caméra (dans le coin supérieur gauche du Canevas). État: contient un certain nombre d’icônes indiquant l’état du projet. L’icône Verrouiller vous permet par exemple de verrouiller un objet afin d’empêcher toute modification sur cet objet. Le verrouillage d’un groupe empêche les modifications sur toutes les couches qu’il contient et les effets au sein de ce groupe. Cette colonne peut également afficher l’icône Lier si une couche comporte un élément audio, tel qu’un fichier QuickTime multicanal. Cliquez ici pour afficher des colonnes supplémentaires Icône de lien Icône 2D/3D (réglée sur 2D) Icône 3D (réglée sur 3D) Bouton Isoler (activé) Bouton Isoler (désactivé)78 Chapitre 1 Premiers contacts avec Motion La colonne État contient aussi une icône 2D/3D qui permet de basculer un groupe 2D en 3D et inversement. La même icône apparaît immédiatement à gauche du nom du groupe pour indiquer l’état 2D/3D de ce groupe. Des couches ne peuvent pas être définies en 2D ou en 3D : elles ne constituent que des éléments 2D au sein de groupes 2D ou 3D. Il est possible d’afficher des colonnes supplémentaires en cliquant sur le signe supérieur, à droite des en-têtes de colonne. Un menu local contenant trois éléments apparaît : Preview, Opacité et Fusion. Les coches du menu local signalent quelles sont les colonnes affichées. Par défaut, seule la colonne Preview est cochée. Choisissez les autres éléments à ajouter dans l’onglet Couches. Si vous choisissez un élément déjà coché, vous le masquez. Opacité : affiche le niveau d’opacité actuel (transparence) du groupe ou de la couche. Ajustez le curseur pour modifier l’opacité de l’élément. Remarque : la palette et l’onglet Propriétés de l’Inspecteur vous permettent également de régler l’opacité. Mode de fusion : affiche le mode de fusion actuel du groupe ou de la couche. Cliquez sur le menu local pour choisir un autre mode de fusion. Pour en savoir plus sur les modes de fusion, voir « Utilisation des modes de fusion » à la page 322. Remarque : vous pouvez également modifier le mode de fusion en cliquant sur un élément tout en maintenant la touche Contrôle enfoncée dans l’onglet Couches (ou la liste de couches de la Timeline), la palette ou l’onglet Propriétés de l’Inspecteur.Chapitre 1 Premiers contacts avec Motion 79 Modification des colonnes Toute fenêtre contenant des colonnes de données peut être réorganisée en fonction de vos besoins. Vous pouvez modifier l’ordre d’affichage des colonnes ainsi que la taille des cellules. Vous pouvez, par exemple, modifier l’onglet Couches afin que la colonne prévisualisation y soit affichée à droite de la colonne Nom plutôt qu’à gauche. Vous pouvez également trier les éléments de la colonne par type de fichier. Pour réorganiser les colonnes : m Faites glisser l’en-tête de la colonne vers la gauche ou la droite à un nouvel emplacement. Vous disposez de plusieurs méthodes pour redimensionner les colonnes. Vous pouvez régler la largeur d’une colonne ou modifier simultanément la hauteur de toutes les cellules des colonnes, y compris toutes les icônes et le texte qu’elles contiennent. Pour ajuster la largeur d’une colonne : m Dans la ligne d’en-tête, faites glisser la bordure d’une colonne afin de modifier sa largeur. Pour ajuster la hauteur des cellules : m Placez le pointeur au-dessus de n’importe quelle ligne horizontale, puis faites-la glisser vers le haut ou vers le bas afin de diminuer ou d’augmenter la hauteur de toutes les cellules. Les icônes et les vignettes sont automatiquement redimensionnées au fur et à mesure que vous effectuez ces réglages. Vous pouvez également faire glisser le curseur d’échelle situé en bas de la fenêtre. Faites-le glisser vers la gauche pour diminuer la hauteur des cellules et vers la droite pour l’augmenter. Ajout et suppression de groupes L’onglet Couches contient des commandes permettant d’ajouter de nouveaux groupes et de supprimer certains objets du projet. Pour créer un nouveau groupe dans la liste de couches, procédez de l’une des manières suivantes : m Cliquez sur le bouton Ajouter (+) dans l’angle supérieur gauche de l’onglet. m Choisissez Objet > Nouveau groupe (ou appuyez sur les touches Maj + Commande + N). Un nouveau groupe vide est ajouté au haut de la liste.80 Chapitre 1 Premiers contacts avec Motion Remarque : vous pouvez également créer de nouveaux groupes en faisant glisser des fichiers vers l’onglet Couches depuis le Navigateur ou la Bibliothèque. Pour en savoir plus, voir « Ajout de fichiers à votre projet » à la page 239. Pour supprimer un objet de la liste de couches, procédez de l’une des manières suivantes : m Sélectionnez l’objet à supprimer, puis cliquez sur le bouton Supprimer (–) dans le coin supérieur gauche de l’onglet. m Appuyez sur la touche Contrôle tout en cliquant sur le fichier que vous voulez supprimer, puis choisissez Supprimer dans le menu contextuel. m Sélectionnez le fichier à supprimer, puis choisissez Édition > Supprimer (ou appuyez sur Suppr). L’objet est supprimé. Cette opération supprime également l’objet du Canevas. Remarque : si vous supprimez un fichier de média (une image importée, une séquence d’images, un fichier audio ou une séquence QuickTime) du projet, ce fichier est également supprimé de l’onglet Média, à moins que l’option « Supprimer automatiquement les données inutilisées » ne soit désactivée dans la section Générales des préférences Motion (accessibles via Commande + virgule). Si cette option est effectivement désactivée, les fichiers de médias sont supprimés de l’onglet Couches (et du Canevas), mais restent au sein du projet dans l’onglet Média. Faites alors glisser un élément de l’onglet Média vers le Canevas pour l’ajouter à l’onglet Couches. Filtrage de l’affichage de la liste de couches À mesure que votre projet devient de plus en plus complexe, il se peut que vous soyez amené à masquer temporairement l’affichage de certains objets. Vous pouvez ainsi vous concentrer sur un ou plusieurs objets sans être distrait par tous les autres objets de la liste. Vous pouvez effectuer ce type de filtrage via le champ Rechercher situé dans l’angle supérieur droit de l’onglet. Dès que vous commencez à taper du texte dans le champ Rechercher, la liste de couches masque tous les objets qui ne contiennent pas le texte que vous êtes en train de taper. Les objets masqués demeurent toutefois affichés dans le Canevas. Pour filtrer la liste de couches : m Saisissez le nom du ou des objets que vous souhaitez afficher dans le champ de recherche. Tous les autres objets sont temporairement masqués. Champ de rechercheChapitre 1 Premiers contacts avec Motion 81 Pour arrêter le filtrage et rétablir la liste complète : m Cliquez sur le bouton Effacer dans le champ Rechercher. Le contenu du champ Rechercher est effacé et la liste de couches complète est rétablies. Affichage et masquage des effets Les masques, comportements et filtres peuvent être activés et désactivés dans la liste de couches, à l’aide des boutons qui se trouvent dans l’angle inférieur droit de l’onglet Couches. Remarque : même si vous masquez un effet dans la liste de couches, il reste visible dans le Canevas et vous pouvez toujours modifier ses paramètres ou manipuler ses commandes à l’écran. Pour activer/désactiver l’affichage des masques dans l’onglet Couches : m Cliquez sur le bouton Afficher les masques. Pour activer/désactiver l’affichage des comportements dans l’onglet Couches : m Cliquez sur le bouton Afficher les comportements. Pour activer/désactiver l’affichage des filtres dans l’onglet Couches : m Cliquez sur le bouton Afficher les filtres. Afficher les comportements Afficher les masques Afficher les filtres82 Chapitre 1 Premiers contacts avec Motion Activation et désactivation des effets Lorsque certains effets sont appliqués à une couche ou un groupe, des icônes apparaissent dans la colonne Nom de cet élément. Vous pouvez ainsi savoir qu’un effet est appliqué, surtout si vous avez masqué les effets. Il existe des icônes pour les masques, les filtres et les comportements. Ces icônes vous permettent en outre d’activer et de désactiver les effets dans le Canevas. Remarque : vous pouvez également cliquer sur les icônes tout en maintenant la touche Contrôle enfoncée sous l’onglet Couches ou dans la liste de couches de la Timeline pour afficher une liste des effets appliqués. Pour désactiver les masques d’une couche ou d’un groupe : m Cliquez sur l’icône Masque. Une barre rouge apparaît sur l’icône et l’effet est temporairement désactivé. Pour désactiver les comportements d’une couche ou d’un groupe : m Cliquez sur l’icône Comportement. Une barre rouge apparaît sur l’icône et l’effet est temporairement désactivé. Pour désactiver les filtres d’une couche ou d’un groupe : m Cliquez sur l’icône Filtre. Une barre rouge apparaît sur l’icône et l’effet est temporairement désactivé. Pour chacune de ces commandes, le fait de cliquer à nouveau sur l’icône permet de réactiver l’effet. Autres options disponibles dans l’onglet Couches L’onglet Couches et la liste de couches de la Timeline proposent un certain nombre de fonctions supplémentaires, accessibles via le menu contextuel affiché lorsque vous cliquez sur des couches de la liste tout en maintenant la touche Contrôle enfoncée. Ces fonctions s’appliquent à l’élément sélectionné. Filtre désactivé Masques Comportements Filtres Isoler (désactivé)Chapitre 1 Premiers contacts avec Motion 83 Couper : supprime la couche et la place dans le Presse-papiers. Copier : copie la couche dans le Presse-papiers. Coller : place le contenu du Presse-papiers à l’emplacement actuel. Dupliquer : crée une nouvelle couche identique à la sélection. Supprimer : supprime la couche sélectionnée. Grouper : place les couches sélectionnées dans un groupe. (Pour en savoir plus sur l’utilisation des groupes, voir « Regroupement et dissociation de couches » à la page 269.) Dissocier : rétablit l’état antérieur non groupé des éléments si la sélection comprend un groupe. Activer : active ou désactive la couche. Cela revient à cocher la case d’activation dans la colonne Act. Solo : l’application de cette commande à une couche masque toutes les autres couches du projet. Lorsque l’élément sélectionné est en solo, les cases à cocher des autres couches et groupes sont estompées. Vous pouvez activer le mode solo pour plusieurs couches et groupes simultanément. Isoler : disponible si un projet contient une caméra, cette option isole la couche, le groupe ou la caméra sélectionné. Si vous choisissez Isoler pour une couche ou un groupe, vous restaurez l’orientation de face et vers l’avant d’origine de l’objet correspondant (vous pouvez ainsi lui appliquer un masque, par exemple). Si vous cliquez sur le bouton Isoler d’une caméra, vous activez l’affichage de cette caméra. L’activation de cette option revient à cliquer sur l’icône Isoler dans la colonne Nom. Groupe 3D : convertit le groupe sélectionné en groupe 2D ou 3D. Mode de fusion : définit le mode de fusion de la couche sélectionnée. Cela revient à définir une valeur dans la colonne Fusion. Ajouter un masque d’image : ajoute un masque d’image à la couche sélectionnée. En effet, un masque d’image crée de la transparence dans un autre objet en utilisant le canal alpha d’une autre couche, telle qu’une forme, du texte, une séquence ou une image fixe. Pour en savoir plus, voir « Application de masques d’image à une couche » à la page 1190. Cloner la couche : clone la couche sélectionnée. Comme la commande Dupliquer, Cloner la couche vous permet de créer des copies de la couche sélectionné. Toutefois, les copies créées au moyen de la commande Cloner la couche sont automatiquement mises à jour pour refléter certaines modifications apportées à la couche d’origine. Pour en savoir plus sur le clonage des couches, voir « Clonage de couches » à la page 315. Afficher le média source : ouvre l’onglet Média et met en surbrillance le fichier de média associé au plan sélectionné.84 Chapitre 1 Premiers contacts avec Motion Onglet Média Le deuxième onglet de la sous-fenêtre Projet affiche une liste complète des médias de votre projet. Un « média » est en fait un fichier audio, une image, une séquence d’images ou une séquence QuickTime importé. Contrairement à l’onglet Couches, l’onglet Média peut afficher des éléments qui ne sont pas utilisés dans votre projet. De plus, si vous avez utilisé plusieurs fois la même couche, il se peut que l’onglet Média n’affiche qu’une seule version de cette couche. Les effets (filtres ou masques) et les autres couches créées dans Motion (masques, formes ou texte) n’apparaissent pas dans l’onglet Média. Pour afficher l’onglet Média, procédez de l’une des manières suivantes : m Choisissez Fenêtre > Média. m Appuyez simultanément sur les touches Commande + 5. m Si la sous-fenêtre Projet est déjà affichée, cliquez sur l’onglet Média en haut de la fenêtre. m Pour afficher des colonnes supplémentaires dans l’onglet Média, faites glisser la ligne de séparation entre la sous-fenêtre Projet et le Canevas (la ligne verticale le long du bord droit de la fenêtre). L’onglet Média fournit un grand nombre d’informations techniques sur les fichiers de médias de votre projet. Pour chaque fichier, ces données sont affichées dans les colonnes suivantes : Preview : affiche le fichier de média sous forme de vignette. La vignette d’un fichier audio (sans image associée) représente l’icône d’un haut-parleur. Nom : contient le nom du média. Ces noms ne sont pas modifiables, car ils font référence aux fichiers stockés sur le disque dur. Type : identifie le type de média (tel que séquence QuickTime, image fixe, audio QuickTime ou PDF). Pour une liste des codecs et des types de fichiers pris en charge, voir l’annexe B, « Formats vidéo et de fichiers », à la page 1293. En service : si une coche apparaît dans cette colonne, le média est actuellement utilisé dans votre projet. En l’absence de coche, le média n’est pas utilisé. Si l’option « Supprimer automatiquement les données inutilisées » est activée dans l’onglet Géné- rales des préférences Motion (accessibles via Commande + virgule), Motion supprime automatiquement les médias inutilisés de l’onglet Média. Désactivez cette option si vous préférez gérer manuellement le contenu de l’onglet Média.Chapitre 1 Premiers contacts avec Motion 85 Durée : affiche la durée du média en images ou en timecode. Dim. image : affiche les dimensions natives de l’image, exprimées en pixels. Les nombres représentent la largeur et la hauteur. Cette colonne demeure vide pour les fichiers ne contenant que des données audio. Compresseur : affiche le type de compression éventuel utilisé dans le plan. On utilise parfois le terme codec. Profondeur : affiche le nombre de couleurs (profondeur de bits) du fichier. La mention « Millions de couleurs + » indique que le média contient un canal alpha en plus des données RVB. Fréquence d’images : affiche le nombre original d’images par secondes du média. Les séquences sont répertoriées à la fréquence d’images actuelle du projet et les images fixes n’affichent pas de fréquence d’images. Débit : affiche la vitesse de lecture du fichier de média, exprimée en nombre d’octets par seconde. Échantillonnage : affiche la fréquence d’échantillonnage de la piste audio, exprimée en kilohertz (kHz). Format audio : affiche le nombre de bits par échantillon (généralement 8, 16 ou 24) et le nombre de canaux (mono, stéréo ou multicanal) de la piste audio. Taille fichier : affiche la taille totale occupée par le fichier du média sur le disque. Fichier créé le : affiche la date de création du média. Fichier modifié le : affiche la dernière date de modification du média. Masquage des colonnes Vous pouvez choisir les colonnes à afficher en cliquant sur le signe supérieur situé à droite des en-têtes de colonnes. Les éléments cochés de la liste indiquent qu’ils sont affichés dans l’onglet Média. Les éléments non cochés sont masqués.86 Chapitre 1 Premiers contacts avec Motion Pour masquer une colonne : m Cliquez sur le signe supérieur, à droite des en-têtes de colonnes, puis choisissez l’élément à masquer dans le menu local. Pour afficher une colonne : m Cliquez sur le signe supérieur, à droite des en-têtes de colonnes, puis choisissez l’élément à afficher dans le menu local. L’élément apparaît à droite de toutes les colonnes. Toute fenêtre contenant des colonnes de données peut être réorganisée. Vous pouvez modifier l’ordre d’affichage des colonnes ainsi que la taille des cellules. Vous pouvez, par exemple, modifier l’onglet Média afin que la colonne « Dim. image » y soit affichée avant la colonne Nom. Pour en savoir plus sur la modification des colonnes, voir « Modification des colonnes » à la page 79. Ajout et suppression de médias L’onglet Média contient des commandes permettant d’ajouter de nouveaux fichiers à votre projet et d’en supprimer. Pour ajouter un fichier dans l’onglet Média, procédez de l’une des manières suivantes : m Cliquez sur le bouton Ajouter (+) dans l’angle supérieur gauche de l’onglet. Dans la zone de dialogue Importation de fichiers, accédez au fichier que vous souhaitez ajouter à votre projet, sélectionnez-le, puis cliquez sur Importer. Remarque : pour importer une séquence d’images, cochez la case Séquence d’images. Dans le cas contraire, seul le fichier sélectionné dans la zone de dialogue Importation de fichiers est importé. Pour sélectionner plusieurs fichiers, cliquez sur leur nom tout en maintenant la touche Maj enfoncée. Pour sélectionner des fichiers non contigus, procédez de même, mais appuyez sur la touche Commande. m Alors que l’onglet Média est activé, choisissez Fichier > Importer (ou appuyez sur les touches Commande + I). Dans la zone de dialogue Importation de fichiers, accédez au fichier que vous souhaitez ajouter à votre projet, sélectionnez-le, puis cliquez sur Importer. Le fichier est ajouté à l’onglet Média. Important : les fichiers ajoutés directement dans l’onglet Média ne sont pas ajoutés au Canevas. Pour ajouter un fichier au Canevas, faites-le ensuite glisser de l’onglet Média vers le Canevas. Pour supprimer un fichier de l’onglet Média, procédez de l’une des manières suivantes : m Sélectionnez le fichier à supprimer, puis cliquez sur le bouton Supprimer (–) dans le coin supérieur gauche de l’onglet.Chapitre 1 Premiers contacts avec Motion 87 m Appuyez sur la touche Contrôle tout en cliquant sur le fichier, puis choisissez Supprimer dans le menu contextuel. m Sélectionnez le fichier à supprimer, puis choisissez Édition > Supprimer (ou appuyez sur Suppr). Le média est supprimé. Si ce média est utilisé dans le Canevas, un message vous invite de confirmer sa suppression. Filtrage de l’onglet Média Plus votre projet devient complexe, plus vous pouvez avoir envie de masquer temporairement l’affichage de certains fichiers. Vous pouvez ainsi vous concentrer sur un ou plusieurs fichiers sans être distrait par tous les autres fichiers de la liste. Vous pouvez effectuer ce type de filtrage via le champ Rechercher situé dans l’angle supérieur droit de l’onglet. Pour en savoir plus sur le filtrage de l’onglet Média, voir « Filtrage de l’affichage de la liste de couches » à la page 80. Autres options disponibles dans l’onglet Média L’onglet Média contient un certain nombre de fonctions supplémentaires, accessibles via le menu contextuel affiché lorsque vous cliquez sur un ou des fichiers de la liste tout en maintenant la touche Contrôle enfoncée. Les commandes de ce menu s’appliquent au(x) fichier(s) sélectionné(s). Ouvrir dans le Visualiseur : ouvre l’élément sélectionné dans la fenêtre du Visualiseur, ce qui revient à double-cliquer sur un fichier dans le Navigateur. Ouvrir dans QuickTime Player : ouvre l’élément sélectionné dans QuickTime Player. Afficher dans le Finder : bascule hors de Motion et ouvre une fenêtre du Finder pour afficher l’emplacement du fichier de média sur le disque dur. Reconnecter les médias : ouvre la zone de dialogue Reconnecter les médias dans laquelle vous pouvez affecter un nouveau fichier source du disque au fichier de données qui se trouve dans Motion. Couper : supprime le fichier et le place dans le Presse-papiers. Copier : copie le fichier dans le Presse-papiers. Coller : place le contenu du Presse-papiers à l’emplacement actuel. Dupliquer : crée un nouveau fichier identique au fichier sélectionné. Supprimer : supprime le fichier sélectionné. Si vous n’avez sélectionné aucun élément dans l’onglet, le menu contextuel propose d’autres commandes : Importer des médias : importe des médias dans l’onglet Média, sans les placer dans le Canevas.88 Chapitre 1 Premiers contacts avec Motion Reconnecter les médias manquants : si l’emplacement de stockage d’un fichier de média est modifié après son ajout à votre projet, vous devez reconnecter ce fichier à votre projet. Cette commande affiche une zone de dialogue qui vous permet d’accéder au nouvel emplacement du fichier. Supprimer les données inutilisées : si votre projet contient des médias qui ne sont pas utilisés, utilisez cette commande pour supprimer rapidement tous les objets inutilisés de l’onglet Média. Coller : colle dans l’onglet Média les fichiers de médias actuellement dans le Presse-papiers, sans les placer dans le Canevas. Propriétés du projet : ouvre la zone de dialogue du même nom, qui vous permet de définir des informations de base sur votre projet, comme sa largeur et sa hauteur, la profondeur de bits, les proportions, la couleur d’arrière-plan, les réglages de rendu, etc. Pour en savoir plus sur la zone de dialogue Propriétés du projet, voir « Création de projets vierges à partir de préréglages de projet » à la page 201. Pour trier une colonne selon le type de fichier dans l’onglet Média : m Cliquez sur l’en-tête de colonne. Remarque : le tri ne fonctionne pas dans l’onglet Couches ou la liste de couches de la Timeline. Les couches sont triées dans la colonne et une petite flèche indique la direction du tri. Cliquez sur l’en-tête de colonne afin de trier en fonction du type de données de cette colonne. La flèche dans l’en-tête de la colonne indique la direction du tri.Chapitre 1 Premiers contacts avec Motion 89 Pour inverser la direction du tri : m Cliquez sur l’en-tête de la colonne contenant la petite flèche. La flèche pointe dans la direction opposée et les données sont triées dans l’ordre inverse. Onglet Audio L’onglet Audio dresse la liste de tous les fichiers audio et de tous les fichiers contenant des données audio (comme une séquence QuickTime multipiste) de votre projet. Vous pouvez y modifier les niveaux de certains fichiers ou le niveau audio général du projet. Pour en savoir plus sur l’utilisation de fichiers audio dans Motion, voir le chapitre 13, « Utilisation de données audio », à la page 1203. Pour afficher l’onglet Audio, procédez de l’une des manières suivantes : m Choisissez Fenêtre > Audio. m Appuyez simultanément sur les touches Commande + 6. m Si la sous-fenêtre Projet est déjà affichée, cliquez sur l’onglet Audio en haut de la fenêtre. L’onglet Audio contient un certain nombre de colonnes qui affichent des informations modifiables ou non sur les composants audio de votre projet : Activé : contient une case d’activation qui permet d’activer ou de désactiver les données audio.90 Chapitre 1 Premiers contacts avec Motion Nom : correspond au nom du fichier. Pour modifier un nom, double-cliquez sur la zone de texte du fichier sélectionné, saisissez un nouveau nom, puis appuyez sur Retour. Cette colonne contient également un curseur et un champ qui servent à contrôler le niveau (volume) du fichier. Les nombres qui apparaissent dans le champ sont exprimés en décibels (dB). Balance : affiche la balance gauche-droite du son. Vous pouvez modifier ce paramètre en faisant glisser le curseur vers la droite ou vers la gauche ou en saisissant une valeur de balance numérique. Les valeurs négatives déplacent la balance vers la gauche ; les valeurs positives déplacent la balance vers la droite. État: contient les boutons Activer/Désactiver le son et Solo pour contrôler la lecture audio du fichier. Lorsque le bouton Activer/Désactiver le son est activé, tout le son contenu dans le fichier est supprimé du mixage. Lorsqu’il est désactivé, les données audio du fichier sont lues en fonction du niveau indiqué par le curseur situé dans la colonne Nom. Lorsque le bouton Solo est activé, les autres éléments audio non-solo ne sont pas lus, ce qui vous permet de lire un seul élément, sans avoir à écouter les autres fichiers de votre montage. De plus, vous pouvez appliquer l’option Solo à plusieurs fichiers. Ainsi, vous écoutez uniquement les fichiers marqués en solo, plutôt que l’ensemble du mixage. Sortie : définit les canaux de sortie audio. Vous avez le choix entre : stéréo, gauche, droite, centre, etc. Cliquez sur ce champ pour choisir un canal de sortie pour la piste audio. Verrouiller: vous permet de verrouiller un fichier audio, afin d’éviter qu’il ne soit modifié. Cette colonne peut également afficher une icône Lier lorsqu’un fichier est associé à un élément vidéo. Modification des colonnes dans l’onglet Audio Vous pouvez contrôler les colonnes à afficher en cliquant sur le signe supérieur, situé à droite des en-têtes de colonnes. Un menu local apparaît alors. Il dresse la liste des colonnes. Les éléments cochés de cette liste indiquent qu’ils sont affichés dans la fenê- tre. Les éléments non cochés sont masqués. Vous pouvez également modifier la disposition et la taille des colonnes. Pour savoir comment procéder pour masquer et afficher des colonnes, voir « Masquage des colonnes » à la page 85. Pour en savoir plus sur la modification des colonnes, voir « Modification des colonnes » à la page 79. Activer/Désactiver le son SoloChapitre 1 Premiers contacts avec Motion 91 Ajout et suppression de fichiers audio L’onglet Audio contient des commandes permettant d’ajouter de nouveaux fichiers et de ne plus afficher certains fichiers de votre projet. Pour ajouter un fichier audio au projet, procédez de l’une des manières suivantes : m Cliquez sur le bouton Ajouter (+) dans l’angle supérieur gauche de l’onglet. Dans la zone de dialogue Importation de fichiers, accédez au fichier que vous souhaitez importer, sélectionnez-le, puis cliquez sur OK. m Alors que l’onglet Audio est activé, choisissez Fichier > Importer (ou appuyez sur les touches Commande + I). Dans la zone de dialogue Importation de fichiers, accé- dez au fichier que vous souhaitez ajouter à votre projet, sélectionnez-le, puis cliquez sur Importer. Remarque : lors de l’importation d’une séquence QuickTime contenant plusieurs pistes audio, sélectionnez l’option Mixer vers stéréo dans la zone de dialogue Importation de fichiers pour importer le fichier avec une seule piste audio. En revanche, sélectionnez Importer toutes les pistes pour importer le fichier avec ses différentes pistes. Le fichier est ajouté au projet (dans les onglets Audio et Média). Pour supprimer un fichier de l’onglet Audio, procédez de l’une des manières suivantes : m Sélectionnez le fichier à supprimer, puis cliquez sur le bouton Supprimer (–) dans le coin supérieur gauche de l’onglet. m Appuyez sur la touche Contrôle tout en cliquant sur le fichier, puis choisissez Supprimer dans le menu contextuel. m Sélectionnez le fichier à supprimer, puis choisissez Édition > Supprimer (ou appuyez sur Suppr). Le fichier est supprimé. Remarque : ces méthodes suppriment le fichier du projet (des onglets Audio et Média). Filtrage de l’onglet Audio À mesure que votre projet devient de plus en plus complexe, il se peut que vous soyez amené à masquer temporairement l’affichage de certains fichiers audio. Vous pouvez ainsi vous concentrer sur un ou plusieurs fichiers sans être distrait par tous les autres fichiers de la liste. Vous pouvez effectuer ce type de filtrage via le champ Rechercher situé dans l’angle supérieur droit de l’onglet. Pour en savoir plus sur le filtrage de l’affichage, voir « Filtrage de l’affichage de la liste de couches » à la page 80.92 Chapitre 1 Premiers contacts avec Motion Autres options disponibles dans l’onglet Audio L’onglet Audio contient quelques fonctions supplémentaires accessibles via le menu contextuel qui apparaît lorsque vous cliquez sur les fichiers de la liste en maintenant la touche Contrôle enfoncée : Couper : supprime le fichier et le place dans le Presse-papiers. Copier : copie le fichier dans le Presse-papiers. Coller : place le contenu du Presse-papiers à l’emplacement actuel. Dupliquer : crée un nouveau fichier identique au fichier d’origine. Supprimer : supprime le fichier sélectionné. Envoyer vers Soundtrack Pro : lance Soundtrack Pro et ouvre le plan audio sélectionné dans Soundtrack Pro pour pouvoir le modifier. Activer : active et désactive le fichier. Cela revient à cocher la case d’activation dans la colonne Act. Activer/Désactiver le son : désactive le son de l’élément sélectionné. Cela revient à cliquer sur le bouton Activer/Désactiver le son dans la colonne État. Solo : règle l’élément sélectionné sur Solo. Cela revient à cliquer sur le bouton Solo dans la colonne État. Afficher le média source : ouvre l’onglet Média et met en surbrillance le fichier de média associé au plan sélectionné. Si vous n’avez sélectionné aucun élément dans l’onglet Audio, le menu contextuel propose d’autres commandes. Importer l’audio : ouvre la zone de dialogue Importation de fichiers, qui vous permet d’accéder au fichier audio que vous souhaitez importer. Coller : colle toutes les données audio actuellement présentes dans le Presse-papiers vers les onglets Audio et Média. Propriétés du projet : ouvre la zone de dialogue du même nom, qui vous permet de définir des informations de base sur votre projet, comme sa largeur et sa hauteur, la profondeur de bits, les proportions, la couleur d’arrière-plan, les réglages de rendu, etc. Pour en savoir plus sur la zone de dialogue Propriétés du projet, voir « Création de projets vierges à partir de préréglages de projet » à la page 201.Chapitre 1 Premiers contacts avec Motion 93 Fenêtre Contrôle du temps Dans la majeure partie des projets, arrive un stade où il est nécessaire de visualiser le contenu de votre composition sous la forme d’un graphique temporel. Cela peut servir, par exemple, à comparer les moments où deux objets apparaissent ou disparaissent, ou les moments correspondant au début ou à la transformation d’un effet. En effet, vous pouvez tout à fait ajouter ou supprimer des objets dans votre projet à un point particulier dans le temps afin d’observer ou de modifier le comportement de plusieurs paramètres d’effets différents. Vous pouvez également visualiser vos formes d’onde audio pour permettre la synchronisation des éléments visuels avec votre bande-son. Tout cela est possible via la fenêtre Contrôle du temps qui se trouve en bas du Canevas. Pour afficher la fenêtre Contrôle du temps, procédez de l’une des manières suivantes : m Faites glisser la barre de séparation sur le bord inférieur du Canevas. m Cliquez sur l’icône Contrôle du temps située dans l’angle supérieur droit du Canevas. m Choisissez Fenêtre > Timeline (ou appuyez sur Commande + 7). m Appuyez sur la touche F6. Icône Contrôle du temps94 Chapitre 1 Premiers contacts avec Motion m Choisissez Fenêtre > Présentations > Cinéma (ou appuyez simultanément sur les touches Contrôle + Option + U). La fenêtre Contrôle du temps comporte trois onglets : Timeline, Éditeur d’images clés et Éditeur audio. Chacun de ces onglets permet de visualiser les éléments de votre projet étalés dans le temps. Timeline La Timeline constitue l’onglet le plus général des onglets de contrôle du temps. Elle peut non seulement afficher les objets visuels de votre projet (les couches), mais aussi les pistes audio, les caméras, les lumières, les images clés et les effets (masques, comportements et filtres). Pour en savoir plus sur l’utilisation de la Timeline, consultez la rubrique « Utilisation de la Timeline » à la page 353. Pour afficher l’onglet Timeline, procédez de l’une des manières suivantes : m Choisissez Fenêtre > Timeline (ou appuyez sur Commande + 7). m Si la sous-fenêtre Projet est déjà affichée, cliquez sur l’onglet Timeline en haut de la fenêtre.Chapitre 1 Premiers contacts avec Motion 95 Liste de couches de la Timeline La partie gauche de la Timeline est réservée à une liste de couches pratiquement identique à la liste affichée par l’onglet Couches de la sous-fenêtre Projet. Les objets apparaissent dans la hiérarchie du projet, classés en couches et en groupes. Les trois colonnes sont identiques à celles de la liste de couches. Activé (sans titre) : cette colonne (identique à la colonne Activé de l’onglet Couches) contient une case en regard de chaque objet, qui permet d’activer et de désactiver la visibilité de l’objet correspondant. Quand la visibilité de l’objet est désactivée, il est toujours possible de modifier les paramètres de l’objet et de manipuler ses commandes à l’écran. Nom (sans titre) : correspond au nom de l’objet. (Cette colonne est identique à la colonne Nom de l’onglet Couches.) Pour modifier un nom, double-cliquez sur la zone de texte de l’objet sélectionné, saisissez un nouveau nom, puis appuyez sur Retour. Dans les projets contenant une caméra, le bouton Isoler apparaît également dans cette colonne. Isoler : ce bouton n’apparaît que dans les projets contenant une caméra. Lorsque vous ajoutez une caméra à un projet, tous ses groupes sont convertis en 3D (si vous cliquez sur Basculer en 3D dans la zone de dialogue Nouvelle caméra). En revanche, si vous cliquez sur Conserver en 2D dans la zone de dialogue Nouvelle caméra, une caméra est ajoutée à votre projet, mais tous les groupes restent en 2D. Une fois la caméra ajoutée au projet, le bouton Isoler est affiché pour le groupe, la couche ou la caméra sélectionné. Ce bouton peut être activé ou désactivé. Si vous cliquez dessus pour une couche ou un groupe, vous restaurez l’orientation de face et vers l’avant d’origine de l’objet correspondant (vous pouvez ainsi lui appliquer un masque, par exemple). Cliquez à nouveau dessus pour revenir à l’affichage précédent. Si vous cliquez dessus pour une caméra, vous accédez à l’affichage de cette caméra.96 Chapitre 1 Premiers contacts avec Motion État (sans titre) : contient un certain nombre d’icônes indiquant l’état du projet. (Cette colonne est identique à la colonne État de l’onglet Couches.) L’icône Verrouiller vous permet par exemple de verrouiller un objet afin d’empêcher toute modification sur cet objet. Le verrouillage d’un groupe empêche les modifications sur toutes les couches qu’il contient et les effets au sein de ce groupe. Cette colonne peut également afficher l’icône Lier si une couche comporte un élément audio, tel qu’un fichier QuickTime multicanal. La colonne État contient aussi une icône 2D/3D qui permet de convertir un groupe 2D en 3D et inversement. La même icône apparaît immédiatement à gauche du nom du groupe pour indiquer l’état 2D/3D de ce groupe. Des couches ne peuvent pas être définies en 2D ou en 3D : elles ne constituent que des éléments 2D au sein de groupes 2D ou 3D. Remarque : toute modification effectuée dans la liste de couches de la Timeline modifie également la liste de couches de la sous-fenêtre Projet et vice versa. Commandes relatives aux effets dans la liste de couches de la Timeline Lorsque certains effets sont appliqués à un objet, des icônes apparaissent en regard du nom de cet élément. Il existe des icônes pour les masques, les filtres et les comportements. Elles permettent de contrôler la visibilité de ces effets dans le Canevas. Pour désactiver les masques d’une couche ou d’un groupe : m Cliquez sur l’icône Masques dans la liste de couches de la Timeline. Une barre rouge apparaît sur l’icône et l’effet est temporairement désactivé. Pour désactiver les comportements d’un objet: m Cliquez sur l’icône Comportements dans la liste de couches de la Timeline. Une barre rouge apparaît sur l’icône et l’effet est temporairement désactivé. Pour désactiver les filtres d’une couche ou d’un groupe : m Cliquez sur l’icône Filtres dans la liste de couches de la Timeline. Filtre désactivé Masques Comportements FiltresChapitre 1 Premiers contacts avec Motion 97 Une barre rouge apparaît sur l’icône et l’effet est temporairement désactivé. Pour l’ensemble de ces trois commandes, le fait de cliquer à nouveau sur l’icône permet de réactiver l’effet. Options d’affichage de la liste de couches de la Timeline Comme pour l’onglet Couches, vous pouvez choisir d’afficher ou de masquer les effets tels que les masques, les filtres et les comportements. La Timeline vous permet en outre d’afficher les images clés. Vous pouvez également choisir d’afficher les pistes audio et, si tel est le cas, de masquer les groupes et les couches. L’ensemble de ces options d’affichage est contrôlé par la rangée de boutons située dans l’angle inférieur gauche de la Timeline. Vous pouvez afficher les masques, les comportements et les filtres sous forme de couches dans la Timeline, tout comme ils le sont dans l’onglet Couches. L’affichage ou le masquage des effets dans la liste ne permet pas de contrôler si les effets apparaissent dans le Canevas. Pour activer/désactiver l’affichage des masques dans la Timeline : m Cliquez sur le bouton Afficher/Masquer les masques. Pour activer/désactiver l’affichage des comportements dans la Timeline : m Cliquez sur le bouton Afficher/Masquer les comportements. Pour activer/désactiver l’affichage des filtres dans la Timeline : m Cliquez sur le bouton Afficher/Masquer les filtres. Lorsque les images clés sont affichées, chaque piste gagne légèrement en hauteur et la partie du bas est utilisée pour afficher toute image clé associée à la couche. Afficher/Masquer l’audio Afficher/Masquer les masques Afficher/Masquer les images clés Afficher/Masquer les comportements Afficher/Masquer Afficher/Masquer les filtres les couches Image clé Image clé sélectionnée98 Chapitre 1 Premiers contacts avec Motion Pour activer/désactiver l’affichage des images clés dans la Timeline : m Cliquez sur le bouton Afficher/Masquer les images clés. Les fichiers audio apparaissent dans une section séparée des autres objets. Vous pouvez déplacer la barre de séparation entre les sections audio et vidéo de la Timeline afin d’afficher plus ou moins de détails de chaque section. Pour activer/désactiver l’affichage des fichiers audio : m Cliquez sur le bouton Afficher/Masquer l’audio situé dans l’angle inférieur gauche de l’onglet Timeline. Pour activer/désactiver l’affichage des couches et des groupes : m Cliquez sur le bouton Afficher/Masquer les couches situé dans l’angle inférieur gauche de l’onglet Timeline. Remarque : il est impossible de masquer les couches et les groupes, à moins que les fichiers audio soient actuellement affichés, le but étant d’éviter d’avoir une Timeline complètement vide. Pour déplacer la barre de séparation entre les pistes audio et vidéo : m Placez le pointeur au-dessus de la barre de séparation, puis faites-la glisser vers le haut ou vers le bas pour étendre ou réduire la section réservée aux pistes. Vous pouvez régler la hauteur des pistes dans la Timeline, afin de ménager plus ou moins d’espace vertical. Vous pouvez également augmenter la taille de la liste de couches. SéparateurChapitre 1 Premiers contacts avec Motion 99 Pour ajuster la hauteur des pistes, procédez de l’une des manières suivantes : m Placez le pointeur au-dessus de n’importe quelle ligne horizontale, puis faites-la glisser vers le haut ou vers le bas afin de diminuer ou d’augmenter la hauteur de toutes les pistes. m Cliquez sur l’un des boutons « Définir la hauteur de ligne de la Timeline » situés en bas de l’onglet. Pour modifier la largeur de la liste de couches de la Timeline : 1 Placez le pointeur sur le bord le plus à droite de la liste de couches de la Timeline. 2 Lorsque le pointeur se transforme en pointeur d’ajustement des colonnes, faites glisser vers la gauche ou la droite. Ajout et suppression de groupes La Timeline contient des commandes permettant d’ajouter de nouveaux groupes et de supprimer certaines couches du projet. Pour créer un nouveau groupe dans la liste de couches de la Timeline, procédez de l’une des manières suivantes : m Cliquez sur le bouton Ajouter (+) dans l’angle supérieur gauche de l’onglet. m Choisissez Objet > Nouveau groupe (ou appuyez sur les touches Maj + Commande + N). Un nouveau groupe vide est ajouté au haut de la liste. Vous pouvez également créer de nouveaux groupes en faisant glisser des fichiers vers la liste de couches de la Timeline depuis le Navigateur ou la Bibliothèque. Pour en savoir plus, voir « Ajout de fichiers à votre projet » à la page 239. Pour supprimer un objet de la liste de couches de la Timeline, procédez de l’une des manières suivantes : m Sélectionnez l’objet à supprimer, puis cliquez sur le bouton Supprimer (–) dans le coin supérieur gauche de l’onglet. m Appuyez sur la touche Contrôle tout en cliquant sur le fichier que vous voulez supprimer, puis choisissez Supprimer dans le menu contextuel. m Sélectionnez le fichier à supprimer, puis choisissez Édition > Supprimer (ou appuyez sur Suppr).100 Chapitre 1 Premiers contacts avec Motion L’objet est supprimé. Cette opération supprime également l’objet du Canevas. Utilisation du champ Image actuelle À droite des boutons Ajouter (+) et Supprimer (–), la Timeline comporte un champ Image actuelle qui peut vous servir à naviguer au sein de votre projet. Pour placer la tête de lecture sur une nouvelle position, procédez de l’une des manières suivantes : m Cliquez sur le champ de Image actuelle, puis saisissez un numéro d’image. m Faites glisser le curseur de valeur Sur l’image actuelle vers la gauche ou vers la droite pour reculer ou avancer. Remarque : pour avancer ou reculer plus rapidement, appuyez sur la touche Maj tout en faisant glisser le curseur de valeur Sur l’image actuelle. m La Timeline étant active, tapez le numéro de timecode ou d’image vers lequel vous souhaitez déplacer la tête de lecture. Appuyez sur Retour afin de passer à cette image. Pour avancer d’un nombre spécifique d’images : m Saisissez le signe plus (+) suivi du nombre d’images dont vous souhaitez avancer. Pour reculer d’un nombre spécifique d’images : m Saisissez le signe moins (–) suivi du nombre d’images dont vous souhaitez reculer. Zone de pistes La partie principale de la Timeline, à droite de la liste de couches, s’appelle la zone de pistes. Chaque objet de votre projet est représenté par une barre de couleur. Différentes couleurs permettent de distinguer différents types d’objets. Les comportements et les filtres apparaissent par exemple en violet, alors que les couches audio sont vertes. Pour un tableau complet des couleurs, lisez « Familiarisation avec la Timeline » à la page 355.Chapitre 1 Premiers contacts avec Motion 101 Il existe deux moyens de distinguer les pistes d’un groupe et les pistes individuelles. En premier lieu, lorsqu’un objet contenu dans un groupe est sélectionné, une barre de groupe étroite apparaît au-dessus des couches de ce groupe. En deuxième lieu, lorsque le groupe proprement dit est sélectionné, la piste du groupe affiche un indicateur spécial qui identifie le nombre d’objets contenus dans ce groupe. Les couches, les caméras et les lumières sont prises en compte dans ce total. En revanche, les effets, comme les masques, les comportements et les filtres, ne sont pas comptabilisés. Vous pouvez réduire une piste de groupe afin que les pistes des objets individuels situés dans ce groupe soient temporairement masquées. Pour réduire ou développer un groupe ou une couche : m Cliquez sur le triangle d’affichage situé à gauche du nom du groupe ou de la couche dans la liste de couches de la Timeline. La Timeline permet d’effectuer toute une série de tâches de montage telles que le déplacement, le Trim et le coulissement. Pour en savoir plus sur le montage dans la Timeline, lisez « Modification d’objets dans la Timeline » à la page 375. Couche réduite Couche développée Triangle d’affichage102 Chapitre 1 Premiers contacts avec Motion Réglette de la Timeline Tout en haut de la zone des pistes se trouve la règle qui permet de mesurer les positions et les durées des objets de votre projet. La règle peut contenir des indicateurs qui aident à marquer d’importantes images ou sections du projet, telles que la tête de lecture, les indicateurs de plage de lecture (appelés également points d’entrée et de sortie) et les marqueurs. La règle peut être affichée en images ou en timecode. Pour modifier le format d’affichage de la réglette : m Cliquez sur la réglette en maintenant la touche Contrôle enfoncée, puis choisissez Afficher les images ou Afficher le timecode dans le menu contextuel. Remarque : vous pouvez également cliquer sur l’icône Sur l’image actuelle à gauche du champ Image actuelle (à gauche des commandes de lecture) ou sur l’icône Durée à gauche du champ Durée du projet (à droite des commandes de lecture) pour choisir entre l’affichage des images ou du timecode du projet. La tête de lecture indique l’image visible dans le Canevas. Vous pouvez faire glisser la tête de lecture ou la repositionner à l’aide des commandes de lecture décrites dans la rubrique « Lecture de votre projet » à la page 65. La tête de lecture de la Timeline et celle de la mini-Timeline sont liées. Tout déplacement de l’une d’entre elles entraîne automatiquement le déplacement de l’autre. Les indicateurs de plage de lecture limitent la zone de projet à lire. Pour en savoir plus sur le réglage et l’utilisation de la plage de lecture, consultez la rubrique « Définition de la plage de lecture » à la page 394. Il est possible d’ajouter des marqueurs à votre projet afin d’identifier une image ou une plage d’images importante. Pour en savoir plus sur la création et l’utilisation de marqueurs, consultez la rubrique « Ajout de marqueurs » à la page 398. Zoom avant sur la Timeline À mesure que vous vous familiarisez avec l’utilisation de la Timeline, vous éprouverez le besoin de passer d’une vue centrée sur un point de montage particulier à une vue d’ensemble de votre projet et vice versa. Il existe heureusement différents outils qui permettent d’effectuer rapidement un zoom avant ou arrière sur la Timeline. Point d’entrée Point de sortie Marqueur de projet Tête de lectureChapitre 1 Premiers contacts avec Motion 103 La partie inférieure de la Timeline contient un curseur de zoom et une case de défilement. Pour effectuer un zoom sur la Timeline à l’aide du curseur de zoom : m Faites glisser le curseur de zoom vers la gauche pour effectuer un zoom avant et vers la droite pour un zoom arrière. La Timeline est actualisée au fur et à mesure que vous faites glisser la barre. Pour effectuer un zoom sur la Timeline à l’aide de la case de défilement : m Cliquez sur la poignée de la case de défilement et faites-la glisser vers l’extérieur pour effectuer un zoom arrière et vers le centre pour un zoom avant. La Timeline est actualisée au fur et à mesure que vous faites glisser la barre. Vous pouvez également effectuer un zoom automatique sur la Timeline afin d’inclure toute la durée de votre projet ou simplement la plage de lecture définie par les indicateurs de plage de lecture (points d’entrée et de sortie). Pour effectuer un zoom sur la Timeline afin d’afficher la totalité du projet, procédez de l’une des manières suivantes : m Double-cliquez sur le bouton Zoom sur le contrôle du temps, à droite de la règle. m Choisissez Afficher > Zoom sur le contrôle du temps > Sur le projet. Remarque : vous devez avoir sélectionné un objet dans la liste de couches de la Timeline pour que les options Zoom sur le contrôle du temps soient disponibles dans le menu Afficher. m Cliquez sur la règle en maintenant la touche Contrôle enfoncée, puis choisissez Zoom sur le projet dans le menu contextuel. Pour effectuer un zoom sur la Timeline afin d’adapter la plage de lecture à la fenêtre, procédez de l’une des manières suivantes : m Cliquez sur le bouton Zoom sur le contrôle du temps, à droite de la règle. m Choisissez Afficher > Zoom sur le contrôle du temps > Sur la plage de lecture. Remarque : vous devez avoir sélectionné un objet dans la liste de couches de la Timeline pour que les options Zoom sur le contrôle du temps soient disponibles dans le menu Afficher. Curseur de zoom Case de défilement Poignée Bouton Zoom sur le contrôle du temps104 Chapitre 1 Premiers contacts avec Motion m Cliquez sur la règle en maintenant la touche Contrôle enfoncée, puis choisissez Zoom sur la plage de lecture dans le menu contextuel. Le bouton Zoom sur le contrôle du temps permet d’alterner les réglages Zoom sur la plage de lecture et Zoom sur le projet. Si aucune plage de lecture n’a été définie, le choix de la commande Zoom sur la plage de lecture effectue un Zoom sur le projet. Modification de l’affichage des pistes Les pistes de Motion peuvent être affichées de plusieurs manières différentes afin de répondre à des styles de travail différents. Vous pouvez régler vos pistes afin qu’elles soient affichées en fonction du nom uniquement, du nom plus une vignette et de la pellicule. Pour modifier l’affichage des pistes de la Timeline : 1 Choisissez Motion > Préférences (ou appuyez sur les touches Commande + virgule) pour ouvrir les préférences Motion. 2 Cliquez sur l’icône Apparence pour ouvrir la fenêtre du même nom. 3 Dans la section réservée à la Timeline, choisissez une option dans le menu local Affichage de la barre de temps :  Nom : affiche uniquement le nom de l’objet sur la piste.  Nom plus vignette : affiche le nom de l’objet et une seule vignette sur la piste.  Pellicule : affiche les images de l’objet sur toute la piste. Quel que soit le réglage choisi pour l’affichage de la barre de temps, seuls les noms des caméras, lumières, comportements et filtres sont affichés sur les pistes. Remarque : lorsque Affichage de la barre de temps est réglé sur Pellicule, le temps de traitement est augmenté. Nom Nom plus vignette (par défaut) PelliculeChapitre 1 Premiers contacts avec Motion 105 Éditeur d’images clés L’Éditeur d’images clés permet de visualiser et de modifier les attributs individuels des filtres, comportements et autres effets dans le temps. Chaque paramètre peut être affiché sous la forme d’une courbe décrivant la manière dont sa valeur évolue dans le temps. Vous pouvez manipuler les points situés sur cette courbe (appelés images clés) afin de créer toute une série de puissants effets. Pour en savoir plus sur l’utilisation de l’Éditeur d’images clés, voir le chapitre 6, « Images et clés et courbes », à la page 547. Pour afficher l’Éditeur d’images clés, procédez de l’une des manières suivantes : m Faites glisser la barre de séparation située en bas du Canevas, puis cliquez sur l’onglet Éditeur d’images clés en haut de la fenêtre. m Cliquez sur l’icône Contrôle du temps dans l’angle supérieur droit du Canevas, puis cliquez sur l’onglet Éditeur d’images clés en haut de la fenêtre. m Choisissez Fenêtre > Éditeur d’images clés (ou appuyez sur les touches Commande + 8). m Appuyez sur F6, puis cliquez sur l’onglet Éditeur d’images clés en haut de la fenêtre. m Choisissez Fenêtre > Présentations > Cinéma (ou appuyez sur les touches Contrôle + Option + U), puis cliquez sur l’onglet Éditeur d’images clés en haut de la fenêtre.106 Chapitre 1 Premiers contacts avec Motion m Si la fenêtre Contrôle du temps est déjà affichée, cliquez sur l’onglet Éditeur d’images clés en haut de la fenêtre. Liste des paramètres de l’Éditeur d’images clés La partie gauche de l’Éditeur d’images clés contient une liste de paramètres. Vous pouvez choisir les paramètres à afficher dans la liste et définir des fonctions d’animation par images clés via le menu Animation. Vous pouvez également créer des ensembles personnalisés de paramètres. Cela vous permet de vous concentrer sur certains paramètres à la fois. Pour en savoir plus sur la création et l’affichage de ces ensembles de paramètres, voir « Ensembles de paramètres personnalisés » à la page 581. Menu local Afficher Utilisez le menu local Afficher pour sélectionner ce qui s’affiche dans l’Éditeur d’images clés. Les options Afficher sont les suivantes : Tout : cette option affiche tous les paramètres de l’objet actuellement sélectionné dans la liste, que ces paramètres soient animés ou non. Notions élémentaires sur les images clés Pour animer un objet, il vous suffit de créer aux moins deux images clés pour l’un de ses paramètres, comme Opacité, à différents points dans le temps d’un projet. Une image clé est en fait un point dans le temps qui enregistre la moindre modification relative à la valeur d’un paramètre. Par exemple, pour créer une animation dans laquelle un objet est totalement transparent au niveau de l’image 1, puis devient complètement opaque à l’image 120, créez deux images clés : une première image clé Opacité réglée sur une valeur de 0 % sur l’image 1 et une deuxième réglée sur une valeur de 100 % sur l’image 120. L’image subit alors un fondu entrant de 0 à 100 % sur les 120 images. La transition lisse de ce fondu entre les deux valeurs animées par des images clés s’appelle l’interpolation. Toutes les images clés liées à un paramètre particulier (Opacité ou Rotation, par exemple) sont positionnées sur une ligne dans le temps. Les différentes valeurs des images clés changent la forme de cette ligne, créant ce qu’il convient d’appeler une courbe d’animation. Il est possible de modifier le type de cette courbe d’une image clé à la suivante (l’interpolation) dans le but d’obtenir des effets d’animation différents. À titre d’exemple, les images clés réglées sur Bézier génèrent des transitions lisses entre les valeurs. En revanche, les images clés réglées sur Linéaire créent des lignes droites, accentuant les changements de valeurs. L’Éditeur d’images clés, situé dans la fenêtre Contrôle du temps, vous permet de modifier les images clés et leurs courbes d’animation. Pour en savoir plus, voir « Images et clés et courbes » à la page 547. Chapitre 1 Premiers contacts avec Motion 107 Animé : cette option affiche uniquement les paramètres animés et les courbes de l’objet actuellement sélectionné, ce qui inclut les courbes d’animation créées à l’aide d’images clés, mais aussi de comportements. Il s’agit du réglage par défaut. Si l’Éditeur d’images clés est activé, vous pouvez également appuyer sur la touche U pour choisir Activé dans le menu local Afficher. Lorsque l’objet sélectionné n’est pas animé, l’Éditeur d’images clés n’affiche rien. Modifié : cette option affiche uniquement les courbes modifiées de l’objet actuellement sélectionné, ce qui inclut les modifications qui ne sont pas animées. Par exemple, si vous modifiez la couleur d’une forme (sans pour autant animer ce changement de couleur), le paramètre apparaît dans la liste Modifié, car la couleur a été changée par rapport à la couleur par défaut. Cette liste répertorie également les paramètres animés. Si l’Éditeur d’images clés est activé, vous pouvez également appuyer sur la touche Y pour choisir Modifié dans le menu local Afficher. Actif : cette option affiche uniquement les paramètres en cours de modification. Si vous la sélectionnez, rien n’apparaît dans l’Éditeur d’images clés, sauf si vous êtes effectivement en train de modifier un objet (dans le Canevas, l’Inspecteur ou la palette). Par exemple, lorsque l’option Actif est sélectionnée et que vous déplacez un objet dans le Canevas, les paramètres Position X et Y et les courbes correspondantes sont affichés. Position : affiche uniquement les paramètres Position de l’objet sélectionné. Si l’Éditeur d’images clés est activé, vous pouvez également appuyer sur la touche P pour choisir Position dans le menu local Afficher. Rotation : affiche uniquement les paramètres Rotation de l’objet sélectionné. Si l’Éditeur d’images clés est activé, vous pouvez également appuyer sur la touche R pour choisir Rotation dans le menu local Afficher.108 Chapitre 1 Premiers contacts avec Motion Échelle : affiche uniquement les paramètres Échelle de l’objet sélectionné. Si l’Éditeur d’images clés est activé, vous pouvez également appuyer sur la touche S pour choisir Échelle dans le menu local Afficher. Déformation : affiche uniquement les paramètres Déformation de l’objet sélectionné. Si l’Éditeur d’images clés est activé, vous pouvez également appuyer sur la touche H pour choisir Déformation dans le menu local Afficher. Point d’ancrage : affiche uniquement les paramètres Point d’ancrage de l’objet sélectionné. Si l’Éditeur d’images clés est activé, vous pouvez également appuyer sur la touche A pour choisir Point d’ancrage dans le menu local Afficher. Opacité : affiche uniquement les paramètres Opacité de l’objet sélectionné. Si l’Éditeur d’images clés est activé, vous pouvez également appuyer sur la touche O pour choisir Opacité dans le menu local Afficher. Nouvel ensemble de courbes : vous permet de créer un ensemble personnalisé de courbes. Gérer les ensembles de courbes : vous permet de gérer (supprimer, dupliquer, etc.) vos ensembles personnalisés de courbes. Remarque : pour en savoir plus sur l’utilisation des ensembles de courbes, voir « Ensembles de paramètres personnalisés » à la page 581. Organisation de la liste des paramètres La liste des paramètres est divisée en quatre colonnes. Activé (sans titre) : cette colonne contient des cases à cocher qui permettent d’activer ou de désactiver l’affichage des paramètres correspondants dans le graphique d’images clés. L’activation de la case en regard d’un objet active ou désactive uniquement l’affichage des paramètres de cet objet (son animation n’est en aucun cas affectée). Nom (sans titre) : affiche le nom de l’objet sélectionné et ses paramètres. Valeur (sans titre) : affiche la valeur de la position actuelle de la tête de lecture pour ce paramètre. Vous pouvez faire glisser dans le champ valeur afin de définir de nouvelles valeurs d’image clé, ou double-cliquer dans le champ et saisir une nouvelle valeur. Pour en savoir plus, voir « Modification d’images clés » à la page 586. Menu Animation (sans titre) : la dernière colonne contient un menu local qui permet de contrôler l’animation et les attributs d’animation par images clés de ce paramètre. Ce menu vous propose les options suivantes :Chapitre 1 Premiers contacts avec Motion 109  Activer/Désactiver l’animation : cette commande demeure indisponible jusqu’à ce qu’une animation par images clés soit appliquée au canal soit via le bouton Enregistrer, soit en ajoutant directement une image clé. Dès que le canal est animé, le nom de la commande de menu devient automatiquement « Désactiver l’animation ». Toute activation ultérieure de cette commande a pour effet de masquer les images clés que vous avez définies, en rétablissant la valeur par défaut du paramètre. Toutefois, les images clés ne sont pas supprimées. Si vous sélectionnez Activer l’animation à nouveau, le canal est restauré sur son état animé avec des images clés le plus récent  Réinitialiser le paramètre : supprime toutes les images clés et les réglages pour ce paramètre. La valeur par défaut du paramètre est rétablie.  Ajouter une image clé : ajoute une image clé à l’image actuelle. Si la tête de lecture est placée sur une image à laquelle une image clé a déjà été ajoutée, cet élément de menu n’est pas disponible. Remarque : vous pouvez également cliquer sur le menu Animation tout en maintenant la touche Option enfoncée pour ajouter une image clé. Une image clé est alors automatiquement ajoutée au dernier paramètre modifié de l’objet (quel que soit l’état du bouton Enregistrer) à la position actuelle de la tête de lecture.  Supprimer l’image clé : supprime l’image clé actuelle. La commande Supprimer l’image clé n’est disponible que si la tête de lecture est placée sur une image contenant une image clé. Remarque : pour supprimer une image clé, vous pouvez également cliquer dessus tout en maintenant la touche Contrôle enfoncée, puis choisir Supprimer dans le menu contextuel, voire la sélectionner, puis appuyer sur Suppr.  Image clé précédente : place la tête de lecture sur l’image clé précédente de ce paramètre. La commande Image clé précédente n’est disponible que si une image clé existe plus tôt dans le projet. Remarque : vous pouvez également appuyer sur les touches Option + K pour revenir à l’image clé précédente.  Image clé suivante : place la tête de lecture sur l’image clé suivante de ce paramètre. La commande Image clé suivante n’est disponible que si une image clé existe plus loin dans le projet. Remarque : vous pouvez également appuyer sur les touches Maj + K pour passer à l’image clé suivante.  Interpolation : définit le type de courbe du paramètre. Pour des exemples des différentes méthodes d’interpolation, voir le tableau « Modification des courbes » à la page 595.  Avant la première image clé : définit l’animation avant la première image clé d’un paramètre. Il s’agit d’une extrapolation.  Après la dernière image clé : définit l’animation après la dernière image clé d’un paramètre. Il s’agit d’une extrapolation.110 Chapitre 1 Premiers contacts avec Motion Remarque : pour des exemples des différentes méthodes d’extrapolation, voir « Extrapolation » à la page 600.  Verrouiller/Déverrouiller le paramètre : verrouille ce paramètre pour empêcher les modifications. Lorsqu’un paramètre est verrouillé, ni les images clés, ni les courbes ne peuvent être ajustées.  Réduire les images clés : applique un algorithme de suppression aux images clés du paramètre sélectionné. Cela permet de réduire le nombre d’images clés dans un paramètre, tout en essayant de maintenir une forme de courbe similaire. Pour en savoir plus sur la suppression d’images clés, voir « Suppression d’images clés » à la page 610.  Définir sur instantané de courbe : si la case « Prendre/Afficher instantané de courbe » est cochée, cette option inverse toutes les modifications apportées aux images clés de la courbe actuellement sélectionnée et revient à l’instantané le plus récent. Pour en savoir plus, voir « Instantanés de courbes » à la page 586. États du menu Animation Le menu Animation affiche une icône différente en fonction de l’état actuel du paramètre pour l’objet sélectionné. Le tableau suivant montre les icônes du menu Animation. Champ Sur l’image actuelle Le champ « Sur l’image actuelle » est affiché entre le menu local Afficher et les outils de modification des images clés. Pour en savoir plus, voir « Champs Timecode et Image actuelle » à la page 71. Icône Nom Description Aucune image clé Aucune image clé n’est associée au paramètre. Images clés activées Les images clés sont activées pour ce paramètre, mais la tête de lecture n’est pas placée sur une image clé. Image clé actuelle La tête de lecture est actuellement placée sur une image clé pour ce paramètre. Comportement appliqué Ce paramètre est contrôlé par un comportement, et non par une image clé. Si un comportement est appliqué à une couche ou un groupe, son nom apparaît dans le menu Animation. Champ Sur l’image actuelleChapitre 1 Premiers contacts avec Motion 111 Outils de modification des images clés L’Éditeur d’images clés met à votre disposition trois outils pour vous aider à modifier des images clés et des courbes. Pour en savoir plus sur l’utilisation de ces outils, voir « Modification d’images clés » à la page 586. Édition : sélectionne et modifie des images clés. Esquisse : dessine des courbes avec des images clés. Pour ce faire, vous devez disposer d’un paramètre actif (sa case est donc cochée) et le sélectionner dans la liste. Cadre : fait glisser une zone de sélection pour entourer et manipuler les images clés. Boutons disponibles dans l’Éditeur d’images clés Dans son angle inférieur gauche, l’Éditeur d’images clés comporte cinq boutons qui vous offrent des commandes supplémentaires : Magnétisme, Afficher la forme d’onde audio, Ajuster les courbes, Effacer la liste de courbes et Prendre/Afficher instantané de courbe. Magnétisme : lorsque cette option est activée, les images clés s’alignent par magnétisme sur d’autres images clés, des marqueurs, des points de la grille et d’autres éléments susceptibles de provoquer ce magnétisme. Afficher la forme d’onde audio : active l’affichage des formes d’onde audio de l’objet sélectionné. Cadre Esquisse Édition Effacer la liste de courbes Afficher la forme d’onde audio Ajuster les courbes Magnétisme Prendre/Afficher instantané de courbe112 Chapitre 1 Premiers contacts avec Motion Si l’option « Afficher la forme d’onde audio » est activée et que votre projet comporte au moins un fichier audio, un menu local situé en bas de l’Éditeur d’images clés vous permet de visualiser la forme d’onde de la piste Master ou de toute piste audio de votre projet. Ajuster les courbes visibles à la fenêtre : redimensionne automatiquement le graphique à la verticale et à l’horizontale (dans le temps), afin qu’il inclut toutes les images clés de vos paramètres actifs. Effacer la liste de courbes : vide la liste des paramètres. Cette commande n’est disponible que pour les ensembles de courbes personnalisés. Prendre/Afficher instantané de courbe : si cette option est activée, dès lors que vous déplacez des images clés dans l’Éditeur d’images clés, la courbe d’origine apparaît dans une couleur plus claire (telle qu’elle était au moment où vous avez pris l’instantané). Cet instantané de courbe reste disponible aussi longtemps que vous modifiez l’ensemble actuel de courbes l’Éditeur d’images clés. Ajustement vertical automatique pour afficher entièrement les courbes : utilisez cette option pour étirer le graphique verticalement, afin qu’il affiche l’intégralité des courbes. Pour activer/désactiver le mode de mise à l’échelle automatique : m Cliquez sur le bouton « Ajustement vertical automatique pour afficher entièrement les courbes » situé juste sous le bord droit de la règle. Cliquez ici pour afficher une liste de toutes les pistes audio disponibles dans le projet. L’Éditeur d’images clés affiche alors la forme d’onde de la piste sélectionnée dans cette liste. Ajustement vertical automatique pour afficher entièrement les courbesChapitre 1 Premiers contacts avec Motion 113 Graphique d’images clés Le reste de l’Éditeur contient le graphique d’images clés. Cette zone affiche toutes les courbes et images clés pour les paramètres sélectionnés. Les divers paramètres sont représentés par des couleurs différentes. Les images clés apparaissent sous la forme de losanges et les courbes sont représentées par des lignes continues. Les zones qui précèdent la première image clé et celles qui suivent la dernière image clé sont représentées par des lignes pointillées. Les paramètres et les images clés sélectionnés sont affichés en blanc. Vous pouvez manipuler directement les images clés en les faisant glisser dans le graphique. Un déplacement vers la droite ou la gauche des images clés permet de changer leur position dans le temps, tandis qu’un déplacement vers le haut ou le bas permet de modifier leur valeur. Vous pouvez également double-cliquer sur une image clé, saisir un nombre dans le champ déroulant de valeur, puis appuyer sur Retour afin de modifier sa valeur. Tout en maintenant la touche Contrôle enfoncée, cliquez sur une image clé pour accéder aux options du menu contextuel, ainsi qu’au sous-menu Interpolation qui vous permet de changer le type des courbes. Pour en savoir plus sur la manipulation des images clés et des courbes dans le graphique, voir « Modification d’images clés » à la page 586 et « Modification des courbes » à la page 595. Règle En haut du graphique d’images clés figure une règle qui fournit un repère visuel concernant la position et la durée des images clés et des courbes. Cette règle est identique à la réglette de la Timeline. Pour en savoir plus sur l’utilisation de cette règle, voir « Réglette de la Timeline » à la page 102.114 Chapitre 1 Premiers contacts avec Motion Zoom sur l’Éditeur d’images clés À mesure que vous vous familiarisez avec l’utilisation de l’Éditeur d’images clés, vous éprouverez le besoin de passer d’une vue centrée sur une image clé ou une courbe particulière à une vue d’ensemble de votre projet et vice versa. Il existe heureusement différents outils qui permettent d’effectuer rapidement un zoom avant ou arrière sur l’Éditeur d’images clés. La partie inférieure de l’Éditeur d’images clés contient un curseur de zoom et une case de défilement. Pour effectuer un zoom sur l’Éditeur d’images clés à l’aide du curseur de zoom : m Faites glisser le curseur de zoom vers la gauche pour effectuer un zoom avant ou vers la droite pour un zoom arrière. L’Éditeur d’images clés est actualisé au fur et à mesure que vous faites glisser le curseur. Pour effectuer un zoom sur l’Éditeur d’images clés à l’aide de la case de défilement: m Faites glisser la poignée de la case de défilement vers l’extérieur pour effectuer un zoom arrière et vers le centre pour un zoom avant. L’Éditeur d’images clés est actualisé au fur et à mesure que vous faites glisser la case. Éditeur audio L’Éditeur audio vous offre une vue de vos éléments audio au fil du temps. Vous pouvez visualiser et modifier les informations des réglages de niveau et de balance des fichiers audio de votre projet. Vous pouvez également visualiser les formes d’onde audio de vos couches. L’Éditeur audio n’est, par de nombreux aspects, rien d’autre qu’un Éditeur d’images clés spécialisé réservé à l’audio. Pour en savoir plus sur l’utilisation de l’Éditeur audio, voir « Utilisation de données audio » à la page 1203. Curseur de zoom Case de défilement PoignéeChapitre 1 Premiers contacts avec Motion 115 Pour afficher l’Éditeur audio, procédez de l’une des manières suivantes : m Choisissez Fenêtre > Éditeur audio (ou appuyez sur les touches Commande + 9). m Faites glisser la barre de séparation située en bas du Canevas, puis cliquez sur l’onglet Éditeur audio en haut de la fenêtre. m Si la fenêtre Contrôle du temps est déjà affichée, cliquez sur l’onglet Éditeur audio en haut de la fenêtre. m Cliquez sur l’icône Contrôle du temps dans l’angle supérieur droit du Canevas, puis cliquez sur l’onglet Éditeur audio en haut de la fenêtre. m Appuyez sur F6, puis cliquez sur l’onglet Éditeur audio en haut de la fenêtre. Choisissez Fenêtre > Présentations > Cinéma (ou appuyez sur les touches Contrôle + Option + U), puis cliquez sur l’onglet Éditeur audio en haut de la fenêtre. Commandes de l’Éditeur audio La partie gauche de l’Éditeur audio contient quatre rangées de commandes, chacune dédiée à un aspect particulier de la piste audio actuellement affichée. La première concerne les commandes de lecture, la deuxième contrôle les points d’entrée et de sortie de la piste audio, la troisième contrôle le niveau de la piste sélectionnée et la quatrième contrôle ses réglages de balance. Commandes de lecture Commandes de la plage de lecture Commandes de niveau Commandes de balance116 Chapitre 1 Premiers contacts avec Motion Commandes de lecture de l’Éditeur audio Les commandes de lecture de l’Éditeur audio ne contrôlent pas la lecture dans le Canevas. Vous pouvez ainsi écouter les composants audio de votre projet sans être distrait (ou ralenti) par les composants visuels. Vous disposez de quatre commandes de lecture : Aller au début : déplace la tête de lecture au début du plan audio ou du morceau audio marqué (si le bouton « Utiliser le morceau audio marqué » est activé). Lecture/Pause : lance et met en pause la lecture dans l’Éditeur audio. Utiliser le morceau audio marqué : limite la lecture à la plage de lecture définie (les points d’entrée et de sortie) pour la piste audio sélectionnée. Pour en savoir plus, voir « Commandes de la plage de lecture de l’Éditeur audio » à la page 116. Champ Sur l’image actuelle : indique la position actuelle de la tête de lecture dans l’Éditeur audio. Vous pouvez également utiliser ce champ pour modifier l’image actuelle. Pour modifier la position de la tête de lecture, procédez de l’une des manières suivantes : m Faites glisser le centre du champ Sur l’image actuelle. Un glissement vers la droite permet d’avancer et un glissement vers la gauche permet de revenir en arrière. m Cliquez sur la flèche vers la droite ou la gauche située de chaque côté du champ Sur l’image actuelle, pour avancer ou reculer d’une image. m Cliquez sur le champ Sur l’image actuelle et tapez une nouvelle valeur. Commandes de la plage de lecture de l’Éditeur audio La deuxième rangée fournit deux commandes qui servent à définir des points d’entrée et de sortie du fichier audio. La modification du point d’entrée ou de sortie d’un fichier dans l’Éditeur audio est reflétée dans la Timeline. La zone de la piste située entre les points d’entrée et de sortie est la région utilisée lorsque l’option « Utiliser le morceau audio marqué » est activée dans les commandes de lecture. Remarque : il est impossible de modifier les points d’entrée et de sortie de la piste Master. Mag Lecture/Pause Image actuelle Utiliser le morceau audio marqué Aller au débutChapitre 1 Premiers contacts avec Motion 117 Pour modifier l’heure de début d’une piste audio à l’aide du curseur Entrée, procédez de l’une des manières suivantes : m Faites glisser le centre du curseur Entrée. Un glissement vers la droite permet d’avancer l’audio, alors qu’un glissement vers la gauche le recule. m Cliquez sur les flèches situées de chaque côté du champ Entrée, pour avancer ou reculer d’une image. m Cliquez dans le champ, puis saisissez un nouveau nombre. Pour modifier l’heure de fin d’une couche, procédez de l’une des manières suivantes : m Faites glisser le centre du curseur Sortie. Un glissement vers la droite permet d’avancer l’audio, alors qu’un glissement vers la gauche le recule. m Cliquez sur la flèche vers la droite ou la gauche située de chaque côté du champ Sortie, pour avancer ou reculer d’une image. m Cliquez dans le champ, puis saisissez un nouveau nombre. Vous pouvez également modifier les heures de début et de fin à l’aide de la barre de la piste audio. Pour modifier les heures de début et de fin à l’aide de la barre de la piste audio : m Sélectionnez la piste dans l’onglet Audio, puis faites glisser l’une des extrémités de la barre verte de la piste audio (située au-dessus de la forme d’onde dans l’Éditeur audio). Remarque : vous ne pouvez pas marquer des morceaux sur la piste audio Master. Commande de niveau La troisième rangée contient des commandes qui servent à ajuster et à animer avec des images clés le niveau de la piste audio sélectionnée. Case d’activation : située à gauche de la rangée, cette case à cocher active ou désactive l’affichage de la courbe d’animation du niveau. Elle ne désactive pas les réglages de niveau existants, ni ne vous empêche d’en créer d’autres. Niveau : curseur et champ servant à contrôler le niveau (volume) de la piste. Si la tête de lecture est positionnée sur une image clé, le curseur contrôle le niveau de cette image clé. Si la tête de lecture ne se trouve pas sur une image clé, le curseur contrôle toute la courbe. Commande Balance La quatrième rangée contient les commandes qui permettent d’ajuster et d’animer avec des images clés la balance de la piste sélectionnée (balance gauche-droite). Case d’activation : située à gauche de la rangée, cette case à cocher active ou désactive l’affichage de la courbe d’animation de la balance. Elle ne désactive pas les réglages de balance existants, ni ne vous empêche d’en créer d’autres.118 Chapitre 1 Premiers contacts avec Motion Balance : curseur et champ servant à contrôler la balance gauche-droite de la piste. Si la tête de lecture est positionnée sur une image clé, le curseur contrôle la balance de cette image clé. Si la tête de lecture ne se trouve pas sur une image clé, le curseur contrôle toute la courbe de balance. Les valeurs négatives déplacent la balance vers la gauche, tandis que les valeurs positives la déplacent vers la droite. Une valeur égale à zéro indique une balance identique à gauche et à droite. Optez pour le curseur de valeur si vous souhaitez d’affiner votre réglage. Menu Animation: affiché à droite des curseurs Niveau et Balance, ce menu est semblable au menu Animation présent dans l’Éditeur d’images clés. Le menu est représenté par différentes icônes en fonction de l’état du paramètre. Pour consulter un tableau décrivant ces différentes icônes, voir « États du menu Animation » à la page 110. Les commandes du menu Animation sont répertoriées ci-après :  Activer/Désactiver l’animation : active et désactive l’animation par images clés pour ce paramètre. Une fois que des images clés ont été ajoutées, le choix de la commande Désactiver l’animation ne supprime pas les images clés mais ne fait que masquer généralement leurs effets.  Réinitialiser le paramètre : supprime les images clés éventuelles et rétablit les valeurs par défaut du paramètre.  Ajouter une image clé : ajoute une nouvelle image clé à l’emplacement de la tête de lecture. Remarque : vous pouvez également cliquer sur le menu Animation tout en maintenant la touche Option enfoncée pour ajouter une image clé.  Supprimer l’image clé : supprime l’image clé située à l’emplacement actuel de la tête de lecture.  Image clé précédente : place la tête de lecture sur la première image clé située à gauche de l’emplacement actuel de la tête de lecture.  Image clé suivante : place la tête de lecture sur la première image clé située à droite de l’emplacement actuel de la tête de lecture.  Afficher dans l’Éditeur d’images clés : affiche les paramètres audio dans l’Éditeur d’images clés et place cet onglet au premier plan.Chapitre 1 Premiers contacts avec Motion 119 Indicateurs de niveau Les indicateurs de niveau audio sont situés dans la partie droite des commandes de l’Éditeur audio. Ils comportent deux barres verticales qui indiquent le niveau à l’emplacement actuel de la tête de lecture. La barre de gauche indique les niveaux du canal audio de gauche et la barre de droite indique les niveaux du canal audio de droite. Ces indicateurs changent au fur et à mesure de la lecture pour refléter l’évolution des niveaux audio. Les indicateurs de pics apparaissent au-dessus des autres compteurs. Ces petits témoins lumineux deviennent rouges dès que le volume dépasse les niveaux acceptables (niveaux de saturation). Ils demeurent rouges pendant quelques instants après l’apparition des pics. Indicateurs de pics120 Chapitre 1 Premiers contacts avec Motion Graphique d’images clés de l’Éditeur audio Le reste de la fenêtre contient le graphique d’images clés. Cette zone contient les courbes et les images clés relatives au niveau et à la balance de la piste sélectionnée. Les images clés apparaissent sous la forme de losanges et les courbes sont représentées par des lignes continues. Les zones qui précèdent la première image clé et celles qui suivent la dernière image clé sont représentées par des lignes pointillées. La forme d’onde de la piste sélectionnée est affichée à l’arrière des courbes. Une barre verte située au sommet du graphique indique la durée du fichier audio. Cette barre rétrécit ou s’allonge pour refléter la nouvelle durée, au fur et à mesure que vous modifiez les points d’entrée et de sortie du fichier. Tout comme dans l’Éditeur d’images clés, vous pouvez manipuler les images clés en les faisant glisser dans le graphique. Un déplacement vers la droite ou la gauche permet de changer leur position dans le temps, alors qu’un déplacement vers le haut ou le bas modifie leur valeur. Comme les images clés audio fonctionnent exactement de la même façon que les images clés des autres paramètres, pour en savoir plus sur leur utilisation, voir « Modification d’images clés » à la page 586 et « Modification des courbes » à la page 595. Règle En haut du graphique d’images clés de l’Éditeur audio figure une règle qui fournit un repère visuel concernant la position et la durée des images clés et des courbes de niveau et de balance. La règle de l’Éditeur audio affiche une durée différente de celle affichée dans les règles de la Timeline et de l’Éditeur d’images clés. En effet, cette règle affiche la durée du fichier audio sélectionné, au lieu de celle de l’ensemble du projet. La règle peut contenir des indicateurs qui aident à marquer d’importantes images ou sections du projet, telles que la tête de lecture, les indicateurs de plage de lecture (appelés également points d’entrée et de sortie) et les marqueurs. La règle peut être affichée en images ou en timecode. Barre de piste audioChapitre 1 Premiers contacts avec Motion 121 Pour modifier le format d’affichage de la règle : m Cliquez sur la règle en maintenant la touche Contrôle enfoncée, puis choisissez Afficher les images ou Afficher le timecode dans le menu contextuel. Il est possible d’ajouter des marqueurs à votre projet afin d’identifier une image ou une plage d’images importante. Pour en savoir plus sur la création et l’utilisation de marqueurs, voir « Ajout de marqueurs » à la page 398. Remarque : la tête de lecture de l’Éditeur audio n’est pas la même que celle de la Timeline et du Canevas. Elle indique la position temporelle actuelle au sein de la piste audio sélectionnée plutôt qu’au sein du projet entier. Zoom dans l’Éditeur audio Pour effectuer un zoom avant ou arrière dans l’Éditeur audio, procédez comme à l’accoutumée dans la Timeline ou l’Éditeur d’images clés. La partie inférieure de l’Éditeur audio contient un curseur de zoom et une case de défilement. Pour effectuer un zoom dans l’Éditeur audio à l’aide du curseur de zoom : m Faites glisser le curseur de zoom vers la gauche pour effectuer un zoom avant et vers la droite pour un zoom arrière. L’Éditeur audio est actualisé au fur et à mesure que vous faites glisser le curseur. Pour effectuer un zoom dans l’Éditeur audio à l’aide de la case de défilement: m Cliquez sur la poignée de la case de défilement et faites-la glisser vers l’extérieur pour effectuer un zoom arrière et vers le centre pour un zoom avant. L’Éditeur audio est actualisé au fur et à mesure que vous faites glisser la case. Défilement audio Vous pouvez choisir d’entendre le son lorsque vous faites glisser la tête de lecture à travers la règle dans l’Éditeur audio. Ce processus est appelé défilement audio. Pour activer ou désactiver le défilement audio, cliquez sur le bouton situé dans l’angle inférieur droit de l’Éditeur audio. Fenêtre Utilitaire La fenêtre Utilitaire vous permet de localiser, organiser et modifier les médias, les effets et les paramètres associés à votre projet. Vous pouvez notamment y effectuer les opé- rations suivantes : trier les médias sur votre disque et naviguer parmi tous les effets, préréglages et autres contenus, ainsi que visualiser et manipuler tous les paramètres qui contrôlent le comportement de vos objets et de vos effets.122 Chapitre 1 Premiers contacts avec Motion La fenêtre Utilitaire comprend trois onglets : Navigateur, Bibliothèque et Inspecteur. Dans le mode de présentation par défaut, ces trois onglets se trouvent dans une fenêtre Utilitaire située dans la partie gauche du Canevas. Si vous choisissez le mode de présentation Cinéma, deux fenêtres Utilitaire sont affichées : l’une à gauche du Canevas avec le Navigateur et la Bibliothèque, et l’autre à droite du Canevas, contenant l’Inspecteur. Navigateur Le Navigateur affiche tous les fichiers contenus sur votre ordinateur. La navigation via le Navigateur est similaire à la navigation dans une fenêtre du Finder. Vous pouvez faire glisser directement des éléments du Navigateur dans votre projet. Zone de Preview La partie supérieure du Navigateur contient une zone de Preview de la couche sélectionnée. Cette zone comporte aussi bien un aperçu visuel, accompagné d’un bouton de lecture pour afficher les diverses images de la séquence animée, que des informations sur le fichier : son nom, son type, sa taille et sa fréquence d’images. Cette zone de Preview comporte également un bouton permettant de désactiver l’audio. Cliquez dessus pour couper le son associé à un fichier sélectionné dans le Navigateur. Remarque : lorsqu’ils sont affichés dans la zone de Preview, les fichiers audio présentent un texte descriptif, mais aucun aperçu visuel. Pour prévisualiser un fichier situé sur votre disque : m Sélectionnez le fichier dans le Navigateur. La prévisualisation commence. Remarque : si vous ne souhaitez pas lire automatiquement des éléments dans la zone de Preview lorsque vous cliquez dessus (dans le Navigateur ou la Bibliothèque), désactivez la case « Lire automatiquement les éléments en un seul clic » dans la fenêtre Générales des préférences Motion. Pour importer un fichier affiché dans la zone de Preview : 1 Sélectionnez le fichier dans le Navigateur. 2 Cliquez sur le bouton Importer dans la zone de Preview. Le fichier est ajouté au projet (dans le Canevas, l’onglet Couches, la liste de couches de la Timeline et l’onglet Média). Chapitre 1 Premiers contacts avec Motion 123 Remarque : pour obtenir une prévisualisation plus grande, vous pouvez double-cliquer sur n’importe quel fichier figurant dans le Navigateur. La fenêtre Visualiseur apparaît alors. Vous pouvez y prévisualiser le fichier à sa taille d’origine. Vous pouvez également cliquer sur un fichier tout en maintenant la touche Contrôle enfoncée, puis choisir « Ouvrir dans QuickTime Player » dans le menu contextuel. Barre latérale La section centrale du Navigateur contient des commandes de navigation ainsi qu’une liste des serveurs, disques durs et dossiers disponibles sur votre ordinateur. Cliquez sur un disque ou un dossier dans la barre latérale pour afficher le contenu de ces éléments dans la pile de fichiers située en dessous. Plusieurs commandes situées au-dessus de la liste des icônes de disque et de dossier dans la barre latérale permettent de naviguer parmi les éléments affichés dans la fenêtre et de les trier. Boutons Précédent et Suivant: ces boutons permettent de naviguer à travers les dossiers récents. Ils fonctionnent de la même manière que les boutons Suivant et Précédent du Finder. Menu local Chemin: affiche la hiérarchie du système de fichiers (imbrication des dossiers) du dossier ouvert. Boutons Présentation par icônes et Présentation par liste : permet de contrôler le mode de présentation de la pile de fichiers. Cliquez sur le bouton de gauche pour sélectionner le mode de présentation par icône. Cliquez sur le bouton de droite pour sélectionner le mode de présentation par liste. Champ de recherche : filtre le contenu de la pile de fichiers, afin de n’inclure que les fichiers dont les noms contiennent le texte saisi dans le champ de recherche. Remarque : les dossiers ne sont pas affectés par le filtrage. Boutons Suivant/Précédent Boutons Affichage Menu local Chemin Champ de recherche124 Chapitre 1 Premiers contacts avec Motion Pour effacer le champ de recherche : m Cliquez sur le bouton Effacer situé à droite du champ de recherche. Pile de fichiers du Navigateur La section inférieure du Navigateur affiche le contenu du dossier sélectionné dans la barre latérale ou le contenu d’un sous-dossier. Dans le Navigateur, vous pouvez cliquer sur un fichier tout en maintenant la touche Contrôle enfoncée pour afficher un menu contextuel. Pour la plupart des éléments, ce menu propose les options suivantes : Ouvrir dans le Visualiseur: cette option ouvre le fichier dans une fenêtre du Visualiseur. Ouvrir dans QuickTime Player : cette option ouvre le fichier dans une fenêtre QuickTime. Afficher dans le Finder : cette option affiche l’emplacement du fichier dans le Finder. Renommer : cette option active le champ du nom du fichier en champ de texte. Il vous suffit alors de renommer le fichier. Placer dans la Corbeille : cette option déplace le fichier dans la Corbeille. Pour afficher le contenu d’un fichier dans la pile de fichiers, effectuez l’une des opérations suivantes : m Double-cliquez sur le dossier. m Sélectionnez le dossier, puis appuyez sur Retour. Le contenu du dossier remplace l’affichage actuel de la pile de fichiers. Pour revenir à un dossier visualisé antérieurement, procédez de l’une des manières suivantes : m Cliquez sur le bouton Suivant, situé juste en dessous de la zone de Preview (à gauche du menu local Chemin). m Choisissez un nouveau dossier dans le menu local Chemin situé juste en dessous de la zone de prévisualisation. m Appuyez sur les touches Commande + Flèche vers le haut.Chapitre 1 Premiers contacts avec Motion 125 Pour renommer un dossier ou un fichier, procédez de l’une des manières suivantes : m Cliquez sur le fichier ou le dossier en maintenant la touche Contrôle enfoncée, puis sélectionnez Renommer dans le menu contextuel. Lorsque le champ de texte devient actif, tapez le nouveau nom, puis appuyez sur Retour. m Dans la pile, cliquez une fois sur le nom du dossier ou du fichier afin de le sélectionner, puis cliquez de nouveau dessus pour activer le champ de texte. Tapez le nouveau nom, puis appuyez sur la touche Retour. Pour supprimer un dossier ou un fichier, procédez de l’une des manières suivantes : m Dans la pile, cliquez sur le fichier avec la touche Contrôle enfoncée, puis choisissez Placer dans la Corbeille dans le menu contextuel. m Faites glisser le fichier de la pile vers l’icône Corbeille dans le Dock. Organisation de vos fichiers Vous pouvez organiser les fichiers et dossiers affichés dans le Navigateur de la même manière que vous manipulez les fichiers dans le Finder. À cet effet, vous avez la possibilité de déplacer des fichiers à l’intérieur ou à l’extérieur des dossiers, ainsi que de créer de nouveaux dossiers. Toutes les modifications apportées à la structure des fichiers dans Motion se reflètent dans le Finder. Pour créer un nouveau dossier: m Cliquez sur le bouton Nouveau dossier situé en bas de la fenêtre. Pour placer un fichier dans un dossier: m Faites glisser le fichier sur l’icône du dossier. Le fichier est déplacé à l’intérieur de ce dossier. Avertissement : le fait de renommer des dossiers ou des fichiers à partir du Navigateur renomme l’élément sur le disque dur ou sur le réseau. Si des projets utilisent les fichiers du dossier nommé à l’origine, Motion peut afficher le métrage comme étant manquant. Avertissement : la suppression de dossiers ou de fichiers dans le Navigateur Motion supprime les fichiers du disque dur ou du réseau et place les fichiers dans la Corbeille.126 Chapitre 1 Premiers contacts avec Motion Présentation par icônes et par liste La pile de fichiers peut être affichée selon le mode de présentation par icônes ou par liste. Chaque mode de présentation offre des avantages en fonction de la situation où vous vous trouvez. Certaines options, telles que la taille d’icône, ne concernent que la présentation par icônes, tandis que d’autres, telles que le tri par colonnes, ne concernent que la présentation par liste. Pour afficher le Navigateur en mode de présentation par icônes : m Cliquez sur le bouton Afficher sous forme d’icônes situé à droite du menu local Chemin, au-dessus de la barre latérale. Pour afficher le Navigateur en mode de présentation par liste : m Cliquez sur le bouton Afficher sous forme de liste situé à droite du menu local Chemin, au-dessus de la barre latérale. Le mode de présentation par icônes permet de contrôler la taille des icônes via le curseur de Taille qui se trouve en bas de la fenêtre. Pour modifier la taille des icônes : m Faites glisser le curseur Taille vers la droite pour les agrandir ou vers la gauche pour les réduire. En mode de présentation par liste, le contenu du dossier sélectionné est affiché sous la forme d’une série de colonnes. Ces colonnes sont intitulées Nom, Date, Taille, Durée et Type. Vous risquez d’être amené à élargir la fenêtre Utilitaire ou à utiliser la case de défilement située en bas de la fenêtre afin de pouvoir visualiser toutes les colonnes. Présentation par icônes Présentation par liste Présentation par icônes Présentation par listeChapitre 1 Premiers contacts avec Motion 127 Tri des colonnes Vous pouvez trier la liste en fonction d’une colonne quelconque. Cela peut être utile si vous recherchez un fichier particulier dont vous connaissez la taille approximative ou la date de modification. Pour trier la liste du Navigateur : m Cliquez sur l’en-tête de la colonne en fonction de laquelle vous souhaitez effectuer le tri. L’en-tête devient plus foncé et le contenu de la fenêtre est trié en fonction de cette colonne. Réduction des animations Il arrive fréquemment que des séquences animées doivent être transmises sous la forme d’une série d’images fixes numérotées de manière séquentielle. Motion vous fait gagner du temps en vous permettant d’importer ces séquences comme un objet unique dans lequel chaque image devient une image séquentielle dans un film. Pour importer une série d’images fixes numérotées sous la forme d’un seul objet : 1 Cliquez sur le bouton « Afficher les séquences d’images réduites ». Le Navigateur affiche plusieurs éléments en les réduisant à un seul objet. 2 Faites glisser l’objet du Navigateur vers le Canevas, l’onglet Couches, la Timeline ou l’onglet Média.128 Chapitre 1 Premiers contacts avec Motion Remarque : les images provenant d’appareils numériques sont souvent numérotées de manière séquentielle, mais ne font pas partie d’une séquence animée. Il est recommandé de désactiver cette option pour importer une seule image fixe depuis un appareil numérique. Bibliothèque Le deuxième onglet proposé par la fenêtre Utilitaire donne accès à la Bibliothèque. Elle ressemble au Navigateur, mais au lieu d’afficher les fichiers de votre disque dur, elle répertorie l’ensemble des effets, contenus, préréglages, polices, musiques, photos, etc. disponibles depuis Motion. Vous avez la possibilité d’étendre le contenu de la Bibliothèque en y ajoutant certains modules, des polices, de la musique ou des photos, ainsi qu’en y sauvegardant le contenu créé par vos soins dans Motion et des versions modifiées d’effets intégrés (comme des comportements personnalisés ou des animations de caméra). La Bibliothèque est divisée en trois sections. La section du haut correspond à la zone de Preview, le centre est réservé à la barre latérale et la section du bas consiste en une pile de fichiers où sont affichés les effets et autres objets. Zone de Preview de la Bibliothèque La zone de Preview contient un aperçu visuel, accompagné d’un bouton de lecture vous permettant d’afficher les images des séquences animées, ainsi que des prévisualisations des filtres, des comportements, des générateurs, des émetteurs de particules, des réplicateurs, etc. Elle contient également des informations textuelles sur l’objet sélectionné, comme une description du comportement, du filtre ou du générateur. La zone de Preview de la Bibliothèque est quasiment identique à celle du Navigateur, mais elle comporte un bouton Appliquer plutôt qu’un bouton Importer. Remarque : lorsque certains émetteurs de particules sont sélectionnés dans la pile, une prévisualisation animée de l’émetteur sélectionné est lue dans la zone de Preview. Au cours de la lecture, vous pouvez faire glisser le pointeur autour de la zone de Preview afin de voir à quoi ressemble la particule en mouvement.Chapitre 1 Premiers contacts avec Motion 129 Pour visionner le Preview d’un élément tel qu’un réplicateur : m Dans la Bibliothèque, cliquez sur la catégorie Réplicateurs, sélectionnez une sous-catégorie de réplicateurs, puis choisissez dans la pile le réplicateur que vous souhaitez observer. La prévisualisation commence. Ajout d’éléments de la Bibliothèque à un projet Vous disposez de deux méthodes pour ajouter des éléments de la Bibliothèque à un projet. Vous pouvez soit faire glisser directement un objet dans votre projet, soit sélectionner un élément dans la pile de la Bibliothèque, puis cliquer sur le bouton Appliquer dans la zone de Preview. Remarque : en ce qui concerne les comportements et les filtres, vous disposez même d’une troisième possibilité. Vous pouvez sélectionner un ou plusieurs objets d’un projet, puis cliquer sur le bouton Ajouter comportement ou Ajouter filtre dans la barre d’outils. Vous pouvez également créer des particules et des réplicateurs personnalisés (à partir d’une couche présente dans votre projet) en cliquant sur le bouton Générer des particules ou Réplicateur de la barre d’outils. Pour en savoir plus sur la création de systèmes de particules personnalisés, voir « Création d’un système de particules simple et personnalisé » à la page 750. Pour en savoir plus sur la création de réplicateurs personnalisés, voir « Création d’un motif de réplicateur personnalisé simple » à la page 825. Pour appliquer un élément à un groupe, une couche ou un objet : 1 Sélectionnez l’objet (dans le Canevas, l’onglet Couches ou la liste de couches de la Timeline) auquel vous souhaitez appliquer l’effet. 2 Sélectionnez un effet dans la Bibliothèque. Par exemple, cliquez sur la catégorie Filtres, sélectionnez une sous-catégorie de filtres, puis choisissez dans la pile le filtre à appliquer. 3 Cliquez sur le bouton Appliquer dans la zone de Preview. L’effet est ajouté à l’objet. Vous pouvez également faire glisser un effet de la Bibliothèque directement sur un objet dans le Canevas, l’onglet Couches ou la Timeline. Pour ajouter un élément à un projet : 1 Sélectionnez le groupe (dans l’onglet Couches ou la liste de couches de la Timeline) auquel vous souhaitez ajouter l’effet. 2 Sélectionnez un effet dans la Bibliothèque. Par exemple, cliquez sur la catégorie Émetteurs de particules, sélectionnez une sous-catégorie, puis choisissez dans la pile l’émetteur à appliquer. 3 Cliquez sur le bouton Appliquer dans la zone de Preview. L’effet est ajouté à l’objet.130 Chapitre 1 Premiers contacts avec Motion Vous pouvez également faire glisser un effet de la Bibliothèque directement dans le Canevas, l’onglet Couches ou la Timeline. Pour en savoir plus sur l’emplacement et la réorganisation des objets dans un projet, voir « Organisation des groupes et des couches dans Motion » à la page 260. Barre latérale La section centrale de la Bibliothèque contient des commandes de navigation ainsi qu’une liste de dossiers de types d’effets disponibles dans Motion. Cliquez sur un dossier de la barre latérale pour en afficher le contenu dans la pile de fichiers située en dessous. Plusieurs commandes situées au-dessus des catégories de la Bibliothèque dans la barre latérale permettent de naviguer parmi les éléments affichés dans la fenêtre et de les trier. Boutons Précédent et Suivant: ces boutons permettent de naviguer à travers les dossiers récents. Ils fonctionnent de la même manière que les boutons Suivant et Précédent d’une fenêtre de navigateur Web. Menu local Chemin: affiche la hiérarchie du système de fichiers (imbrication des dossiers) du dossier ouvert. Boutons Présentation par icônes et Présentation par liste : permet de contrôler le mode de présentation de la pile de fichiers. Cliquez sur le bouton de gauche pour sélectionner le mode de présentation par icône. Cliquez sur le bouton de droite pour sélectionner le mode de présentation par liste. Boutons Affichage Boutons Suivant/Précédent Menu local Chemin Champ de recherche Menu local ThèmeChapitre 1 Premiers contacts avec Motion 131 Menu local Thème : permet de trier et d’organiser le contenu de la Bibliothèque par thèmes. Vous pouvez choisir un thème existant ou créer un thème personnalisé et y ajouter du contenu. Il est possible d’ajouter les éléments suivants à un thème :  Réplicateurs  Émetteurs  Formes  Dégradés  Styles de texte  Styles de forme  Couches ou groupes Remarque : il est impossible d’ajouter des comportements, des filtres, des polices, des polices LiveFonts, des images, des séquences d’images et des films à un thème. Toutefois, vous pouvez ajouter à un thème des couches et des groupes contenant ces types d’éléments. Pour créer un nouveau thème personnalisé : 1 Choisissez Nouveau thème dans le menu local Thème. 2 Dans la zone de dialogue Créer un nouveau thème, attribuez un nom à votre thème, puis cliquez sur OK. Un nouveau thème est alors ajouté. Les nouveaux thèmes sont affichés dans le menu local Thème. Les thèmes personnalisés sont enregistrés dans un fichier « theme » du dossier /Utilisateurs/ nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/Motion/Bibliothèque. Pour ajouter du contenu à un thème : m Cliquez sur un élément de la Bibliothèque tout en maintenant la touche Contrôle enfoncée, choisissez Thème dans le menu contextuel, puis sélectionnez le thème dans lequel vous souhaitez enregistrer l’élément. Remarque : pour pouvoir ajouter un élément à un thème, cet élément doit être enregistré dans la Bibliothèque. Pour en savoir plus sur l’enregistrement d’éléments dans la Bibliothèque, voir « Enregistrement et partage d’éléments de la Bibliothèque personnalisés » à la page 136. Pour effectuer un tri à l’aide du menu local Thème, procédez de l’une des manières suivantes : m Sélectionnez une catégorie dans la Bibliothèque, puis choisissez un thème dans le menu local Thème. m Pour effectuer un tri sur des thèmes par défaut, sélectionnez la catégorie Contenu, puis choisissez le thème Folio, Traditions ou Apprentissage dans le menu local Thème. Les thèmes par défaut sont enregistrés dans un fichier « themes » du dossier /Bibliothèque/ Application Support/Final Cut Studio/Motion/Bibliothèque.132 Chapitre 1 Premiers contacts avec Motion Pour supprimer un thème : 1 Choisissez le thème que vous souhaitez supprimer dans le menu local Thème. Le menu local Thème vous propose alors l’option « Supprimer le thème ». 2 Choisissez Supprimer le thème dans le menu local Thème. Le thème est supprimé de la liste. Remarque : vous ne pouvez supprimer que des thèmes personnalisés. Champ de recherche : filtre le contenu de la pile de fichiers, afin de n’inclure que les objets dont les noms contiennent le texte saisi dans le champ de recherche. Remarque : les dossiers ne contenant aucune correspondance sont ignorés. Pour effacer le champ de recherche : m Cliquez sur le bouton Effacer situé à droite du champ de recherche. Contenu de la Bibliothèque La Bibliothèque contient tous les effets, préréglages, polices et autres éléments disponibles depuis Motion. Ces éléments sont regroupés en catégories affichées à gauche de la barre latérale. La sélection de l’une ou l’autre de ces catégories permet d’afficher une liste de sous-catégories à droite. La Bibliothèque contient également deux autres caté- gories (Musique et Photos) qui permettent l’accès à vos bibliothèques iTunes et iPhoto. Pour en savoir plus sur l’ajout d’éléments de la Bibliothèque à votre projet, voir « Ajout d’éléments de la Bibliothèque à un projet » à la page 129. La Bibliothèque comporte les catégories suivantes : Comportements : contient les comportements Audio, Animation standard, Caméra, Suivi de l’animation, Paramètre, Particules, Réplicateur, Resynchronisation, Forme, Simulations, Animation de texte et Séquence de texte. Ces différents comportements s’appliquent à des types d’objets spécifiques. Ainsi, vous ne pouvez appliquer les comportements Animation de texte et Séquence de texte qu’à du texte. Pour en savoir plus sur l’application des comportements, voir « Application et suppression de comportements » à la page 410. Filtres : cette catégorie contient tous les effets de filtre intégrés, répartis en sous-catégories individuelles. Vous pouvez appliquer la majeure partie des filtres à toutes les couches (images, texte, formes, séquences, particules, etc.) ou masques de votre projet. Filtres de tierce partie : contient tous les filtres compatibles avec Motion mais fabriqués par des tiers. Images (filtres) : contient tous les modules installés sur votre ordinateur et basés sur le traitement Core Image.Chapitre 1 Premiers contacts avec Motion 133 Générateurs : contient une sélection de damiers, de bruits de fond, de rayons de couleur et d’autres éléments générés par ordinateur, à utiliser dans vos projets. Images (générateurs) : contient tous les générateurs installés sur votre ordinateur et basés sur le traitement Core Image. Émetteurs de particules : contient une sélection de préréglages de systèmes d’émission de particules répartis en sous-catégories. Réplicateurs : contient une sélection de réplicateurs de préréglage répartis en sous-catégories. Formes : contient une collection de formes prédéfinies. Vous pouvez ajouter des formes à votre projet comme s’il s’agissait de tout autre objet. Dégradés : contient une sélection de préréglages de dégradés que vous pouvez appliquer aux couches ou au texte. Pour ce faire, il vous suffit de faire glisser un dégradé directement sur une forme ou un texte ou de commencer par sélectionner une couche ou un texte de votre projet, de sélectionner un dégradé dans la Bibliothè- que, puis de cliquer sur Appliquer. Polices : contient toutes les polices disponibles sur votre système, ce qui inclut à la fois les polices TrueType et Type 1. Vous pouvez faire glisser une police directement sur un texte ou commencer par sélectionner un texte de votre projet, sélectionner une police dans la Bibliothèque, puis cliquer sur Appliquer. Pour en savoir plus sur les changements de polices dans ce navigateur, voir « Changement de police » à la page 628. LiveFonts : contient toutes les polices LiveFonts installées sur votre système. Elles ne sont applicables qu’aux objets texte. Pour en savoir plus, voir « Utilisation de polices LiveFonts » à la page 738. Styles de texte : contient une collection de styles de texte prédéfinis que vous pouvez appliquer au texte. Pour ce faire, il vous suffit de faire glisser un style de texte directement sur un texte ou de commencer par sélectionner un texte de votre projet, de sélectionner un style de texte dans la Bibliothèque, puis de cliquer sur Appliquer. Les styles de texte apparaissent également dans l’Inspecteur Texte. Pour en savoir plus, voir « Utilisation et création de styles de texte » à la page 674. Styles de forme : contient une collection de styles de forme prédéfinis que vous pouvez appliquer à des formes. Pour ce faire, il vous suffit de faire glisser un style de forme directement sur une forme ou de commencer par sélectionner une forme de votre projet, de sélectionner un style de forme dans la Bibliothèque, puis de cliquer sur Appliquer. Les styles de forme apparaissent également dans la palette de l’outil Trait de peinture et l’Inspecteur Forme. Pour en savoir plus, voir « Utilisation des formes et des masques » à la page 1071.134 Chapitre 1 Premiers contacts avec Motion Musique : cette catégorie Bibliothèque permet de rechercher et d’importer des fichiers audio directement à partir de votre bibliothèque iTunes. Les sous-catégories Musique incluent la bibliothèque et les éventuelles listes de lecture créées dans iTunes. Le contenu de chaque liste de lecture apparaît dans la pile de fichiers. Lorsqu’elle est affichée en présentation par liste, la catégorie Musique affiche les informations Nom, Artiste, Album, Durée et Taille créées dans iTunes. Remarque : les fichiers AAC avec protection des droits ne peuvent pas être importés dans Motion et n’apparaissent pas dans la pile de fichiers. Cela concerne toute la musique achetée dans la boutique iTunes. Il est impossible d’importer tout contenu vidéo en provenance d’iTunes dans un projet Motion. Photos : cette catégorie Bibliothèque permet de rechercher et d’importer des fichiers image directement à partir de votre bibliothèque iPhoto. Les sous-catégories Photos incluent la bibliothèque et les éventuels albums créés dans iPhoto. Le contenu de chaque album apparaît dans la pile de fichiers. Remarque : lors de l’importation d’une image de grande taille dans Motion, vous avez la possibilité d’importer le fichier tel quel, d’adapter l’image à la taille du Canevas ou de changer sa résolution en fonction du Canevas. Pour en savoir plus, voir « Utilisation d’images fixes à haute résolution » à la page 228. Contenu : contient des éléments individuels utilisés dans les modèles et autres préréglages. Ils peuvent servir à créer vos propres éléments personnalisés, tels que des systèmes de particules et des réplicateurs, que vous pouvez enregistrer dans la Bibliothèque pour un usage ultérieur. Favoris : comme vous pouvez créer des versions personnalisées de tous les types d’effets, y compris les systèmes de particules, les filtres, courbes d’animation, caméras, groupes ou couches personnalisés, vous avez la possibilité de les stocker dans le dossier Favoris. Vous pouvez également ajouter des raccourcis vers les éléments fréquemment utilisés. Par défaut, ce dossier est vide. Remarque : la zone de Preview n’affiche pas les descriptions des préréglages intégrés copiés dans la catégorie Favoris. Pour ajouter une description affichée dans la zone de Preview de la Bibliothèque, cliquez sur le favori en maintenant la touche Contrôle enfoncée, puis choisissez Modifier la description dans le menu contextuel. Menu Favoris : il s’agit d’une autre catégorie de favoris. Les éléments stockés dans ce dossier apparaissent dans le Menu Favoris de la barre des menus. Pile de fichiers La section inférieure de la Bibliothèque affiche le contenu du dossier sélectionné dans la barre latérale ou le contenu d’un sous-dossier.Chapitre 1 Premiers contacts avec Motion 135 Pour afficher le contenu d’un fichier dans la pile de fichiers, effectuez l’une des opérations suivantes : m Double-cliquez sur le dossier. m Sélectionnez le dossier, puis appuyez sur Retour. Le contenu du dossier remplace l’affichage actuel de la pile de fichiers. Pour revenir à un dossier visualisé antérieurement, procédez de l’une des manières suivantes : m Cliquez sur le bouton Précédent situé directement sous la zone de prévisualisation. m Choisissez un nouveau dossier dans le menu local Chemin situé juste en dessous de la zone de prévisualisation. m Appuyez sur les touches Commande + Flèche vers le haut. Organisation de vos effets Vous pouvez organiser les effets, les objets et dossiers affichés dans la Bibliothèque comme vous manipulez les fichiers dans le Finder. À cet effet, vous avez la possibilité de déplacer des effets et des objets à l’intérieur ou à l’extérieur des dossiers, de créer de nouveaux dossiers, ainsi que de supprimer des fichiers ou des dossiers. Remarque : vous ne pouvez pas modifier les objets et les dossiers intégrés à Motion. Pour créer un nouveau dossier: m Cliquez sur le bouton Nouveau dossier situé en bas de la fenêtre. Un nouveau dossier est ajouté à la sous-catégorie actuelle de la Bibliothèque. Pour en savoir plus sur l’organisation des dossiers et du contenu personnalisés, voir « Ajout de votre propre contenu à la Bibliothèque » à la page 258.136 Chapitre 1 Premiers contacts avec Motion Présentation par icônes et par liste La pile de fichiers peut être affichée selon le mode de présentation par icônes ou par liste. Pour afficher la Bibliothèque en mode de présentation par icônes : m Cliquez sur le bouton Afficher sous forme d’icônes situé à droite du menu local Chemin, au-dessus de la barre latérale. Pour afficher la Bibliothèque en mode de présentation par liste : m Cliquez sur le bouton Afficher sous forme de liste situé à droite du menu local Chemin, au-dessus de la barre latérale. Le mode de présentation par icônes permet de contrôler la taille des icônes via le curseur de Taille qui se trouve en bas de la fenêtre. Pour modifier la taille des icônes : m Faites glisser le curseur Taille vers la droite pour les agrandir ou vers la gauche pour les réduire. Enregistrement et partage d’éléments de la Bibliothèque personnalisés Vous pouvez enregistrer quasiment tous les objets de Motion dans la Bibliothèque, y compris des caméras et des lumières animées, des filtres, des comportements, des systèmes de particules, des réplicateurs, des formes et des textes personnalisés, ainsi que des groupes et des couches. Pour enregistrer un objet en vue de l’utiliser plus tard, faites-le glisser dans un dossier existant de la Bibliothèque ou dans un nouveau dossier. Dès lors qu’il est placé dans la Bibliothèque, un objet peut être ajouté à un projet comme n’importe quel autre objet de la Bibliothèque. Présentation par icônes Présentation par liste Présentation par icônes Présentation par listeChapitre 1 Premiers contacts avec Motion 137 Vous pouvez enregistrer de multiples objets dans la Bibliothèque sous la forme d’un seul ou de plusieurs fichiers. Par exemple, si vous créez un effet à partir de plusieurs filtres et que vous souhaitez sauvegarder leur effet cumulé afin de les appliquer ultérieurement à d’autres objets, vous pouvez enregistrer tous les filtres sous la forme d’un seul élément dans la Bibliothèque. Bien que vous puissiez enregistrer vos objets personnalisés dans les dossiers prévus à cet effet (catégories de même nom), il est généralement recommandé de placer les objets que vous utilisez le plus fréquemment dans la catégorie Favoris. En effet, certaines caté- gories de la Bibliothèque de Motion contiennent tellement d’éléments que vous gagnerez du temps dans vos recherches si vous recourez à la catégorie Favoris ou Menu Favoris. Vous pouvez d’ailleurs créer d’autres dossiers au sein de la catégorie Favoris afin d’organiser au mieux vos éléments personnalisés. Remarque : vous pouvez créer de nouveaux dossiers dans les catégories intégrées, comme la sous-catégorie de filtres Étalonnage. Toutefois, ces dossiers apparaissent uniquement dans la pile de la Bibliothèque, mais pas dans la barre latérale. Quant aux dossiers créés dans la catégorie Favoris, ils apparaissent dans la barre latérale de la Bibliothèque. Pour enregistrer un objet dans la Bibliothèque : 1 Ouvrez la Bibliothèque, puis sélectionnez la catégorie Favoris, Menu Favoris ou une autre. 2 Faites glisser l’objet personnalisé à enregistrer de l’onglet Couches, de la Timeline ou de l’Inspecteur dans la pile au bas de la Bibliothèque. Les objets enregistrés dans la catégorie Menu Favoris s’appliquent très rapidement à des objets grâce au menu Favoris. Lorsque vous enregistrez un objet personnalisé, il est sauvegardé dans le dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/ Motion/Bibliothèque. Remarque : si vous faites glisser des éléments vers une catégorie inappropriée, ils sont automatiquement placés dans la catégorie qui leur correspond. Par exemple, si vous faites glisser un comportement personnalisé vers la catégorie Filtres, il est automatiquement placé dans la catégorie Comportements, qui est alors activée. Pour enregistrer plusieurs objets dans la Bibliothèque : 1 Ouvrez la Bibliothèque, puis sélectionnez la catégorie Favoris, Menu Favoris ou une autre. 2 Dans l’onglet Couches, sélectionnez tous les objets que sous souhaitez enregistrer, faites-les glisser dans la pile et maintenez le bouton de la souris enfoncé. 3 Lorsque le menu déroulant apparaît, choisissez « Tous dans un fichier » ou « Fichiers multiples ».138 Chapitre 1 Premiers contacts avec Motion L’option « Tous dans un fichier » enregistre tous les objets ensemble et ils sont ensuite répertoriés comme un seul élément dans la Bibliothèque. À l’inverse, l’option « Fichiers multiples » enregistre les objets dans la Bibliothèque comme des éléments individuels. 4 Pour attribuer un nom au(x) fichier(s), procédez de l’une des manières suivantes :  Cliquez sur son icône tout en maintenant la touche Contrôle enfoncée, choisissez Renommer dans le menu contextuel, puis saisissez un nom descriptif.  Sélectionnez l’icône, cliquez sur « sans titre », puis tapez un nom descriptif. si vous cliquez sur l’icône tout en maintenant la touche Contrôle enfoncée, l’option Modifier la description apparaît. Il s’agit d’un outil très pratique qui vous permet de rédiger des notes personnelles sur un élément enregistré dans la Bibliothèque. Après avoir choisi Modifier la description, saisissez vos notes dans le champ de texte, puis cliquez sur OK. Inspecteur Chaque effet de Motion (des comportements aux dégradés, en passant par les systèmes de particules) est contrôlé par un ensemble de paramètres qui modifient les différents attributs de cet effet. Un filtre Flou, par exemple, possède un curseur qui permet d’ajuster la quantité de flou appliquée. Certains paramètres sont contrôlés à l’aide de curseurs, d’autres via des cadrans ou des menus locaux. Il existe en fait des milliers de paramètres utilisant de multiples types de commandes. Tous ces éléments sont accessibles via l’Inspecteur. Important : l’Inspecteur est contextuel : son affichage dépend de l’objet sélectionné. D’ailleurs, vous devez avoir sélectionné un objet pour que l’Inspecteur affiche les paramètres correspondants. Même les objets dépourvus d’effets possèdent de nombreux paramètres que vous pouvez modifier pour altérer leur nature et leur comportement dans votre projet. Ces paramètres comprennent l’échelle, l’opacité et la position à l’écran de l’objet, ainsi que des attributs moins évidents, tels que ses proportions pixel ou son ordre de trame. L’Inspecteur comporte quatre onglets, chacun regroupant des paramètres de l’objet sélectionné. Les trois premiers, Propriétés, Comportements et Filtres, sont présents quel que soit l’objet sélectionné. Le quatrième, communément appelé « onglet Objet », change de nom et de contenu en fonction du type de l’objet sélectionné. Types de commandes Il existe un grand nombre de commandes apparaissant dans l’Inspecteur. Chacune d’entre elles permet de modifier la valeur d’un paramètre d’une manière spéciale. Chapitre 1 Premiers contacts avec Motion 139 Les divers types d’objets et d’effets nécessitant des paramètres variés, l’Inspecteur affiche des ensembles de commandes différents selon l’élément sélectionné. Le tableau suivant décrit les différents types de commandes et vous explique comment les utiliser. Commande Type de commande Description Curseur Il suffit de le faire glisser pour modifier la valeur du paramètre correspondant. Un déplacement vers la droite permet généralement d’augmenter la valeur, tandis qu’un déplacement vers la gauche la diminue. Le paramètre Échelle, par exemple, utilise un curseur. Vous pouvez cliquer à gauche ou à droite du marqueur avec la touche Option enfoncée afin d’augmenter ou de réduire la valeur de 1. De nombreux curseurs comportent un triangle d’affichage sur lequel vous pouvez cliquer pour afficher des sous-paramètres détaillés. Curseur de valeur Type spécial de curseur intégrant la valeur du paramètre. Il fonctionne comme un curseur ordinaire par déplacement de la partie centrale (contenant la valeur) ; un déplacement vers la droite augmente la valeur, tandis qu’un déplacement vers la gauche la diminue. Certains paramètres permettent d’augmenter ou de diminuer indéfiniment la valeur. Vous pouvez également cliquer sur la flèche située à droite ou à gauche pour modifier la valeur par incréments d’une unité. Si vous maintenez enfoncée la touche Option tout en cliquant sur l’une de ces flèches, vous augmentez ou diminuez la valeur de 0,01. Vous pouvez doublecliquer sur la valeur elle-même pour convertir le curseur en champ, afin d’y taper directement une valeur spécifique. Le paramètre Position constitue un exemple de paramè- tre utilisant le curseur de valeur. De nombreux curseurs comportent un triangle d’affichage sur lequel vous pouvez cliquer pour afficher des sousparamètres détaillés. Remarque : Lorsqu’un curseur de valeur ou un champ de valeur est sélectionné, appuyez sur la touche Tab pour le déplacer vers le champ suivant.140 Chapitre 1 Premiers contacts avec Motion Cadran Commande utilisée pour les valeurs se rapportant à des angles ou des degrés. Tournez le cadran en le faisant glisser dans un sens ou dans l’autre. Le paramètre Rotation constitue un exemple de paramètre utilisant un cadran. Champ de valeur Commande permettant de taper directement la valeur du paramètre. Le champ Entrée de texte constitue un exemple de paramètre utilisant un champ de valeur. Menu local Menu comprenant des valeurs prédéfinies. Cliquez sur le menu, puis choisissez la valeur souhaitée. Le paramètre Incrémentation du comportement Lancer constitue un parfait exemple de menu local. Liste de valeurs Autre type de menu local. Vous pouvez cliquer sur la flèche située à droite du champ pour afficher les valeurs prédéfinies ou taper une valeur directement dans le champ. Le paramètre Style constitue un exemple de liste de valeurs. Case d’activation Commande permettant d’activer ou de désactiver un paramètre. Le paramètre Conserver l’opacité constitue un exemple de case d’activation. Cadre de couleur Zone sur laquelle vous cliquez pour ouvrir la fenêtre Couleurs. Vous pouvez également cliquer avec la touche Contrôle enfoncée afin de sélectionner une couleur dans la palette de couleurs qui apparaît (illustrée), ou cliquer sur le triangle d’affichage afin de manipuler les curseurs R, V, B et A individuels. Le paramètre Couleur de remplissage d’une forme en est un parfait exemple. Commande Type de commande DescriptionChapitre 1 Premiers contacts avec Motion 141 Outre les types de commandes de paramètres habituels présentés ci-dessus, il existe plusieurs autres types de commandes largement utilisés dans l’onglet Inspecteur. Éditeur de dégradé Cette commande permet de sélectionner un style de dégradé prédéfini ou d’en créer un nouveau. En présentation réduite, vous ne pouvez choisir un préréglage qu’à partir du menu local Préréglage. Vous pouvez également cliquer sur le triangle d’affichage afin de révéler des commandes supplémentaires permettant de définir l’opacité du dégradé, ainsi que ses valeurs de couleur. La fenêtre Style de texte affiche un éditeur de dégradé lorsque le paramètre Face « Remplir avec » est réglé sur Dégradé. Cadre d’image Cette zone vous permet de déposer un objet (généralement un plan, une image fixe ou une forme), afin de fournir des données d’entrée à un type d’effet. Par exemple, un filtre Relief a besoin d’une image pour créer des reliefs et un comportement Repousser doit savoir quel objet utilisé pour repousser les autres. Le comportement Attiré vers du paramètre Objet constitue un parfait exemple de l’utilisation du cadre d’image. Menu de sélection de paramètre Type spécial de menu local réservé aux comportements Paramètre. Si vous appliquez un comportement Paramètre à un objet, vous devez identifier le paramètre que ce comportement doit affecter. Vous pouvez soit saisir directement le nom du paramètre dans le champ, soit choisir un paramètre dans la liste des paramètres actuels proposée par le menu local Aller. Le paramètre Appliquer à du comportement Moyenne constitue un exemple de menu de sélection de paramètre. Menu local de sélection de suivi Semblable au menu de sélection de paramè- tre, ce menu vous permet de sélectionner des données de suivi existantes stockées dans un autre comportement Suivi de l’animation, afin de les appliquer au comportement de suivi actuellement sélectionné. Le menu local Source du comportement Suivre le mouvement en est un parfait exemple. Commande Type de commande Description142 Chapitre 1 Premiers contacts avec Motion Bouton Réinitialiser : rétablit automatiquement la valeur par défaut du paramètre (ou dans certains cas, d’un ensemble de paramètres). Menu local Préréglage : la Bibliothèque contient des préréglages de styles que vous pouvez appliquer aux formes ou au texte. Le menu local Préréglage de style vous permet d’appliquer un préréglage de style au texte sélectionné. Quant au menu local Style de forme, il vous permet d’appliquer un de style à la forme sélectionnée (y compris les traits de peinture). Vous pouvez également enregistrer des préréglages personnalisés de formes et de texte dans la Bibliothèque grâce à ce menu local. Par exemple, le menu local Préréglage Style affiché par la fenêtre Style de texte vous permet d’enregistrer un style de texte, un format, voire les deux (les paramètres définis dans les fenêtres Format et Style). Pour en savoir plus sur l’utilisation des styles de texte, voir « Enregistrement d’un style de texte personnalisé » à la page 677. Pour enregistrer un préréglage : 1 Définissez les valeurs de paramètre des réglages que vous souhaitez enregistrer. 2 Sélectionnez Enregistrer dans le menu local Préréglage Style. Une zone de dialogue s’ouvre. 3 Tapez un nom pour le préréglage à enregistrer, puis cliquez sur Enregistrer. Le préréglage est désormais stocké dans la bibliothèque, dans la catégorie appropriée. Il apparaît dans le menu local Préréglage Style, pour ce projet et les projets antérieurs, tant que vous ne le supprimez pas manuellement dans le Finder. Pour appliquer un préréglage existant : m Choisissez le préréglage souhaité dans le menu local Préréglage Style. Les réglages de paramètre actuels sont remplacés par ceux du préréglage. Bouton Réinitialiser Menu local Préréglage StyleChapitre 1 Premiers contacts avec Motion 143 Menu Animation : la plupart des paramètres peuvent être animés. Cela signifie que vous pouvez attribuer des valeurs spécifiques à certaines images (images clés) afin que la valeur du paramètre évolue dans le temps. Tous les paramètres capables d’être animés possèdent un menu Animation situé à droite de leurs réglages. Le menu Animation affiche une icône différente en fonction de l’état actuel du paramètre. Pour consulter un tableau décrivant ces différents états, voir « États du menu Animation » à la page 110. Cliquez sur le menu Animation pour afficher un menu local proposant des options d’animation. Activer/Désactiver l’animation : cette commande demeure indisponible jusqu’à ce qu’une animation par images clés soit appliquée au paramètre soit via le bouton Enregistrer, soit en ajoutant directement une image clé. Dès que le paramètre est animé, le nom de la commande de menu devient automatiquement « Désactiver l’animation ». Si vous l’activez à ce stade, vous cachez vraiment les images clés que vous avez définies et vous restaurez le paramètre sur sa valeur par défaut. Toutefois, les images clés ne sont pas supprimées. Si vous sélectionnez Activer l’animation à nouveau, le canal est restauré sur son état animé avec des images clés le plus récent Réinitialiser le paramètre : supprime toutes les images clés et les réglages pour ce paramètre. La valeur du paramètre est réinitialisée sur sa valeur par défaut. Ajouter une image clé : ajoute une image clé à l’image actuelle. Si la tête de lecture est placée sur une image à laquelle une image clé a déjà été ajoutée, cet élément de menu n’est pas disponible. Vous pouvez également cliquer sur le menu Animation tout en maintenant la touche Option enfoncée pour ajouter une image clé. Menu Animation144 Chapitre 1 Premiers contacts avec Motion Remarque : vous pouvez utiliser le raccourci clavier Contrôle + K pour ajouter rapidement une image clé. Une image clé est automatiquement ajoutée au paramètre de la couche modifié en dernier. Supprimer l’image clé : supprime l’image clé actuelle. La commande Supprimer l’image clé n’est disponible que si la tête de lecture est placée sur une image contenant une image clé. Image clé précédente : place la tête de lecture sur l’image clé précédente de ce paramètre. La commande Image clé précédente n’est disponible que si une image clé existe plus tôt dans le projet. Image clé suivante : place la tête de lecture sur l’image clé suivante de ce paramètre. La commande Image clé suivante n’est disponible que si une image clé existe plus loin dans le projet. Afficher dans l’Éditeur d’images clés : ouvre l’Éditeur d’images clés s’il n’est pas encore visible et affiche le graphique correspondant au paramètre que vous êtes en train de modifier. Indicateur de tramage Dans l’onglet Propriétés de l’Inspecteur, un petit « voyant » apparaît si un groupe est tramé. Il s’agit d’un indicateur de tramage. Comme son nom l’indique, il sert à indiquer qu’un groupe est tramé, mais ce n’est en aucun cas une commande. Certaines opérations, tout comme l’application de divers filtres ou d’un masque, provoquent le tramage du groupe concerné. Lorsqu’il est tramé, un groupe est converti en image bitmap. Le tramage affecte les groupes 2D et 3D différemment. Lorsqu’un groupe 2D est tramé, les modes de fusion appliqués aux objets au sein du groupe n’ont plus aucune interaction avec les objets situés en dehors du groupe. Par ailleurs, si un groupe 3D est tramé, l’intégralité du groupe ne peut plus avoir aucune interaction avec les objets situés en dehors. Le groupe 3D tramé est alors traité comme un objet unique et il utilise l’ordre des couches, plutôt que l’ordre de profondeur, pour composer le projet. Dès qu’une opération déclenche le tramage d’un groupe, l’indicateur de tramage apparaît en regard du paramètre dans l’onglet Propriétés. Indicateur de tramageChapitre 1 Premiers contacts avec Motion 145 De plus, un petit cadre apparaît autour de l’icône représentant le groupe 2D ou 3D (à gauche de son nom) dans l’onglet Couches et la liste de couches de la Timeline. Pour en savoir plus sur le tramage, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Onglets Inspecteur Les paramètres figurant dans l’Inspecteur sont regroupés en quatre catégories. Propriétés : cet onglet contient les attributs de base de l’objet sélectionné, notamment les commandes Transformation (position, échelle, rotation, etc.), Fusion (opacité, mode de fusion, etc.), Ombre portée, Quatre angles, Rognage, ainsi que les points d’entrée et de sortie de la couche. Remarque : en fonction du type d’objet sélectionné, différents paramètres sont également disponibles dans l’onglet Propriétés. Par exemple, si vous sélectionnez un groupe 3D, le paramètre Éclairage apparaît et les paramètres Rognage, Ombre portée et Quatre angles disparaissent. Comportements : si vous avez appliqué des comportements à un objet, les paramètres associés à ces comportements apparaissent dans cet onglet dès lors que cet objet est sélectionné. Les comportements multiples sont regroupés par le nom du comportement. Filtres : dès qu’un filtre (ou un masque) est appliqué à une couche, les paramètres associés à ce filtre apparaissent dans cet onglet. Les filtres multiples sont regroupés par le nom du filtre. Objet : le contenu et le titre de cet onglet varient en fonction du type d’objet sélectionné. Les différents types d’objet sont décrits ci-dessous :  Objet : cet onglet apparaît uniquement si aucun objet n’est actuellement sélectionné. Il n’affiche aucun paramètre.  Image : apparaît uniquement si une image, une séquence d’images ou une séquence est sélectionnée. Cet onglet contient la case à cocher Zone de dépôt, dont l’activation ou la désactivation détermine si l’image sélectionnée est oui ou non la cible d’une zone de dépôt. Le paramètre Ajuster indique la méthode utilisée pour dimensionner une couche déposée au sein d’une zone de dépôt, alors que le bouton Effacer supprime la couche de référence de la zone de dépôt. Pour en savoir plus, voir « Zones de dépôt » à la page 280. Icône de groupe 3D après le tramage du groupe Icône de groupe 3D avant le tramage du groupe146 Chapitre 1 Premiers contacts avec Motion  Groupe : apparaît uniquement si un groupe est sélectionné. Cet onglet contient le paramètre Type qui vous permet de convertir un groupe 2D en 3D et inversement. Les groupes 2D et 3D mettent à disposition des paramètres différents. Si le groupe est réglé sur 3D, les paramètres supplémentaires Aplatir et Ordre de couche apparaissent. Pour aplatir un groupe 3D et le rendre aussi plat qu’une simple carte, il vous suffit de cocher la case Aplatir. En revanche, si vous cochez la case Ordre de couche, les éléments de projet sont triés selon leur ordre d’apparition dans la liste de couches et non selon leur positionnement le long de l’axe Z (en espace tridimensionnel). Pour en savoir plus, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Si le groupe est réglé sur 2D, le paramètre Résolution est affiché. Il vous permet de définir manuellement la taille d’un groupe. Par défaut, l’option Résolution fixe est désactivée et la taille du groupe dépend des couches qu’il contient. Pour en savoir plus, voir « Définition de la taille d’un groupe » à la page 272. Remarque : si le paramètre Résolution fixe est activé, le groupe est rogné à la taille spécifiée dans les paramètres Largeur fixe et Hauteur fixe autour de son point d’ancrage.  Caméra : apparaît uniquement si une caméra est sélectionnée. Cet onglet contient des commandes propres à une caméra, notamment le type de caméra et son angle de vue, et des paramètres relatifs aux plans et aux fondus. Pour en savoir plus sur l’utilisation des caméras, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Remarque : une caméra de scène est une caméra ajoutée à un projet, contrairement à une présentation de caméra par défaut que vous pouvez choisir dans le coin supé- rieur gauche du Canevas (comme Haut, Droite ou Perspective).  Éclairage : apparaît si une table lumineuse est sélectionnée. Cet onglet contient des commandes vous permettant de régler le type de lumière, la couleur, l’intensité, etc.  Média : apparaît uniquement si un objet est sélectionné dans l’onglet Média. Ces paramètres traitent généralement des attributs du fichier sur le disque ou de la manière dont le fichier est interprété par Motion. Comme plusieurs objets d’un projet peuvent faire référence au même fichier de média, cet onglet contient une liste des objets liés, comprenant le nom du groupe où ils sont situés. Les modifications effectuées dans cet onglet ont un impact sur tous les objets qui se réfè- rent au fichier de média sélectionné. Pour en savoir plus sur l’utilisation des paramètres des médias, voir « Paramètres d’objet disponibles dans l’onglet Média » à la page 250.  Texte : affiché uniquement si une couche de texte est sélectionnée, cet onglet contient toutes les commandes nécessaires pour modifier du texte. Il est divisé en trois fenêtres : Format, Style et Présentation.Chapitre 1 Premiers contacts avec Motion 147  Format : contient des commandes standard destinées à contrôler la police, la taille, l’approche de groupe, le crénage, etc. Elle contient également un grand champ d’entrée de texte, l’éditeur de texte, dans lequel vous pouvez modifier le contenu du texte sélectionné (outre les possibilités de modification à l’écran).  Style : contrôle la couleur, la texture et d’autres attributs similaires du style, de la structure, de l’éclat et de l’ombre portée. Chacune de ces sections est groupée et peut être activée ou désactivée en cliquant sur la case d’activation située près du nom de la catégorie.  Présentation : contient des commandes de style de paragraphe destinées à contrôler la justification, l’alignement et l’interligne. Cette fenêtre contient également des commandes qui permettent de créer un effet « machine à écrire » ou de modifier les options de trajectoire de texte. Pour en savoir plus sur l’utilisation des paramètres de texte, voir « Utilisation de texte » à la page 615.  Masque : affiché uniquement si un masque est sélectionné, cet onglet contient le paramètre Adoucissement des bords. Il comporte également des commandes vous permettant de modifier le type de forme du masque, de définir les interactions entre plusieurs masques (en réglant le paramètre Mode Masque de fusion), ainsi qu’une case à cocher Inverser le masque et des curseurs de valeur pour ajuster la position des points de contrôle du masque. Pour en savoir plus sur l’utilisation des paramètres des masques, voir « Paramètres de masques » à la page 1177.  Forme : affiché uniquement si une couche de forme est sélectionnée, cet onglet contient toutes les commandes nécessaires pour modifier une forme. Il est divisé en quatre fenêtres : Style, Trait, Avancé et Géométrie.  Style : contient des commandes servant à modifier le remplissage et le contour d’une forme, en changeant notamment le type de pinceau pour un contour ou un trait de peinture particulier.  Trait : dès lors que vous avez créé un trait à l’aide de l’outil Trait de peinture ou réglé le type de pinceau sur Aérographe ou Image pour le contour d’une forme, la fenêtre Trait à votre disposition. Utilisez les commandes proposées pour définir le mode de couleur de trait et l’échelle du pinceau, régler l’opacité, l’espacement, la largeur et l’angle sur trait, ainsi que bien d’autres paramètres.  Avancé : contient des commandes grâce auxquelles vous pouvez animer les touches d’un trait de peinture comme des particules.  Géométrie : contient des commandes qui vous permettent de modifier le type d’une forme, de la fermer ou de l’ouvrir, ainsi que de régler séparément la position de chacun de ses points de contrôle à l’aide de curseurs. Pour en savoir plus sur l’utilisation des formes, voir « Utilisation des formes et des masques » à la page 1071.148 Chapitre 1 Premiers contacts avec Motion  Émetteur: apparaît lorsqu’un émetteur de particules est sélectionné. Les paramè- tres affichés dans cet onglet vous permettent de contrôler tous les aspects d’un émetteur, de sa forme et son espace (2D ou 3D) à son angle et sa plage d’émission. Il donne également accès aux commandes des cellules. Ces commandes modifient toutes les cellules des émetteurs dotés de plusieurs cellules. Pour en savoir plus sur l’utilisation des particules, voir « Utilisation des particules » à la page 743.  Cellule de particule : apparaît lorsqu’une cellule de particule est sélectionnée. Vous ne pouvez sélectionner ces cellules que dans l’onglet Couches et la liste de couches de la Timeline. Cet onglet contient des attributs tels que la source d’émission, la vitesse, l’angle et la couleur.  Réplicateur : apparaît uniquement si un réplicateur est sélectionné. Vous ne pouvez sélectionner les réplicateurs que dans l’onglet Couches et la liste de couches de la Timeline. Cet onglet contient des attributs tels que la forme du réplicateur, l’espace (2D ou 3D), le motif, la taille et les contrôles de la cellule. Pour en savoir plus sur l’utilisation des réplicateurs, voir « Utilisation du Réplicateur » à la page 815.  Cellule de réplicateur : apparaît lorsqu’une cellule de réplicateur est sélectionnée. Vous ne pouvez sélectionner ces cellules que dans l’onglet Couches et la liste de couches de la Timeline.  Générateurs : affiche les paramètres et les attributs du générateur sélectionné, tels que le centre, la taille et l’intensité d’un générateur Lumière parasite. Les paramètres répertoriés dépendent du générateur sélectionné. Pour en savoir plus sur les générateurs, voir « Utilisation de générateurs » à la page 1037. Verrouillage de l’Inspecteur Par définition, l’Inspecteur est actualisé de manière dynamique en fonction de l’objet sélectionné. Cependant, vous pouvez parfois avoir envie de sélectionner un autre objet tout en continuant à examiner les paramètres de l’objet actuel. Si vous verrouillez l’Inspecteur, il n’est plus actualisé en fonction de votre sélection. Pour verrouiller l’Inspecteur, procédez de l’une des manières suivantes : m Cliquez sur le cadenas situé dans l’angle supérieur droit de la zone de Preview de l’Inspecteur. m Choisissez Fenêtre > Créer un Inspecteur verrouillé.Chapitre 1 Premiers contacts avec Motion 149 Pour déverrouiller l’Inspecteur, procédez de l’une des manières suivantes : m Cliquez sur le cadenas déverrouillé situé dans l’angle supérieur droit de la zone de Preview de l’Inspecteur. m Choisissez Fenêtre > Créer un Inspecteur verrouillé. Palette La palette est l’un des outils les plus polyvalents et pratiques fournis par l’interface de Motion. Il s’agit d’une fenêtre flottante actualisée de manière dynamique, qui simplifie l’accès aux commandes les plus courantes de l’objet sélectionné, quel qu’il soit. La palette contient également des commandes spéciales pour certains types d’effets, tels que les comportements Animation standard et les systèmes de particules. Ces commandes uniques permettent de définir plusieurs paramètres simultanément et de façon intuitive.150 Chapitre 1 Premiers contacts avec Motion Par exemple, la palette 2D d’un émetteur de particules contient une seule commande qui offre une méthode visuelle pour manipuler trois paramètres d’un système de particules, à savoir sa Plage d’émission, son Angle d’émission et sa Vitesse. Pour en savoir plus sur les commandes disponibles dans la palette, voir les chapitres correspondant aux différents objets. Remarque : il est plus facile de saisir une valeur spécifique pour un paramètre de curseur dans les curseurs de valeur de l’Inspecteur. Vous pouvez également cliquer à gauche ou à droite du curseur de l’Inspecteur tout en maintenant la touche Option enfoncée, afin de réduire ou d’augmenter la valeur de 1. Le fait de cliquer sur le curseur de valeur avec la touche Option enfoncée augmente ou diminue la valeur de 0,01. Affichage des palettes Si un objet comporte plusieurs effets, vous pouvez rapidement passer en revue les palettes de ces différents effets. Une petite flèche pointant vers le bas et située à côté du titre de la palette vous indique que d’autres effets sont appliqués à l’objet sélectionné. Cliquez sur cette flèche pour dérouler un menu local répertoriant toutes les palettes disponibles pour l’objet sélectionné. Remarque : vous pouvez également appuyer sur la touche D pour passer en revue toutes les palettes pour l’objet sélectionné. Si vous avez sélectionné plusieurs objets du même type, une palette combinée portant la mention « Sélection multiple » dans sa barre de titre est affichée. Flèche signalant la disponibilité de plusieurs ensembles de commandes pour la couche sélectionnéeChapitre 1 Premiers contacts avec Motion 151 Pour passer d’une palette à l’autre pour l’objet sélectionné, procédez de l’une des manières suivantes : m Cliquez sur la flèche vers le bas dans la barre de titre de la palette, puis choisissez la palette à afficher dans le menu local. m Appuyez sur la touche D pour passer d’une palette à la suivante pour l’objet sélectionné. Pour revenir à la précédente, appuyez sur Maj + D. Les palettes se suivent selon l’ordre d’application des effets. En règle générale, la palette affiche un sous-ensemble des paramètres disponibles dans l’Inspecteur pour l’objet sélectionné. Lorsque vous travaillez dans la palette, vous avez la possibilité de passer directement à l’Inspecteur correspondant pour accéder au reste de commandes de cet objet. Pour accéder directement à l’Inspecteur depuis la palette : m Cliquez sur l’icône Inspecteur (« i ») située dans l’angle supérieur droit de la palette. L’Inspecteur est alors ouvert avec l’onglet correspondant aux commandes de la palette au premier plan. Préférences Les préférences de Motion permettent de personnaliser votre espace de travail, d’adapter l’interface à différents types de projets, de définir des préréglages pour les nouveaux projets et d’exporter vos séquences une fois terminées. Il existe sept ensembles différents de commandes qui regroupent les divers réglages en catégories. Pour ouvrir les préférences Motion, choisissez Motion > Préférences (ou appuyez sur les touches Commande + virgule). Générales La fenêtre des préférences Générales contient des réglages qui s’appliquent globalement à tous les aspects de Motion.152 Chapitre 1 Premiers contacts avec Motion Démarrage Cette section vous permet de déterminer ce que Motion doit faire à l’ouverture. Choisissez un élément dans le menu local. Ouvrir le(s) dernier(s) projet(s) : tout projet qui était ouvert au moment de la dernière fermeture du projet est rouvert. Cette option favorise la continuité du travail au fil des sessions. Créer un nouveau projet : cette commande ouvre un nouveau projet vide. Si aucun préréglage par défaut n’a été choisi, la zone de dialogue de sélection Préréglage du projet apparaît au démarrage. Afficher l’écran de Bienvenue : il s’agit du réglage par défaut. Quatre options vous sont présentées au démarrage : Afficher les visites rapides (lien vers les visites rapides de l’application sur Internet), Commencer avec le guide d’initiation (lien vers les guides d’initiation de l’application sur Internet), Commencer avec un modèle (ouvre le Navigateur de modèles) ou Commencer avec un nouveau projet. Remarque : pour ignorer l’écran de Bienvenue, modifiez les préférences de Motion (ou désactivez la case « Afficher l’écran de bienvenue au démarrage » dans l’écran de Bienvenue). Parcourir les modèles : cette option vous emmène directement au Navigateur de modèles. Pour en savoir plus sur l’utilisation des modèles, voir « Création de nouveaux projets à partir de modèles » à la page 199. Interface Cette section de la fenêtre Générales permet de définir certaines options générales liées à l’interface. Délai menu déroulant : ce réglage détermine le délai écoulé avant l’affichage du menu déroulant lorsque l’on fait glisser des éléments dans la Timeline, la mini-Timeline, l’onglet Couches ou le Canevas. Le menu déroulant offre des choix supplémentaires pour modifier et importer les objets dans le projet. Afficher les bulles d’aide : cette case active et désactive les bulles d’aide dans toute l’application. Les bulles d’aide fournissent des informations telles que les noms des éléments et les techniques d’utilisation élémentaires. Elles apparaissent lorsque vous placez le pointeur sur un outil ou une commande. Navigateur et Bibliothèque Ces réglages ont une incidence sur la manière dont la fenêtre Utilitaire affiche le contenu du Navigateur et de la Bibliothèque. Afficher les dossiers : ce réglage permet de choisir entre l’affichage alphabétique des dossiers dans la liste ou leur regroupement en fin de liste, après tous les autres objets.Chapitre 1 Premiers contacts avec Motion 153 Afficher les icônes de Preview : cette case active et désactive les icônes de Preview dans la fenêtre Utilitaire. Par exemple, lorsqu’elle est activée, la première image d’un film QuickTime est affichée. Lorsqu’elle est désactivée, l’icône QuickTime du Finder s’affiche. Remarque : les captures d’écrans illustrant le Manuel de l’utilisateur Motion ont été réalisées avec la case « Afficher les icônes de Preview » désactivée dans les préférences Motion. Lire automatiquement les éléments en un seul clic : cette case permet de contrôler si la zone de prévisualisation lit automatiquement le contenu de l’élément sélectionné dans la pile de fichiers. Bibliothèque de contenu et modèles Lors de son installation, Motion vous permet de choisir un autre emplacement pour la bibliothèque de contenu, les modèles et les médias d’initiation. Ce réglage permet de pointer vers un dossier de votre système ou réseau contenant la bibliothèque de contenu, les modèles et les médias d’initiation Motion. Cela permet également à plusieurs utilisateurs d’un réseau de partager un dossier unique centralisé. Pour définir le chemin d’accès au contenu de Motion : 1 Cliquez sur Choisir (à côté de Chemin de la Bibliothèque). 2 Dans la zone de dialogue qui apparaît, naviguez jusqu’à l’emplacement du contenu, puis cliquez sur Choisir. 3 Redémarrez Motion. Pour réinitialiser le chemin d’accès au contenu de Motion : m Cliquez sur Réinitialiser (à côté du bouton Choisir). Modules de tierce partie Motion peut lire les modules compatibles After Effects. Ce réglage permet de pointer vers un dossier de votre disque dur contenant ces modules. Si la case « Afficher les icônes de Preview » est désactivée dans les préférences Motion, les icônes par défaut sont affichées. Si la case « Afficher les icônes de Preview » est cochée dans les préférences Motion, les icônes de Preview sont affichées.154 Chapitre 1 Premiers contacts avec Motion Remarque : les filtres FxPlug doivent être en versions binaires universelles afin de pouvoir travailler sur des systèmes Macintosh à processeurs Intel. Pour définir le chemin des modules : 1 Cliquez sur Choisir (à côté de Chemin de recherche). 2 Dans la zone de dialogue qui apparaît, naviguez jusqu’à l’emplacement des modules, puis cliquez sur Choisir. 3 Redémarrez Motion. Pour effacer le chemin des modules : m Cliquez sur Effacer (à côté du bouton Choisir). Média Si la case « Supprimer automatiquement les données inutilisées » est cochée, Motion supprime tout média qui n’est pas actuellement utilisé dans votre projet, dès lors que vous supprimez un objet du projet (à partir du Canevas, de l’onglet Couches ou de la liste de couches de la Timeline). Ce média n’est donc plus affiché dans l’onglet Média. Éditeur d’images clés Si la case « Verrouiller les images clés dans le temps » est cochée, vous pouvez modifier les valeurs des images clés dans l’Éditeur d’images clés, mais vous ne pouvez pas les avancer ou les reculer dans le temps. Vous ne pouvez donc pas modifier le contrôle du temps de votre animation lorsque vous modifiez des valeurs. Apparence Cette fenêtre contient des réglages destinés au contrôle des éléments visuels de l’interface Motion. Palette La palette est une fenêtre semi-transparente qui flotte au-dessus des autres fenêtres présentes à l’écran. Utilisez le curseur Opacité de la fenêtre pour régler l’opacité (la transparence) de la palette.Chapitre 1 Premiers contacts avec Motion 155 Preview des vignettes Les vignettes affichées dans l’onglet Couches constituent des informations très utiles sur les objets sélectionnés dans cette fenêtre. Pour les objets partiellement transparents (dotés de canaux alpha), il est d’ailleurs possible de régler l’arrière-plan de l’image. Choisissez Damier ou Couleur. Damier : il s’agit du réglage par défaut. Cette option affiche un damier laissant passer les pixels transparents. Couleur : cette option affiche une couleur unie dans les zones contenant des pixels transparents. Pour changer de couleur d’arrière-plan des vignettes : 1 Sélectionnez Couleur dans le menu local Arrière-plan. 2 Cliquez ou cliquez tout en maintenant la touche Contrôle enfoncée sur le cadre de couleur situé à côté du menu local, puis choisissez une couleur dans la fenêtre Couleurs ou la palette de couleurs locale. La couleur sélectionnée devient la couleur d’arrière-plan des vignettes. Timeline Ce réglage vous permet de choisir le mode d’affichage des barres présentes dans la Timeline pour représenter vos objets. Vous avez le choix entre Nom, Nom plus vignette et Pellicule. Nom : seul le nom de l’objet est affiché par les barres dans la Timeline. Nom plus vignette : il s’agit de l’option par défaut. Les barres dans la Timeline affichent une icône représentant la première image de l’objet, suivie du nom de l’objet. Pellicule : les barres dans la Timeline affichent une série continue d’images. Le nom n’est pas affiché. Pour un exemple de ces différents états, voir « Spécification de l’affichage des pistes » à la page 362. Remarque : seules les couches (formes, images, séquences d’images, texte, etc.) affichent une vignette ou une série continue d’images. Les objets tels que les caméras, les tables lumineuses et les comportements n’affichent aucune vignette. Barre d’état La zone située au-dessus du Canevas et sous la barre d’outils constitue la barre d’état. Vous pouvez choisir d’afficher trois types d’informations différentes dans cette zone : Couleur, Coordonnées et Fréquence d’images. Vous pouvez également choisir parmi trois méthodes différentes de représentation des données de couleur. Couleur : cette option affiche la valeur de couleur du pixel situé sous le pointeur. Les couleurs sont affichées dans le format choisi via l’option Affichage des couleurs.156 Chapitre 1 Premiers contacts avec Motion Coordonnées : cette option affiche les coordonnées X et Y de la position du pointeur. Fréquence d’images : cette option affiche la fréquence d’images du projet pendant la lecture. Rien n’est affiché tant que la lecture du projet n’a pas été lancée. Affichage des couleurs : faites votre choix parmi trois styles d’affichage des données de couleur.  RVB : cette option affiche les valeurs rouge, vert, bleu et alpha de chaque pixel, dans une plage allant de 0 à 255. La valeur alpha est également affichée.  RVB (en pour cent) : cette option affiche les valeurs rouge, vert, bleu et alpha de chaque pixel, dans une plage allant de 1 à 100.  TSL : cette option décrit la couleur grâce à sa teinte, sa saturation et sa valeur (luminosité). La teinte est une valeur comprise entre 1 et 360, alors que la saturation et la valeur vont de 1 à 100. La valeur alpha est également affichée dans une plage allant de 1 à 100. Projet La fenêtre des préférences du Projet permet de définir des options telles que le contrôle du temps, l’affichage et la lecture. Réglages par défaut Ces commandes déterminent les valeurs par défaut des projets nouvellement créés. Pour modifier les réglages d’un projet spécifique, modifiez les réglages correspondants dans la zone de dialogue Propriétés du projet (choisissez Édition > Propriétés du projet ou appuyez sur Commande + J). Remarque : ces réglages sont uniquement pris en compte dans les projets créés après la modification des préférences. Tout projet actuellement ouvert ne subit aucune modification.Chapitre 1 Premiers contacts avec Motion 157 Durée du projet : définit la durée par défaut des nouveaux projets. Vous pouvez saisir un nombre dans le champ de valeur et choisir des unités (images ou secondes) via le menu local. Couleur d’arrière-plan : détermine la couleur d’arrière-plan pour tous les nouveaux projets créés après la modification de la couleur. Cette option ne modifie pas la couleur d’arrière-plan du projet en cours. Pour modifier la couleur d’arrière-plan du projet en cours, choisissez Édition > Propriétés du projet (ou appuyez sur les touches Commande + J), puis utilisez les commandes Couleur d’arrière-plan. Remarque : pour que la nouvelle couleur d’arrière-plan soit rendue dans la sortie finale, vous devez choisir Couleur unie dans le menu local Arrière-plan de l’onglet Générales de la zone de dialogue Propriétés du projet (accessible via Commande + J). Pour changer de couleur d’arrière-plan : m Cliquez ou cliquez tout en maintenant la touche Contrôle enfoncée sur le cadre de couleur, puis choisissez une couleur dans la fenêtre Couleurs ou la palette de couleurs locale. La couleur sélectionnée devient la couleur d’arrière-plan de tous les projets créés ultérieurement. Contrôle du temps Ces réglages contrôlent le mode d’affichage des compteurs de temps dans toute l’application. Contrôle du temps en : deux options vous sont proposées :  Images : affiche tous les compteurs sous la forme de numéros d’images en progression incrémentielle.  Timecode : cette option utilise des numéros de timecode à huit chiffres pour afficher le temps dans tous les compteurs. Numérotation des images : cette option permet de choisir si la numérotation des images doit commencer à zéro ou à un. Images et couches Ces réglages contrôlent la durée, la position et la taille par défaut des images fixes et des couches importées, ainsi que des couches créées dans Motion, comme le texte, les formes et les masques. Durée de couche par défaut : vous pouvez spécifier la durée des images fixes, générateurs et autres couches qui n’ont pas de durée propre, de l’une des deux manières suivantes :  Utiliser la durée du projet : toutes les couches adoptent la durée du projet.  Utiliser une durée personnalisée : les couches adoptent la durée définie dans ce champ de valeur.158 Chapitre 1 Premiers contacts avec Motion Vous pouvez définir le temps en images ou en secondes. Créer couches à : lorsque vous faites glisser des couches vers le Canevas, l’onglet Couches ou la liste de couches de la Timeline, elles peuvent être ajoutées à votre projet à l’emplacement actuel de la tête de lecture ou au niveau de la première image du projet. Ce réglage s’applique également aux couches créées dans Motion, comme le texte ou les formes. Grandes images : lors de l’importation de grandes images fixes, définissez cette préférence afin d’indiquer à Motion d’importer le fichier à sa taille d’origine, de changer la résolution de l’image en fonction de la taille du Canevas, ou de dimensionner l’image à la taille du Canevas.  Ne rien faire : importe l’image à sa taille d’origine.  Adapter au Canevas : importe et dimensionne l’image en fonction de la taille du projet, tout en préservant ses proportions.  Réduire à la taille du Canevas : ce réglage change la résolution de l’image importée, de sorte qu’elle s’adapte à la taille du projet tout en conservant ses proportions. Remarque : pour en savoir plus sur les différences entre les diverses options Grandes images, voir « Utilisation d’images fixes à haute résolution » à la page 228. Contrôle de la lecture Ces réglages contrôlent la manière dont Motion lit votre projet. Mise à jour du contrôle du temps : lorsque la fenêtre Contrôle du temps est visible, vous pouvez régler l’affichage afin qu’il suive automatiquement la lecture de votre projet. Choisissez l’une des options suivantes dans le menu local :  Ne pas mettre à jour : la fenêtre Contrôle du temps n’est pas modifiée pendant la lecture (cela permet d’améliorer les performances).  Faire défiler page par page : la fenêtre avance dès que la tête de lecture atteint les limites de la vue actuelle. La tête de lecture traverse à nouveau l’écran et ainsi de suite.  Faire défiler en continu : la tête de lecture demeure statique et la fenêtre Contrôle du temps défile en arrière-plan. Si la synchro. audio est perdue : Motion essaie toujours de maintenir la lecture audio et vidéo parfaitement synchronisées, mais lorsque le projet est trop complexe pour permettre une lecture fluide, il est nécessaire de donner la priorité à l’audio ou à la vidéo. Vous pouvez choisir entre Ignorer les images vidéo et Mettre la lecture audio en pause.Chapitre 1 Premiers contacts avec Motion 159 Limiter la vitesse de lecture à la fréq. d’images du projet : Motion lit votre projet aussi vite que possible en fonction de la complexité des effets et de la puissance de votre ordinateur. Si cette case est cochée, la vitesse de lecture ne dépasse jamais la fréquence d’images de votre projet. En d’autres termes, vous pouvez visionner votre projet à la même fréquences d’images que votre film exporté. Si cette case n’est pas cochée, la vitesse de lecture n’est limitée que par la puissance de votre processeur et vous pouvez visionner votre film à une fréquence d’images beaucoup plus élevée que celle du projet. Audio en boucle pendant le défilement : cochez cette case pour répéter le son des images sur lesquelles vous faites glisser la tête de lecture. Si vous ne sélectionnez pas cette case, le son n’est lu qu’une seule fois. Cache Cette fenêtre contient des réglages permettant de contrôler le cache du projet, l’enregistrement automatique, le cache LiveFont et la resynchronisation du flux optique. Mémoire et cache Ce réglage vous permet d’indiquer la quantité de mémoire à allouer au cache du projet. Cache du projet : permet de spécifier le pourcentage de la mémoire totale que vous souhaitez allouer au cache de votre projet. Plus le pourcentage indiqué est important, plus Motion dispose de mémoire pour mettre en mémoire cache les images, ce qui se traduit normalement pas une lecture sans à-coups.160 Chapitre 1 Premiers contacts avec Motion Enregistrement automatique Ces réglages contrôlent la fréquence selon laquelle les projets sont enregistrés automatiquement, ainsi que l’emplacement des fichiers enregistrés. Les projets enregistrés font l’objet d’un horodatage. Utiliser l’enregistrement automatique : si cette case est cochée, Motion stocke les projets enregistrés automatiquement dans l’emplacement spécifié dans le paramètre Dossier d’enregistrement automatique. Enregistrer toutes les : indique la fréquence, en minutes, selon laquelle est projet est enregistré. Garder au maximum : indique le nombre de versions du projet enregistré automatiquement à conserver dans le dossier. Maximum de : indique le nombre maximal de projets différents enregistrés automatiquement à conserver dans le dossier. Dossier d’enregistrement automatique : cliquez sur le bouton Choisir pour définir l’emplacement d’enregistrement automatique des fichiers. Si besoin est, le bouton Réinitialiser vous permet de restaurer l’emplacement d’enregistrement par défaut. Par défaut, le dossier d’enregistrement automatique est situé dans un dossier appelé Motion Documents,dans le dossier Documents de votre répertoire de départ. Pour stocker dans un emplacement spécifique les projets enregistrés automatiquement : 1 Choisissez Motion > Préférences (ou appuyez sur touches Commande + virgule). 2 Cliquez sur Cache. 3 Dans le groupe Enregistrement automatique, activez l’option Utiliser l’enregistrement automatique. Par défaut, le dossier d’enregistrement automatique est situé dans un dossier appelé Motion Documents,dans le dossier Documents de votre répertoire de départ. Pour définir un nouvel emplacement pour l’enregistrement automatique : m Cliquez sur Choisir, définissez un nouvel emplacement dans la zone de dialogue, puis cliquez sur Choisir.Chapitre 1 Premiers contacts avec Motion 161 Pour rétablir un projet enregistré automatiquement: 1 Choisissez Fichier > Rétablir à partir de l’enregistrement automatique. La zone de dialogue Rétablir le projet apparaît. 2 Choisissez un projet enregistré à partir du menu local. Remarque : pour que les commandes Rétablir apparaissent dans le menu Fichier, le fichier doit avoir été précédemment enregistré. Polices LiveFonts Ces réglages déterminent la manière dont les polices LiveFont sont mises en mémoire cache (stockées) par Motion. Placer en cache les tailles de police LiveFont intermédiaires : cette case à cocher permet d’activer ou de désactiver la mise en mémoire cache des données LiveFont. Cette option est activée par défaut, car elle améliore les performances si vous utilisez souvent des polices LiveFonts. Chemin du cache : cliquez sur Choisir pour définir un emplacement personnalisé de mise en mémoire cache de vos données LiveFont. Comme cette mémoire cache peut atteindre une taille importante, il est recommandé de choisir un disque différent de votre disque dur principal. Supprimer le cache LiveFont : au fil du temps, ce cache peut augmenter pour atteindre plusieurs giga-octets d’espace disque. Vous pouvez récupérer cet espace en cliquant sur ce bouton afin de supprimer le cache. Pour définir un nouvel emplacement pour le cache LiveFont : m Cliquez sur Choisir, définissez un nouvel emplacement dans la zone de dialogue, puis cliquez sur Choisir. Pour supprimer le cache LiveFont : 1 Cliquez sur Supprimer le cache LiveFont. Une zone de dialogue vous invite à confirmer la suppression. 2 Cliquez sur Supprimer. Le cache est alors supprimé.162 Chapitre 1 Premiers contacts avec Motion Resynchronisation du flux optique Lorsque vous resynchronisez une séquence, Motion doit stocker les fichiers de resynchronisation correspondants. Ce réglage vous permet d’indiquer l’emplacement d’enregistrement des fichiers de resynchronisation. Vous pouvez choisir de stocker ces fichiers au même endroit que la séquence source ou sélectionner un autre emplacement. Dans le dossier avec les données source : cliquez sur ce bouton pour enregistrer les fichiers de resynchronisation au même emplacement que votre séquence source. Dans ce dossier : cliquez sur le bouton Choisir pour définir l’emplacement d’enregistrement des fichiers de resynchronisation du flux optique. Par défaut, le dossier de flux optique est situé dans le dossier /Utilisateurs/nom d’utilisateur/ Documents/Motion Documents/Retiming Cache Files. Pour définir un nouvel emplacement pour les fichiers du flux optique : m Cliquez sur Choisir, définissez un nouvel emplacement dans la zone de dialogue, puis cliquez sur Choisir. Canevas Cette fenêtre contient les réglages nécessaires pour personnaliser l’affichage du Canevas. Toute modification effectuée dans cette fenêtre est immédiatement répercutée sur le projet en cours.Chapitre 1 Premiers contacts avec Motion 163 Arrière-plan Ce réglage permet de choisir une couleur pour l’arrière-plan de votre Canevas (la couleur en dehors des limites du projet). Cette couleur n’est pas exportée avec votre projet. Elle vous sert uniquement à identifier plus facilement les couches en couleur et les couches transparentes. Pour changer la couleur d’arrière-plan du Canevas : m Cliquez ou cliquez tout en maintenant la touche Contrôle enfoncée sur le cadre de couleur du Canevas, puis choisissez une couleur dans la fenêtre Couleurs ou la palette de couleurs locale. La couleur sélectionnée devient la couleur d’arrière-plan du Canevas. Opacité présentation totale : si vous avez sélectionné « Afficher zone de présentation totale » dans le menu Présentation, ce réglage contrôle l’opacité d’arrière-plan de la partie d’une couche située en dehors des limites du Canevas. Si vous choisissez 100 %, la couche est transparente. En revanche, si vous optez pour 0 %, la couche est totalement opaque. Alignement Ces réglages contrôlent la couleur et l’affichage de la grille, des règles et des guides optionnels qui apparaissent dans le Canevas. Vous avez la possibilité d’activer ou de désactiver l’affichage des grilles, guides et règles via le menu Présentation ou le menu local du même nom situé dans l’angle supérieur droit de la fenêtre. Intervalle de la grille : ce curseur définit la largeur de la grille en pixels. Couleur de la grille : ce cadre de couleur définit la couleur des lignes de la grille. Couleur de guide : ce cadre de couleur définit la couleur des guides. Couleur de guide dynamique : ce cadre de couleur définit la couleur des guides dynamiques. Emplacement de la règle : ce menu local définit la position de la règle dans le Canevas. Vous avez le choix entre En haut à gauche, En bas à gauche, En haut à droite ou En bas à droite. Zones sécurisées Les zones sécurisées sont des guides spéciaux, conçus pour éviter de positionner des couches dans des zones de l’écran qui risquent de ne pas s’afficher correctement sur les écrans de télévision ordinaires. Les couches apparaissant en dehors de la zone d’action sécurisée risquent d’être coupées. La zone située hors de la zone de titre sécurisé risque de subir des déformations qui rendront le texte difficile à lire. Vous avez la possibilité d’activer ou de désactiver l’affichage des guides des zones sécurisées via le menu Présentation ou le menu local du même nom situé dans l’angle supérieur droit de la fenêtre (au-dessus du Canevas).164 Chapitre 1 Premiers contacts avec Motion Zone d’action sécurisée : définit le pourcentage du Canevas occupé par les guides de la zone d’action sécurisée. Zone de titre sécurisé : définit le pourcentage du Canevas occupé par les guides de la zone de titre sécurisé. Couleur de la zone sécurisée : définit la couleur des guides de la zone sécurisée. Zone du film Lors de la production d’un film destiné à la télévision et au cinéma, il peut s’avérer utile de visualiser la zone d’image TV qui sera coupée lors de la conversion au format film. Les réglages Zone du film permettent d’afficher un guide qui identifie les proportions du format de film sur lequel vous travaillez. Vous avez la possibilité d’activer ou de désactiver l’affichage des guides de la zone du film via le menu Présentation ou le menu local du même nom situé dans l’angle supérieur droit de la fenêtre. Proportions : ce menu local permet soit d’attribuer l’une des proportions standard à la taille des guides, soit de saisir une valeur personnalisée. Pour choisir des proportions : m Choisissez un réglage dans le menu local Proportions. Pour créer des proportions personnalisées : m Saisissez un nombre représentant la largeur de l’écran (en fonction d’une hauteur de 1) dans le champ de valeur situé à droite du menu local, puis appuyez sur Retour. L’option Personnaliser est alors automatiquement activée dans le menu local Proportions. Couleur de la zone du film : définit la couleur des guides de la zone de film. Magnétisme Lorsque vous faites glisser des objets sur Canevas, ils s’alignent automatiquement par magnétisme aux objets avoisinants. Ce réglage permet de déterminer si cet alignement automatique s’effectue sur les points centraux, les bords, voire les points centraux et les bords des objets. Vous avez la possibilité d’activer ou de désactiver ce magnétisme via le menu Présentation ou en appuyant sur la touche N lorsque le Canevas est activé. 3D La fenêtre des préférences 3D vous permet de contrôler divers aspects de l’espace de travail 3D de Motion.Chapitre 1 Premiers contacts avec Motion 165 Générales Cette zone vous permet de contrôler la présentation cadre, ainsi que de choisir si vos nouveaux groupes doivent être par défaut en 2D ou en 3D. Cadre d’affichage général : vous permet de contrôler la présentation cadre de sorte qu’elle apparaisse lors des transformations seulement, lors de toutes les modifications ou à la demande. Vous devez activer la présentation cadre via le menu ou le menu local Présentation pour qu’elle puisse être affichée.  Pour les transformations : la présentation cadre est affichée lorsque vous modifiez les paramètres de transformation d’un objet, comme Position, Rotation ou Échelle.  Pour tous les changements : la présentation cadre est affichée lorsque vous apportez des modifications spécifiques à un type d’objet, comme le réglage des paramètres d’un réplicateur dans la palette ou l’Inspecteur.  Manuellement : si vous choisissez cette option, la présentation cadre est toujours affichée. Taille de la présentation du cadre : utilisez ce curseur pour régler la taille du cadre. Nouveau type de groupe par défaut : utilisez ce menu pour choisir si vos nouveaux groupes doivent par défaut être créés en 2D ou en 3D. Si vous choisissez Automatique, Motion détermine le type du groupe créé en fonction du projet. Par exemple, si vous travaillez sur un projet 3D et que l’option Automatique est activée, les nouveaux groupes sont par défaut en 3D. À l’inverse, si vous travaillez sur un projet 2D (sans aucune caméra), les groupes sont créés en 2D. La fenêtre Présentation cadre est affichée en fonction de vos réglages.166 Chapitre 1 Premiers contacts avec Motion Grille 3D Cette zone vous permet de modifier les réglages de la grille affichée sur l’espace de travail 3D de Motion. Intervalle de la grille 3D : détermine l’intervalle (en pixels) entre les lignes de la grille. Taille de la grille 3D : fixe la taille de la grille visible. Plus cette valeur est importante, plus la grille s’étend sur l’espace de travail. Couleur primaire de la grille : vous permet de définir la couleur des lignes principales de la grille. Ces lignes sont légèrement plus épaisses que les lignes secondaires. Couleur secondaire de la grille : vous permet de définir la couleur des lignes secondaires de la grille (les lignes intercalées entre les lignes principales). Pour modifier la couleur primaire ou secondaire de la grille 3D : m Cliquez ou cliquez tout en maintenant la touche Contrôle enfoncée sur le cadre de couleur Grille, puis choisissez une couleur dans la fenêtre Couleurs ou la palette de couleurs locale. La couleur sélectionnée devient la couleur des lignes de la grille. Sortie La fenêtre des préférences Sortie indique à Motion de rendre le contenu du Canevas vers une platine ou un moniteur vidéo connecté à votre ordinateur via un port FireWire ou autre. Vidéo externe Ces réglages contrôlent la manière dont Motion lit votre projet directement vers une platine ou un moniteur vidéo connecté à votre ordinateur. Sortie vidéo : utilisez ce menu local pour choisir le type de périphérique connecté au moniteur. Si l’option sélectionnée n’est pas Aucune, Motion sort une nouvelle image vers le moniteur vidéo connecté chaque fois que vous relâchez le bouton de la souris (si le Canevas a été modifié). Le menu est réglé sur Aucune dans le cas où aucun moniteur ou platine vidéo n’est connecté. Chapitre 1 Premiers contacts avec Motion 167 Si vous disposez de deux moniteurs informatiques, l’un peut être utilisé pour afficher l’interface Motion et le Finder, tandis que l’autre peut être utilisé comme moniteur vidéo dédié à l’aide d’un affichage cinéma comme moniteur externe. Les choix de contrôle vidéo externe suivants sont disponibles :  Preview Digital Cinema Desktop : la vidéo n’est pas redimensionnée, sauf si elle est trop grande pour tenir sur l’écran. Si le signal vidéo est plus grand que l’affichage, il est dimensionné afin de tenir sur l’affichage.  Avantages : la vidéo conserve toujours les proportions appropriées et n’affiche pas de défauts de mise à l’échelle en raison de l’agrandissement.  Inconvénients : certains formats, en particulier les formats SD, peuvent sembler très petits lorsqu’ils sont affichés sur des écrans informatiques de grande taille.  Preview Digital Cinema Desktop - Plein écran : la vidéo est dimensionnée afin de s’afficher dans au moins une dimension. Si les proportions du signal vidéo et de l’écran informatique ne correspondent pas, la vidéo sur l’affichage est convertie au format Letterbox (bandes noires en haut et en bas) ou Pillarbox (bandes noires sur les côtés), si nécessaire.  Avantages : ce format offre l’image la plus grande possible et permet d’obtenir les proportions appropriées.  Inconvénients : des défauts de mise à l’échelle peuvent être perceptibles lors d’un affichage rapproché.  Preview Digital Cinema Desktop – Principal : utilise votre moniteur principal comme écran Digital Cinema Desktop. la vidéo est dimensionnée afin de s’afficher dans au moins une dimension.  Avantages : ce format offre l’image la plus grande possible et permet d’obtenir les proportions appropriées.  Inconvénients : des défauts de mise à l’échelle peuvent être perceptibles lors d’un affichage rapproché.  Preview Digital Cinema Desktop - Brut : ce mode affiche les données vidéo avec le minimum de traitement possible. Cela peut s’avérer utile pour les évaluations d’ingénierie de l’image. Aucune mise à l’échelle d’aucune sorte n’est effectuée.  Avantages : des évaluations plus précises de la qualité vidéo peuvent être effectuées.  Inconvénients : inutile pour l’affichage général. Aucune mise à l’échelle, ni aucun ajustement des proportions pixel n’est effectué, même lorsque la vidéo est plus grande que l’écran. Remarque : par exemple, une image 720p (1280 x 720) qui s’affiche en mode brut sur un moniteur 800 x 600 affiche uniquement 800 x 600 de l’image. 168 Chapitre 1 Premiers contacts avec Motion Pour afficher la sortie vidéo Motion sur un moniteur informatique relié à votre ordinateur : 1 Choisissez Motion > Préférences. 2 Dans la fenêtre Sortie, choisissez l’une des options d’affichage du menu local Sortie vidéo. Options : le bouton Options est actif dès qu’un module Sortie vidéo est activé. Il n’est pas nécessaire de régler des options pour les moniteurs connectés via FireWire. Les options peuvent être appliquées pour les moniteurs connectés via du matériel de tierce partie. Mise à jour durant la lecture : lit le projet sur le moniteur vidéo externe durant la lecture du projet dans le Canevas. Cette option réduit les performances de manière significative. Mise à jour dynamique après la modification du paramètre : envoie une nouvelle image vidéo vers le moniteur vidéo externe pendant que vous réglez les paramètres (plutôt qu’après avoir relâché le bouton de la souris). Cette option risque de réduire significativement les performances. Sortie vidéo dans Motion Si vous êtes en train de créer une œuvre destinée à être diffusé sur des écrans de télévision (une émission ou des menus DVD par exemple), il est important de visionner votre projet Motion sur ce type d’écran avant de le terminer. Bien que vous puissiez réaliser un grand nombre de réglages de présentation et de couleur sur l’écran de votre ordinateur, vous serez surpris de constater à quel point un écran de télévision peut transformer l’apparence de ce que vous avez réalisé. Premièrement, que ce soit pour le format NTSC (norme télévisuelle américaine et japonaise) ou PAL/SECAM (norme européenne), les couleurs seront différentes de celles qui sont affichées sur votre ordinateur. (Le format NTSC est parfois appelé « Never Twice the Same Color », ce qui signifie en anglais « Jamais deux fois la même couleur ».) De plus, les signaux TV sont entrelacés, ce qui signifie que la résolution verticale est divisée en deux et affichée avec une fréquence d’images deux fois plus élevée. Pour parler clairement, les fines lignes horizontales présentes dans votre projet (telles que les empattements des polices de caractères) risquent de scintiller lors du visionnage sur un écran de télévision. Motion vous permet heureusement de visionner le contenu de votre Canevas directement sur un écran de télévision connecté à votre ordinateur. Vous pouvez connecter un moniteur à votre ordinateur soit via un périphérique FireWire tel qu’un caméscope ou une platine DV, soit via une carte de capture vidéo de tierce partie. Pour une plus grande précision des résultats, il est recommandé d’utiliser un moniteur de qualité professionnelle doté de capacités d’étalonnage.Chapitre 1 Premiers contacts avec Motion 169 Préréglages La fenêtre de préférences Préréglages contient des préréglages pour les réglages du projet et les réglages d’exportation. Elle vous permet de choisir des réglages par défaut ou de créer, modifier ou supprimer des réglages. Le préréglage de projet par défaut détermine les réglages attribués lors de la création d’un nouveau projet. Vous pouvez modifier n’importe lequel de ces réglages en cours de travail en ouvrant la fenêtre Propriétés du projet (choisissez Édition > Propriétés du projet ou appuyez sur Commande + J). Afficher : ce menu local vous permet de choisir entre modifier des préréglages pour de nouveaux projets ou modifier des préréglages d’exportation. Liste de préréglages : la liste actuelle des préréglages apparaît sous le menu Afficher. La case située à gauche de chaque nom identifie le préréglage par défaut. Cochez une case pour sélectionner un autre préréglage. La colonne située à droite indique les préré- glages verrouillés. Il est impossible de modifier les préréglages verrouillés. Vous pouvez dupliquer un préréglage verrouillé et modifier la copie. Zone Résumé : située à droite de la liste des préréglages, cette zone affiche les informations du préréglage sélectionné. Créer les nouveaux documents avec les paramètres par défaut : lorsque cette case est cochée, la création d’un nouveau projet entraîne automatiquement l’utilisation du préré- glage de projet par défaut. Dans le cas contraire, la création d’un nouveau projet entraîne l’ouverture de la zone de dialogue « Sélectionnez le préréglage du projet », où vous pouvez choisir un préréglage pour votre nouveau projet. Ajouter un préréglage : cliquez sur le bouton Ajouter (+) afin d’afficher la zone de dialogue Éditeur de préréglages du projet et créez un nouveau préréglage. Supprimer un préréglage : pour supprimer un préréglage, sélectionnez le préréglage à supprimer et cliquez sur le bouton Supprimer (–). Dupliquer : pour dupliquer un préréglage, sélectionnez-le, puis cliquez sur Dupliquer.170 Chapitre 1 Premiers contacts avec Motion Modification de préréglages Pour apporter des modifications à un préréglage, cliquez sur le bouton Modifier afin d’ouvrir l’Éditeur de préréglages du projet et saisissez les modifications dans cette fenêtre. Il est impossible de modifier des préréglages verrouillés. Si vous tentez de le faire, une zone de dialogue vous en avertit. Le préréglage que vous aviez sélectionné est alors dupliqué et vos modifications sont appliquées à sa copie. Pour ouvrir l’Éditeur de préréglages du projet, procédez de l’une des manières suivantes : m Double-cliquez sur un préréglage non verrouillé dans la liste des préréglages. m Sélectionnez un élément non verrouillé dans la liste des préréglages, puis cliquez sur le bouton Modifier. m Sélectionnez un élément dans la liste des préréglages, cliquez sur Dupliquer, sélectionnez la version dupliquée du préréglage, puis cliquez sur le bouton Modifier. Éditeur de préréglages du projet La zone de dialogue Éditeur de préréglages du projet vous permet de modifier le contenu des préréglages du projet. Remarque : lorsque vous double-cliquez sur un préréglage par défaut, une zone de dialogue vous avertit que le préréglage sélectionné ne peut pas être modifié. Cliquez sur OK afin de créer une copie modifiable du préréglage. Nom : contient le nom du préréglage. Description : ce champ contient un texte descriptif du préréglage. Ce texte apparaît dans la Zone Résumé de la fenêtre des préférences de préréglage. Vous pouvez saisir votre propre description dans ce champ. Largeur et Hauteur : ces champs définissent la taille d’image du préréglage. Proportions pixel : détermine le rapport largeur/hauteur d’un pixel du préréglage. Il doit correspondre au type de média sur lequel vous travaillez. Chapitre 1 Premiers contacts avec Motion 171 Ordre de trame : détermine l’ordre de trame de votre projet. Les projets DV utilisent généralement l’option Inférieure en 1er. Fréquence d’images : détermine la fréquence d’images du préréglage. Cliquez sur la flèche de la liste pour afficher les fréquences les plus courantes ou tapez votre propre valeur. Zone de dialogue Options d’exportation Si vous souhaitez modifier un préréglage d’exportation, choisissez Préréglages d’exportation dans menu local Afficher, puis cliquez sur le bouton Modifier. La zone de dialogue Options d’exportation apparaît alors. Apportez toutes les modifications nécessaires dans cette fenêtre. Il est impossible de modifier des préréglages verrouillés. Si vous tentez de le faire, une zone de dialogue vous en avertit. Le préréglage que vous aviez sélectionné est alors dupliqué et vos modifications sont appliquées à sa copie. Pour ouvrir la zone de dialogue Options d’exportation, procédez de l’une des manières suivantes : m Double-cliquez sur un préréglage non verrouillé dans la liste des préréglages. m Sélectionnez un élément non verrouillé dans la liste des préréglages, puis cliquez sur le bouton Modifier. m Sélectionnez un élément dans la liste des préréglages, cliquez sur Dupliquer, sélectionnez la version dupliquée du préréglage, puis cliquez sur le bouton Modifier. Nom : ce champ modifiable contient le nom du préréglage.172 Chapitre 1 Premiers contacts avec Motion Description : contient un texte descriptif du préréglage. Ce texte apparaît dans la Zone Résumé de la fenêtre des préférences de préréglage. Vous pouvez saisir votre propre description dans ce champ. Les onglets Vidéo/Audio et Sortie apparaissent en dessous des champs Nom et Description. Une zone de résumé située à droite des onglets affiche des informations sur les réglages figurant dans ces deux onglets. Onglet Vidéo/Audio L’onglet Vidéo/Audio contient deux groupes de commandes : Vidéo et Audio. Commandes Vidéo Ce groupe de commandes vous permet de définir les options de sortie vidéo. Type : vous avez le choix entre Séquence QuickTime, Image fixe ou Séquence d’images. Remarque : les options audio sont réservées aux séquences QuickTime. Compresseur : différents compresseurs sont disponibles en fonction du Type choisi. Qualité : il est possible de définir un niveau de qualité pour certains compresseurs. Si la commande est estompée, cela signifie que ce type de compresseur ne propose pas des niveaux de qualité variables. Nº de début : vous pouvez définir un numéro d’image de début pour les séquences d’images. Chaque fichier généré dans la séquence d’images reçoit un numéro en progression incrémentielle. Ajouter des espaces : lors de la génération de séquences d’images, le fait de cocher la case Ajouter des espaces entraîne l’ajout d’espaces aux noms de fichiers, afin de garantir qu’ils seront lus dans le bon ordre par d’autres applications. Avancé : le bouton Avancé n’est actif que pour les séquences QuickTime. Cliquez sur ce bouton pour ouvrir la zone de dialogue des réglages de compression standard. Dans la plupart des cas, il n’est pas nécessaire de modifier le contenu de cette zone de dialogue. Commandes Audio Ce groupe de commandes vous permet de définir les options de sortie audio. Échantillonnage : définit la fréquence d’échantillonnage audio de votre film exporté. Pour des résultats optimaux, veillez à choisir une fréquence d’échantillonnage identique à celle de la source audio de votre projet. Mixage : détermine le mixage de la sortie audio pour votre projet. Utilisez le réglage par défaut, Stéréo, ou choisissez 5.1 Surround. Avancé : le bouton Avancé ouvre la zone de dialogue des Réglages audio standard. Dans la plupart des cas, il n’est pas nécessaire de modifier le contenu de cette zone de dialogue.Chapitre 1 Premiers contacts avec Motion 173 Onglet Sortie L’onglet Sortie contient les commandes suivantes : Utiliser les réglages actuels du projet et du Canevas : lorsque cette case est cochée, le contenu de cette zone de dialogue est remplacé par les réglages de votre projet actuel. Cela permet d’utiliser un préréglage d’exportation dans plusieurs préréglages de projet. Lorsque cette option est désactivée, vous pouvez créer des réglages spécifiques pour le préréglage exporté. Résolution : vous avez trois possibilités : spécifier une taille de sortie relative à la taille d’image du projet (Pleine, 1/2, 1/3 ou 1/4), choisir un préréglage ou choisir Personnaliser, puis saisir des nombres précis dans les champs Largeur et Hauteur. Évitez les résolutions faibles en dehors de projets en version brouillon. Couleur : choisissez si les éléments exportés doivent inclure uniquement les données de couleur, les données de couleur plus le canal alpha (transparence) ou seulement celles du canal alpha. Important : certains types de compresseur ne gèrent pas les canaux alpha. Prémultiplier alpha : si cette case est cochée, les pixels semi-transparents de votre sortie sont mixés avec du noir. Fréquence d’images : détermine si la sortie de vos projets est exécutée selon le fréquence d’images du projet concerné ou selon une autre fréquence d’images indiquée ici. Caméra : détermine quelle présentation de caméra est utilisée lors de la sortie d’un projet 3D. Utilisez le réglage par défaut, Caméra activée, ou choisissez l’une des autres caméras de scène. Remarque : une caméra de scène est une caméra ajoutée par vos soins à un projet, contrairement à une présentation de caméra par défaut que vous pouvez choisir dans le coin supérieur gauche du Canevas (comme Haut, Droite, Perspective, etc.). Lors de l’exportation d’un projet, seule l’utilisation d’une caméra de scène est possible. Éclairage : si vous cochez cette case, les effets de lumière sont intégrés au rendu du projet. À l’inverse, si vous la désactivez, aucun effet de lumière n’apparaît dans la sortie finale. Qualité de rendu : vous donne le choix entre trois qualités de sortie : Brouillon, Normale ou Optimale. Plus la qualité est élevée, plus le rendu est long. Rendu de trames : lorsque cette case est cochée, les trames sont toujours rendues individuellement au moment de la sortie, quel que soit le réglage effectué dans le menu Pré- sentation du Canevas. Dans le cas contraire, les images sont rendues de manière globale, sans tenir compte du réglage effectué dans le menu Présentation du Canevas.174 Chapitre 1 Premiers contacts avec Motion Flou d’animation : lorsque cette case est cochée, un flou d’animation est appliqué aux couches animées, quel que soit le réglage effectué dans le menu Présentation du Canevas. Dans le cas contraire, aucun flou d’animation n’est appliqué. Fusion d’images : lorsque cette case est cochée, une fusion d’images est appliquée au rendu des séquences animées. Cette méthode de rendu est plus lente, mais assure une lecture sans à-coups. Profond. de bits en virgule flottante : lors de l’utilisation de l’espace en virgule flottante, la désactivation de cette option réduit le rendu à 8 bits. L’utilisation de l’espace en virgule flottante augmentant de façon considérable le temps de traitement, la désactivation de cette option permet d’accélérer le rendu. Ce réglage n’affecte pas la profondeur de bits en virgule flottante dans le Canevas. Tablette graphique La fenêtre des préférences de la Tablette graphique contient des réglages relatifs au contrôle de Motion à l’aide d’une tablette graphique. Vous ne pouvez pas activer l’option Tablette graphique dans Motion tant qu’aucune tablette n’est connectée à votre ordinateur et que la reconnaissance d’écriture n’est pas activée dans les préférences Ink des Préférences Système. Pour votre commodité, vous pouvez ouvrir directement les préférences Ink à partir de la fenêtre des préférences de la Tablette graphique, en cliquant sur le bouton Ouvrir les Préférences Ink. Pour en savoir plus sur l’utilisation des tablettes graphiques, voir l’annexe D, « Utilisation des gestes avec une tablette graphique », à la page 1325. Entrée Ces réglages contrôlent la manière dont Motion distingue les moments où les mouvements de votre stylet doivent être interprétés comme des mouvements de saisie par geste. Méthode de saisie : permet de choisir entre l’application des réglages de vos Préférences Mac OS et des préférences Wacom et l’utilisation de la saisie par gestes uniquement lorsqu’un déclencheur est activé.Chapitre 1 Premiers contacts avec Motion 175 Si vous choisissez d’utiliser un déclencheur, les mouvements du stylet sur la tablette sont interprétés comme des mouvements de souris jusqu’à ce que vous appuyiez sur l’un des boutons du stylet ou sur une touche de modification. Ces actions indiquent que vous effectuez une saisie par geste. Le fait de relâcher le bouton ou la touche rétablit le mode souris pour le stylet. Déclencheur : détermine la méthode du déclencheur utilisée : Bouton de stylet 1, Bouton de stylet 2 ou la touche Contrôle de votre clavier. Autoriser les gestes en l’air: permet de déclencher la saisie par geste sans avoir à appuyer la pointe du stylet sur la tablette graphique. Cette option n’est disponible que si un déclencheur est utilisé pour activer la saisie par geste. Menus La barre des menus de Motion donne accès à presque toutes les commandes de l’application. De nombreux éléments de menu sont sensibles au contexte, c’est-à-dire qu’ils sont estompés lorsque la commande ne peut pas être utilisée en raison de l’état de l’application ou de ce qui est sélectionné. Cette section sert de guide de référence à tous les menus. La plupart de ces commandes disposent de raccourcis clavier qui permettent d’obtenir le même résultat à partir du clavier. Ces raccourcis sont présentés entre parenthèses après la description. Menu Application Le premier menu contient des fonctions générales destinées à contrôler l’application, modifier les préférences et accéder au site Web d’Apple. Il donne également accès aux services proposés par le système. À propos de Motion : ouvre la fenêtre « À propos de Motion » dans laquelle figurent la version de Motion que vous utilisez, des informations d’enregistrement et les mentions légales sur les marques déposées. Préférences : ouvre les préférences Motion. Pour une description détaillée des réglages disponibles dans cette fenêtre (accessible via Commande + virgule), voir « Préférences » à la page 151. Commandes : permet d’accéder aux commandes de personnalisation des touches de raccourci clavier.  Personnaliser : ouvre l’éditeur de commande.  Importer : ouvre une zone de dialogue qui vous permet d’importer un ensemble personnalisé de raccourcis clavier.  Exporter : ouvre une zone de dialogue qui vous permet d’exporter un ensemble personnalisé de raccourcis clavier.176 Chapitre 1 Premiers contacts avec Motion  Ensembles de commandes : vous permet de charger un ensemble personnalisé de raccourcis clavier.  Ensembles standard : active les raccourcis clavier par défaut. Remarque : pour en savoir plus sur la personnalisation des raccourcis clavier, voir « Personnalisation des raccourcis clavier » à la page 1289. Émettre un commentaire sur Motion : ouvre une page Web à partir de laquelle vous pouvez envoyer à Apple des commentaires sur Motion. Enregistrer Motion : cette commande vous connecte au site Web d’Apple afin d’enregistrer votre copie de Motion. Les utilisateurs enregistrés reçoivent des informations sur les mises à jour, ainsi que d’autres informations utiles. Services : cet élément de menu système donne accès à des commandes qui concernent différentes applications. Veuillez vous référer à l’Aide Mac OS X pour obtenir plus d’informations à propos de ce sous-menu. Masquer Motion : masque toutes les fenêtres Motion. L’application continue à fonctionner en arrière-plan. Vous pouvez la ramener au premier plan en cliquant sur l’icône Motion dans le Dock (ou en appuyant sur Commande + H). Masquer les autres : masque les fenêtres de toutes les applications à l’exception de Motion (Option + Commande + H). Tout afficher : affiche toutes les fenêtres des applications en cours d’exécution. Quitter Motion : interrompt le fonctionnement de l’application. Si des documents sont ouverts, vous êtes invité à les enregistrer (Commande + Q). Menu Fichier Ce menu contient des fonctions et des commandes qui traitent les fichiers de votre disque associés à Motion. Nouveau : crée un nouveau document Motion (Commande + N). Ouvrir : ouvre une zone de dialogue qui vous permet de choisir le projet Motion que vous souhaitez ouvrir (Commande + O). Ouvrir un modèle : affiche le Navigateur de modèles à partir duquel vous pouvez choisir l’un des modèles intégrés (Maj + Commande + O). Ouvrir récent : ce sous-menu comprend la liste des dix derniers fichiers ouverts. Il vous permet d’accéder rapidement aux projets sur lesquels vous avez travaillé récemment. Vous pouvez effacer la liste en choisissant Effacer le menu, en bas du sous-menu.Chapitre 1 Premiers contacts avec Motion 177 Fermer : ferme la fenêtre sélectionnée. Si cette fenêtre est le Canevas et que vous n’avez pas encore enregistré votre projet, Motion vous invite à l’enregistrer avant de fermer la fenêtre (Commande + W). Appuyez sur les touches Option + Commande + W pour fermer toutes les fenêtres. Enregistrer : enregistre sur le disque le projet sélectionné dans son état actuel (Commande + S). Appuyez sur les touches Option + Commande + S pour enregistrer tous les projets ouverts. Enregistrer sous : enregistre sur le disque le projet sélectionné dans son état actuel, mais sous un nouveau nom (Maj + Commande + S). Enregistrer comme modèle : enregistre le projet actuel en tant que modèle. Pour en savoir plus sur l’utilisation des modèles, voir « Création de nouveaux projets à partir de modèles » à la page 199. Revenir : revient au dernier état enregistré du projet sélectionné. Tout le travail effectué depuis le dernier enregistrement est perdu. Soyez prudent si vous utilisez cette commande, car elle est irréversible. Rétablir à partir de l’enregistrement automatique : affiche une zone de dialogue dans laquelle vous pouvez choisir un projet enregistré dans le dossier d’enregistrement automatique. Importer : ouvre la zone de dialogue Importation de fichiers qui vous permet de choisir sur le disque le fichier à importer dans votre projet (Commande + I). Importer en tant que projet : affiche la zone de dialogue d’importation de fichier en tant que projet. Le fichier choisi est automatiquement placé dans le Canevas d’un projet nouvellement créé. Si plusieurs éléments sont sélectionnés, ils sont tous placés dans le même projet (Maj + Commande + I). Exporter : affiche la zone de dialogue d’exportation grâce à laquelle vous transférez votre projet actuel vers un fichier sur le disque (Commande + E). Pour en savoir plus sur les diverses options d’exportation, voir le chapitre 14, « Exportation de projets Motion », à la page 1235. Exporter la sélection : affiche la zone de dialogue d’exportation grâce à laquelle vous transférez uniquement l’objet actuellement sélectionné vers un fichier sur le disque (Commande + E). Les objets qui ne sont pas sélectionnés ne sont pas exportés. Pour en savoir plus sur les diverses options d’exportation, voir le chapitre 14, « Exportation de projets Motion », à la page 1235. Exporter via Compressor : transfère votre projet actuel vers un fichier sur le disque à l’aide de Compressor, afin de créer des fichiers MPEG 2, MPEG 4 ou d’autres fichiers destinés à une diffusion sur le Web, sur DVD ou par tout autre moyen informatique (Maj + Commande + E).178 Chapitre 1 Premiers contacts avec Motion Reconnecter les médias : lorsqu’une couche de votre projet fait référence à un fichier du disque ayant été déplacé ou modifié, cette commande vous permet de rétablir le lien qui les unit. Cette commande n’est activée que si une couche ayant perdu son fichier de référence est sélectionnée. Supprimer les données inutilisées : si un fichier de média est importé dans l’onglet Média (mais pas dans votre projet), cette commande vous permet de le supprimer de votre projet. Cette commande n’est activée que si un objet ayant perdu son fichier de référence est sélectionné. Format d’impression : affiche la zone de dialogue Format d’impression standard dans laquelle vous pouvez définir le format et l’orientation du papier pour l’impression (Maj + Commande + P). Imprimer : affiche la zone de dialogue d’impression standard grâce à laquelle vous pouvez imprimer le contenu du Canevas (Commande + P). Menu Édition Ce menu contient des fonctions courantes comme Annuler, Couper, Copier et Coller, ainsi que des commandes permettant de sélectionner et de supprimer des objets, de modifier les propriétés du projet et de contrôler le correcteur orthographique de Motion. Annuler : cette commande est généralement suivie du nom de la dernière commande exécutée, comme par exemple Annuler Déplacer ou Annuler Modification de rotation. Le choix de cet élément de menu ramène le projet à l’état avant l’exécution de l’opération concernée. Il est possible d’annuler jusqu’à 99 opérations. Si cette commande est estompée, vous n’avez pas la possibilité d’annuler (Commande + Z). Rétablir : cette commande est généralement suivie du nom de la dernière commande exécutée, comme par exemple Rétablir Déplacer ou Rétablir Modification de rotation. Elle n’est active que si une ou plusieurs opérations ont été annulées. Choisissez cette commande pour exécuter l’opération qui vient juste d’être annulée (Maj + Commande + Z). Couper : supprime la sélection et la place dans le Presse-papiers afin de pouvoir la coller ultérieurement (Commande + X). Copier : copie la sélection et la place dans le Presse-papiers afin de pouvoir la coller ultérieurement (Commande + C). Coller : ajoute au projet le contenu du Presse-papiers à l’emplacement sélectionné. Cette commande n’est pas disponible si le Presse-papiers est vide ou si son contenu ne peut être collé sur la sélection actuelle. Il est par exemple impossible de coller du texte sur une image clé (Commande + V).Chapitre 1 Premiers contacts avec Motion 179 Collage spécial : vous donne le choix entre coller le contenu du Presse-papiers dans la Timeline active par Insertion (en écartant les couches existantes) ou par Échange du contenu avec l’objet sélectionné (Option + Commande + V). Il existe d’autres options possibles. Pour en savoir plus, voir « Collage spécial » à la page 381. Dupliquer : copie de la sélection et l’ajoute immédiatement au projet (Commande + D). Supprimer : supprime l’objet sélectionné. Dans la Timeline, cette commande laisse un vide à la place de l’objet supprimé (Suppr). Supprimer Ripple : supprime l’objet sélectionné et referme le vide créé dans la Timeline (Maj + Suppr). Insérer temps : ajoute un espace vide dans la Timeline. Vous ne pouvez utiliser cette commande qu’après avoir sélectionné une plage de temps dans la règle de la Timeline. Pour en savoir plus sur les pages de temps, voir « Définition de la plage de lecture » à la page 394. Scinder : divise un objet en deux, chacun disposant de sa propre piste dans la Timeline. La scission se produit à l’emplacement de la tête de lecture. Cette commande est estompée si aucun objet n’est sélectionné ou si la tête de lecture n’est pas positionnée sur l’objet sélectionné. Tout sélectionner : sélectionne tous les objets du projet (Commande + A). Tout désélectionner : annule toutes les sélections (Maj + Commande + A). Envoyer l’audio vers Soundtrack Pro : vous permet d’indiquer où vous souhaitez enregistrer un fichier audio, puis ouvre ce fichier dans Soundtrack Pro (Commande + U). Propriétés du projet : ouvre la zone de dialogue des Propriétés du projet où vous pouvez modifier les réglages du projet actuel (Commande + J). Pour en savoir plus sur la zone de dialogue Propriétés du projet, voir « Onglet Générales de la zone de dialogue Propriétés du projet » à la page 202. Sous-menu Orthographe Ce sous-menu contient les commandes de correction orthographique. Ces dernières ne sont actives que si une portion de texte est sélectionnée. Pour en savoir plus sur l’utilisation du correcteur d’orthographe, voir « Ajout de texte avec l’éditeur de texte » à la page 633. Orthographe : ouvre la zone de dialogue Orthographe grâce à laquelle vous pouvez rechercher des fautes d’orthographe dans la couche de texte sélectionnée (Commande + deux-points). Vérifier l’orthographe : active le correcteur orthographique sur le texte actuellement sélectionné (Commande + point-virgule).180 Chapitre 1 Premiers contacts avec Motion Vérifier l’orthographe lors de la frappe : cette commande active et désactive la correction orthographique automatique. Une coche en regard de l’élément de menu signale que la commande est activée. Cette commande ne fonctionne que pour du texte situé dans l’éditeur de texte et non pas dans le Canevas. Caractères spéciaux : cette commande fait partie de Mac OS X. Elle ouvre la fenêtre Palette de caractères qui donne accès aux caractères inhabituels tels que les puces, les flèches et les symboles des devises. Dans Motion, elle n’est accessible que si vous saisissez du texte dans une couche de texte. Menu Marquer Ce menu contient des commandes qui vous permettent de déterminer les points de départ et de fin de vos objets, d’ajouter des marqueurs à la Timeline, de naviguer à travers votre projet et de contrôler l’animation des effets. Point d’entrée : cette commande possède deux fonctions. Si vous n’avez sélectionné aucun objet, elle définit l’image de début de la plage de lecture à l’emplacement actuel de la tête de lecture. Dans le cas contraire, elle effectue un Trim sur le point d’entrée de cet objet au niveau de la position actuelle de la tête de lecture (I). Point de sortie : cette commande possède deux fonctions. Si vous n’avez sélectionné aucun objet, elle définit l’image de fin de la plage de lecture à l’emplacement actuel de la tête de lecture. Dans le cas contraire, elle effectue un Trim sur le point de sortie de cet objet au niveau de la position actuelle de la tête de lecture (O). Déplacer le point d’entrée sélectionné : cette commande déplace les objets sélectionnés, de telle sorte que leur point d’entrée soit aligné sur l’emplacement actuel de la tête de lecture ({). Déplacer le point de sortie sélectionné : cette commande déplace les objets sélectionnés, de telle sorte que leur point de sortie soit aligné sur l’emplacement actuel de la tête de lecture (}). Sous-menu Marqueurs Ce sous-menu contient toutes les commandes nécessaires pour créer, modifier et supprimer des marqueurs. Pour en savoir plus sur l’utilisation des marqueurs, voir « Ajout de marqueurs » à la page 398. Ajouter un marqueur : ajoute un marqueur clé à l’image actuelle. Si vous avez sélectionné un objet, un marqueur d’objet est ajouté. Dans le cas contraire, c’est un marqueur de projet qui est ajouté (appuyez sur M ou sur tilde pour ajouter un marqueur d’objet et sur Maj + M pour ajouter un marqueur global).Chapitre 1 Premiers contacts avec Motion 181 Modifier le marqueur : ouvre la zone de dialogue Modifier le marqueur dans laquelle vous pouvez définir le nom, la couleur, la durée et le commentaire associé à un marqueur. Cette commande n’est activée que si un marqueur est sélectionné (Option + Commande + M). Supprimer le marqueur : supprime le marqueur sélectionné du projet. Supprimer tous les marqueurs : supprime tous les marqueurs de l’objet sélectionné. Si vous n’avez sélectionné aucun objet, cette commande supprime tous les marqueurs du projet. Marquer le point d’entrée de la plage de lecture : définit le point d’entrée de la plage sur l’emplacement de la tête de lecture (Option + Command + I). Marquer le point de sortie de la plage de lecture : définit le point de sortie de la plage sur l’emplacement de la tête de lecture (Option + Command + O). Réinitialiser la plage de lecture : déplace les points d’entrée et de sortie de la plage de lecture sur la première et la dernière image du projet (Option + X). Lecture : lance la lecture du projet (barre d’espace). Lecture en boucle : active ou désactive la lecture en boucle. Lorsque cette option est activée, la lecture est automatiquement répétée à partir du début de la plage de lecture, dès que la fin est atteinte (Maj + L). Enregistrer l’animation : active ou désactive l’enregistrement des images clés. Pour en savoir plus sur l’enregistrement d’animation, voir « Animation dans le Canevas » à la page 551. Options d’enregistrement : ouvre la zone de dialogue Options d’enregistrement, à partir de laquelle vous pouvez définir la granularité de l’enregistrement des images clés. Sous-menu Aller à Ce sous-menu contient toutes les commandes nécessaires pour accéder à une image particulière de votre projet. Toutes ces commandes placent votre tête de lecture sur une nouvelle position. Début du projet : place la tête de lecture sur la première image du projet (Début). Fin du projet : place la tête de lecture sur la dernière image du projet (Fin). Début de la plage de lecture : place la tête de lecture sur le point d’entrée du projet (Maj + Début). Fin de la plage de lecture : place la tête de lecture sur le point de sortie du projet (Maj + Fin).182 Chapitre 1 Premiers contacts avec Motion Image précédente : recule la tête de lecture d’une image (Flèche gauche). Image suivante : avance la tête de lecture d’une image (Flèche droite). 10 images en arrière : recule la tête de lecture de dix images (Maj + Flèche gauche). 10 images en avant : avance la tête de lecture de dix images (Maj + Flèche droite). Image clé précédente : déplace la tête de lecture vers l’image clé précédente dans le projet (Option + K). Image clé suivante : déplace la tête de lecture vers l’image clé suivante dans le projet (Maj + K). Marqueur précédent : place la tête de lecture sur le marqueur précédent le plus proche dans le temps (Option + Commande + Flèche gauche). Marqueur suivant : place la tête de lecture sur le marqueur suivant le plus proche dans le temps (Option + Commande + Flèche droite). Point d’entrée de la sélection : place la tête de lecture sur la première image de l’objet sélectionné (Maj + I). Point de sortie de la sélection : place la tête de lecture sur la dernière image de l’objet sélectionné (Maj + O). Sous-menu Preview RAM Ce sous-menu contient toutes les commandes nécessaires pour lire le projet en temps réel, en stockant temporairement les images en mémoire tampon. Pour en savoir plus sur l’utilisation des fonctions de Preview RAM, voir « Preview RAM » à la page 66. Plage de lecture : rend la zone située entre les points d’entrée et de sortie du projet et stocke les images en mémoire RAM. Une fois les images stockées, la plage de cette zone est lue à vitesse normale (Commande + R). Sélection : rend la plage de temps occupée par les objets sélectionnés et stocke les images en mémoire RAM. Une fois les images stockées, la plage de cette zone est lue à vitesse normale (Option + Commande + R). Tout : rend tout le projet et stocke les images en mémoire RAM. Une fois les images stockées, cette zone est lue à vitesse normale (Maj + Option + Commande + R). Effacer le Preview RAM : efface le cache RAM. Menu Objet Ce menu contient toutes les commandes nécessaires à la manipulation des objets dans Motion, ce qui inclut leur placement dans la hiérarchie des couches et leur alignement physique dans le Canevas.Chapitre 1 Premiers contacts avec Motion 183 Nouveau groupe : ajoute un nouveau groupe vide au projet (Maj + Commande + N). Nouvelle caméra : ajoute une nouvelle caméra au projet et vous permet d’indiquer si vous souhaitez utiliser le mode 2D ou 3D (Option + Commande + C). Nouvelle table lumineuse : ajoute une nouvelle table lumineuse au projet et vous permet d’indiquer si vous souhaitez utiliser le mode 2D ou 3D (Maj + Commande + L). Nouvelle zone de dépôt : ajoute une nouvelle zone de dépôt au projet. Les zones de dépôt vous permettent de remplacer rapidement une séquence d’un projet, en déposant directement des plans dans le Canevas. Une zone de dépôt est représentée par un rectangle comportant un cercle dégradé au centre. Le nom de la couche de la zone de dépôt apparaît également au centre de cette zone. Tout objet de média glissé et déposé dans la région définie par l’objet Zone de dépôt remplace automatiquement la représentation graphique de ladite zone. Lorsque vous faites glisser un média au-dessus de la zone de dépôt, une surbrillance apparaît autour de cette zone (Maj + Commande + D). Faire passer au premier plan : déplace l’objet sélectionné au-dessus de toutes les autres couches au sein d’un groupe (Commande + }). Faire passer à l’arrière-plan : déplace l’objet sélectionné en dessous de toutes les autres couches au sein d’un groupe (Commande + {). Avancer d’un plan : remonte d’un niveau l’objet sélectionné dans l’onglet Couches (Commande + ]). Reculer d’un plan : descend d’un niveau l’objet sélectionné dans l’onglet Couches (Commande + [). Sous-menu Alignement Ce menu contient toutes les commandes nécessaires à l’alignement et à la répartition de plusieurs objets dans le Canevas. Pour en savoir plus sur la disposition des objets dans le Canevas, voir « Utilisation des commandes d’alignement d’objets » à la page 299. Aligner les bords droits : aligne le bord droit de tous les objets sélectionnés sur le bord le plus à droite de la sélection. Aligner les bords supérieurs : aligne le bord supérieur de tous les objets sélectionnés sur le bord le plus en haut de la sélection. Aligner les bords inférieurs : aligne le bord inférieur de tous les objets sélectionnés sur le bord le plus en bas de la sélection. Aligner les bords éloignés : en mode 3D, aligne le bord le plus éloigné de chaque objet sur l’axe Z (profondeur).184 Chapitre 1 Premiers contacts avec Motion Aligner les bords proches : en mode 3D, aligne le bord le plus proche de chaque objet sur l’axe Z (profondeur). Aligner les centres horizontalement : aligne les objets sélectionnés sur leur point central (à l’horizontale). Aligner les centres verticalement : aligne les objets sélectionnés sur leur point central (à la verticale). Aligner les centres en profondeur : aligne les objets sélectionnés sur leur point central Z (en profondeur). Distribuer les bords gauches : répartit uniformément les objets sélectionnés entre les objets le plus à gauche et le plus à droite en fonction de leur bord gauche. Distribuer les bords droits : répartit uniformément les objets sélectionnés entre les objets le plus à gauche et le plus à droite en fonction de leur bord droit. Distribuer les bords supérieurs : répartit uniformément les objets sélectionnés entre les objets le plus haut et le plus bas en fonction de leur bord supérieur. Distribuer les bords inférieurs : répartit uniformément les objets sélectionnés entre les objets le plus haut et le plus bas en fonction de leur bord inférieur. Distribuer les bords éloignés : répartit uniformément les objets sélectionnés entre les points les plus proches de chaque objet. Distribuer les bords proches : répartit uniformément les objets sélectionnés entre les points les plus éloignés de chaque objet. Distribuer les centres horizontalement : répartit uniformément les objets sélectionnés entre les objets le plus à gauche et le plus à droite en fonction de leur point central (à l’horizontale). Distribuer les centres verticalement : répartit uniformément les objets sélectionnés entre les objets le plus haut et le plus bas en fonction de leur point central (à la verticale). Distribuer les centres en profondeur : répartit uniformément les objets sélectionnés entre les objets le plus proche et le plus éloigné en fonction de leur point central Z (en profondeur). Grouper : rassemble tous les objets sélectionnés au sein d’un seul groupe (Maj + Commande + G). Dissocier : annule le regroupement ce qui vous permet de manipuler les objets individuellement (Option + Commande + G).Chapitre 1 Premiers contacts avec Motion 185 Activer : active ou désactive l’activation d’un objet. Les objets qui ne sont pas activés n’apparaissent ni dans le Canevas ni dans la sortie finale. Lorsque l’élément sélectionné est activé, une coche apparaît en regard de la commande dans le menu (Contrôle + T). Solo : l’application de cette commande à un objet masque tous les autres objets du projet. Lorsque l’élément sélectionné est mis en solo, une coche apparaît en regard de la commande dans le menu (Contrôle + S). Il est impossible de placer une caméra ou une lumière en solo. Remarque : vous pouvez également cliquer sur un objet tout en maintenant la touche Contrôle enfoncée dans l’onglet Couches, puis choisir Solo dans le menu contextuel. Isoler : l’application de cette commande à un objet restaure son orientation d’origine. Si vous souhaitez, par exemple, appliquer un masque ou un effet de rotoscope à une couche précédemment transformée en 3D, vous pouvez isoler cette couche afin de l’afficher dans son orientation d’origine (en 2D et faisant face à l’avant du projet). Cette commande est uniquement disponible dans les projets contenant une caméra. S’il est possible d’isoler un objet, un petit bouton Isoler apparaît dans l’onglet Couches. Cliquez dessus pour isoler l’objet en question. Le menu Caméra du Canevas affiche alors le nom de l’objet isolé comme étant la présentation actuelle. En revanche, si vous cliquez sur le bouton Isoler d’une caméra, vous activez la présentation de cette caméra. Verrouiller : le verrouillage d’un objet empêche de lui apporter la moindre modification. Lorsque l’élément sélectionné est verrouillé, une coche apparaît en regard de la commande dans le menu (Contrôle + L). Sous-menu Désactiver la lecture solo Ce sous-menu permet de désactiver la fonction Solo appliquée à un objet. Trois possibilités s’offrent à vous : Vidéo seulement (Contrôle + Maj + S), Audio seulement ou Vidéo et Audio. Cette commande n’est disponible que si vous avez sélectionné un objet qui est actuellement en solo. Groupe 3D : convertit le groupe sélectionné en groupe 3D. La désélection de cette commande permet de restaurer le groupe en mode 2D (Contrôle + D). Sous-menu Mode de fusion Ce sous-menu détermine le mode de fusion de la couche sélectionnée. Une couche ne peut toutefois comporter qu’un seul mode de fusion à la fois. Une coche placée en regard de la commande de menu indique le mode actuel. Pour des exemples des divers modes de fusion, voir « Utilisation des modes de fusion » à la page 322. Ajouter un masque d’image : ajoute un masque à la couche sélectionnée (Maj + Commande + M). 186 Chapitre 1 Premiers contacts avec Motion Ajouter une image clé : ajoute une image clé à l’objet actuellement sélectionné. Ce menu change en fonction du type d’image clé que vous ajoutez et devient, par exemple, Ajouter une image clé Position, Ajouter une image clé Échelle, etc. (Contrôle + K). Convertir en images clés : cette commande n’est disponible que si vous avez sélectionné un ou plusieurs objets avec des comportements appliqués. Tous les comportements sont alors reproduits sous forme d’images clés sur les paramètres qu’ils affectent (Commande + K). Générer les particules : utilise la couche sélectionnée comme cellule source d’un nouvel émetteur de particules (E). Répliquer : réplique la couche sélectionnée (L). Cloner la couche : crée un clone de la couche ou du groupe actuellement sélectionné. Dans un projet d’animation, il s’avère parfois nécessaire de réutiliser plusieurs fois un objet complexe en divers endroits. Même si vous avez la possibilité de dupliquer ou de couper-coller un objet, aucune des modifications apportées par la suite à l’original n’est mise à jour dans ses copies. Le suivi de telles manipulations peut vite devenir une tâche fastidieuse et difficile. Aussi, au lieu de dupliquer des couches, clonez-les et vous pourrez contrôler toutes les copies en modifiant juste l’original, tout en améliorant la lecture de votre projet et les performances de rendu. Chaque élément cloné est tout d’abord copié, puis appelé « Couche clonée », « Couche clonée 1 », etc. Lorsque vous clonez une couche, son clone est placé dans le même groupe. En revanche, lorsque vous clonez un groupe, son clone est placé dans un nouveau groupe. Dans la liste de couches, les éléments clonés sont indiqués par une icône spéciale de couche ou de groupe cloné. Pour en savoir plus, voir « Clonage de couches » à la page 315. Afficher le média source : ouvre l’onglet Média et met en surbrillance l’élément correspondant à la sélection dans le Canevas ou la Timeline. L’Inspecteur est également mis à jour pour afficher les propriétés du média source (Maj + F). Menu Favoris Le menu Favoris est vide tant que vous ne créez pas d’effets favoris. Une fois que vous avez créé des favoris et que vous les avez stockés dans le dossier Menu Favoris via l’onglet Bibliothèque, ils apparaissent dans le Menu Favoris, regroupés par type. Afficher les éléments du menu Favoris : ouvre la bibliothèque et affiche le dossier Menu Favoris. Couche d’image clonée Groupe 3D clonéChapitre 1 Premiers contacts avec Motion 187 Menu Présentation Le menu Présentation contient les commandes nécessaires pour contrôler l’interface de Motion. La plupart de ces éléments ont un effet sur le Canevas, mais certains d’entre eux s’appliquent également à la Timeline et à d’autres fenêtres. Zoom avant : effectue un zoom avant sur le Canevas (Commande + signe égal). Zoom arrière : effectue un zoom arrière sur le Canevas (Commande + tiret). Sous-menu Niveau de zoom Outre le réglage d’un niveau de zoom particulier, ce sous-menu vous permet d’effectuer automatiquement un zoom avant ou arrière sur le Canevas afin de l’ajuster à la largeur de la fenêtre du Canevas (Maj + Z). Sous-menu Zoom sur le contrôle du temps Ce sous-menu permet d’effectuer automatiquement un zoom sur le contenu de la Timeline. Sur le projet : effectue un zoom sur la Timeline afin que toute la durée du projet remplisse la fenêtre. Sur la plage de lecture : effectue un zoom sur la Timeline afin que la zone située entre les points d’entrée et de sortie du projet remplisse la fenêtre. Mode plein écran : remplit votre écran avec le Canevas (la fenêtre Contrôle du temps et la sous-fenêtre Projet étant masquées). Ce mode vous permet d’effectuer toutes les opérations normales du Canevas, y compris la lecture. Pour quitter le mode plein écran, choisissez à nouveau l’élément de menu (F8). Moniteur vidéo : envoie la sortie vers un moniteur vidéo externe (Commande + F1 ou F12). Respecter les proportions : adapte l’affichage du Canevas pour simuler les pixels non carrés des écrans de télévision. Afficher zone de présentation totale : active ou désactive l’affichage des couches situées en partie ou en totalité en dehors des limites du Canevas. Les zones au-delà du Canevas sont par défaut affichées en semi-transparence. Sous-menu Présentation 3D Dans un projet 3D, ce sous-menu permet d’affecter la présentation à une caméra de scène ou d’activer la présentation de caméra par défaut. Une caméra de scène est une caméra que vous avez ajoutée à un projet, alors qu’une présentation de caméra par défaut est une « vue » intégrée, comme Perspective, Droite ou Haut. Vous disposez des mêmes options dans le menu Caméra, situé dans le coin supérieur gauche du Canevas. Pour en savoir plus sur les caméras et les présentations, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF.188 Chapitre 1 Premiers contacts avec Motion Remarque : les éléments d’un projet étant des objets 2D (plats), ils ne sont pas visibles lorsque vous utilisez les vues orthogonales d’une caméra, sauf si ces éléments sont pivotés en 3D (ou que le paramètre Face à la caméra du texte, des particules ou du réplicateur est activé dans l’Inspecteur). En effet, les vues orthogonales sont réalisées à angle droit par rapport aux éléments (perpendiculairement). Lorsqu’un objet est sélectionné, il est représenté par une fine ligne grise dans le Canevas. Activer : affiche la présentation de la caméra activée. Perspective : affiche la présentation en perspective. Cette présentation en perspective est par défaut une vue depuis le devant de la scène, au centre. Parmi les outils Présentation 3D, vous pouvez alors appliquer à la caméra l’outil Balance, Orbite ou Travelling. Avant : affiche la présentation depuis l’avant. Parmi les outils Présentation 3D, vous pouvez alors appliquer à la caméra l’outil Balance, Orbite ou Travelling. Arrière : affiche la présentation depuis l’arrière (comme si la caméra était placée à l’arrière de la scène). Parmi les outils Présentation 3D, vous pouvez alors appliquer à la caméra l’outil Balance, Orbite ou Travelling. Gauche : affiche la présentation depuis la gauche (comme si la caméra était placée sur la gauche de la scène). Parmi les outils Présentation 3D, vous pouvez alors appliquer à la caméra l’outil Balance, Orbite ou Travelling. Droite : affiche la présentation depuis la droite (comme si la caméra était placée sur la droite de la scène). Parmi les outils Présentation 3D, vous pouvez alors appliquer à la caméra l’outil Balance, Orbite ou Travelling. Haut : affiche la présentation depuis le haut (comme si la caméra était placée au-dessus de la scène). Parmi les outils Présentation 3D, vous pouvez alors appliquer à la caméra l’outil Balance, Orbite ou Travelling. Bas : affiche la présentation depuis le bas (comme si la caméra était placée en dessous de la scène). Parmi les outils Présentation 3D, vous pouvez alors appliquer à la caméra l’outil Balance, Orbite ou Travelling. Caméra suivante : lorsque le Canevas est activé, permet de changer de présentation en passant à la caméra de scène suivante selon l’ordre de l’onglet Couches (Option + C). Réinitialiser la présentation de la caméra : réinitialise l’orientation par défaut de la présentation de la caméra (Option + R). Sous-menu Canaux Ce sous-menu contient les réglages nécessaires pour afficher des canaux de couleurs ou de transparence individuels dans le Canevas. Les réglages en cours sont signalés par une coche placée en regard de l’élément de menu. À l’exception de l’option de bascule, ce sous-menu est identique au menu Couleur affiché par la barre d’état.Chapitre 1 Premiers contacts avec Motion 189 Couleur : affiche l’image telle qu’elle apparaît sur un moniteur vidéo. Les couches visibles sont affichées en couleurs naturelles et les zones transparentes révèlent la couleur d’arrière-plan définie dans la zone de dialogue Propriétés du projet (Commande + J). Par défaut, cette couleur est réglée sur noir. Transparent : affiche la zone d’arrière-plan du Canevas comme si elle était transparente. Un motif en damier est affiché par défaut lorsqu’aucune image ne bloque l’arrière-plan. Incrustation alpha : affiche l’image en couleurs normales, mais ajoute une surbrillance rouge sur les zones transparentes de l’image. RVB seulement : affiche le mélange normal des canaux rouge, vert et bleu, mais les zones transparentes (y compris les zones semi-transparentes) sont traitées comme des zones opaques. Rouge : permet d’afficher seulement le canal rouge dans le Canevas, sous la forme d’une plage allant du noir au blanc (Maj + R). Vert : permet d’afficher seulement le canal vert dans le Canevas, sous la forme d’une plage allant du noir au blanc (Maj + G). Bleu : permet d’afficher seulement le canal bleu dans le Canevas, sous la forme d’une plage allant du noir au blanc (Maj + B). Alpha : permet d’afficher dans le Canevas le canal alpha (transparence) des couches qui s’y trouvent (Maj + A). Alpha inversé : permet d’afficher dans le Canevas une vue inversée du canal alpha (transparence) (Option + Maj + A). Basculer entre actuel et alpha : permet d’alterner entre l’affichage de l’état actuel et l’affichage du canal alpha uniquement (V). Sous-menu Résolution Ce sous-menu définit le niveau de qualité du Canevas. Une réduction de la résolution améliore les performances de lecture. Vous avez le choix entre Pleine, 1/2, 1/3 et 1/4. Chaque réglage de niveau inférieur entraîne une dégradation de l’image. Une coche placée en regard de la commande de menu indique l’état actuel. Qualité de rendu : définit le mode d’affichage des objets, tels que le texte et les images, dans le Canevas. Vous avez le choix entre : Brouillon, Normale ou Optimale.  Brouillon : exécute un rendu de faible qualité des objets dans le Canevas, afin d’assurer une interactivité optimale à votre projet.  Normale : réglage par défaut. Exécute un rendu de qualité moyenne des objets dans le Canevas.  Optimale : exécute un rendu d’excellente qualité des objets dans le Canevas. Cette option ralentit l’interactivité de votre projet. Remarque : dans le Canevas, les fichiers YUV à 10 bits sont rendus à 8 bits, à moins que la Qualité de rendu ne soit réglée sur Optimale.190 Chapitre 1 Premiers contacts avec Motion ∏ Astuce : si vous cochez la case « Séquence - Utiliser les réglages du projet et du Canevas actuels » lors de l’exportation d’un projet (dans le menu local Utiliser de la zone de dialogue d’exportation), réglez Qualité de rendu sur Optimale avant de procéder à l’exportation. Éclairage : désactive les effets de lumière pour améliorer les performances. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Option + L). Rendu de trames : désactive le rendu de trames pour améliorer les performances. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Option + F). Flou d’animation : désactive le rendu du flou d’animation pour améliorer les performances. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Option + M). Fusion d’images : désactive la fusion d’images pour améliorer les performances. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Contrôle + Option + B). Preview de la profondeur de bits en virgule flottante : lors de l’utilisation de l’espace en virgule flottante, la désactivation de cette option passe à 8 bits le Preview dans le Canevas. Étant donné que l’utilisation de l’espace en virgule flottante augmente de façon considérable le temps de traitement, la désactivation de ce paramètre permet d’accélérer les opérations. Cette option ne modifie pas le projet final proprement dit. Remarque : dans le Canevas, les fichiers YUV à 10 bits sont rendus à 8 bits, à moins que la Qualité de rendu ne soit réglée sur Optimale. Afficher les incrustations : active ou désactive l’affichage de toutes les incrustations sur le Canevas. Ce réglage doit être activé pour visualiser un élément incrusté quelconque (grille, guide, etc.). Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Commande + /). Afficher les règles : active ou désactive l’affichage des règles dans le Canevas. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Maj + Commande + R). Sous-menu Incrustations Ce sous-menu active et désactive l’affichage des différents indicateurs, guides et grilles du Canevas. Grille : active ou désactive l’affichage d’une grille. Vous pouvez d’ailleurs personnaliser cette grille via la fenêtre Canevas des préférences Motion. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Commande + apostrophe). Chapitre 1 Premiers contacts avec Motion 191 Guides : active ou désactive l’affichage de guides. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Commande + point-virgule). Guides dynamiques : active ou désactive les guides dynamiques. Les guides dynamiques sont les lignes qui s’affichent lorsque vous faites glisser un élément pour l’aligner sur une autre couche. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Maj + Commande + point-virgule). Remarque : appuyez sur la touche N pour rapidement activer ou désactiver les guides dynamiques. Zones sécurisées : active ou désactive l’affichage des guides des zones de titre et d’action sécurisées. Vous pouvez personnaliser les zones sécurisées via la fenêtre Canevas des Préférences Motion. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (apostrophe). Zone du film : active ou désactive l’affichage des guides de la zone du film (en fonction des limites de formats). Vous pouvez personnaliser les zones de film via la fenêtre Canevas des Préférences Motion. Lorsque cette option est activée, une coche apparaît en regard de son nom dans le menu (Maj + apostrophe). Poignées : active ou désactive l’affichage des poignées des objets dans le Canevas. Les poignées sont en fait les points situés dans les coins d’un objet et qui vous permettent de le manipuler. Lorsque les poignées sont affichées, une coche apparaît en regard de l’élément de menu. Lignes : active ou désactive l’affichage des bordures des objets. Lorsque les lignes sont affichées, une coche apparaît en regard de l’élément de menu. Trajectoire d’animation : active ou désactive l’affichage des trajectoires d’animation avec images clés. Les trajectoires d’animation sont des lignes qui vous indiquent le chemin emprunté par un objet dans le Canevas. Lorsque les trajectoires d’animation sont affichées, une coche apparaît en regard de l’élément de menu. Sous-menu Guides Ce sous-menu permet de contrôler les guides dans le Canevas. Verrouiller les guides : verrouille tous les guides sur leur position actuelle. Ainsi, vous ne pouvez pas déplacer accidentellement un guide en essayant de déplacer un objet (Option + Commande + point-virgule). Déverrouiller les guides : libère les guides afin de pouvoir les manipuler manuellement. Effacer les guides : supprime tous les guides du Canevas. Ajouter un guide vertical : ajoute un guide vertical au Canevas. Ajouter un guide horizontal : ajoute un guide horizontal au Canevas.192 Chapitre 1 Premiers contacts avec Motion Magnétisme : active ou désactive le magnétisme des objets dans le Canevas. Le magnétisme aligne automatiquement les objets au fur et à mesure que vous les faites glisser. Lorsque le Magnétisme est activé, une coche apparaît en regard de l’élément de menu (N). Afficher les incrustations 3D : active ou désactive toutes les incrustations 3D, y compris celles des outils Présentation 3D, Boussole 3D, Présentation cadre, Grille 3D et des Icônes scène 3D. Sous-menu Incrustations 3D Outils Présentation 3D: active et désactive le menu Caméra ainsi que les outils Présentation 3D. Boussole : active et désactive l’outil Boussole 3D. La boussole vous indique votre orientation actuelle dans l’espace 3D. L’axe X (horizontal) est rouge, l’axe Y (vertical) vert et l’axe Z (profondeur) bleu. Si vous positionnez le pointeur sur la boussole, il se transforme en sélecteur d’affichage 3D. Cliquez sur l’une des icônes de couleur (Avant, Gauche, Droite, Perspective, etc.) pour afficher la présentation correspondante. Le Canevas s’anime alors en fonction de la nouvelle présentation sélectionnée. Présentation cadre : active ou désactive la présentation cadre. Lorsque cette option est activée, une fenêtre temporaire apparaît dans le coin inférieur droit du Canevas. Elle affiche la vue de la caméra activée ou la vue en perspective de votre projet, ce qui vous aide à vous orienter au fil du déplacement d’objets dans l’espace 3D. Vous pouvez modifier sa taille et indiquer si vous souhaitez qu’elle apparaisse lors des transformations seulement, lors de toutes les modifications ou à la demande. Grille 3D : active ou désactive l’affichage de la grille 3D. Cette grille 3D vous aide à vous orienter en espace tridimensionnel et peut servir de guide lors du positionnement d’objets dans votre projet. Elle n’apparaît que si vous travaillez en mode 3D. Icônes scène 3D : active ou désactive l’affichage des icônes scène 3D, telles que les lumières et les caméras. Ces icônes apparaissent sur le Canevas comme des éléments en fil de fer. Chacune comporte des poignées rouge, verte et bleue qui vous permettent de transformer et faire pivoter la caméra ou la lumière correspondante. Afficher/Masquer les polices : affiche (ou masque) la zone de dialogue qui permet de sélectionner des polices et leurs attributs (Commande + T). Afficher/Masquer les couleurs : affiche (ou masque) la fenêtre Couleurs qui permet de sélectionner des couleurs (Maj + Commande + C).Chapitre 1 Premiers contacts avec Motion 193 Afficher/Masquer la barre d’outils : affiche ou masque la barre d’outils, ce qui revient à cliquer sur le bouton Barre d’outils situé dans l’angle supérieur droit du Canevas (Option + Commande + T). Personnaliser la barre d’outils : ouvre la zone de dialogue Personnaliser la barre d’outils. Menu Fenêtre Ce menu contient les commandes nécessaires pour afficher et masquer tous les onglets et les fenêtres de l’interface de Motion. Il vous permet également de choisir et de gérer des ensembles de présentations de fenêtre. Placer dans le Dock : réduit la fenêtre active et la place dans le Dock, ce qui revient à cliquer sur le bouton Placer dans le Dock qui se trouve dans l’angle supérieur gauche de la fenêtre (Commande + M). Zoom : redimensionne la fenêtre active afin de maximiser l’espace disponible sur le bureau. Elle permet d’alterner entre le mode plein écran et l’état d’écran normal enregistré précédemment. Enregistrer la présentation actuelle : enregistre la disposition de fenêtres actuelle. Pour utiliser cette option, vous devez nommer la présentation à enregistrer. Elle apparaît ensuite dans le sous-menu Présentations. Gérer les présentations : ouvre la zone de dialogue Gérer les présentations grâce à laquelle vous pouvez ajouter, supprimer, dupliquer et modifier des présentations de fenêtres personnalisées. Sous-menu Présentations Vous pouvez choisir parmi les présentations de fenêtres existantes dans ce sous-menu. Choisissez l’une des présentations proposées dans le sous-menu pour disposer les fenêtres selon le préréglage sélectionné. Pour en savoir plus sur la gestion des présentations, voir « Présentation des fenêtres » à la page 25. Créer un Inspecteur verrouillé : crée une fenêtre Inspecteur qui n’est pas mise à jour en fonction de la sélection. Pour déverrouiller l’Inspecteur, cliquez sur le cadenas situé dans la zone de Preview de l’Inspecteur. Sous-menu Afficher l’Inspecteur Ce sous-menu vous offre un accès direct à l’un ou l’autre des quatre onglets de la fenêtre Inspecteur : Propriétés (F1), Comportements (F2), Filtres (F3) et Objet (F4). L’onglet Objet varie en fonction du type d’objet sélectionné. Afficher/Masquer la fenêtre du projet : affiche ou masque la sous-fenêtre Projet (F5). Afficher/Masquer le Contrôle du temps : affiche ou masque la fenêtre Contrôle du temps (F6).194 Chapitre 1 Premiers contacts avec Motion Afficher/Masquer la palette : affiche ou masque la palette (F7). Afficher/Masquer la liste des tâches : la liste des tâches d’arrière-plan répertorie tous les traitements en cours à l’arrière-plan lorsque Motion exécute des resynchronisations du flux optique. Navigateur : affiche ou masque le Navigateur. Si la fenêtre Utilitaire n’est pas présente, l’application en crée une. Lorsqu’elle ne comporte que l’onglet Navigateur, cette commande ferme la fenêtre (Commande + 1). Bibliothèque : affiche ou masque la Bibliothèque. Si la fenêtre Utilitaire n’est pas présente, l’application en crée une. Lorsqu’elle ne comporte que l’onglet Bibliothèque, cette commande ferme la fenêtre (Commande + 2). Inspecteur : affiche ou masque l’Inspecteur. Si la fenêtre Utilitaire n’est pas présente, l’application en crée une. Lorsqu’elle ne comporte que l’onglet Inspecteur, cette commande ferme la fenêtre (Commande + 3). Couches : affiche ou masque l’onglet Couches. Si la sous-fenêtre du projet n’est pas visible, cette commande l’ouvre. Lorsqu’elle ne comporte que l’onglet Couches, cette commande ferme la sous-fenêtre (Commande + 4). Média : affiche ou masque l’onglet Média. Si la sous-fenêtre du projet n’est pas visible, cette commande l’ouvre. Lorsqu’elle ne comporte que l’onglet Média, cette commande ferme la sous-fenêtre (Commande + 5). Audio : affiche ou masque l’onglet Audio. Si la sous-fenêtre Projet n’est pas visible, cette commande l’ouvre. Lorsqu’elle ne comporte que l’onglet Audio, cette commande ferme la sous-fenêtre (Commande + 6). Timeline : affiche ou masque la Timeline. Si la fenêtre Contrôle du temps n’est pas visible, cette commande l’ouvre. Lorsqu’elle ne comporte que l’onglet Timeline, cette commande ferme la fenêtre (Commande + 7). Éditeur d’images clés : affiche ou masque l’Éditeur d’images clés. Si la fenêtre Contrôle du temps n’est pas visible, cette commande l’ouvre. Lorsqu’elle ne comporte que l’onglet Éditeur d’images clés, cette commande ferme la fenêtre (Commande + 8).Chapitre 1 Premiers contacts avec Motion 195 Éditeur audio : affiche ou masque l’Éditeur audio. Si la fenêtre Contrôle du temps n’est pas visible, cette commande l’ouvre. Lorsqu’elle ne comporte que l’onglet Éditeur audio, cette commande ferme la fenêtre (Commande + 9). Tout ramener au premier plan : si l’une des fenêtres de Motion se trouve masquée derrière des fenêtres d’autres applications, cette commande la ramène au premier plan. Liste des projets ouverts : tous les projets ouverts sont affichés en bas du menu Fenêtre. Le choix d’un élément de cette liste amène le Canevas de ce projet au premier plan. Menu Aide Le menu Aide permet l’accès aux ressources permettant d’en savoir plus sur Motion. Manuel de l’utilisateur Motion : ouvre une version PDF du Manuel de l’utilisateur Motion. Notes sur la version : ouvre une page web contenant d’éventuelles modifications de dernière minute apportées à Motion, ainsi qu’à la documentation et susceptibles d’affecter l’utilisation du logiciel. Nouvelles fonctionnalités : ouvre le document Nouvelles fonctionnalités au format PDF. Assistance Motion : ouvre une page Web qui contient des informations actualisées d’assistance technique concernant Motion. Motion sur le Web : ouvre un lien Internet vers la communauté Motion en ligne d’Apple. Ce site contient des guides d’initiation, des ressources relatives à la formation, des informations sur les mises à jour et d’autres renseignements très utiles. Centres de formation Apple : ouvre un lien vers la page Web du centre de formation Apple, où vous trouverez des informations sur les centres de formation Apple agréés de votre secteur. Émettre un commentaire : ce lien vous permet d’accéder directement à la page des commentaires relatifs à Motion. Vous pouvez ainsi communiquer à Apple un point de vue précieux, des suggestions et des commentaires sur votre expérience lors de l’utilisation de Motion. Créer un profil de gestion : génère un fichier spécial contenant les détails techniques de votre station de travail, notamment la vitesse du processeur, les spécifications de la carte vidéo, etc. Ce fichier est utilisé uniquement par des techniciens agréés Apple. 2 197 2 Création et gestion de projets Apprenez à créer, enregistrer et gérer vos fichiers de projet. Vous verrez également comment différents types d’objets peuvent être rassemblés au sein d’un projet afin de créer une composition. Un fichier de projet constitue une composition unique sur laquelle vous travaillez. Les fichiers de projet contiennent des objets, qui sont en fait des références associées aux fichiers de médias sources stockés sur disque, mais ils ne contiennent pas les médias eux-mêmes. Les fichiers de projet ne font que rassembler des informations sur la manière dont les compositions sont assemblées, l’identité des fichiers de médias utilisés et l’identité des effets de la Bibliothèque qui ont été appliqués. Ils comprennent également les formes, les masques et les objets texte que vous créez. Création de projets Avant de pouvoir faire quoi que ce soit dans Motion, vous devez d’abord créer un nouveau projet. Il existe pour cela trois manières de procéder, en fonction du type de projet adopté. Vous pouvez créer votre composition en vous inspirant de l’un des modèles proposés, créer un nouveau projet vierge à l’aide de l’un des préréglages de projet disponibles ou créer un nouveau projet à l’aide de vos réglages personnalisés s’il vous faut, par exemple, une dimension ou une fréquence d’image inhabituelle. Motion est une application indépendante du point de vue de la résolution d’image ; elle prend en charge toutes sortes de projets présentant un large éventail de dimensions et de fréquences d’images. Motion permet de créer de petits films destinés à la diffusion sur le Web, des films à haute définition ou à définition standard pour la télédiffusion ou même des fichiers de qualité cinématographique destinés à être transférés sur pellicule. Motion fonctionne toujours de la même manière quel que soit le niveau de résolution adopté. Les projets à haute résolution impliquant des fichiers de données de grande taille peuvent toutefois exiger une quantité de mémoire plus importante que les projets à résolution plus réduite.198 Chapitre 2 Création et gestion de projets Important : Motion n’est pas indépendant du matériel. Autrement dit, le type de carte graphique installé sur votre système régit les performances et la taille maximale des fichiers que vous pouvez importer dans Motion. Pour la plupart des cartes recommandées, la limite de taille des fichiers est de 2 Mo. Pour en savoir plus à ce sujet, visitez le site web de Motion à l’adresse suivante : http://www.apple.com/fr/finalcutstudio/motion. Chaque projet possède un groupe de propriétés de projet unique qui définit la durée du projet, les dimensions du Canevas, la fréquence d’images en lecture et d’autres caractéristiques ayant une incidence sur la manière dont votre composition est formatée. Une fois le projet terminé, vous pourrez, lors de la phase d’exportation du projet, sélectionner des propriétés de projet pour définir le fichier de médias à créer. Bien que vous puissiez à tout moment modifier ces réglages, il est recommandé de choisir des réglages adaptés au format de sortie final souhaité. Quels que soient vos réglages de projet, Motion peut ajouter à votre projet pratiquement n’importe quel type de fichier de médias compatible avec QuickTime. Vous êtes en outre libre de mélanger des fichiers de médias dotés de propriétés différentes dans le même projet. Vous pouvez par exemple combiner des plans vidéo présentant différentes dimensions d’image avec des fichiers graphiques. Votre fichier final utilisera les dimensions et la fréquence d’image spécifiées par les propriétés du projet. À l’ouverture initiale de Motion La première fois que vous lancez Motion, un écran de Bienvenue vous propose deux méthodes de création d’un nouveau projet. Vous pouvez cliquer sur « Commencer avec un modèle » pour ouvrir le Navigateur de modèles ou sur « Commencer avec un nouveau projet » pour créer un fichier de projet vierge. Par défaut, cet écran s’affiche toujours à l’ouverture de Motion. Pour éviter l’affichage de cet écran, décochez la case « Afficher l’écran de Bienvenue au démarrage » située en bas ou choisissez une autre option de démarrage dans le menu local Au démarrage de la fenêtre Générales des préférences Motion. Les options suivantes vous sont proposées :Chapitre 2 Création et gestion de projets 199 Ouvrir le(s) dernier(s) projet(s) : ouvre automatiquement le dernier projet sur lequel vous avez travaillé chaque fois que Motion est ouvert. Créer un nouveau projet : ouvre la zone de dialogue Sélectionnez le préréglage du projet, afin que vous puissiez sélectionner un préréglage à utiliser pour créer un nouveau projet vierge. Si vous avez sélectionné un préréglage de projet par défaut, cette zone de dialogue n’apparaît pas. Afficher l’écran de Bienvenue : affiche l’écran de Bienvenue à chaque ouverture de Motion. Parcourir les modèles : ouvre le Navigateur de modèles, afin que vous puissiez sélectionner un modèle. Pour en savoir plus sur les options disponibles dans les préférences Motion, lisez la rubrique « Préférences » à la page 151. Création de nouveaux projets à partir de modèles La méthode la plus simple pour créer un projet dans Motion consiste à ouvrir l’un des modèles et de le personnaliser en fonction de vos besoins. Les modèles de Motion ne sont rien d’autre que des projets prédéfinis, disponibles via le Navigateur de modèles, et configurés pour permettre une personnalisation aisée. Motion est fourni avec tout un éventail de modèles libres de droit que vous pouvez utiliser et personnaliser à votre guise. Chaque modèle contient des éléments graphiques, des objets texte et des images d’arrière-plan prédéfinis que vous pouvez utiliser tels quels ou remplacer par vos objets personnalisés afin de créer une œuvre personnelle. Vous pouvez étendre cette collection en créant vos propres modèles de maquettes fréquemment utilisées. Si vous créez régulièrement des titres et des séquences graphiques pour une série télévisée par exemple, vous pouvez créer pour l’émission un groupe de modèles contenant les maquettes de tous les plans d’animation graphique nécessaires. Il suffit ensuite d’ouvrir ces modèles et de les personnaliser avec du texte et des animations graphiques actualisés, sans avoir à créer de nouveau chaque maquette en partant de zéro. Les modèles fournis avec Motion sont disponibles en résolutions NTSC, PAL et HD. Tous les modèles sont classés par thèmes. Pour créer un nouveau projet à partir d’un modèle : 1 Pour ouvrir le Navigateur de modèles, procédez de l’une des manières suivantes :  À l’ouverture de l’écran de Bienvenue de Motion, cliquez sur « Commencer avec un modèle ».  Si Motion est déjà ouvert, choisissez Fichier > Ouvrir un modèle (ou appuyez sur les touches Maj + Commande + O).200 Chapitre 2 Création et gestion de projets 2 Lorsque le Navigateur de modèles apparaît, utilisez le menu local Afficher pour parcourir les modèles optimisés pour un format vidéo spécifique, notamment NTSC, PAL ou HD. Vous pouvez également choisir d’afficher Tous les formats ou Autres formats. La liste des thèmes répertorie tous les modèles du type sélectionné. 3 Cliquez sur un thème de modèles pour en afficher son à droite. 4 Cliquez sur un modèle pour en afficher un aperçu dans la zone de Preview, ainsi que des informations supplémentaires incluant la résolution, la durée et la fréquence d’images. 5 Pour créer un nouveau projet à partir du modèle sélectionné, cliquez sur Ouvrir un modèle. Un nouveau projet est créé avec les objets inclus dans ce modèle. Vous pouvez ensuite le personnaliser en modifiant ses objets texte ou en remplaçant ses éléments graphiques par les vôtres. Les modifications que vous apportez aux projets créés à l’aide de modèles ne sont pas enregistrées dans le fichier de modèle source. Pour en savoir plus sur l’utilisation, la modification et la création de modèles, lisez la rubrique « Personnalisation et création de nouveaux modèles » à la page 278. Menu local Afficher Zone de Preview Emplacement des propriétés du projet Emplacement de la description du projetChapitre 2 Création et gestion de projets 201 Création de projets vierges à partir de préréglages de projet Si vous êtes en train de créer en partant de zéro un nouveau projet dont le résultat final devra être conforme à l’une des normes standard habituelles de diffusion sur le Web, de télédiffusion ou de transfert sur pellicule cinématographique, vous pouvez utiliser l’un des préréglages de projet fournis avec Motion. Contrairement à l’utilisation d’un modèle, le choix d’un préréglage ne définit que les propriétés essentielles du projet, telles que les dimensions et la fréquence d’image. Le projet résultant est complètement vierge, prêt à recevoir vos propres objets. Comme vous pouvez ouvrir dans Motion autant de fichiers de projet que le permet la quantité de RAM prise en charge par votre ordinateur, vous pouvez à tout moment créer un nouveau projet sans avoir à fermer les projets ouverts. Pour créer un nouveau projet : 1 Choisissez Fichier > Nouveau (ou appuyez sur les touches Commande + N). 2 Choisissez un préréglage dans le menu local, puis cliquez sur OK. Une nouvelle fenêtre de projet est créée. Elle n’est pas enregistrée sur disque tant que vous n’avez pas choisi une commande d’enregistrement dans le menu Fichier. Pour en savoir plus sur l’enregistrement des fichiers de projet, lisez la rubrique « Enregistrement des projets » à la page 210. Remarque : si vous avez défini un préréglage par défaut, Motion ouvre une nouvelle fenêtre de projet à cette résolution, contournant ainsi la zone de dialogue Sélectionnez le préréglage du projet.202 Chapitre 2 Création et gestion de projets Création de projets vierges à l’aide de réglages personnalisés Si aucun des préréglages proposés ne répond à vos besoins, vous pouvez créer un nouveau projet à l’aide de réglages personnalisés à partir de la même fenêtre. Pour créer un nouveau projet à l’aide de réglages de projet personnalisés : 1 Choisissez Fichier > Nouveau (ou appuyez sur les touches Commande + N). Remarque : si vous avez déjà défini un préréglage par défaut, maintenez enfoncée la touche Option et choisissez Fichier > Nouveau à partir du préréglage (ou appuyez sur les touches Option + Commande + N). 2 Choisissez Personnaliser en bas du menu local Préréglage, puis cliquez sur OK. La zone de dialogue Propriétés du projet s’ouvre. 3 Choisissez les réglages appropriés sous les onglets Générales et Réglages de rendu, puis cliquez sur OK. Une nouvelle fenêtre de projet est créée à l’aide des réglages spécifiés. Onglet Générales de la zone de dialogue Propriétés du projet L’onglet Générales permet de définir les propriétés les plus essentielles du projet que vous êtes en train de créer. En choisissant différents paramètres, vous pouvez adapter votre projet à presque tous les formats vidéo ou de film nécessaires. Ces propriétés constituent les réglages par défaut utilisés lorsque vous exportez votre projet afin de créer le fichier de sortie final. L’onglet Générales met à votre disposition les réglages suivants : Préréglage : le menu local Préréglage se trouve en haut de l’onglet Générales. Vous pouvez choisir un préréglage existant comme base pour votre nouveau préréglage, puis modifier les paramètres appropriés en fonction de vos besoins.Chapitre 2 Création et gestion de projets 203 Largeur et Hauteur : détermine à la fois la taille du Canevas et la résolution de sortie par défaut de votre projet. Les dimensions de l’image sont généralement définies par le format vidéo vers lequel vous envisagez de faire le transfert. Ainsi, le format vidéo NTSC DV correspond à 720 x 480, alors que le format vidéo PAL DV correspond à 720 x 576. Profondeur de bits : définit la profondeur de bits du projet sur l’une des valeurs suivantes :  8 bits (entier)  16 bits en virgule flottante  32 bits virgule flottante Remarque : lors de l’utilisation d’un espace en virgule flottante, vous pouvez rapidement convertir l’aperçu affiché dans le Canevas en 8 bits, afin d’accélérer le flux de travaux. Il suffit de désactiver l’option « Preview de la profondeur de couleur en virgule flottante » dans le menu local Présentation. Le menu local Présentation se trouve dans l’angle supérieur droit de la fenêtre principale (sous l’icône Contrôle du temps). Cette option ne modifie pas le projet final proprement dit. À propos de la profondeur de bits Si vous utilisez des images, l’augmentation du nombre de bits par pixel de ces images implique la disponibilité d’un plus grand nombre d’informations sur les couleurs. Une image bitmap à un bit par pixel est constituée exclusivement de pixels noirs ou blancs (pas de niveaux de gris). Une image en niveaux de gris contient des pixels avec 256 niveaux de gris. Chaque pixel nécessite 8 bits pour représenter les 256 niveaux de gris. Par conséquent, la profondeur de bits d’une image en niveaux de gris est égale à 8 (28 = 256). Une image RVB peut comporter des pixels avec 256 niveaux de chacune des couleurs primaires (rouge, vert et bleu). Dans ce cas, il existe 28 (256) nuances de chaque composante de couleur. Il en résulte plus de 16,7 millions de couleurs possibles (256 x 256 x 256 > 16,7 millions). La profondeur de bits d’une image RVB peut être de 24 (8 bits pour chaque couleur), et celle d’une image RVBA (rouge, vert, bleu et un canal alpha) peut être de 32 (8 bits pour chaque couleur + canal alpha). La profondeur de bits d’un canal alpha décrit la transparence de chaque pixel. Bien que ces images comportent 24 et 32 bits, de telles images couleur sont souvent appelées images 8 bits (en raison des 8 bits par canal). Remarque : une image RVB n’implique pas nécessairement 8 bits par pixel.204 Chapitre 2 Création et gestion de projets Le réglage de la profondeur de bits dans Motion est en bits par canal. Dans un projet Motion à 8 bits, les 256 niveaux de couleur sont représentés sur une échelle de nombres entiers allant de 0 à 255 (où 0 représente le noir et 255 représente le blanc). Toutes vos opérations sont limitées à cette plage de 0 à 255. Chaque nombre correspond alors à une seule couleur et inversement. En mode 8 bits, il est donc possible de représenter 16,7 millions de couleurs, ce qui correspond au nombre de combinaisons possibles entre les 256 valeurs de couleur différentes de chacun des canaux Rouge, Vert et Bleu. Bien que ce nombre de couleurs semble élevé, il est souvent utile de disposer de gradations de couleur plus précises. Grâce aux calculs en virgule flottante, les tons peuvent se subdiviser en un nombre gigantesque de couleurs intermédiaires, offrant une multitude de couleurs disponibles dans la palette de votre projet. Le mode 16 bits en virgule flottante assure évidemment davantage de couleurs intermédiaires, sans pour autant égaler le mode 32 bits en virgule flottante qui est encore plus précis. La profondeur de bits de votre métrage source détermine souvent la profondeur de bits de votre projet. Même si votre métrage source est en mode 8 bits, vous pouvez être amené à travailler dans un projet avec une profondeur de bits supérieure afin d’obtenir de meilleurs résultats. Lorsque vous augmentez la profondeur de bits de votre projet, vous n’introduisez pas de nouvelles informations de couleur dans les images originales. En revanche, les opérations telles que les incrustations, la correction de couleur, l’application de flou ou d’autres filtres avec des valeurs de paramètre élevées, ou la création de graphiques nécessitant des dégradés de couleur très progressifs, peuvent tirer parti du nouveau nombre de niveaux de couleur possibles. Important : l’utilisation de profondeurs de bits supérieures a cependant un coût. Ce coût se traduit en temps de traitement. Rappelez-vous également que, étant donné que Motion n’est pas indépendant du matériel, la plupart des systèmes présentent une limitation quant à la taille des fichiers importés. Pour en savoir plus sur le matériel requis, consultez le site Web de Motion à l’adresse suivante : http://www.apple.com/fr/finalcutstudio/motion. Lorsque vous exportez un projet 16 ou 32 bits en virgule flottante, n’oubliez pas que la plupart des formats de fichiers proposés pour l’exportation ne prennent pas en charge la virgule flottante, y compris QuickTime (8 bits seulement). OpenEXR est un format en virgule flottante. Les fichiers TIFF, PNG et Adobe Photoshop prennent en charge le format 16 bits Integer. Remarque : selon votre projet, la diffusion peut être soit utile, soit problématique. Par exemple, l’activation de la diffusion dans un projet présentant un effet de bande peut réduire l’apparence de celui-ci. Dans un projet en virgule flottante, la diffusion peut provoquer un excès de bruit à la sortie du projet. C’est la raison pour laquelle une case à cocher a été ajoutée à la zone de dialogue Propriétés du projet (choisissez Édition > Propriétés du projet ou appuyez sur les touches Commande + J) pour vous permettre d’activer ou de désactiver la diffusion. Ce réglage s’applique à l’affichage et à l’exportation d’un projet.Chapitre 2 Création et gestion de projets 205 Proportions pixel : détermine si le projet a été créé à l’aide de pixels carrés ou non carrés. Les écrans d’ordinateur, les films et la vidéo à haute définition utilisent des pixels carrés, tandis que la vidéo à définition standard utilise des pixels non carrés. Choisissez soit Carré pour les projets destinés au Web, les projets à haute définition et les films, soit l’un des formats non carrés correspondant à chaque norme de diffusion à définition standard. Un champ situé à droite de ce menu local affiche les valeurs de proportions pixel afin que vous puissiez éventuellement les modifier manuellement. Ordre de trame : lorsque vous travaillez avec de la vidéo entrelacée, choisissez dans ce menu local l’ordre de trame que vous comptez utiliser pour la sortie. Cet ordre doit correspondre à l’ordre de trame du périphérique utilisé pour transférer le fichier de sortie QuickTime final sur vidéo. Choisissez Aucune si vous travaillez avec de la vidéo à balayage progressif ou un format de film. Fréquence d’images : choisissez une fréquence d’images (en images par secondes) correspondant au format vers lequel vous effectuerez la sortie finale. Pour les films, cette fré- quence est de 24 ips ; pour la vidéo PAL, elle est de 25 ips et pour la vidéo NTSC de 29,97 ips. D’autres fréquences d’images sont disponibles pour différents formats vidéo. Durée : cette option permet de saisir la durée totale disponible dans la Timeline de votre projet. Un menu local permet de définir la durée soit en valeur de timecode, en fonction de la fréquence d’images sélectionnée, soit en nombre d’images ou en secondes. La valeur par défaut est de 900 images ou 30 secondes. Timecode début : cette valeur détermine le timecode de début pour l’affichage lorsque vous travaillez dans un projet. Couleur d’arrière-plan : cadre de couleurs vous permettant de déterminer la couleur affichée dans le Canevas si aucun autre graphisme ou objet QuickTime n’est présent. Arrière-plan : menu local qui définit si le rendu de la couleur d’arrière-plan doit être effectué comme une partie du canal alpha. Si vous choisissez Uni, la couleur d’arrière-plan génère un canal alpha opaque. En revanche, si vous choisissez Transparent, le rendu de la couleur d’arrière-plan n’est pas obtenu comme une partie du canal alpha. Quel que soit votre choix, la couleur d’arrière-plan est affichée dans le Canevas. Description du projet : vous pouvez saisir une brève description du projet dans ce champ. Il s’avère également utile pour signaler les caractéristiques distinctives du préréglage, telles que les dimensions ou la fréquence d’images. Pour en savoir plus sur les dimensions de l’image, les fréquences d’images, l’entrelacement et d’autres réglages de projet couramment utilisés, lisez la rubrique « Formats vidéo et de fichiers » à la page 1293.206 Chapitre 2 Création et gestion de projets Onglet Réglages de rendu de la zone de dialogue Propriétés du projet L’onglet Réglages de rendu contient des paramètres qui ont une incidence sur la manière dont Motion effectue le rendu des objets et de l’animation de votre projet. Ces réglages peuvent avoir une incidence sur l’aspect de votre projet lorsqu’il est exporté. Flou d’animation : simule l’effet provoqué par l’obturateur mécanique d’une caméra qui enregistre un sujet en mouvement sur film ou vidéo. Dans Motion, le flou d’animation a un effet sur les objets de votre projet qui sont animés à l’aide de comportements ou d’images animées. Cela vous permet de créer un mouvement d’aspect plus naturel dans votre projet, même si l’animation est créée artificiellement. Comme c’est le cas lorsque l’on filme à l’aide d’une caméra, les objets plus rapides sont davantage affectés par le flou tandis que les objets plus lents le sont moins. Important : contrairement à Final Cut Express HD ou Final Cut Pro, le flou créé par ces paramètres n’a aucun effet sur le mouvement qui se produit dans un fichier de séquence QuickTime ou une séquence d’images. Il n’a une incidence que sur les objets animés. La section Flou d’animation possède deux paramètres :  Échantillons : nombre de sous-images rendues par image, où une image correspond à 360 degrés. Les valeurs élevées créent un flou d’animation de meilleure qualité, mais exigent une plus grande puissance de traitement pour le processeur. La valeur Échantillons par défaut est de 8. La valeur maximale possible est de 256. Sans flou d’animation Flou d’animation à 360° Flou d’animation à 180°Chapitre 2 Création et gestion de projets 207 L’image suivante affiche une forme qui a été incrustée pour un déplacement rapide et horizontal sur le Canevas. Dans l’image suivante, le flou Motion est activé et la valeur Échantillons est définie sur 8. Remarque : lorsque vous utilisez des valeurs d’angle d’obturateur plus élevées, il peut s’avérer nécessaire d’augmenter le nombre d’échantillons afin d’éliminer les artefacts indésirables.  Angle d’obturateur : définit la taille du flou d’animation appliqué aux objets animés. L’augmentation de l’angle d’obturateur augmente le nombre d’images sur lesquelles l’obturateur est ouvert. Dans l’image ci-dessus, l’angle d’obturateur est défini sur 360 degrés (valeur par défaut), qui représente une image. Dans l’image suivante, l’angle d’obturateur est défini sur 600 degrés.208 Chapitre 2 Création et gestion de projets Création, modification et suppression de préréglages Si vous créez généralement des projets à l’aide de réglages personnalisés ne correspondant à aucun des préréglages disponibles, vous pouvez créer un nouveau préréglage comprenant ces réglages afin de les utiliser ultérieurement. Les opérations de création, de modification et de suppression de préréglages s’effectuent dans la fenêtre Préréglages des préférences Motion. Pour créer un nouveau préréglage personnalisé : 1 Choisissez Motion > Préférences (ou appuyez sur touches Commande + virgule). 2 Dans la sous-fenêtre Préréglages, choisissez Préréglages du projet dans le menu local Afficher. 3 Cliquez sur le bouton Ajouter (+) situé sous la liste des préréglages. La zone de dialogue Éditeur de préréglages du projet s’ouvre. 4 Dans la zone de dialogue Éditeur de préréglages du projet, procédez comme suit :  Dans le champ Nom, tapez un nom décrivant le préréglage.  Tapez une brève description de l’usage de ce préréglage. Il peut également s’avérer utile de signaler les caractéristiques distinctives de ce préréglage, telles que les dimensions et la fréquence d’images.  Tapez les dimensions de l’image dans les champs Largeur et Hauteur.Chapitre 2 Création et gestion de projets 209  Choisissez des Proportions pixel, un Ordre de trame et une Fréquence d’images dans les menus locaux correspondants. 5 Cliquez sur OK. 6 Une fois que vous avez terminé de créer de nouveaux préréglages de projet, fermez la fenêtre des préférences Motion. Remarque : pour en savoir plus sur les normes standard de dimensions d’image, de proportions pixel, d’ordre de trame et de fréquence d’images, lisez la rubrique « Formats vidéo et de fichiers » à la page 1293. Pour faire d’un préréglage personnalisé le nouveau préréglage par défaut, procédez de l’une des manières suivantes : m Dans la fenêtre Préréglages des préférences Motion, cochez la case située à gauche du préréglage destiné à devenir le préréglage par défaut pour tous les nouveaux projets créés. m Choisissez Fichier > Nouveau afin d’afficher la zone de dialogue Sélectionnez le préréglage du projet. Choisissez un préréglage de projet dans le menu local Préréglage, puis cliquez sur Par défaut. Vous pouvez également modifier des préréglages existants. Cela vous permet de mettre à jour un préréglage que vous avez créé ou d’en créer un nouveau en personnalisant un préréglage existant doté de réglages similaires. Pour dupliquer un préréglage existant avant de le modifier: 1 Dans les préférences Motion, sélectionnez un préréglage dans la fenêtre Préréglages. 2 Cliquez sur Dupliquer. Le préréglage dupliqué apparaît sous le préréglage d’origine. Pour modifier un préréglage : 1 Dans les préférences Motion, sélectionnez un préréglage dans la fenêtre Préréglages. 2 Cliquez sur Modifier. 3 Lorsque la zone de dialogue Éditeur de préréglages du projet apparaît, effectuez les modifications nécessaires, puis cliquez sur OK. Remarque : vous ne pouvez pas modifier ou supprimer des préréglages de projet verrouillés. Pour supprimer un préréglage personnalisé : 1 Dans les préférences Motion, sélectionnez un préréglage dans la fenêtre Préréglages. 2 Cliquez sur le bouton Supprimer (–) situé sous la liste des préréglages. Remarque : vous ne pouvez pas déverrouiller un préréglage intégré à Motion. Lorsque vous double-cliquez sur un préréglage de ce type, un avertissement vous indique que le préréglage sélectionné ne peut pas être modifié. Pour créer une copie de ce préréglage en vue de la personnaliser, cliquez sur OK.210 Chapitre 2 Création et gestion de projets Transfert de préréglages entre ordinateurs Chaque préréglage créé est enregistré en tant que fichier séparé. Si vous avez créé un ou plusieurs préréglages personnalisés qui vous sont utiles et que vous utilisez Motion sur d’autres ordinateurs, il sera peut-être nécessaire de transférer ces préréglages personnalisés sur ces ordinateurs. Tous les préréglages personnalisés sont stockés dans le dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Final Cut Studio/Motion/Presets/Projectde votre ordinateur. Pour copier un préréglage de projet vers un autre ordinateur: m Copiez vos fichiers de préréglages personnalisés dans le dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/Motion/Presets/Project de cet autre ordinateur. Gestion des projets L’organisation est un élément important lorsque vous travaillez sur un projet dans Motion. Cela implique d’effectuer un suivi scrupuleux de vos fichiers de projet, d’enregistrer fréquemment votre travail en cours et de procéder à des sauvegardes réguliè- res. L’idée essentielle consiste à veiller à ce que rien ne soit accidentellement supprimé ou mal placé et que vous ne perdiez pas votre travail en égarant vos précieuses ressources numériques. Motion enregistre donc automatiquement les projets, afin de pouvoir les récupérer à tout moment. Enregistrement des projets Comme c’est le cas avec n’importe quelle autre application, il est recommandé d’enregistrer votre travail dès le départ et fréquemment au fur et à mesure de son évolution. Vous éviterez de cette manière toute perte due à des événements imprévus tels qu’une panne de courant généralisée qui surviendrait juste au moment où vous êtes sur le point de terminer votre dernier chef d’œuvre d’animation. Outre le fait de préserver votre travail en vue d’y revenir plus tard, les commandes d’enregistrement de Motion peuvent être utilisées d’autres manières pour gérer le développement de votre projet. Si vous êtes, par exemple, content de votre composition actuelle mais que vous souhaitez créer une variante du travail accompli, vous pouvez utiliser la commande Enregistrer sous pour enregistrer une copie du projet actuel. Vous pourrez ensuite modifier cette copie et garder le projet original intact afin de pouvoir y revenir si vous n’êtes pas content de vos modifications.Chapitre 2 Création et gestion de projets 211 La commande Enregistrer sous peut également servir d’outil d’archivage car elle permet d’enregistrer régulièrement des copies distinctes de votre projet tout au long de sa création. Cela permet d’atteindre deux objectifs. Premièrement, vous possédez des copies de votre fichier de projet, ce qui vous évite d’égarer par inadvertance votre seule copie et de perdre ainsi des journées entières de travail. Deuxièmement, vous disposez également d’un moyen de revenir à des versions antérieures de votre composition si jamais il est nécessaire de procéder à des modifications en fonction d’un état antérieur du développement de ce projet. Pour enregistrer un projet : 1 Choisissez Fichier > Enregistrer (ou appuyez sur les touches Commande + S). Si le projet n’a pas encore été enregistré, la zone de dialogue Enregistrer sous apparaît. 2 Tapez un nom dans le champ Enregistrer sous, choisissez un emplacement sur votre disque dur afin d’y enregistrer le fichier, puis cliquez sur Enregistrer. Remarque : si le projet a déjà été enregistré, le fichier de projet est simplement mis à jour. Pour enregistrer une copie d’un projet : 1 Choisissez Fichier > Enregistrer sous (ou appuyez sur les touches Maj + Commande + S). La zone de dialogue Enregistrer sous apparaît. 2 Tapez un nouveau nom dans le champ Enregistrer sous, choisissez un emplacement sur votre disque dur, puis cliquez sur Enregistrer. Important : si vous utilisez la commande Enregistrer sous, il est important de choisir un nom différent des versions déjà enregistrées du même projet, car vous risquez, dans le cas contraire, d’écraser une version antérieure de ce fichier de projet. Dans ce cas, un message d’avertissement s’affiche. Pour enregistrer tous les projets ouverts : 1 Appuyez sur la touche Option, puis choisissez Fichier > Tout enregistrer (ou appuyez sur les touches Commande + Option + S). 2 Si tous les fichiers de projet ouverts ont été enregistrés, la commande Tout enregistrer ne fait que les mettre à jour. Si l’un des projets ouverts n’a jamais été enregistré, tapez un nom dans son champ Enregistrer sous, puis cliquez sur Enregistrer.212 Chapitre 2 Création et gestion de projets Remarque : la commande Tout enregistrer n’apparaît que si vous appuyez sur la touche Option en ouvrant le menu Fichier. Recueil des données Lors de l’enregistrement d’un projet, Motion vous offre la possibilité de regrouper automatiquement tous les médias utilisés dans ce projet. Les données correspondantes sont alors recueillies dans un dossier de votre choix. Ce recueil présente l’avantage de faciliter la portabilité et les copies de sauvegarde, ainsi que de pouvoir organiser tous les médias de votre projet à un seul emplacement. Par défaut, l’option Recueil données est désactivée. Pour utiliser la fonction d’enregistrement Recueil données : 1 Choisissez Fichier > Enregistrer sous (ou appuyez sur les touches Commande + Maj + S). La zone de dialogue Enregistrer sous apparaît. 2 Choisissez « Copier dans le dossier » dans le menu local Recueil données. Sélectionnez l’option « Copier dans le dossier » pour créer un dossier dont vous précisez le nom dans le champ Enregistrer sous. Un fichier de projet Motion portant le même nom est créé dans ce dossier, ainsi qu’un dossier appelé « Média » contenant tous les médias utilisés dans ce projet. Si vous activez l’option Recueil données, vous avez la possibilité d’indiquer si vous souhaitez également collecter les médias inutilisés. Utilisation de l’enregistrement automatique Motion enregistre automatiquement des sauvegardes de votre projet dans un dossier sur votre disque dur. Dans la sous-fenêtre Projet des préférences Motion, vous pouvez spécifier la fréquence d’enregistrement automatique des projets, ainsi que l’emplacement des fichiers enregistrés. L’heure et la date d’enregistrement du projet sont spécifiées. Utiliser l’enregistrement automatique : indique à Motion de stocker les projets enregistrés automatiquement à l’emplacement spécifié dans le paramètre Dossier d’enregistrement automatique. Enregistrer toutes les : indique la fréquence, en minutes, selon laquelle est projet est enregistré. Garder au maximum : indique à Motion le nombre de versions du projet enregistré automatiquement à conserver dans le dossier.Chapitre 2 Création et gestion de projets 213 Maximum de : indique à Motion le nombre maximum de projets différents enregistrés automatiquement à conserver dans le dossier. Pour stocker à un emplacement spécifique les projets enregistrés automatiquement : 1 Choisissez Motion > Préférences (ou appuyez sur touches Commande + virgule). 2 Cliquez sur Projet. 3 Dans le groupe Enregistrement automatique, activez l’option Utiliser l’enregistrement automatique. Par défaut, le dossier d’enregistrement automatique se trouve dans un dossier nommé Projets Motion dans le dossier Documents de votre répertoire de départ. Pour définir un nouvel emplacement pour l’enregistrement automatique : m Cliquez sur Choisir, puis sélectionnez un nouvel emplacement dans la zone de dialogue qui apparaît. Pour revenir à un projet enregistré automatiquement: 1 Choisissez Fichier > Rétablir à partir de l’enregistrement automatique. La zone de dialogue Rétablir le projet apparaît. 2 Choisissez un projet enregistré à partir du menu local. Utilisation de la commande Revenir dans les projets La commande Revenir annule toutes les modifications apportées à un projet depuis son dernier enregistrement. Cette commande est particulièrement utile pour essayer diverses modifications sur votre projet. Vous pouvez enregistrer votre projet dans l’état qui vous convient, puis essayer toutes les modifications souhaitées. Si le résultat ne vous plaît pas, utilisez la commande Revenir pour revenir immédiatement à l’état antérieur. Remarque : vous pouvez également utiliser la fonction d’annulation illimitée de Motion pour obtenir le même résultat par incréments. Pour en savoir plus sur la commande Annuler, lisez la rubrique « Menu Édition » à la page 178. Pour rétablir la dernière version enregistrée d’un projet : m Choisissez Fichier > Revenir.214 Chapitre 2 Création et gestion de projets Ouverture et fermeture de projets Vous pouvez ouvrir un ou plusieurs fichiers de projet enregistrés antérieurement soit à partir du Finder, soit à partir de Motion. Le nombre maximal de projets ouverts simultanément dépend de la quantité maximale de mémoire RAM prise en charge par votre ordinateur. La mémoire RAM de votre ordinateur est répartie entre le système d’exploitation, les applications en cours d’exécution et tous les projets ouverts. Si vous constatez à un moment ou un autre une réduction des performances due à un manque de mémoire RAM, fermez une ou plusieurs applications ou un ou plusieurs projets afin de libérer de la mémoire RAM pour le reste des projets ouverts. Pour ouvrir un ou plusieurs fichiers de projet dans le Finder, procédez de l’une des manières suivantes : m Double-cliquez sur un fichier de projet Motion. Motion s’ouvre automatiquement avec ce projet. m Sélectionnez un ou plusieurs fichiers de projet Motion, puis faites-les glisser sur l’icône de l’application Motion située dans le dossier Applications ou dans le Dock si vous en avez placé une à cet emplacement. m Sélectionnez un ou plusieurs fichiers de projet Motion, puis choisissez Fichier > Ouvrir (ou appuyez sur les touches Commande + O) dans le Finder. m Sélectionnez un ou plusieurs fichiers de projet Motion, cliquez sur l’un d’eux en maintenant la touche Contrôle enfoncée, puis choisissez Ouvrir dans le menu contextuel. Motion démarre automatiquement et ouvre tous les projets sélectionnés. Pour ouvrir un fichier de projet à partir de Motion avec la commande Ouvrir : 1 Choisissez Fichier > Ouvrir (ou appuyez sur les touches Commande + O). La zone de dialogue Ouvrir apparaît. 2 Dans la zone de dialogue Ouvrir, naviguez jusqu’au fichier de projet souhaité, puis cliquez sur Ouvrir. Pour ouvrir un fichier de projet à partir du Navigateur Motion : 1 Dans le Navigateur, naviguez jusqu’au fichier de projet souhaité et sélectionnez-le. 2 Procédez de l’une des manières suivantes :  Double-cliquez sur le fichier de projet.  Cliquez sur le bouton Importer dans la zone de Preview. Le projet s’ouvre dans un nouveau Canevas.Chapitre 2 Création et gestion de projets 215 Ouverture des projets récents Chaque projet que vous ouvrez dans Motion est automatiquement ajouté au sous-menu Ouvrir récent situé dans le menu Fichier. Ce sous-menu permet de choisir un projet dans une liste des projets sur lesquels vous avez récemment travaillé. Motion contient un sous-menu Ouvrir récent dans lequel sont conservés les noms des projets antérieurs sur lesquels vous avez travaillé. Pour ouvrir un projet récent : m Dans le menu Fichier, choisissez le nom de fichier d’un projet dans le sous-menu Ouvrir récent. Si le sous-menu Ouvrir récent vous semble trop encombré, vous pouvez l’effacer. Pour effacer le sous-menu Ouvrir récent : m Choisissez Fichier > Ouvrir récent > Effacer le menu. Fermeture des projets Vous pouvez fermer les projets l’un après l’autre ou tous à la fois. Pour fermer un projet, il suffit de fermer sa fenêtre de projet (la fenêtre contenant le Canevas). Pour fermer un projet, procédez de l’une des manières suivantes : m Appuyez simultanément sur les touches Contrôle + W pour fermer la fenêtre actuellement activée. m Cliquez sur le bouton de fermeture de la fenêtre du Canevas. Pour fermer tous les projets ouverts, procédez de l’une des manières suivantes : m Appuyez simultanément sur les touches Commande + Option + W. m Cliquez sur le bouton de fermeture avec la touche Option enfoncée. Remarque : en fonction de la version, le fait de cliquer sur le bouton de fermeture avec la touche Option enfoncée pour fermer tous les projets ouverts peut ne pas fonctionner avec votre système d’exploitation. Gestion de plusieurs projets ouverts Chaque projet ouvert est autonome dans sa propre fenêtre et possède ses propres onglets Couches, Média, Audio, Timeline, Images clés et Éditeur audio. Vous pouvez utiliser la commande Exposé Toutes les fenêtres (sous Mac OS X v10.4 et les versions ultérieures) pour afficher en même temps toutes les fenêtres des projets ouverts. Pour en savoir plus sur l’utilisation d’Exposé, consultez l’Aide Mac, disponible via le menu Aide du Finder.216 Chapitre 2 Création et gestion de projets Déplacement et archivage des fichiers de projetMotion Pour transférer un fichier de projet Motion vers un autre ordinateur, il est nécessaire de transférer également tous les médias utilisés par le projet, y compris tous les élé- ments QuickTime, les images fixes et les fichiers audio. De plus, si votre projet utilise des modules Motion de tierce partie ou des polices non standard ou LiveFonts, vous devez vous assurer que ces éléments sont installés sur l’ordinateur vers lequel vous transférez le projet, sinon ils ne seront pas disponibles pour votre projet. De même, une fois que vous avez terminé un projet et que vous souhaitez l’archiver, il est recommandé d’archiver non seulement le fichier de projet, mais également tous les médias (plus particulièrement ceux qui n’ont pas été capturés à partir d’une source vidéo ou audio dotée du contrôle de périphérique), les éléments graphiques, les polices, les comportement personnalisés, les filtres ou les modules de tierce partie utilisés par ce projet. Lorsque vous souhaiterez restaurer le projet pour effectuer des révisions ultérieures, vous disposerez de tous les éléments nécessaires pour être rapidement à pied d’œuvre. Si vous disposez d’un graveur de CD ou de DVD, il sera facile de sauvegarder vos médias. Pour en savoir plus sur la copie de fichiers sur un CD ou un DVD enregistrable, consultez l’Aide Mac dans le menu Aide du Finder. La méthode la plus simple pour regrouper tous les médias utilisés dans votre projet consiste à utiliser l’option Recueil données. reportez-vous à la section « Recueil des données », à la page 212.Chapitre 2 Création et gestion de projets 217 Remarque : si vous transférez un projet vers un autre ordinateur sans utiliser l’option Recueil données, ses médias risquent d’être déconnectés, même si vous les avez déplacés en même temps. Pour en savoir plus sur la manière de reconnecter les fichiers de médias à votre projet, lisez la rubrique « Comparaison entre les médias connectés et déconnectés » à la page 245. Médias inutilisés Par défaut, tous les médias utilisés par des objets ajoutés à votre projet sont automatiquement gérés par Motion. Si vous supprimez un objet dans le Canevas ou la liste de couches, le média source correspondant est automatiquement supprimé de l’onglet Média. Vous pouvez toutefois désactiver cette fonction dans la sous-fenêtre Générales des préférences Motion. Archivage des éléments vidéo QuickTime Si vous utilisez des plans vidéo QuickTime dans un projet Motion que vous souhaitez archiver en vue d’un stockage à long terme, la décision d’archiver également les plans vidéo dépend de la manière dont ils ont été capturés. Si vous avez capturé votre vidéo via Final Cut Express HD ou Final Cut Pro à l’aide d’un caméscope ou d’une platine dotée du contrôle de périphérique, l’archivage de vos plans vidéo risque d’être inutile. Cela est dû au fait qu’il est toujours possible de recapturer les plans à partir des bandes originales, à l’aide du fichier de projet Final Cut dans lequel vous les avez consignés. Dans ce cas, il est recommandé de sauvegarder le fichier de projet Final Cut Express HD ou Final Cut Pro, en plus de votre fichier de projet Motion. Si vous avez capturé votre vidéo sans contrôle de périphérique ou que la vidéo a été capturée par une autre personne et que vous ne pouvez plus recapturer les plans exactement comme ils apparaissent dans votre projet, il est recommandé de sauvegarder ces plans avec le reste des fichiers graphiques, fichiers audio et polices utilisés dans votre projet.218 Chapitre 2 Création et gestion de projets Recherche de projets à l’aide du Finder Spotlight indexe certaines propriétés de vos projets Motion, ce qui vous permet de lancer des recherches avancées. Utilisez Spotlight dans le Finder pour bénéficier de cette fonction. Les propriétés suivantes des projets Motion sont indexées par Spotlight et peuvent donc servir de critères de recherche : Modification des propriétés de projet Même si tous les projets démarrent avec un groupe prédéfini de propriétés de projet, vous pouvez les modifier à tout moment, même après avoir ajouté des objets. Pour modifier les propriétés d’un projet : 1 Choisissez Édition > Propriétés du projet (ou appuyez sur les touches Commande + J). 2 Dans la zone de dialogue Propriétés du projet, modifiez les paramètres nécessaires, puis cliquez sur OK. Pour en savoir plus sur les paramètres disponibles dans la zone de dialogue Propriétés du projet, voir « Onglet Générales de la zone de dialogue Propriétés du projet » à la page 202 et « Onglet Réglages de rendu de la zone de dialogue Propriétés du projet » à la page 206. La plupart des modifications apportées aux propriétés d’un projet sont plutôt transparentes et n’ont aucun impact visuel sur le projet proprement dit. La modification des dimensions d’image du projet constitue l’exception principale à cette règle. Propriété de projet Description Largeur Largeur du projet en pixels Hauteur Hauteur du projet en pixels Durée Durée du projet en secondes Nom de la couche Nom de n’importe quelle couche de votre projet Nom du média Nom de n’importe quel objet de média dans votre projet Chemin d’accès Chemin menant à n’importe quel objet de média dans votre projet Texte Contenu de tout objet texte dans votre projet Description Texte contenu dans le champ Description des Propriétés du projet Nom du marqueur Nom de n’importe quel marqueur présent dans la Timeline de votre projet Commentaire de marqueur Texte de tout commentaire de marqueur dans votre projetChapitre 2 Création et gestion de projets 219 Modification de la taille d’image d’un projet La modification des dimensions d’image d’un projet (dans Propriétés du projet) contenant déjà des objets modifie en fait la taille du Canevas. Cela augmente ou réduit la quantité d’espace disponible pour disposer les objets dans votre projet. Il est important de comprendre que la modification de la taille du Canevas ne modifie d’aucune manière la taille ou la position de tout objet qui s’y trouve. En outre, comme le système de coordonnées utilisé par Motion utilise le point 0, 0 comme centre du cadre, tous les objets demeurent en place à leur position actuelle par rapport au centre du cadre alors que le contour de ce dernier se réduit en direction du centre. Les objets risquent d’être coupés si le cadre dépasse leurs contours en rétrécissant. Dans l’exemple qui suit, un projet dont les dimensions d’image sont de 720 x 480 est réduit à 320 x 240. Remarque : comme Motion fonctionne indépendamment de la résolution choisie, il est généralement inutile de modifier la taille d’image de votre projet. Vous pouvez sortir vos projets dans n’importe quelle taille, quelles que soient les dimensions d’image actuelles, en modifiant les options des zones de dialogue d’exportation de Motion. Ainsi, si vous êtes en train de créer un projet dont les dimensions sont adaptées à une diffusion en résolution standard, vous pouvez toujours exporter une version de votre projet en résolution moyenne pour la publier sur le web en effectuant une exportation à la taille nécessaire. Dimensions originales (720 x 480) Dimensions réduites (320 x 240)220 Chapitre 2 Création et gestion de projets Navigation parmi les fichiers de médias dans Motion Cette section explique comment naviguer parmi les fichiers de médias que vous souhaitez utiliser dans votre projet Motion. Comme pour les fichiers de projet, il est important de s’assurer que les médias sources utilisés sont organisés de manière logique et qu’il est facile d’en effectuer le suivi. Il peut s’avérer utile de centraliser tous les médias sources qui ne seront utilisés que dans un seul projet et d’organiser méticuleusement ceux qui seront partagés par plusieurs projets. Le Navigateur permet de naviguer à travers tous les volumes connectés à votre ordinateur afin d’y rechercher des fichiers de médias à ajouter à votre projet Motion. Bien que similaire à une fenêtre du Finder, le Navigateur possède de nombreuses commandes personnalisées propres à Motion, qui vous permettent de retrouver rapidement et de prévisualiser les fichiers que vous pourriez utiliser. Remarque : vous pouvez également rechercher et importer des fichiers à partir de vos bibliothèques iTunes et iPhoto, directement depuis la Bibliothèque Motion. Pour en savoir plus, voir « Ajout de fichiers iTunes et iPhoto à partir de la Bibliothèque » à la page 242.Chapitre 2 Création et gestion de projets 221 Commandes de navigation du Navigateur Barre latérale du Navigateur : cette zone du Navigateur affiche tous les disques durs et supports amovibles connectés à votre ordinateur. Elle vous permet également d’accéder à des volumes en réseau. Des icônes supplémentaires vous donnent accès aux dossiers fréquemment utilisés de votre répertoire de départ, tels que les dossiers Bureau, Documents, Films, Musique et Images. Pile de fichiers : située sous la barre latérale du Navigateur, la pile de fichiers affiche tous les fichiers et dossiers qui se trouvent dans le disque sélectionné dans la barre latérale. Un clic sur un dossier permet d’en ouvrir le contenu dans la pile de fichiers, ce qui remplace le contenu affiché. Vous pouvez naviguer vers le haut ou vers le bas de la hiérarchie de dossiers à l’aide des boutons Suivant et Précédent, ainsi que du menu local Chemin. Il est possible d’alterner la présentation de la pile de fichiers sous forme de liste ou d’icônes. Zone de Preview Barre latérale Pile de fichiers Boutons Affichage Champ de recherche Menu local Chemin Boutons Suivant/Précédent Bouton Nouveau dossier Curseur Échelle Bouton Afficher les séquences d’images réduites222 Chapitre 2 Création et gestion de projets Zone de Preview : affiche un aperçu du fichier sélectionné dans la pile de fichiers. Si l’élément sélectionné est un film, le bouton de lecture apparaît pour que vous puissiez le visionner. Les informations du plan en cours de prévisualisation sont affichées à droite de la vignette de Preview. Boutons Précédent et Suivant : ces boutons vous permettent d’accéder directement aux éléments répertoriés dans votre historique de navigation. Cliquez sur la flèche vers la gauche pour revenir au dernier élément parcouru. Le fait de cliquer de manière répétée sur cette flèche vous permet de remonter jusqu’au premier élément sélectionné (le Bureau, une partition ou votre dossier de départ, par exemple). Une fois que vous avez atteint le début de votre historique de navigation, la flèche vers la gauche est estompée. Cliquez sur la flèche vers la droite pour faire défiler votre historique de navigation. Si vous n’aviez encore ouvert aucun dossier au sein du dossier ouvert dans la pile de fichiers, la flèche vers la droite est estompée. Menu local Chemin : affiche la hiérarchie de dossiers actuelle sous la forme d’une liste, le dossier ouvert se trouvant au sommet et chaque dossier parent successif apparaissant en dessous. « Ordinateur » apparaît en bas de liste et correspond au répertoire du sommet de la hiérarchie, qui comprend tous les disques connectés à votre ordinateur. Champ de recherche : le champ Rechercher filtre la pile de fichiers à la recherche des termes que vous avez saisis. Commandes de personnalisation du Navigateur Séparateur du Navigateur : en faisant glisser ce séparateur vers le haut ou vers le bas, vous pouvez redéfinir l’espace alloué à la barre latérale du Navigateur et à la pile de fichiers. La réduction de la barre latérale provoque également la réduction, jusqu’à un certain point, des icônes affichées. Bouton de présentation sous forme d’icônes : représente les fichiers et les dossiers de la pile sous forme d’icônes. Les fichiers d’image et de séquence sont représentés par des vignettes, tandis que les dossiers sont représentés par des icônes de dossier. Toutes les icônes de la pile sont disposées sur une grille dont la taille est définie par le curseur en bas du Navigateur.Chapitre 2 Création et gestion de projets 223 Bouton de présentation sous forme de liste : représente les fichiers et les dossiers de la pile sous forme de liste hiérarchisée. Une vignette de fichier ou de dossier est affichée à gauche du nom de chaque fichier ou dossier dans la colonne Nom. À droite, plusieurs colonnes supplémentaires affichent la date, la taille, la durée et le type de chaque fichier. Vous pouvez trier le contenu de la pile de fichiers en fonction de n’importe quelle colonne en cliquant sur l’en-tête de cette dernière. Pour inverser l’ordre de tri, afin de passer de l’ordre ascendant à l’ordre descendant et vice versa, cliquez une deuxième fois sur l’en-tête. Les dossiers qui figurent dans cette liste peuvent être ouverts soit hiérarchiquement à l’aide des triangles d’affichage placés à gauche de chaque icône de dossier, soit en double-cliquant dessus pour remplacer le contenu actuel de la pile de fichiers par celui du dossier. Curseur Échelle : en mode de présentation par icônes, ce curseur augmente ou réduit la taille de toutes les icônes affichées dans la pile de fichiers. La taille actuelle détermine le nombre d’icônes que l’on peut afficher simultanément dans la zone actuelle de la pile de fichiers. Il est possible d’agrandir la pile de fichiers à l’aide du séparateur du Navigateur. Bouton de présentation sous forme d’icônes Bouton de présentation sous forme de liste Présentation sous forme d’icônes Présentation sous forme de liste224 Chapitre 2 Création et gestion de projets Bouton d’affichage réduit des séquences d’images : les séquences d’images sont des plans qui ont été enregistrés comme fichiers d’images individuels, chaque fichier correspondant à une image du film ou de la vidéo. En cliquant sur ce bouton vous pouvez visionner des fichiers de séquences d’images correctement nommés comme s’il s’agissait d’un fichier de séquence d’images unique. Si vous êtes en train de visionner des fichiers d’images dont les noms de fichier numérotés ne constituent pas réellement une séquence d’images (telles les images capturées à l’aide d’un appareil photo numérique et importées depuis un répertoire iPhoto), vous pouvez désactiver cette commande pour visionner séparément chaque fichier d’image individuel. Bouton Nouveau dossier : cette commande permet de créer un dossier à l’emplacement actuel de la pile de fichiers. Ces dossiers sont créés dans le Finder et vous permettent de réorganiser les fichiers de médias sur le disque à partir de Motion. Remarque : pour supprimer un dossier à partir du Navigateur, sélectionnez ce dossier, puis appuyez sur les touches Commande + Supprimer. Différentes méthodes de navigation, de recherche et prévisualisation des fichiers Cette section contient des procédures que vous pouvez utiliser pour rechercher et afficher un Preview des fichiers à l’aide des commandes du Navigateur. Pour naviguer à travers le contenu d’un disque, procédez de l’une des manières suivantes : m Cliquez sur l’icône du disque dans la barre latérale du Navigateur. m Appuyez sur les flèches vers le haut et vers le bas pour monter et descendre dans la liste de la barre latérale. Pour naviguer dans la pile de fichiers présentée sous forme d’icônes, procédez de l’une des manières suivantes : m Double-cliquez sur un dossier de la pile de fichiers afin d’en ouvrir le contenu dans la pile de fichiers. m Cliquez sur une icône de la pile de fichiers, puis appuyez sur les touches fléchées pour changer de dossier sélectionné. Pour ouvrir le dossier sélectionné, appuyez sur la touche Retour. Pour naviguer dans la pile de fichiers présentée sous forme de liste, procédez de l’une des manières suivantes : m Double-cliquez sur un dossier de la pile de fichiers afin d’en ouvrir le contenu dans la pile de fichiers. m Cliquez sur le triangle d’affichage situé à gauche de l’icône d’un dossier pour ouvrir le contenu de ce dossier dans une liste hiérarchique.Chapitre 2 Création et gestion de projets 225 m Cliquez sur un élément de la liste, puis appuyez sur les flèches vers le haut et vers le bas afin de naviguer dans la liste. m Appuyez sur la touche Flèche vers la droite pour ouvrir le dossier sélectionné en pré- sentation hiérarchique (ce qui revient à cliquer sur le triangle d’affichage d’un dossier). Appuyez sur la touche Flèche vers la gauche pour fermer un dossier précédemment ouvert en présentation hiérarchique. m Appuyez sur la touche Retour pour ouvrir le contenu d’un dossier dans la pile de fichiers. Pour naviguer dans la hiérarchie actuelle des chemins d’accès, procédez de l’une des manières suivantes : m Cliquez sur le bouton Suivant pour passer au dossier précédemment ouvert. m Cliquez sur le bouton Précédent pour accéder au dernier dossier ouvert dans la hiérarchie de dossiers actuelle. m Choisissez un dossier dans la hiérarchie actuelle via le menu local Chemin. Pour trier la pile de fichiers présentée sous forme de liste : m Cliquez sur l’en-tête de n’importe quelle colonne d’informations pour trier la pile en fonction de cette colonne. Pour inverser l’ordre de tri, afin de passer de l’ordre ascendant à l’ordre descendant et vice versa, cliquez une deuxième fois sur l’en-tête. Pour rechercher un fichier : m Tapez un terme à rechercher dans le champ Rechercher. La pile de fichiers est immédiatement mise à jour avec les fichiers dont les noms contiennent le terme recherché. La recherche est effectuée uniquement parmi les disques ou les dossiers affichés dans la pile de fichiers. Les majuscules ne sont pas prises en compte.. Par exemple, la saisie de « flag » dans le champ de recherche peut entraîner l’affichage des noms de fichiers suivants dans la pile de fichiers : « Dutch Flag.tif, flagAnimation.mov, flagellum.tif, Iron Flag.m4a. » Pour effacer les résultats de recherche : m Cliquez sur le bouton Effacer, situé à l’extrême droite du champ Rechercher, pour restaurer le contenu affiché précédemment dans la pile de fichiers. Pour afficher le Preview d’un fichier : m Sélectionnez n’importe quel fichier de médias compatible dans la pile de fichiers. La zone de Preview est mise à jour avec une vignette et un texte d’informations supplémentaires sur le fichier. Si l’option « Lire automatiquement les éléments en un seul clic » est activée dans l’onglet Générales des préférences Motion, la lecture d’un Preview animé des plans du film et des séquences d’images commence.226 Chapitre 2 Création et gestion de projets Pour afficher un Preview en taille normale d’un fichier : m Double-cliquez sur un fichier dans la pile de fichiers, afin de l’ouvrir dans sa propre fenêtre munie de commandes de lecture. Types de fichiers pris en charge par Motion Motion peut utiliser la plupart des formats de fichiers multimédias compatibles avec QuickTime. Ces formats peuvent être classés dans les catégories suivantes :  Séquences QuickTime  Séquences d’images  Fichiers d’image fixe  Fichiers Photoshop en couches  Fichiers PDF  Fichiers audio À propos des disques en réseau et des supports amovibles Soyez prudent lorsque vous ajoutez des fichiers de médias dans votre projet à partir d’un serveur distant. Bien que la barre latérale du Navigateur vous permette d’accéder aisément au contenu des disques situés sur d’autres ordinateurs de votre réseau, cette procédure ne fait que placer dans votre projet un lien vers le fichier concerné. Le fichier de média proprement dit demeure sur le disque distant à l’endroit où vous l’avez trouvé. Par conséquent, l’objet placé dans votre projet ne sera plus accessible chaque fois que le disque distant sera indisponible. De plus, il se peut qu’en fonction de la vitesse de votre réseau, vous soyez confronté à des problèmes de performance lors de l’utilisation de fichiers de médias situés sur d’autres ordinateurs. La procédure idéale consiste à copier tous les fichiers de médias que vous souhaitez utiliser dans votre projet sur un disque physiquement connecté à votre ordinateur, afin d’assurer la disponibilité future du fichier et de garantir un certain niveau de performances de lecture. Si vous utilisez des médias situés sur un disque dur connecté en réseau, assurez-vous qu’il s’agit d’un disque monté en permanence sur votre système et que les performances de votre réseau sont suffisamment élevées. Cela est particulièrement vrai pour les médias stockés sur des disques amovibles, tels que les CD-ROM, DVD-ROM et disques durs amovibles, qui sont fréquemment déconnectés de votre ordinateur. Copiez toujours les fichiers de médias stockés sur de tels supports sur votre disque dur local, afin qu’ils ne deviennent pas indisponibles si le support est éjecté ou déconnecté.Chapitre 2 Création et gestion de projets 227 Séquences QuickTime Motion prend en charge les séquences QuickTime utilisant les codecs installés sur votre ordinateur. Vous pouvez notamment importer les séquences QuickTime suivantes : les plans capturés avec Final Cut Express HD ou Final Cut Pro, les séquences tirées d’un CD-ROM ou d’un DVD, ou les animations générées sur ordinateur à l’aide d’un logiciel d’animation 3D. Bien que vous puissiez importer des séquences utilisant pratiquement n’importe quel codec, nous vous conseillons vivement d’éviter autant que possible l’utilisation de plans fortement compressés dans vos projets. Ce type de plan risque de présenter des artefacts indésirables à l’écran. Bien heureusement, QuickTime est fourni avec de nombreux codecs idéaux pour le transfert de fichiers vidéo non compressés ou très peu compressés d’une application à l’autre, parmi lesquels on trouve notamment les codecs : Sans compression 8 et 10 bits 4:2:2, Pixlet, Aucun, Animation, Apple M-JPEG A et B, Apple DVCPRO-50, ainsi que Apple DV/DVCPRO et Apple ProRes 422. Certains de ces codecs prennent en charge les canaux alpha qui définissent les zones de transparence au sein d’un plan. Si un plan QuickTime particulier possède un canal alpha, Motion l’utilise automatiquement dans votre projet. Association de différents types de fichiers QuickTime Vous pouvez combiner librement dans le même projet des plans compressés à l’aide de codecs différents. De plus, il est également possible de combiner des plans présentant des dimensions d’image, proportions pixel et types d’entrelacement différents. Pour en savoir plus sur les canaux alpha, l’entrelacement, les proportions pixel, les fréquences d’images et les dimensions d’image, lisez la rubrique « Formats vidéo et de fichiers » à la page 1293. Avertissement : le mélange de plans présentant différentes fréquences d’images peut provoquer des anomalies de mouvement. Importation de films à partir de Final Cut Express HD ou Final Cut Pro Contrairement à Final Cut Express HD ou Final Cut Pro, Motion traite la vidéo dans l’espace colorimétrique RVB. Les plans vidéo capturés en YCrCb sont traités comme des plans RVB lorsqu’ils sont importés dans un projet Motion.228 Chapitre 2 Création et gestion de projets Images fixes Vous pouvez importer des fichiers d’images fixes dans pratiquement tous les formats d’images fixes courants, y compris notamment les formats : SGI, Photoshop, BMP, PICT, JPEG, TIFF, TGA et JPEG-2. Comme pour les plans vidéo, vous pouvez mélanger des fichiers d’images fixes présentant des dimensions d’image et des proportions pixel différentes. Lorsque vous créez ou modifiez une image dans une application de traitement d’images telle que Photoshop, il est conseillé de garder à l’esprit les dimensions d’image et les proportions pixel de votre projet, afin de vous assurer que les éléments graphiques créés sont adaptés au projet. Pour en savoir plus, voir « Formats vidéo et de fichiers » à la page 1293. Utilisation d’images fixes à haute résolution L’animation de fichiers d’images fixes à haute résolution est d’un usage courant et efficace dans les projets d’animation graphique. Le nombre de points par pouce, utilisé dans les applications telles que Photoshop, ne s’applique pas à la vidéo, les dimensions de chaque image fixe importée étant simplement définies par le nombre de pixels. Si les dimensions actuelles d’une image sont supérieures aux dimensions d’image de votre projet, l’image apparaît beaucoup plus grande, et semble par défaut « agrandie » à sa taille maximale. Vous pouvez modifier l’échelle de l’image afin de réduire cette dernière pour l’adapter aux dimensions d’image du projet, animer l’échelle pour effectuer un zoom avant ou arrière sur l’image ou bien animer la position de l’image afin d’effectuer un panoramique à l’intérieur de l’image, créant ainsi toutes sortes d’effets de mouvement. Étant donné que Motion ne dépend pas de la carte graphique, vous pouvez être confronté à différentes limitations de taille de fichier pour l’importation. Lors de l’importation d’une image trop volumineuse, une zone de dialogue d’avertissement vous indique « Ce média est trop volumineux pour être rendu en haute résolution, il s’affichera en basse résolution ». Cliquez sur OK pour importer l’image à une qualité inférieure. Pour en savoir plus à ce sujet, visitez le site web de Motion à l’adresse suivante : http://www.apple.com/fr/finalcutstudio/Motion. Lors de l’importation de grandes images fixes, vous pouvez définir une préférence afin d’indiquer à Motion d’importer le fichier à sa taille d’origine, de changer la résolution de l’image en fonction de la taille du Canevas, ou de dimensionner l’image à la taille du Canevas.Chapitre 2 Création et gestion de projets 229 Pour définir la préférence d’importation des grandes images fixes : 1 Choisissez Motion > Préférences (ou appuyez sur touches Commande + virgule). 2 Dans le groupe Images et objets des préférences relatives aux projets de Motion, choisissez un réglage dans le menu local Grandes images. Il existe trois options : Ne rien faire, Adapter au Canevas et Réduire à la taille du Canevas. Ne rien faire : importe l’image à sa taille d’origine. Dans l’exemple suivant, une image 1 146 x 756 est importée dans un projet NTSC D1 (720 x 486), alors que l’option Ne rien faire est sélectionnée dans les préférences. L’image est beaucoup plus grande que le Canevas. Adapter au Canevas : importe et dimensionne l’image en fonction de la taille du projet, tout en préservant ses proportions. Cliquez pour choisir les préférences d’importation des grandes images.230 Chapitre 2 Création et gestion de projets Dans l’exemple suivant, une image JPEG 760 x 1 150 est importée dans un projet NTSC D1, alors que l’option Adapter au Canevas est sélectionnée dans les préférences. L’image est mise à l’échelle, opération équivalente à l’utilisation de l’outil Transformer pour réduire l’image dans le Canevas tout en appuyant sur Maj. Pour remarquer que l’image est simplement transformée et que sa résolution n’a pas changé, sélectionnez le fichier d’image sous l’onglet Média de la sous-fenêtre Projet, puis affichez l’Inspecteur sous l’onglet Média. Les paramètres Largeur fixe et Hauteur fixe affichent la résolution du fichier original. L’image est dimensionnée afin d’adapter la valeur X ou Y la plus élevée de l’image à celle du Canevas. Réduire à la taille du Canevas : ce réglage change la résolution de l’image importée, de sorte qu’elle s’adapte à la taille du projet tout en conservant ses proportions. Remarque : l’option Réduire à la taille du Canevas constitue le meilleur choix pour optimiser le temps de traitement. Lorsque vous utilisez l’option Adapter au Canevas, Motion doit recalculer l’échelle à chaque image. La résolution de l’image d’origine reste inchangée.Chapitre 2 Création et gestion de projets 231 Dans l’exemple suivant, une image JPEG de 1 309 x 2 020 est importée dans un projet NTSC Broadcast SD, alors que l’option « Réduire à la taille du Canevas » est sélectionnée dans les préférences. L’image semble identique à une image dimensionnée lors de l’importation. Cependant, sa résolution a changé, de sorte que l’image est adaptée au Canevas. Pour remarquer que la résolution de l’image a changé, sélectionnez le fichier d’image sous l’onglet Média de la sous-fenêtre Projet, puis affichez l’Inspecteur sous l’onglet Média. Les paramètres Largeur fixe et Hauteur fixe affichent la nouvelle résolution de l’image importée. Durée des images fixes Lorsque vous importez pour la première fois une image fixe dans votre projet, elle adopte par défaut une durée égale à la durée actuelle de votre projet. Toute augmentation de la durée de votre projet n’entraîne pas automatiquement une augmentation de la durée des images qui ont déjà été importées. Les images fixes ont une durée infinie dans Motion, ce qui vous permet de les étirer autant que vous le souhaitez dans la Timeline. Pour en savoir plus sur la manipulation des objets dans la Timeline, lisez la rubrique « Utilisation de la Timeline » à la page 353. La résolution de l’image originale est changée, de sorte que l’image est adaptée au Canevas.232 Chapitre 2 Création et gestion de projets Séquences d’images Les séquences d’images numérotées permettent de stocker des plans vidéo sous la forme de fichiers d’images fixes individuels. Le nom de chaque fichier d’image comprend un numéro indiquant la position de l’image dans la séquence. Dans un plan de film scanné, chaque fichier représente une image individuelle. Dans un plan vidéo converti en séquence d’images, chaque fichier contient les deux trames d’une image vidéo individuelle, les lignes supérieures et inférieures de l’image ayant été enregistrées ensemble. Les séquences d’images utilisent la même gamme de formats de fichier que les fichiers d’images fixes. Parmi les formats les plus populaires pour l’enregistrement de séquences d’images on trouve les formats : SGI, BMP, JPEG, TIFF et TGA. Comme pour les formats d’images fixes, nombre de ces formats prennent en charge les canaux alpha qui sont automatiquement utilisés par Motion. La longévité des séquences d’images (avant QuickTime, il s’agissait du seul moyen de stocker de la vidéo sur un ordinateur) en fait le format de fichier représentant le plus petit dénominateur commun pour l’échange de vidéo entre différentes applications de compositing et de montage. Même si QuickTime est de plus en plus utilisé pour l’échange de plans vidéo entre plates-formes, les séquences d’images sont toujours très courantes surtout dans le domaine du compositing. Comme avec les plans vidéo QuickTime, vous pouvez mélanger divers formats de séquences d’images présentant des dimensions d’images, proportions pixel, fréquences d’images et types d’entrelacement différents. Pour en savoir plus, voir « Formats vidéo et de fichiers » à la page 1293. Important : le nom de toute séquence d’images importée doit contenir au moins trois chiffres de remplissage, comme nom_image.0001.tif. Réduction des séquences d’images Le bouton d’affichage réduit des séquences d’images situé en bas du Navigateur vous permet d’afficher les séquences d’images comme s’il s’agissait d’un seul objet, plutôt qu’une collection de fichiers individuels stockés sur votre disque. Les séquences d’images que vous importez de cette manière dans votre projet sont traitées comme des objets uniques partout où elles apparaissent dans votre projet. Remarque : vous pouvez désactiver cette fonction si vous disposez de fichiers d’images numérotés qui ne sont pas destinés à être utilisés comme séquences d’images. Les images prises à l’aide d’appareils photo numériques, par exemple, possèdent souvent des noms de fichier numérotés que l’on peut confondre avec une séquence d’images. Cliquez ici pour réduire ou développer les séquences d’images.Chapitre 2 Création et gestion de projets 233 Fichiers Photoshop multicouches Vous pouvez également importer des fichiers Photoshop multicouches. De nombreux professionnels de l’animation graphique créent des maquettes dans Photoshop, où ils dessinent et manipulent tous les éléments graphiques qu’ils utiliseront pour créer une composition statique. Une fois cette étape terminée, le fichier multicouche créé peut être importé dans Motion pour y être animé, avec d’autres objets importés ou générés par Motion, afin de créer le projet final. Lorsque vous importez des fichiers Photoshop, vous pouvez choisir d’importer :  Toutes les couches fusionnées en un seul objet  Toutes les couches comme des objets distincts imbriqués au sein d’un seul groupe  Une couche individuelle en tant qu’objet unique Si vous importez toutes les couches comme des objets distincts, Motion crée un nouveau groupe dans l’onglet Couches et la Timeline, puis imbrique chaque couche du fichier Photoshop en tant qu’objet individuel au sein de ce groupe Motion. Chaque objet résultant garde la position, l’opacité et le mode de fusion de la couche Photoshop originale. De plus, les couches de texte Photoshop sont importées, mais elles apparaissent dans Motion sous la forme d’images bitmap non modifiables. Effets incompatibles Les effets Photoshop suivants ne sont pour le moment pas importés dans Motion :  Effets de couche  Masques de couches  Couches d’ajustement  Chemins  Formes Remarque : Motion ne prend pas en charge les ensembles de couches Photoshop. Pour en savoir plus sur la manière d’importer des fichiers Photoshop multicouches, lisez la rubrique « Ajout de fichiers Photoshop multicouches à un projet » à la page 241. Fichiers PDF Le format de fichier PDF est un format de document utilisant Postscript adapté au texte et aux images Postscript ainsi qu’aux images bitmap. Les zones de transparence d’un fichier PDF sont également transparentes dans Motion. Les fichiers PDF peuvent contenir des illustrations Postscript. Contrairement aux formats de fichier graphique tels que TIFF et JPEG, qui enregistrent les images comme un ensemble de pixels à résolution fixe, répartis entre les canaux Rouge, Vert et Bleu, les illustrations Postscript sont enregistrées sous la forme d’une formule mathématique décrivant l’image. Les fichiers PDF contenant du texte et des images Postscript bénéficient par conséquent d’une résolution infinie.234 Chapitre 2 Création et gestion de projets En pratique, la différence entre les fichiers bitmap et Postscript provient du fait que toute modification de l’échelle d’une image bitmap au-delà de 100 pour cent provoque un adoucissement progressif de l’image au fur et à mesure que l’on augmente sa taille. Les illustrations Postscript demeurent nettes et claires quelle que soit leur échelle. Lors de l’importation d’un fichier PDF, la taille de ce dernier est relative à la taille de page originale du fichier. Par conséquent, même les petites images peuvent présenter des dimensions d’image importantes, avec un espace vide important autour de l’image. Lors de l’importation d’une image en tant que fichier PDF à utiliser dans Motion, il est parfois nécessaire d’augmenter la taille de l’image afin de mieux l’adapter à la page ou de réduire la taille de la page via les préférences Format de l’application source afin qu’elle cadre mieux l’image. Résolution fixe d’un objet PDF Bien que les fichiers PDF disposent d’une résolution illimitée, les objets PDF de taille importante peuvent occuper une grande partie de la mémoire vidéo, ce qui risque de limiter les performances de Motion. Pour l’éviter, vous avez la possibilité de limiter la résolution de chaque image PDF utilisée dans votre projet afin d’économiser de la mémoire vidéo. Grâce aux paramètres Résolution fixe, les fichiers ne doivent être rendus qu’une seule fois. Cela permet de meilleures performances en termes de rapidité. Si vous décidez de fixer la résolution d’un fichier PDF, les valeurs de hauteur et de largeur que vous attribuez doivent correspondre aux dimensions maximales que vous comptez utiliser pour cet objet dans votre projet. Vous pouvez, par exemple, ajouter à votre projet une carte au format PDF sur laquelle il sera possible d’effectuer un zoom avant sur un pays particulier. Pour économiser de la mémoire vidéo, vous pouvez donner aux paramètres Largeur fixe et Hauteur fixe la taille maximale de l’image agrandie par le zoom avant. Si la résolution attribuée s’avère insuffisante, vous pouvez toujours modifier à tout moment les paramètres Largeur fixe et Hauteur fixe. Les paramètres de résolution fixe des objets PDF peuvent être ajustés sous l’onglet Média de l’Inspecteur. Sélectionnez l’objet PDF sous l’onglet Média de la sous-fenêtre Projet afin d’activer l’onglet Média de l’Inspecteur. Résolution fixe : cette case permet de fixer la résolution d’un objet PDF dans l’onglet Média en lui attribuant les dimensions spécifiées via les paramètres Largeur fixe et Hauteur fixe. Largeur fixe : curseur qui définit la résolution horizontale maximale que peut atteindre un objet PDF. Hauteur fixe : curseur qui définit la résolution verticale maximale que peut atteindre un objet PDF.Chapitre 2 Création et gestion de projets 235 Contenu mixte des fichiers PDF Bien que les fichiers PDF puissent contenir simultanément des dessins Postscript, du texte Postscript et des images bitmap, tous ces types de données d’image ne peuvent être mis à l’échelle de la même manière. Les dessins et le texte Postscript peuvent faire l’objet d’une variation d’échelle sans problème, tandis que les images bitmap intégrées à un fichier PDF sont soumises aux mêmes limites d’échelle que tout autre format d’image bitmap. Elles risquent par conséquent de devenir plus floues si elles sont agrandies à une taille supérieure à leur taille originale. Remarque : les objets de forme, les boutons et les objets JavaScript présents dans un fichier PDF importé n’apparaissent pas dans Motion. Fichiers PDF à plusieurs pages Vous pouvez importer des fichiers PDF contenant plusieurs pages. Dans ce cas, un paramètre supplémentaire appelé Numéro de page apparaît dans l’onglet Propriétés lorsque l’objet PDF est sélectionné. Un curseur vous permet de déterminer la page à afficher dans le Canevas. Ce paramètre peut être animé pour afficher différentes pages au fil du temps.236 Chapitre 2 Création et gestion de projets Important : les fichiers PDF multicouches ne sont pour le moment pas pris en charge. Pour importer une illustration multicouche, il vous faut donc exporter chaque couche comme un fichier PDF séparé, puis importer les fichiers obtenus sous forme de groupe d’objets imbriqués dans Motion. Informations supplémentaires sur les canaux alpha Les plans vidéo et les fichiers d’image ordinaires comportent trois canaux d’informations, correspondant respectivement au canal rouge, vert et bleu. De nombreux formats de fichier et d’image prennent également en charge un canal alpha qui contient des informations supplémentaires définissant les zones de transparence. Un canal alpha est un canal en niveaux de gris, où le blanc représente les zones dont l’opacité est de 100 pour cent (zones opaques), le gris représente les zones partiellement opaques et le noir représente les zones dont l’opacité est de 0 pour cent (zones transparentes). Lorsque vous importez une séquence QuickTime ou un fichier d’image dans votre projet, son canal Alpha est immédiatement reconnu par Motion. Le canal alpha est ensuite utilisé pour effectuer le compositing de l’objet sur les objets se trouvant derrière. Il existe deux méthodes pour incorporer des informations de canal alpha dans les fichiers ; Motion essaie de déterminer automatiquement le type de canal alpha utilisé par un objet particulier :  Droit : les canaux alpha droits sont complètement séparés des canaux rouge, vert et bleu d’une image. Les fichiers de médias contenant des canaux alpha droits sont affichés de manière tout à fait normale dans une composition mais risquent de présenter des anomalies s’ils sont affichés dans une autre application. Les effets translucides tels que l’éclairage volumétrique ou les lumières parasites d’une image générée par ordinateur peuvent sembler déformés tant que le plan n’est pas utilisé dans une composition.  Prémultiplié : ce type de canal alpha est multiplié avec les canaux rouge, vert et bleu du plan. Par conséquent, les objets contenant des canaux alpha prémultipliés sont toujours de bonne qualité, même s’ils ont des effets de lumière translucide, car l’image entière est pré-composée sur du noir. Les canaux alpha prémultipliés sont plus généralement multipliés sur du noir ou du blanc, mais Motion peut également résoudre les canaux alpha prémultipliés sur d’autres couleurs. La seule situation où il est important de connaître le type de canal alpha d’un objet est celle où Motion ne parvient pas à le déterminer de manière correcte. Si le canal alpha d’un objet a été réglé sur Droit dans l’onglet Média alors qu’il s’agit en réalité d’un canal alpha prémultiplié, il risque d’apparaître avec des franges de la couleur prémultipliée tout autour de ses bords. Si cela se produit, vous pouvez sélectionner le plan présentant cette anomalie dans l’onglet Média de la sous-fenêtre Projet et modifier son paramètre Type alpha dans l’onglet Média de l’Inspecteur.Chapitre 2 Création et gestion de projets 237 Fichiers audio Vous pouvez importer différents formats de fichiers audio dans votre projet, y compris notamment les formats : WAV, AIFF, .cdda, MP3 et AAC. Bien que Motion ne constitue pas nécessairement un environnement de mixage et de montage audio doté de toutes les fonctions nécessaires, tel que Garage Band, Soundtrack Pro ou Logic, il vous permet d’importer des clips musicaux, des dialogues et des effets sonores afin de les utiliser dans vos projets. Si vous importez un fichier QuickTime comprenant des pistes audio mono ou stéréo, la vidéo apparaît dans la Timeline, alors que l’audio apparaît dans l’Éditeur audio. À partir de Motion, vous pouvez sélectionner un fichier audio et ouvrir Soundtrack Pro pour modifier le fichier audio. Une fois enregistré dans Soundtrack Pro, le fichier est automatiquement mis à jour dans Motion. Pour en savoir plus, voir « Utilisation de Soundtrack Pro avec Motion » à la page 1232. Vous pouvez librement importer des éléments audio présentant des fréquences d’échantillonnage et des débits différents. Lorsque vous faites cela, Motion ré-échantillonne les pistes audio qui le requièrent, afin de leur donner la fréquence d’échantillonnage et le débit actuellement utilisés par votre ordinateur. Les valeurs par défaut sont de 16 bits et 44,1 KHz flottant pour l’interface audio intégrée. Si vous utilisez une interface audio de tierce partie, l’audio est remixé avec la fréquence d’échantillonnage et le débit utilisé par ce périphérique. Vous pouvez importer des fichiers audio avec des fréquences d’échantillonnage allant jusqu’à 192 kHz et des profondeurs de bits jusqu’à 32 bits. Les fichiers tant mono que stéréo sont gérés. Les fichiers audio multicanaux sont également pris en charge. Sachez que même si Motion peut prendre en charge autant de couches audio que vous en utilisez dans l’Éditeur audio, le mixage de nombreuses pistes audio risque d’avoir une incidence sur les performances de lecture. L’Éditeur audio met à votre disposition des outils et des commandes de modification des objets audio identiques à ceux utilisés dans la liste de couches de la Timeline. Chaque couche audio possède également des réglages individuels de niveau et de balance, afin que vous puissiez mixer ensemble un groupe de pistes en vue d’une sortie stéréo. Pour en savoir plus sur les formats de fichiers compatibles avec Motion, lisez la rubrique « Formats vidéo et de fichiers » à la page 1293. Pour en savoir plus sur l’utilisation des données audio dans Motion, lisez la rubrique « Utilisation de données audio » à la page 1203. Une méthode simple pour rechercher et importer de la musique à partir de votre bibliothèque iTunes consiste à utiliser la catégorie Musique de la Bibliothèque Motion. Pour en savoir plus, voir « Ajout de fichiers iTunes et iPhoto à partir de la Bibliothèque » à la page 242. Remarque : il est interdit d’importer des fichiers AAC soumis à des droits d’auteur, tels que les fichiers acquis auprès d’iTunes Store.238 Chapitre 2 Création et gestion de projets Ajout de médias à votre projet Une fois que vous avez créé un projet, l’étape suivante consiste à ajouter des fichiers de médias à votre composition. Tous les types de médias (plans de film, images fixes, fichiers audio ou autres objets figurant dans la Bibliothèque de Motion) sont ajoutés à votre projet à l’aide des mêmes méthodes. Remarque : les fichiers Photoshop multicouches comportent des options d’importation supplémentaires disponibles via le menu déroulant. Pour en savoir plus, voir « Ajout de fichiers Photoshop multicouches à un projet » à la page 241. Lien entre les couches Motion et les fichiers de médias Avant d’apprendre à ajouter des médias à votre projet Motion, il est important de comprendre le lien qui unit les couches et les médias source. Chaque fois que vous ajoutez un fichier à votre projet, vous créez un lien entre la couche affichée dans le Canevas et le fichier de média correspondant sur le disque dur. Contrairement à certaines applications, comme iMovie HD, où les sections que vous supprimez des plans sont également supprimées du disque dur, Motion est une application non destructive application. Autrement dit, les modifications apportées aux objets de médias d’un projet Motion ne sont pas réellement appliquées aux fichiers de médias auxquels ils sont reliés. En raison de ce lien, chaque fois que vous ajoutez un fichier à votre projet, vous devez vous assurer qu’il demeure disponible sur votre disque dur aussi longtemps que vous travaillez sur ce projet. Si vous déplacez, supprimez ou renommez des fichiers de médias correspondant aux couches d’un projet Motion, ces objets sont « déconnectés ». Les couches déconnectées apparaissent sous forme de rectangles en damier qui occupent la totalité du cadre de sélection entourant l’objet. Si le cas se présente, il est facile de reconnecter les couches déconnectées de votre projet à de nouvelles copies des médias que vous avez perdus, dans la mesure où ces fichiers sont toujours disponibles. Pour en savoir plus, voir « Comparaison entre les médias connectés et déconnectés » à la page 245.Chapitre 2 Création et gestion de projets 239 Sélection de fichiers dans le Navigateur Vous pouvez ajouter des fichiers à un projet à l’aide du Navigateur ou de la commande Importer du menu Fichier. Le Navigateur constitue la méthode la plus commode dans la plupart des cas et vous apporte plus de contrôle sur la manière dont les objets apparaissent dans votre projet. Avant d’ajouter des fichiers, vous devez d’abord les sélectionner dans le Navigateur. Vous pouvez ajouter des fichiers à un projet individuellement ou en groupe. Pour sélectionner des fichiers dans le Navigateur : 1 Ouvrez le Navigateur. 2 Sélectionnez un ou plusieurs fichiers en procédant de l’une des manières suivantes :  Cliquez sur un seul fichier.  Maintenez la touche Maj ou Commande enfoncée, puis cliquez sur chaque fichier à sélectionner.  Maintenez la touche Maj ou Commande enfoncée, puis cliquez sur tous les fichiers sélectionnés à désélectionner.  En présentation sous forme de liste, cliquez à gauche de la vignette d’un fichier quelconque, puis faites glisser le pointeur vers le haut ou vers le bas pour sélectionner plusieurs fichiers consécutifs.  En présentation sous forme de liste, maintenez la touche Maj enfoncée et utilisez les touches Flèches vers le haut et vers le bas pour ajouter des fichiers à la sélection actuelle. Ajout de fichiers à votre projet Les procédures suivantes s’appliquent à l’ajout de chaque type de fichier compatible avec Motion. Remarque : bien que les fichiers iTunes et iPhoto puissent être ajoutés à l’aide du Navigateur comme décrit ci-dessous, il est recommandé d’utiliser les catégories Musique et Photo dans la bibliothèque Motion. La bibliothèque vous permet de rechercher des fichiers à l’aide des fonctionnalités de liste de lecture ou d’album photo disponibles dans iTunes et iPhoto. Pour en savoir plus, voir « Ajout de fichiers iTunes et iPhoto à partir de la Bibliothèque » à la page 242. Pour ajouter un ou plusieurs fichiers à un projet dans un nouveau groupe : 1 Si l’option « Créer couches à » de la sous-fenêtre Projet des préférences Motion est réglée sur « Sur l’image actuelle », déplacez la tête de lecture dans la Timeline jusqu’à l’image à partir de laquelle vous souhaitez que la première image du fichier commence. Remarque : si l’option « Créer couches à » est réglée sur « Au début du projet », cette étape est inutile, car les fichiers importés sont toujours placés sur la première image. 2 Sélectionnez un ou plusieurs objets dans le Navigateur.240 Chapitre 2 Création et gestion de projets 3 Procédez de l’une des manières suivantes :  Faites glisser les fichiers sélectionnés dans le Canevas en les plaçant sur une position quelconque.  Cliquez sur le bouton Importer pour ajouter les fichiers sélectionnés au centre du Canevas.  Faites glisser les fichiers sélectionnés dans la zone vierge située en bas de l’onglet Couches.  Faites glisser les fichiers sélectionnés dans la zone vierge située en bas de la Timeline.  Choisissez Fichier > Importer (ou appuyez sur les touches Commande + I), sélectionnez un ou plusieurs fichiers dans la zone de dialogue Importation de fichiers, puis cliquez sur Ouvrir. Un nouveau groupe est créé tout en haut de l’onglet Couches. Tous les fichiers apparaissent comme des couches imbriquées au sein de ce groupe. Dans la Timeline, le début de chaque nouvelle couche correspond à la position de la tête de lecture définie lors de l’étape 1. Pour ajouter un ou plusieurs fichiers à un groupe existant: 1 Si l’option « Créer couches à » de la sous-fenêtre Projet des préférences Motion est réglée sur « Sur l’image actuelle », déplacez la tête de lecture dans la Timeline jusqu’à l’image à partir de laquelle vous souhaitez que la première image du fichier commence. Remarque : si l’option « Créer couches à » est réglée sur « Au début du projet », cette étape est inutile, car les fichiers importés sont toujours placés sur la première image. 2 Ouvrez le Navigateur et l’onglet Couches. 3 Sélectionnez un ou plusieurs fichiers dans le Navigateur. 4 Pour imbriquer les fichiers sélectionnés sous un groupe existant, procédez de l’une des manières suivantes :  Faites glisser les fichiers sélectionnés sur n’importe quel groupe dans l’onglet Couches. Les objets apparaissent imbriqués en haut de ce groupe d’objets.  Faites glisser les fichiers sélectionnés entre des objets du groupe. Un indicateur de position signale la nouvelle position occupée par les objets dès que vous relâchez le bouton de la souris.  Faites glisser les fichiers sélectionnés dans la Timeline, en les plaçant entre des objets déjà imbriqués sous un groupe existant. Remarque : pour en savoir plus sur la modification d’objets dans la Timeline, lisez la rubrique « Utilisation de la Timeline » à la page 353. Une fois qu’un fichier a été ajouté à un projet, il apparaît comme une couche dans le Canevas, la Timeline, l’onglet Couches et l’onglet Média. Dans la Timeline, le début de chaque nouvelle couche correspond à la position de la tête de lecture définie lors de l’étape 1.Chapitre 2 Création et gestion de projets 241 Vous pouvez également ajouter des fichiers à votre projet sans les faire apparaître dans la composition, en les faisant glisser directement dans l’onglet Média. Vous pouvez ainsi ajouter des objets que vous risquez d’utiliser plus tard, sans les placer réellement dans votre composition. Pour ajouter un ou plusieurs fichiers à un projet sans les utiliser dans votre composition : 1 Ouvrez l’onglet Média. 2 Faites glisser un ou plusieurs fichiers du Navigateur dans l’onglet Média. Ces objets de médias se sont pas affichés dans le Canevas, l’onglet Couches ni la Timeline. Ajout de fichiers Photoshop multicouches à un projet Vous pouvez ajouter un fichier Photoshop multicouches à votre projet en le faisant glisser sur le Canevas, l’onglet Couches ou la Timeline, en cliquant sur le bouton Importer ou en choisissant la commande Importer. Si vous cliquez sur le bouton Importer (dans la zone de Preview), toutes les couches du fichier Photoshop sont par défaut réduites à une seule couche. Pour conserver les diverses couches du fichier importé, vous devez utiliser le menu déroulant ou la commande Fichier > Importer. Pour contrôler l’ajout d’un fichier Photoshop multicouche à votre projet à l’aide du menu déroulant: 1 Faites glisser un fichier Photoshop à couches du Navigateur vers le Canevas, l’onglet Couches ou la Timeline. 2 Avant de relâcher le bouton de la souris, attendez un petit instant afin que le menu déroulant du Canevas s’ouvre. Ce menu propose différentes commandes d’importation de fichier multicouche. 3 Faites glisser le fichier sur la commande voulue dans le menu déroulant, attendez que l’élément de menu se mette en surbrillance, puis relâchez le bouton de la souris. Les couches du fichier Photoshop sont ajoutées à l’aide de la commande choisie.  Importer les couches fusionnées : toutes les couches du fichier Photoshop sont fusionnées en une seule couche.  Importer toutes les couches : un nouveau groupe est créé et imbriqué au sein du groupe actuellement sélectionné. Chaque couche du fichier Photoshop apparaît comme une couche distincte imbriquée au sein de ce groupe. Vous pouvez également importer des couches individuelles à partir du fichier Photoshop. Chaque couche du fichier Photoshop sélectionné apparaît comme un élément distinct dans le menu déroulant. Si vous sélectionnez une couche particulière, seule cette couche est ajoutée à votre projet, où elle apparaît comme une seule couche.242 Chapitre 2 Création et gestion de projets Remarque : lorsqu’un fichier Photoshop comporte plus de couches qu’il n’est possible d’afficher dans le menu déroulant, l’option Sélectionner une couche apparaît dans ce menu. Une fois cette option choisie, servez-vous de la zone de dialogue Sélectionnez la couche à importer pour sélectionner la couche à importer. Pour contrôler la façon dont un fichier Photoshop est ajouté à votre projet à l’aide de la commande Importer : 1 Choisissez Fichier > Importer. 2 Sélectionnez le fichier à importer, puis cliquez sur Importer. La zone de dialogue Sélectionnez la couche à importer. 3 Choisissez une commande dans le menu local Nom de la couche :  Couches fusionnées : toutes les couches du fichier Photoshop sont fusionnées en une seule couche.  Toutes les couches : un nouveau groupe est créé et imbriqué au sein du groupe actuellement sélectionné. Chaque couche du fichier Photoshop apparaît comme un objet distinct imbriqué au sein de ce groupe.  Couches individuelles : chaque couche du fichier Photoshop sélectionné apparaît comme un élément distinct dans le menu déroulant. Si vous sélectionnez une couche particulière, seule cette couche est ajoutée à votre projet, où elle apparaît comme un seul objet. Pour changer la couche sélectionnée à l’origine pour l’importation, sélectionnez le fichier Photoshop dans la liste de couches, puis choisissez une couche dans le menu local Couche affiché par l’onglet Propriétés de l’Inspecteur. Ajout de fichiers iTunes et iPhoto à partir de la Bibliothèque Vous pouvez ajouter des fichiers à partir de vos bibliothèques iTunes et iPhoto à un projet via la Bibliothèque Motion. Cette possibilité est très pratique, car la bibliothèque et les listes de lecture iTunes, ainsi que les albums iPhoto, apparaissent dans les sous-catégories. Remarque : bien qu’un iPod connecté apparaisse comme un disque dur dans le Navigateur, vous pouvez uniquement rechercher et importer les fichiers iPod stockés sous forme de données. La musique transférée vers l’iPod via iTunes ne peut pas être importée dans Motion. Pour ajouter un fichier audio à partir d’iTunes : 1 Dans la Bibliothèque, sélectionnez la catégorie Musique. La bibliothèque et les listes de lecture iTunes apparaissent. Par défaut, Tout est sélectionné (la bibliothèque iTunes). 2 Lorsque l’option Tout est sélectionnée, ou via la sélection d’une liste de lecture, sélectionnez un fichier audio dans la pile.Chapitre 2 Création et gestion de projets 243 Remarque : lorsqu’elle est affichée en présentation par liste, la catégorie Musique affiche les informations Nom, Artiste, Album, Durée et Taille créées dans iTunes. 3 Procédez de l’une des manières suivantes :  Dans la zone d’aperçu, cliquez sur Appliquer.  Faites glisser le fichier audio vers le Canevas, la sous-fenêtre Projet ou la zone audio de la Timeline (et non l’Éditeur audio). Remarque : les fichiers AAC avec protection des droits ne peuvent pas être importés dans Motion et n’apparaissent pas dans la pile de fichiers. Cela concerne toute la musique achetée dans la boutique iTunes. Pour plus d’informations sur l’utilisation de fichiers audio, reportez-vous à la rubrique « Utilisation de données audio » à la page 1203. Pour ajouter un fichier à partir d’iPhoto : 1 Dans la Bibliothèque, sélectionnez la catégorie Photos. Les albums iPhoto apparaissent. Par défaut, Tout est sélectionné (la bibliothèque iPhoto). 2 Lorsque l’option Tout est sélectionnée, ou via la sélection d’un album, sélectionnez un fichier dans la pile. Remarque : lorsqu’elle s’affiche en mode présentation par liste, la catégorie Photos affiche les informations créées dans iPhoto, telles que le Nom et la Taille du fichier. 3 Procédez de l’une des manières suivantes :  Dans la zone d’aperçu, cliquez sur Appliquer.  Faites glisser le fichier vers le Canevas, l’onglet Couches ou la Timeline. Remarque : lors de l’importation d’images à grande échelle dans Motion, vous pouvez importer les fichiers tels quels, afin d’adapter les images à la taille du Canevas, ou de changer la résolution des images en fonction du Canevas. Pour en savoir plus, voir « Utilisation d’images fixes à haute résolution » à la page 228. Gestion des couches de votre projet Lorsque vous ajoutez un fichier à votre projet, une couche correspondante apparaît dans le Canevas, l’onglet Couches et la Timeline. Une fois cette couche ajoutée, vous pouvez la dupliquer dans le Canevas, l’onglet Couches et la Timeline pour créer autant de copies que nécessaire. Chaque copie créée dispose de ses propres paramètres dans l’Inspecteur, ce qui vous donne toute latitude pour modifier et animer individuellement chaque couche dupliquée en fonction de vos besoins.244 Chapitre 2 Création et gestion de projets Relation entre les objets affichés par les onglets Couches et Média Chaque fichier que vous ajoutez à votre projet crée un objet correspondant dans l’onglet Média, même s’il est identique à d’autres fichiers que vous avez ajoutés. Cela signifie que si vous faites glisser cinq fois le même fichier dans votre projet à partir du Navigateur, cinq objets correspondants sont créés dans l’onglet Média. Toutefois, si vous dupliquez une couche déjà présente dans votre projet, une relation est conservée entre cette nouvelle version de l’objet et l’objet préalablement affiché par l’onglet Média. Aucune nouvelle couche n’est créée dans l’onglet Média. Par défaut, tous les objets ajoutés à votre projet sont automatiquement gérés par Motion. Si vous supprimez une couche du Canevas ou de la liste de couches, l’objet de média correspondant est automatiquement supprimé de l’onglet Média. Vous pouvez toutefois désactiver cette fonction dans la sous-fenêtre Générales des préférences Motion. Duplication de fichiers Si plusieurs copies d’un même objet sont nécessaires dans votre projet, vous pouvez soit les dupliquer directement dans le Canevas à l’aide de la commande Dupliquer, soit faire glisser un objet depuis l’onglet Média jusque dans le Canevas ou la Timeline pour créer une occurrence correspondante de cet objet. Vous pouvez également dupliquer un objet à l’aide de la commande Cloner la couche. Pour en savoir plus sur la commande Cloner la couche, voir « Clonage de couches » à la page 315. Pour simplifier la gestion des couches dupliquées, utilisez les paramètres des objets de médias affichés dans l’onglet Média de l’Inspecteur. Ces paramètres définissent les propriétés essentielles de ces objets, telles que la fréquence d’images, les proportions pixel, l’entrelacement et le canal alpha. Il existe également des paramètres supplémentaires qui permettent de définir la condition de fin, l’inversion, le rognage et le contrôle du temps de chaque objet de média. Tous les paramètres d’un objet de média affecte l’ensemble des couches de votre projet qui ont une relation avec cet objet dans l’onglet Média, de sorte que la moindre modification de ces paramètres est répercutée simultanément sur chaque couche liée de votre projet. Pour en savoir plus sur les paramètres des objets de médias dans l’onglet Média, voir « Paramètres d’objet disponibles dans l’onglet Média » à la page 250.Chapitre 2 Création et gestion de projets 245 Visualisation des liens entre les objets Il existe deux paramètres d’objet qui permettent de visualiser la relation entre les objets de l’onglet Couches et les objets de l’onglet Média.  Le paramètre Média apparaît dans l’onglet Propriétés de l’Inspecteur chaque fois que vous sélectionnez un objet dans l’onglet Couches. Le paramètre Média est un cadre d’image qui affiche les données source de l’onglet Média auquel l’objet sélectionné correspond.  La liste Objets liés apparaît dans l’onglet Média de l’Inspecteur dès que vous sélectionnez un objet dans l’onglet Média. Cette liste présente tous les objets de l’onglet Couches qui correspondent aux données source sélectionnées. Le changement du nom d’un objet dans l’onglet Couches met automatiquement à jour le nom qui apparaît dans la liste Objets liés. Utilisation de la commande Afficher le média source Utilisez la commande Afficher le média source pour retrouver rapidement le média source de n’importe quelle couche dans l’onglet Média. Pour afficher le média source d’une couche sous l’onglet Média, procédez de l’une des manières suivantes : m Cliquez sur une couche dans le Canevas, l’onglet Couches ou la Timeline tout en maintenant la touche Contrôle enfoncée, puis choisissez Afficher le média source dans le menu contextuel. m Sélectionnez la couche, puis choisissez Objet > Afficher le média source (ou appuyez sur les touches Maj + F). L’Inspecteur s’ouvre et affiche l’onglet Média. L’onglet Média de la sous-fenêtre Projet s’ouvre simultanément. Les données source sont sélectionnées et ses paramètres d’onglet Média sont affichés dans l’Inspecteur. Comparaison entre les médias connectés et déconnectés Comme indiqué précédemment, l’ajout d’une couche à un projet Motion crée un lien entre la couche de votre projet et le fichier de média correspondant sur le disque. Si vous supprimez, déplacez ou renommez des fichiers situés sur votre disque qui sont liés à des couches de Motion, ces fichiers sont « déconnectés », ce qui signifie qu’ils sont temporairement indisponibles pour votre projet. Ce cas peut également survenir si vous remettez un fichier de projet à quelqu’un sans lui remettre également les médias source utilisés.246 Chapitre 2 Création et gestion de projets Lorsque vous ouvrez pour la première fois un fichier de projet comportant des fichiers de médias indisponibles, une zone de dialogue vous affiche la liste de tous les fichiers de médias introuvables. En partant de l’hypothèse que les médias n’ont pas été effacés, mais qu’ils ont été placés dans un autre dossier ou disque, vous disposez de l’option permettant de rechercher ces éléments dans tous les disques connectés à votre ordinateur. Si vous connaissez l’emplacement des médias manquants, vous pouvez afficher une zone de dialogue de reconnexion manuelle, afin d’accéder directement aux fichiers sans avoir à effectuer de recherche. Pour reconnecter des fichiers de données de cette liste grâce au bouton Rechercher: 1 Cliquez sur Rechercher. Motion tente automatiquement de retrouver le premier fichier manquant de la liste. S’il y parvient, une zone de dialogue apparaît avec le fichier de média manquant sélectionné. Dans le cas contraire, une zone de dialogue de reconnexion manuelle apparaît, afin que vous puissiez parcourir le disque à la recherche du fichier. 2 Dans la zone de dialogue de reconnexion manuelle, cliquez sur Ouvrir pour reconnecter le média. Si un fichier a été renommé, vous devez effectuer une recherche manuelle. 3 Pour rechercher manuellement un fichier renommé, naviguez jusqu’à son emplacement, sélectionnez-le, puis cliquez sur Ouvrir. Si plusieurs fichiers de médias manquants se trouvent dans le même dossier, tous les fichiers sont automatiquement reconnectés.Chapitre 2 Création et gestion de projets 247 Pour annuler une recherche active : 1 Cliquez sur Annuler. La zone de dialogue de reconnexion manuelle apparaît alors. 2 Naviguez jusqu’à l’emplacement du fichier, puis cliquez sur Ouvrir. Pour reconnecter les fichiers de données dans cette liste via la fonction Reconnecter : 1 Cliquez sur Reconnecter. 2 La zone de dialogue de reconnexion manuelle apparaît alors. Naviguez jusqu’à l’emplacement du fichier, puis cliquez sur Ouvrir. Si une couche de votre fichier de projet est déconnectée et que vous ne la reconnectez pas immédiatement à l’ouverture du projet, elle est affichée sous la forme d’un rectangle en damier, qui occupe tout le cadre de sélection consacré à cette couche. Si vous ne reconnectez pas immédiatement une couche déconnectée, vous pouvez toujours enregistrer les modifications apportées au projet et même le refermer, puis reconnecter les couches déconnectées plus tard. En fait, vous pouvez reconnecter des couches déconnectées à tout moment. Pour reconnecter une couche d’un projet avec son média source sur le disque : 1 Ouvrez l’onglet Média dans la sous-fenêtre Projet. 2 Sélectionnez la couche à reconnecter. 3 Ouvrez l’onglet Média dans l’Inspecteur. 4 Cliquez sur le bouton Remplacer le média situé sous le paramètre Objets liés. Motion tente automatiquement de retrouver le premier fichier manquant de la liste. S’il parvient, une zone de dialogue apparaît avec le fichier de média manquant sélectionné. 5 Cliquez sur Ouvrir pour le reconnecter. 248 Chapitre 2 Création et gestion de projets Remarque : vous pouvez également utiliser la commande Fichier > Reconnecter les médias. La couche déconnectée est à nouveau connectée et le graphisme d’origine apparaît. Si plusieurs fichiers de médias manquants se trouvent dans le même dossier, tous les fichiers sont automatiquement reconnectés. Suppression d’objets d’un projet Il existe deux manières de supprimer un objet dans Motion. Vous pouvez supprimer une seule occurrence d’un objet en la supprimant dans l’onglet Couches, la Timeline ou le Canevas. Par défaut, cette méthode empêche l’utilisation de l’objet et supprime son média source de l’onglet Média, si ce dernier n’est plus utilisé par le projet. Si d’autres occurrences de cet objet figurent dans votre projet, elles sont conservées. Vous pouvez également supprimer l’objet qui est affiché dans l’onglet Média. Cela permet de supprimer également toutes les occurrences correspondantes de cet objet dans votre projet. Pour supprimer un ou plusieurs objets d’un projet : 1 Sélectionnez un ou plusieurs objets en procédant de l’une des manières suivantes :  Pour supprimer un seul objet, sélectionnez-le dans l’onglet Couches, la Timeline ou le Canevas.  Pour supprimer plusieurs objets, cliquez sur les objets tout en maintenant la touche Maj enfoncée. Remarque : sous l’onglet Couches ou dans la Timeline, vous pouvez cliquer sur des objets non contigus tout en maintenant la touche Commande enfoncée afin de les sélectionner. 2 Pour supprimer les objets sélectionnés, procédez de l’une des manières suivantes :  Choisissez Édition > Supprimer.  Appuyez sur la touche Suppr. Les objets sont supprimés de votre projet, mais leurs fichiers de médias sources stockés sur disque demeurent intacts. Pour supprimer tous les objets correspondant à un seul objet dans l’onglet Média : 1 Ouvrez l’onglet Média, puis sélectionnez les données source à supprimer. 2 Procédez de l’une des manières suivantes :  Choisissez Édition > Supprimer.  Appuyez sur la touche Supprimer. Une zone de dialogue vous invite à confirmer la suppression. 3 Cliquez sur Supprimer.Chapitre 2 Création et gestion de projets 249 Échange de médias dans un projet Vous pouvez remplacer n’importe quelle couche de votre projet par un autre objet dans le Navigateur ou la Bibliothèque. Vous brisez alors le lien entre cette couche et son fichier source original, tout en créant un lien vers le fichier que vous utilisez en remplacement. Lorsque vous échangez le média source d’une couche de votre projet, elle conserve les valeurs de tous ses paramètres dans l’onglet Propriétés (tels que Position, Échelle et Opacité), le mode de fusion sélectionné, les filtres et les comportements imbriqués, les masques et les images clés. L’opération d’échange vous permet de remplacer des couches de votre projet, même après les avoir modifiées et animées. Si vous n’êtes pas satisfait d’un élément particulier de votre composition, échangez-le avec un autre. Important : vous ne pouvez échanger que des couches liées à des fichiers de médias sur disque. Vous ne pouvez pas échanger des objets générés par Motion, tels que les systèmes de particules, les générateurs ou les objets texte. Cette opération vous permet d’utiliser des couches temporaires dans votre projet jusqu’à ce que les couches finalisées soient disponibles. Ainsi, si vous êtes en attente d’un dessin créé par un autre artiste, vous pouvez utiliser une image temporaire présentant les mêmes dimensions, puis l’échanger dès que le dessin final s’avère disponible. Cette opération est extrêmement utile pour personnaliser des projets créés à l’aide de modèles. Pour en savoir plus, voir « Personnalisation de projets créés à partir de modèles » à la page 278. Remarque : vous avez uniquement la possibilité d’échanger des couches individuelles dans l’onglet Couches. Il n’est pas possible d’échanger des objets dans l’onglet Média. Pour échanger une couche de votre projet dans l’onglet Couches : 1 Faites glisser un fichier depuis le Navigateur vers une couche de l’onglet Couches. 2 Dès que le pointeur courbe apparaît, relâchez le bouton de la souris. La couche d’origine affichée par l’onglet Couches est remplacée par le nouvel objet. Le pointeur courbe apparaît dès que vous faites glisser un nouvel objet sur la vignette d’un objet existant.250 Chapitre 2 Création et gestion de projets Pour remplacer une couche dans l’onglet Média : 1 Sélectionnez l’objet à remplacer dans l’onglet Média. 2 Dans l’Inspecteur, ouvrez l’onglet Média. 3 Cliquez sur Remplacer le média. Une zone de dialogue s’ouvre. 4 Naviguez jusqu’au fichier à utiliser pour remplacer le média source actuel. 5 Cliquez sur Ouvrir. Le nouvel objet de média remplace l’objet actuellement présent dans l’onglet Média, ainsi que toutes les couches ou tous les objets liés à cet objet de média dans votre projet. Paramètres d’objet disponibles dans l’onglet Média Si vous sélectionnez un objet dans l’onglet Média de la sous-fenêtre Projet, l’Inspecteur affiche un onglet Média contenant les propriétés définissant la manière dont l’objet apparaît dans Motion. Ces propriétés comprennent des paramètres tels que le type de canal alpha utilisé, les proportions pixel, l’ordre de trame, etc. Tous ces paramètres sont modifiables, ce qui permet de changer la manière dont l’objet est affiché et composé dans votre projet. Bien que Motion tente toujours d’interpréter correctement la façon dont les objets que vous ajoutez à votre projet doivent être affichés, il est parfois impossible de savoir exactement comment traiter un fichier de médias source. Assurez-vous que chaque objet que vous ajoutez à votre projet est doté de réglages corrects dans l’onglet Média, afin de pouvoir mélanger et faire correspondre avec succès des objets présentant des proportions pixel, types de canal alpha et fréquence d’images différents. Comme Motion est une application non destructive, les modifications apportées à ces paramètres ne sont pas appliquées aux fichiers de médias source sur disque. Elles n’ont une incidence que sur la manière dont les objets sont dessinés dans Motion. Paramètres d’objet dans l’onglet Média Les paramètres suivants permettent de contrôler les objets dans l’onglet Média, ce qui a également une incidence sur toutes les occurrences des objets dans le projet. Type Alpha : le canal alpha d’un objet contient des informations qui définissent les zones de transparence de l’image ou du film. Si vous importez une séquence ou un fichier d’image QuickTime, son canal alpha est immédiatement reconnu par Motion. Il existe six méthodes différentes pour incorporer des informations de canal alpha dans des fichiers ; ces méthodes correspondent aux quatre options de ce menu local. Motion utilise automatiquement l’une de ces méthodes en fonction d’une analyse de l’objet lors de son importation, mais vous pouvez ignorer cette fonction si vous le souhaitez. Chapitre 2 Création et gestion de projets 251 Les six commandes de ce menu local sont :  Aucun/Ignorer : réglage par défaut pour les objets dépourvus de canal alpha. Cette option permet également d’ignorer le canal alpha d’un objet, afin de rendre ce dernier complètement opaque.  Droit : les canaux alpha droits sont complètement séparés des canaux rouge, vert et bleu d’une image. Les fichiers de médias contenant des canaux alpha droits sont affichés de manière tout à fait normale dans une composition mais risquent de pré- senter des anomalies s’ils sont affichés dans une autre application. Les effets translucides, tels que l’éclairage volumétrique ou les lumières parasites d’une image générée par ordinateur, peuvent sembler déformés tant que le plan n’est pas utilisé dans une composition. Si l’option Droit est choisie, mais que l’objet présente une frange noire, blanche ou colorée sur son contour, ce paramètre est mal réglé et doit être remplacé par l’une des options Prémultiplié, en fonction de la couleur de la frange.  Noir prémultiplié : ce type de canal alpha est multiplié avec les canaux rouge, vert et bleu du plan. Par conséquent, les objets contenant des canaux alpha prémultipliés sont toujours de bonne qualité, même s’ils ont des effets de lumière translucide, car l’image entière est pré-composée sur du noir. Cette option interprète des canaux alpha pré-composés sur du noir.  Blanc prémultiplié : cette option interprète des canaux alpha pré-composés sur du blanc.  Couleur prémultipliée : cette option interprète des canaux alpha pré-composés sur une autre couleur.  Détecter Type alpha : cette option force Motion à analyser le fichier afin de détecter automatiquement le type de canal alpha utilisé. En cas de doute, utilisez cette option. Remarque : les fichiers PDF contenant des arrière-plans transparents ne disposent pas des paramètres Type Alpha ou Inverser alpha. Remarque : les diverses couches d’un fichier Photoshop n’utilisent pas ces réglages. Ces paramètres sont uniquement utilisés si un fichier PSD est importé avec l’option « Couches fusionnées » activée. Inverser alpha : un canal alpha est généralement un canal de niveaux de gris où le blanc représente les zones dont l’opacité est de 100 pour cent (zones opaques), le gris repré- sente les zones partiellement opaques et le noir représente les zones dont l’opacité est de 0 pour cent (zones transparentes). Cette case permet d’inverser un canal alpha qui a été généré de manière incorrecte à l’envers.252 Chapitre 2 Création et gestion de projets Proportions pixel : détermine si l’objet a été créé à l’aide de pixels carrés ou non carrés. En général, les objets créés pour les écrans d’ordinateur, les films et la vidéo à haute définition utilisent des pixels carrés, tandis que les objets créés pour les formats vidéo à définition standard utilisent des pixels non carrés. Un champ situé à droite de ce menu local affiche les valeurs de proportions pixel afin que vous puissiez éventuellement les modifier manuellement. En identifiant correctement chaque objet que vous ajoutez à votre projet, vous pouvez mélanger et faire correspondre les deux types de médias. Ordre de trame : lorsque vous importez de la vidéo entrelacée, choisissez l’ordre de trame utilisé pour la capture des plans. Elle doit correspondre à l’ordre de trame du périphérique utilisé pour la capture. L’entrelacement peut être Supérieure (impaire) ou Inférieure (paire). Un choix incorrect se traduit immédiatement, lors de la lecture, par une vidéo « saccadée », car l’ordre des trames est accidentellement inversé. Dans ce cas, choisissez simplement l’ordre de trame inverse via ce menu local. Les plans filmés sur pellicule ou à l’aide d’une caméra vidéo à balayage progressif ne sont pas entrelacés et doivent être réglés sur Aucune. En identifiant correctement chaque objet de votre projet, vous pouvez mélanger et faire correspondre des plans présentant des ordres de trame différentes. Fréquence d’images : choisissez une fréquence en images par seconde, correspondant à la fréquence native du plan. Pour les films, cette fréquence est de 24 ips ; pour la vidéo PAL, elle est de 25 ips et pour la vidéo NTSC de 29,97 ips. D’autres fréquences d’images sont disponibles pour différents formats vidéo. Si la fréquence d’images requise ne figure pas dans la liste, vous pouvez taper un nombre dans le champ de texte situé à droite du menu local. Remarque : les fréquences d’images du projet sont déterminées par le préréglage du projet. Pour modifier un préréglage ou en créer un, choisissez Motion > Préférences et utilisez les options de la sous-fenêtre Préréglages. Si vous modifiez la fréquence d’images d’un fichier QuickTime, vous pouvez choisir Depuis le fichier, en bas du menu local Fréquence d’images, pour attribuer à ce paramètre la fréquence d’images du fichier QuickTime d’origine. Remarque : bien que vous ayez toute latitude pour mixer des plans utilisant diverses fréquences d’images, les plans lus à une fréquence différente de celle du projet risquent de provoquer des problèmes lors de leur lecture. Rognage : paramètre multidimensionnel qui définit un nombre de pixels à supprimer sur chacun des quatre côtés d’un objet, par rapport au bord extérieur de la zone entourant l’objet. Le rognage d’un objet dans l’onglet Média entraîne le rognage de toutes les occurrences de cet objet qui figurent dans votre projet. Un paramètre de rognage similaire, disponible pour les objets de l’onglet Couches, vous permet de rogner individuellement chaque occurrence de cet objet. Pour en savoir plus, voir « Paramètres disponibles dans l’onglet Propriétés » à la page 312.Chapitre 2 Création et gestion de projets 253 Contrôle du temps : ces paramètres contrôlent le début, la fin et la durée de chaque objet de média.  Entrée : détermine le point d’entrée de l’objet, aussi bien en vitesse constante que variable. Le réglage de ce paramètre déplace toujours le point d’entrée de l’objet vers l’image indiquée, sans pour autant affecter sa durée.  Sortie : détermine le point de sortie de l’objet, aussi bien en vitesse constante que variable. Le réglage de ce paramètre déplace toujours le point de sortie de l’objet vers l’image indiquée, sans pour autant affecter sa durée.  Durée : détermine la durée totale de l’objet. Si Time Remap est réglé sur Vitesse constante, le réglage de la Durée affecte également la Vitesse et le Point de sortie. En revanche, si Time Remap est réglé sur Vitesse variable, le réglage de la Durée n’affecte en rien la lecture à vitesse variable. Objets liés : cette liste présente tous les objets de l’onglet Couches qui sont liés à cet objet. Deux colonnes affichent le nom de chaque couche contenant une instance des données source, ainsi que le nom de l’objet. Toute modification du nom d’un objet dans l’onglet Couches est automatiquement répercutée sur le nom qui figure dans la liste Objets liés de l’objet correspondant. Bouton Remplacer le média : ce bouton permet de reconnecter un objet de média de votre projet à un autre fichier source sur disque. Cette fonction est principalement utilisée pour reconnecter des objets déconnectés, mais elle peut également être utilisée pour remplacer le média utilisé par un objet de votre projet par un autre média. Il vous permet également de remplacer un objet par un autre, en même temps que toutes les occurrences de cet objet dans votre projet. Résumé : sous-fenêtre distincte qui affiche les propriétés du fichier de données du disque, lié à l’objet sélectionné.254 Chapitre 2 Création et gestion de projets Utilisation des médias de la Bibliothèque Motion est fourni avec une collection de médias et d’objets d’effets que vous pouvez utiliser dans vos projets. La Bibliothèque partage de nombreuses commandes et fenêtres avec le Navigateur. Ces deux onglets sont conçus pour naviguer à travers les médias que vous souhaitez ajouter à votre projet. Toutes les commandes de la Bibliothèque fonctionnent généralement comme celles du Navigateur, mais la manière d’organiser la liste des médias est différente. La barre latérale de la Bibliothèque est remplacée par une sous-fenêtre à deux colonnes. La colonne de gauche affiche toutes les catégories de médias et d’effets disponibles dans la Bibliothèque. Lorsque vous sélectionnez une catégorie, des sous-catégories apparaissent dans la colonne de droite. La sélection d’une sous-catégorie affiche tous les médias ou les objets d’effets de cette sous-catégorie dans la pile de la Bibliothèque située en dessous. Les sections suivantes décrivent les catégories disponibles dans la Bibliothèque. Comportements et filtres Les comportements et les filtres sont appliqués directement aux objets qui ont été ajoutés à votre projet. Ils n’ont pas d’existence propre. Ils doivent être associés à un objet ou une couche pour produire un effet. Il est possible de personnaliser les comportements et les filtres après les avoir ajoutés à un projet ; les versions personnalisées peuvent être stockées dans la Bibliothèque en vue d’une utilisation future. Pour en savoir plus sur les comportements, lisez la rubrique « Utilisation des comportements » à la page 405. Pour en savoir plus sur les filtres, lisez la rubrique « Utilisation des filtres » à la page 909. Filtres de tierce partie Les filtres de tierce partie installés sur votre ordinateur apparaissent, prêts à l’emploi, dans cette catégorie. Catégories Sous-catégoriesChapitre 2 Création et gestion de projets 255 Images (filtres) Cette catégorie Images apparaît dans la Bibliothèque Motion si vous utilisez Mac OS X 10.4 ou toute version ultérieure. Motion prend en charge les filtres d’imagerie Core du système d’exploitation. Générateurs Les générateurs sont des objets créés par l’ordinateur et que l’utilisateur peut personnaliser, qui peuvent être utilisés pour créer divers éléments graphiques. Lorsque vous ajoutez un générateur à votre projet, il s’adapte automatiquement aux dimensions d’image et à la fréquence d’images du projet. Les générateurs possèdent une durée infinie et peuvent donc être lus aussi longtemps que nécessaire. Les générateurs possèdent tous les paramètres de propriété appartenant aux autres objets. Les propriétés spécifiques de chaque générateur sont également affichées dans l’onglet Générateur de l’Inspecteur chaque fois qu’un générateur est sélectionné. Vous pouvez également enregistrer des versions personnalisées de générateurs dans la Bibliothèque afin de les utiliser plus tard. Pour en savoir plus sur les générateurs disponibles dans Motion, lisez la rubrique « Utilisation de générateurs » à la page 1037. Images (générateurs) Cette catégorie Images apparaît dans la Bibliothèque Motion si vous utilisez Mac OS X 10.4 ou toute version ultérieure. Motion prend en charge les générateurs d’imagerie Core du système d’exploitation. Émetteurs de particules Plusieurs catégories d’émetteurs de particules préfabriqués vous permettent d’ajouter rapidement des effets allant de simulations de fumée, de feu et d’explosions à des textures animées abstraites utilisables de diverses manières. Tous les systèmes de particules prédéfinis de Motion peuvent être personnalisés une fois que vous les avez ajoutés à votre projet. Pour en savoir plus sur l’utilisation des systèmes de particules, lisez la rubrique « Utilisation des particules » à la page 743. Réplicateurs Plusieurs catégories de réplicateurs prédéfinis permettent d’ajouter rapidement des motifs animés d’arrière-plan, de transition ou autres. Tous les réplicateurs prédéfinis de Motion peuvent être personnalisés une fois que vous les avez ajoutés à votre projet. Pour plus d’informations sur l’utilisation du réplicateur, consultez la rubrique « Utilisation du Réplicateur » à la page 815.256 Chapitre 2 Création et gestion de projets Formes Cette catégorie contient des formes préfabriquées que vous pouvez utiliser comme éléments visuels ou comme masques d’images. Chacune est en fait une forme de Bézier qui peut être personnalisée à l’aide des outils de modification de forme de Motion. Pour en savoir plus sur la modification des formes et des masques, lisez la rubrique « Utilisation des formes et des masques » à la page 1071. Dégradés La catégorie Dégradés contient des préréglages de dégradé que vous pouvez utiliser dans l’éditeur de dégradé qui se trouve dans les émetteurs et les cellules des systèmes de particules, ainsi que dans les objets texte et les formes. Motion est fourni avec une collection de préréglages de dégradé, mais vous pouvez également enregistrer vos dégradés personnalisés créés à l’aide de n’importe quel Éditeur de dégradés. Polices et polices LiveFonts Ces catégories contiennent les polices et les polices LiveFonts installées sur votre ordinateur. Les polices sont réparties en sous-catégories, en fonction des catégories de polices définies dans l’application Livre des polices. Pour en savoir plus sur le Livre des polices, consultez l’Aide Mac, disponible dans le menu Aide du Finder. Vous pouvez utiliser les catégories de polices pour afficher un Preview des polices disponibles sur votre ordinateur. Vous pouvez également faire glisser des polices et des polices LiveFonts sur des objets texte pour modifier le style qu’ils utilisent. Pour en savoir plus sur l’utilisation des polices avec les objets texte, lisez la rubrique « Utilisation de la zone de Preview des polices dans la Bibliothèque » à la page 627. Styles de texte Les styles de texte sont des préréglages applicables aux objets texte de votre projet afin de modifier instantanément leurs paramètres de style. Ces paramètres comprennent la face, la structure, l’éclat et l’ombre portée. Faire glisser un style de texte sur un objet texte permet d’appliquer instantanément ce style au texte concerné. Pour en savoir plus sur les styles de texte, lisez la rubrique « Modification du style de texte » à la page 641. Styles de forme Les styles de forme sont des préréglages applicables aux formes et aux traits de peinture de votre projet afin de modifier instantanément leurs paramètres de style. Faire glisser un style de forme sur une forme permet d’appliquer instantanément ce style à la forme concernée. Pour en savoir plus sur les styles de forme, voir « Enregistrement de formes et de styles de formes » à la page 1167.Chapitre 2 Création et gestion de projets 257 Musique et photos Ces catégories permettent de rechercher et d’importer des fichiers audio directement à partir de votre bibliothèque iTunes, ainsi que des fichiers image directement à partir de votre bibliothèque iPhoto. Les sous-catégories Musique de Motion incluent la bibliothèque et les éventuelles listes de lecture créées dans iTunes. Les sous-catégories Photos sont des albums créés dans iPhoto. Le contenu de chaque bibliothèque, album ou liste de lecture apparaît dans la pile de fichiers. Pour en savoir plus sur l’importation de fichiers iPhoto ou iTunes, consultez la rubrique « Ajout de fichiers iTunes et iPhoto à partir de la Bibliothèque » à la page 242. Contenu Motion est fourni avec une collection d’éléments graphiques préfabriqués et d’objets générés par Motion qui apparaissent dans la catégorie Contenu. Vous pouvez glisserdéposer tous ces objets sur le Canevas et les utiliser comme des éléments de conception dans votre propre projet. Certaines des sous-catégories contiennent des objets utilisés pour créer les modèles inclus dans Motion. La seule exception concerne la sous-catégorie Images de particules, qui comprend les sources de cellules de particules utilisées pour générer les préréglages des émetteurs de particules inclus dans Motion. Par défaut, les fichiers de contenu livrés avec Motion sont enregistrés dans le dossier /Bibliothèque/Application Support/Final Cut Studio/Motion lors de l’installation de Motion. Au cours de l’installation, vous pouvez sélectionner un autre emplacement pour installer le contenu Motion. Les objets Motion personnalisés placés dans la Bibliothèque sont enregistrés dans le dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/Motion/Bibliothèque/Content. Remarque : le fait de faire glisser un objet média dans la catégorie Contenu ne modifie pas l’emplacement original du fichier correspondant sur le disque. Il est dès lors recommandé de centraliser tous les médias que vous comptez importer dans la Bibliothèque dans leur propre emplacement sur le disque, afin d’éviter tout déplacement, modification de nom ou suppression accidentels de ces fichiers. Favoris et Menu Favoris Il est facile de personnaliser les comportements, filtres, systèmes de particules, dégradés et générateurs utilisés dans Motion afin de créer vos propres effets. Ces objets personnalisés sont enregistrés dans les catégories correspondantes. La catégorie Favoris offre un emplacement pour les objets (intégrés ou personnalisés) que vous utilisez fréquemment. Vous pouvez également y placer des fichiers de médias fréquemment utilisés, tels que les fichiers PDF ou TIFF. Les objets placés dans la catégorie Favoris sont disponibles pour tous les projets que vous créez dans Motion.258 Chapitre 2 Création et gestion de projets Les objets que vous placez dans le dossier Menu Favoris apparaissent dans le menu Favoris, ce qui vous permet d’y accéder encore plus rapidement. Lorsque vous choisissez un élément dans le menu Favoris, il est placé dans la couche sélectionnée et positionnée au centre du Canevas. Les objets placés dans le menu Favoris sont disponibles pour tous les projets que vous créez dans Motion. Les objets que vous faites glisser dans les catégories Favoris et Menu Favoris sont respectivement enregistrés dans les dossiers /Utilisateurs/nom d’utilisateur/Bibliothèque/ Application Support/Final Cut Studio/Motion/Bibliothèque/Favoris et /Menu Favoris. Remarque : les objets placés dans des sous-catégories correspondant à un dossier situé dans /Bibliothèque/Application Support/Final Cut Studio/Motion/Favoris sont partagés par tous les comptes utilisateur inscrits sur cet ordinateur. Ajout de votre propre contenu à la Bibliothèque Vous pouvez ajouter vos versions personnalisées de générateurs, filtres, comportements et dégradés aux catégories de la Bibliothèque. De plus, si vous travaillez sur un ou plusieurs programmes où les mêmes éléments graphiques sont fréquemment réutilisés ou si vous disposez d’une bibliothèque d’éléments graphiques utilisés régulièrement, vous pouvez ajouter ces fichiers de médias à la catégorie Favoris. Il est recommandé d’ajouter tout contenu personnalisé à la catégorie Favoris. En effet, le contenu que vous placez dans la Bibliothèque est disponible pour tous les projets de Motion. Pour ajouter des objets générés par Motion à une catégorie Contenu : m Faites glisser un objet soit dans le dossier Favoris de la liste des catégories ou des sous-catégories de la Bibliothèque, soit directement dans la pile de la Bibliothèque. Important : chaque catégorie (à l’exception des catégories Contenu, Favoris et Menu Favoris) est filtrée en fonction du type d’objet qu’elle représente. Vous pouvez par exemple placer un filtre personnalisé par un utilisateur dans la catégorie Filtres, mais vous ne pouvez pas placer un filtre dans la catégorie Comportements.Chapitre 2 Création et gestion de projets 259 Vous pouvez également placer des fichiers de médias du disque dans la catégorie Contenu, Favoris et Menu Favoris. Pour ajouter un objet de média à la catégorie Favoris : m Depuis l’onglet Couches, l’onglet Média ou le Navigateur, faites glisser un objet de média vers le dossier Favoris de la Bibliothèque. Lorsque vous ajoutez votre propre contenu, vous pouvez créer des dossiers supplé- mentaires afin d’ajouter des sous-catégories à la colonne des sous-catégories. Pour créer une sous-catégorie dans n’importe quelle catégorie : 1 Ouvrez la Bibliothèque, puis sélectionnez une catégorie. 2 Cliquez sur le bouton Nouveau dossier (+) qui se trouve en bas de la Bibliothèque. 3 Renommez le nouveau dossier comme vous le souhaitez. Ce nouveau dossier apparaît dans la colonne des sous-catégories chaque fois qu’une catégorie est sélectionnée. Pour supprimer des objets ou des dossiers d’une catégorie Contenu : m Sélectionnez un objet ou un dossier dans la pile de la Bibliothèque, puis procédez de l’une des manières suivantes :  Choisissez Édition > Supprimer.  Appuyez simultanément sur les touches Commande + Supprimer. Utilisation d’objets personnalisés depuis la Bibliothèque Lorsque vous faites glisser un objet personnalisé de la Bibliothèque vers le Canevas, le centre de cet objet est déposé à l’emplacement où vous avez relâché le bouton de la souris. En revanche, si vous cliquez sur le bouton Appliquer dans la zone de Preview pour ajouter cet objet, il est ajouté au centre du Canevas. Si vous faites glisser vers le Canevas des objets qui ont été enregistrés avec l’option « Tous dans un fichier » activée dans le menu déroulant, ces objets sont déposés à l’emplacement où vous avez relâché le bouton de la souris, puis positionnés selon leur disposition d’origine au moment de leur enregistrement dans la Bibliothèque. En revanche, si vous cliquez sur le bouton Appliquer dans la zone de Preview pour ajouter ces objets, ils sont ajoutés au centre du Canevas. Remarque : si vous faites glisser un masque personnalisé depuis la Bibliothèque vers un projet, il conserve la position dans laquelle il a été enregistré (par rapport à l’image ou à la séquence sur laquelle il est déposé).260 Chapitre 2 Création et gestion de projets Médias de la Bibliothèque indisponibles Comme pour tout autre objet utilisé dans un projet Motion, la Bibliothèque de médias utilisée par un projet doit être présente et installée sur l’ordinateur actuel pour que ces objets apparaissent correctement dans Motion. Si quelqu’un vous transmet un fichier de projet et que vous ne disposez pas des mêmes filtres, polices ou polices LiveFonts que vous, un message d’avertissement s’affiche à l’ouverture du projet et présente la liste des éléments indisponibles. Vous pouvez soit fermer le projet et installer les fichiers nécessaires sur votre ordinateur, soit poursuivre votre travail et ouvrir le fichier. La liste qui suit résume ce qui se passe lorsque vous ouvrez un fichier de projet sans disposer des médias nécessaires : Contenu manquant : le contenu manquant est traité comme tout autre objet de médias manquant. Les objets deviennent offline et vous pouvez à tout moment choisir de les reconnecter. Filtres manquants : si un ou plusieurs filtres sont manquants, les objets de votre projet qui utilisent ces filtres sont affichés avec un emplacement signalant quel est le filtre manquant. Cela vous permet de réinstaller le filtre plus tard. Polices manquantes : lorsque des polices sont manquantes, les objets texte qui utilisent ces polices adoptent par défaut la police de remplacement temporaire Geneva. Les polices internationales manquantes sont remplacées par la police système par défaut correspondant à la langue concernée. Polices LiveFonts manquantes : si des polices LiveFonts sont manquantes, la police LiveFont utilisée précédemment est remplacée par une autre police LiveFont installée sur votre ordinateur. Organisation des groupes et des couches dans Motion Chaque fois que vous faites glisser un fichier de média depuis la Bibliothèque ou le Navigateur vers le Canevas, l’onglet Couches ou la Timeline ou que vous générez une image dans Motion, l’élément obtenu est représenté par une couche. Imaginez les couches comme des transparents placés les uns au-dessus des autres. Toutes les couches se combinent pour créer l’image qui apparaît dans le Canevas. Motion met à votre disposition une représentation graphique de cette hiérarchie de couches dans l’onglet Couches de la sous-fenêtre Projet, ainsi que dans la liste de couches de la Timeline. Vous pouvez réorganiser l’ordre d’empilement des couches en les faisant glisser à un autre emplacement dans ces deux listes.Chapitre 2 Création et gestion de projets 261 À leur tour, les couches sont imbriquées dans des conteneurs appelés des groupes. Dès que vous créez une couche, elle est placée au sein d’un groupe. Vous pouvez faire glisser les couches d’un groupe à l’autre, mais elles ne peuvent exister seules en dehors d’un groupe. Les couches imbriquées dans un groupe sont affichées en retrait dans l’onglet Couches et la liste de couches de la Timeline. Un groupe peut également contenir d’autres groupes imbriqués. Vous pouvez ainsi élaborer des hiérarchies complexes de groupes imbriqués, chacun étant subordonné au groupe qui le contient et ce, jusqu’au groupe de niveau supérieur. L’organisation des couches d’un projet a pour objectif majeur de vous permettre de regrouper toutes les couches sur lesquelles vous travaillez en une seule unité. Vous avez ainsi la garantie que les animations et les effets appliqués au groupe d’imbrication affectent toutes les couches imbriquées au sein de ce groupe. En imbriquant toutes les couches que vous souhaitez animer dans un seul groupe, vous gagnez du temps, car il vous suffit d’animer ce groupe, plutôt que chacune des couches qu’il contient. Objets imbriqués Groupe d’imbrication Groupes imbriqués Groupe d’imbrication262 Chapitre 2 Création et gestion de projets Par exemple, lorsque vous sélectionnez un groupe contenant trois couches imbriquées, l’intégralité du groupe est sélectionnée comme une seule unité. Tout déplacement de la sélection dans le Canevas permet de déplacer les trois couches simultanément. Quelle que soit la manière dont elles sont imbriquées, les couches peuvent toujours être animées indépendamment l’une de l’autre. Il est donc possible d’animer séparément des groupes subordonnés, tout en gardant à l’esprit que l’animation et les effets qui leur sont appliqués affectent tous les groupes et les couches imbriqués en dessous. Liste des couches avec un groupe sélectionné Groupe sélectionné Avant le déplacement du groupe Après le déplacement du groupeChapitre 2 Création et gestion de projets 263 L’exemple suivant décrit la création d’une hiérarchie de groupes en vue de préparer l’animation d’un personnage. Chaque composant du personnage est contenu dans une couche séparée. Son bras, par exemple, est formé par des couches correspondant à la main, au bras et à l’avant-bras. Chaque couche associée est placée dans un groupe imbriqué dans un groupe parent. Pour le bras, la main est imbriquée dans le groupe de l’avant-bras, qui est à son tour imbriqué dans le groupe du bras. Remarque : dans cet exemple, chaque point d’ancrage d’un objet est placé à un endroit correspondant approximativement à l’axe de rotation de cet objet. Pour en savoir plus sur le changement du point d’ancrage d’un objet, lisez la rubrique « Modification du point d’ancrage d’un objet » à la page 305.264 Chapitre 2 Création et gestion de projets Les deux bras et les deux jambes sont également constitués d’une hiérarchie de parties du corps imbriquées. Par la suite, ces deux groupes imbriqués de couches, qui sont connectés au torse, sont eux-mêmes imbriqués dans le groupe du mannequin. La réduction des hiérarchies du bras et de la jambe permet de faire apparaître la hiérarchie simplifiée suivante. En organisant tous ces objets de cette manière, l’animation du personnage devient chose aisée. Pour déplacer l’ensemble du bras, il vous suffit donc de sélectionner le groupe du bras gauche, quel que soit le nombre de couches imbriquées dans ce groupe. Imbrication de groupes pour simplifier un projet Sélection du groupe du bras gauche pour sélectionner tous les objets qu’il contientChapitre 2 Création et gestion de projets 265 Lorsque vous faites pivoter la sélection dans le Canevas, tous les objets imbriqués dans le groupe pivotent comme s’il s’agissait d’un seul élément. L’application de filtres et de comportements offre un autre exemple de l’intérêt des hiérarchies de groupes. Si vous appliquez un filtre à une seule couche d’un groupe, il n’affecte que cette couche. Les autres couches du groupe ne sont pas modifiées. Avant la rotation du groupe du bras gauche Après la rotation du groupe du bras gauche Filtre appliqué à une seule couche266 Chapitre 2 Création et gestion de projets Toutefois, si vous appliquez directement le même filtre au groupe, toutes les couches imbriquées dans ce groupe sont affectées par le filtre, comme si elles constituaient une seule couche. Arrière-plan de votre projet La zone de dialogue Propriétés du projet (accessible en choisissant Édition > Propriétés du projet) comporte deux paramètres qui ont une incidence sur la couleur d’arrière-plan de votre projet et l’apparence de votre composition lors de son exportation à partir de Motion : Couleur d’arrière-plan : cadre de couleurs vous permettant de déterminer la couleur affichée dans le Canevas si aucun autre objet n’est présent à l’avant-plan. Remarque : si vous comptez exporter votre projet avec un canal alpha prémultiplié, sachez que Motion effectue toujours le rendu sur du noir. Arrière-plan : menu local qui définit si le rendu de la couleur d’arrière-plan doit être effectué comme une partie du canal alpha. Si vous choisissez Uni, la couleur d’arrièreplan génère un canal alpha opaque. En revanche, si vous choisissez Transparent, le rendu de la couleur d’arrière-plan n’est pas obtenu comme une partie du canal alpha. Quel que soit votre choix, la couleur d’arrière-plan est affichée dans le Canevas. Sélection de couches et de groupes dans l’onglet Couches Pour réorganiser des couches et des groupes d’un projet, vous devez tout d’abord les sélectionner. Cette section traite des nombreuses méthodes que vous pouvez utiliser pour sélectionner des couches dans l’onglet Couches. Pour sélectionner une seule couche ou un seul groupe : m Cliquez sur une couche ou un groupe dans l’onglet Couches. Ce faisant, vous désélectionnez tous les autres objets sélectionnés. Filtre appliqué au groupe d’imbricationChapitre 2 Création et gestion de projets 267 Remarque : la sélection d’un groupe n’entraîne pas la sélection des couches imbriquées en dessous. En revanche, les opérations effectuées sur un groupe sélectionné affectent également toutes les couches imbriquées dans ce groupe. Pour sélectionner plusieurs couches ou groupes contigus, procédez de l’une des manières suivantes : m Cliquez sur deux couches quelconques de la liste de couches tout en maintenant la touche Maj enfoncée. Vous sélectionnez alors ces deux couches, ainsi que toutes les couches situées au milieu. m Cliquez à gauche de la vignette d’une couche quelconque, puis faites glisser le pointeur vers le haut ou vers le bas pour sélectionner plusieurs couches. Pour sélectionner/désélectionner plusieurs couches ou groupes non contigus, procédez de l’une des manières suivantes : m Cliquez sur une couche ou un groupe non sélectionné tout en maintenant la touche Commande enfoncée, afin de l’ajouter à la sélection. m Cliquez sur une couche ou un groupe sélectionné tout en maintenant la touche Commande enfoncée pour le désélectionner. Pour sélectionner l’ensemble des couches ou des groupes de l’onglet Couches, procédez de l’une des manières suivantes : m Choisissez Édition > Tout sélectionner (ou appuyez sur les touches Commande + A). m Cliquez sur le groupe ou la couche situé tout en haut de la liste, appuyez sur la touche Maj et maintenez-la enfoncée, puis cliquez sur le groupe ou la couche situé tout en bas. Pour désélectionner tous les objets ou groupes de l’onglet Couches : m Choisissez Édition > Tout désélectionner (ou appuyez sur les touches Maj + Commande + A). Réorganisation dans l’onglet Couches L’ordre dans lequel les couches et les groupes apparaissent dans l’onglet Couches détermine la présentation de l’ensemble de votre projet. En effet, cet ordre définit l’affichage des objets les uns par rapport aux autres dans le Canevas. Vous pouvez modifier l’ordre d’un ou de plusieurs objets dans le Canevas ou l’onglet Couches. Pour avancer ou reculer une couche ou un groupe dans l’onglet Couches : m Faites glisser une couche ou un groupe vers le haut ou le bas de la liste de couches. Un indicateur de position est affiché pour montrer la nouvelle place occupée par la sélection si vous relâchez le bouton de la souris. Remarque : vous pouvez également utiliser les commandes Avancer et Reculer du menu Objet, pour faire monter ou descendre les couches dans la hiérarchie imbriquée de n’importe quel groupe. Ces commandes sont particulièrement utiles si vous travaillez avec des objets sélectionnés directement dans le Canevas. Pour en savoir plus, voir « Commandes Disposition du menu Objet » à la page 289.268 Chapitre 2 Création et gestion de projets Si vous souhaitez organiser les objets de votre projet en plusieurs groupes, vous pouvez à tout moment créer de nouveaux groupes vides. Pour créer un nouveau groupe vide, procédez de l’une des manières suivantes : m Cliquez sur le bouton Ajouter (+) situé en haut de l’onglet Couches. m Choisissez Objet > Nouveau groupe (ou appuyez sur les touches Maj + Commande + N). Les nouveaux groupes apparaissent toujours en haut de l’onglet Couches. Ils sont numérotés en fonction du nombre de groupes que vous avez créés jusqu’à présent. Lorsque vous disposez de plusieurs groupes, vous pouvez déplacer les couches d’un groupe à l’autre, modifiant ainsi leurs relations d’imbrication au sein de votre projet. Pour déplacer une couche d’un groupe vers un autre : 1 Sélectionnez une ou plusieurs couches. 2 Procédez de l’une des manières suivantes :  Faites glisser les couches sélectionnées vers un nouvel emplacement sous un autre groupe. Un indicateur de position est affiché pour montrer la nouvelle place occupée par la sélection si vous relâchez le bouton de la souris. Si vous faites glisser les couches sélectionnées au sein d’un groupe imbriqué, la longueur de l’indicateur de position signale la position occupée par la sélection au sein de la hiérarchie du groupe.  Sélectionnez une ou plusieurs couches, puis choisissez Édition > Couper (ou appuyez sur les touches Commande + X). Sélectionnez ensuite le groupe au sein duquel vous souhaitez les coller, puis choisissez Édition > Coller (ou appuyez sur les touches Commande + V). Vous pouvez également copier une couche d’un groupe à un autre. Pour copier une couche d’un groupe à un autre, procédez de l’une des manières suivantes : m Faites glisser une ou plusieurs couches sélectionnées d’un groupe à un autre, tout en maintenant la touche Option enfoncée. m Sélectionnez une ou plusieurs couches, puis choisissez Édition > Copier (ou appuyez sur les touches Commande + C). Sélectionnez ensuite le groupe au sein duquel vous souhaitez les coller, puis choisissez Édition > Coller (ou appuyez sur les touches Commande + V).Chapitre 2 Création et gestion de projets 269 Imbrication de groupes au sein d’autres groupes Outre l’imbrication de couches dans des groupes, vous pouvez également imbriquer des groupes dans d’autres groupes. Cette organisation peut s’avérer très utile si vous créez une hiérarchie de couches en vue de contrôler la relation d’un groupe de couches vis-à-vis d’un autre ou si vous regroupez des couches auxquelles vous souhaitez appliquer un ensemble de comportements et de filtres. Pour imbriquer un groupe, procédez comme pour imbriquer une couche. Pour déplacer un groupe au sein d’un autre groupe : 1 Sélectionnez un ou plusieurs groupes. 2 Procédez de l’une des manières suivantes :  Faites glisser le groupe sélectionné vers un autre groupe.  Faites glisser le groupe sélectionné vers un nouvel emplacement sous un autre groupe.  Sélectionnez un ou plusieurs groupes, puis choisissez Édition > Couper (ou appuyez sur les touches Commande + X). Sélectionnez ensuite le groupe au sein duquel vous souhaitez les coller, puis choisissez Édition > Coller (ou appuyez sur les touches Commande + V). Regroupement et dissociation de couches Vous avez également la possibilité d’imbriquer des couches au sein d’un nouveau groupe, à l’aide de la commande Grouper. Vous pouvez ainsi regrouper des couches déjà affichées au sein du même groupe ou des groupes imbriqués au même niveau de la hiérarchie de votre projet. Il vous est impossible de regrouper des groupes apparaissant sur des niveaux différents. Pour regrouper des couches sélectionnées en les imbriquant dans un nouveau groupe : 1 Sélectionnez l’ensemble des couches ou des groupes que vous souhaitez regrouper. 2 Choisissez Objet > Grouper (ou appuyez sur les touches Maj + Commande + G).270 Chapitre 2 Création et gestion de projets Un nouveau groupe est créé. Il porte un numéro séquentiel en fonction du nombre de groupes que vous avez créés jusqu’à présent. Les couches ou les groupes que vous avez sélectionnés sont imbriqués à l’intérieur de ce nouveau groupe. Il est également possible de dissocier des groupes de couches ou de groupes imbriqués. Le groupe d’imbrication est alors supprimé et tous les objets et les couches qui s’y trouvaient montent dans la hiérarchie des groupes. Pour dissocier des couches imbriquées : 1 Sélectionnez le groupe contenant les couches ou les groupes imbriqués que vous souhaitez dissocier. 2 Choisissez Objet > Dissocier (ou appuyez sur les touches Option + Commande + G). Remarque : vous ne pouvez pas dissocier des groupes qui se trouvent déjà au sommet de la hiérarchie de la liste de couches. Affichage et masquage de groupes et de couches Vous avez la possibilité de masquer les couches et les groupes apparaissant dans l’onglet Couches, afin de les rendre invisibles dans le Canevas, sans pour autant les supprimer de votre composition. Si vous avez placé un objet de taille importante dans votre projet et qu’il bloque l’accès à certains objets que vous souhaitez déplacer ou faire pivoter dans le Canevas, vous pouvez simplement masquer l’objet concerné. Vous pouvez également masquer les objets que vous n’êtes pas sûr de vouloir garder dans votre projet, en préservant leur emplacement pour le cas où vous souhaiteriez les réutiliser plus tard. Si vous masquez un groupe, vous masquez également l’ensemble des couches et des groupes qui sont imbriqués à l’intérieur. Les couches et les groupes masqués ne sont pas rendus au moment de l’exportation du projet. Avant le regroupement des couches Après le regroupement des couchesChapitre 2 Création et gestion de projets 271 Pour afficher ou masquer une ou plusieurs couches sélectionnées, procédez de l’une des manières suivantes : m Cochez la case située à gauche d’un objet ou d’un groupe dans l’onglet Couches ou la Timeline. m Choisissez Objet > Activer (ou appuyez sur les touches Contrôle + T) pour activer ou désactiver l’affichage des couches. m Cliquez sur une couche ou sur un groupe tout en maintenant la touche Contrôle enfoncée, puis choisissez Activer dans le menu contextuel. Remarque : si vous masquez une ou plusieurs couches d’un groupe, la case d’activation de ce groupe affiche un tiret plutôt qu’une coche, pour indiquer que toutes ses couches ne sont pas visibles. Vous pouvez placer en « solo » une couche ou un groupe afin de masquer toutes les autres couches du projet. Cette technique peut servir à isoler un objet individuel dans le Canevas, afin de l’animer ou de le manipuler sans interférer avec d’autres objets de votre composition. Pour mettre une couche en solo : 1 Sélectionnez les couches ou les groupes à mettre en solo. 2 Choisissez Objet > Solo (ou appuyez sur les touches Contrôle + S). Remarque : vous pouvez également cliquer sur un objet avec la touche Contrôle enfoncée dans l’onglet Couches, puis sélectionner Solo dans le menu contextuel. Case d’activation Case contenant un tiret272 Chapitre 2 Création et gestion de projets Toutes les autres couches ou tous les autres groupes sont désactivés. Seul l’objet mis en solo est visible dans le Canevas. Lorsque l’élément sélectionné est en solo, une coche apparaît en regard de la commande dans le menu Solo. Définition de la taille d’un groupe Par défaut, la taille d’un groupe est déterminée par les couches qu’il contient. Comme les objets animés ont souvent tendance à gagner en taille, la hauteur et la largeur actives d’un groupe (sa résolution) peuvent devenir très conséquentes. Vous pouvez donc limiter la taille d’un groupe à une largeur et une hauteur déterminées dans l’onglet Couches de l’Inspecteur. Le projet affiché dans l’image suivante contient un système de particules. Bien que les particules animées ne soient plus visibles une fois qu’elles sont sorties du Canevas, il est à noter qu’elles rendent le groupe qui les contient très volumineux. Vous avez la possibilité de rogner la taille d’un groupe contenant des objets dont la taille augmente à l’aide de la case à cocher Résolution fixe, située sous l’onglet Groupe de l’Inspecteur. Taille par défaut d’une couche contenant des particules Cadre de sélection des particules Couche avec paramètre Résolution fixe activéChapitre 2 Création et gestion de projets 273 Si votre projet contient des objets animés qui se déplacent ou grossissent au-delà des bords du Canevas et que vous n’avez pas coché la case Résolution fixe, le temps de traitement nécessaire à votre ordinateur risque de s’allonger. Remarque : l’onglet Groupe de l’Inspecteur (qui contient le paramètre Résolution fixe) n’est accessible que si un groupe est sélectionné dans le projet. Lorsque le paramètre Résolution fixe est activé, les objets situés au sein du groupe, mais en dehors du Canevas, sont rognés à la taille du groupe, telle qu’elle est définie dans ce paramètre. En cas d’activation, le paramètre Résolution fixe rogne le groupe à la taille spécifiée dans les paramètres Largeur fixe et Hauteur fixe. En d’autres termes, si le point d’ancrage du groupe est décalé, il est possible que le rognage ne soit pas appliqué autour des bords du Canevas et que des objets soient coupés. Pour fixer la résolution d’un groupe : 1 Sous l’onglet Couches (ou dans la liste de couches de la Timeline), sélectionnez le groupe. Groupe sélectionné avec un point d’ancrage décalé avant l’activation du paramètre Résolution fixe Groupe sélectionné avec le paramètre Résolution fixe activé et défini sur la taille du projet. Notez que les objets texte sont coupés. Point d’ancrage Point d’ancrage274 Chapitre 2 Création et gestion de projets 2 Dans l’Inspecteur, cliquez sur l’onglet Groupe. 3 Cochez la case Résolution fixe. Par défaut, la résolution du groupe est définie sur la taille du projet. 4 Pour définir une résolution différente de celle du projet, ajustez les curseurs Largeur fixe et Hauteur fixe. Remarque : si une couche est sélectionnée au sein d’un groupe à résolution fixe, son cadre de sélection apparaît à sa taille d’origine, sans tenir compte de la résolution du groupe qui la contient. Verrouillage de groupes et de couches Dès lors que vous avez terminé vos réglages sur une couche ou un groupe particulier, vous pouvez verrouiller cet élément pour éviter toute modification accidentelle. Il est impossible de déplacer des couches verrouillées, ni de modifier ou d’animer leurs paramètres. L’animation et les comportements appliqués à une couche avant son verrouillage sont toujours actifs. Le verrouillage d’un groupe entraîne également le verrouillage de toutes les couches et des groupes imbriqués à l’intérieur. Pour verrouiller des couches ou des groupes, procédez de l’une des manières suivantes : m Cliquez sur l’icône de verrouillage de la couche dans l’onglet Couches. Case Résolution fixe cochée Icône de verrouillageChapitre 2 Création et gestion de projets 275 m Sélectionnez un ou plusieurs groupes ou couches, puis choisissez Objet > Verrouiller (ou appuyez sur les touches Contrôle + L). Le cadre de sélection délimitant la couche verrouillée dans le Canevas devient rouge pour indiquer que cet élément est verrouillé. Réduction et développement des hiérarchies de groupes Dans l’onglet Couches, les groupes et les couches sont affichés sous la forme d’une hié- rarchie qui signale quelles couches sont imbriquées dans tel ou tel groupe. Les couches et les groupes imbriqués apparaissent en dessous du groupe dans lequel ils sont imbriqués et ils décalés vers la droite. Pour simplifier la gestion de la liste de couches, vous pouvez réduire toutes les couches imbriquées dans un groupe particulier via le triangle d’affichage de ce groupe. Les groupes réduits sont affichés dans la liste sous la forme d’une simple ligne. Ils peuvent être déplacés ou imbriqués comme n’importe quelle autre couche. Cependant, chaque groupe possède une vignette qui affiche un aperçu de l’ensemble de sa composition, ce qui permet de savoir aisément quels éléments sont imbriqués à l’intérieur. Pour développer ou réduire un seul groupe, procédez de l’une des manières suivantes : m Cliquez sur le triangle d’affichage situé à gauche du nom et de l’icône du groupe. m Appuyez sur la touche Flèche vers le haut ou vers le bas pour monter ou descendre dans la liste de couches, puis sur la Flèche vers la droite pour développer un groupe ou vers la gauche pour le réduire.276 Chapitre 2 Création et gestion de projets Attribution de nouveaux noms aux groupes Vous pouvez renommer les groupes et les couches qui apparaissent dans l’onglet Couches, afin d’organiser au mieux vos médias et d’identifier plus facilement le but de chaque groupe ou objet. Lorsque vous renommez une couche, le nom original de son fichier de média source demeure inchangé. De plus, la modification du nom d’une couche dans l’onglet Couches ne modifie pas le nom de l’objet correspondant dans l’onglet Média. Vous ne pouvez pas modifier le nom d’un objet dans l’onglet Média. Pour renommer un groupe ou une couche : 1 Double-cliquez sur le nom du groupe ou de la couche à renommer. 2 Lorsque le nom est mis en surbrillance, tapez un nouveau nom. 3 Une fois terminé, appuyez sur la touche Retour pour valider le nouveau nom. Vous pouvez également valider le nouveau nom en cliquant sur une autre couche ou un autre groupe. Remarque : une fois que le nom d’une couche a été modifié dans Motion, il n’existe pas de méthode automatique permettant de rétablir son ancien nom, à l’exception de la commande Annuler. Recherche de groupes et de couches Il est parfois difficile de retrouver un groupe ou une couche dans un très grand projet. Utilisez alors le champ Rechercher situé au-dessus des onglets Couches, Média et Audio. Son fonctionnement est similaire au champ de recherche du Navigateur. Il vous permet de rechercher toutes les couches ou tous les groupes dont le nom contient le terme que vous recherchez. Pour rechercher un groupe ou une couche en fonction de son nom dans l’onglet Couches : m Tapez un terme à rechercher dans le champ Rechercher. Dès que vous vous mettez à saisir les premières lettres, tous les groupes et les couches dont les noms ne contiennent pas le terme recherché sont masqués, laissant apparaître une liste contenant uniquement les couches et les groupes dont les noms correspondent à votre recherche. Pour effacer les résultats de recherche : m Cliquez sur le bouton Effacer, située à l’extrême droite du champ Rechercher, afin de restaurer le contenu intégral des onglets Couches, Média ou Audio. Remarque : les groupes et les couches masqués suite à une opération de recherche ne sont pas désactivés dans le Canevas et ils ne sont exclus du rendu durant l’exportation. Bouton EffacerChapitre 2 Création et gestion de projets 277 Outre la recherche de couches en fonction du nom, il est possible d’utiliser la commande Afficher le média source pour retrouver les données source de n’importe quel objet dans l’onglet Média. Pour afficher le média source d’un objet sous l’onglet Média, procédez de l’une des manières suivantes : m Tout en maintenant la touche Contrôle enfoncée, cliquez sur un objet dans le Canevas ou sur une couche dans l’onglet Couches ou la Timeline, puis choisissez Afficher le média source dans le menu contextuel. m Sélectionnez un objet dans le Canevas ou une couche dans l’onglet Couches ou la Timeline, puis choisissez Objet > Afficher le média source (o appuyez sur les touches Maj + F). L’onglet Média et l’Inspecteur s’ouvrent tous les deux. L’objet « de référence » est sélectionné et ses paramètres d’onglet Média sont affichés dans l’Inspecteur. Tri des objets dans l’onglet Média L’onglet Média contient 13 colonnes qui fournissent des informations sur chaque objet de votre projet. Colonne Description Preview Affiche l’objet média sous forme de vignette. Nom Indique le nom de fichier du média source stocké sur disque, auquel l’objet est lié. Si vous modifiez le nom des objets liés correspondants dans l’onglet Couches, ce nom ne change pas. Type Indique le type du fichier, que ce soit une image fixe, une séquence QuickTime, une séquence d’images ou un fichier audio. En service Indique si ce média est utilisé ou non dans le projet. Durée Affiche la durée totale de l’objet, en images ou en timecode, selon ce qui est affiché dans la Timeline. Taille d’image Affiche les dimensions de l’image de l’objet, en pixels. Compresseur Si l’objet est une séquence QuickTime, affiche le codec utilisé. En revanche, s’il s’agit d’une image fixe, affiche la méthode de compression appliquée en fonction du type de fichier. Profondeur Spécifie la profondeur de couleur de l’image. Fréquence d’images Affiche la fréquence d’images de l’objet, en images par seconde. Débit Indique le débit des données auquel une séquence QuickTime est compressée. Échantillonnage Pour les fichiers audio et les séquences QuickTime, affiche la fréquence d’échantillonnage audio. Format audio Pour les fichiers audio et les séquences QuickTime, affiche la profondeur de bits audio. Taille du fichier Affiche la taille du fichier de média source sur disque. Fichier créé le Affiche la date de création du fichier de média source sur disque. Fichier modifié le Affiche la date de modification du fichier de média source sur disque. Ce paramètre est utile pour la gestion des fichiers.278 Chapitre 2 Création et gestion de projets Vous pouvez personnaliser l’onglet Média afin d’afficher, de masquer ou de réarranger l’une ou l’autre de ces colonnes en fonction de vos besoins. Vous pouvez également redimensionner les vignettes affichées pour chaque objet. Pour afficher ou masquer une colonne : m Cliquez sur le signe supérieur (>) situé à droite des en-têtes de colonnes, puis activez ou désactivez dans le menu local les colonnes que vous souhaitez afficher ou masquer. Pour déplacer une colonne vers la droite ou vers la gauche : m Faites glisser l’en-tête de la colonne vers la droite ou la gauche pour la déplacer. Pour augmenter ou réduire la taille de la vignette de chaque objet, effectuez l’une des opérations suivantes : m Utilisez le curseur d’échelle qui se trouve en bas de l’onglet Média. m Faites glisser le séparateur entre les lignes d’objets. Personnalisation et création de nouveaux modèles Motion vous est fourni avec une collection de modèles prêts à être personnalisés. Il vous permet en outre de créer aisément vos propres modèles. Personnalisation de projets créés à partir de modèles Lorsque vous créez pour la première fois un nouveau fichier de projet à partir d’un modèle, il s’agit d’une copie du modèle original. Les projets créés à partir de modèles ne présentent aucune particularité spéciale et peuvent être édités et modifiés comme n’importe quel autre projet. Il existe quelques méthodes spécifiques qui vous seront probablement utiles pour personnaliser vos projets créés à partir de modèles.Chapitre 2 Création et gestion de projets 279 Rappelez-vous que la plupart des modèles, plus particulièrement ceux que vous créez vous-même, sont destinés à simplifier le processus de création de titres et d’éléments graphiques pour les projets répétitifs. Il s’agit par exemple de titres et de tiers inférieurs destinés aux programmes d’information et aux interviews, d’éléments graphiques pour les magazines et tout autre programme qui requiert des titres d’aspect homogène qu’il faut mettre à jour d’une émission à l’autre. Les modèles bien conçus vous permettent de remplacer tout simplement les objets graphiques importants et d’éditer le texte afin de les mettre à jour pour la prochaine émission. Les modifications apportées aux projets créés à partir de modèles n’ont aucun effet sur les modèles d’origine. Échange d’objets La manière la plus simple de personnaliser un projet créé à partir d’un modèle consiste à remplacer par vos propres objets les objets utilisés dans le modèle, à partir du Navigateur ou de la Bibliothèque. Lorsque vous remplacez un objet, le nouvel objet apparaît dans votre projet avec les mêmes valeurs de paramètre que celles utilisées par l’objet précédent. De plus, les filtres, masques, comportements ou paramètres animés avec des images clés appliqués à l’objet original demeurent appliqués à l’objet de substitution. Même s’il existe plusieurs groupes appelés « Zone de dépôt » dans divers modèles, ce sont les objets situés à l’intérieur de ces groupes qui doivent être remplacés, et non les couches proprement dites. Remarque : pour identifier rapidement tous les objets à remplacer dans un modèle, saisissez « Zone de dépôt » dans le champ Rechercher de l’onglet Couches, puis appuyez sur Retour. Tous les objets « Zone de dépôt » apparaissent alors dans l’onglet Couches. Pour en savoir plus sur le remplacement d’objets, lisez la rubrique « Échange de médias dans un projet » à la page 249.280 Chapitre 2 Création et gestion de projets Zones de dépôt Les zones de dépôt vous permettent de remplacer rapidement une séquence d’un projet, en déposant directement des plans dans le Canevas. Une zone de dépôt est représentée par un rectangle comportant une flèche vers le bas au centre. Le nom de la couche de la zone de dépôt apparaît également au centre de cette zone. Tout objet de média glissé et déposé dans la région définie par l’objet Zone de dépôt remplace automatiquement la représentation graphique de ladite zone. Lorsque vous faites glisser un média au-dessus de la zone de dépôt, une surbrillance apparaît autour de cette zone. Remarque : si plusieurs zones de dépôt se chevauchent dans le Canevas, la zone située sur le dessus est prioritaire dès lors qu’un élément est glissé sur la zone. Pour en savoir plus sur les zones de dépôt, voir « Utilisation des zones de dépôt » à la page 282. Personnalisation des objets texte L’outil Texte permet de mettre aisément à jour les objets texte. La modification d’un objet texte n’a aucun effet sur le format, le style ou la présentation du texte. De plus, les modifications simples effectuées sur des objets texte n’ont pas d’effet sur les filtres, les masques, les comportements ou les paramètres animés par images clés appliqués à cet objet. Pour en savoir plus sur la modification des objets texte, lisez la rubrique « Utilisation du texte » à la page 619. Zone de dépôt vierge Séquence Quicktime glissée au-dessus d’une zone de dépôtChapitre 2 Création et gestion de projets 281 Modification des comportements et des images clés Les objets présents dans les projets créés à partir de modèles sont animés à l’aide d’une combinaison de comportements et de paramètres animés avec des images clés. Ces éléments peuvent être modifiés à tout moment pour personnaliser le mouvement des objets. Pour en savoir plus sur la modification des comportements, lisez la rubrique « Modification des comportements » à la page 423. Pour en savoir plus sur la modification des images clés, lisez la rubrique « Modification d’images clés » à la page 586. Création de nouveaux modèles Outre l’utilisation et la personnalisation des modèles fournis avec Motion, vous pouvez également créer vos modèles en partant de zéro. Les fichiers de modèle contiennent tous les éléments que l’on trouve dans un projet ordinaire, notamment des objets de médias, des objets texte, des formes, des générateurs, des comportements et des filtres, dans toutes les combinaisons possibles. Vous pouvez créer vos modèles personnalisés à utiliser dans les plans fréquemment utilisés que vous devez créer régulièrement. Si vous créez des titres destinés à un programme d’informations, vous pouvez créer des modèles pour le titre d’ouverture, les images interstitielles, les intercalaires et autres plans répétitifs qu’il est nécessaire de créer régulièrement. Après avoir enregistré vos modèles, il suffit de charger le modèle nécessaire, plutôt que de devoir chaque fois créer un titre en partant de zéro, puis de le personnaliser à l’aide des dates, du texte et des nouveaux films et images afin de l’adapter aux besoins du nouveau programme. Utilisation d’objets, de comportements et d’images clés à partir de modèles Il peut parfois s’avérer nécessaire d’utiliser dans votre projet un paramètre animé avec des images clés ou un comportement tiré d’un modèle. Vous pouvez toujours créer un projet à partir d’un modèle, sélectionner les images clés ou les comportements à utiliser, les copier, puis les coller dans votre projet. Tous les objets graphiques utilisés par les modèles apparaissent également dans la catégorie Contenu de la Bibliothèque, au sein de la sous-catégorie Média de modèle. Vous pouvez retrouver dans la Bibliothèque les éléments graphiques particuliers que vous souhaitez utiliser.282 Chapitre 2 Création et gestion de projets Les modèles ne sont rien d’autre que des fichiers Motion enregistrés d’une manière spéciale. Pour créer un modèle, il suffit de créer la maquette dont vous avez besoin, comme pour n’importe quel autre projet Motion. Avant d’utiliser la maquette comme modèle, gardez à l’esprit les informations suivantes : Attribution de noms aux objets dans la liste de couches Les noms que vous attribuez aux groupes et aux couches de votre modèle doivent indiquer la fonction de chaque objet. Vous pouvez par exemple nommer les objets d’un modèle de titre de la manière suivante : « Titre principal », « Rôle principal », « Second rôle », etc. Si vous utilisez des éléments visuels dans la composition du modèle, décrivez leur fonction, comme par exemple : « Texture d’arrière-plan », « Séparateur », « Titre principal d’arrière-plan », etc. Cela permettra à toute personne désireuse de personnaliser votre modèle d’en identifier facilement les différents éléments ainsi que leur fonction. Utilisation des zones de dépôt Les zones de dépôt offrent aux utilisateurs une méthode intuitive pour remplacer des séquences dans un modèle. Il existe deux façons de créer des zones de dépôt. La première consiste à créer une zone de dépôt de toutes pièces, la deuxième à convertir un objet existant en zone de dépôt. Pour créer une nouvelle zone de dépôt, procédez de l’une des manières suivantes : m Choisissez Objet > Nouvelle zone de dépôt (ou appuyez sur les touches Commande + Maj + D). m Sélectionnez un objet existant dans le Canevas, puis cochez la case Zone de dépôt dans l’onglet Image de l’Inspecteur. Cet onglet contient des commandes permettant d’ajuster la zone de dépôt : Zone de dépôt : case à cocher permettant d’indiquer si l’objet est oui ou non une zone de dépôt. Ajuster : menu local vous permettant de choisir entre trois méthodes de placement de l’objet dans la zone de dépôt. Les valeurs possibles sont Ajuster, Au centre ou Étirer. La valeur Ajuster modifie automatiquement le paramètre Échelle du nouveau média, afin qu’il s’ajuste proportionnellement aux dimensions de la zone de dépôt. La valeur Au centre ne modifie en rien l’objet, mais le place simplement au centre de la zone de dépôt. Si le média inséré est d’une résolution différente de celle du projet, cette nouvelle résolution est utilisée sans apporter aucune modification au paramètre Échelle. Si la valeur Étirer est sélectionnée, l’objet déposé est étiré afin de s’adapter aux dimensions de la zone de dépôt. Effacer : bouton permettant d’effacer l’image déposée dans la zone et de la remplacer par la représentation graphique par défaut de la zone.Chapitre 2 Création et gestion de projets 283 Création de plusieurs projets pour chaque niveau de résolution requis Si vous créez régulièrement des projets pour divers formats, vous gagnerez du temps en créant à l’avance une version de votre projet pour chaque niveau de résolution requis. Au moment d’enregistrer le projet comme modèle, vous pouvez en spécifier le format afin de le repérer immédiatement plus tard. Consolidation des médias À moins d’avoir sélectionné un autre emplacement lors de l’installation de Motion, les modèles intégrés sont enregistrés dans le dossier /Bibliothèque/Application Support/ Final Cut Studio/Motion/Templates. Vos modèles personnalisés sont enregistrés dans le dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Final Cut Studio/Motion/Templates, mais les médias utilisé dans ces modèles restent à leur emplacement d’origine sur le disque. Si vous déplacez, renommez ou supprimez tout fichier de médias utilisé par un modèle, l’objet concerné devient offline dans tous les projets créés à partir de ce modèle. Pour éviter cela, il est recommandé de déplacer dans un dossier central du disque tous les fichiers de médias que vous comptez utiliser, avant de les importer dans le fichier de projet que vous enregistrerez comme modèle. Cela vous aidera à ne pas perdre ces fichiers de médias. Vous pouvez également utiliser la commande Fichier > Enregistrer sous et l’option Recueil données. Pour en savoir plus, voir « Recueil des données » à la page 212. ∏ Conseil : si vous envisagez de partager vos modèles personnalisés avec d’autres utilisateurs, il est recommandé de copier leur dossier à cet emplacement /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/Motion/Templates des ordinateurs concernés. Remarque : dans la section Générales des préférences Motion (appuyez sur les touches Commande + virgule), vous pouvez indiquer à Motion le dossier de votre système ou du réseau dans lequel se trouvent le contenu et les modèles. Cela permet également à plusieurs utilisateurs d’un réseau de partager un dossier unique centralisé.284 Chapitre 2 Création et gestion de projets Pour enregistrer un projet comme modèle : 1 Choisissez Fichier > Enregistrer comme modèle. La zone de dialogue Enregistrer apparaît. Remarque : il est recommandé de créer un nouveau thème personnalisé pour enregistrer vos propres modèles. 2 Si vous souhaitez créer un nouveau thème pour y ajouter votre modèle, cliquez sur Nouveau thème, attribuez un nom au thème dans la zone de dialogue qui apparaît, puis cliquez sur Créer. 3 Dans la zone de dialogue Enregistrer, attribuez un nom au modèle. 4 Dans le menu local Thème, choisissez un thème dans lequel stocker votre modèle. 5 Choisissez le format de votre modèle via le menu local Format. 6 Si vous voulez doter votre modèle d’un aperçu lorsqu’il est affiché dans le Navigateur de modèles, choisissez Créer un Preview QuickTime. 7 Cliquez sur Enregistrer. Votre nouveau modèle est enregistré dans le thème que vous avez sélectionné. Les modèles personnalisés sont enregistrés dans le dossier /Utilisateurs/nom d’utilisateur/ Bibliothèque/Application Support/Final Cut Studio/Motion/Templates, dans un dossier portant le nom du thème que vous avez sélectionné. Organisation des modèles dans le Navigateur de modèles Vous pouvez utiliser le Navigateur de modèles pour sélectionner et organiser vos modèles, si nécessaire. Tous les modèles sont classés par catégories. Vous pouvez ajouter des catégories, les supprimer ou les renommer directement dans le Navigateur de modèles. Pour ajouter une catégorie dans le Navigateur de modèles : 1 Choisissez Fichier > Ouvrir un modèle. Le Navigateur de modèles apparaît. 2 Cliquez sur Nouveau thème.Chapitre 2 Création et gestion de projets 285 3 Attribuez un nom au thème dans la zone de dialogue située au-dessus du Navigateur de modèles. 4 Cliquez sur Créer. La nouvelle catégorie apparaît dans la colonne Thème sur la gauche. Pour supprimer une catégorie dans le Navigateur de modèles : 1 Choisissez Fichier > Ouvrir un modèle. Le Navigateur de modèles apparaît. 2 Sélectionnez une catégorie dans la colonne Thème. 3 Appuyez sur la touche Suppr. Une zone de dialogue d’avertissement vous invite à confirmer la suppression. 4 Cliquez sur le bouton Supprimer. Le répertoire du disque correspondant à cette catégorie est placé dans la Corbeille, mais il n’est pas supprimé. Tout fichier de modèle présent dans le répertoire de cette catégorie est également placé dans la Corbeille. Pour supprimer des modèles à partir du Navigateur de modèles : 1 Choisissez Fichier > Ouvrir un modèle. Le Navigateur de modèles apparaît. 2 Sélectionnez un modèle. 3 Appuyez sur la touche Suppr. Une zone de dialogue d’avertissement vous invite à confirmer la suppression. 4 Cliquez sur le bouton Supprimer.3 287 3 Compositing standard Pour l’essentiel, le compositing 2D se résume à organiser les éléments visuels de votre composition en contrôlant le déplacement, le pivotement, la mise à l’échelle et le réglage de la transparence de chaque objet de votre projet. Le compositing est le processus consistant à associer au moins deux images en vue de d’obtenir un résultat final intégré. Cela peut être tout simplement l’ajout de texte sur une image ou par exemple, et c’est là que les choses se compliquent, l’association d’images représentant des acteurs en chair et en os à celles d’aliens en furie avec des rayons laser sortant des yeux. Les spécialistes de l’animation peuvent être amenés à déplacer à l’écran plusieurs objets simultanément et doivent donc faire preuve d’un grand sens de création visuelle. Ils ont recours à des techniques diverses : modifier l’ordre des groupes et des objets, transformer les propriétés physiques d’un objet (telles que son échelle), modifier les réglages du mode de fusion et l’opacité des objets, appliquer des filtres à des objets et créer du texte et des formes. Les projets d’animation graphique associent souvent des techniques de présentation et de conception à des techniques utilisées à l’origine pour la création d’effets spéciaux : incrustation, masques, étalonnage et création de systèmes de particules. Une fois les objets nécessaires à votre projet importés, la première étape consiste à disposer les objets à l’intérieur du Canevas afin d’obtenir un premier jet de votre œuvre. Avant même d’ajouter la moindre animation, vous devez notamment définir les dimensions de chaque objet et leur emplacement au cas où vous envisageriez de faire tourner des objets sur eux-mêmes. Vous pouvez bien évidemment effectuer des manipulations plus complexes afin de créer d’autres effets. Il vous est tout à fait possible, par exemple, de rogner les parties non désirées d’un objet.288 Chapitre 3 Compositing standard Vous pouvez utiliser différents outils de transformation afin de mener à bien des tâches de compositing élémentaires : sélection, déplacement, pivotement, mise à l’échelle, déformation simple ou par les angles, rognage, modification du point d’ancrage d’un objet et manipulation des ombres portées. Ces outils de transformation sont disponibles dans la section Présentation de la barre d’outils. Lorsque vous passez d’un outil de transformation à l’autre, des commandes à l’écran différentes sont affichées dans le Canevas. Il vous suffit de faire glisser ces commandes pour réaliser l’opération de transformation sélectionnée. D’autres commandes de la palette vous permettent de modifier l’opacité, le mode de fusion et les réglages d’ombre portée de chaque objet sélectionné. Tout comme les commandes à l’écran, les commandes de la palette correspondent à des paramètres affichés dans l’onglet Propriétés de l’Inspecteur. Chaque paramètre correspond à une commande du Canevas différente et chaque réglage apporté dans le Canevas se reflète simultanément dans l’Inspecteur. Par exemple, si vous utilisez l’outil Sélectionner/Transformer et que vous modifiez l’échelle d’un objet en faisant glisser l’une de ses poignées d’angle dans le Canevas, son paramètre Échelle est immédiatement mis à jour dans l’onglet Propriétés de l’Inspecteur. Faites glisser l’une des poignées d’angle d’un objet pour le redimensionner en mode de transformation.Chapitre 3 Compositing standard 289 Lorsque vous commencez à créer la présentation d’une composition, il est recommandé de créer avant toute chose une présentation statique de votre projet, autrement dit la représentation de ce dernier à un moment précis, au début ou à la fin du projet. Vous ne pouvez pas seulement manipuler la géométrie des objets de votre projet, vous pouvez également jouer sur leur opacité. Cela vous donne davantage de manœuvre au moment de définir la fusion d’éléments de votre présentation qui se superposent. Quant aux modes de fusion, ils vous permettent de mieux définir l’apparence des objets superposés, en accentuant ou stylisant les couleurs des objets supérieurs à partir des objets inférieurs. Une fois la présentation initiale créée, vous pouvez animer tout objet ajouté pour donner une impression de mouvement à votre projet. Pour en savoir plus sur l’animation et les propriétés des objets, voir « Animations dans Motion » à la page 548. Ordre des groupes et des couches Comme le chapitre 2, « Création et gestion de projets », le mentionne au sujet des projets 2D, l’ordre dans lequel les couches et les groupes apparaissent dans l’onglet Couches et la Timeline détermine l’ordre dans lequel elles sont affichées les unes par rapport aux autres dans le Canevas (l’ordre des couches). Avant d’effectuer le moindre outil décrit dans ce chapitre, vous devez tout d’abord organiser les couches et les groupes de votre projet dans l’ordre approprié. Commandes Disposition du menu Objet Vous pouvez bien sûr modifier la disposition des objets dans l’onglet Couches. Toutefois, vous avez également la possibilité de faire passer un objet au-dessus ou en dessous d’un autre à l’aide des commandes du menu Objet. Cette méthode peut notamment s’avérer très utile lorsque vous avez besoin de déplacer rapidement un objet au premier plan dans le Canevas. Plutôt que de passer par l’onglet Couches, utilisez tout simplement l’une des commandes du menu Objet. Les commandes Disposition s’appliquent aussi bien aux objets et aux groupes, qu’aux groupes imbriqués au sein d’un autre groupe. Toutefois, la réorganisation d’un groupe réorganise aussi tous les objets imbriqués à l’intérieur. Remarque : vous ne pouvez pas utiliser les commandes Réorganiser pour déplacer des objets en dehors du groupe au sein duquel ils sont imbriqués. Le menu Objet comporte quatre commandes de réorganisation :290 Chapitre 3 Compositing standard Faire passer au premier plan : place l’objet sélectionné au premier plan par rapport à tous les autres objets du même groupe, en le faisant passer tout en haut du groupe d’objets imbriqués dans l’onglet Couches et dans le Canevas. Faire passer à l’arrière-plan : place l’objet sélectionné à l’arrière-plan par rapport à tous les autres objets du même groupe, en le faisant passer tout en bas du groupe d’objets imbriqués dans l’onglet Couches et dans le Canevas. Avancer d’un plan : avance l’objet sélectionné d’un niveau dans la hiérarchie des objets imbriqués au sein du même groupe dans l’onglet Couches et le Canevas, le rapprochant ainsi du premier plan dans le Canevas. Reculer d’un plan : recule l’objet sélectionné d’un niveau dans la hiérarchie des objets imbriqués au sein du même groupe dans l’onglet Couches et le Canevas, le rapprochant ainsi de l’arrière-plan dans le Canevas. Avant Après Avant Après Chapitre 3 Compositing standard 291 Réorganisation de sélections non adjacentes Si vous utilisez une commande de réorganisation sur une sélection de couches non adjacentes, elles sont décalées ensemble vers le haut ou le bas de la hiérarchie et l’espace qui les séparait est réduit. Transformation d’objets et de couches dans le Canevas Le terme transformation couvre toute opération effectuée sur un objet, notamment son déplacement, son redimensionnement ou son pivotement. Vous pouvez transformer des objets soit directement à l’aide des commandes à l’écran (les poignées de transformation), soit en modifiant leurs paramètres dans l’onglet Propriétés de l’Inspecteur. En général, les commandes du Canevas permettent de voir directement les modifications apportées alors que les paramètres de l’onglet Propriétés s’utilisent plutôt lorsque vous apportez des modifications nécessitant une très grande précision. Pour certaines opérations, il est même possible d’utiliser les touches du clavier. Sélection d’objets pour les transformer Avant de pouvoir procéder à des transformations, vous devez sélectionner les objets et les groupes que vous souhaitez transformer dans le Canevas, l’onglet Couches ou la Timeline. Si vous sélectionnez un groupe ou un objet à l’un de ces trois emplacements, il est également sélectionné dans les deux autres. Si vous sélectionnez un objet dans le Canevas, il est entouré par un cadre de sélection doté de poignées de transformation correspondant au mode de transformation actuellement sélectionné. Ces poignées permettent de transformer chaque objet sélectionné. Pour sélectionner un seul objet dans le Canevas : m Cliquez sur l’objet à sélectionner dans le Canevas. Commande Avancer d’un plan appliquée Sélection de couches non adjacentes292 Chapitre 3 Compositing standard Pour sélectionner plusieurs objets dans le Canevas ou pour ajouter des objets à une sélection, effectuez l’une des opérations suivantes : m Tracez une zone de sélection à l’aide de la souris tout autour des objets à sélectionner. m Cliquez sur les objets à sélectionner tout en appuyant sur la touche Maj du clavier. m Pour ajouter des objets à une sélection, faites glisser un cadre de sélection autour des objets à ajouter à l’aide de la souris tout en appuyant sur la touche Maj ou Commande. Pour désélectionner l’un des multiples objets sélectionnés dans le Canevas, effectuez l’une des opérations suivantes : m Maj tout en cliquant sur l’objet à désélectionner. Tous les autres objets sélectionnés ne sont pas désélectionnés. m Tracez un cadre de sélection autour des objets à désélectionner à l’aide de la souris tout en appuyant sur la touche Maj ou Commande. Pour sélectionner tous les objets du Canevas, procédez de l’une des manières suivantes : m Choisissez Tout sélectionner dans le menu Édition. m Appuyez simultanément sur les touches Commande + A. Pour désélectionner tous les objets du Canevas, procédez de l’une des manières suivantes : m Choisissez Tout désélectionner dans le menu Édition. m Appuyez simultanément sur les touches Maj + Commande + A. Il peut arriver parfois qu’un objet se retrouve caché par un autre objet. La meilleure façon de sélectionner un objet caché consiste à le sélectionner dans l’onglet Couches ou dans la Timeline. Lorsque vous procédez ainsi, le cadre de sélection de l’objet et les commandes de transformation du Canevas permettent de sélectionner l’objet, même si celui-ci est entièrement caché. Remarque : lorsqu’un objet inactif est sélectionné, vous voyez uniquement la zone de sélection de cet objet. Pour en savoir plus sur la sélection d’objets et de groupes dans l’onglet Couches, voir « Sélection de couches et de groupes dans l’onglet Couches » à la page 266.Chapitre 3 Compositing standard 293 Règles de transformation des objets et groupes sélectionnés La méthode de transformation des objets sélectionnés dépend du nombre d’objets sélectionnés. Transformation d’un seul objet Si un seul objet est sélectionné, les modifications apportées ne s’appliquent qu’à cet objet. Tous les autres objets non sélectionnés ne sont pas modifiés. Par exemple, si vous sélectionnez un seul objet, des poignées de transformation apparaissent autour de celui-ci. Transformation de plusieurs objets Si vous sélectionnez plusieurs objets dans le Canevas, les modifications apportées à un seul objet s’appliquent immédiatement à tous les autres objets. Chaque transformation ayant lieu autour du point d’ancrage de chaque objet, l’effet est le même que si vous appliquiez la même transformation à la poignée de chaque objet, l’une après l’autre. Avant la mise à l’échelle Après la mise à l’échelle Avant la mise à l’échelle Après la mise à l’échelle294 Chapitre 3 Compositing standard Transformation d’un groupe Si vous sélectionnez un groupe entier, tous les objets et les groupes imbriqués à l’inté- rieur de ce groupe sont traités comme s’il s’agissait d’un seul objet. Un seul ensemble de poignées de transformation apparaît donc sur le cadre de sélection regroupant tous les objets de ce groupe. De même, toutes les transformations appliquées aux objets sont exécutées à partir d’un seul point d’ancrage appartenant au groupe. Utilisation des outils de transformation 2D Les outils de transformation permettent de disposer et de manipuler des objets dans l’espace du Canevas. Comme leur nom l’indique, ils vous offrent la possibilité de transformer des objets et des groupes de votre projet en contrôlant leur déplacement, mise à l’échelle, rotation, déformation, déformation par les angles et rognage. Chacune de ces opérations peut être réalisée de deux manières : en utilisant des poignées graphiques dans le Canevas ou en utilisant les paramètres de chaque objet, situés dans l’Inspecteur. Cette section s’attache à décrire l’utilisation des commandes graphiques disponibles dans le Canevas. Ces commandes à l’écran représentent la méthode la plus intuitive et la plus pratique pour organiser des objets dans votre projet. Pour en savoir plus sur la correspondance entre chaque transformation, ses paramètres et les valeurs numériques correspondantes, voir « Commandes de géométrie d’un objet dans l’Inspecteur » à la page 311. Avant la mise à l’échelle Après la mise à l’échelleChapitre 3 Compositing standard 295 Passage d’un outil de transformation à l’autre Avant de transformer un objet, prenez soin de sélectionner le pointeur correspondant à l’outil de transformation souhaité. Ces outils peuvent être sélectionnés dans la barre d’outils. Les six principaux outils de transformation 2D sont les suivants : Sélectionner/Transformer : met à l’échelle et fait pivoter les objets sélectionnés. Ajuster le point d’ancrage : décale le point d’ancrage utilisé pour toutes les transformations d’objet. Ajuster la déformation : incline les objets horizontalement ou verticalement. Ajuster l’ombre portée : manipule les ombres portées des objets directement dans le Canevas. Ajuster les quatre angles : étire un objet pour créer différentes formes de polygone. Ajuster le rognage : supprime certains pixels de l’objet à partir de l’un de ses quatre bords. Remarque : chacun de ces outils de transformation vous permettent de sélectionner et de repositionner des objets dans l’espace du Canevas. L’outil Ajuster les points de contrôle est disponible lorsqu’une forme ou un masque est sélectionnée. Il vous sert à ajuster les points de contrôle de Bézier ou B-Spline. Quant à l’outil Ajuster l’élément, il est disponible lorsque l’élément sélectionné comporte des commandes à l’écran supplémentaires, tels qu’un filtre ou un générateur de dégradé. Outil Sélectionner/Transformer Outil Ajuster la déformation Outil Ajuster les quatre angles Outil Ajuster les points de contrôle Outil Ajuster le point d’ancrage Outil Ajuster l’ombre portée Outil Ajuster le rognage Outil Ajuster l’élément (les filtres ou les formes des émetteurs de particules)296 Chapitre 3 Compositing standard Pour passer d’un outil de transformation à un autre, procédez de l’une des manières suivantes : m Cliquez sur l’outil Sélectionner/Transformer dans la barre d’outils tout en maintenant le bouton de la souris enfoncé, puis choisissez un autre outil de transformation dans le menu local. m Sélectionnez un objet dans le Canevas, puis appuyez sur la touche de tabulation. En appuyant sur cette touche, vous pouvez passer en revue les différents modes de transformation du Canevas dans l’ordre. Remarque : appuyez simultanément sur les touches Maj + Tabulation pour parcourir les modes de transformation dans l’ordre inverse. m Cliquez sur tout objet dans le Canevas tout en maintenant la touche Contrôle enfoncée, puis choisissez un mode de transformation dans le menu contextuel.Chapitre 3 Compositing standard 297 Pour en savoir plus sur les outils de transformation 3D, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Déplacement d’objets dans le Canevas La manière la plus simple de disposer les objets dans votre projet consiste à les déplacer à l’endroit où vous le souhaitez. À l’exception de l’outil Ajuster l’ombre portée, tous les outils de transformation vous permettent de repositionner les objets, de sorte qu’il s’agit de la seule opération que vous puissiez effectuer indépendamment de l’outil de transformation sélectionné. Pour déplacer un objet, il suffit de le faire glisser dans le Canevas à l’aide de la souris. Si vous souhaitez déplacer un objet avec beaucoup plus de précision, modifiez les valeurs numériques des paramètres de Position X et Y dans l’onglet Propriétés de l’Inspecteur. Pour en savoir plus sur les propriétés d’un objet, voir « Paramètres disponibles dans l’onglet Propriétés » à la page 312. Utilisation des fonctions d’aide à la composition dans le Canevas Lorsque vous disposez des objets directement dans le Canevas, n’hésitez pas à recourir aux différentes fonctions disponibles pour vous aider à organiser les objets de votre composition. Par exemple, si vous travaillez sur une séquence d’un film ou destinée à être diffusée, activez les zones sécurisées dans le Canevas afin d’éviter de placer des objets sur les limites de la zone de titre ou d’action sécurisée. Vous pouvez également activer la grille, les règles et les guides dynamiques afin d’aligner les objets avec plus de précision, en les utilisant comme points de repère. De plus, vous pouvez activer le magnétisme afin de vous aider à positionner des objets par rapport au centre ou aux bords du Canevas, avec ou sans les autres guides affichés à l’écran. Remarque : si vous souhaitez déplacer un objet n’importe où, appuyez sur la touche Commande pour désactiver momentanément le magnétisme. Pour en savoir plus sur l’activation des différentes fonctions vous aidant à disposer les objets de votre composition dans le Canevas, voir « Affichage et incrustation » à la page 50.298 Chapitre 3 Compositing standard Vous pouvez déplacer les objets n’importe où dans le Canevas mais également en dehors des limites du Canevas. Par défaut, lorsque vous déplacez un objet au-delà des limites de l’image, il devient invisible, mais vous pouvez toujours le manipuler par le biais de son cadre de sélection. Remarque : le cadre de sélection indiquant la position des objets en dehors du Canevas n’apparaît que lorsque ces objets sont sélectionnés. Par exemple, il peut s’avérer nécessaire de déplacer un objet en dehors du Canevas lorsque vous envisagez d’animer un objet de façon à ce que celui-ci traverse l’écran. Pour réaliser cette animation, vous devez d’abord déplacer l’objet en dehors de l’écran. Remarque : pour afficher l’intégralité d’un objet situé en partie ou en totalité à l’extérieur du Canevas, activez l’option « Afficher zone de présentation totale » dans le menu Présentation (situé juste au-dessus de la partie droite du Canevas). Pour déplacer un ou plusieurs objets dans le Canevas : 1 Sélectionnez un ou plusieurs objets. 2 Procédez de l’une des manières suivantes :  Faites glisser un objet à l’endroit souhaité. Si plusieurs objets sont sélectionnés, il suffit de faire glisser un des objets sélectionnés pour tous les déplacer.  Appuyez sur la touche Commande, puis sur Flèche droite, Flèche gauche, Flèche vers le haut ou Flèche vers le bas pour repositionner tous les objets sélectionnés pixel par pixel.  Appuyez sur les touches Commande + Maj, puis sur Flèche droite ou Flèche gauche pour repositionner votre sélection de 10 pixels. Remarque : lorsque vous repositionnez de tout petits objets, il peut être nécessaire d’effectuer un zoom avant sur le Canevas pour les voir avec plus de précision. Remarque : si vous appuyez sur la touche Flèche vers le haut ou vers le bas alors que vous travaillez dans le Canevas, la sélection passe à l’objet suivant (vers le haut ou vers le bas) dans l’onglet Couches.Chapitre 3 Compositing standard 299 Pour dupliquer un objet, procédez de l’une des manières suivantes : m Sélectionnez l’objet à dupliquer, puis faites-le glisser tout en maintenant la touche Option enfoncée. m Cliquez sur l’objet tout en maintenant la touche Option enfoncée, puis choisissez Dupliquer dans le menu contextuel. Utilisation des commandes d’alignement d’objets Plusieurs commandes du menu Objet peuvent servir à repositionner simultanément un nombre quelconque d’objets sélectionnés de plusieurs manières différentes. Ces commandes permettent d’aligner facilement et rapidement un groupe d’objets, vous évitant ainsi d’avoir à les aligner manuellement un par un. Quelle que soit l’opération, les côtés gauche, droit, supérieur et inférieur des objets sélectionnés sont définis par le cadre de sélection qui les entoure. En ce qui concerne la position du point d’ancrage, elle n’est pas prise en compte. Lorsque vous utilisez ces commandes, le paramètre Position correspondant est modifié automatiquement. Aligner les bords gauches : les bords gauches des objets sont alignés sur l’objet situé le plus à gauche dans la sélection, sur un axe horizontal. Aligner les bords droits : les bords droits des objets sont alignés sur l’objet situé le plus à droite dans la sélection, sur un axe horizontal. Aligner les bords supérieurs : les bords supérieurs des objets sont alignés sur l’objet situé le plus haut dans la sélection, sur un axe vertical. Aligner les bords inférieurs : les bords inférieurs des objets sont alignés sur l’objet situé le plus bas dans la sélection, sur un axe vertical. Aligner les bords éloignés : les objets sont repositionnés sur l’axe Z, de telle sorte que leur bord le plus éloigné soit aligné sur l’objet situé le plus loin dans la sélection. Avant d’utiliser les commandes d’alignement Après avoir utilisé les commandes d’alignement300 Chapitre 3 Compositing standard Aligner les bords proches : les objets sont repositionnés sur l’axe Z, de telle sorte que leur bord le plus proche soit aligné sur l’objet situé le plus près dans la sélection. Aligner les centres horizontalement : le centre des objets est aligné sur celui entre les objets les plus à gauche et ceux les plus à droite dans la sélection, formant ainsi une ligne horizontale. Aligner les centres verticalement : le centre des objets est aligné sur le point central entre l’objet le plus haut et celui le plus bas dans la sélection, formant ainsi une ligne verticale. Distribuer les bords gauches : les bords gauches de tous les objets sont distribués uniformément, de droite à gauche, entre les objets les plus à gauche et les plus à droite dans la sélection, formant ainsi une ligne horizontale. Distribuer les bords droits : les bords droits de tous les objets sont distribués uniformément, de gauche à droite, entre les objets les plus à gauche et les plus à droite dans la sélection, formant ainsi une ligne horizontale. Distribuer les bords supérieurs : les bords supérieurs de tous les objets sont distribués uniformément, de haut en bas, entre l’objet le plus haut et le plus bas dans la sélection, formant ainsi une ligne verticale. Distribuer les bords inférieurs : les bords inférieurs de tous les objets sont distribués uniformément, de haut en bas, entre l’objet le plus haut et le plus bas dans la sélection, formant ainsi une ligne verticale. Distribuer les bords éloignés : les objets sont repositionnés sur l’axe Z, de telle sorte que le bord le plus éloigné de chaque objet soit distribué uniformément le long de l’axe Z, du plus proche au plus éloigné, entre les objets situés le plus près et le plus loin dans la sélection. Distribuer les bords proches : les objets sont repositionnés sur l’axe Z, de telle sorte que le bord le plus proche de chaque objet soit distribué uniformément le long de l’axe Z, du plus proche au plus éloigné, entre les objets situés le plus près et le plus loin dans la sélection. Distribuer les centres horizontalement : le centre de tous les objets est distribué uniformément, de gauche à droite, entre les objets les plus à gauche et les plus à droite dans la sélection, formant ainsi une ligne horizontale. Distribuer les centres verticalement : le centre de tous les objets est distribué uniformément, de haut en bas, entre l’objet le plus haut et le plus bas dans la sélection, formant ainsi une ligne verticale. Distribuer les centres en profondeur : les objets sont repositionnés sur l’axe Z, de telle sorte que le centre de chaque objet soit distribué uniformément, du plus proche au plus éloigné, entre les objets situés le plus près et le plus loin dans la sélection.Chapitre 3 Compositing standard 301 Outils de transformation Les commandes de transformation ont une double fonction. Via un seul mode, elles permettent à la fois de redimensionner (remettre à l’échelle) et de faire pivoter un objet. Mise à l’échelle Lorsque vous sélectionnez un objet, huit poignées d’échelle apparaissent sur le pourtour de son cadre de sélection. Faites glisser ces poignées pour redimensionner l’objet. Par défaut, la largeur et la hauteur d’un objet ne sont pas redimensionnées proportionnellement lorsque vous déplacez les poignées d’échelle. Vous pouvez donc modifier sans aucune limite les proportions d’un objet (par proportions, on entend le rapport largeur/ hauteur de l’objet). Pour préserver les proportions d’un objet, il vous suffit d’appuyer sur la touche Maj lorsque vous faites glisser ses poignées d’échelle. Les modifications apportées à l’échelle d’un objet s’appliquent également au paramètre Échelle de l’onglet Propriétés de l’Inspecteur. Pour modifier séparément la largeur et la hauteur d’un objet dans le Canevas : 1 Cliquez sur un objet dans le Canevas pour le sélectionner. Si vous aviez activé un outre outil, tel que l’outil Masque, appuyez sur la touche S pour basculer vers les outils de transformation. Un cadre de sélection apparaît autour de l’objet. Remarque : vous pouvez également cliquer sur un objet dans le Canevas tout en maintenant la touche Contrôle enfoncée, puis choisir Transformer dans le menu contextuel. Poignée d’échelle Poignée de rotation Point d’ancrage Cadre de sélection302 Chapitre 3 Compositing standard 2 Procédez de l’une des manières suivantes :  Faites glisser l’une des poignées d’angle pour modifier simultanément la largeur et la hauteur de l’objet. Par défaut, vous pouvez modifier à volonté la largeur et la hauteur séparément.  Appuyez sur la touche Maj, puis faites glisser l’une des poignées d’angle pour redimensionner l’objet tout en verrouillant sa largeur et sa hauteur, ce qui permet de conserver ses proportions actuelles.Chapitre 3 Compositing standard 303  Faites glisser les poignées d’échelle supérieures ou inférieures pour limiter les changements d’échelle à la hauteur de l’objet. En revanche, faites glisser les poignées d’échelle gauche ou droite pour limiter les changements d’échelle à la largeur de l’objet.  Appuyez sur la touche Option tout en faisant glisser n’importe quelle poignée d’échelle pour redimensionner un objet autour de son point d’ancrage, plutôt que de le modifier de manière unilatérale. Lorsque vous faites glisser les poignées d’échelle, une fenêtre d’information vous indique les nouveaux pourcentages correspondant à la largeur et à la hauteur, ainsi que les proportions dans lesquelles l’objet a été agrandi ou réduit. Cette dernière valeur est repré- sentée par le symbole delta. Faites glisser la poignée d’échelle de gauche pour modifier la largeur de l’objet. Redimensionnement tout en maintenant la touche Option enfoncée Redimensionnement sans maintenir la touche Option enfoncée304 Chapitre 3 Compositing standard Remarque : l’application d’une valeur négative lors de la mise à l’échelle de la largeur ou de la hauteur d’un objet a pour effet d’inverser l’image, ainsi que sa direction. Rotation Une autre poignée de transformation vous permet de faire pivoter l’image autour de son point d’ancrage. Pour des questions de suivi de votre animation, Motion conserve le nombre de fois où vous avez fait pivoter un objet et stocke ce nombre dans le paramètre Rotation de l’onglet Propriétés de l’Inspecteur. Pour faire pivoter un objet dans le Canevas : 1 Cliquez sur un objet dans le Canevas pour le sélectionner. Remarque : le mode Sélectionner/Transformer est activé par défaut à l’ouverture de Motion. 2 Procédez de l’une des manières suivantes :  Faites glisser la poignée de rotation pour faire pivoter l’objet.  Appuyez sur la touche Maj tout en faisant glisser la poignée de rotation pour limiter l’angle de rotation de l’objet sélectionné à des incréments de 45 degrés. Lorsque vous faites glisser la poignée de rotation, l’angle d’origine de l’objet est indiqué par un petit cercle, entouré lui-même d’un plus grand cercle autour du point d’ancrage de l’objet. Qui plus est, une fenêtre d’information apparaît pour vous indiquer le nouvel angle de rotation et la différence entre l’angle précédent de l’objet et l’angle selon lequel vous l’avez fait glisser.Chapitre 3 Compositing standard 305 Modification du point d’ancrage d’un objet En déplaçant le point d’ancrage de n’importe quel objet, vous modifiez les différents types de transformation géométrique. Les objets tournent autour de leur point d’ancrage, qui a également un effet sur les opérations de déformation et de redimensionnement. Par exemple, le point d’ancrage par défaut de tout objet correspond au centre du cadre de sélection qui définit les bords de l’objet. La rotation de tout objet a lieu autour de ce point d’ancrage central. Si vous déplacez le point d’ancrage d’un objet, ce dernier ne pivote plus autour de son propre centre, mais autour du nouveau point d’ancrage. Le déplacement du point d’ancrage n’a pas seulement un effet sur la rotation d’un objet, c’est également le cas sur les opérations de déplacement et d’échelle réalisées sur l’objet. Les modifications apportées au point d’ancrage d’un objet sont conservées dans le paramètre Point d’ancrage de l’onglet Propriétés de l’Inspecteur.306 Chapitre 3 Compositing standard Pour modifier le point d’ancrage d’un objet dans le Canevas : 1 Cliquez sur l’outil Sélectionner/Transformer tout en maintenant le bouton de la souris enfoncé, puis choisissez l’outil Ajuster le point d’ancrage dans le menu local. Dans le Canevas, le point d’ancrage d’un objet est symbolisé par une cible ronde entourée de trois flèches de couleur représentant les axes de coordonnées X, Y et Z. Pour en savoir plus sur les axes de coordonnées, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. 2 Procédez de l’une des manières suivantes :  Faites glisser le cercle blanc pour déplacer le point d’ancrage à la verticale ou à l’horizontale.  Faites glisser l’une des flèches pour déplacer le point d’ancrage le long de l’axe correspondant. Lorsque vous faites glisser le point d’ancrage, une ligne apparaît, s’étirant de la position par défaut du point d’ancrage jusqu’à sa nouvelle position. De plus, une fenêtre d’information vous indique en haut les nouvelles coordonnées du point d’ancrage, ainsi que la différence (le delta) entre la nouvelle et l’ancienne position du point d’ancrage. Remarque : si le point d’ancrage est situé à proximité du centre ou d’un des bords de l’objet et que vous avez activé les Guides dynamiques, il se positionne par magnétisme sur cette position. Déformation d’objets Les poignées de déformation peuvent être utilisées pour incliner un objet horizontalement ou verticalement. Il s’agit d’une représentation isométrique de l’objet, c’est pourquoi l’effet de perspective n’est pas nécessairement réaliste. Lorsque vous déformez un objet, cette modification est conservée dans le paramètre Déformer, dans l’onglet Propriétés de l’Inspecteur. Avant la déformation Après la déformationChapitre 3 Compositing standard 307 Pour déformer un objet dans le Canevas : 1 Cliquez sur l’outil Sélectionner/Transformer tout en maintenant le bouton de la souris enfoncé, puis choisissez l’outil Ajuster la déformation dans le menu local. 2 Dans le Canevas, faites glisser l’une des quatre poignées de déformation pour incliner l’objet. Les poignées supérieures et inférieures inclinent l’objet horizontalement. Quant aux poignées gauche et droite, elles l’inclinent verticalement. Ajustement de l’ombre portée d’un objet Dès que le paramètre Ombre portée d’un objet est activé, des poignées d’ombre portée apparaissent à l’écran pour modifier le flou, l’angle et la distance de l’ombre portée de cet objet. Pour ajuster l’ombre portée d’un objet dans le Canevas : 1 Cliquez sur l’outil Sélectionner/Transformer tout en maintenant le bouton de la souris enfoncé, puis choisissez l’outil Ajuster l’ombre portée dans le menu local. 2 Dans le Canevas, faites glisser l’une des quatre poignées d’angle afin d’ajuster le flou de l’ombre portée. Faites glisser la zone de sélection de l’ombre afin d’ajuster la distance et l’angle de l’ombre portée. Pour en savoir plus sur l’utilisation des ombres portées, consultez la rubrique « Ombres portées » à la page 342. Ombre portée par défaut (avant l’utilisation de l’outil Ajuster l’ombre portée) Après l’ajustement du flou, de l’angle et de la distance308 Chapitre 3 Compositing standard Déformation des objets par les angles Les commandes Quatre angles vous offrent la possibilité d’étirer un objet en vue de lui donner différentes formes polygonales. Vous pouvez ainsi donner l’illusion d’une perspective, ainsi que simuler des effets 3D et des positions dans un espace tridimensionnel au sein de votre composition. Pour déformer un objet par les angles dans le Canevas : 1 Cliquez sur l’outil Sélectionner/Transformer tout en maintenant le bouton de la souris enfoncé, puis choisissez l’outil Ajuster les quatre angles dans le menu local. 2 Dans le Canevas, faites glisser chacune des quatre poignées d’angle pour étirer l’objet jusqu’à obtenir la forme souhaitée. Remarque : comme avec les poignées d’échelle, vous pouvez inverser les poignées d’angle pour retourner l’image. Cependant, en faisant pivoter l’un des quatre angles de 180 degrés, vous risquez d’obtenir des résultats inattendus. Après avoir déformé un objet par les angles, il vous suffit de désactiver la case Quatre angles dans l’onglet Propriétés de l’Inspecteur pour revenir à la forme d’origine. L’objet retrouve alors sa forme d’origine. Toutefois, la forme déformée par les angles, définie dans le paramètre Quatre angles de l’onglet Propriétés, est conservée. Avant la déformation par les angles Après la déformation par les anglesChapitre 3 Compositing standard 309 Rognage d’objets Le rognage consiste à réduire un ou plusieurs bords d’un objet afin d’éliminer les parties que vous ne souhaitez plus voir dans votre composition. Les exemples les plus courants concernent souvent la suppression de la bande noire située sur le bord gauche ou droit d’un plan vidéo du fait du format vidéo ou encore du cercle sombre de vignetage apparaissant sur les bords lorsque vous utilisez un objectif grand angle. Vous pouvez utiliser l’outil Rognage pour éliminer les artefacts indésirables lorsque vous souhaitez les utiliser dans votre composition. Il est également possible de rogner un objet pour isoler un élément de l’image, dès lors que cet élément peut être découpé en traçant un simple rectangle. Remarque : si vous devez isoler un objet ayant une forme plus irrégulière ou que vous souhaitez créer une bordure d’une certaine forme, consultez la rubrique « Utilisation des formes et des masques » à la page 1071 pour en savoir plus. Comparaison entre le rognage dans l’Inspecteur et dans l’onglet Média Lorsque vous rognez une image importée à l’aide de l’outil de transformation à l’écran (ce qui revient à utiliser les commandes Rogner dans l’onglet Propriétés de l’objet), seule l’instance de ce fichier est rognée. L’image source dans l’onglet Média n’est pas rognée. Pour rogner l’image source, vous devez sélectionner l’objet sous l’onglet Média de la sous-fenêtre Projet, puis utiliser les outils Rogner sous l’onglet Média de l’Inspecteur. Pour en savoir plus, consultez la rubrique « Paramètres d’objet dans l’onglet Média » à la page 250. Avant rognage Après rognage310 Chapitre 3 Compositing standard Pour rogner un objet dans le Canevas : 1 Cliquez sur l’outil Sélectionner/Transformer tout en maintenant le bouton de la souris enfoncé, puis choisissez l’outil Ajuster le rognage dans le menu local. 2 Dans le Canevas, faites glisser l’une des huit poignées situées le long du bord de l’objet afin de le rogner :  Faites glisser la poignée supérieure, inférieure, gauche ou droite pour ne rogner que ce côté.  Faites glisser une des quatre poignées pour rogner deux côtés à la fois.  Faites glisser une poignée d’angle tout en appuyant sur la touche Maj pour limiter le rognage au rapport largeur/hauteur de l’objet. Remarque : après avoir déformé un objet par les angles, vous ne pouvez plus activer le mode Rognage dans le Canevas (commandes à l’écran). En revanche, il y a toujours possibilité de rogner un objet déformé par les angles en ajustant les réglages du paramètre Rognage dans l’onglet Propriétés de l’Inspecteur. De plus, vous pouvez manipuler séparément la zone rognée et l’image. Pour déplacer la zone rognée sans toucher à l’image sous-jacente : m Appuyez sur les touches Commande et Option tout en faisant glisser la zone rognée. Pour déplacer l’image sans toucher à la zone rognée : m Appuyez sur la touche Commande tout en faisant glisser la zone rognée. Ajustement des points de contrôle Vous pouvez modifier une forme ou un masque directement dans le Canevas. Pour modifier les points de contrôle d’une forme dans le Canevas : 1 Une fois la forme ou le masque créé, cliquez sur l’outil Sélectionner/Transformer tout en maintenant le bouton de la souris enfoncé, puis choisissez l’outil Ajuster les points de contrôle dans le menu local. Remarque : vous pouvez également double-cliquer sur la forme ou cliquer sur l’objet tout en maintenant la touche Contrôle enfoncée, puis choisir Ajuster les points de contrôle dans le menu contextuel, afin d’accéder au mode d’ajustement des points de contrôle. Les points de contrôle de l’objet deviennent actifs.Chapitre 3 Compositing standard 311 2 Dans le Canevas, faites glisser ces points pour modifier la forme de l’objet. Pour en savoir plus sur l’utilisation de formes et de masques, consultez la rubrique « Utilisation des formes et des masques » à la page 1071. Commandes de géométrie d’un objet dans l’Inspecteur Les groupes et les objets disposent des mêmes paramètres géométriques dans l’onglet Propriétés de l’Inspecteur. L’ajustement d’une commande de transformation du Canevas modifie également le paramètre correspondant dans l’onglet Propriétés de l’Inspecteur. Si vous souhaitez transformer un objet avec plus de précision qu’avec les commandes à l’écran, modifiez directement la valeur numérique du paramètre. Lorsque vous sélectionnez un seul objet et que vous ouvrez l’onglet Propriétés de l’Inspecteur, les paramètres de l’objet s’affichent. Vous pouvez modifier l’objet sélectionné en modifiant les valeurs de l’onglet Propriétés. Si vous avez sélectionné plusieurs objets dans le Canevas, la Timeline ou l’onglet Couches, les valeurs des paramètres affichés par l’onglet Propriétés de l’Inspecteur deviennent accessibles. Toutefois, vous pouvez toujours utiliser les commandes à l’écran. Tous les objets sélectionnés sont modifiés à l’identique lorsque vous manipulez n’importe laquelle des poignées de transformation à l’écran. Pour modifier les valeurs des paramètres dans l’onglet Propriétés de l’Inspecteur, procédez de l’une des manières suivantes : m Sélectionnez le champ de valeur d’un paramètre, saisissez une nouvelle valeur, puis appuyez sur Retour. m Si le paramètre est doté d’une commande graphique, par exemple un curseur ou un cadran, utilisez cette commande pour ajuster le paramètre. m Pour qu’un paramètre reprenne sa valeur par défaut, cliquez sur le bouton de réinitialisation correspondant ou sélectionnez Réinitialiser le paramètre à partir du menu Animation du paramètre. Pour en savoir plus sur l’utilisation des commandes des paramètres, voir « Types de commandes » à la page 138.312 Chapitre 3 Compositing standard Paramètres disponibles dans l’onglet Propriétés L’onglet Propriétés affiche les paramètres suivants pour la majeure partie des objets et des groupes : Position : définit la position X (horizontale), Y (verticale) et Z (profondeur) de chaque objet. Le système de coordonnées utilisé par Motion affecte la valeur 0, 0, 0 au centre du Canevas, quelles que soient les dimensions de l’image de votre projet. Le déplacement d’un objet vers la gauche a pour effet de diminuer sa valeur X, alors que son déplacement vers la droite l’augmente. De la même façon, le déplacement d’un objet vers le haut a pour effet d’augmenter sa valeur Y, alors que son déplacement vers le bas la diminue. Enfin, rapprocher un objet augmente sa valeur Z, alors que l’éloigner la diminue. Remarque : Final Cut Pro et Final Cut Express HD utilisent le même système de coordonnées. En revanche, il diffère du système de Shake, dans lequel les coordonnées 0,0 correspondent à l’angle supérieur gauche de la zone de composition. La position de chaque objet est centrée sur son point d’ancrage. Le décalage de ce point d’ancrage décale également la position de l’objet par rapport aux valeurs des coordonnées X, Y et Z que vous avez définies. Rotation : contrôle une valeur à une seule dimension, soit la valeur de la rotation en degrés. Une valeur positive a pour effet de faire pivoter l’objet vers la gauche. En revanche, une valeur négative fait pivoter l’objet vers la droite. Un angle de rotation supérieur à 360 degrés entraîne plusieurs rotations lorsque le paramètre Rotation est animé. Cliquez sur le triangle d’affichage en regard du paramètre Rotation afin de révéler des sous-paramètres supplémentaires : Point central du canevas (0, 0) -360 pixels +360 pixels +240 pixels -240 pixelsChapitre 3 Compositing standard 313  Animer: ce menu local vous permet de régler l’interpolation des canaux de rotation 3D animés sur l’une des deux options suivantes : Remarque : pour que les options du paramètre Animer aient le moindre effet, le paramètre Rotation doit être animé avec des images clés.  Utiliser la rotation : méthode d’interpolation par défaut. Les éléments du motif pivotent de leur rotation de départ vers leur rotation finale. Selon l’animation, ces éléments risquent de subir diverses torsions avant d’atteindre leur orientation finale (la dernière valeur d’image clé). Par exemple, si les paramètres Angle X, Y et Z sont animés dans un projet de 0 à 180 degrés, les éléments pivotent sur tous les axes avant d’atteindre leur orientation finale.  Utiliser l’orientation : cette autre méthode d’interpolation est plus lisse, mais elle n’autorise pas de multiples révolutions. Elle applique une interpolation entre l’orientation de départ des éléments du motif (première image clé) et leur orientation finale (deuxième image clé). Échelle : contrôle le pourcentage d’échelle de l’objet, calculé à partir de la taille d’origine. Par défaut, l’échelle horizontale et verticale d’un objet est verrouillée sur le rapport largeur/hauteur d’origine de l’objet et est indiquée par un seul pourcentage. Cliquez sur le triangle d’affichage pour afficher des pourcentages distincts pour les échelles X, Y et Z de l’objet. Remarque : le réglage de l’échelle de l’objet sur une valeur négative a pour effet de retourner l’objet. Déformer : définit les valeurs de déformation X et Y de l’objet. Un objet sans déformation a 0 comme valeurs de déformation X et Y. Une valeur positive a pour effet de déformer l’objet dans un sens, et une valeur négative le déforme dans l’autre sens. Point d’ancrage : définit les coordonnées X, Y et Z du point d’ancrage par rapport au centre de l’objet. Les coordonnées 0, 0, 0 centrent le point d’ancrage dans le cadre de sélection, délimitant ainsi le bord extérieur de l’objet. Opacité : définit la transparence de l’objet. Pour en savoir plus, consultez la rubrique « Modification de l’opacité et de la fusion » à la page 317. Mode de fusion : détermine le mode de fusion de l’objet. Pour en savoir plus, consultez la rubrique « Modification de l’opacité et de la fusion » à la page 317.314 Chapitre 3 Compositing standard Conserver l’opacité : lorsque cette case est cochée, l’objet apparaît uniquement si un autre objet est visible derrière dans le montage composite. L’objet au premier plan utilise la valeur d’opacité de l’objet situé au-dessous. Pour en savoir plus, consultez la rubrique « Option Conserver l’opacité » à la page 321. Ombre portée : active ou désactive l’ombre portée d’un objet. Pour en savoir plus sur l’utilisation d’ombres portées, consultez la rubrique « Ombres portées » à la page 342. Quatre angles : active ou désactive la déformation par les angles. Si un objet a été déformé par les angles et que vous désactivez la case Quatre angles, l’objet retrouve sa forme d’origine. En revanche, les coordonnées de déformation par les angles sont conservées. Sélectionnez à nouveau cette case pour réactiver l’effet de déformation par les angles spécifié par les paramètres de coordonnées Quatre angles. Cliquez sur le triangle d’affichage pour afficher les quatre paramètres 2D qui définissent la transformation en polygone d’un objet déformé par les angles. Les paramètres individuels des angles inférieur gauche, inférieur droit, supérieur droit et supérieur gauche du cadre de sélection d’un objet ont chacun leurs propres coordonnées X et Y. Rognage : active ou désactive le rognage. Si un objet a été rogné et que vous désactivez la case Rognage, l’objet retrouve sa forme d’origine. En revanche, les valeurs de rognage sont conservées. Sélectionnez à nouveau cette case pour réactiver l’effet de rognage spécifié par les paramètres de rognage. Paramètre Préserver l’opacité désactivé pour l’objet cercle de texte Paramètre Préserver l’opacité activé pour l’objet cercle de texteChapitre 3 Compositing standard 315 Cliquez sur le triangle d’affichage pour afficher les quatre paramètres de rognage. Chaque paramètre définit le nombre de pixels à rogner sur chacun des quatre bords de l’objet par rapport au bord extérieur du cadre de sélection situé autour de l’objet. Ces paramètres sont identiques aux paramètres de rognage qui apparaissent lorsqu’un objet est sélectionné dans l’onglet Média. En revanche, le rognage d’un objet dans l’onglet Couches ne rogne que l’occurrence de l’objet sélectionnée dans votre projet. Les copies de l’objet restent intactes. Pour rogner toutes les occurrences de l’objet simultanément, utilisez le paramètre Rognage sur l’objet dans l’onglet Média. Pour en savoir plus, consultez la rubrique « Paramètres d’objet dans l’onglet Média » à la page 250. Contrôle du temps : ces paramètres contrôlent tous les aspects relatifs à la resynchronisation d’un plan. Pour en savoir plus, consultez la rubrique « Resynchronisation » à la page 345. Clonage de couches Dans un projet d’animation, il s’avère parfois nécessaire de réutiliser plusieurs fois un objet complexe en divers endroits. Même si vous avez la possibilité de dupliquer ou de couper-coller un objet, aucune des modifications apportées par la suite à l’original n’est mise à jour dans ses copies. Le suivi de telles manipulations peut vite devenir une tâche fastidieuse et compliquée. Si vous êtes amené à appliquer les mêmes filtres et masques à plusieurs copies d’un même objet, la commande Cloner la couche est faite pour vous. Le clonage des couches présente en outre l’avantage d’améliorer la lecture du projet et les performances de rendu. Pour créer une couche clonée, procédez de l’une des manières suivantes : m Sélectionnez l’objet à partir duquel vous souhaitez créer une couche clonée, puis choisissez Objet > Cloner la couche. m Cliquez sur un objet dans le Canevas tout en maintenant la touche Contrôle enfoncée, puis choisissez Cloner la couche dans le menu contextuel. m Cliquez sur un objet dans l’onglet Couches ou la liste de couches de la Timeline tout en maintenant la touche Contrôle enfoncée, puis choisissez Cloner la couche dans le menu contextuel.316 Chapitre 3 Compositing standard Une couche clonée est créée et elle apparaît au centre du Canevas. Dans la liste de couches, la couche clonée est affichée avec son nom par défaut « Couche clonée ». Une icône de couche clonée apparaît en regard de son nom. Remarque : si l’objet source est situé au centre du Canevas, les deux objets se chevauchent. La couche clonée hérite de certaines propriétés de son objet source au moment de sa création : Rotation, Échelle, Opacité, Mode de fusion et Ombre portée. Toute modification apportée à l’une de ces propriétés de l’objet source après la création de couches clonées n’est pas transmise aux clones de cet objet source. En effet, les couches clonées héritent uniquement des modifications effectuées sur les filtres et les masques de l’objet source. Important : les modifications sur les comportements ne sont pas transmises aux couches clonées, sauf si les comportements concernés affectent un filtre ou un masque de l’objet source. Manipulez les couches clonées dans le Canevas et la Timeline exactement comme s’il s’agissait d’un objet source. Important : le paramètre Fusion d’images d’une couche clonée à partir d’objets resynchronisés ne peut être différent de celui de son objet source. Vous pouvez créer des couches clonées à partir de couches, de groupes, de systèmes de particules, de texte, de formes et de réplicateurs. Couches clonées et tramage Certaines opérations, tout comme l’application de divers filtres ou d’un masque, provoquent le tramage d’une couche clonée. Ce tramage convertit la couche clonée en image bitmap. Le mode de fusion appliqué à une couche clonée n’a aucune interaction avec les objets situés en dehors du groupe contenant cette couche clonée. De plus, une couche clonée 3D est traitée comme un objet unique et elle utilise l’ordre des couches (dans l’onglet Couches), plutôt que l’ordre de profondeur, pour composer le projet. Pour en savoir plus sur le tramage et les couches clonées 3D, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF.Chapitre 3 Compositing standard 317 Remarque : les caméras et les lumières utilisées dans un projet ont une incidence sur les couches clonées. Pour en savoir plus sur le tramage dans des groupes, voir « À propos du tramage » à la page 320. Modification de l’opacité et de la fusion Les commandes d’opacité et de fusion de chaque objet apparaissent à la fois dans l’onglet Propriétés de l’Inspecteur et dans la palette par défaut, quel que soit l’objet sélectionné. Opacité En superposant plusieurs objets avec des opacités différentes, vous pouvez les fusionner, ce qui serait impossible autrement. Par exemple, si vous souhaitez utiliser ensemble deux images d’arrière-plan remplissant tout l’écran, vous pouvez définir l’opacité de l’objet au premier plan sur 50 %, permettant ainsi à l’objet en arrière-plan d’être visible. Vous pouvez superposer autant d’objets que vous le souhaitez et dévoiler plus ou moins les objets en arrière-plan en variant l’opacité de chaque objet. Pour modifier l’opacité d’un objet, procédez de l’une des façons suivantes : m Ajustez le curseur Opacité ou le curseur de valeur dans l’onglet Propriétés. m Ajustez le curseur Opacité dans la palette. Modes de fusion Alors que le paramètre d’opacité définit simplement un niveau uniforme de transparence d’un objet, les modes de fusion offrent des options plus créatives permettant de contrôler l’interaction des images superposées, et ce en fonction des couleurs de chaque objet. Par défaut, le mode de fusion de chaque objet est réglé sur Normal, ce qui signifie que les modifications apportées à l’opacité d’un objet sont appliquées de manière uniforme sur toute l’image. Image au premier plan Image en arrière-plan Image au premier plan avec une opacité définie sur 50 %318 Chapitre 3 Compositing standard Les modes de fusion peuvent créer des zones transparentes sur un objet quelle que soit la valeur de son paramètre d’opacité. Cela s’explique par le fait que les pixels d’une image pour laquelle un mode de fusion a été sélectionné ont été fusionnés avec les pixels de tout objet se trouvant juste en dessous dans le Canevas. Par exemple, si vous avez superposé deux objets, puis défini le mode de fusion de l’objet supérieur sur Superposition, les zones sombres de l’image superposée deviennent transparentes. Quant aux zones claires, elles deviennent plus unies. Voir l’image ci-dessous : Important : la transparence créée à l’aide de la plupart des modes de fusion disponibles affecte uniquement la façon dont un objet est combiné avec les objets superposés situés en dessous. Ces modes de fusion ne modifient en rien le canal alpha de l’objet. Pour en savoir plus sur les modes de fusion qui modifient le canal alpha d’un objet, voir « Modes de fusion ayant un impact sur les canaux alpha » à la page 340. Chaque mode de fusion permet de fusionner les objets différemment. Par exemple, lorsque vous réglez le mode de fusion de l’objet supérieur sur Multiplier, vous obtenez un résultat opposé au mode Superposition, car les zones plus sombres de l’image restent opaques et les zones plus claires deviennent transparentes.Chapitre 3 Compositing standard 319 Les modes de fusion ne s’appliquent qu’à un objet fusionné avec ceux situés sous celui-ci. Tout objet situé au-dessus n’a aucun effet sur cette interaction, même s’il est transparent. Dans l’exemple qui suit, les objets texte situés au niveau supérieur n’ont aucun effet sur les images fusionnées se trouvant en dessous. Dans le cas de couches superposées ayant chacune un mode de fusion différent, les deux objets situés tout en bas sont fusionnés en premier, puis le résultat obtenu est fusionné avec l’objet situé juste au-dessus, et ainsi de suite, jusqu’à ce que tous les objets superposés aient été fusionnés pour obtenir une image finale. De plus, chaque objet ayant un mode de fusion différent, il n’interagit qu’avec l’image inférieure (qu’elle soit composée d’un seul objet ou de deux objets fusionnés). Chaque mode de fusion dans Motion agit en parallèle sur le paramètre Opacité afin de modifier l’interaction entre les objets situés au premier plan et ceux en arrière-plan. En ajustant l’opacité d’un objet, l’effet de fusion appliqué à l’objet est diminué, même si l’objet risque d’être moins visible. Cela vous permet de personnaliser au mieux tout mode de fusion. Les modes de fusion modifient uniquement les objets superposés et n’ont aucun effet sur la couleur d’arrière-plan de votre projet. Si vous spécifiez un mode de fusion d’un objet non superposé à quoi que ce soit, l’objet n’est pas modifié. Pour modifier le mode de fusion d’un objet sélectionné, procédez de l’une des manières suivantes : m Choisissez une option dans le menu local Mode de fusion de la palette. m Sélectionnez une option dans le menu local Mode de fusion de l’onglet Propriétés. m Choisissez Objet > Mode de fusion, puis sélectionnez une option dans le sous-menu. m Affichez la colonne Mode de fusion dans l’onglet Couches, puis sélectionnez une option dans le menu local Mode de fusion de l’objet. m Cliquez sur un objet dans le Canevas tout en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le sous-menu Mode de fusion du menu contextuel. m Cliquez sur un objet dans l’onglet Couches ou la liste de couches de la Timeline tout en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le sous-menu Mode de fusion du menu contextuel.320 Chapitre 3 Compositing standard À propos du tramage Certaines opérations, tout comme l’application de divers filtres ou d’un masque, provoquent le tramage du groupe concerné. Lorsqu’il est tramé, un groupe est converti en image bitmap. Ce tramage affecte les groupes 2D et 3D différemment. Lorsqu’un groupe 2D est tramé, les modes de fusion appliqués aux objets au sein du groupe n’ont plus aucune interaction avec les objets situés en dehors du groupe. Par ailleurs, si un groupe 3D est tramé, l’intégralité du groupe ne peut plus avoir aucune interaction avec les objets situés en dehors. Le groupe 3D tramé est alors traité comme un objet unique et il utilise l’ordre des couches (dans l’onglet Couches), plutôt que l’ordre de profondeur, pour composer le projet. Remarque : même si un groupe 3D est tramé, les caméras et les lumières utilisées dans le projet ont toujours une interaction avec les objets situés au sein de ce groupe. Pour en savoir plus sur le tramage et les groupes 3D, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF. Important : l’éclairage utilisé au sein d’un groupe 2D ne sort pas des limites de ce groupe, qu’il soit tramé ou non. La modification des paramètres suivants déclenche le tramage d’un groupe : Groupes 2D  Modification des paramètres de fusion (Opacité, Mode de fusion, Conserver l’opacité)  Activation de l’option Ombre portée  Activation de l’option Quatre angles  Activation de l’option Rognage  Application de n’importe quel filtre  Ajout d’un masque  Ajout d’une table lumineuse Groupes 3D  Modification des paramètres de fusion  Application de certains filtres  Ajout d’une table lumineuse à un groupe 3D dont le paramètre Aplatir est activé (dans l’onglet Groupe de l’Inspecteur) Une fois le tramage déclenché par l’une de ces opérations, les événements suivants surviennent :  Un indicateur de tramage (semblable à un voyant) apparaît en regard du paramètre dans l’onglet Propriétés.  Un contour léger apparaît autour de l’icône représentant le groupe 2D ou 3D (à gauche de son nom) dans l’onglet Couches et la liste de couches de la Timeline.Chapitre 3 Compositing standard 321 Option Conserver l’opacité La case Conserver l’opacité permet de limiter la visibilité d’un objet aux zones du Canevas où il est superposé à des zones non transparentes d’autres objets. Par exemple, vous pouvez placer deux objets superposés dans votre projet, comme illustré ci-dessous : Si vous cochez la case Conserver la transparence pour l’objet au premier plan représentant un dauphin, le résultat est le suivant : Le dauphin n’est alors visible que dans la partie superposée à l’objet situé en dessous et qui représente la vie sous-marine. Au premier abord, cette option ne semble pas très utile. Vous pouvez toutefois créer des effets très intéressants en associant l’option Conserver l’opacité au mode de fusion et à l’opacité. Remarque : un objet dont l’option Conserver l’opacité est activée utilise la valeur d’opacité de l’objet situé en dessous dans la pile de montage composite. 322 Chapitre 3 Compositing standard L’option Conserver l’opacité est une manière simple de ne rendre visible que certaines parties d’un objet. Dans l’exemple ci-dessous, l’image a été obtenue en réglant le mode de fusion de la couche multicolore supérieure sur Exclusion : Lorsque vous activez l’option Conserver l’opacité pour la couche multicolore supérieure, seules les parties superposées sont affichées et l’image en surimpression ne modifie que la couche représentant le dauphin. Pour activer l’option Conserver l’opacité : m Cochez la case Conserver l’opacité dans l’onglet Propriétés. Utilisation des modes de fusion Chaque mode de fusion disponible présente une méthode différente pour combiner plusieurs images. Les modes de fusion s’utilisent parallèlement avec la canal alpha d’un objet et le paramètre d’opacité. Effets des modes de fusion sur les images Pour comprendre la description de chaque mode de fusion dans cette section, il est important de comprendre que les modes de fusion mélangent les couleurs des images superposées, en tenant compte de la luminosité de chaque canal de couleur d’une image. Chaque image est composée des canaux alpha, rouge, vert et bleu. En parallèle, chaque canal contient une plage de valeurs de luminosité qui définit l’intensité de chaque pixel de l’image utilisant une partie de ce canal de couleur.Chapitre 3 Compositing standard 323 L’effet de chaque mode de fusion sur les objets superposés dans le Canevas dépend donc des valeurs de la plage de couleurs au sein de chaque objet. Les canaux rouge, vert et bleu de chaque pixel superposé sont fusionnés mathématiquement pour obtenir l’image finale. Ces plages de valeur correspondent aux noirs, aux valeurs intermédiaires ou aux blancs. Les segments de couleurs sont largement illustrés dans le graphique ci-dessous. Par exemple, le mode de fusion Multiplier rend transparentes les couleurs se trouvant dans les zones blanches et laisse intactes les zones noires de l’image. Quant aux couleurs intermédiaires, elles deviennent translucides (les couleurs les plus claires de la gamme deviennent plus transparentes que les couleurs les plus sombres de la gamme). Modes de fusion des groupes Les modes de fusion ont des effets différents selon que vous les appliquez à des groupes ou à des couches. Le mode Au travers, notamment, n’est disponible que pour les groupes. Mode Au travers Lorsque le mode de fusion d’un groupe est défini sur Au travers, chaque objet est fusionné individuellement avec tous les objets et les groupes répertoriés en dessous de son niveau hiérarchique dans l’onglet Couches. Dans cet exemple, l’objet Tourbillons est défini sur Stencil luma et l’objet Poissons sur Ajouter. Noirs Couleurs intermédiaires Blancs324 Chapitre 3 Compositing standard L’option Au travers étant activée au niveau du groupe d’imbrication, l’objet Tourbillons marque au pochoir tous les autres objets situés en dessous de son niveau, y compris l’objet Dégradé listé tout en bas du groupe. Le résultat obtenu est celui d’objets tracés sur la couleur d’arrière-plan. Les objets Poissons sont également ajoutés à la pile d’objets fusionnés. Normal Lorsque le mode de fusion d’un groupe est défini sur Normal, les couches imbriquées à l’intérieur peuvent uniquement fusionner les unes avec les autres. Elles ne sont pas en mesure de fusionner avec des objets au sein d’autres groupes situés plus bas dans la liste de couches. Dans cet exemple, les objets Poissons et Tourbillons situés tout en haut du groupe sont uniquement fusionnés ensemble, si le groupe de niveau supérieur est réglé sur le mode de fusion Normal.Chapitre 3 Compositing standard 325 L’objet Dégradé situé tout en bas du groupe n’est pas affecté, même si la transparence du groupe de niveau supérieur provoquée par la combinaison des modes de fusion Ajouter et Stencil luma le révèle à l’arrière-plan. Autres modes de fusion Lorsque vous appliquez l’un des autres modes de fusion disponibles à un groupe, chaque couche imbriquée au sein de ce groupe est fusionnée selon son propre mode. L’image obtenue est ensuite fusionnée avec les groupes de niveau inférieur, conformé- ment au mode de fusion sélectionné pour chaque groupe. Dans cet exemple, le groupe situé tout en haut est défini sur Multiplier. Par conséquent, la combinaison des objets Poissons ajoutés et Tourbillons marqués au pochoir est multipliée par l’objet Dégradé dans le groupe de niveau inférieur.326 Chapitre 3 Compositing standard Modes de fusion des objets La section suivante décrit les effets des modes de fusion sur des objets individuels. Tous les modes de fusion sont présentés dans le même ordre que celui du menu local Mode de fusion. Normal Ce mode de fusion est sélectionné par défaut pour tous les objets. Le seul effet de transparence dans un objet dont le mode de fusion est réglé sur Normal est dû à son paramètre Opacité ou au canal alpha qui lui est affecté. Soustraire Le mode de fusion Soustraire assombrit toutes les couleurs superposées. Les blancs de l’image au premier plan s’assombrissent. En revanche, les blancs de l’image en arrière-plan inversent les valeurs de couleurs superposées de l’image au premier plan, créant ainsi un effet négatif. À propos des exemples de cette section La plupart des exemples de cette section sont créés à partir de deux images de réfé- rence. L’image « Mondrian Singe » illustre les différentes interactions des valeurs de couleur de chaque image en fonction du mode de fusion sélectionné. En examinant les résultats, faites particulièrement attention aux zones blanches et noires des carrés de couleur ainsi qu’aux zones éclairées et sombres du singe. Vous pouvez ainsi vous rendre compte de la manière dont les blancs et les noirs d’une image sont traités par chaque mode de fusion. Les autres couleurs plus claires et plus sombres servent à illustrer l’effet de chaque mode de fusion sur les valeurs de couleur intermédiaires superposées. Les carrés jaunes, gris, oranges et bleus, en particulier, ont tous des valeurs de couleur et de luminance très différentes contrastant nettement d’un exemple à l’autre. Important : selon le mode de fusion choisi, l’ordre des couches et des groupes peut avoir son importance. Certains modes de fusion se comportent différemment selon l’image située au premier plan. Objet Boîtes Objet SingeChapitre 3 Compositing standard 327 Les noirs de l’image au premier plan s’éclaircissent, alors que les noirs de l’image en arrière-plan sont conservés. Les valeurs de couleur intermédiaires superposées sont assombries en fonction de la couleur de l’image en arrière-plan. Dans les zones où l’arrière-plan est plus clair que le premier plan, l’image en arrière-plan est assombrie. Dans les zones où l’arrière-plan est plus sombre que le premier plan, les couleurs sont inversées. Lorsque vous utilisez le mode de fusion Soustraire, l’ordre des deux objets est important. Obscurcir Le mode de fusion Obscurcir assombrit les zones les plus sombres de chaque image superposée. Les blancs sur n’importe quelle image rendent entièrement visible l’image superposée. Les valeurs de couleur intermédiaires plus claires deviennent de plus en plus translucides en faveur de l’image superposée. En revanche, les valeurs de couleur intermédiaires plus sombres en dessous de ce seuil restent unies, laissant moins passer les détails de l’image superposée. Lorsque vous utilisez le mode de fusion Obscurcir, vous pouvez placer les deux objets dans n’importe quel ordre. Objet Boîtes au premier plan Objet Singe au premier plan328 Chapitre 3 Compositing standard Astuces : le mode de fusion Obscurcir est pratique lorsque vous souhaitez utiliser une image comme texture d’une autre image, sélectionnée en fonction de ses zones les plus sombres. Vous pouvez apporter des variantes à cet effet en utilisant les modes de fusion Superposition, Densité couleur + et Densité linéaire +. Multiplier Comme avec le mode de fusion Obscurcir, le mode Multiplier assombrit les zones les plus sombres de chaque image superposée, la seule exception étant que les valeurs de couleur intermédiaires des deux images sont mélangées de manière plus uniforme. Les zones plus claires des images superposées deviennent progressivement de plus en plus translucides, rendant visible toute image plus sombre. Les blancs sur n’importe quelle image rendent entièrement visible l’image superposée. Les noirs des deux images sont conservés dans l’image obtenue. Lorsque vous utilisez le mode de fusion Multiplier, vous pouvez placer les deux objets dans n’importe quel ordre.Chapitre 3 Compositing standard 329 Astuces : le mode de fusion Multiplier est particulièrement utile lorsque vous souhaitez éliminer les zones blanches d’une image au premier plan et fusionner le reste de cette image avec les couleurs en arrière-plan. Par exemple, si vous superposez le texte d’une feuille manuscrite numérisée sur une image en arrière-plan et que vous réglez le mode de fusion sur Multiplier, vous obtenez une image texturée avec les zones les plus sombres de l’image en arrière-plan. Densité couleur + Le mode de fusion Densité couleur + intensifie les zones sombres de chaque image. Les blancs de l’image en arrière-plan remplacent l’image au premier plan, alors que les blancs de l’image au premier plan deviennent transparents. Les valeurs de couleurs intermédiaires de l’image en arrière-plan rendent visibles celles de l’image au premier plan. Les valeurs de couleur intermédiaires plus claires de l’image en arrière-plan rendent plus visibles l’image au premier plan. Les valeurs intermédiaires plus sombres de toutes les zones superposées visibles sont mélangées, ce qui a pour effet d’intensifier les couleurs. Lorsque vous utilisez le mode de fusion Densité couleur +, l’ordre des deux objets est important. Objet Boîtes au premier plan Objet Singe au premier plan330 Chapitre 3 Compositing standard Densité linéaire + Ce mode de fusion est semblable au mode Multiplier, la seule exception étant que les valeurs de couleur intermédiaires superposées plus sombres sont intensifiées, comme avec le mode de fusion Densité couleur +. Les valeurs de couleur plus claires des images superposées deviennent progressivement de plus en plus translucides, rendant visible toute image plus sombre. Les blancs sur n’importe quelle image rendent entièrement visible l’image superposée. L’ordre de deux objets auxquels on applique le mode de fusion Densité linéaire + importe peu. Ajouter Le mode de fusion Ajouter intensifie les blancs de chaque image superposée et éclaircit toutes les autres couleurs superposées. Les valeurs de couleur de tout pixel superposé sont additionnées. Les valeurs de couleur intermédiaires de l’image obtenue sont éclaircies. Les noirs de chaque image sont transparents, alors que les blancs sont conservés. Lorsque vous utilisez le mode de fusion Ajouter, vous pouvez placer les deux objets dans n’importe quel ordre.Chapitre 3 Compositing standard 331 Astuces : le mode de fusion Ajouter est pratique lorsque vous souhaitez utiliser une image comme texture d’une autre image, sélectionnée en fonction de ses zones les plus claires, telles que les zones en surbrillance. Vous pouvez apporter des variantes à cet effet en utilisant les modes de fusion Éclaircir, Superposition, Densité couleur et Densité linéaire. Éclaircir Le mode de fusion éclaircit les zones les plus claires de chaque image superposée. Tous les pixels de chaque image sont comparés et le pixel le plus clair de chaque image est conservé. Les pixels les plus clairs de chaque image sont ensuite regroupés pour donner une image finale adoucie. Les blancs des deux images sont visibles dans l’image obtenue. Lorsque vous utilisez le mode de fusion Éclaircir, vous pouvez placer les deux objets dans n’importe quel ordre. Superposition Comme avec le mode de fusion Éclaircir, le mode Superposition éclaircit les zones les plus claires de chaque image superposée, la seule exception étant que les valeurs de couleur intermédiaires des deux images sont mélangées de manière plus uniforme. Les noirs sur n’importe quelle image rendent entièrement visible l’image superposée. Les valeurs intermédiaires plus sombres en dessous d’un certain seuil rendent plus visible l’image superposée. Les blancs des deux images sont visibles dans l’image obtenue.332 Chapitre 3 Compositing standard Lorsque vous utilisez le mode de fusion Superposition, vous pouvez placer les deux objets dans n’importe quel ordre. Astuces : le mode de fusion Superposition est particulièrement pratique pour éliminer les zones noires situées derrière un sujet au premier plan, et mieux adapté que l’incrustation Luma Key. Cela est surtout utile lorsque vous souhaitez mélanger le reste du sujet au premier plan avec l’image en arrière-plan, en fonction de sa luminosité. Vous pouvez ainsi obtenir un effet d’éclat et d’éclairage, ainsi que simuler des reflets. Vous pouvez apporter des variantes à cet effet en utilisant les modes de fusion Ajouter, Éclaircir et Densité couleur -. Densité couleur - Les blancs situés sur l’image au premier plan ou en arrière-plan sont conservés dans l’image finale. Les noirs de l’image en arrière-plan remplacent l’image au premier plan, alors que les noirs de l’image au premier plan deviennent transparents. Les valeurs de couleurs intermédiaires de l’image en arrière-plan rendent visibles celles de l’image au premier plan. Les valeurs de couleur plus sombres de l’image en arrière-plan rendent plus visibles l’image au premier plan. Toutes les valeurs de couleur intermédiaires superposées sont mélangées, ce qui permet d’obtenir des mélanges de couleurs intéressants. Objet situé au-dessus Objet situé au-dessous SuperpositionChapitre 3 Compositing standard 333 En inversant les deux images superposées, le mélange des valeurs de couleur intermé- diaires superposées donne des résultats légèrement différents. Densité linéaire - Ce mode de fusion est semblable au mode Superposition, la seule exception étant que les valeurs de couleur intermédiaires plus claires des zones superposées sont intensifiées. Les noirs sur n’importe quelle image rendent entièrement visible l’image superposée. Les blancs des deux images sont visibles dans l’image obtenue. L’ordre de deux objets auxquels on applique le mode de fusion Densité linéaire - importe peu. Objet Boîtes au premier plan Objet Singe au premier plan334 Chapitre 3 Compositing standard Incrustation Les blancs et les noirs de l’image au premier plan deviennent translucides et interagissent avec les valeurs de couleur de l’image en arrière-plan, ce qui a pour effet d’intensifier le contraste. D’autre part, les blancs et les noirs de l’image en arrière-plan remplacent l’image au premier plan. Les valeurs intermédiaires superposées sont mélangées différemment selon la luminosité des valeurs de couleur d’arrière-plan. Les valeurs intermédiaires d’arrière-plan sont mélangées par effet de superposition. D’autre part, les valeurs intermédiaires sont mélangées par effet de multiplication. Le résultat est le suivant : les valeurs de couleur noires de l’image en arrière-plan intensifient l’image au premier plan, alors que les valeurs de couleur plus claires de l’image en arrière-plan éclaircissent les zones superposées de l’image au premier plan. Lorsque vous utilisez le mode de fusion Incrustation, l’ordre des deux objets est important. Astuces : le mode de fusion Incrustation est particulièrement pratique pour fusionner des zones de couleurs vives dans deux images. Objet Boîtes au premier plan Objet Singe au premier planChapitre 3 Compositing standard 335 Lumière tamisée Le mode de fusion Lumière tamisée est semblable au mode Incrustation. Les blancs et les noirs de l’image au premier plan deviennent translucides mais interagissent avec les valeurs de couleur de l’image en arrière-plan. D’autre part, les blancs et les noirs de l’image en arrière-plan remplacent l’image au premier plan. Toutes les valeurs de couleurs intermédiaires superposées sont mélangées, ce qui a pour effet de renforcer les nuances par rapport au mode de fusion Incrustation. L’ordre de deux objets utilisés avec le mode de fusion Lumière tamisée est important. Astuces : le mode de fusion Lumière tamisée est pratique pour nuancer légèrement une image en arrière-plan, en la mélangeant avec les couleurs de l’image au premier plan. Lumière crue Les blancs et les noirs de l’image au premier plan ne laissent pas passer l’image en arrière-plan. D’autre part, les blancs et les noirs de l’image en arrière-plan interagissent avec les valeurs de couleur intermédiaires superposées de l’image au premier plan. Les valeurs de couleur intermédiaires superposées sont mélangées différemment selon la luminosité des valeurs de couleur d’arrière-plan. Les valeurs intermédiaires d’arrière-plan sont mélangées par effet de superposition. D’autre part, les valeurs intermédiaires sont mélangées par effet de multiplication. Le résultat est le suivant : les valeurs de couleur noires de l’image en arrière-plan intensifient l’image au premier plan, alors que les valeurs de couleur plus claires de l’image en arrière-plan éclaircissent les zones superposées de l’image au premier plan. Objet Boîtes au premier plan Objet Singe au premier plan336 Chapitre 3 Compositing standard L’ordre de deux objets utilisés avec le mode de fusion Lumière crue est important. Lumière vive Le mode de fusion Lumière vive est semblable au mode Lumière crue, à deux exceptions près : la première étant que les valeurs de couleur intermédiaires sont mélangées de manière plus intense et la seconde que les blancs et les noirs de chaque image superposée sont conservés dans l’image finale. Remarque : les zones blanches unies et noires unies superposées risquent d’être adoucies. Les valeurs de couleur intermédiaires superposées sont mélangées différemment selon la luminosité des valeurs de couleur d’arrière-plan. Les valeurs intermédiaires plus claires deviennent transparentes, alors que le contraste des valeurs de couleur plus sombres est augmenté. L’effet global est plus prononcé que celui du mode de fusion Lumière crue. En inversant les deux images superposées, le mélange des valeurs de couleur intermédiaires superposées donne des résultats légèrement différents. Objet Boîtes au premier plan Objet Singe au premier plan Objet Boîtes au premier plan Objet Singe au premier planChapitre 3 Compositing standard 337 Lumière linéaire Le mode de fusion Lumière linéaire est semblable au mode Lumière crue, la seule exception étant que les valeurs de couleur intermédiaires superposées sont mélangées avec plus de contraste. Les blancs et les noirs de l’image au premier plan ne laissent pas passer l’image en arrière-plan. D’autre part, les blancs et les noirs de l’image en arrière-plan interagissent avec les valeurs de couleur intermédiaires superposées de l’image au premier plan. Les valeurs de couleur intermédiaires superposées sont mélangées. Les couleurs d’arrière-plan plus claires éclaircissent l’image au premier plan, alors que les couleurs plus sombres l’assombrissent. L’ordre de deux objets utilisés avec le mode de fusion Lumière linéaire est important. Lumière ponctuelle Le mode de fusion Lumière ponctuelle est semblable au mode Lumière crue, la seule exception étant que les valeurs de couleur intermédiaires superposées sont mélangées différemment, en fonction de la valeur des couleurs. Les blancs et les noirs de l’image au premier plan ne laissent pas passer l’image en arrière-plan. D’autre part, les blancs et les noirs de l’image en arrière-plan interagissent avec les valeurs de couleur intermé- diaires superposées de l’image au premier plan. Les méthodes utilisées par le mode de fusion Lumière ponctuelle pour mélanger deux images sont un peu complexes. En effet, les segments de couleurs étant au nombre de quatre, les valeurs de couleur intermédiaires superposées sont traitées différemment selon le segment où elles se trouvent.  Les zones plus claires et plus sombres de l’image au premier plan près des couleurs blanches et noires sont conservées.  Les zones de l’image au premier plan situées près du centre des couleurs intermédiaires sont nuancées par la couleur d’arrière-plan.  Les zones plus sombres de l’image au premier plan situées entre les noirs et le centre des couleurs intermédiaires sont éclaircies.  Les zones plus claires de l’image au premier plan situées entre les blancs et le centre des couleurs intermédiaires sont assombries. Objet Boîtes au premier plan Objet Singe au premier plan338 Chapitre 3 Compositing standard L’image finale risque d’être soit nuancée, soit solarisée, selon la luminosité ou l’obscurité des valeurs superposées. Ce mode de fusion permet également d’obtenir des effets plus abstraits. L’ordre de deux objets utilisés avec le mode de fusion Lumière ponctuelle est important. Mélange cru Le mode de fusion Mélange cru est semblable au mode Lumière crue, la seule exception étant que la saturation des valeurs de couleurs intermédiaires superposées est intensifiée, ce qui a pour effet de produire des images avec un très fort contraste. Les blancs et les noirs sont conservés. Même si l’ordre de deux objets n’a globalement aucun effet sur l’aspect des deux images fusionnées à l’aide du mode de fusion Mélange cru, il peut y a avoir de très légères différences. Objet Boîtes au premier plan Objet Singe au premier planChapitre 3 Compositing standard 339 Différence Ce mode de fusion est semblable au mode Soustraire, la seule exception étant que les zones de l’image qui seraient considérablement assombries par le mode de fusion Soustraire sont colorisées différemment. Lorsque vous utilisez le mode de fusion Différence, vous pouvez placer les deux objets dans n’importe quel ordre. Exclusion Ce mode de fusion est semblable au mode Différence, la seule exception étant que l’image finale est globalement plus claire. Les zones superposées avec des valeurs de couleur plus claires sont éclaircies, alors que les valeurs de couleur superposées plus sombres deviennent transparentes. Lorsque vous utilisez le mode de fusion Exclusion, vous pouvez placer les deux objets dans n’importe quel ordre.340 Chapitre 3 Compositing standard Modes de fusion ayant un impact sur les canaux alpha Les modes de fusion Stencil et Silhouette vous permettent d’utiliser le canal alpha ou les valeurs luma d’un seul objet pour isoler certaines régions des objets et des groupes d’arrière-plan. Remarque : vous pouvez obtenir des effets identiques à l’aide de masques de forme et d’image. De plus, et en fonction de vos besoins, les masques vous donnent plus de contrôle. Pour plus d’informations, consultez la rubrique « Utilisation des formes et des masques » à la page 1071. Les modes de fusion Stencil rognent toutes les parties non superposées des objets situés en dessous de l’objet utilisé comme pochoir. Les modes de fusion Silhouette ont l’effet contraire. En effet, ils font des trous dans les objets superposés inférieurs dont la forme est celle de l’objet utilisé comme silhouette. Stencil alpha Le mode de fusion Stencil alpha utilise le canal alpha de l’objet concerné pour éliminer toutes les parties non superposées des objets et des groupes répertoriés plus bas dans la liste de couches. Stencil luma Le mode de fusion Stencil luma fonctionne comme le mode Stencil alpha, mais il utilise la valeur luma de l’objet concerné pour définir la transparence. Le mode de fusion Stencil luma est pratique si l’objet que vous souhaitez utiliser pour le rognage n’a pas de canaux alpha propres. Objet utilisé pour le pochoir Résultat final Objet situé dessousChapitre 3 Compositing standard 341 Silhouette alpha Le mode de fusion Silhouette alpha a un effet opposé au mode Stencil alpha. Ce mode de fusion est utile si vous souhaitez découper des trous dans les objets inférieurs. Silhouette luma Le mode de fusion Silhouette luma a un effet opposé au mode Stencil luma. Objet utilisé pour la silhouette Résultat final Objet situé dessous Limitation de l’effet des modes de fusion Stencil et Silhouette Dès que vous recourez aux modes de fusion Stencil ou Silhouette sur un groupe dont le propre mode de fusion est réglé sur Au travers, l’effet obtenu est appliqué à chacun des objets de chaque groupe situé plus bas dans la liste de couches, sauf si le groupe qui le contient est tramé. Cette méthode est certes puissante, mais pas toujours intéressante au niveau de l’effet obtenu, car vous n’avez pas la possibilité de placer un groupe d’arrière-plan pour remplir la zone transparente. Vous pouvez toutefois limiter l’effet des modes Stencil et Silhouette aux objets situés dans le même groupe, en réglant le mode de fusion de ce groupe sur tout autre mode que Au travers. Si vous réglez sur Normal le mode de fusion du groupe englobant les deux objets de l’exemple Silhouette alpha, puis que vous ajoutez un groupe en dessous contenant d’autres objets, ces objets apparaissent au travers des zones transparentes créées par le groupe auquel est appliqué le mode Silhouette.342 Chapitre 3 Compositing standard Derrière Le mode de fusion Derrière permet de forcer l’affichage d’un objet derrière tous les autres objets et groupes, quelle que soit sa position dans l’onglet Couches et dans la Timeline. Si vous appliquez le mode Derrière à plusieurs objets ou groupes, ils apparaissent derrière tous les groupes qui ne sont pas réglés sur le même mode, selon l’ordre dans lequel ils sont répertoriés dans l’onglet Couches. Ajouter alpha Le mode de fusion Ajouter alpha a un effet semblable à celui du mode Ajouter, mais au lieu d’ajouter les canaux de couleur des objets superposés, il ajoute l’ensemble de leurs canaux alpha. Utilisez ce mode de fusion à la place de la méthode par défaut de mixage de canal alpha de Motion pour obtenir un traitement différent des zones translucides. Mélange prémultiplié Le mode de fusion Mélange prémultiplié est destiné aux images de mixage prémultipliées, telles que les images générées par les logiciels de modélisation et de rendu 3D. (Les canaux rouge, vert et bleu d’une image prémultipliée sont multipliés par son canal alpha.) Le mode Mélange prémultiplié est utile pour les images avec des effets de lumière translucide, par exemple les reflets d’objectif, l’éclairage volumétrique, les effets de brouillard et de flou, etc. Le mode de fusion Mélange prémultiplié exécute un montage composite non prémultiplié (l’image au premier plan est censée être déjà prémultipliée). Des imperfections peuvent apparaître du fait de pixels non prémultipliés dont les valeurs RVB et alpha sont très petites (vous obtenez des pixels avec des valeurs de 255). Dans certains cas, l’ordinateur exécute un filtrage bilinéaire et le mode de fusion dé-prémultiplie l’alpha. Ombres portées Par défaut, une ombre portée est une ombre translucide tombant derrière un objet, comme s’il était éclairé par l’avant. Les ombres portées ont les mêmes dimensions que l’objet d’où part l’ombre. Celle-ci peut être légèrement plus grosse lorsque vous lui appliquez un effet de flou.Chapitre 3 Compositing standard 343 L’ombre portée donne l’illusion de profondeur, rendant plus réaliste aux yeux du spectateur l’objet situé au premier plan. C’est la raison pour laquelle les ombres portées sont fréquemment utilisées pour donner une impression d’espace entre des objets superposés. Les ombres portées ont aussi pour effet d’assombrir les régions superposées des objets en arrière-plan. Un exemple pertinent d’utilisation des ombres portées est lorsque vous placez du texte sur un fond pouvant l’assombrir. En ajoutant une ombre portée, vous pouvez rendre l’objet texte au premier plan plus facile à lire. Il est très simple d’ajouter une ombre portée à un objet quelconque, car l’Inspecteur et la palette proposent des paramètres Ombre portée pour chaque objet. Une fois activé, vous pouvez modifier les ombres portées directement dans le Canevas. Important : les objets texte disposent de paramètres d’ombres portée supplémentaires, dans la fenêtre Style de l’onglet Texte. Pour en savoir plus sur les ombres portées utilisées sur des objets textes, voir « Ajout d’une ombre portée » à la page 673. Sans ombre portée Avec ombre portée344 Chapitre 3 Compositing standard Ajustement des ombres portées dans le Canevas La palette et les commandes à l’écran vous offrent une méthode interactive pour modifier l’ombre portée d’un objet. Commandes Ombre portée disponibles dans la palette Sitôt que vous sélectionnez un objet dans le Canevas, la palette affiche trois paramètres Ombre portée : Ombre portée : case servant à activer ou désactiver l’ombre portée de n’importe quel objet. Opacité : définit la transparence de l’ombre portée. Flou : ajuste le flou de l’ombre portée. Remarque : si vous sélectionnez un objet texte, la palette n’affiche aucun de ces paramètres. Outil de transformation Ajuster l’ombre portée La sélection de l’outil de transformation Ajuster l’ombre portée dans la barre d’outils vous permet d’accéder à des commandes à l’écran supplémentaires pour les objets sélectionnés dont l’ombre portée est activée. Les quatre poignées d’angle servent à augmenter ou diminuer le flou de l’ombre portée. Pour modifier l’angle et les dimensions de l’ombre portée, faites-la glisser à l’intérieur du cadre de sélection de l’ombre portée. Poignées de flou de l’ombre portée Position de l’ombre portée à l’intérieur du cadre de sélectionChapitre 3 Compositing standard 345 Pour augmenter ou réduire le flou d’une ombre portée : 1 Cliquez sur l’outil Sélectionner/Transformer tout en maintenant le bouton de la souris enfoncé, puis choisissez l’outil Ajuster l’ombre portée dans le menu local. 2 Dans le Canevas, faites glisser l’une des quatre poignées d’angle vers l’intérieur pour réduire le flou d’une ombre portée ou vers l’extérieur pour l’augmenter. Pour déplacer l’ombre portée d’un objet : 1 Cliquez sur l’outil Sélectionner/Transformer tout en maintenant le bouton de la souris enfoncé, puis choisissez l’outil Ajuster l’ombre portée dans le menu local. 2 Placez le pointeur n’importe où dans le cadre de sélection de l’ombre portée, puis faites-le glisser dans la direction souhaitée. Paramètres Ombre portée disponibles dans l’onglet Propriétés Outre les commandes disponibles dans le Canevas et la palette, chaque objet dispose de ses propres paramètres Ombre portée dans l’onglet Propriétés. Utilisez la case pour activer ou désactiver l’ombre portée de n’importe quel objet. Couleur : définit la couleur de l’ombre portée (noir par défaut). Opacité : définit la transparence de l’ombre portée. Flou : spécifie le flou de l’ombre portée. Distance : définit la distance entre l’ombre portée et l’objet. Plus l’ombre portée est loin, plus la distance entre l’objet et tout ce qui se trouve derrière dans la composition semble importante. Angle : modifie la direction de l’ombre portée. La modification de l’angle de l’ombre portée a pour effet de modifier la direction de la lumière à l’origine de l’ombre. Resynchronisation Dans vos projets d’animation graphique, vous serez sans doute amené à mettre en œuvre certaines astuces pour contrôler le temps dans vos médias : accélérer un plan, le ralentir ou le lire à diverses vitesses. Utilisation des comportements Resynchronisation Cette catégorie de comportements vous offre diverses méthodes pour exécuter rapidement les tâches de resynchronisation les plus courantes. Il vous suffit alors de quelques instants pour réaliser une image arrêtée ou stroboscopique à l’aide d’un comportement Resynchronisation. Prenez donc tout votre temps pour étudier les comportements de la catégorie Resynchronisation, avant de perdre des heures à créer vos propres comportements personnalisés de resynchronisation via l’Inspecteur. Pour en savoir plus sur les comportements Resynchronisation, voir « Comportements Resynchronisation » à la page 495.346 Chapitre 3 Compositing standard Commandes Contrôle du temps dans l’Inspecteur Chaque objet de média dispose de ses propres paramètres de contrôle du temps dans l’onglet Propriétés : Time Remap : détermine le mode de défilement du temps dans le plan. Utilisez ce menu local pour choisir Vitesse constante ou Vitesse variable. La valeur Vitesse constante resynchronise l’intégralité du plan en utilisant la même valeur, alors que Vitesse variable vous permet d’animer la vitesse du plan au fil du temps. Vitesse : détermine la vitesse du plan sous forme de pourcentage. La valeur par défaut est égale à 100 %. Les valeurs inférieures à 100 lisent le plan plus lentement que sa vitesse d’origine, augmentant ainsi sa durée. Quant aux valeurs supérieures à 100, elles provoquent la lecture du plan plus rapidement que sa vitesse d’origine, diminuant ainsi sa durée. Ce paramètre n’est affiché que si Time Remap est réglé sur Vitesse constante. Valeur de resynchronisation : affiche la valeur temporelle du plan sur une image donnée. Ce paramètre n’est affiché que si Time Remap est réglé sur Vitesse variable. Dans ce cas, deux images clés sont automatiquement générées au niveau de la première et de la dernière images du plan. Ces deux images clés représentent une vitesse constante de 100 %. Si vous ajoutez des images clés à ce paramètre et leur affectez d’autres valeurs de resynchronisation, la vitesse du plan passe d’une vitesse à la suivante. Entrée : détermine le point d’entrée de l’objet, aussi bien en vitesse constante que variable. Le réglage de ce paramètre déplace toujours le point d’entrée de l’objet vers l’image indiquée, sans pour autant affecter sa durée. Sortie : détermine le point de sortie de l’objet, aussi bien en vitesse constante que variable. Le réglage de ce paramètre déplace toujours le point de sortie de l’objet vers l’image indiquée, sans pour autant affecter sa durée. Durée : détermine la durée totale de l’objet. Si Time Remap est réglé sur Vitesse constante, le réglage de la Durée affecte également la Vitesse et le Point de sortie. En revanche, si Time Remap est réglé sur Vitesse variable, le réglage de la Durée n’affecte en rien la lecture à vitesse variable. Inverser : cette case permet d’activer/désactiver la lecture à l’envers du plan. Fusion d’images : détermine la méthode utilisée pour fusionner l’image au cours de chaque image lue. Le menu local Fusion d’images propose les options suivantes :  Aucune : affiche l’image du plan d’origine au plus près de l’image source.  Fusion : option par défaut. Affiche une fusion des pixels individuels d’images adjacentes.  Fusion flou d’animation : applique un algorithme de flou d’animation aux images fusionnées.  Flux optique : utilise un algorithme de flux optique pour fusionner les deux images entourant l’image souhaitée. L’activation de cette méthode affecte les performances de lecture de manière considérable. Pour afficher les images correctement, Motion analyse le plan afin de déterminer la direction du mouvement des pixels. Chapitre 3 Compositing standard 347 Si vous sélectionnez Flux optique, un indicateur d’analyse apparaît à gauche des commandes de lecture situées sous le Canevas, afin de vous indiquer que le plan est en cours d’analyse. Si vous lancez la lecture du projet avant la fin de l’analyse, le plan apparaît comme si l’option Fusion d’images était réglée sur Aucune. Une fois l’analyse terminée, l’indicateur disparaît et le plan est lu correctement. Si vous le souhaitez, vous pouvez consulter des informations détaillées sur l’analyse du plan et l’arrêter avant qu’elle ne soit terminée. Important : lors de l’importation d’une séquence entrelacée et de l’utilisation de la méthode Flux optique pour la fusion d’images, des imperfections risquent d’apparaître au sein de l’objet resynchronisé si le paramètre Priorité de trame n’est pas réglé sur une valeur adaptée. Pour afficher plus d’informations sur l’analyse en cours d’un plan, procédez de l’une des manières suivante : m Au cours de l’analyse du plan, cliquez sur l’indicateur d’analyse. m Choisissez Fenêtre > Afficher la liste des tâches. La liste des tâches d’arrière-plan apparaît alors. La liste des tâches d’arrière-plan répertorie tous les processus que Motion est en train d’exécuter à l’arrière-plan. Chaque tâche est référencée par un libellé, une barre de progression et un texte indiquant le temps restant avant la fin de la tâche. Vous pouvez annuler une tâche en cours ou en suspens en cliquant sur le bouton Arrêter situé à côté de sa barre de progression. Condition de fin : menu local vous permettant de déterminer la suite de la lecture lorsque la fin du plan est atteinte. Il existe quatre options :  Aucune : option par défaut. La durée du plan dans votre projet est égale à la durée du fichier de média source correspondant. Indicateur d’analyse Bouton Arrêter348 Chapitre 3 Compositing standard  En boucle : lorsque la dernière image du plan est atteinte, le plan revient en boucle sur la première image et reprend la lecture. Cela peut provoquer un saut dans la lecture du plan, à moins que ce dernier n’ait été désigné pour être mis en boucle de manière transparente.  Ping-Pong : lorsque la dernière image du plan est atteinte, la lecture suivante du plan est effectuée en sens inverse. Si vous choisissez l’option Ping-Pong pour un plan montrant une balle roulant au sol, vous verrez la balle rouler en avant, puis en arrière et ainsi de suite pendant toute la durée de l’objet. Cette option permet d’étendre la durée de certains plans vidéo de manière plus fluide qu’avec l’option En boucle.  Suspendre : la dernière image du plan est figée pendant le temps indiqué grâce au curseur Durée de fin. Remarque : si vous activez l’option Suspendre avec une séquence entrelacée, assurez-vous que le paramètre Ordre de trame est correctement défini dans l’onglet Média de l’Inspecteur. Pour modifier ce paramètre, sélectionnez le plan dans l’onglet Média de la sous-fenêtre Projet, puis choisissez une option dans le menu local Ordre de trame de l’onglet Média de l’Inspecteur. Durée de fin : curseur vous permettant de fixer le nombre d’images à ajouter au plan à la fin de sa durée. Cette valeur peut être définie uniquement si Condition de fin est réglée sur toute autre valeur que Aucune. Exportation d’une sélection Une fois que vous avez ajusté les éléments d’un projet pour qu’ils correspondent exactement à vos souhaits, vous pouvez avoir envie de les réutiliser dans un autre projet. Pour ce faire, exportez ces éléments sous forme de fichiers rendus, afin de minimiser leur impact sur les performances de lecture d’un projet complexe. Ce processus s’appelle la transformation. Pour transformer les éléments sélectionnés en vue de leur exportation : 1 Sélectionnez les couches de votre projet que vous souhaitez transformer. 2 Choisissez Fichier > Exporter la sélection. Resynchronisation dans la Timeline Vous pouvez également manipuler le contrôle du temps d’un plan dans la Timeline grâce aux touches de modification. Les indicateurs affichés par la Timeline vous aident à visualiser les boucles et toutes les autres conditions de resynchronisation. Pour en savoir plus sur la resynchronisation dans la Timeline, voir « Resynchronisation dans la Timeline » à la page 384.Chapitre 3 Compositing standard 349 3 Sélectionnez les options de votre choix dans la zone de dialogue Exporter la sélection, puis cliquez sur Exporter. Options de la zone de dialogue Exporter la sélection Cette zone de dialogue contient des options qui vous permettent d’attribuer un nom au fichier, de définir quel type de fichier vous souhaitez créer, d’indiquer quels éléments inclure à l’exportation, ainsi que des options concernant les événements survenant une fois l’exportation terminée. Elle vous propose les options suivantes : Enregistrer sous : attribuez un nom au fichier que vous souhaitez exporter. Emplacement : choisissez un emplacement d’enregistrement pour le fichier exporté. Exporter : choisissez un type de fichier dans ce menu local. Cliquez sur le bouton Options pour définir des options de sortie. Pour en savoir plus sur les options d’exportation, voir le chapitre 14, « Exportation de projets Motion », à la page 1235. Le menu local Exporter vous propose les options suivantes :  Séquence QuickTime : si cette option est sélectionnée, une séquence QuickTime est créée.  Séquence d’images : si cette option est sélectionnée, une série de fichiers d’image numérotés est exportée. Chaque fichier contient une seule image de la séquence.  Sur l’image actuelle : si cette option est sélectionnée, seule l’image sur laquelle la tête de lecture est positionnée est exportée. Utiliser : menu local vous permettant de choisir des préréglages d’exportation. Pour en savoir plus sur les options d’exportation, voir le chapitre 14, « Exportation de projets Motion », à la page 1235. Selon l’option que vous avez choisie dans le menu local Exporter, l’un des trois préréglages par défaut apparaît dans le menu local Utiliser :  Séquence - Utiliser les réglages actuels du projet et du Canevas : activée par défaut si vous avez choisi Séquence QuickTime dans le menu local Exporter, cette option utilise les réglages actuels du projet et du Canevas lors du rendu de la sélection pour son exportation. Séquence d’images - Utiliser les réglages actuels du projet et du Canevas : activée par défaut si vous avez choisi Séquence d’images dans le menu local Exporter, cette option utilise les réglages actuels du projet et du Canevas lors du rendu de la sélection pour son exportation.  Image - Utiliser les réglages actuels du projet et du Canevas : activée par défaut si vous avez choisi Sur l’image actuelle dans le menu local Exporter, cette option utilise les réglages actuels du projet et du Canevas lors du rendu de la sélection pour son exportation. Inclure : menu local qui vous permet de déterminer quels éléments audio et vidéo inclure à l’exportation. Il existe trois options :  Vidéo et audio : cette option exporte tous les éléments vidéo et audio.  Vidéo seulement : cette option exporte uniquement les éléments vidéo.  Audio seulement : cette option exporte uniquement les éléments audio. Après exporté : menu local vous permettant de définir les opérations à accomplir sur le fichier obtenu à l’issue de l’exportation. Il existe quatre options :  Ne rien faire : si cette option est sélectionnée, aucune opération n’est exécutée à la fin de l’exportation.  Ouvrir dans la fenêtre du visualiseur : option par défaut qui ouvre l’élément exporté dans le visualiseur.  Ajouter aux données : cette option ajoute l’élément exporté dans l’onglet Média du projet en cours. Remarque : l’élément exporté n’apparaît pas dans le Canevas.  Importer dans le projet : cette option importe l’élément dans le projet à l’issue de exportation. Par défaut, la séquence est importée dans le Canevas et elle apparaît dans la hiérarchie de la liste de couches juste au-dessus des éléments utilisés pour la créer. Commandes Exposer Les principales commandes d’exposition disponibles dans Motion vous permettent de consulter plusieurs fenêtres simultanément, en les développant et en les redimensionnant sans avoir à les déplacer manuellement. Ces commandes vous permettent d’accéder rapidement à l’écran à toutes les couches d’un projet directement dans le Canevas, ainsi que de sélectionner des éléments sans avoir à naviguer dans la liste de couches ou dans la Timeline. Elles vous permettent également de sélectionner des couches qui ne sont pas activées à la position actuelle de la tête de lecture et d’accéder automatiquement au point d’entrée d’une couche sélectionnée. Il existe deux commandes d’exposition : la première affiche toutes les couches d’un projet, alors que la seconde affiche uniquement les couches activées à la position actuelle de la tête de lecture dans la Timeline.Chapitre 3 Compositing standard 351 Exposition de toutes les couches Grâce à la commande Exposer toutes les couches, vous pouvez vous faire une idée de tous les éléments contenus dans votre projet et sélectionner rapidement l’élément que vous souhaitez manipuler. Pour exposer toutes les couches de votre projet : 1 Cliquez n’importe où dans le Canevas. 2 Appuyez sur les touches Maj + X. Toutes les couches du projet sont temporairement réduites et étalées sur le Canevas. Chacune est représentée par une image blanche dans le Canevas. Positionnez le pointeur au-dessus d’une image pour afficher le nom de la couche correspondante. 3 Sélectionnez la couche sur laquelle vous souhaitez travailler. Les couches reprennent leur taille et leur position d’origine. L’élément est sélectionné dans le Canevas et la tête de lecture se déplace sur la première image de la couche sélectionnée. Exposition des couchesactivées Grâce à la commande Exposer les couches activées, vous pouvez afficher toutes les couches activées à la position de la tête de lecture dans la Timeline. Pour exposer tous les objets activés à la position de la tête de lecture : 1 Cliquez n’importe où dans le Canevas. 2 Appuyez sur la touche X. Toutes les couches activées à la position actuelle de la tête de lecture sont temporairement réduites et étalées sur le Canevas. Chacune est représentée par une image blanche dans le Canevas. Positionnez le pointeur au-dessus d’une image pour afficher le nom de la couche correspondante. 3 Sélectionnez l’objet sur lequel vous souhaitez travailler. Les éléments reprennent leur taille et leur position d’origine. L’élément est sélectionné dans le Canevas et la tête de lecture se déplace sur la première image de l’objet sélectionné. Canevas après l’activation de la commande Exposer toutes les couches Canevas avant l’activation de la commande Exposer toutes les couches352 Chapitre 3 Compositing standard Exposition des zones de dépôt Les modèles Motion contiennent souvent des zones de dépôt sur lesquelles vous pouvez glisser et déposer vos propres objets image. Par ailleurs, vous pouvez créer vos propres zones de dépôts dans n’importe lequel de vos projets. Utilisez la fonction d’exposition de Motion lorsque vous faites glisser des éléments du Navigateur ou de la Bibliothèque vers le Canevas pour voir apparaître automatiquement une présentation développée de toutes les zones de dépôt valides au sein du projet. Pour exposer toutes les zones de dépôt d’un projet: 1 Dans la Bibliothèque ou le Navigateur, localisez l’objet que vous souhaitez importer dans le projet. 2 Maintenez enfoncée la touche Commande et faites glisser cet objet vers le Canevas. L’objet que vous faites glisser sur le Canevas est affiché sous la forme d’une vignette. Votre pointeur prend la forme d’une flèche courbe jusqu’à ce que vous déposiez l’objet. Tous les objets activés sont développés et redimensionnés dans le Canevas afin que vous puissiez tous les voir en même temps. Positionnez le pointeur au-dessus d’un objet pour afficher son nom dans la liste de couches. 3 Faites glisser l’objet sur sa cible. L’objet prend la place de sa cible. Les éléments reprennent leur taille et leur position d’origine et la tête de lecture se déplace sur la première image de l’objet déposé. Exposition des zones de dépôt4 353 4 Utilisation de la Timeline Disposez et modifiez aisément et de manière flexible les ressources de votre projet dans la Timeline. Visualisez vos objets répartis sur les couches et les pistes. La Timeline affiche tous les objets de votre projet et vous fournit une représentation graphique de l’organisation de votre projet au fil du temps. Vous pouvez disposer vos objets afin qu’ils commencent et finissent sur les images de votre choix. Vous pouvez également aligner plusieurs effets afin qu’ils surviennent simultanément. Vous pouvez contrôler les durées des objets et même effectuer des opérations de Trim courantes pour modifier les objets comme vous le feriez dans un programme de montage vidéo. Des contrôles supplémentaires vous permettent de manipulez les masques, les filtres, les comportements, les images clés et les éléments audio, ainsi que vos séquences visuelles. La réglette de la Timeline fournit une référence exacte pour la gestion du temps et la synchronisation des effets. Vous pouvez verrouiller les pistes afin d’en prévenir toute modification, masquer temporairement un objet et gérer les liens entre les données audio et vidéo. Réglette de la Timeline Zone de pistes Liste de couches de la Timeline354 Chapitre 4 Utilisation de la Timeline Bien que vous puissiez effectuer de nombreux types d’effets sans jamais utiliser la Timeline, il s’agit d’un outil essentiel pour manipuler la durée des éléments qui constituent votre projet. Motion intègre de nombreuses fonctions généralement réservées aux logiciels de montage non linéaire utilisés dans un flux de travaux de compositing. Par défaut, la Timeline n’est pas affichée dans la présentation standard. Il est possible de la visualiser en affichant la fenêtre Contrôle du temps. Pour afficher la fenêtre Contrôle du temps, procédez de l’une des manières suivantes : m Cliquez sur l’icône Contrôle du temps (dans l’angle supérieur droit de la barre d’outils). m Faites glisser vers le haut le séparateur sous le bouton Lecture dans les commandes de lecture. m Choisissez Fenêtre > Présentations > Cinéma. m Appuyez sur la touche F6. La présentation Cinéma déplace l’Inspecteur à droite de l’interface et affiche la sous-fenêtre Contrôle du temps. Remarque : pour modifier la présentation de l’interface, choisissez Fenêtre > Présentations, puis sélectionnez la présentation Standard, Alternative ou Cinéma. Vous pouvez également créer et enregistrer vos modes de présentation. Voir « Présentation des fenêtres » à la page 25 pour en savoir plus sur les présentations. Si la fenêtre Contrôle du temps est ouverte, il se peut que vous deviez cliquer sur l’onglet Timeline pour l’amener au premier plan. icône Contrôle du tempsChapitre 4 Utilisation de la Timeline 355 Familiarisation avec la Timeline La Timeline est constituée de deux parties : la liste de couches à gauche et la zone réservée aux pistes à droite. Chaque objet de votre projet apparaît sous la forme d’une barre colorée, sur sa propre piste horizontale, arrangé selon une hiérarchie identique à celle de la liste de couches dans la fenêtre Projet. Cela vous permet de voir rapidement chaque emplacement de l’objet dans le temps ainsi que sa position relative et sa durée. Vous pouvez déterminer le type de chaque objet en fonction de son apparence dans la liste de couches de la Timeline. Si vous sélectionnez un objet, la couleur prend un ton plus foncé et le nom de l’objet s’affiche en blanc. Lorsque la Timeline est en mode Pellicule, les images de la pellicule sont mises en surbrillance et entourées d’un cadre blanc. Voir « Spécification de l’affichage des pistes » à la page 362 pour en savoir plus sur les différents modes d’affichage de la Timeline. Élément Apparence Description Groupe Double barre bleue. La barre inférieure affiche trois lignes et le nombre d’objets contenus dans le groupe. Couches (vidéo, images, formes, texte, particules, réplicateurs) Barre bleue Masques Barre grise Comportements et filtres Barre violette étroite Caméra Barre bleue Lumière Barre bleue Images clés Losanges bleus affichés dans une barre étroite située sous l’objet animé par ces images clés. Les images clés sélectionnées apparaissent en blanc. Audio Barre verte affichant la forme du signal audio. Si un comportement Audio est appliqué au fichier audio, la barre violette apparaît sous la piste audio.356 Chapitre 4 Utilisation de la Timeline Liste de couches de la Timeline La liste de couches de la Timeline est le reflet de l’onglet Couches de la sous-fenêtre du projet. Elle affiche tous les objets de votre projet (groupes, couches, filtres, comportements, etc.) et leur ordre dans la pile. Elle permet également de visualiser les comportements, filtres, masques et images clés appliqués à un objet. Vous pouvez d’ailleurs y réorganiser les objets. Cette modification est immédiatement reflétée dans la liste de couches de la fenêtre Projet. Vous pouvez également verrouiller les pistes afin d’en empêcher toute modification ultérieure et désactiver des pistes entières pour qu’elles ne soient pas affichées dans le Canevas. Noms d’objets Il est possible de renommer n’importe quel objet dans Motion, ce qui peut s’avérer utile si vous utilisez plusieurs versions d’une même ressource ou plusieurs caméras, voire si vous souhaitez classer vos éléments dans des groupes identifiés par des noms. Les masques, formes, particules et autres contenus générés à l’aide de Motion sont créés avec des noms génériques. En les renommant, vous serez à même de mieux les gérer et d’en effectuer le suivi pendant votre travail. Pour renommer un objet : 1 Dans la liste de couches de la Timeline, double-cliquez sur le nom de l’objet. 2 Tapez un nouveau nom dans le champ de texte. 3 Appuyez sur la touche Retour ou Tabulation. Bien que Motion vous permette de renommer les objets que vous importez depuis votre disque, la modification du nom de l’objet dans la liste de couches de la Timeline ne modifie pas le nom du fichier sur le disque. Cela vous permet d’utiliser plusieurs fois un plan source et d’attribuer à chaque instance un nom unique dans Motion.Chapitre 4 Utilisation de la Timeline 357 Activation des pistes de la Timeline Chaque piste de la liste de couches de la Timeline dispose à sa gauche d’une case d’activation qui permet de l’activer et de la désactiver. Toute piste désactivée est ignorée dans le Canevas. Vous pouvez donc activer et désactiver des objets vidéo et audio, mais également des effets tels que les masques, les filtres et les comportements. Pour activer ou désactiver la visibilité d’un objet : m Cochez la case située sur le bord gauche de la piste que vous souhaitez contrôler. Lorsque la case est cochée, la visibilité est activée et lorsque la case est décochée, la visibilité est désactivée. De plus, lorsqu’une piste est désactivée, la totalité de la piste apparaît estompée dans la Timeline. Gestion de la liste de couches de la Timeline Motion vous permet de réduire et de développer différentes parties de la liste de couches de la Timeline pour afficher plus ou moins de données, selon les besoins de votre travail. Vous avez la possibilité de réduire les couches auxquelles sont appliqués des masques, des filtres ou d’autres objets, afin de masquer les barres relatives aux effets. De même, vous pouvez réduire des groupes entiers pour masquer tous les objets qu’ils contiennent. Lorsqu’une couche ou un groupe est réduit de cette manière, il apparaît toujours dans la fenêtre du Canevas. Contrairement à l’activation ou à la désactivation des pistes, la réduction et le développement de la liste de couches de la Timeline n’est qu’un outil d’organisation qui vous aide à gérer l’affichage de la Timeline. La case Activation n’est pas cochée. Piste désactivée Triangle d’affichage358 Chapitre 4 Utilisation de la Timeline Pour réduire ou développer une couche ou un groupe dans la Timeline : m Cliquez sur le triangle d’affichage situé à gauche du nom de la couche ou du groupe. Si aucun triangle d’affichage n’est présent, cela signifie que cet objet ne peut être réduit ou développé davantage. Ajout et suppression de groupes Motion vous autorise à ajouter et supprimer des groupes directement dans la liste de couches de la Timeline. Si vous n’avez sélectionné aucun objet avant d’ajouter un nouveau groupe, ce groupe apparaît tout en haut de la liste. Dans le cas contraire, le nouveau groupe est ajouté juste au-dessus de l’objet sélectionné. Pour ajouter un groupe : m Cliquez sur le bouton Ajouter (+). Vous pouvez également ajouter un groupe en faisant glisser un nouvel élément dans votre projet. Pour supprimer un groupe : 1 Sélectionnez le groupe à supprimer. 2 Cliquez sur le bouton Supprimer (-). Le bouton Supprimer sert également à supprimer tout objet (caméra, couche, groupe, filtre, etc.) de la liste de couches de la Timeline. Vous pouvez aussi cliquer sur une couche tout en maintenant la touche Contrôle enfoncée, puis choisir Supprimer dans le menu contextuel. Verrouillage de pistes Il peut arriver que vous souhaitiez empêcher toute modification d’un élément particulier. L’icône de verrouillage située sur le côté droit de la liste de couches de la Timeline vous permet de verrouiller un objet et d’empêcher toute modification de cet objet. Tout objet verrouillé dans la Timeline apparaît également verrouillé dans la liste de couches de la fenêtre Projet. Bouton Ajouter Icône de verrouillage Pistes verrouillées dans la Timeline.Chapitre 4 Utilisation de la Timeline 359 Lorsque vous verrouillez un objet, son cadre de sélection dans le Canevas passe du blanc au rouge et la barre de couleur qui le représente est hachurée. Les pistes verrouillées apparaissent toujours dans le Canevas et sont incluses dans votre résultat final. Bien que vous ne puissiez pas modifier un objet verrouillé, vous pouvez toujours copier ou dupliquer cet objet ou modifier l’ordre des couches de cet objet. Pour verrouiller une piste : m Cliquez sur l’icône de verrouillage située sur le bord droit de la liste de couches de la Timeline. Liens audio/vidéo Les objets contenant des données audio et vidéo sont généralement liés afin de demeurer synchronisés. Ce lien est représenté par une icône dans la liste de couches de la Timeline. Remarque : pour afficher les éléments audio dans la Timeline, cliquez sur le bouton Afficher l’audio. Les objets liés sont toujours montés ensemble dans la Timeline. Les opérations telles que couper, copier, coller et scinder ont également une incidence à la fois sur les éléments audio et sur les éléments vidéo. Toutefois, si vous souhaitez casser ce lien afin de pouvoir déplacer ou monter séparément les éléments audio et vidéo, vous pouvez désactiver ce lien et déplacer librement chacun de ces objets. Sachez toutefois que cette opération risque de désynchroniser la lecture audio et vidéo. Pour manipuler séparément des éléments audio et vidéo : 1 Cliquez sur l’icône du lien à droite du nom de l’objet pour l’élément vidéo ou audio. L’icône du lien se transforme alors pour représenter un lien brisé.360 Chapitre 4 Utilisation de la Timeline 2 Déplacez, appliquez un Trim ou faites glisser la barre audio ou vidéo. L’icône Lier apparaît également dans la liste Couches de la sous-fenêtre Projet. Options de présentation de la Timeline L’angle inférieur gauche de la Timeline contient plusieurs contrôles permettant de personnaliser les éléments qui apparaissent dans la Timeline. Les pistes audio sont affichées dans une partition séparée de la Timeline. Vous pouvez redimensionner les partitions en faisant glisser leur ligne de séparation. Avant Après Bouton Nom du bouton Fonction Afficher/Masquer les couches Affiche l’ensemble des groupes, couches et objets. Pour que ce bouton ait le moindre effet, les pistes audio doivent être affichées. Afficher/Masquer l’audio Affiche les pistes audio. Les formes d’onde apparaissent sur les pistes audio. Si un comportement Audio est appliqué au fichier audio, la barre violette apparaît sous la piste audio. Remarque : si un comportement Audio est appliqué à un fichier audio affiché dans la Timeline, ce comportement apparaît en dessous de la piste audio qu’il modifie. Afficher/Masquer les images clés Affiche les images clés de toutes les pistes. Les images clés apparaissent sous la forme de losanges bleus (blancs lorsqu’ils sont sélectionnés). Afficher/Masquer les masques Affiche les pistes de masque pour les objets sur lesquels des masques sont appliqués. Afficher/Masquer les comportements Affiche les pistes de comportement pour les objets sur lesquels des comportements sont appliqués. Afficher/Masquer les filtres Affiche les pistes de filtre pour les objets sur lesquels des filtres sont appliqués. Définir la hauteur de ligne de la Timeline Cliquez sur l’un des boutons « Définir la hauteur de ligne de la Timeline » afin de sélectionner une taille de piste. Pour redimensionner des pistes manuellement, positionnez le pointeur sur une ligne de séparation, puis faites-la glisser vers le haut ou le bas.Chapitre 4 Utilisation de la Timeline 361 Zoom dans la Timeline Vous pouvez effectuer des zooms avant et arrière dans la Timeline à l’aide de la commande Zoom/Défilement ou du curseur de zoom. Ces commandes vous permettent toutes deux d’effectuer des zooms avant et arrière horizontalement dans la Timeline, en affichant une durée plus ou moins grande dans la fenêtre de la Timeline. Le zoom avant vous permet de voir plus de détails et, par conséquent, de placer vos objets de manière plus précise. L’utilisation du curseur de zoom maintient la Timeline centrée sur votre image actuelle. La commande Zoom/Défilement apparaît au bas de la fenêtre de la Timeline et vous permet de faire défiler votre projet en faisant glisser la case de défilement vers la gauche ou la droite. Elle permet également de faire un zoom avant ou arrière sur votre Timeline. Elle peut vous aider à naviguer plus rapidement à travers votre projet car elle fournit une vue d’ensemble instantanée de votre Timeline. La largeur de cette commande représente la durée totale de votre projet, alors que la largeur de la case de défilement identifie le segment visualisé. Si vous faites glisser l’une des poignées de la case de défilement vers l’intérieur, la case devient plus courte et initie un zoom avant sur la Timeline. Au contraire, lors du glissement de l’une des poignées vers l’extérieur, la case devient plus longue et elle exécute un zoom arrière sur la Timeline. La tête de lecture de la Timeline est toujours visible, ce qui permet de fournir un point de référence pour le segment de votre Timeline visualisé. Pour effectuer un zoom avant ou arrière sur votre Timeline : m Faites glisser la poignée vers l’une des extrémités de la case de défilement. Faites glisser vers le centre de la Timeline pour effectuer un zoom avant. Faites-la glisser vers l’extérieur pour effectuer un zoom arrière. Si vous appuyez sur la touche Maj tout en faisant glisser la poignée, l’extrémité opposée reste en place, vous permettant ainsi d’effectuer un zoom avant ou arrière du côté de la vue actuelle. Réglage de la hauteur des pistes de la Timeline Outre la possibilité d’effectuer un zoom dans la Timeline, vous pouvez également régler la hauteur des pistes. Il est possible de redimensionner séparément les pistes audio et d’objets. Certaines pistes, tels que les filtres ou les comportements, ne peuvent pas être redimensionnées. Curseur de zoom Commande Zoom/Défilement Case de défilement Poignée362 Chapitre 4 Utilisation de la Timeline Pour régler la hauteur des pistes, procédez de l’une des manières suivantes : m Faites glisser la ligne de séparation située entre deux couches dans la liste de couches de la Timeline. Lorsque le pointeur se transforme en pointeur d’ajustement, faites-la glisser vers le haut ou vers le bas afin de modifier la hauteur des couches. m Cliquez sur l’un des boutons « Définir la hauteur de ligne de la Timeline ». Spécification de l’affichage des pistes Vous pouvez choisir parmi plusieurs méthodes pour afficher les objets situés dans les pistes de la Timeline. Vous pouvez choisir de n’afficher que le nom de l’objet situé dans la piste, ce qui permet d’affiner la piste afin de pouvoir afficher aisément plusieurs pistes à la fois. Vous pouvez choisir d’afficher le nom et une vignette de l’objet, ce qui fournit un aperçu rapide et vous permet de savoir exactement à quoi correspond chaque objet. Vous pouvez également afficher les pistes sous la forme d’une pellicule, afin de pouvoir afficher une série de vignettes pour identifier les points de transformation d’un objet film. Toute modification du réglage d’affichage d’une piste modifie l’affichage des pistes de masque et d’image dans la Timeline. Pour spécifier le mode d’affichage d’une piste : 1 Choisissez Motion > Préférences pour ouvrir la fenêtre des préférences. 2 Cliquez sur l’icône Apparence. 3 Dans la section réservée à la Timeline, choisissez une option dans le menu local Affichage de la barre de temps. 4 Cliquez sur la case de fermeture de la fenêtre pour fermer la fenêtre des préférences. Les barres sont affichées en fonction de votre choix. Remarque : lorsque Affichage de la barre de temps est défini sur Pellicule, le temps de traitement est augmenté. Si un filtre est appliqué à une couche ou un groupe, le résultat de ce filtre apparaît dans la pellicule.Chapitre 4 Utilisation de la Timeline 363 Utilisation de la Timeline La Timeline constitue l’un des éléments les plus flexibles et précieux de l’interface de Motion. C’est là que vous pouvez contrôler tous les aspects temporels de votre projet. Que ce soit pour aligner plusieurs couches afin qu’elles débutent ou terminent ensemble, pour modifier la portion à utiliser dans un plan ou pour rallonger ou raccourcir un objet particulier, la Timeline dispose toujours des outils dont vous avez besoin. Vous pouvez utiliser la Timeline afin d’ajouter des images et des plans à votre projet, comme lorsque vous ajoutez des fichiers à la liste de couches ou au Canevas. Vous pouvez faire glisser des objets dans la liste de couches de la Timeline ou les faire glisser directement dans des pistes de la Timeline. Faire glisser des éléments dans les pistes de la Timeline fournit des options de montage supplémentaires telles que le compositing, l’insertion, l’écrasement et le remplacement des plans. Cette section décrit toutes ces fonctions et explique comment les ajouter, les supprimer et les réordonner. Ajout d’objets dans la Timeline Lorsque vous faites glisser un nouvel objet vers la Timeline, un menu déroulant apparaît pour vous permettre d’indiquer comment incorporer cet objet au projet. Une fois cet objet ajouté au projet à l’aide de la Timeline, il apparaît dans la liste de couches et devient une piste dans la Timeline. Vous pouvez alors effectuer un montage composite de ce nouvel objet sur des objets existants (au-dessus des couches existantes), l’insérer dans une piste existante, l’utiliser pour écraser un objet ou pour remplacer les médias d’un objet existant. Remarque : vous pouvez également faire glisser des caméras et des lumières enregistrées dans la Bibliothèque vers la Timeline.364 Chapitre 4 Utilisation de la Timeline Différentes options vous sont proposées en fonction de l’endroit où vous déposez l’objet dans la Timeline. Si vous faites glisser l’élément vers la piste d’un groupe ou d’un objet, vous avez le choix entre Composite, Insérer ou Écraser. L’option supplémentaire Échanger n’est disponible que si vous faites glisser le même type de média vers une piste. Par exemple, Échanger apparaît si vous faites glisser une séquence QuickTime vers la piste d’une séquence QuickTime. Le nouvel objet peut apparaître au-dessus ou au-dessous d’un objet. L’emplacement où vous relâchez le bouton de la souris détermine le positionnement du nouvel objet. Remarque : vous n’êtes autorisé à utiliser l’option Échanger que pour échanger le même type de média (tel qu’une séquence QuickTime, une séquence d’images ou un fichier d’image). Par exemple, l’option Échanger n’est pas disponible lorsque vous faites glisser un générateur ou une forme de la Bibliothèque sur une séquence d’images. Si vous supprimez plusieurs objets, vous pouvez choisir Composite ou Séquentiel dans le menu déroulant. Le mode Séquentiel importe les objets l’un après l’autre. Remarque : si vous relâchez le bouton de la souris avant que le menu déroulant n’apparaisse, le choix par défaut (Composite) est appliqué. En d’autres termes, la nouvelle couche apparaît au-dessus de tous les autres objets dans le Canevas. Composite Si vous optez pour Composite, le nouvel objet est ajouté à une nouvelle piste au sein du groupe activé et toutes les couches demeurent simultanément à l’écran. Glissement vers la piste d’un groupe Glissement au sein de la piste d’un objet Avant AprèsChapitre 4 Utilisation de la Timeline 365 Insérer Lorsque vous choisissez Insérer, Motion laisse l’objet existant sur la piste, mais le pousse en avant dans le temps afin de faire de la place pour le nouvel objet. Ainsi, si vous insérez une séquence composée de cinq images dans un groupe contenant déjà un objet, la nouvelle séquence est ajoutée dans la Timeline au niveau de l’image sur laquelle vous la déposez et les autres images de la séquence d’origine sont décalées de cinq images. Si vous insérez un objet au milieu d’un objet, ce dernier est scindé en deux objets ayant chacun sa propre piste. Écraser L’option Écraser supprime l’objet et le remplace par le nouvel objet. Si le nouvel objet est plus court que l’objet déjà présent au sein du groupe, l’option Écraser divise la durée de l’objet existant et ne supprime que les images situées à l’emplacement du nouvel objet. Avant Après Avant Après Avant Après366 Chapitre 4 Utilisation de la Timeline Échanger L’option Échanger est une variante de l’option Écraser, mais plutôt que de déposer toute la durée du nouvel objet dans le projet, seule la durée de l’objet existant est utilisée. Ainsi, si vous déposez un plan de 30 secondes sur un plan de 5 secondes, l’option Échanger permet de remplacer les 5 secondes par les 5 premières secondes du plan le plus long. De même, si vous essayez de remplacer un plan de 10 secondes par un plan qui ne dure que 5 secondes, les 5 premières secondes sont remplacées et les 5 secondes restantes demeurent intactes. L’option Échanger transfère tous les filtres, comportements et images clés éventuels de l’objet original vers le nouvel objet. Remarque : il est impossible d’utiliser l’option Échanger avec des fichiers audio. Séquentiel Cette option du menu déroulant est disponible uniquement lorsque vous supprimez plusieurs objets dans la Timeline. Le mode Séquentiel dépose les objets l’un après l’autre dans la Timeline. Pour plus d’informations, voir « Ajout de plusieurs plans à la Timeline » à la page 368. Pour effectuer un montage composite sur un objet : 1 Faites glisser un objet depuis la Bibliothèque ou l’onglet Média jusque dans la zone des pistes de la Timeline. Pendant que vous faites glisser l’objet, une bulle d’aide apparaît au niveau du pointeur pour indiquer le numéro de l’image où vous vous situez. 2 Dès que vous avez atteint l’image sur laquelle vous souhaitez faire débuter la nouvelle couche, placez le pointeur sur la couche à utiliser comme arrière-plan et maintenez enfoncé le bouton de la souris jusqu’à ce que le menu déroulant apparaisse. 3 Choisissez Composite dans le menu déroulant. Un montage composite est alors effectué dans le projet avec la nouvelle couche. Avant AprèsChapitre 4 Utilisation de la Timeline 367 Pour insérer un objet : 1 Faites glisser un objet depuis la Bibliothèque ou l’onglet Média vers la zone réservée aux pistes dans la Timeline. Pendant que vous faites glisser l’objet, une bulle d’aide apparaît au niveau du pointeur pour indiquer le numéro de l’image où vous vous situez. 2 Une fois que vous avez atteint l’image où vous souhaitez faire débuter le nouvel objet, gardez le bouton de la souris enfoncé jusqu’à ce que le menu déroulant apparaisse. 3 Choisissez Insérer dans le menu déroulant. Le nouvel objet est inséré dans la piste, divisant la barre originale en deux et repoussant plus en avant dans le temps les images situées après le point d’insertion. Pour écraser un objet : 1 Faites glisser un objet depuis la Bibliothèque ou l’onglet Média vers la zone réservée aux pistes dans la Timeline. Pendant que vous faites glisser l’objet, une bulle d’aide apparaît pour indiquer le numéro de l’image où vous vous situez. 2 Dès que vous avez atteint l’image sur laquelle vous souhaitez faire débuter le nouvel objet, maintenez enfoncé le bouton de la souris jusqu’à ce que le menu déroulant apparaisse. 3 Choisissez Écraser dans le menu déroulant. Les images du nouvel objet remplacent celles de l’objet original. Si l’objet original contient plus d’images que le nouvel objet, l’ancien objet est divisé en deux objets et les images supplémentaires sont conservées. Pour échanger un objet : 1 Faites glisser un objet depuis la Bibliothèque ou l’onglet Média vers la zone réservée aux pistes dans la Timeline. Pendant que vous faites glisser l’objet, une bulle d’aide apparaît pour indiquer le numéro de l’image où vous vous situez. 2 Dès que vous avez atteint l’objet que vous souhaitez échanger, maintenez enfoncé le bouton de la souris jusqu’à ce que le menu déroulant apparaisse. 3 Choisissez Échanger dans le menu déroulant. L’ancien objet est remplacé par le nouvel objet.368 Chapitre 4 Utilisation de la Timeline Ajout de plusieurs plans à la Timeline Lorsque vous faites glisser plusieurs éléments vers la Timeline, les nouveaux objets apparaissent sur leur propre piste au-dessus de tous les objets existants. Cela revient à effectuer un montage composite à l’aide d’un seul objet. Un menu déroulant vous permet de décider si les objets supplémentaires doivent être empilés pour former un montage composite ou s’ils doivent apparaître l’un après l’autre (de manière séquentielle). Pour ajouter plusieurs objets sous la forme d’un montage composite : 1 Sélectionnez des fichiers dans la Bibliothèque ou l’onglet Média tout en maintenant la touche Maj enfoncée, puis faites-les glisser vers la zone réservée aux pistes dans la Timeline. 2 Dès que vous avez atteint l’image sur laquelle vous souhaitez faire débuter les nouveaux objets, maintenez enfoncé le bouton de la souris jusqu’à ce que le menu déroulant apparaisse. 3 Choisissez Composite dans le menu déroulant. Tous les objets sont alors montés dans le projet, au même moment dans le temps, chacun sur sa propre piste. Vous pouvez également déposer tous les objets dans la liste de couches de la Timeline. Dans ce cas, vous obtenez toujours un montage composite. Si vous relâchez le bouton de la souris avant que le menu déroulant n’apparaisse, un montage composite est appliqué. Pour ajouter plusieurs objets de manière séquentielle : 1 Sélectionnez des fichiers dans le Navigateur, la Bibliothèque ou l’onglet Média tout en maintenant la touche Commande enfoncée, puis faites-les glisser vers la zone réservée aux pistes dans la Timeline. 2 Dès que vous avez atteint l’image sur laquelle vous souhaitez faire débuter les nouveaux objets, maintenez enfoncé le bouton de la souris jusqu’à ce que le menu déroulant apparaisse. 3 Choisissez Séquentiel dans le menu déroulant. Tous les objets sont montés dans le projet, l’un après l’autre, chacun sur sa propre piste. Composite SéquentielChapitre 4 Utilisation de la Timeline 369 Réglage des préférences de l’action glisser-déposer Vous pouvez définir des préférences déterminant l’emplacement de dépôt d’un élé- ment lorsque vous le faites glisser dans la liste de couches de la Timeline. Vous pouvez choisir entre déposer des éléments au début du projet ou à l’emplacement actuel de la tête de lecture. Vous pouvez également définir la durée s’écoulant avant l’apparition du menu déroulant. Pour spécifier l’emplacement des nouveaux objets dans la Timeline : 1 Choisissez Motion > Préférences. La fenêtre Préférences s’ouvre. 2 Cliquez sur l’icône Projet. Les préférences Projet apparaissent dans la fenêtre. 3 Dans la section Images et couches, cliquez sur le bouton approprié pour créer les couches « Sur l’image actuelle » ou « Au début du projet ». Remarque : la préférence « Créer couches à » s’applique uniquement lorsque vous faites glisser des éléments vers la liste de couches de la Timeline ou de la sous-fenêtre du projet, ou directement sur le Canevas. Les plans déposés sur une image spécifique au sein de la Timeline apparaissent toujours à cet emplacement exact. Pour régler la préférence relative au délai du menu déroulant: 1 Choisissez Motion > Préférences. La fenêtre Préférences s’ouvre. 2 Cliquez sur l’icône Générales pour accéder aux préférences d’ordre général. 3 Dans la section Interface, faites glisser le curseur « Délai menu déroulant » pour définir le délai qui s’écoule avant l’apparition du menu déroulant. Ajout à la liste de couches de la Timeline Vous pouvez faire glisser une image depuis le Navigateur ou l’onglet Média vers la liste de couches de la Timeline. Vous avez alors le choix entre ajouter ce nouvel objet à un groupe existant, remplacer un objet présent ou créer un nouvel objet. Pour ajouter un objet à un groupe existant : 1 Faites glisser un objet depuis le Navigateur, la Bibliothèque ou l’onglet Média, puis placez le pointeur sur la liste de couches de la Timeline.  Si vous positionnez le pointeur sur un groupe, une bordure noire apparaît autour de la piste correspondante.  Si vous placez le pointeur entre des pistes d’objets au sein d’un groupe, l’indicateur de position apparaît. 2 Relâchez le bouton de la souris pour ajouter la couche au groupe. La nouvelle couche est placée soit au-dessus de tous les autres objets du groupe, soit entre les objets à l’endroit où vous l’avez déposée.370 Chapitre 4 Utilisation de la Timeline Pour remplacer un objet dans un groupe existant : 1 Faites glisser un objet depuis le navigateur, la Bibliothèque ou l’onglet Média, puis placez le pointeur sur l’objet à remplacer. Un cadre de surbrillance noir apparaît autour de l’objet. Remarque : la commande Remplacer ne peut être utilisée qu’avec les images, les séquences d’images et les séquences QuickTime. 2 Relâchez le bouton de la souris. Le nouvel objet remplace l’ancien. Pour créer un nouveau groupe au-dessus des groupes existants : 1 Faites glisser un objet depuis le Navigateur, la Bibliothèque ou l’onglet Média vers la liste de couches de la Timeline, à la limite supérieure de l’objet situé tout en haut. 2 Dès que l’indicateur de position apparaît, relâchez le bouton de la souris. Un nouveau groupe est créé au-dessus de tout autre groupe présent dans la hiérarchie, encore appelée « pile » des groupes et des couches. Pour créer un nouveau groupe en dessous des groupes existants : 1 Faites glisser un objet depuis le Navigateur, la Bibliothèque ou l’onglet Média vers la liste de couches de la Timeline, sous la limite inférieure de l’objet situé tout en bas. Remarque : il existe deux indicateurs de position différents. Le plus court place l’objet dans le groupe existant. Tout en maintenant le bouton de la souris enfoncé, déplacez le pointeur légèrement vers la gauche pour afficher l’indicateur le plus long. Cet indicateur crée un nouveau groupe. 2 Relâchez le bouton de la souris. Un nouveau groupe est créé en dessous de tous les autres groupes présents dans la hiérarchie, encore appelée « pile » des groupes et des objets. Gestion de l’ordre des pistes La liste de couches de la Timeline met à votre disposition tous les outils nécessaires pour contrôler l’ordre des objets. Dans Motion, la piste la plus haute de la liste apparaît au-dessus des autres couches dans le Canevas. Cela signifie que vous devez peut-être réordonner l’ordre des objets de votre projet afin d’obtenir les effets souhaités. Chapitre 4 Utilisation de la Timeline 371 Pour réorganiser les objets au sein d’un groupe : 1 Dans la liste de couches de la Timeline, cliquez sur l’icône de l’objet à déplacer. 2 Faites-le glisser à l’endroit souhaité entre d’autres pistes. 3 Lorsque l’indicateur de position apparaît à l’endroit souhaité, relâchez le bouton de la souris. Les pistes sont alors réordonnées. Pour déplacer un objet d’un groupe existant vers un autre : 1 Dans la liste de couches de la Timeline, faites glisser l’icône de l’objet vers un autre groupe. Une bordure noire met en évidence le groupe choisi. 2 Relâchez le bouton de la souris. Avant Après372 Chapitre 4 Utilisation de la Timeline L’objet est déplacé dans le groupe sélectionné et placé au-dessus de tous les objets préalablement présents dans ce groupe. Vous pouvez également déposer un objet à un emplacement spécifique du nouveau groupe en le faisant glisser entre les pistes de ce nouveau groupe. Dans Motion, les groupes et les couches sont à « ouverture automatique ». En d’autres termes, ils sont temporairement développés, tout comme les dossiers sur le Finder, lorsque vous faites glisser un objet à l’intérieur. Pour déposer un objet dans un groupe réduit: 1 Dans la liste de couches de la Timeline, faites glisser l’objet vers le groupe réduit. 2 Placez le pointeur au-dessus du nom du groupe jusqu’à ce que le groupe s’ouvre automatiquement. 3 Faites glisser l’objet à l’emplacement souhaité au sein du groupe, puis relâchez le bouton de la souris. Imbrication de groupes et de couches Pour vous aider à organiser des groupes contenant de nombreux objets ou à créer certains types d’effets spéciaux, vous avez la possibilité de placer des groupes au sein d’autres groupes. Cette possibilité vous offre toute la souplesse nécessaire pour créer un groupe contenant un grand nombre d’objets et traiter ce groupe comme s’il s’agissait d’un seul objet au sein d’un autre groupe. Il est même possible d’aller encore plus loin en prenant le groupe « parent », en le combinant avec d’autres groupes et en le traitant comme un élément unique, etc. On parle alors d’imbrication ou de regroupement.Chapitre 4 Utilisation de la Timeline 373 Plusieurs raisons peuvent vous amener à choisir d’imbriquer vos couches ou vos groupes. Cela vous permet de simplifier votre montage composite en regroupant les objets et les couches dans un nombre plus réduit de conteneurs. Cela vous permet également de manipuler un groupe d’objets comme s’il s’agissait d’un groupe unique. Vous pourriez, par exemple, prendre chaque lettre de votre titre (chacune disposant de sa propre animation) et utiliser l’imbrication pour animer le groupe de lettres à travers l’écran. Vous pouvez également utiliser l’imbrication pour créer des systèmes complexes de particules. Vous pouvez imbriquer plusieurs objets en une couche et utiliser la couche entière comme cellule émettrice. Pour en savoir plus sur les systèmes de particules, voir « Utilisation des particules » à la page 743. Remarque : il vous est impossible d’utiliser la commande Grouper avec des objets situés dans des groupes différents. Pour imbriquer un groupe dans un autre : 1 Dans la liste de couches de la Timeline, faites glisser l’icône d’un groupe vers le groupe au sein duquel vous souhaitez l’imbriquer. Une bordure noire met en évidence le groupe de destination choisi. 2 Relâchez le bouton de la souris. Le premier groupe est désormais imbriqué dans le second. Vous pouvez également sélectionner les objets à imbriquer, puis choisir Objet > Grouper (ou appuyer sur les touches Commande + Maj + G). Remarque : le nombre de groupes que vous pouvez imbriquer est illimité. Pour annuler l’imbrication d’un groupe : m Sélectionnez le groupe imbriqué, puis choisissez Objet > Dissocier (ou appuyez sur les touches Commande + Option + G). Le groupe imbriqué est restauré en objets individuels. Tout groupe situé au sein d’un autre groupe peut être dissocié. Pour supprimer un groupe au sein d’une imbrication : 1 Cliquez sur l’icône du groupe dans la liste de couches de la Timeline. 2 Faites glisser le groupe en dehors du groupe parent et jusque vers la zone située au-dessus de la piste la plus haute. L’indicateur de position apparaît. 3 Relâchez le bouton de la souris. Le groupe est restauré à son état d’origine.374 Chapitre 4 Utilisation de la Timeline Pour supprimer la piste d’un groupe ou d’un objet : 1 Sélectionnez le groupe ou l’objet dans la liste de couches de la Timeline. 2 Appuyez sur la touche Suppr. Vous pouvez également cliquer sur un objet en maintenant la touche Contrôle enfoncée, puis choisir Supprimer dans le menu contextuel. Toutes les opérations décrites ci-dessus peuvent être effectuées avec plusieurs pistes. Par exemple, au lieu de simplement déplacer un objet du Groupe 1 vers le Groupe 3, vous pouvez sélectionner deux ou trois objets du Groupe 1 et les déplacer simultanément. Pour sélectionner plusieurs pistes d’objets ou de groupes : m Dans la liste de couches, cliquez sur chacune des pistes à inclure dans votre sélection tout en maintenant la touche Commande enfoncée. Scission de pistes Il peut parfois s’avérer utile de diviser un objet en plusieurs objets, chacun disposant de sa propre piste dans la Timeline. Vous pouvez avoir envie de procéder de la sorte si vous souhaitez appliquer un effet à une seule partie d’un plan ou modifier en plein au milieu l’ordre de la couche d’un objet, afin de créer l’illusion que les objets se déplacent dans un espace tridimensionnel. Lorsque vous travaillez en 3D, vous pouvez même scinder les pistes des caméras. La scission des pistes vous permet de transformer un objet en plusieurs parties que vous pouvez ensuite manipuler individuellement sur leur propre piste. Pour scinder une piste d’objet : 1 Sélectionnez l’objet à scinder dans la zone réservée aux pistes de la liste de couches de la Timeline. 2 Placez la tête de lecture sur l’image correspondant à l’endroit où vous souhaitez effectuer la scission. 3 Choisissez Édition > Scinder. L’objet est alors divisé en deux parties, chacune étant placée sur sa propre piste. Avant AprèsChapitre 4 Utilisation de la Timeline 375 Modification d’objets dans la Timeline Lors du processus de conception et de mise en œuvre d’un projet d’animation, vous pouvez placer des objets dans la Timeline et le Canevas, les faire avancer ou reculer dans le temps et leur appliquer des Trim afin de les faire coïncider avec la durée d’autres objets de votre projet. Motion comprend plusieurs fonctions qui vous aident à modifier des objets dans la Timeline. Vous pouvez, par exemple, disposer vos objets afin qu’ils commencent et finissent sur les images de votre choix. De puissants outils de contrôle du temps et d’alignement, tels que le magnétisme et les marqueurs, sont également disponibles. La Timeline vous permet aussi de modifier les images clés. Cette section traite des différentes méthodes d’exécution de ces opérations. Dans Motion, les termes déplacer, Trim et coulisser font référence aux méthodes utilisées pour modifier des objets de la Timeline. Déplacer : modifie l’emplacement d’un objet sans en modifier le contenu ni la durée. Trim : modifie la durée d’un objet sans en modifier l’emplacement ni le contenu. Coulisser : modifie l’emplacement d’un objet sans en modifier le contenu ni la durée. Déplacement d’objets Déplacez un objet lorsque vous voulez qu’il débute et termine à un endroit différent du projet. Pour déplacer un objet : m Dans la zone réservée aux pistes, cliquez sur la barre d’un objet, puis faites-la glisser vers la gauche ou la droite pour déplacer cet objet dans le temps. Au fur et à mesure que vous faites glisser l’objet, une bulle d’aide vous indique les nouveaux points d’entrée et de sortie du plan, de telle sorte que vous puissiez déposer l’objet exactement sur l’image souhaitée. Le symbole Delta (le petit triangle) indique le nombre d’images représentant votre déplacement.376 Chapitre 4 Utilisation de la Timeline Pour déplacer un objet et le caler par magnétisme sur les éléments voisins : m Maintenez la touche Maj enfoncée tandis que vous faites glisser l’élément dans la Timeline. Les lignes magnétiques apparaissent et les bords du plan s’alignent automatiquement et de manière précise sur ces lignes. Déplacement d’objets sur la tête de lecture Dans la Timeline, vous pouvez déplacer un objet vers un nouvel emplacement grâce à la commande Déplacer le point d’entrée (ou de sortie) sélectionné. Cette commande décale automatiquement la position de l’objet sélectionné vers la position actuelle de la tête de lecture. Elle peut également servir à déplacer et aligner plusieurs objets en une seule fois. Pour déplacer un objet vers la tête de lecture : 1 Sélectionnez l’objet à déplacer. 2 Dans la Timeline, positionnez la tête de lecture sur le point vers lequel vous souhaitez déplacer l’objet. 3 Choisissez soit Marquer > Déplacer le point d’entrée sélectionné (ou appuyez sur les touches Maj + crochet ouvrant) pour aligner le début de l’objet sur la position de la tête de lecture soit Marquer > Déplacer le point de sortie sélectionné (ou Maj + crochet fermant) pour aligner sa fin sur cette même position. Trim d’objets Appliquez un Trim à un objet lorsque vous souhaitez réduire ou prolonger sa durée dans la Timeline. Vous pouvez raccourcir ou allonger le début ou la fin d’un objet en faisant glisser le bord gauche ou le bord droit (points d’entrée et de sortie) de la barre de l’objet dans la Timeline. Vous pouvez également appliquer le Trim à un plan à l’aide de commandes de menu et des raccourcis clavier correspondants, afin de modifier les points d’entrée et de sortie de l’objet. Ces méthodes vous permettent de traiter plusieurs objets en même temps et d’effectuer des opérations de Trim à la volée alors que votre projet est en cours de lecture. Avant AprèsChapitre 4 Utilisation de la Timeline 377 Seule la couche d’une séquence dont le média source contient des images inutilisées peut être rallongée. Si vous devez étendre un objet dont les données source ne contiennent pas assez d’images, vous pouvez toutefois modifier sa Condition de fin avec les valeurs En boucle, Ping-Pong ou Suspendre. Pour accéder au paramètre Condition de fin, ouvrez l’onglet Propriétés de l’Inspecteur. Vous n’êtes aucunement limité si vous souhaitez étendre la longueur d’autres objets, tels que des caméras, du texte ou des formes. Remarque : pour en savoir plus sur les commandes Contrôle du temps, voir « Resynchronisation » à la page 345. Lorsque vous redimensionnez un plan, les images inutilisées apparaissent temporairement dans une couleur plus claire au-delà des limites de l’objet. S’il ne reste plus de place au-delà de la portion actuellement utilisée du plan, aucune image inutilisée n’apparaît et vous ne pouvez pas rallonger le plan. Pour effectuer un Trim sur un plan : 1 Placez le pointeur sur l’une des extrémités du plan à traiter. Le pointeur se transforme alors en pointeur de Trim. 2 Faites glisser l’extrémité de la barre jusqu’à ce qu’elle atteigne l’image sur laquelle vous souhaitez faire débuter ou terminer le plan. À mesure que vous faites glisser la barre, une bulle d’aide apparaît pour afficher le nouveau point d’entrée ou de sortie, ainsi que la nouvelle durée du plan. Images inutilisées378 Chapitre 4 Utilisation de la Timeline Pour effectuer un Trim sur un objet et le caler par magnétisme sur des éléments avoisinants : m Maintenez la touche Maj enfoncée tandis que vous faites glisser le bord de l’élément dans la Timeline. Les lignes magnétiques apparaissent et le bord du plan que vous faites glisser s’aligne automatiquement et de manière précise sur ces lignes. Pour modifier les points d’entrée ou de sortie d’un objet : 1 Sélectionnez l’objet sur lequel vous souhaitez effectuer le Trim. 2 Placez la tête de lecture sur l’image correspondant à l’endroit où vous souhaitez placer le nouveau point d’entrée ou de sortie. 3 Choisissez soit Marquer > Point d’entrée (ou appuyez sur la touche I) pour définir le nouveau point d’entrée, soit Marquer > Point de sortie (ou appuyez sur la touche O) pour changer de point de sortie. Pour effectuer un Trim sur plusieurs objets à la fois : 1 Sélectionnez les objets à traiter. 2 Placez la tête de lecture sur le point d’entrée ou de sortie souhaité. 3 Choisissez soit Marquer > Point d’entrée (ou appuyez sur la touche I) pour définir le nouveau point d’entrée, soit Marquer > Point de sortie (ou appuyez sur la touche O) pour définir le nouveau point de sortie. Le Trim est appliqué sur tous les objets jusqu’au nouveau point. Remarque : si l’un des objets ne possède pas assez de médias pour effectuer le Trim, il est déplacé aussi loin que possible vers le point souhaité. Coulissement de plans Vous devez faire coulisser un plan dès lors que vous souhaitez utiliser une autre partie de ce plan sans modifier la durée de la couche ou son emplacement dans la Timeline. Le coulissement n’est possible qu’après avoir effectué un Trim sur le plan. Avant AprèsChapitre 4 Utilisation de la Timeline 379 Si vous disposez par exemple d’un plan de 3 secondes montrant une porte qui s’ouvre et que vous l’avez réduit à 1 seconde à l’aide du Trim, vous pouvez utiliser la fonction Coulisser pour sélectionner la seconde à utiliser : la première seconde montrant la porte s’écarter du chambranle, la seconde suivante montrant la porte s’ouvrir davantage ou la dernière seconde montrant la porte claquer contre le mur. Remarque : vous ne pouvez faire coulisser un plan que dans la mesure où il existe des images inutilisées dans le média source. Pour faire coulisser un plan : 1 Placez le pointeur au-dessus du plan, puis appuyez sur la touche Option et maintenez-la enfoncée. Le pointeur se transforme alors en pointeur de coulissement. 2 Faites glisser la partie centrale de la barre de couleur vers la gauche ou la droite. Le glissement vers la droite remplace les images par une section provenant des données sources ultérieures, tandis que le glissement vers la gauche utilise les images antérieures dans le plan. Suppression d’objets La suppression d’objets de votre projet peut s’avérer aussi importante que leur ajout. Dans Motion, vous disposez de trois méthodes pour supprimer un objet de la Timeline. Supprimer : supprime l’objet tout en laissant un vide dans la Timeline. Avant Après Avant Après380 Chapitre 4 Utilisation de la Timeline Supprimer Ripple : supprime l’objet et bouche le vide laissé par cette suppression. Si ’objet est contenu dans un groupe, ce groupe est scindé en deux objets. Couper : supprime l’objet tout en laissant un vide dans la Timeline et copie cet objet dans le Presse-papiers d’où il pourra être collé ultérieurement. Pour supprimer un objet : 1 Sélectionnez l’objet à supprimer. 2 Choisissez Édition > Supprimer (ou appuyez sur la touche de suppression). Vous pouvez également cliquer sur l’objet en maintenant la touche Contrôle enfoncée, puis choisir Supprimer dans le menu contextuel. Pour effectuer la commande Supprimer Ripple sur un objet : 1 Sélectionnez l’objet à supprimer. 2 Choisissez Édition > Supprimer Ripple (ou appuyez sur les touches Maj + Supprimer). Pour couper un objet : 1 Sélectionnez un objet à supprimer. 2 Choisissez Édition > Couper dans la barre des menus (ou appuyez sur les touches Commande + X). Vous pouvez également cliquer sur l’objet en maintenant le bouton Contrôle enfoncé, puis choisir Couper dans le menu contextuel. Copier et coller Comme dans d’autres applications, vous avez la possibilité de copier un objet. Cette opération laisse l’objet en place et le copie dans le Presse-papiers d’où il pourra être ultérieurement collé. Avant AprèsChapitre 4 Utilisation de la Timeline 381 Lorsque vous collez un objet, il est placé à l’endroit correspondant à la position de la tête de lecture. Si une couche est sélectionnée, l’objet est collé dans cette couche, au-dessus de tous les autres objets. Dans le cas contraire, une nouvelle couche est créée pour l’objet collé (comme illustré ci-dessus). Pour changer la piste activée, cliquez sur une autre piste dans la liste de couches de la Timeline. Le collage de plusieurs objets conserve l’ordre relatif des objets et des couches du contenu du Presse-papiers. De nouvelles couches peuvent être ajoutées afin de permettre l’opération de collage. Les objets dotés de filtres, de comportements, d’images clés et d’autres effets conservent ces effets lorsqu’ils sont coupés, copiés et collés. Pour copier un objet dans le Presse-papiers : 1 Dans la liste de couches de la Timeline ou le Navigateur, sélectionnez le ou les objets que vous souhaitez copier. 2 Choisissez Édition > Copier (ou appuyez simultanément sur les touches Commande + C). Pour coller un objet : 1 Dans la liste de couches de la Timeline, sélectionnez la couche dans laquelle vous souhaitez coller l’objet. 2 Placez la tête de lecture sur l’endroit correspondant à la position voulue dans le temps. 3 Choisissez Édition > Coller (ou appuyez simultanément sur les touches Commande + V). Collage spécial Outre les fonctions de collage ordinaires, Motion vous permet de coller un élément par insertion, écrasement ou échange. Ces trois commandes apparaissent dans la zone de dialogue Collage spécial. Le Collage spécial peut être associé aux régions pour effectuer un type spécial de collage. Pour plus d’informations, voir « Collage dans » à la page 397. Avant Après382 Chapitre 4 Utilisation de la Timeline Insérer : colle le contenu du Presse-papiers dans le projet, en repoussant les objets plus loin dans le temps. Écraser : colle le contenu du Presse-papiers dans le projet, en supprimant tout objet au même point dans le temps. Échanger : remplace l’objet sélectionné dans le projet par le contenu du Presse-papiers. Pour coller un objet par insertion : 1 Sélectionnez la piste dans laquelle vous souhaitez coller l’objet. 2 Placez la tête de lecture sur l’endroit correspondant à la position voulue dans le temps. 3 Choisissez Édition > Collage spécial (ou appuyez simultanément sur les touches Option + Commande + V). La zone de dialogue Collage spécial apparaît. 4 Sélectionnez « Insérer dans la zone de temps ». 5 Cliquez sur OK pour confirmer votre action. Pour coller un objet par écrasement : 1 Sélectionnez la piste dans laquelle vous souhaitez coller l’objet. 2 Placez la tête de lecture sur l’endroit correspondant à la position voulue dans le temps. 3 Choisissez Édition > Collage spécial (ou appuyez simultanément sur les touches Option + Commande + V). La zone de dialogue Collage spécial apparaît. 4 Sélectionnez « Écraser dans la zone de temps ». 5 Cliquez sur OK pour confirmer votre action. Pour coller un objet en tant qu’échange : 1 Sélectionnez la piste dans laquelle vous souhaitez coller l’objet. 2 Placez la tête de lecture sur l’endroit correspondant à la position voulue dans le temps. 3 Choisissez Édition > Collage spécial (ou appuyez simultanément sur les touches Option + Commande + V). La zone de dialogue Collage spécial apparaît. 4 Sélectionnez « Échanger le média avec l’objet existant ». 5 Cliquez sur OK pour confirmer votre action. Remarque : l’option « Échanger le média avec l’objet existant » n’est disponible qu’avec les éléments copiés dans le Navigateur. Pour copier une image dans le Navigateur, sélectionnez-la, puis choisissez Édition > Copier (ou appuyez sur les touches Commande + C).Chapitre 4 Utilisation de la Timeline 383 Affichage et modification d’images clés dans la Timeline Vous pouvez déplacer ou supprimer les images clés affichées dans la Timeline. Vous avez également la possibilité d’y afficher la courbe d’animation d’une image clé sélectionnée grâce à l’Éditeur d’images clés. Pour afficher les images clés dans la Timeline : m En bas de la liste de couches de la Timeline, cliquez sur le bouton Afficher/Masquer les images clés. Lorsque le bouton apparaît en gris foncé, il est activé. Les images clés apparaissent sous les pistes des objets. Dans l’exemple suivant, l’objet « étoile à 5 branches » comporte trois images clés. Elles sont affichées dans la piste située en dessous de l’objet. Pour déplacer la position d’une image clé dans le temps : m Faites glisser l’image clé vers la gauche ou la droite. Une fois sélectionnée, une image clé apparaît en blanc. Le déplacement de l’image clé dans la Timeline modifie uniquement sa position dans le temps. Pour changer directement la valeur d’une image clé, procédez de l’une des manières suivantes :  Cliquez sur l’image clé tout en maintenant la touche Contrôle enfoncée, choisissez la propriété que vous souhaitez modifier dans le menu contextuel, saisissez une nouvelle valeur, puis appuyez sur Retour.  Utilisez l’Éditeur d’images clés. Vous pouvez ainsi modifier la valeur et l’interpolation de l’image clé. Pour en savoir plus sur l’Éditeur d’images clés, voir « Images et clés et courbes » à la page 547. Pour supprimer une image clé ou un groupe d’images clés sélectionnées : m Sélectionnez la ou les images clés que vous souhaitez supprimer, puis procédez de l’une des manières suivantes :  Appuyez sur la touche Suppr.  Cliquez sur les images clés sélectionnées en maintenant la touche Contrôle enfoncée, puis choisissez Supprimer les images clés dans le menu contextuel. Bouton Afficher/Masquer les images clés384 Chapitre 4 Utilisation de la Timeline Pour supprimer toutes les images clés : m Cliquez sur l’image clé en maintenant la touche Contrôle enfoncée, puis choisissez Supprimer toutes les images clés dans le menu contextuel. Pour afficher une courbe d’animation dans l’Éditeur d’images clés : m En maintenant la touche Contrôle enfoncée, cliquez sur l’image clé dans la piste, puis choisissez Afficher dans l’Éditeur d’images clés dans le menu contextuel. L’Éditeur d’images clés est affiché, la courbe d’animation apparaît et un nouvel ensemble de courbes sans titre est créé. Pour plus d’informations sur les ensembles de courbes, consultez la rubrique « Commandes de filtrage » à la page 578. Resynchronisation dans la Timeline Par défaut, un plan de 60 images lu à 30 images par seconde nécessite deux secondes pour afficher ses 60 images. Si son point d’entrée est réglé sur l’image 1, son point de sortie correspond forcément à l’image 60. Sa vitesse et sa durée sont interactives. En d’autres termes, si vous augmentez la vitesse de lecture du plan, sa durée diminue automatiquement. La lecture du même plan à 15 images par seconde dure deux fois plus longtemps. Le point d’entrée du plan reste le même, mais son point de sortie correspond désormais à l’image 120. Pour en savoir plus sur la resynchronisation, voir « Resynchronisation » à la page 345. Au sujet des comportements Resynchronisation, voir plutôt « Comportements Resynchronisation » à la page 495. Réglage de la vitesse d’un plan Motion vous permet de modifier en toute simplicité le contrôle du temps des plans dans la Timeline. Pour accélérer un plan : m Placez le pointeur au-dessus du début ou de la fin du plan, puis appuyez sur la touche Option et maintenez-la enfoncée. Le pointeur se transforme alors en pointeur de resynchronisation. Pour réduire la durée du plan et accélérer sa vitesse de lecture, procédez de l’une des manières suivantes :  Faites glisser le point d’entrée vers la droite sur la barre du plan.  Faites glisser le point de sortie vers la gauche sur la barre du plan. À mesure que vous faites glisser, la bulle d’aide affiche la durée et la vitesse du plan.Chapitre 4 Utilisation de la Timeline 385 Pour ralentir un plan : m Placez le pointeur au-dessus du début ou de la fin du plan, puis appuyez sur la touche Option et maintenez-la enfoncée. Le pointeur se transforme alors en pointeur de resynchronisation. Pour allonger la durée du plan et ralentir sa vitesse de lecture, procédez de l’une des manières suivantes : m Faites glisser le point d’entrée vers la gauche sur la barre du plan. m Faites glisser le point de sortie vers la droite sur la barre du plan. À mesure que vous faites glisser, la bulle d’aide affiche la durée et la vitesse du plan. Lecture en boucle d’un plan Lorsque la dernière image d’un plan en boucle est atteinte, le plan reprend la lecture à partir de sa première image. Une autre méthode permettant d’allonger la durée d’un plan consiste à le lire en boucle. Pour ce faire, il vous suffit d’effectuer un réglage dans la Timeline. Pour lire un plan en boucle : 1 Placez le pointeur au-dessus de la fin du plan, puis appuyez sur les touches Option + Maj et maintenez-les enfoncées. Le pointeur se transforme alors en pointeur de boucle. 2 Faites glisser le point de sortie vers la gauche sur la barre de la couche. À mesure que vous faites glisser ce point, la bulle d’aide affiche les points d’entrée et de sortie du plan, sa durée et la durée de la boucle. Dans la Timeline, un plan en boucle comporte des barrières qui indiquent où commence et se termine la boucle. Dans la barre d’un plan, la première barrière de boucle est interactive. Si vous la déplacez, le point à partir duquel le plan est lu en bouche change. Première barrière de boucle386 Chapitre 4 Utilisation de la Timeline Pour modifier le point à partir duquel un plan est lu en boucle : m Faites glisser la première barrière de boucle vers la gauche ou la droite. Le point de sortie de la boucle du plan se déplace au fil du glissement de la barrière. Montage dans la piste d’un groupe Outre la possibilité de monter des objets individuels situés dans des groupes, Motion vous permet d’effectuer diverses tâches de montage directement dans la piste d’un objet, même si cette piste est réduite. Cela vous permet de réduire vos pistes et d’exécuter un grand nombre de fonctions généralement réservées aux applications de montage non linéaires telles que Final Cut Pro. En règle générale, la barre du groupe vous indique le nom de l’objet, s’il est seul, et le nombre d’éléments ayant subi un montage composite pour les zones dans lesquelles plusieurs objets se chevauchent. Déplacement d’objets dans la piste d’un groupe Selon l’endroit où vous cliquez, Motion vous permet de déplacer des objets au sein d’un groupe. Vous pouvez par exemple déplacer tous les objets d’un groupe, comme s’il s’agissait d’un seul objet, en cliquant sur la barre bleue et étroite du groupe située tout en haut de la piste du groupe. Si vous cliquez sur une zone dans laquelle il n’y a qu’un plan, vous ne déplacez que cet élément. Si vous cliquez sur une zone dans laquelle plusieurs objets se chevauchent, faire glisser permet de déplacer tous les éléments qui se chevauchent. Pour déplacer un groupe entier comme s’il s’agissait d’un seul objet : 1 Cliquez sur la barre bleue et étroite du groupe située tout en haut de la piste du groupe. La couche peut être réduite ou développée.Chapitre 4 Utilisation de la Timeline 387 2 Faites glisser vers la droite ou vers la gauche pour déplacer toute la couche dans le temps. Pour déplacer un seul objet au sein d’un groupe : 1 Dans la piste du groupe, cliquez sur la zone où le plan à déplacer est visible. Ce plan est alors mis en surbrillance dans la piste du groupe. 2 Faites glisser la section vers la gauche ou vers la droite pour déplacer l’objet au sein du groupe plus tôt ou plus tard dans le temps. Raccourci de déplacement d’objets Dans la Timeline, vous pouvez rapidement avancer ou reculer un objet d’un nombre spécifique d’images, ou vers une image spécifique. Pour déplacer un objet vers une image spécifique : 1 Dans la Timeline, sélectionnez l’objet que vous souhaitez déplacer, puis tapez le numéro (ou timecode) de l’image vers laquelle vous souhaitez déplacer l’objet. Avant Après Avant Après388 Chapitre 4 Utilisation de la Timeline Une valeur apparaît, affichant le numéro que vous avez saisi. 2 Appuyez sur la touche Retour. Le point d’entrée de l’objet se déplace vers le numéro d’image spécifié. Pour déplacer un objet d’un nombre spécifique d’images, effectuez l’une des opérations suivantes : m Pour avancer l’objet d’un certain nombre d’images, sélectionnez l’objet, saisissez le signe plus (+) suivi du nombre d’images, puis appuyez sur Retour. m Pour reculer l’objet d’un certain nombre d’images, sélectionnez l’objet, saisissez le signe moins (–) suivi du nombre d’images, puis appuyez sur Retour. Pour déplacer des objets superposés au sein d’un groupe : 1 Dans la piste du groupe, cliquez sur la zone où le chevauchement est indiqué. La zone sélectionnée peut dépasser la zone de chevauchement si l’objet s’étend au-delà du chevauchement. 2 Faites glisser la section pour déplacer tous les objets en même temps. Vous pouvez également utiliser le menu contextuel pour sélectionner l’un des objets qui se chevauchent afin de l’éditer directement. Il s’agit de l’une des méthodes à votre disposition pour manipuler individuellement des objets au sein d’un groupe, sans avoir à développer ce groupe. Avant AprèsChapitre 4 Utilisation de la Timeline 389 Pour modifier un seul élément situé dans une zone de chevauchement au sein d’un groupe : 1 Cliquez sur la zone de chevauchement du groupe tout en maintenant la touche Contrôle enfoncée, puis choisissez l’objet à manipuler dans le menu contextuel. Les limites de cet objet sont mises en surbrillance dans la piste du groupe. 2 Déplacez, appliquez un Trim ou coulissez l’objet indépendamment des autres objets du groupe. Application d’un Trim sur des objets dans la piste du groupe Effectuer un Trim sur les bords de la piste d’un groupe permet d’effectuer automatiquement un Trim sur les bords de tous les objets qu’il contient. S’il ne contient qu’un seul objet, le fait d’effectuer un Trim sur la barre du groupe permet seulement d’effectuer un Trim sur cet objet. En revanche, si plusieurs objets sont alignés sur le bord du groupe, le Trim appliqué au groupe provoque le Trim automatique de tous ces objets. Vous ne pouvez pas effectuer un Trim sur des pistes d’objets particulières au sein du corps de la piste du groupe.390 Chapitre 4 Utilisation de la Timeline Déconnexion de la piste du groupe de son contenu Vous pouvez modifier la barre d’un groupe, de telle sorte qu’elle soit plus longue ou plus courte que le contenu du groupe correspondant. Vous pouvez par exemple raccourcir la barre d’un groupe, afin de masquer une partie des objets qu’il contient. Les objets situés au-delà des limites de la barre du groupe (la barre bleue étroite en haut de la piste du groupe) ne sont pas affichés dans le Canevas. Pour modifier la longueur d’un groupe indépendamment des objets qu’il contient : m Appuyez sur la touche Commande, puis faites glisser le bord de la piste du groupe. Seule la fine barre de couche bleue est affectée par le Trim. Remarque : une fois la longueur de la barre du groupe modifiée manuellement, elle n’est plus automatiquement mise à jour au fur et à mesure que vous y ajoutez des objets ou en modifiez. Pour rétablir la mise à jour automatique, alignez de nouveau la barre du groupe avec le bord droit du dernier plan du groupe. Vous pouvez utiliser cette technique pour effectuer un Trim sur un objet sans modifier automatiquement la durée des masques, filtres ou autres effets appliqués. Pour effectuer un Trim sur un objet sans modifier les effets appliqués : m Appuyez sur la touche Commande tout en faisant glisser le bord de l’objet. Avant AprèsChapitre 4 Utilisation de la Timeline 391 Coulissement d’objets dans la piste d’un groupe En plus des options de déplacement et de Trim, vous pouvez faire coulisser certains objets directement dans la barre d’un groupe. En effet, toute portion d’un groupe ne contenant qu’un seul objet peut faire l’objet d’une telle opération. Cependant, il est impossible de faire coulisser des zones où plusieurs objets se chevauchent sans développer le groupe et manipuler directement les objets proprement dits. Pour faire coulisser un objet dans la piste d’un groupe : 1 Tout en maintenant la touche Option enfoncée, cliquez sur la zone du groupe incluant l’objet. 2 Faites-la glisser vers la droite ou vers la gauche afin d’utiliser une partie ultérieure ou antérieure des médias sans modifier la position ou la durée de l’objet. Vous ne pouvez faire coulisser un objet que si les médias sources associées à ce plan contiennent suffisamment d’images inutilisées. Pour en savoir plus sur le coulissement, voir « Coulissement de plans » à la page 378. Utilisation de la réglette Vous pouvez vous servir de la réglette de la Timeline afin d’effectuer plusieurs types de fonctions. Vous pouvez placer la tête de lecture sur une image spécifique afin de visionner le projet à un moment précis. Vous pouvez également définir des points d’entrée et de sortie afin que la lecture ne soit effectuée qu’entre les images spécifiées. Il est possible également de sélectionner une plage d’images afin de pouvoir supprimer, couper ou coller dans les images sélectionnées. Navigation dans la Timeline Motion propose différents contrôles pour naviguer dans la Timeline. Vous pouvez faire glisser directement la tête de lecture afin de « défiler » à travers votre projet aussi vite ou lentement que vous le souhaitez ou vous rendre sur une image spécifique. Vous pouvez également « sauter » automatiquement sur les limites d’objet, les marqueurs et d’autres indicateurs importants dans la Timeline. Point d’entrée Point de sortie Champ d’image actuelle Tête de lecture392 Chapitre 4 Utilisation de la Timeline Pour déplacer la tête de lecture dans le temps, procédez de l’une des manières suivantes : m Cliquez deux fois sur le champ Sur l’image actuelle, saisissez un numéro d’image, puis appuyez sur Retour. m Faites glisser le curseur de valeur Sur l’image actuelle vers la gauche ou vers la droite pour reculer ou avancer. m Faites glisser la tête de lecture sur l’image souhaitée. m Cliquez dans la réglette sur le numéro d’image correspondant à l’endroit où vous souhaitez placer la tête de lecture. m Le Canevas ou la sous-fenêtre Projet étant actif, tapez le numéro de timecode ou le numéro d’image vers lequel vous souhaitez déplacer la tête de lecture. Le nouveau numéro d’image apparaît dans le champ Sur l’image actuelle dans le Canevas. Appuyez sur Retour afin de passer à cette image. m La Timeline étant active, tapez le numéro de timecode ou d’image vers lequel vous souhaitez déplacer la tête de lecture. Le nouveau numéro d’image apparaît dans le champ Sur l’image actuelle dans la Timeline. Appuyez sur Retour afin de passer à cette image. Pour avancer d’un nombre spécifique d’images : m Saisissez le signe plus (+) suivi du nombre d’images dont vous souhaitez avancer. Pour reculer d’un nombre spécifique d’images : m Saisissez le signe moins (–) suivi du nombre d’images dont vous souhaitez reculer. Pour avancer ou reculer d’un certain nombre de secondes, minutes ou heures, tapez ce qui suit dans le champ Image actuelle : m Pour avancer d’un certain nombre de secondes, saisissez le signe plus (+) suivi du nombre de secondes dont vous souhaitez avancer, puis un point. Par exemple, pour avancer de 2 secondes, entrez +2. dans le champ, puis appuyez sur Retour. Pour avancer de minutes, tapez deux points après le nombre, et pour avancer d’heures, tapez trois points après le nombre. m Pour reculer d’un certain nombre de secondes, saisissez le signe moins (–) suivi du nombre de secondes dont vous souhaitez reculer, puis un point. Par exemple, pour reculer de 2 secondes, entrez –2. dans le champ, puis appuyez sur Retour. Pour reculer de minutes, tapez deux points après le nombre, et pour reculer d’heures, tapez trois points après le nombre. Pour lire votre projet : m Appuyez sur la barre d’espace.Chapitre 4 Utilisation de la Timeline 393 Pour avancer ou reculer d’une image à la fois, procédez de l’une des manières suivantes : m Cliquez sur le bouton « Avancer d’une image » ou « Reculer d’une image » situé parmi les commandes de lecture (à gauche du bouton Lire/désactiver l’audio). m Choisissez Marquer > Aller à > Image précédente ou Image suivante. m Appuyez sur la touche Flèche gauche pour reculer et sur Flèche droite pour avancer. Pour avancer ou reculer de dix images à la fois, procédez de l’une des manières suivantes : m Choisissez Marquer > Aller à > 10 images en arrière ou 10 images en avant. m Appuyez sur la touche Maj, puis sur Flèche gauche ou Flèche droite. Pour accéder directement au début du projet, procédez de l’une des manières suivantes : m Cliquez sur le bouton « Aller au début du projet » situé parmi les commandes de lecture (à droite du bouton Enregistrer). m Choisissez Marquer > Aller à > Début du projet. m Appuyez sur la touche Début. Pour accéder directement à la fin de votre projet, procédez de l’une des manières suivantes : m Cliquez sur le bouton « Aller à la fin du projet » dans les commandes de lecture. m Choisissez Marquer > Aller à > Fin du projet. m Appuyez sur la touche Fin. Pour passer à l’image clé suivante, effectuez l’une des opérations suivantes : m Sélectionnez un objet animé, puis appuyez simultanément sur les touches Maj + K. m Choisissez Marquer > Aller à > Image clé suivante. Pour passer à l’image clé précédente, effectuez l’une des opérations suivantes : m Sélectionnez un objet animé, puis appuyez simultanément sur les touches Option + K. m Choisissez Marquer > Aller à > Image clé précédente. Pour en savoir plus sur l’affichage d’images clés dans la Timeline, voir « Options de présentation de la Timeline » à la page 360. Outre le simple déplacement vers de nouvelles positions sur la réglette, vous pouvez naviguer directement jusqu’aux éléments de la Timeline, tels que les objets, les marqueurs et les images clés. Pour en savoir plus sur les marqueurs, consultez la rubrique « Ajout de marqueurs » à la page 398. Pour en savoir plus sur les images clés, consultez la rubrique « Images et clés et courbes » à la page 547.394 Chapitre 4 Utilisation de la Timeline Pour accéder directement au début ou à la fin d’un objet dans la Timeline : 1 Sélectionnez l’objet auquel vous souhaitez accéder. 2 Procédez de l’une des manières suivantes :  Choisissez Marquer > Aller à > « Point d’entrée de la sélection » ou « Point de sortie de la sélection ».  Appuyez sur les touches Maj + I (pour le point d’entrée) ou Maj + O (pour le point de sortie). Définition de la plage de lecture L’activation du bouton de lecture permet généralement de lire votre projet de la première image à la dernière. Vous pouvez néanmoins choisir la portion de projet lue par Motion en modifiant les points d’entrée et de sortie dans la réglette de la Timeline. Cette manière de procéder peut s’avérer utile pour concentrer l’attention sur une portion particulière lors du perfectionnement de votre projet ou lorsque vous apportez d’autres modifications. Après avoir porté votre attention sur une portion particulière de votre projet, vous pouvez rétablir les points d’entrée et de sortie au début et à la fin du projet. Pour personnaliser le point d’entrée de la lecture, procédez de l’une des manières suivantes : m Sur la réglette, faites glisser le marqueur de point d’entrée depuis le bord gauche de la réglette jusque sur l’image où vous souhaitez définir le point d’entrée. La tête de lecture se déplace en même temps que le pointeur que vous faites glisser. Dès que vous relâchez le bouton de la souris, la tête de lecture revient à sa position antérieure. m Choisissez Marquer > Marquer le point d’entrée de la plage de lecture. m Appuyez simultanément sur les touches Commande + Option + I. Pour personnaliser le point de sortie de la lecture, procédez de l’une des manières suivantes : m Sur la réglette, faites glisser le marqueur de point de sortie depuis le bord droit de la réglette jusque sur l’image où vous souhaitez définir le point de sortie. m Choisissez Marquer > Marquer le point de sortie de la plage de lecture. m Appuyez simultanément sur les touches Commande + Option + O. Nouveau point d’entrée Nouveau point de sortieChapitre 4 Utilisation de la Timeline 395 Pour réinitialiser les points d’entrée et de sortie de la plage de lecture, procédez de l’une des manières suivantes : m Choisissez Marquer > Réinitialiser la plage de lecture. m Appuyez simultanément sur les touches + X. Les points d’entrée et de sortie sont placés automatiquement au début et à la fin du projet. Pour naviguer jusqu’au points d’entrée et de sortie de la lecture, procédez de l’une des manières suivantes : m Choisissez Marquer > Aller à > « Début de la plage de lecture » ou « Fin de la plage de lecture ». m Appuyez sur les touches Maj + Début (point d’entrée) ou Maj + Fin (point de sortie). Utilisations des régions Il peut arriver que vous soyez amené à apporter des modifications à une plage d’images, encore appelée une région. Cela peut servir par exemple à couper ou copier une portion de temps afin de la supprimer ou de la déplacer vers une nouvelle position dans votre projet. Les régions ne doivent pas nécessairement être alignées sur les bords des objets dans la Timeline. Vous pouvez créer une région qui débute au milieu d’un objet ou qui inclut des images vides au-delà des bords des objets. Pour sélectionner une plage d’images : m Maintenez enfoncées les touches Commande + Option, puis glissez sur les images à sélectionner dans la Timeline. Une bande bleu clair apparaît sur les images sélectionnées.396 Chapitre 4 Utilisation de la Timeline Pour développer ou réduire une région : m Positionnez le pointeur sur chaque bord d’une région afin de modifier son point de fin. Cliquez vers la droite pour rallonger la région ou vers la gauche pour la raccourcir. Les régions sélectionnées s’appliquent généralement à toutes les pistes de votre Timeline. Toutefois, il peut arriver que vous ne souhaitiez sélectionner qu’une ou plusieurs pistes. Cela vous permet de réaliser des sélections complexes à travers plusieurs couches et pistes. Pour déplacer une région : m Positionnez le pointeur sur la région, puis faites glisser afin de déplacer la région. Pour désélectionner des pistes dans une plage de sélection : m Cliquez sur la piste à désélectionner en maintenant la touche Commande enfoncée. Après avoir défini votre plage de sélection, vous pouvez supprimer la section ou effectuer une suppression Ripple sur la section (pour la supprimer et boucher le vide). Vous pouvez couper ou copier la section pour la placer dans le Presse-papiers afin de la coller ailleurs. Remarque : le collage d’une région ne s’effectue pas à l’emplacement actuel de la tête de lecture. Pour déplacer rapidement la région collée vers l’emplacement de la tête de lecture, appuyez sur la touche Maj tout en faisant glisser l’objet collé. À mesure que vous approchez de la position actuelle de la tête de lecture, l’objet se magnétise. Vous pouvez également effectuer un collage spécial dans une région, ce qui permet de remplir la région existante avec le contenu du Presse-papiers.Chapitre 4 Utilisation de la Timeline 397 Collage dans Les régions s’avèrent également utiles pour effectuer un type spécial de commande de collage appelé Coller dans. Vous pouvez définir une région et y coller des objets. Le collage spécial propose trois modes d’exécution. Vous pouvez procéder par insertion, en repoussant la région dans le temps ; par écrasement du contenu de la région ; ou en échangeant les objets avec le contenu du Presse-papiers. Quel que soit votre choix, les objets collés n’excèdent jamais la durée de la région dans laquelle ils sont collés. Pour coller dans une région : 1 Sélectionnez l’objet à copier dans le Presse-papiers afin de le coller. 2 Appuyez simultanément sur les touches Commande + C ou Commande + X pour copier ou couper votre sélection. 3 Faites glisser le pointeur tout en maintenant les touches Commande + Option enfoncées pour sélectionner une région de la Timeline. 4 Choisissez Édition > Collage spécial. La zone de dialogue Collage spécial apparaît. 5 Sélectionnez Insérer, Écraser ou Échanger. 6 Cliquez sur OK pour fermer la zone de dialogue. Le contenu du Presse-papiers est collé dans la région via la méthode que vous avez choisie. Pour plus d’informations sur les différents types de montage, voir « Ajout d’objets dans la Timeline » à la page 363. Insertion de temps Vous pouvez sélectionner une région afin d’insérer un blanc dans votre projet. Vous pouvez par exemple ajouter quelques images noires entre deux objets ou placer quelques images destinées à signaler l’emplacement d’un plan que vous ne possédez pas encore. Ce procédé est appelé insertion de temps. Pour insérer du temps dans un projet : 1 Maintenez enfoncées les touches Commande + Option, puis faites glisser le réglette. Sélectionnez une zone aussi large que ce que vous souhaitez insérer. 2 Choisissez Édition > Insérer une zone de temps.398 Chapitre 4 Utilisation de la Timeline Le nombre d’images de la zone est ajouté au projet, en commençant à la fin de la région sélectionnée et en repoussant tout objet plus loin dans le temps. Durée du projet Les projets Motion ont par défaut une durée de dix secondes. Vous pouvez modifier cette durée en fonction des besoins de votre projet. Pour apprendre comment modifier la durée par défaut du projet, voir « Onglet Générales de la zone de dialogue Propriétés du projet » à la page 202. Pour modifier la durée du projet, procédez de l’une des manières suivantes : m Faites glisser le champ Durée du projet situé dans l’angle inférieur droit du Canevas. Un glissement vers la droite rallonge la durée et un glissement vers la gauche la raccourcit. m Cliquez sur le champ Durée du pro jet et saisissez un nombre dans le champ. m Choisissez Édition > Propriétés du projet (ou appuyez sur les touches Commande + J), puis modifiez la valeur du champ Durée du projet dans la zone de dialogue. Remarque : vous pouvez cliquer sur le bouton du chronomètre pour permuter entre l’affichage du champ Durée du projet en images ou en timecode. Ajout de marqueurs Un marqueur est un point de référence visuel dans la Timeline qui permet d’identifier une image particulière. Vous pouvez ajouter autant de marqueurs que vous le souhaitez dans la réglette de la Timeline, pendant la lecture du projet ou lorsque la tête de lecture est arrêtée. Avant AprèsChapitre 4 Utilisation de la Timeline 399 Utilisez des marqueurs pour :  Ajouter une référence visuelle à une piste.  Ajouter une référence visuelle à un marqueur de projet dans la mini-Timeline  Aligner des pistes, des objets ou des images clés sur un point important dans le temps.  Ajouter des notes concernant une partie précise de votre projet. Vous pouvez affecter des couleurs différentes à différents types de marqueurs et créer des groupes de marqueurs. Utilisez par exemple le vert pour identifier tous les marqueurs audio ou le jaune pour identifier tous les marqueurs d’objet temporaires. Vous pouvez ajouter deux types de marqueurs : les marqueurs de projet et les marqueurs d’objet. Les marqueurs de projet sont fixés sur une valeur de timecode spécifique dans la réglette. Quant aux marqueurs d’objet, ils sont associés à un objet et se déplacent au fur et à mesure des déplacements de l’objet correspondant. Les marqueurs d’objet apparaissent uniquement dans la Timeline. Les marqueurs de projet sont affichés dans la Timeline, l’Éditeur d’images clés et l’Éditeur audio. Remarque : les marqueurs de projet sont indiqués dans la mini-Timeline par une fine ligne verte. Pour en savoir plus sur l’utilisation de la mini-Timeline, voir « Mini-Timeline » à la page 68. Marqueur d’objet Marqueur de projet Marqueur d’objet Marqueur de projet Marqueur de projetPour ajouter un marqueur de projet : 1 Placez la tête de lecture sur l’image exacte correspondant à l’endroit où vous souhaitez placer le marqueur. 2 Assurez-vous qu’aucun objet n’est sélectionné, puis procédez de l’une des manières suivantes :  Choisissez Marquer > Marqueurs > Ajouter un marqueur.  Appuyez sur la touche M.  Cliquez sur la barre grise du marqueur située au-dessus de la réglette de la Timeline tout en maintenant la touche Contrôle enfoncée, puis choisissez Ajouter un marqueur dans le menu contextuel. Un marqueur vert est ajouté à la barre grise située au-dessus de la réglette de la Timeline. Remarque : vous pouvez également appuyer sur les touches Maj + M pour ajouter un marqueur de projet à la position de la tête de lecture, qu’un objet soit sélectionné ou non. Pour ajouter un marqueur d’objet : 1 Placez la tête de lecture sur l’image exacte correspondant à l’endroit où vous souhaitez placer le marqueur. 2 Sélectionnez l’objet sur lequel vous souhaitez ajouter le marqueur, puis procédez de l’une des manières suivantes :  Choisissez Édition > Marqueurs > Ajouter un marqueur.  Appuyez sur la touche M. Un marqueur rouge est ajouté à la barre du groupe. Vous pouvez, de cette manière, ajouter des marqueurs pendant la lecture de votre projet. Les marqueurs apparaissent sur l’image où se trouvait la tête de lecture au moment où vous avez appuyé sur la touche M. Pour déplacer un marqueur : m Faites glisser le marqueur à gauche ou à droite vers un nouvel emplacement.Chapitre 4 Utilisation de la Timeline 401 Pour supprimer un marqueur, procédez de l’une des manières suivantes : m Faites glisser le marqueur verticalement hors de la zone où il se trouve, puis relâchez le bouton de la souris. La disparition du marqueur est signalée par le son « pouf ». m Double-cliquez sur le marqueur, puis cliquez sur le bouton Supprimer dans la zone de dialogue Modifier le marqueur. m Placez la tête de lecture sur le marqueur, sélectionnez le groupe ou l’objet (pour les marqueurs de groupe ou d’objet), puis choisissez Marquer > Marqueurs > Supprimer. m Cliquez sur le marqueur en maintenant la touche Contrôle enfoncée, puis choisissez Supprimer le marqueur dans le menu contextuel. Suppression de tous les marqueurs Vous pouvez supprimer non seulement un marqueur individuel, mais également tous les marqueurs de votre projet simultanément. Cela permet de supprimer les marqueurs de projet ou tous les marqueurs d’une couche ou d’un objet déterminé. Pour supprimer uniquement tous les marqueurs de projet : 1 Choisissez Édition > Tout désélectionner (ou appuyez sur les touches Commande + Maj + A). 2 Choisissez Marquer > Marqueurs > Supprimer tous les marqueurs. Pour supprimer tous les marqueurs d’objet, procédez de l’une des manières suivantes : m Sélectionnez le groupe ou la couche contenant les marqueurs à supprimer, puis choisissez Marquer > Marqueurs > Supprimer tous les marqueurs. m Cliquez sur la barre grise du marqueur située au-dessus de la réglette de la Timeline tout en maintenant la touche Contrôle enfoncée, puis choisissez Supprimer tous les marqueurs dans le menu contextuel. Modification des informations sur les marqueurs Vous pouvez modifier les informations d’un marqueur (le nom, l’image de départ, la durée et la couleur). Vous pouvez également ajouter des commentaires au marqueur. Les commentaires sont affichés sous la forme d’une bulle d’aide lorsque le pointeur s’arrête sur le marqueur.402 Chapitre 4 Utilisation de la Timeline Pour modifier les informations d’un marqueur : 1 Ouvrez la zone de dialogue Modifier le marqueur en effectuant l’une des opérations suivantes :  Double-cliquez sur un marqueur afin d’afficher la zone de dialogue Modifier le marqueur.  Choisissez Édition > Marqueurs > Modifier.  Cliquez sur le marqueur en maintenant la touche Contrôle enfoncée, puis choisissez Modifier les marqueurs dans le menu contextuel. Les notes ajoutées au champ Commentaire apparaissent sous forme de bulle d’aide lorsque le pointeur se trouve sur le marqueur. 2 Saisissez un nom dans le champ Nom. 3 Saisissez un nombre dans le champ Début. Le marqueur est placé sur l’image correspondant à la valeur saisie. 4 Saisissez une valeur dans le champ Durée pour spécifier la plage d’images pour le marqueur. 5 Saisissez vos annotations dans le champ Commentaire. Ce commentaire apparaît sous la forme d’une bulle d’aide lorsque vous arrêtez le pointeur sur des marqueurs de projet. 6 Cliquez sur le menu local des couleurs pour afficher la liste des huit couleurs proposées, puis choisissez une couleur pour le marqueur.Chapitre 4 Utilisation de la Timeline 403 7 Cliquez sur le menu local Type pour choisir le type de marqueur :  Standard : marqueur par défaut utilisé dans Motion.  Boucle du menu DVD : lors de l’utilisation d’un projet Motion comme arrière-plan de menu dans DVD Studio Pro, le menu DVD lit normalement l’intégralité du projet Motion, puis redémarre la lecture au début du projet. Si un marqueur est défini au niveau du point de départ de la boucle, le menu DVD lit une première fois le projet Motion jusqu’à la fin, puis redémarre la lecture au niveau du marqueur de ce point lors des boucles suivantes.  Transition DVD Alpha : lors de l’utilisation d’un projet Motion comme transition alpha dans DVD Studio Pro, ce marqueur détermine le point où la valeur alpha de la transition (le projet Motion) dévient égale à 0. Si un projet Motion sert de transition, seul son canal alpha est utilisé lors de la fusion de deux éléments vidéo dans DVD Studio Pro. 8 Cliquez sur OK pour confirmer vos modifications. Navigation à l’aide des marqueurs Vous pouvez passer directement de la position actuelle de la tête de lecture à un marqueur de projet voisin situé devant ou derrière. Pour accéder directement au marqueur suivant : m Cliquez en maintenant la touche Contrôle enfoncée, sur la barre de marqueur grise située au-dessus de la réglette de la Timeline, puis choisissez Marqueur suivant dans le menu contextuel. La tête de lecture se place automatiquement sur la position du marqueur de projet suivant. Vous pouvez également choisir Marquer > Aller à > Marqueur suivant ou appuyer sur les touches Commande + Option + Flèche droite. Pour accéder directement au marqueur précédent : m Tout en maintenant la touche Contrôle enfoncée, cliquez sur la barre de marqueur grise située au-dessus de la réglette de la Timeline, puis choisissez Précédent suivant dans le menu contextuel. La tête de lecture se place automatiquement sur la position du marqueur de projet précédent. Vous pouvez également choisir Marquer > Aller à > Marqueur précédent ou appuyer sur les touches Commande + Option + Flèche gauche. Par ailleurs, la zone de dialogue Modifier le marqueur vous permet d’accéder à des marqueurs adjacents. Dans ce cas, la zone de dialogue reste ouverte et son contenu est remplacé par les informations correspondant au marqueur suivant. Marqueur suivant Marqueur précédent5 405 5 Utilisation des comportements Les comportements vous permettent d’animer des objets grâce à de simples commandes graphiques. Vous pouvez ainsi facilement créer des effets d’animation de base ou simuler des interactions complexes entre plusieurs objets. Il vous suffit donc d’ajouter des comportements à des objets (caméras, lumières, couches ou groupes) ou des propriétés au sein d’un projet pour créer des effets animés sans recourir à la création ou à l’ajustement d’images clés. Pour ce faire, faites glisser un comportement sur un objet, afin de l’animer automatiquement selon le type de comportement appliqué. Pour changer l’impact d’un comportement, vous pouvez en personnaliser les paramètres dans la palette ou dans l’onglet Comportements de l’Inspecteur. Les comportements sont d’une grande flexibilité et s’associent aisément les uns aux autres afin de générer toutes sortes d’effets. Grâce à eux, la conception d’animations devient interactive, ce qui vous permet de créer rapidement des effets d’animation élaborés et de simuler des interactions entre les objets. Ils peuvent également servir à animer les paramètres de quasiment tous les émetteurs de particules, formes, masques, réplicateurs, filtres, générateurs, caméras ou lumières. Vous pouvez ainsi créer rapidement des arrière-plans animés, des effets de filtres dynamiques, des effets de caméra ou de lumière intéressants, ainsi que des systèmes de particules extrêmement complexes, simplement à l’aide de quelques commandes. Les comportements Suivi de l’animation ont un objectif très différent des autres comportements. Au lieu d’animer immédiatement l’objet auquel ils sont appliqués, ils analysent le mouvement de cet objet ou d’un plan. Une fois analysé, ce mouvement peut servir à stabiliser un plan un peu chaotique, à faire correspondre le mouvement d’un objet au mouvement du plan analysé, à suivre une couche sur un plan (comme un logo ou un texte sur une voiture en mouvement), etc. Pour en savoir plus sur l’utilisation des comportements Suivi de l’animation, voir « Suivi de l’animation » dans le manuel PDF Documentation Supplémentaire de Motion.406 Chapitre 5 Utilisation des comportements Il existe 11 types de comportements dans Motion.  Les comportements Audio sont appliqués aux fichiers audio afin de créer des effets sonores simples, tels que des fondus entrants et sortants, des balances et des survols. Il existe également un comportement de paramètre Audio distinct que vous pouvez appliquer aux paramètres de la quasi-totalité des objets. Pour en savoir plus sur les comportements Audio, voir « Comportements Audio » à la page 1226.  Les comportements Animation standard sont les plus simples. Ils animent des paramè- tres spécifiques de l’objet auquel ils sont appliqués. Certains ont une incidence sur la position, d’autres sur l’échelle ou la rotation. Il s’agit par exemple de Fondu entrant/sortant, Rotation et Lancer. Tous ces comportements s’appliquent aux images, aux plans, aux émetteurs de particules, aux formes, au texte, etc. La majeure partie de ces comportements peut être appliquée aux caméras et aux lumières.  Les comportements Caméra sont spécialement conçus pour être appliqués à une caméra et lui imposer des mouvements de base dans un projet 3D, tels que des travellings, des panoramiques et des zooms. Pour en savoir plus sur l’utilisation des comportements Caméra, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF.  Les comportements Suivi de l’animation exécutent plusieurs tâches. Bien que tous les comportements de suivi analysent l’animation présente dans un plan, l’application des données correspondantes varie en fonction du comportement spécifique appliqué. Par exemple, le comportement Stabiliser permet de stabiliser le mouvement éventuellement provoqué par une caméra instable dans un plan. Quant au comportement Suivre le mouvement, il analyse le mouvement d’un objet (un plan, par exemple), puis l’applique à un autre objet pour l’intégrer à la source du suivi. Pour en savoir plus sur l’utilisation des comportements Suivi de l’animation, voir « Suivi de l’animation » dans le manuel PDF Documentation Supplémentaire de Motion.  Les comportements Paramètre sont applicables aux paramètres de n’importe quel objet (y compris les filtres et les comportements). Leurs effets se limitent au paramètre sélectionné. Il est possible d’ajouter le même comportement Paramètre à différents paramètres, ce qui donne des effets totalement distincts. Par exemple, vous pouvez appliquer le comportement Osciller à l’opacité d’un texte pour le doter d’un fondu entrant et sortant ou à la rotation d’une forme pour la faire pivoter dans un sens et dans l’autre. Il est également possible d’appliquer certains de ces comportements à des paramètres de filtres, de générateurs, de systèmes de particules et de réplicateurs, voire à d’autres comportements. Il s’agit par exemple de Osciller, Rendre aléatoire et Inverser. La majeure partie de ces comportements peut être appliquée aux caméras et aux lumières.  Les comportements Particules sont spécifiquement conçus pour s’appliquer aux émetteurs de particules ou aux cellules qu’ils contiennent. Ils ont une incidence sur le mode d’animation de particules individuelles au cours de leur durée de vie. Pour en savoir plus sur l’utilisation des comportements de particules, voir « Utilisation des comportements Particules » à la page 801.Chapitre 5 Utilisation des comportements 407  Les comportements Réplicateur sont spécifiquement conçus pour s’appliquer aux réplicateurs ou aux cellules qu’ils contiennent. Ces comportements ont une incidence sur la façon dont les paramètres des cellules du réplicateur sont animées sur leur motif. Par exemple, vous pouvez créer une animation qui se déplace sur le motif du réplicateur, dans lequel chaque cellule va d’une opacité de 0 % à une opacité de 100 %. Pour en savoir plus sur l’utilisation des comportements Réplicateur, voir « Utilisation du comportement Réplicateur de séquence » à la page 888.  Les comportements Resynchronisation s’appliquent directement à une séquence et à des couches clonées (ou à des groupes) afin de créer des images fixes, d’inverser la séquence, de modifier sa vitesse, de créer des images stroboscopiques ou instables, ou de faire défiler la séquence. Ils sont appliqués aux objets de la séquence répertoriés dans la liste de couches, et non via l’onglet Média. Pour en savoir plus sur l’utilisation des comportements Resynchronisation, voir « Comportements Resynchronisation » à la page 495.  Les comportements Forme sont spécifiquement conçus pour s’appliquer à une forme ou à un masque. Ils affectent les différents vertex d’une forme ou d’un masque. Par exemple, l’application du comportement Rendre aléatoire anime de façon aléatoire les points de contrôle (ou les tangentes, voire les deux) d’une forme. Pour en savoir plus sur l’utilisation des comportements Forme, voir « Utilisation des comportements Forme » à la page 1147.  Les comportements Simulation réalisent deux types de tâches. Certains, tels que Gravité, animent les paramètres d’un objet de façon à simuler un phénomène réel. D’autres, tels qu’Attracteur et Repousser, ont une incidence sur les paramètres d’un ou plusieurs objets situés autour de l’objet auquel ils sont appliqués. Ces comportements vous permettent de créer des interactions très élaborées entre plusieurs objets d’un projet et ce, avec un minimum de réglages. Tout comme les comportements Animation standard, les comportements Simulation affectent des paramètres particuliers des objets. Il s’agit par exemple d’Attracteur, Gravité et Repousser. Tous les comportements Simulation peuvent être appliqués aux caméras et aux lumières.  Les comportements Texte animent les paramètres des textes afin de créer divers effets animés. Il s’agit par exemple de Défilement vers le haut qui fait défiler des titres ou un générique verticalement et de Machine à écrire qui affiche un texte lettre par lettre. Pour en savoir plus sur la manière d’utiliser les comportements Texte, voir « Comportements Animation de texte » à la page 703 et « Comportements Séquence de texte » à la page 725. Pour découvrir comment utiliser des comportements, voir « Application et suppression de comportements » à la page 410. Pour en savoir plus sur l’application des comportements, voir « Application et suppression de comportements » à la page 413. Pour plus de détails sur la manipulation de comportements dans un projet, voir « Utilisation des comportements » à la page 425. Pour plus de détails sur tous les comportements disponibles dans Motion, voir « Descriptions de comportements » à la page 446.408 Chapitre 5 Utilisation des comportements Remarque : un chapitre séparé est consacré aux comportements Audio, Suivi de l’animation, Forme, Particules, Réplicateur et Caméra. Pour des exemples détaillés sur l’utilisation des comportements, voir « Exemples de comportements » à la page 528. Comparaison entre les comportements et les images clés Il est important de bien comprendre que les comportements n’ajoutent pas d’images clés aux objets ou aux paramètres auxquels ils sont appliqués. En fait, ils génèrent automatiquement une plage de valeurs, lesquelles sont appliquées aux paramètres d’un objet, afin d’animer ce dernier sur toute la durée du comportement. La modification des paramètres d’un comportement altère la plage de valeurs que celui-ci génère. Pour leur part, les images clés appliquent des valeurs déterminées directement à un paramètre. Lorsque vous créez plusieurs images clés avec des valeurs différentes, vous animez un paramètre de la première valeur d’image clé à la dernière. Les comportements s’avèrent en soi plus utiles pour créer des effets d’animation continus et génériques. Ils sont également très commodes pour créer des effets animés éventuellement trop complexes pour une animation manuelle avec des images clés. À l’inverse, l’animation avec des images clés révèle tout son intérêt pour créer des effets animés déterminés, là où le paramètre que vous réglez doit atteindre une valeur spécifique à un moment donné. Pour en savoir plus sur l’utilisation des images clés, voir « Images et clés et courbes » à la page 547. Il est possible de convertir en images clés une animation créée par des comportements. Pour en savoir plus, voir « Conversion de comportements en images clés » à la page 441.Chapitre 5 Utilisation des comportements 409 Recherche de comportements Tous les comportements disponibles figurent dans l’onglet Bibliothèque. Sélectionnez la catégorie Comportements dans la fenêtre correspondante de la barre latérale pour afficher les sous-catégories de comportements (les comportements Texte correspondent à deux catégories). Sélectionnez ensuite une sous-catégorie pour afficher tous les comportements de ce type dans la pile de la Bibliothèque. Si vous sélectionnez un comportement dans la pile de la Bibliothèque, une brève description et un aperçu apparaissent dans la zone de Preview. Comportements dans la sous-catégorie sélectionnée Sous-catégories de comportements Catégories de la Bibliothèque410 Chapitre 5 Utilisation des comportements Remarque : pour vous aider à comprendre le fonctionnement des comportements, vous pouvez consulter des aperçus animés, qui se présentent sous la forme de trajectoires d’animation et de codes de couleur. La plupart des aperçus sont explicites. Toutefois, dans le cas des comportements Paramètre, les aperçus montrent des exemples avant/ après de l’effet de ces comportements sur un objet animé (la roue dentée passe au rouge pour signaler l’objet après l’application des comportements). En ce qui concerne les comportements Simulation, la roue dentée rouge indique à quel objet d’un groupe le comportement sélectionné est appliqué. Application et suppression de comportements Pour appliquer directement des comportements à des objets, procédez de l’une des manières suivantes :  Faites glisser un comportement directement sur un objet dans le Canevas, l’onglet Couches ou la Timeline. Pour appliquer un comportement à un objet dans la Timeline, faites glisser ce comportement sur l’objet concerné dans la liste de couches ou la zone de pistes de la Timeline. Remarque : en règle générale, il est plus facile de faire glisser un comportement sur une caméra ou une lumière dans l’onglet Couches ou la Timeline, plutôt que de procéder directement dans le Canevas.  Sélectionnez un objet, choisissez un comportement dans la Bibliothèque, puis cliquez sur le bouton Appliquer dans la zone de Preview de l’Inspecteur.  Sélectionnez un objet, puis choisissez un comportement en cliquant sur le bouton Ajouter comportement de la barre d’outils.  Cliquez sur un paramètre d’un objet tout en maintenant la touche Contrôle enfoncée (même un paramètre d’autres comportements), puis choisissez un comportement Paramètre dans le menu contextuel. Pour supprimer un comportement, sélectionnez-le dans le Canevas, l’onglet Couches, la Timeline ou l’Inspecteur, puis appuyez sur la touche Supprimer.Chapitre 5 Utilisation des comportements 411 Emplacement des comportements Lorsque vous appliquez un comportement à un objet, il apparaît imbriqué en dessous de cet objet dans l’onglet Couches et la Timeline. Les comportements récemment appliqués à un objet apparaissent au-dessus des précédents. Comportements imbriqués tels qu’ils apparaissent dans l’onglet Couches Comportements imbriqués tels qu’ils apparaissent dans la Timeline Un nouveau comportement se place au-dessus de ceux appliqués auparavant. Les comportements apparaissent avec tous leurs paramètres modifiables dans l’onglet Comportements de l’Inspecteur.412 Chapitre 5 Utilisation des comportements Par ailleurs, une icône Comportements apparaît à droite du nom de l’objet dans l’onglet Couches et la Timeline. Cliquez dessus pour activer ou désactiver tous les comportements appliqués à cet objet. Remarque : dans l’onglet Couches, il est possible de masquer les comportements à l’aide du bouton Afficher les comportements, situé en bas à droite. Pour en savoir plus, voir « Affichage et masquage des effets » à la page 81. Si un comportement quelconque est appliqué à un objet de votre projet, une icône Comportements (roue) apparaît dans le menu Animation, à droite du paramètre auquel il est appliqué dans l’onglet Propriétés, Comportements ou Filtres. Vous savez ainsi qu’un comportement modifie ce paramètre. Une icône Comportements apparaît également dans le menu Animation de chaque paramètre modifié dans l’Éditeur d’images clés. Trajectoires d’animation Lorsque certains comportements sont appliqués à un objet, une trajectoire d’animation apparaît, indiquant le parcours prévu pour cet objet au fil du temps. Considérez cette trajectoire comme un « aperçu » de l’animation générée par le comportement. Contrairement aux trajectoires d’animation créées avec des images clés ou à la trajectoire créée par le comportement Trajectoire d’animation, les trajectoires des comportements ne peuvent pas être modifiées. Pour afficher ou masquer tous les types de trajectoire, utilisez le menu local Affichage de la Barre d’état. Icône Comportements Une icône Comportements est affichée dans le menu Animation de chaque paramètre modifié. Une icône Comportements apparaît également dans le menu Animation de chaque paramètre modifié dans l’Éditeur d’images clés.Chapitre 5 Utilisation des comportements 413 Effets des comportements dans l’Éditeur d’images clés Si vous ouvrez l’Éditeur d’images clés et observez un paramètre modifié par un ou plusieurs comportements, une courbe non modifiable apparaît pour signaler l’effet du comportement sur ce paramètre. La courbe non modifiable s’ajoute à la courbe modifiable du paramètre, qui peut servir à animer ce dernier avec des images clés. Remarque : utilisez le menu local Afficher de l’Éditeur d’images clés pour sélectionner les paramètres à afficher et créer des ensembles de courbes. Pour en savoir plus sur les ensembles de courbes, voir « Ensembles de paramètres personnalisés » à la page 581. Pour en savoir plus sur la combinaison de comportements et d’images clés, voir « Combinaison de comportements et d’images clés » à la page 435. Application et suppression de comportements Vous avez la possibilité d’appliquer directement des comportements à des objets dans le Canevas, l’onglet Couches ou la Timeline. Certains animent automatiquement des paramètres spécifiques de la couche à laquelle ils sont appliqués. Par exemple, le comportement Lancer modifie uniquement le paramètre Position d’un objet, alors que le comportement Grossir/Rétrécir affecte son Échelle. D’autres comportements animent les paramètres des couches situées autour de celle à laquelle ils sont appliqués. Par exemple, le comportement Attracteur déplace les couches environnantes vers la couche modifiée en animant leur paramètre Position. Important : l’application des comportements Texte, Particules, Réplicateur, Audio, Forme et Caméra se limite exclusivement aux objets de même nom. Il est impossible d’appliquer des comportements Grossir/rétrécir et Fondu entrant/sortant à des caméras et des lumières. Remarque : à l’exception de Personnaliser, les comportements Paramètre peuvent s’appliquer à un paramètre d’un objet (par exemple, sa position) ainsi qu’à l’objet proprement dit. Pour en savoir plus, voir « Application de comportements Paramètre » à la page 417. Courbe modifiable Courbe non modifiable414 Chapitre 5 Utilisation des comportements Pour appliquer un comportement à un objet, procédez de l’une des manières suivantes : m Faites glisser un comportement de la Bibliothèque sur un objet approprié dans le Canevas, l’onglet Couches ou la Timeline. Pour appliquer un comportement à un objet dans la Timeline, faites glisser ce comportement sur l’objet concerné dans la liste de couches ou la zone de pistes de la Timeline. Remarque : en règle générale, il est plus facile de faire glisser un comportement sur une caméra ou une lumière dans l’onglet Couches ou la Timeline, plutôt que de procéder directement dans le Canevas. L’application d’un comportement depuis la Bibliothèque présente l’avantage de pouvoir prévisualiser l’animation créée par le comportement dans la zone de Preview de la Bibliothèque. m Sélectionnez un objet dans le Canevas, l’onglet Couches ou la Timeline, choisissez un comportement dans la pile de la Bibliothèque, puis cliquez sur Appliquer dans la zone de Preview. m Sélectionnez un objet dans le Canevas, l’onglet Couches ou la Timeline, cliquez sur l’icône Ajouter comportement de la barre d’outils, puis choisissez un comportement. Bouton AppliquerChapitre 5 Utilisation des comportements 415 Pour appliquer un comportement à plusieurs objets : 1 Sélectionnez tous les objets auxquels vous souhaitez appliquer le comportement. Dans l’onglet Couches, le Canevas ou la Timeline, cliquez sur divers objets contigus tout en appuyant sur la touche Maj ou sur des objets séparés non contigus tout en maintenant la touche Commande enfoncée. 2 Procédez de l’une des manières suivantes :  Dans la barre d’outils, cliquez sur l’icône Ajouter comportement et choisissez un comportement dans l’un des sous-menus.  Sélectionnez un comportement dans la Bibliothèque, puis cliquez sur Appliquer dans la zone de prévisualisation. 3 Pour constater l’effet animé, lancez la lecture du projet. Important : tous les comportements ne génèrent pas automatiquement une animation sur un objet. Certains, tels que Lancer, nécessitent que la vitesse de lancement soit définie (dans la palette ou dans l’Inspecteur) avant le « lancement » de l’objet. D’autres, comme En orbite, nécessitent la désignation d’un objet source servant d’objet central pour que d’autres objets tournent autour. Lorsqu’un comportement est appliqué à un objet, les paramètres de cet objet affectés par ce comportement sont automatiquement animés en fonction des réglages par défaut dudit comportement. Par exemple, si vous appliquez le comportement Gravité à un objet dans le Canevas, la position de cet objet est animée et il tombe, selon le réglage par défaut du comportement Gravité. Durée par défaut d’un comportement Dans la majeure partie des cas, la durée d’un comportement correspond à la durée dans la Timeline de l’objet auquel il est appliqué. Par exemple, si vous appliquez un comportement Rotation à un objet commençant à l’image 20 et se terminant à l’image 300, ce comportement dure également des images 20 à 300. Pour en savoir plus sur la réduction de la durée d’un comportement, voir « Trim des comportements » à la page 431. Remarque : la préférence « Créer couches à » (dans la sous-fenêtre Projet des préfé- rences Motion), qui vous permet d’indiquer si les couches doivent être créées sur l’image 1 ou au niveau de la position actuelle de la tête de lecture, ne s’applique qu’aux couches que vous avez créées ou importées, telles que du texte, des formes ou une séquence QuickTime.416 Chapitre 5 Utilisation des comportements Remarque : vous pouvez également appliquer directement des comportements à des groupes dans l’onglet Couches ou la Timeline. Selon le comportement appliqué, tous les objets imbriqués dans ce groupe sont modifiés soit comme s’il s’agissait d’un seul objet, soit individuellement. Vous pouvez souvent modifier le résultat obtenu en réglant le paramètre Affecter ou Affecter les sous-objets dans l’onglet Comportements de l’Inspecteur. ∏ Astuce : si vous n’observez pas le résultat escompté lorsque vous appliquez des comportements à des objets, tentez d’activer/désactiver le paramètre Affecter les sous-objets ou de sélectionner une option différente dans le menu local Affecter. Ces paramètres déterminent respectivement si l’ensemble du groupe ou ses composants individuels (par exemple, les objets imbriqués dans ce groupe) sont affectés par le comportement, ainsi que la façon dont un objet interagit sur les objets environnants. Remarque : la case à cocher « Affecter les sous-objets » n’apparaît dans l’Inspecteur que si les comportements Lancer et Rotation, ou des comportements Simulation, sont appliqués à un groupe ou à un objet contenant plusieurs objets, comme un émetteur de particules ou du texte. Suppression de comportements Sachant que les comportements n’ajoutent aucune image clé, leur suppression élimine instantanément leurs effets animés. Tous les types de comportements sont éliminés de la même manière. Pour supprimer un comportement d’un objet: 1 Sélectionnez un comportement dans l’onglet Couches, la Timeline, l’onglet Comportements ou le menu local accessible via la barre de titre de la palette. Dans cet exemple, le comportement Gravité est sélectionné dans l’onglet Comportements de l’Inspecteur. Chapitre 5 Utilisation des comportements 417 2 Procédez de l’une des manières suivantes :  Choisissez Édition > Supprimer.  Appuyez sur la touche Contrôle tout en cliquant sur le comportement dans l’onglet Couches ou la Timeline, puis choisissez Supprimer dans le menu contextuel.  Appuyez sur la touche Suppr. Application de comportements Paramètre Les comportements Paramètre fonctionnent différemment des autres. Tous les comportements affectent des paramètres spécifiques d’un objet. Par exemple, lorsque le comportement Rotation est appliqué à une image, le paramètre Rotation de cette image est automatiquement affecté. De même, avec le comportement Fondu entrant/sortant appliqué à une séquence, c’est le paramètre Opacité de cette séquence qui est automatiquement affecté, etc. Les comportements Paramètre s’appliquent quant à eux à des paramètres distincts d’un objet, d’une caméra, d’un filtre, d’un comportement, etc., plutôt qu’à l’objet proprement dit. Ce point particulier concerne les paramètres des filtres, des émetteurs et des cellules des systèmes de particules, les formes, le texte, etc. Vous pouvez également appliquer des comportements Paramètre à des paramètres d’autres comportements préalablement appliqués à un objet. Pour simplifier, il suffit d’appliquer un comportement Lancer à une couche de texte pour que ce texte traverse le Canevas. Dans ce cas, le comportement Lancer affecte le paramètre Position de la couche de texte. S’il s’agit du comportement Osciller appliqué au paramètre Position d’une forme, cette forme se déplace alors d’avant en arrière sur le Canevas. L’effet d’un comportement Paramètre sur un objet dépend du paramètre auquel il est appliqué. Par exemple, si vous appliquez le comportement Rendre aléatoire au paramètre Position d’un émetteur de particules, ce dernier dérive sur l’écran lors de la lecture du projet. En revanche, l’application du même comportement au paramètre Échelle d’une forme la fait grossir et rétrécir de façon aléatoire. Important : même si vous appliquez un comportement Paramètre à un objet par le biais de la Bibliothèque ou de l’icône Ajouter comportement de la barre d’outils, ce comportement n’affecte pas l’objet concerné tant que vous n’avez pas sélectionné le paramètre précis auquel vous souhaitez appliquer ce comportement. Une méthode plus directe pour ajouter un comportement Paramètre consiste à utiliser le menu contextuel de l’Inspecteur. 418 Chapitre 5 Utilisation des comportements Pour appliquer un comportement Paramètre à un paramètre spécifique d’objet : 1 Sélectionnez l’objet auquel vous souhaitez appliquer le comportement Paramètre. 2 Procédez de l’une des manières suivantes :  Appuyez sur la touche Contrôle tout en cliquant sur un paramètre dans l’Inspecteur, puis choisissez un comportement Paramètre dans le menu contextuel.  Appuyez sur la touche Contrôle tout en cliquant sur un paramètre dans la palette, puis choisissez un comportement Paramètre dans le menu contextuel.  Appuyez sur la touche Contrôle tout en cliquant sur un paramètre dans l’Éditeur d’images clés, puis choisissez un comportement Paramètre dans le menu local. Dans cet exemple, le comportement Osciller est appliqué au paramètre Rotation d’une forme. Dans cet exemple, le comportement Rendre aléatoire est appliqué au paramètre Adoucissement des bords d’une forme. Chapitre 5 Utilisation des comportements 419 Remarque : utilisez le menu local Afficher pour choisir les paramètres à afficher dans l’Éditeur d’images clés. Pour en savoir plus, voir « Commandes de filtrage » à la page 578. Une fois qu’un comportement de paramètre est appliqué à un paramètre, l’Inspecteur bascule automatiquement vers l’onglet Comportements. Pour appliquer un comportement Paramètre à un objet : 1 Procédez de l’une des manières suivantes :  Faites glisser un comportement Paramètre de la Bibliothèque sur un objet approprié dans le Canevas, l’onglet Couches ou la Timeline  Sélectionnez un objet dans le Canevas, l’onglet Couches ou la Timeline, cliquez sur l’icône Ajouter comportement de la barre d’outils, puis choisissez un comportement Paramètre. Remarque : en règle générale, il est plus facile de faire glisser un comportement sur une caméra ou une lumière dans l’onglet Couches ou la Timeline, plutôt que de procéder directement dans le Canevas. Ce comportement est appliqué à l’objet, mais aucun paramètre ne lui est encore affecté. 2 Pour affecter un paramètre spécifique à un comportement Paramètre, procédez de l’une des manières suivantes :  Sélectionnez un comportement Paramètre, puis choisissez un paramètre dans le menu local Appliquer à (« Aller ») de la palette.  Sélectionnez le comportement Paramètre, puis choisissez un comportement Paramètre dans le menu local Appliquer à (« Aller ») de l’onglet Comportements de l’Inspecteur. Sitôt affecté, le paramètre auquel le comportement est appliqué apparaît dans le champ Appliquer à. Remarque : si vous enregistrez un comportement Paramètre comme favori, son paramètre affecté est enregistré avec ses autres réglages. En conséquence de quoi, ce comportement peut être appliqué comme n’importe quel autre et le paramètre du nouvel objet est automatiquement affecté. Dans cet exemple, le comportement Rendre aléatoire est appliqué au paramètre Opacité d’une forme. 420 Chapitre 5 Utilisation des comportements Application de comportements Paramètre à des paramètres d’animation 3D Dès lors que des comportements Paramètre sont appliqués à des paramètres incluant des canaux 3D, comme Position et Rotation, un paramètre par défaut est affecté. Il s’agit en fait de l’effet le plus fréquemment utilisé. Par exemple, si le comportement Osciller est appliqué au paramètre Rotation d’un objet (dans l’onglet Propriétés), ce comportement est affecté par défaut au paramètre Z. Dans l’animation créée, l’image effectue un mouvement de va-et-vient le long de l’axe Z. Pour que le comportement affecte à un autre paramètre, utilisez le paramètre Appliquer à accessible via la palette des comportements Paramètre ou l’Inspecteur. Pour modifier l’affectation d’un comportement Paramètre : m Dans la palette du comportement ou l’Inspecteur, choisissez un autre paramètre dans le menu local Appliquer à (« Aller »). Dans cet exemple concernant le comportement Osciller, l’oscillation est appliquée aux axes X et Y de l’objet affecté. Par défaut, le comportement Osciller est appliqué au paramètre Rotation Z.Chapitre 5 Utilisation des comportements 421 Dans l’animation créée, l’image effectue un mouvement de va-et-vient le long des axes X et Y. Pour en savoir plus sur la réaffectation des comportements Paramètre, voir « Attribution d’un comportement Paramètre à un autre paramètre » à la page 422. Emplacement des comportements Paramètre Dans l’onglet Couches et la Timeline, les comportements Paramètre, comme tous les autres comportements, apparaissent imbriqués en dessous de l’objet auquel ils sont appliqués, avec le reste des comportements appliqués à cet objet. Remarque : même si les comportements Paramètre apparaissent imbriqués sous les objets dans la liste de couches, gardez à l’esprit qu’ils ne sont appliqués qu’à un seul paramètre de ces objets, et pas aux objets proprement dits. L’icône d’un comportement Paramètre affiche un entonnoir. Cet objet symbolise la « canalisation » des différents paramètres. Comportement Paramètre Comportement Paramètre422 Chapitre 5 Utilisation des comportements Ouvrez le menu Animation d’un paramètre dans l’Inspecteur pour afficher les noms de tous les comportements appliqués à ce paramètre. La sélection du nom d’un de ces comportements ouvre automatiquement l’onglet Comportements de l’élément correspondant. Comme dans le cas de tous les autres comportements, sitôt qu’un comportement Paramètre est appliqué à un objet de votre projet, une icône Comportements apparaît dans le menu Animation du paramètre affecté (dans l’onglet Propriétés, Comportements ou Filtres où il est appliqué), ainsi que dans le menu Animation de chaque paramètre affecté (dans l’Éditeur d’images clés). Attribution d’un comportement Paramètre à un autre paramètre Une fois un comportement de Paramètre appliqué à un paramètre, il reste attribué jusqu’à une nouvelle attribution. Pour ce faire, il est possible d’utiliser le menu local Appliquer à (« Aller »), situé en bas des commandes du comportement Paramètre dans la palette ou l’onglet Comportements. Le menu local Appliquer à (« Aller ») affiche toutes les propriétés disponibles pour l’objet auquel le comportement est appliqué. Si un objet est affecté par d’autres comportements ou filtres, ces paramètres apparaissent également dans les sous-menus de ce menu local. Pour réaffecter un comportement Paramètre à un autre paramètre dans la palette : 1 Dans l’onglet Couches, la Timeline ou l’onglet Comportements de l’Inspecteur, sélectionnez le comportement de paramètre que vous souhaitez réaffecter. 2 Dans la palette, choisissez un nouveau paramètre dans le menu local Appliquer à (« Aller »). Le comportement de paramètre est appliqué au nouveau paramètre choisi et le champ « Appliquer à » est mis à jour afin de refléter la nouvelle affectation. Dans l’Inspecteur, l’icône Comportements apparaît désormais en regard du nouveau paramètre. Dans cet exemple, les comportements Osciller et Rendre aléatoire sont appliqués au paramètre Taille du filtre Cristalliser.Chapitre 5 Utilisation des comportements 423 Pour réaffecter un comportement de paramètre à un autre paramètre dans l’Inspecteur : 1 Sélectionnez l’objet doté du comportement Paramètre que vous souhaitez réaffecter. 2 Dans l’onglet Comportements de l’Inspecteur, choisissez un nouveau paramètre dans le menu local Appliquer à (« Aller »). Comportement Suivi du paramètre Le comportement Suivi du paramètre vous permet de suivre un paramètre particulier d’un effet, tel que le point central d’une lumière parasite, par rapport à un point de référence d’un plan. Par exemple, vous pouvez faire en sorte qu’un rayon lumineux soit émis à partir d’un objet en mouvement dans un plan en effectuant le suivi du plan, puis en appliquant le comportement Suivi de paramètre au paramètre Centre du filtre Rayons de lumière. Pour en savoir plus sur l’utilisation du comportement Suivi du paramètre, consultez « Suivi de l’animation » dans le manuel PDF Documentation supplémentaire de Motion. Modification des comportements La palette de chaque comportement affiche un sous-ensemble (parfois même, un ensemble complet) des paramètres disponibles. Si besoin est, tous les paramètres des comportements sont visibles dans l’onglet Comportements de l’Inspecteur. Comme la palette et l’onglet Comportements font référence aux mêmes paramètres, leur modification dans l’un se répercute automatiquement dans l’autre.424 Chapitre 5 Utilisation des comportements Modification des paramètres dans la palette En règle générale, la palette d’un comportement se limite à afficher les paramètres les plus importants pour modifier l’effet de ce comportement. Qui plus est, les commandes qu’elle met à votre disposition sont bien souvent plus explicites et plus simples à utiliser que celles qui figurent l’onglet Comportements, même si ce dernier en contient davantage. À titre d’exemple, il vous suffit de comparer les commandes affichées par l’onglet Comportements et la palette pour le comportement Fondu entrant/sortant : Comme vous pouvez le constater, les commandes de la palette réunissent deux des paramètres disponibles dans l’onglet Comportements sous la forme d’une seule commande graphique. Pourtant, il est des cas où il est préférable d’utiliser les paramè- tres individuels d’un comportement afin de peaufiner l’effet recherché, notamment en ayant la possibilité de saisir des valeurs précises. Pour afficher la palette d’un comportement: 1 Sélectionnez un objet auquel un comportement est appliqué. 2 Procédez de l’une des manières suivantes :  Dans l’onglet Couches, la Timeline ou l’onglet Comportements de l’Inspecteur, sélectionnez le comportement que vous souhaitez modifier.  Dans le Canevas, cliquez sur un objet tout en maintenant la touche Contrôle enfoncée, puis choisissez un comportement dans le sous-menu Comportements du menu contextuel. Remarque : si la palette n’apparaît pas, choisissez Fenêtre > Afficher la palette (ou appuyez sur F7 ou sur D). 3 Apportez des modifications au comportement grâce aux commandes de la palette.Chapitre 5 Utilisation des comportements 425 Pour passer en revue les palettes d’un objet, procédez de l’une des manières suivantes : m Cliquez sur le triangle d’affichage dans la barre de titre de la palette (à droite du titre) pour ouvrir un menu local répertoriant tous les comportements et filtres appliqués à cet objet. Choisissez un élément proposé dans la liste pour afficher la palette correspondante. m Sélectionnez un objet dans le Canevas, puis appuyez sur la touche D pour afficher la palette suivante parmi toutes les palettes disponibles pour cet objet. Pour revenir à la précédente, appuyez sur Maj + D. Personnalisation de paramètres dans l’onglet Comportements de l’Inspecteur L’onglet Comportements de l’Inspecteur présente tous les comportements appliqués à l’objet sélectionné. Un triangle d’affichage à gauche du nom de chaque comportement révèle tous ses paramètres. Contrairement à la palette, l’onglet Comportements affiche tous les paramètres d’un comportement. Pour afficher l’onglet Comportements : 1 Sélectionnez un objet auquel un comportement est appliqué. 2 Ouvrez l’Inspecteur et cliquez sur l’onglet Comportements. Tous les comportements appliqués figurent alors dans l’onglet. Utilisation des comportements Cette rubrique vous explique comment activer, renommer, verrouiller, dupliquer, déplacer et réorganiser des comportements dans votre projet. Les procédures décrites s’appliquent à tous les types de comportements. Cliquez sur ce triangle d’affichage, puis sélectionnez un comportement ou un filtre pour afficher sa palette. 426 Chapitre 5 Utilisation des comportements Activation, rebaptisation et verrouillage de comportements Lorsque vous appliquez un comportement à un objet, il apparaît à trois endroits : l’onglet Couches, la Timeline et l’onglet Comportements de l’Inspecteur. Alors que l’onglet Comportements de l’Inspecteur met à votre disposition tous les paramètres modifiables d’un comportement appliqué à un objet, l’onglet Couches et la Timeline vous présentent plusieurs commandes pour chaque comportement : Case d’activation : active ou désactive chaque comportement individuel. Les comportements désactivés sont sans incidence sur l’objet auquel ils sont appliqués. Nom : double-cliquez dans ce champ pour renommer le comportement. Verrouiller : cliquez sur cette icône pour verrouiller ou déverrouiller un comportement. Vous ne pouvez pas modifier les paramètres d’un comportement verrouillé. Activer/Désactiver les comportements : une icône Comportements (roue) apparaît à droite du nom de chaque objet auquel un ou plusieurs comportements sont appliqués. Cliquez sur cette icône pour activer et désactiver tous les comportements appliqués à cet objet. Case Activation Nom Activer/Désactiver les comportements Verrouiller Comportements actuellement désactivésChapitre 5 Utilisation des comportements 427 Remarque : cliquez sur l’icône Comportements tout en maintenant la touche Contrôle enfoncée pour ouvrir un menu local répertoriant tous les comportements appliqués à cet objet. Choisissez un comportement dans ce menu pour l’afficher dans l’Inspecteur. Bouton Afficher les comportements : il apparaît au bas de l’onglet Couches et de la Timeline et vous permet d’afficher ou de masquer tous les comportements. Ce bouton n’active ou ne désactive pas les comportements appliqués aux objets de votre projet : il se contente de contrôler leur affichage. Copie, collage et déplacement de comportements Après avoir ajouté des comportements à un objet, vous pouvez les copier et les déplacer de diverses manières parmi les autres objets présents dans la Timeline ou l’onglet Couches. Il est possible de couper, copier et coller des comportements comme n’importe quel autre objet dans Motion. Lorsque vous coupez ou copiez un comportement dans la Timeline ou l’onglet Couches, vous pouvez également copier l’état en cours de tous ses paramètres. Pour couper ou copier un comportement : 1 Sélectionnez un comportement. 2 Procédez de l’une des manières suivantes :  Choisissez Édition > Couper (ou appuyez sur les touches Commande + X) pour supprimer le comportement et le placer dans le Presse-papiers.  Choisissez Édition > Copier (ou appuyez sur les touches Commande + C) pour conserver le comportement à cet endroit et le copier dans le Presse-papiers. Pour coller un comportement : 1 Sélectionnez l’objet sur lequel vous souhaitez coller le comportement. 2 Choisissez Édition > Coller (ou appuyez simultanément sur les touches Commande + V). Le comportement coupé ou copié est appliqué à l’objet sélectionné, tous les réglages de ses paramètres ayant été conservés. Dans l’onglet Couches ou la liste de couches de la Timeline, vous pouvez également déplacer un comportement d’un objet vers un autre en le faisant simplement glisser vers un nouvel emplacement. Cliquez sur l’icône Comportements tout en maintenant la touche Contrôle enfoncée, puis choisissez un comportement pour l’afficher dans l’Inspecteur. Le bouton Afficher les comportements est activé.428 Chapitre 5 Utilisation des comportements Pour transférer un comportement d’un objet à un autre : m Dans l’onglet Couches ou la liste de couches de la Timeline, faites glisser un comportement appliqué à un objet et déposez-le sur un autre objet. Remarque : si vous déplacez un comportement Paramètre d’un objet vers un autre, il est appliqué au même paramètre que précédemment, si tant est que ce paramètre soit présent dans le nouvel objet. Si ce paramètre n’existe pas, l’affectation du paramètre (champ Appliquer à) est définie sur aucune. Vous pouvez également dupliquer un comportement. Pour dupliquer un comportement : 1 Sélectionnez le comportement à dupliquer. 2 Procédez de l’une des manières suivantes :  Choisissez Édition > Dupliquer (ou appuyez simultanément sur les touches Commande + D).  Appuyez sur la touche Contrôle tout en cliquant sur le comportement à dupliquer, puis choisissez Dupliquer dans le menu contextuel. Vous pouvez également dupliquer un comportement, puis appliquer sa copie à un autre objet dans l’onglet Couches ou dans la liste de couches de la Timeline. Pour faire glisser la copie d’un comportement vers un autre objet : m Tout en maintenant la touche Option enfoncée, faites glisser le comportement vers l’objet auquel vous souhaitez appliquer le comportement dupliqué. Le comportement dupliqué est alors appliqué au second objet et sa version d’origine reste à son emplacement initial. Lorsque vous dupliquez un objet, vous dupliquez également tous les comportements qui lui sont appliqués. De cette façon, si vous créez un projet avec un certain nombre d’objets nécessitant tous le même comportement, il vous suffit d’appliquer ce comportement à la première occurrence de l’objet, puis de dupliquer cet objet autant de fois que nécessaire. Glissement d’un comportement d’un objet vers un autreChapitre 5 Utilisation des comportements 429 Application de plusieurs comportements à un objet Il n’existe aucune limite au nombre de comportements que vous pouvez appliquer à un objet. Si plusieurs comportements sont appliqués à un seul objet, ils contribuent tous au résultat de l’effet d’animation. Sachant que chaque comportement applique une valeur à un paramètre donné, les valeurs générées par tous les comportements ayant une incidence sur les mêmes paramètres se combinent pour donner le résultat final. Par exemple, si vous appliquez les comportements Lancer, Gravité et Rotation à un seul objet, le résultat combiné est garanti par les deux premiers qui affectent sa position et le troisième qui affecte sa rotation. Réorganisation des comportements Lorsque vous appliquez plusieurs comportements à un seul objet, ils apparaissent tous en dessous de cet objet dans la Timeline et l’onglet Couches. Vous pouvez toutefois changer leur ordre d’application. Même si les effets de la plupart des comportements se complètent, il s’agit plus d’une technique utile d’organisation que d’une façon de changer l’effet animé créé par les comportements. Le comportement Arrêter est une exception à la règle : il interrompt l’activité de tous les comportements apparaissant en dessous de son niveau dans la liste de couches et qui ont une incidence sur le même paramètre, alors qu’il n’affecte en rien les comportements situés au-dessus. Pour reclasser un comportement : 1 Faites glisser le comportement que vous souhaitez repositionner plus haut ou plus bas dans la liste des comportements imbriqués appliqués à un même objet. Un indicateur de position signale la place du comportement lorsque vous relâchez le bouton de la souris. 2 Lorsque l’indicateur de position signale l’emplacement souhaité, relâchez le bouton de la souris. Un indicateur de position apparaît chaque fois que vous faites glisser un comportement dans la liste.430 Chapitre 5 Utilisation des comportements Changement du contrôle du temps des comportements Vous pouvez changer la durée d’un comportement pour contrôler le moment où il commence, sa durée et quand il finit. Pour ce faire, vous pouvez procéder de plusieurs manières : en utilisant le comportement de paramètre Arrêter afin d’interrompre les effets d’un ou plusieurs comportements sur un paramètre ou en effectuant un Trim pour chaque comportement dans la Timeline. Vous pouvez tout aussi bien modifier le paramètre Début de décalage de certains comportements pour retarder leur commencement ou leur paramètre Fin du décalage pour qu’ils se terminent avant la fin de l’objet auquel ils sont appliqués. Les comportements concernés sont les suivants : Fondu entrant/sortant, Grossir/rétrécir et Magnétiser l’alignement sur l’animation. Utilisation du comportement de paramètre Arrêter Le plus simple pour contrôler la durée d’un comportement consiste à utiliser le comportement de paramètre Arrêter. Ce comportement interrompt l’animation au niveau d’un seul paramètre, qu’elle soit due à des images clés dans l’Éditeur d’images clés ou à des comportements appliqués à l’objet concerné. Comme indiqué dans « Application de comportements Paramètre » à la page 417, tous les comportements Paramètre s’appliquent directement à un paramètre d’un objet (comme l’opacité ou la position) ou à un objet (comme du texte ou une image). Toutefois, si le comportement est appliqué directement à un objet, un paramètre doit lui être explicitement affecté (dans l’onglet Comportements de l’Inspecteur). Pour arrêter l’animation d’un paramètre : 1 Placez la tête de lecture sur l’image à partir de laquelle vous souhaitez que l’animation cesse. 2 Sélectionnez l’objet concerné, puis ouvrez l’onglet Propriétés de l’Inspecteur. 3 Appuyez sur la touche Contrôle tout en cliquant sur le paramètre à arrêter, puis choisissez Arrêter dans le menu contextuel. Le paramètre est animé jusqu’à l’image à partir de laquelle commence le comportement Arrêter. Remarque : lorsque le comportement Arrêter est utilisé de cette manière, il est appliqué sur l’image actuelle (quel que soit le réglage de la préférence « Créer couches à »). 4 Pour affecter le comportement Arrêter à un autre paramètre, choisissez un nouveau paramètre dans le menu local Appliquer à (« Aller »). Le comportement Arrêter interrompt l’animation de tous les comportements appliqués au paramètre sélectionné de cet objet. Par exemple, si vous appliquez les comportements Gravité, Collision sur les bords et Rotation à une forme, puis que vous appliquez le comportement Arrêter au paramètre Position de la couche de cette forme, la forme cesse de se déplacer, mais continue à pivoter.Chapitre 5 Utilisation des comportements 431 Pour contrôler l’arrêt de l’animation ayant une incidence sur ce paramètre, ajustez le comportement Arrêter dans la Timeline. Pour en savoir plus sur l’ajustement des comportements, voir la rubrique suivante page 431. Pour en savoir plus sur l’application des comportements Paramètre, voir « Application de comportements Paramètre » à la page 417. Trim des comportements Lorsque vous appliquez un comportement à un objet, sa durée dans la Timeline équivaut par défaut à la durée de l’objet auquel il est appliqué. Il est possible de modifier un comportement pour limiter la durée de son effet. Par exemple, si vous appliquez le comportement Rotation à la couche d’un réplicateur, ce dernier pivote par défaut sur toute sa durée. Si vous effectuez un Trim du point de sortie du comportement Rotation, la rotation s’arrête à la nouvelle position du point de sortie. Pour modifier la durée d’un comportement dans la Timeline : 1 Déplacez le pointeur vers le point d’entrée ou de sortie d’un comportement dans la Timeline. 2 Lorsque le pointeur change pour permettre un Trim, procédez de l’une des manières suivantes :  Faites glisser le point d’entrée pour retarder le début de l’effet du comportement.  Faites glisser le point de sortie pour terminer l’effet du comportement avant la fin de l’objet. Remarque : lorsque vous faites glisser le point d’entrée ou de sortie d’un comportement, une bulle d’aide apparaît et en signale le nouvel emplacement et la durée actualisée. Par défaut, un comportement adopte la même durée que l’objet auquel il est appliqué. Une bulle d’aide signale la nouvelle position du point de sortie.432 Chapitre 5 Utilisation des comportements L’application d’un Trim sur le point de sortie d’un comportement restaure bien souvent l’objet dans son état d’origine sitôt le point de sortie atteint. Pour de nombreux comportements, il est donc bien plus efficace d’interrompre l’animation d’un objet à l’aide du comportement Arrêter, plutôt que d’appliquer un Trim à son point de sortie. Pour arrêter l’effet d’un comportement et conserver l’objet concerné dans son état transformé, une autre méthode consiste à régler les paramètres Début et Fin du décalage du comportement. Pour en savoir plus, voir « Changement du décalage des comportements Paramètre » à la page 434. Remarque : les comportements Simulation ne permettent pas de conserver l’objet dans son état transformé au-delà de la dernière image du comportement ayant subi un Trim. Pour en savoir plus, voir « Contrôle des comportements Simulation » à la page 432. Contrôle des comportements Simulation Il vous faut bien garder à l’esprit que les comportements (à l’exception des comportements Suivi de l’animation) ont pour but de vous permettre de créer des graphismes animés d’une grande fluidité, qui ne nécessitent aucun contrôle particulier du temps. Les comportements Simulation répondent tout spécialement à cet objectif, en vous permettant de créer avec un travail de montage réduit au strict minimum des interactions très élaborées entre plusieurs objets de votre projet. Contrairement aux comportements Animation standard, vous ne pouvez pas arrêter ou modifier l’animation d’un comportement Simulation dans la Timeline. Toutefois, vous pouvez affecter sa vitesse en modifiant sa durée dans la Timeline. Vous avez également la possibilité de changer son image de début. Les comportements Simulation figurant des phénomènes naturels, comme la Gravité, les lois de l’inertie s’appliquent : c’est une force extérieure qui met l’objet en mouvement et il le reste, même si ladite force n’est plus en présence. Modifier la durée de la barre d’un comportement Simulation dans la Timeline interrompt donc la force « à l’œuvre » sur l’objet, mais ne saurait mettre fin au mouvement de l’objet. Vous pouvez évidemment contrôler les comportements Simulation grâce à leurs paramètres.Chapitre 5 Utilisation des comportements 433 Dans l’illustration suivante, le comportement En orbite (Simulation) est appliqué à un grand cercle. Le texte central est défini comme l’objet autour duquel le cercle doit se déplacer. La trajectoire d’animation représentée en rouge figure le parcours du cercle sur toute sa durée. Le comportement En orbite est de la même durée (300 images) que le grand cercle auquel il est appliqué. Dans l’illustration suivante, un Trim est appliqué au comportement En orbite afin de réduire sa durée (190 images) par rapport à l’objet auquel il est appliqué. Vous remarquez alors le changement apparu sur la trajectoire d’animation : sur l’image 190, où le comportement En orbite prend fin, l’objet (la forme du cercle) cesse de tourner autour de sa cible, mais continue à se déplacer vers l’extérieur du Canevas. Le comportement En orbite, la fameuse force à l’œuvre, n’est plus en présence, mais le mouvement du cercle ne cesse pas pour autant. Déplacement de comportements dans le temps Outre la modification de la durée d’un comportement, vous pouvez changer sa position dans la Timeline par rapport à l’objet sous lequel il est imbriqué. Vous pouvez ainsi déterminer l’image à laquelle ce comportement commence. Le comportement En orbite, appliqué au grand cercle, est de la même durée que l’objet auquel il est appliqué. La trajectoire d’animation (en rouge) indique le déplacement du cercle sur toute sa durée. La durée du comportement En orbite est plus courte que la durée de l’objet auquel il est appliqué. La trajectoire d’animation indique alors l’effet raccourci du comportement sur le déplacement du cercle.434 Chapitre 5 Utilisation des comportements Pour déplacer un comportement dans la Timeline : 1 Cliquez n’importe où au milieu de la barre du comportement dans la Timeline. 2 Faites glisser le comportement vers la gauche ou vers la droite pour le déplacer dans la Timeline. Au déplacement de la barre, une bulle d’aide apparaît et présente les nouveaux points d’entrée et de sortie du comportement. Elle affiche également la valeur delta correspondant au nombre d’images dont la barre s’est déplacée. Changement du décalage des comportements Paramètre Certains comportements Paramètre mettent à votre disposition deux paramètres supplémentaires, Début du décalage et Fin du décalage, qui vous permettent de changer l’image au niveau de laquelle leur effet commence ou se termine. Le paramètre Début du décalage est doté d’un curseur permettant de retarder le début de l’effet d’un comportement par rapport à la première image de sa position dans la Timeline. Vous pouvez régler ce paramètre afin que le comportement de paramètre commence plus tard. Le paramètre Fin du décalage permet de décaler la fin de l’effet du comportement par rapport à la dernière image de sa position dans la Timeline. Utilisez ce curseur pour arrêter l’effet, au lieu d’effectuer un Trim sur la fin du comportement dans la Timeline : vous pouvez ainsi bloquer l’effet du comportement sur l’objet pour le temps restant. L’exemple suivant illustre l’utilisation des paramètres Début et Fin du décalage avec le comportement Pente. Pour utiliser les paramètres Début et Fin du décalage : 1 Sélectionnez un objet (une forme, par exemple). 2 Dans l’onglet Propriétés de l’Inspecteur, cliquez sur le paramètre Échelle tout en maintenant la touche Contrôle enfoncée, puis choisissez Pente dans le menu contextuel. Le comportement Pente (de la catégorie Paramètre) est appliqué au paramètre Échelle de l’objet et l’onglet Comportements est affiché. Ce comportement vous permet de créer une transition progressive au sein de tout paramètre qu’il est possible d’animer.Chapitre 5 Utilisation des comportements 435 3 Réglez les valeurs Début et Fin sur 0 et 200, puis lancez la lecture du projet. L’objet est redimensionné sur la base de son échelle d’origine, de telle sorte qu’il atteigne deux fois sa taille initiale sur toute sa durée. 4 Réglez les paramètres Début du décalage et Fin du décalage sur 90. L’objet n’est pas redimensionné jusqu’à l’image 90 et sa mise à l’échelle cesse à 90 images de sa dernière image dans la Timeline. Combinaison de comportements et d’images clés Il est possible d’appliquer à la fois des comportements et des images clés à un objet. Dans ce cas, les valeurs générées par le comportement et celles des images clés appliquées au paramètre se combinent pour donner une valeur finale à ce paramètre. Vous pouvez donc bénéficier de la commodité des comportements et du contrôle direct de l’animation avec des images clés pour obtenir votre résultat final. Par exemple, si vous appliquez le comportement Animation aléatoire à une forme, celle-ci risque de se déplacer sur l’écran selon une trajectoire d’animation totalement aléatoire ressemblant à l’illustration suivante : Si vous désactivez temporairement le comportement Animation aléatoire et que vous créez une trajectoire d’animation à l’aide d’images clés, vous pouvez créer un mouvement totalement prévisible et fluide. Trajectoire d’animation aléatoire Trajectoire d’animation d’images clés436 Chapitre 5 Utilisation des comportements Vous pouvez combiner les deux procédures afin d’activer à nouveau le comportement Animation aléatoire, ce qui donne une trajectoire d’animation répondant aux attentes globales, mais dont les variations la rendent intéressante. Cet exemple montre comment associer des comportements et des images clés pour créer des trajectoires d’animation. La démarche est aussi valable pour n’importe quel paramètre. Combinaison de comportements et d’images clés dans l’Éditeur d’images clés Lorsque vous affichez un paramètre modifié par un comportement dans l’Éditeur d’images clés, deux courbes correspondantes apparaissent. L’une d’elles, non modifiable, apparaît en arrière-plan et présente le paramètre tel qu’il est modifié par le comportement. Cette courbe ne comporte aucune image clé. Superposée à cette courbe indiquant l’effet du comportement sur le paramètre, vous observez une deuxième courbe modifiable correspondant au paramètre proprement dit. Trajectoire d’animation aléatoire combinée avec une trajectoire d’animation avec des images clés Courbe modifiable Courbe d’effet du comportementChapitre 5 Utilisation des comportements 437 Vous avez la possibilité d’animer un paramètre avec des images clés, avant ou après l’application d’un comportement à l’objet qui le modifie. Lorsque vous animez avec des images clés un paramètre déjà modifié par un comportement, la valeur de la courbe comportant des images clés est associée à celle générée par le comportement à chaque image, ce qui augmente ou diminue la valeur finale affichée par la courbe en arrière-plan. Cette dernière, outre les valeurs animées du comportement, affiche aussi la somme de toutes les valeurs ayant une incidence sur ce paramètre. Le fait d’élever ou de baisser une image clé dans l’Éditeur d’images clés déplace dans le même sens la courbe en arrière-plan, sachant que les valeurs générées par le comportement subissent des modifications. Courbe modifiable Courbe d’effet du comportement438 Chapitre 5 Utilisation des comportements Important : la valeur affichée dans l’Inspecteur pour le paramètre modifié reflète le résultat combiné final des images clés et des comportements appliqués à ce paramètre. La modification des valeurs d’un paramètre directement dans l’Inspecteur ne fait qu’altérer la valeur sous-jacente du paramètre, qu’il soit ou non animé avec des images clés. Cette valeur est ensuite combinée avec l’effet du comportement pour donner une valeur finale éventuellement différente de celle que vous avez saisie. Pour en savoir plus sur la manière d’utiliser les images clés dans l’Éditeur d’images clés, voir le chapitre 6, « Images et clés et courbes », à la page 547. Important : lorsque vous combinez des images clés avec plusieurs comportements, les résultats peuvent paraître imprévisibles, en fonction de l’assortiment de comportements appliqués. Image clé déplacéeChapitre 5 Utilisation des comportements 439 Vous pouvez convertir en images clés les comportements appliqués à tous les paramè- tres d’un objet. La conversion de comportements déjà combinés avec des images clés convertit l’ensemble des comportements et images clés ayant une incidence sur le paramètre en une série réduite d’images clés (une courbe avec moins d’images clés). Vous obtenez ainsi une courbe d’animation finale dont la forme est très proche de la courbe en arrière-plan dans l’Éditeur d’images clés. Ces images clés peuvent ensuite être modifiées directement dans l’Éditeur d’images clés. Pour en savoir plus sur la conversion de comportements en images clés, voir « Conversion de comportements en images clés » à la page 441. Animation de paramètres de comportements Vous pouvez animer la plupart des paramètres de comportements pour changer leur effet sur la durée. Pour cela, vous pouvez recourir à des comportements de paramètre ou ajouter des images clés dans l’Éditeur d’images clés. Avant Après conversion en images clés440 Chapitre 5 Utilisation des comportements Application de comportements Paramètre à un comportement Vous pouvez animer le paramètre d’un comportement en lui appliquant un comportement Paramètre. Par exemple, vous pouvez appliquer le comportement Osciller au paramètre Glissement du comportement En orbite et régler les valeurs Début et Fin pour qu’elles passent progressivement de 0 à 8 au fil du temps. L’orbite de l’objet diminue petit à petit, jusqu’à ce que l’objet tombe vers le centre de l’orbite. Pour en savoir plus sur l’ajout de comportements Paramètre, voir « Application de comportements Paramètre » à la page 417. Animation de comportements avec des images clés Pour un contrôle plus précis lors de l’animation des paramètres d’un comportement, utilisez des images clés. Par exemple, si vous animez le paramètre Glissement du comportement En orbite avec des images clés, vous pouvez grossir et rétrécir de nombreuses fois l’orbite de l’objet et obtenir ainsi une trajectoire d’animation bien plus complexe. Il serait très difficile d’animer manuellement avec des images clés cette trajectoire d’animation : ici, il suffit d’animer un seul paramètre d’un comportement en particulier pour obtenir facilement cet effet. Pour en savoir plus sur l’animation de paramètres avec des images clés, voir « Animation de comportements » à la page 559. Objet avec le paramètre En orbite Comportement de paramètre Osciller ajouté au paramètre Glissement du comportement En orbite Comportement En orbite par défaut Comportement En orbite par défaut avec le paramètre Glissement animé avec des images clésChapitre 5 Utilisation des comportements 441 Conversion de comportements en images clés Les comportements sont tout spécialement adaptés à la création d’effets fluides ne nécessitant aucun contrôle précis du temps. Dans certains projets, vous pouvez toutefois avoir besoin d’un plus grand contrôle sur les effets animés créés à l’aide de comportements. Si le cas se présente, sachez que plusieurs comportements peuvent être convertis en images clés. Il est donc possible de convertir les courbes d’animation créées par les comportements (sans aucune image clé) en courbes d’animation animées avec des images clés. Vous pouvez ensuite modifier les images clés obtenues dans l’Éditeur d’images clés, afin de mieux répondre à vos besoins de précision en matière de contrôle du temps. Comme de nombreux comportements (quoique pas tous) affectent les mêmes paramètres d’un objet, tous les comportements appliqués à un objet sont convertis en images clés lorsque vous convertissez cet objet ou un de ses comportement en images clés. Les images clés sont alors appliquées à des paramètres individuels que les comportements modifiaient avant leur conversion. Les deux comportements Gravité et Lancer affectent par exemple le paramètre Position : vous ne pouvez donc pas convertir le comportement Gravité en images clés, sans affecter le comportement Lancer. Lorsque des comportements appliqués à d’autres objets modifient l’objet converti (par exemple, les comportements Attracteur ou Repousser), leur effet devient la valeur des images clés de l’objet. Les comportements d’origine restent appliqués aux autres objets, mais l’effet obtenu n’est pas doublé du fait de la combinaison des images clés et du comportement. Remarque : il est impossible de convertir en images clés plusieurs des comportements Simulation, Réplicateur, Particules et Texte. En effet, certains comportements Simulation, comme Vortex, peuvent affecter les paramètres de tous les objets d’un projet et la conversion de ce type de comportement risquerait de créer un nombre incalculable d’images clés. N’oubliez pas que tout l’intérêt de ces comportements est de créer automatiquement une animation extrêmement complexe, qui vous réclamerait bien trop d’heures de travail à animer manuellement avec des images clés. Si un comportement (ou un objet auquel des comportements sont appliqués) peut être converti, le menu Objet propose la commande « Convertir en images clés » dès que ce comportement ou cet objet est sélectionné. Lorsque cette commande est estompée, vous savez qu’il est impossible de générer des images clés à partir du comportement.442 Chapitre 5 Utilisation des comportements Pour convertir des comportements en images clés : 1 Procédez de l’une des manières suivantes :  Sélectionnez un objet avec des comportements que vous souhaitez convertir.  Dans l’Inspecteur, sélectionnez le comportement que vous souhaitez convertir. 2 Choisissez Objet > Convertir en images clés (ou appuyez sur les touches Commande + K). Une zone de dialogue vous invite à confirmer la conversion en images clés. 3 Cliquez sur Convertir. Tous les comportements sont convertis en images clés, lesquelles apparaissent dans l’Éditeur d’images clés. L’intégralité de l’animation de l’objet est convertie en images clés, même si certains comportements sont situés en dehors de la plage temporelle de l’objet. Remarque : vous ne pouvez effectuer une conversion sélective de comportements individuels. En effet, la commande « Convertir en images clés » convertit simultanément tous les comportements appliqués à un objet. Enregistrement et partage de comportements personnalisés Vous pouvez enregistrer n’importe quel objet de Motion dans la Bibliothèque, y compris des caméras, des lumières, des filtres et des comportements personnalisés, des groupes et des couches (systèmes de particules, réplicateurs, formes et texte personnalisés). Il est également possible d’enregistrer dans la Bibliothèque des objets animés avec des comportements ou des images clés. Ils conservent alors leur animation s’ils sont appliqués à un autre projet. Vous avez la possibilité d’enregistrer des comportements personnalisés dans un dossier existant de la Bibliothèque, comme la catégorie Favoris, ou de créer un nouveau dossier au sein d’une catégorie existante. Dès lors qu’il est placé dans la Bibliothèque, un comportement peut être ajouté à un projet comme n’importe quel autre objet de la Bibliothèque. Les comportements enregistrés dans la Bibliothèque apparaissent avec une icône personnalisée. Remarque : dans le Finder, les éléments enregistrés dans la Bibliothèque portent l’extension .molo (pour « Motion Library object »). Il est impossible de les ouvrir directement à partir du Finder. Vous pouvez enregistrer de multiples objets dans la Bibliothèque sous la forme d’un seul ou de plusieurs fichiers. Par exemple, si vous créez une animation à partir de plusieurs comportements et que vous souhaitez sauvegarder l’effet cumulé obtenu, vous pouvez enregistrer tous les comportements sous la forme d’un seul élément dans la Bibliothèque.Chapitre 5 Utilisation des comportements 443 Même si vous avez la possibilité d’enregistrer vos comportements personnalisés dans la catégorie Comportements, il est plutôt recommandé de sauvegarder tous les éléments que vous utilisez fréquemment dans la catégorie Favoris. Certaines catégories de la Bibliothèque de Motion contiennent tellement d’éléments que les catégories Favoris et Menu Favoris peuvent vous faire gagner du temps lors de vos recherches. Vous pouvez d’ailleurs créer d’autres dossiers au sein de la catégorie Favoris afin d’organiser au mieux vos éléments personnalisés. Les comportements enregistrés dans la catégorie Menu Favoris s’appliquent très rapidement à des objets grâce au menu Favoris. Vous pouvez également créer de nouveaux dossiers dans des catégories existantes, comme Favoris ou Comportements. Les dossiers créés dans la catégorie Comportements apparaissent dans la barre latérale de la Bibliothèque. En revanche, les dossiers créés dans des sous-catégories, comme Animation standard, sont affichés dans la pile de la Bibliothèque mais pas dans sa barre latérale. Pour enregistrer un comportement dans la Bibliothèque : 1 Ouvrez la Bibliothèque, puis sélectionnez la catégorie Favoris, Menu Favoris ou Comportements. 2 Faites glisser le comportement personnalisé à enregistrer de l’onglet Couches, de la Timeline ou de l’Inspecteur dans la pile au bas de la Bibliothèque. Lorsque vous enregistrez un comportement personnalisé, il est placé dans le dossier / Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/ Motion/Bibliothèque. Remarque : si vous faites glisser un comportement personnalisé vers une autre souscatégorie, comme Éclat (dans la catégorie Filtres), il est automatiquement placé dans la catégorie Comportements, qui est alors activée. Pour enregistrer plusieurs comportements dans la Bibliothèque : 1 Ouvrez la Bibliothèque, puis sélectionnez la catégorie Favoris, Menu Favoris ou Comportements. 2 Dans l’onglet Couches, sélectionnez tous les comportements que sous souhaitez enregistrer, faites-les glisser dans la pile et maintenez le bouton de la souris enfoncé jusqu’à ce qu’un menu déroulant apparaisse. 3 Choisissez « Tous dans un fichier » ou « Fichiers multiples » dans le menu déroulant, puis relâchez le bouton de la souris. L’option « Tous dans un fichier » enregistre tous les comportements ensemble et ils sont ensuite répertoriés comme un seul élément dans la Bibliothèque. À l’inverse, l’option « Fichiers multiples » enregistre les comportements dans la Bibliothèque comme des objets individuels.444 Chapitre 5 Utilisation des comportements 4 Pour attribuer un nom au(x) fichier(s), procédez de l’une des manières suivantes :  Maintenez la touche Contrôle enfoncée en cliquant sur l’icône, choisissez Renommer dans le menu contextuel, puis tapez un nom descriptif.  Sélectionnez l’icône, cliquez sur « sans titre », puis tapez un nom descriptif. Remarque : si vous cliquez sur l’icône tout en maintenant la touche Contrôle enfoncée, l’option Modifier la description apparaît. Il s’agit d’un outil très pratique qui vous permet de rédiger des notes personnelles sur un élément enregistré dans la Bibliothèque. Après avoir choisi Modifier la description, tapez vos notes dans le champ de texte, puis cliquez sur OK. Pour créer un nouveau dossier dans la catégorie Comportements, Favoris ou Menu Favoris : 1 Ouvrez la Bibliothèque, puis sélectionnez la catégorie Comportements, Favoris ou Menu Favoris. 2 Procédez de l’une des manières suivantes :  Cliquez sur le bouton Nouveau dossier situé en bas de la fenêtre.  Dans la pile de la Bibliothèque (la partie inférieure), cliquez tout en maintenant la touche Contrôle enfoncée sur une zone vide, puis choisissez Nouveau dossier dans le menu local. Remarque : vous serez sans doute amené à développer la fenêtre de la pile ou à activer la présentation sous forme d’icônes pour avoir accès à une zone vide. Un dossier sans titre apparaît dans la liste des sous-catégories affichée dans la barre latérale de la Bibliothèque. 3 Alors que ce nouveau dossier est sélectionné, cliquez sur son nom, saisissez un nouveau nom, puis appuyez sur Retour.Chapitre 5 Utilisation des comportements 445 Pour créer un nouveau dossier dans une sous-catégorie de comportements : 1 Ouvrez la Bibliothèque, puis sélectionnez une sous-catégorie de comportements (Animation standard, par exemple). 2 Procédez de l’une des manières suivantes :  Cliquez sur le bouton Nouveau dossier situé en bas de la fenêtre.  Dans la pile de la Bibliothèque (la partie inférieure), cliquez tout en maintenant la touche Contrôle enfoncée sur une zone vide, puis choisissez Nouveau dossier dans le menu local. Le nouveau dossier sans titre apparaît dans la pile de la Bibliothèque. Il n’est pas répertorié dans la barre latérale de la Bibliothèque. 3 Alors que ce nouveau dossier est sélectionné, cliquez sur son nom, saisissez un nouveau nom, puis appuyez sur Retour. Pour déplacer un comportement vers un dossier personnalisé au sein de la catégorie Comportements : m Faites glisser le comportement dans le nouveau dossier dans la barre latérale de la Bibliothèque. Le préréglage personnalisé est ajouté au nouveau dossier ainsi qu’à la sous-catégorie Tout. Pour déplacer un comportement vers un dossier personnalisé au sein d’une sous-catégorie de comportements : m Faites glisser le comportement dans le nouveau dossier de la sous-catégorie de comportements dans la pile de la Bibliothèque. Le préréglage personnalisé est ajouté au nouveau dossier ainsi qu’à la sous-catégorie Tout. Pour supprimer un comportement personnalisé : m Dans la pile de la Bibliothèque, cliquez sur le comportement personnalisé avec la touche Contrôle enfoncée, puis choisissez Placer dans la Corbeille dans le menu contextuel. Pour supprimer un dossier personnalisé d’une sous-catégorie dans la pile de la Bibliothèque : m Dans la pile, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez Placer dans la Corbeille dans le menu contextuel. Remarque : vous pouvez également supprimer ce dossier à partir du Finder. Il est situé dans le dossier suivant : /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/Motion/Bibliothèque. Important : il est impossible d’annuler la suppression d’un objet ou d’un dossier personnalisé.446 Chapitre 5 Utilisation des comportements Pour supprimer un dossier personnalisé d’une catégorie dans la barre latérale de la Bibliothèque : m Dans le Finder, accédez au dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/Motion/Bibliothèque, cliquez dessus tout en maintenant la touche Contrôle enfoncée, puis choisissez Placer dans la Corbeille dans le menu contextuel. Transfert de comportements entre différents ordinateurs Chaque comportement personnalisé glissé dans la Bibliothèque est enregistré comme fichier distinct dans le dossier /Final Cut Studio/Motion du répertoire Application Support. Par exemple, un comportement personnalisé appelé « My Motion Path » placé dans le dossier Favoris de la Bibliothèque apparaît dans le dossier /Utilisateurs/ nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/Motion/Bibliothè- que/Favoris. Dans le Finder, les éléments enregistrés dans la Bibliothèque portent l’extension .molo (pour « Motion Library object »). Il est impossible de les ouvrir directement à partir du Finder. Si vous avez créé un ou plusieurs comportements personnalisés fiables, vous pouvez les transférer vers d’autres ordinateurs sur lesquels Motion est installé. Pour copier un comportement personnalisé sur un autre ordinateur : 1 Quittez Motion. 2 Copiez un ou plusieurs fichiers de préréglages Motion personnalisés dans le dossier / Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/ Motion/Bibliothèque de cet ordinateur. 3 Redémarrez Motion. Descriptions de comportements Cette rubrique présente les paramètres disponibles pour chaque comportement dans Motion, selon la catégorie. Remarque : un chapitre séparé est consacré aux comportements Audio, Suivi de l’animation, Forme, Particules, Réplicateur et Caméra.Chapitre 5 Utilisation des comportements 447 Comportements Animation standard Ces comportements animent des paramètres spécifiques de l’objet auquel ils sont appliqués. Certains ont une incidence sur la position, d’autres sur l’échelle, la rotation ou l’opacité. Fondu entrant/sortant Ce comportement vous permet de réaliser un fondu entrant ou sortant d’un objet. Il modifie l’opacité de l’objet auquel il est appliqué, avec un fondu de 0 à 100 % d’opacité au début de l’objet, puis un retour à 0 % d’opacité à la fin. Vous pouvez éliminer les fondus en fixant leur durée sur 0 image. Remarque : ce comportement est multiplicateur. Autrement dit, les paramètres Fondu entrant et Fondu sortant sont multipliés par l’opacité actuelle de l’objet afin d’obtenir un niveau de transparence. Le comportement Fondu entrant/sortant est très pratique pour faire apparaître et disparaître des éléments animés au milieu d’un projet. Par exemple, vous pouvez appliquer le comportement Fondu entrant/sortant à un texte traversant l’écran, de telle sorte qu’il apparaisse en fondu et disparaisse de la même façon à la fin de sa durée. Remarque : il est impossible d’appliquer le comportement Fondu entrant/sortant à une caméra ou à une lumière. Commandes disponibles dans la palette La palette vous permet de contrôler les durées de fondu entrant et sortant, équivalentes aux paramètres Temps du fondu entrant et Temps du fondu sortant présents dans l’onglet Comportements de l’Inspecteur. Faites glisser l’élément n’importe où dans la zone ombrée de la barre Fondu entrant ou Fondu sortant pour en régler la durée. Remarque : il vous suffit de continuer à glisser au-delà des limites de la commande graphique affichée par la palette pour augmenter les durées de fondu entrant et sortant. Exemples d’utilisation de comportements Animation standard Pour prendre connaissance d’exemples d’utilisation de certains des comportements Animation standard, voir « Exemples de comportements » à la page 528. Fondu entrant Fondu sortant448 Chapitre 5 Utilisation des comportements Paramètres dans l’Inspecteur Temps du fondu entrant : curseur fixant la durée (en images) du fondu de l’objet de 0 à 100 % d’opacité, à partir de sa première image. Une durée égale à 0 image provoque une coupe nette vers l’intérieur de l’objet, ce qui le fait apparaître instantanément. Temps du fondu sortant : curseur fixant la durée (en images) du fondu de l’objet de 100 à 0 % d’opacité, à partir de sa dernière image. Une durée égale à 0 image provoque une coupe nette vers l’extérieur d’objet, ce qui le fait disparaître instantanément. Début du décalage : curseur permettant de retarder le début de l’effet d’un comportement par rapport à la première image de sa position dans la Timeline. Réglez ce paramètre pour que le comportement commence plus tard. La valeur de ce paramètre est exprimée en images. Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramètre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Utilisez ce curseur pour décaler la fin de l’effet Fondu sortant de la fin de l’objet. Grossir/Rétrécir Ce comportement vous permet d’animer l’échelle d’un objet, en augmentant ou en réduisant sa taille au fil du temps à une vitesse fixée par le paramètre Taux d’adaptation ou Changer la taille de. L’effet Grossir/Rétrécir commence toujours à la taille d’origine de l’objet, à partir de la première image du comportement. Remarque : il est impossible d’appliquer le comportement Grossir/Rétrécir à des caméras ou à des lumières. ∏ Conseil : pour dimensionner les particules sur leur durée de vie, utilisez le comportement de particule Échelle sur longévité. Pour en savoir plus, voir « Utilisation des comportements Particules » à la page 801. Remarque : les taux d’augmentation verticale et horizontale peuvent être définis indé- pendamment, pour des effets asymétriques. Le comportement Grossir/Rétrécir s’avère utile dans le cas de graphismes de résolution élevée à zoomer dans une image, tels qu’un plan ou une photographie. Vous pouvez également combiner ce comportement à Lancer ou Vent pour un déplacement dans l’image au moment du zoom avant. Il peut également servir à accentuer ou à estomper des images de votre projet. Vous pouvez agrandir des objets afin qu’ils attirent l’attention ou les réduire au moment d’en intégrer un nouveau pour que le spectateur tourne son regard vers ce nouvel élément.Chapitre 5 Utilisation des comportements 449 Commandes disponibles dans la palette La palette du comportement Grossir/Rétrécir est divisée en deux parties rectangulaires. La première, un rectangle avec une ligne en pointillés, correspond à la taille d’origine de l’objet. La seconde est un rectangle solide qui illustre le taux d’augmentation relatif et peut être redimensionné en glissant l’un de ses bords. Agrandissez ou réduisez ce rectangle pour grossir ou rétrécir l’objet cible. Un curseur situé à droite vous permet de déterminer l’échelle des commandes disponibles dans la palette, ce qui augmente ou diminue leur effet sur l’objet. Paramètres dans l’Inspecteur Incrémentation : ce menu local permet de décider la progression de l’effet du comportement sur sa durée dans la Timeline. Il existe trois options :  Pente continue : cette option se sert du paramètre Taux d’adaptation pour grossir ou rétrécir l’objet avec un nombre constant de pixels par seconde.  Pente constante jusqu’à la valeur finale : cette option grossit ou rétrécit l’objet à partir de sa taille d’origine selon le pourcentage et l’échelle d’origine définis dans le paramètre Changer la taille de. Si le comportement est raccourci dans la Timeline, l’effet Grossir/rétrécir est plus rapide.  Grandeur nature : activée par défaut, cette option utilise une courbe exponentielle pour permettre à l’animation de progresser lentement lorsque les valeurs d’échelle sont faibles et d’accélérer lorsque les valeurs sont importantes. Cette méthode crée l’illusion que le redimensionnement est effectué à vitesse constante. Taux d’adaptation/Changer la taille de : en fonction de la commande choisie dans le menu local Incrémentation, le paramètre Taux d’adaptation ou Changer la taille de fixe la vitesse et l’ampleur de l’effet. Ce paramètre peut être ouvert dans des sousparamètres X et Y en cliquant sur le triangle d’affichage à gauche. Vous pouvez ainsi régler indépendamment l’échelle horizontale et verticale. Paramètre Taux d’adaptation/Changer la taille de Niveau de zoom des commandes de la palette Taille d’origine450 Chapitre 5 Utilisation des comportements Courbure : ce paramètre vous permet de régler l’accélération du passage de la taille d’origine à celle finale. Avec des valeurs élevées, l’entrée et la sortie de l’effet sont fluides, la taille de l’objet commençant à changer progressivement et de plus en plus rapidement au fil du déroulement du comportement. La courbure ne modifie pas toute la durée de l’effet : celle-ci est définie par la longueur du comportement dans la Timeline, moins la valeur de Fin du décalage. Remarque : le paramètre Courbure n’est pas disponible si le paramètre Incrémentation est réglé sur Grandeur nature. Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramètre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Utilisez ce curseur pour décaler la fin de l’effet Grossir/rétrécir de la fin de l’objet. Trajectoire d’animation Ce comportement vous permet de créer la trajectoire d’animation 2D ou 3D qu’un objet doit suivre. Lorsque vous appliquez le comportement Trajectoire d’animation pour la première fois, sa forme par défaut correspond à Spline ouvert, à savoir une ligne droite définie par deux points, au début et à la fin de la trajectoire. Vous pouvez toutefois choisir d’autres formes de trajectoires prédéfinies, telles que Spline fermé, Boucle, Rectangle ou Vagues, voire utiliser une forme pour définir la trajectoire. Dans ce dernier cas, la forme utilisée comme source de la trajectoire d’animation peut aussi être animée. Vous avez la possibilité de modifier la trajectoire d’animation en 3D, de telle sorte que l’objet parcourt cette trajectoire selon les axes X, Y et Z. Pour en savoir plus, voir « Modification d’une trajectoire d’animation dans un espace 3D » à la page 460. Le premier point correspond à la position de l’objet dans le Canevas au niveau de la première image du comportement. Il vous suffit de cliquer n’importe où sur la trajectoire tout en maintenant la touche Option enfoncée pour lui ajouter des points de Bézier, ce qui vous permet d’en modifier la forme en créant des courbes. Trajectoire d’animationChapitre 5 Utilisation des comportements 451 Remarque : pour afficher ou masquer la trajectoire d’animation, choisissez Afficher les incrustations dans le menu local Affichage de la Barre d’état. (L’option Trajectoire d’animation sert à prévisualiser la trajectoire des autres comportements.) Lors de la lecture du projet, l’objet se déplace le long de la trajectoire qui lui est affectée. Sa vitesse de déplacement correspond à la durée du comportement. Elle est également modifiée par le paramètre Vitesse, qui vous permet de modifier la vitesse de l’objet, en ajoutant une accélération et un ralentissement au début et à la fin du comportement, par exemple. Vous pouvez également créer un préréglage personnalisé pour définir la façon dont l’objet se déplace le long de sa trajectoire. Remarque : lorsque vous activez différentes options pour la forme de la trajectoire, l’Inspecteur et la palette affichent des paramètres propres à l’option sélectionnée. Pour en savoir plus sur les paramètres propres aux formes, voir « Paramètres dans l’Inspecteur » à la page 452. Pour tous les autres paramètres, voir « Paramètres toujours disponibles dans l’Inspecteur » à la page 457. Grâce au comportement Trajectoire d’animation, vous pouvez créer facilement une animation prévisible sans recourir à l’Éditeur d’images clés. Il permet aussi de créer des trajectoires d’animation réutilisables en les enregistrant dans la Bibliothèque en vue d’une future utilisation. Commandes disponibles dans la palette Dans la palette, les commandes suivantes sont toujours disponibles : Forme de la trajectoire, Type de forme, Direction, Vitesse, Appliquer vitesse (qui détermine le nombre de fois où l’objet parcourt la trajectoire sur toute sa durée) et Condition de fin. En revanche, d’autres paramètres ne sont disponibles qu’en fonction des options sélectionnées pour le paramètre Forme de la trajectoire. Contrôles supplémentaires à l’écran Lorsque vous appliquez le comportement Trajectoire d’animation à un objet, l’outil Ajuster l’élément est automatiquement sélectionné, ce qui vous permet de modifier la trajectoire par défaut dans le Canevas. Vous pouvez alors lui ajouter des points et utiliser les commandes Bézier (ou B-Spline) associées à chaque point afin d’ajuster les différentes courbes. Vous avez également la possibilité de déplacer et de redimensionner dans le Canevas les formes prédéfinies de trajectoires d’animation, telles qu’un rectangle ou des vagues.452 Chapitre 5 Utilisation des comportements Éloignement de l’objet par rapport à la trajectoire d’animation Par défaut, l’objet est verrouillé sur la trajectoire d’animation par son point d’ancrage. Pour éloigner l’objet de la trajectoire, sélectionnez l’outil Point d’ancrage dans la barre d’outils, puis déplacez son point d’ancrage dans le Canevas. Pour en savoir plus sur l’utilisation de l’outil Point d’ancrage, voir « Modification du point d’ancrage d’un objet » à la page 305. Remarque : le réglage d’un paramètre Décalage séparé vous permet de décaler l’emplacement du début de l’objet sur la trajectoire d’animation (sans pour autant décaler l’objet de la trajectoire). Pour en savoir plus sur le paramètre Décalage, voir « Paramètres dans l’Inspecteur, » ci-après. Déplacement de l’objet et de sa trajectoire d’animation Pour déplacer un Objet et sa trajectoire d’animation, sélectionnez l’objet concerné (et non le comportement Trajectoire d’animation), puis déplacez-le dans le Canevas. Paramètres dans l’Inspecteur Cette rubrique traite des commandes disponibles pour le comportement Trajectoire d’animation en fonction de l’option sélectionnée dans le menu local Forme de la trajectoire. La rubrique suivante, « Paramètres toujours disponibles dans l’Inspecteur » à la page 457, est consacrée aux commandes qui sont toujours à votre disposition (quelle que soit l’option sélectionnée dans le menu local Forme de la trajectoire). Forme de la trajectoire : menu local vous permettant de sélectionner la forme de la trajectoire le long de laquelle l’objet se déplace. Remarque : les paramètres Forme de la trajectoire fonctionnent comme dans le cas d’un texte sur une trajectoire. Pour en savoir plus sur l’utilisation d’un texte sur une trajectoire, voir « Manipulation du texte sur une trajectoire » à la page 687.Chapitre 5 Utilisation des comportements 453  Spline ouvert : forme par défaut. Il s’agit d’une ligne droite définie par deux points situés au début et à la fin de la trajectoire. Vous pouvez choisir de travailler avec des points de contrôle Bézier ou B-Spline. Cliquez n’importe où sur la trajectoire tout en maintenant la touche Option enfoncée (ou double-cliquez dessus) pour ajouter des points de contrôle.  Spline fermé : trajectoire fermée sur laquelle le dernier point est situé au même endroit que le premier. Vous pouvez choisir de travailler avec des points de contrôle Bézier ou B-Spline. Cliquez n’importe où sur la trajectoire tout en maintenant la touche Option enfoncée (ou double-cliquez dessus) pour ajouter des points de contrôle.  Type de forme : si vous avez sélectionné Spline ouvert ou Spline fermé pour la forme de la trajectoire, ce menu local vous permet de choisir l’une des deux méthodes de manipulation de la forme de la trajectoire : Bézier ou B-Spline.  Bézier : vous permet de manipuler la courbe d’images clés manuellement en faisant glisser les poignées. Remarque : pour en savoir plus sur la création et l’ajustement des courbes de Bézier, voir « Modification des points de contrôle de Bézier » à la page 1102.  B-Spline : les courbes B-Spline se manipulent uniquement à l’aide des points (elles ne comportent pas de poignées tangentes). Les points ne sont d’ailleurs pas situés à la surface de la forme. En effet, chaque point de contrôle B-Spline est décalé par rapport à la surface de la forme, attirant cette section de la forme vers lui à la manière d’un aimant, pour créer la courbe. Les courbes B-Splines sont extrêmement lisses. Par défaut, elles ne comportent aucun angle aigu, même si vous pouvez créer des courbes plus marquées, si besoin. Remarque : pour en savoir plus sur la manipulation des courbes B-Spline, voir « Modification de points de contrôle B-Spline » à la page 1105.  Cercle : version simplifiée de la forme Spline fermé, dans laquelle il est possible de modifier le rayon X ou Y pour créer un cercle ou une ellipse.  Rayon : si vous avez sélectionné Cercle pour la forme de la trajectoire, ce curseur vous permet de modifier la taille de la trajectoire circulaire. Cliquez sur le triangle d’affichage pour régler séparément les rayons X et Y.454 Chapitre 5 Utilisation des comportements Remarque : si le comportement Trajectoire d’animation est sélectionné, vous pouvez également utiliser les commandes à l’écran pour redimensionner le cercle. Appuyez sur Maj pour conserver les proportions des rayons X et Y.  Rectangle : trajectoire fermée sur laquelle il est possible d’ajuster la largeur et la hauteur pour créer un carré ou un rectangle.  Taille : si vous avez sélectionné Rectangle pour la forme de la trajectoire, ce curseur vous permet de modifier la taille de la trajectoire rectangulaire. Cliquez sur le triangle d’affichage pour régler séparément les échelles X et Y. Remarque : si le comportement Trajectoire d’animation est sélectionné, vous pouvez également utiliser les commandes à l’écran pour redimensionner le rectangle. Appuyez sur Maj pour conserver les proportions des échelles X et Y.  Décalage : si vous avez sélectionné Cercle, Rectangle ou Géométrie pour la forme de la trajectoire, ce curseur vous permet d’indiquer où l’objet doit commencer à se déplacer sur la trajectoire.  Vagues : trajectoire en forme d’onde (sinusoïdale) définie par deux points situés au début et à la fin de la trajectoire, et contrôlée par les paramètres Point d’arrivée, Amplitude, Fréquence, Phase et Humidité.  Points d’arrivée : déterminent l’emplacement des deux points par défaut sur la trajectoire d’une vague. Ces points peuvent également être déplacés à l’aide des commandes à l’écran de la vague (activés par défaut si le comportement Trajectoire d’animation est sélectionné). Si vous déplacez le point d’arrivée situé à gauche, vous déplacez l’ensemble de la trajectoire. Si vous déplacez le point d’arrivée situé à droite, vous rallongez ou raccourcissez la trajectoire, voire modifiez son angle.  Amplitude : définit la moitié de la distance du point le plus élevé au point le plus bas dans la vague. Les valeurs élevées entraînent des vagues plus extrêmes.  Fréquence : définit le nombre de vagues. Plus la valeur indiquée est importante, plus les vagues sont nombreuses. Utilisation des points de contrôle extérieurs pour redimensionner la forme circulaire ou rectangulaire de la trajectoire d’animation.Chapitre 5 Utilisation des comportements 455  Phase : cadran permettant de définir le décalage (en degrés) des vagues entre le point de départ et le point final de leur trajectoire. Si cette option est réglée sur 0 degré (la valeur par défaut), les vagues commencent et se terminent à la moitié de la distance séparant les points le plus haut et le plus bas dans les vagues. À 90 degrés, les vagues commencent et se terminent au niveau du point le plus haut des vagues. À –90 degrés, les vagues commencent au niveau du point le plus bas des vagues. À 180 degrés, les vagues sont les mêmes qu’avec un réglage sur 0 degré, mais elles sont inversées.  Humidité : curseur permettant de diminuer progressivement l’oscillation des vagues. Des valeurs positives entraînent la diminution des vagues vers l’avant (de gauche à droite). Des valeurs négatives ont l’effet inverse (de droite à gauche). Valeur Humidité d’une forme Vagues réglée sur 0 Valeur Humidité réglée sur 3 Valeur Humidité réglée sur –3456 Chapitre 5 Utilisation des comportements  Géométrie : l’objet se déplace le long du contour d’une forme ou d’un masque utilisé comme source pour la trajectoire.  Attacher à la forme : si cette option est activée, la trajectoire d’animation suit la forme source à son emplacement d’origine. Dans le cas contraire, la trajectoire d’animation peut exister à un autre emplacement que sa forme source. Remarque : si l’option Attacher à la forme est activée, vous ne pouvez pas déplacer l’objet à un autre emplacement. Pour aligner la rotation d’un objet de telle sorte qu’elle corresponde à toutes les modifications apportées à sa position le long d’une trajectoire d’animation, appliquez le comportement Magnétiser l’alignement sur l’animation. Pour en savoir plus, voir « Magnétiser l’alignement sur l’animation » à la page 465.  Source de la forme : cadre d’image définissant l’objet (forme ou masque) à utiliser comme source de trajectoire animée.  Vers : menu local répertoriant tous les objets du projet en cours pouvant servir de forme source pour la trajectoire d’animation. Trajectoire d’animation définie dans le cadre Source de la forme Couche de forme utilisée comme source de la forme Couche de forme sur une trajectoire avant l’application du comportement Magnétiser l’alignement sur l’animation Couche de forme sur une trajectoire après l’application du comportement Magnétiser l’alignement sur l’animationChapitre 5 Utilisation des comportements 457 Utilisation de la forme Géométrie pour une trajectoire d’animation La rubrique suivante décrit l’utilisation de la forme Géométrie comme source d’une trajectoire d’animation. Vous pouvez même choisir une forme animée à l’aide de comportement ou d’images clés comme source d’une trajectoire d’animation, ce qui comprend les transformations animées (une forme changeant d’emplacement dans le Canevas) et les points de contrôle animés (une forme changeant de forme du fait de points de contrôle animés avec des images clés). Pour utiliser la forme Géométrie pour une trajectoire d’animation : 1 Importez (ou dessinez) la forme que vous souhaitez utiliser comme source de trajectoire. 2 Choisissez Géométrie dans le menu local Forme de la trajectoire. Le cadre Source de la forme apparaît aussi bien dans l’Inspecteur que dans la palette. 3 Dans l’onglet Couches, faites glisser la forme vers le cadre Source de la forme. 4 Lorsque le pointeur devient une flèche courbe, relâchez le bouton de la souris. Une vignette représentant la forme apparaît dans le cadre et elle est utilisée comme source pour la forme de la trajectoire d’animation. Remarque : vous pouvez avoir envie de désactiver la forme source dans l’onglet Couches, afin qu’elle ne soit pas visible dans votre projet. Pour sélectionner une autre forme Géométrie comme source d’une trajectoire d’animation : 1 Choisissez l’objet à utiliser comme forme source de la trajectoire d’animation dans le menu local « Vers » (situé en regard du cadre Source de la forme). Remarque : pour aligner la rotation de l’objet à la forme de sa trajectoire d’animation, appliquez le comportement Magnétiser l’alignement sur l’animation (dans la sous-caté- gorie de comportements Animation standard). Paramètres toujours disponibles dans l’Inspecteur Les paramètres suivants du comportement Trajectoire d’animation sont disponibles quelle que soit la forme de la trajectoire. Choisissez un autre objet de votre projet à utiliser comme forme source de la trajectoire d’animation dans le menu local « Vers ».458 Chapitre 5 Utilisation des comportements Direction : menu local qui définit la direction dans laquelle l’objet se déplace sur la trajectoire. Deux options sont possibles :  En avant : l’objet se déplace vers l’avant de la trajectoire d’animation (du premier au dernier point de la trajectoire, en tenant compte du paramètre Décalage).  En arrière : l’objet se déplace vers l’arrière de la trajectoire d’animation (du dernier au premier point de la trajectoire, en tenant compte du paramètre Décalage). Remarque : le paramètre Décalage est disponible si vous avez choisi Cercle ou Rectangle comme forme de trajectoire. Vitesse : menu local qui définit la vitesse de l’objet, du premier au dernier point de la trajectoire d’animation. Vous avez huit choix possibles :  Constante : l’objet se déplace à vitesse constante, du premier au dernier point de la trajectoire d’animation.  Atténuation en entrée : l’objet démarre à une vitesse réduite, puis atteint et conserve une vitesse constante jusqu’au dernier point de la trajectoire d’animation.  Atténuation en sortie : l’objet commence à une vitesse constante, puis ralentit progressivement pour s’arrêter au niveau du dernier point de la trajectoire d’animation.  Atténuation en entrée/sortie : l’objet accélère progressivement à partir du premier point de la trajectoire d’animation, pour ensuite ralentir graduellement et s’arrêter au dernier point.  Accélérer : la vitesse de déplacement de l’objet sur la trajectoire est croissante.  Ralentir : la vitesse de déplacement de l’objet sur la trajectoire est décroissante.  Nature : la vitesse de déplacement de l’objet le long de la trajectoire dépend de la forme de cette trajectoire. Par exemple, si la trajectoire a la forme d’une courbe en U, l’objet se déplace de plus en plus vite au fur et à mesure qu’il descend vers la base du U, puis il ralentit en remontant la deuxième barre du U.  Personnaliser : vous permet de définir le déplacement de l’objet le long de sa trajectoire en définissant des images clés pour la vitesse de l’objet, allant de 0 à 100 pour cent. Autrement dit, vous déterminez la position au fil du temps de l’objet le long de la trajectoire.  Vitesse personnalisée : ce paramètre est disponible lorsque Vitesse est configuré sur Personnaliser. Vous pouvez modifier la courbe de vitesse personnalisée dans l’Éditeur d’images clés. Vous pouvez animer avec des images clés des valeurs personnalisées, afin de déplacer un objet, par exemple, jusqu’à un certain pourcentage de sa trajectoire, puis en sens inverse, puis à nouveau dans le bon sens, etc., avant qu’il atteigne la fin de l’animation. Appliquer vitesse : si vous avez réglé le paramètre Boucles sur une valeur supérieure à 1, cette option détermine comment le paramètre Vitesse est appliqué sur toute la durée du comportement.Chapitre 5 Utilisation des comportements 459 Remarque : le paramètre Boucles doit être réglé sur une valeur supérieure à 1 pour que le paramètre Appliquer vitesse ait le moindre effet.  Une fois par boucle : la vitesse (définie par le paramètre Vitesse) est appliquée à chaque boucle. Par exemple, si le paramètre Boucles est réglé sur 3 et Vitesse sur Accélérer, l’objet accélère à chaque fois qu’il parcourt sa trajectoire. La vitesse est alors appliquée sur toute la durée du comportement et le réglage Boucles est ignoré.  Sur la durée totale : la vitesse (définie par le paramètre Vitesse) est appliquée une seule fois sur toute la durée du comportement. Par exemple, si le paramètre Boucles est réglé sur 3 et Vitesse sur Accélérer, l’objet accélère la première fois qu’il parcourt sa trajectoire, mais pas la deuxième ni la troisième fois. Boucles : définit le nombre de fois où l’objet parcourt la trajectoire d’animation sur toute la durée du comportement. Pour qu’un objet parcourt plusieurs fois sa trajectoire d’animation, avec un effet de « ping-pong », le paramètre Boucles doit être réglé sur une valeur supérieure à 1. Condition de fin : menu local qui définit le comportement de l’objet une fois qu’il a atteint la fin de sa trajectoire d’animation.  Répéter : l’objet parcourt sa trajectoire d’animation autant de fois que défini par le paramètre Boucles.  Ping-Pong : l’objet se déplace le long de sa trajectoire jusqu’à parvenir au dernier point de cette trajectoire, puis il repart en arrière vers le premier point. Le nombre d’allers et retours est défini par le paramètre Boucles. Points de contrôle : cliquez sur le triangle d’affichage pour afficher les paramètres Position des points de contrôle de la trajectoire d’animation. Les trois champs correspondent aux valeurs X, Y et Z. Remarque : il est impossible d’appliquer des comportements Paramètre aux points de contrôle. Pour utiliser le paramètre Vitesse personnalisée : 1 Dans l’Inspecteur ou la palette, choisissez Personnaliser dans le menu local Vitesse. Le paramètre Vitesse personnalisée devient disponible. Par défaut, une image clé est définie aux points de début et de fin du comportement, afin de créer une animation allant de 0 à 100 % : à 0, l’objet est au début de la trajectoire, alors qu’à 100, il se trouve à la fin de la trajectoire. Il s’agit de la même vitesse que celle utilisée avec le préréglage Constante. 2 Activez l’enregistrement (appuyez sur la touche A). Remarque : lorsque l’enregistrement est activé, tous les champs correspondant à des paramètres que vous pouvez animer avec des images clés apparaissent dans une certaine teinte. Il s’agit de vous rappeler que la moindre modification apportée à une valeur va provoquer la création d’une image clé.460 Chapitre 5 Utilisation des comportements 3 Déplacez la tête de lecture vers la position à laquelle vous souhaitez créer une image clé, puis tapez une valeur dans le champ Vitesse personnalisée. Par exemple, une valeur de 90 déplace l’objet à 90 % de la trajectoire d’animation. 4 Continuez de déplacer la tête de lecture et d’ajouter des images clés afin d’obtenir le résultat souhaité. Remarque : si vous remplacez le paramètre Vitesse par un préréglage (tel que Constante) après avoir créé une vitesse personnalisée, le canal de vitesse personnalisée est ignoré, mais il reste intact. Comportements connexes « Gravité, » « Animation aléatoire, » « Lancer, » « Vent » Modification d’une trajectoire d’animation dans un espace 3D Vous pouvez modifier une trajectoire d’animation dans un espace 3D. Pour ce faire, la méthode la plus simple consiste à ajouter une caméra à votre projet, puis à manipuler la trajectoire dans une présentation de la caméra modifiée. Pour modifier une trajectoire d’animation dans un espace 3D: 1 Si votre projet ne contient aucune caméra, ajoutez une caméra en procédant de l’une des manières suivantes :  Cliquez sur Nouvelle caméra dans la barre d’outils.  Choisissez Objet > Nouvelle caméra (ou appuyez sur les touches Option + Commande + C). Remarque : si aucun des groupes de votre projet n’est à l’heure actuelle en 3D, une zone de dialogue vous demande si vous souhaitez transformer vos groupes 2D en 3D. Cliquez sur Basculer en 3D pour permettre à la caméra d’avoir un effet sur les groupes. 2 Procédez de l’une des manières suivantes :  Choisissez une présentation de caméra dans le menu Caméra, dans le coin supérieur gauche du Canevas (l’option par défaut est Caméra activée). Cet exemple utilise la vue d’en haut.  Après avoir sélectionné la présentation Caméra activée (ou une autre), utilisez l’outil Orbite (au centre, parmi les outils Présentation 3D, dans le coin supérieur droit du Canevas) pour faire pivoter la caméra. Remarque : gardez à l’esprit qu’en utilisant les outils Présentation 3D alors qu’une caméra est sélectionnée, vous déplacez la caméra et pas seulement sa présentation.Chapitre 5 Utilisation des comportements 461 Selon la présentation de caméra choisie, il peut arriver que l’objet ne soit plus visible sur la trajectoire. Par exemple, si l’objet ne subit aucune rotation selon l’axe X ou Y et que vous travaillez en vue d’en haut, la caméra observe l’objet en vue plongeante, mais à la perpendiculaire (selon l’axe Y). Néanmoins, la trajectoire d’animation et ses points de contrôle restent visibles (dans la mesure où le comportement Trajectoire d’animation est sélectionné). 3 Faites glisser un point de contrôle vers le haut ou le bas pour le déplacer selon l’axe Z. Remarque : les commandes à l’écran de la trajectoire d’animation sont disponibles pour toutes les présentations de caméra. Si vous souhaitez indiquer des valeurs précises pour l’emplacement des points de contrôle, cliquez sur le triangle d’affichage en regard de Points de contrôle dans les paramètres du comportement Trajectoire d’animation. Les trois champs correspondent aux valeurs X, Y et Z. Avant la transformation en 3D de la trajectoire d’animation, elle semble plate lorsque vous l’observez d’en haut. L’objet affecté ne se déplace que selon les axes X et Y. Une fois les valeurs Z modifiées, la trajectoire n’est plus aplatie et l’objet affecté se déplace selon les axes X, Y et Z.462 Chapitre 5 Utilisation des comportements 4 Pour réinitialiser la présentation de la caméra, procédez de l’une des manières suivantes :  Double-cliquez sur l’outil Présentation 3D précédemment sélectionné. Par exemple, si vous avez utilisé l’outil Orbite pour faire pivoter la caméra en cours, double-cliquez sur le même outil pour réinitialiser la caméra.  Si vous avez sélectionné (et/ou modifié) une présentation de caméra par défaut (Haut, Droite, Gauche, etc.), choisissez Caméra activée dans le menu Caméra ou Présentation > Présentation 3D > Caméra activée.  Sélectionnez la caméra, puis cliquez sur le bouton Réinitialiser dans l’onglet Propriétés de l’Inspecteur. Déplacer Ce comportement positionne un point dans le Canevas qui correspond à un emplacement spécifique à partir duquel ou vers lequel un objet ou un groupe se déplace. Dans l’illustration suivante, le comportement Vortex est appliqué à l’image centrale représentant des poissons, ce qui pousse l’image extérieure de la tortue à tourner autour en formant un cercle. Dans les illustrations ci-dessous, un comportement Déplacer est appliqué à l’image de la tortue. La cible du comportement Déplacer (ou « objet zéro ») est positionnée au centre de l’image des poissons. Tout en tournant autour de l’image des poissons, l’image de la tortue est également attirée vers le centre.Chapitre 5 Utilisation des comportements 463 ∏ Astuce : le comportement Déplacer constitue un outil idéal lorsque vous travaillez en 3D, car il vous permet de simuler les mouvements d’une caméra, sans utiliser la moindre caméra. Si vous l’appliquez, par exemple, à un groupe contenant plusieurs objets décalés selon l’axe Z, vous pouvez créer un mouvement ressemblant à un travelling. Commandes disponibles dans la palette La palette affiche un curseur pour fixer le degré d’influence, un menu local Direction pour indiquer si l’objet se déplace vers ou depuis le point zéro, ainsi qu’un menu local Vitesse pour déterminer la vitesse de déplacement de l’objet. Paramètres dans l’Inspecteur Position : champs vous permettant de définir les positions X, Y et Z du point cible. Par défaut, la cible du comportement Déplacer (ou « objet zéro ») est positionnée au centre du Canevas. Remarque : vous devez sélectionner le comportement Déplacer et l’outil Ajuster l’élément de la barre d’outils pour pouvoir déplacer la cible. En revanche, utilisez l’outil Sélectionner/Transformer pour déplacer l’objet. Force : curseur déterminant la vitesse à laquelle l’objet se déplace en direction de la cible. Dans le cas d’une valeur égale à 0, l’objet reste immobile. Plus la valeur indiquée est élevée, plus l’objet se déplace vite. Direction : menu local qui définit si l’objet se déplace vers ou depuis le point cible. Vitesse : menu local qui définit la vitesse de l’objet, depuis sa position dans le Canevas jusqu’à la position de la cible. Vous avez six choix possibles :  Constante : l’objet se déplace à vitesse constante, depuis sa position jusqu’à la cible.  Atténuation en entrée : l’objet démarre à une vitesse réduite, puis atteint et conserve une vitesse constante jusqu’à la cible.  Atténuation en sortie : l’objet commence à une vitesse constante, puis ralentit progressivement pour s’arrêter lorsqu’il atteint la cible.  Atténuation en entrée/sortie : l’objet accélère progressivement, pour ensuite ralentir graduellement et s’arrêter lorsqu’il atteint la cible.  Accélérer : la vitesse de déplacement de l’objet vers la cible est croissante.  Ralentir : la vitesse de déplacement de l’objet vers la cible est décroissante. Remarque : pour que l’objet se déplace plus lentement vers la cible, augmentez la durée du comportement Déplacer dans la Timeline ou la mini-Timeline. À l’inverse, réduisez la durée de ce comportement pour qu’il se déplace plus rapidement.464 Chapitre 5 Utilisation des comportements Pointer vers Si vous appliquez un comportement Pointer vers à un objet ou à un groupe, vous pouvez indiquer un point cible en direction duquel l’objet ou le groupe affecté se tourne. ∏ Astuce : combinez les comportements Pointer vers et Déplacer pour créer des objets animés, qui non seulement se déplacent en direction d’un point (ou l’un vers l’autre), mais aussi se tournent vers cette cible. Commandes disponibles dans la palette La palette affiche un cadre d’objet, un curseur Transition, un menu local Vitesse pour définir la vitesse de déplacement de l’objet, un menu local Axe pour choisir quel axe doit pointer vers la cible une fois le déplacement terminé, ainsi qu’une case à cocher Inverser l’axe. Paramètres dans l’Inspecteur Objet : cadre permettant de définir l’objet cible. Pour ce faire, faites glisser l’objet de l’onglet Couches vers le cadre d’objet présent dans la palette Pointer vers ou l’Inspecteur. Vous pouvez également faire glisser l’objet cible sur le comportement Pointer vers dans l’onglet Couches. Transition : curseur déterminant le temps nécessaire à l’objet pour passer de son orientation d’origine à sa position face au centre de l’objet cible. Ce paramètre est particulièrement utile lorsque l’objet pointe vers un objet cible en mouvement. Si vous réglez le paramètre Transition à 50 % dans un projet contenant 300 images et que l’objet cible n’est pas en mouvement, l’objet affecté nécessite 150 images pour pointer vers (ou s’orienter vers) le centre de l’objet cible et il arrête de se déplacer sur le reste de la durée du comportement. À 100 %, le même objet a besoin des 300 images pour pointer vers l’objet cible. Si le comportement Pointer vers est d’une durée de 100 images et le paramètre Transition réglé sur 50 %, l’objet affecté utilise 50 images pour s’orienter vers l’objet cible. Si vous réglez le paramètre Transition à 50% dans un projet contenant 300 images et que l’objet cible est animé, l’objet affecté nécessite 150 images pour pointer vers (ou s’orienter vers) le centre de l’objet cible et il continue à suivre l’objet cible animé sur le reste de la durée du comportement. À 100 %, le même objet a besoin des 300 images pour pointer vers l’objet cible.Chapitre 5 Utilisation des comportements 465 Vitesse : menu local qui définit la vitesse de l’objet, depuis sa position dans le Canevas jusqu’à la position de la cible. Vous avez six choix possibles :  Constante : l’objet se déplace à vitesse constante, depuis sa position jusqu’à la cible.  Atténuation en entrée : l’objet démarre à une vitesse réduite, puis atteint et conserve une vitesse constante jusqu’à la cible.  Atténuation en sortie : l’objet commence à une vitesse constante, puis ralentit progressivement pour s’arrêter lorsqu’il atteint la cible.  Atténuation en entrée/sortie : l’objet accélère progressivement, pour ensuite ralentir graduellement et s’arrêter lorsqu’il atteint la cible.  Accélérer : la vitesse de déplacement de l’objet vers la cible est croissante.  Ralentir : la vitesse de déplacement de l’objet vers la cible est décroissante. Axe : menu local qui vous permet d’aligner la rotation de l’objet sur l’axe X, Y ou Z. Par défaut, il s’agit de l’axe Z. Ce paramètre précise quel axe pointe vers la cible une fois le mouvement terminé. Inverser l’axe : si l’objet est aligné selon l’axe correct, mais qu’il semble se déplacer en marche arrière, cochez cette case pour le retourner et l’orienter dans la bonne direction. Magnétiser l’alignement sur l’animation Ce comportement aligne la rotation d’un objet de telle sorte qu’elle corresponde à toutes les modifications apportées à sa position le long d’une trajectoire d’animation. Il est conçu pour être combiné à d’autres comportements qui animent la position d’un objet ou à une trajectoire animée avec des images clés créée par vos soins. Par exemple, si vous appliquez le comportement Trajectoire d’animation à une image de poisson, vous pouvez ajouter le comportement Magnétiser l’alignement sur l’animation pour que le poisson regarde dans la direction dans laquelle il avance. Avant Après, avec le comportement Magnétiser l’alignement sur l’animation appliqué à la flèche466 Chapitre 5 Utilisation des comportements Commandes disponibles dans la palette La palette affiche un menu local qui vous permet de contrôler l’axe autour duquel l’objet pivote, un autre menu local pour définir l’axe utilisé pour ajuster l’alignement de l’objet, ainsi qu’une case à cocher Inverser l’axe. Paramètres dans l’Inspecteur Axe de rotation : menu local qui vous permet de faire pivoter l’objet autour de l’axe X, Y ou Z. Vous pouvez également choisir Tout pour faire pivoter l’objet autour des trois axes. L’axe de rotation par défaut correspond à l’axe Z. L’option Tout utilise une direction d’accélération, telle que « vers le haut », pour un effet similaire à des montagnes russes. Axe : menu local qui vous permet de préciser si l’objet doit s’aligner selon son axe horizontal ou vertical. Inverser l’axe : si l’objet est aligné selon l’axe correct, mais qu’il semble se déplacer en marche arrière, cochez cette case pour le retourner et l’orienter dans la bonne direction. Fin du décalage : curseur permettant de décaler (d’un certain nombre d’images) la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline. Si vous réglez, par exemple, le paramètre Fin du décalage sur 60, l’objet s’aligne effectivement sur la direction de la trajectoire jusqu’à 60 images avant la fin du comportement dans la Timeline. Comportements connexes « Aligner sur l’animation » Rotation Ce comportement vous permet d’animer la rotation d’un objet en le faisant pivoter autour d’un seul axe. Vous pouvez utiliser l’option Personnaliser de l’axe pour que la rotation ne s’effectue pas selon les axes habituels (X, Y ou Z). Si vous effectuez un Trim sur la fin du comportement Rotation et le rendez ainsi plus court que la durée de l’objet auquel il est appliqué, il reste dans l’angle de la dernière image du comportement, pour autant qu’aucun autre comportement ou image clé ne modifie le paramètre Rotation de cet objet. Hormis les usages évidents de ce comportement, il peut également servir pour des objets dont le point d’ancrage n’est pas centré. Sachant que les objets pivotent autour de leur point d’ancrage, le repositionnement de ce point avant d’appliquer un comportement Rotation peut rapidement modifier l’aspect de l’animation que vous créez. Pour en savoir plus sur le changement du point d’ancrage d’un objet, voir « Modification du point d’ancrage d’un objet » à la page 305.Chapitre 5 Utilisation des comportements 467 Commandes disponibles dans la palette La palette du comportement Rotation affiche des commandes graphiques représentant un cercle intérieur et extérieur. Faites glisser le pointeur le long du cercle extérieur pour manipuler une flèche qui indique la direction et la vitesse selon lesquelles l’objet pivote. Réglez la longueur de cette même flèche pour modifier la vitesse de rotation : il vous suffit de la faire tourner plusieurs fois autour pour augmenter la vitesse. La flèche du cercle intérieur contrôle l’axe autour duquel l’objet ou le groupe pivote. Lorsque vous faites glisser cette commande intérieure, un globe apparaît pour vous permettre d’ajuster la rotation de l’objet en degrés de longitude et de latitude. Remarque : faites tourner la flèche plusieurs fois autour du cercle pour que l’objet pivote plus rapidement. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez le comportement Rotation à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules ou un texte. Si vous cochez cette case, chaque objet au sein de la couche ou du groupe pivote séparément. Dans le cas contraire, l’ensemble de la couche ou du groupe pivote. Incrémentation : ce menu local permet de décider la progression de l’effet du comportement sur sa durée dans la Timeline. Il existe deux solutions possibles :  Pente continue : cette commande se sert du paramètre Vitesse de rotation pour faire pivoter l’objet d’un nombre constant de degrés par seconde.  Pente constante jusqu’à la valeur finale : cette commande fait pivoter l’objet du nombre de degrés indiqué dans le paramètre Faire pivoter de sur toute la durée du comportement dans la Timeline. Commandes gérant le sens et la vitesse de la rotation.468 Chapitre 5 Utilisation des comportements Vitesse de rotation/Faire pivoter de : cadran contrôlant la vitesse de rotation de l’objet. Si vous avez réglé le paramètre Incrémentation sur Pente continue, le paramètre Vitesse de rotation définit une vitesse de rotation constante en degrés par seconde. En revanche, si vous avez réglé le paramètre Incrémentation sur Pente constante jusqu’à la valeur finale, le paramètre Vitesse de rotation définit un nombre de degrés pour la rotation sur toute la durée de l’objet. Des valeurs négatives produisent une rotation dans le sens des aiguilles d’une montre, des valeurs positives une rotation dans le sens inverse. Axe : menu local qui vous permet de choisir si l’objet doit pivoter autour de l’axe X, Y ou Z. Si vous sélectionnez l’option Personnaliser, les paramètres complémentaires Longitude et Latitude apparaissent. Lorsque le paramètre Axe est réglé sur Personnaliser, les paramètres Longitude et Latitude deviennent disponibles. Ils vous permettent de faire pivoter l’objet selon un certain angle (sans le verrouiller par rapport à l’axe X, Y ou Z). . Comportement Rotation avec le paramètre Axe par défaut, à savoir l’axe Z Paramètre Axe réglé sur X Paramètre Axe réglé sur Y Faites glisser la commande de l’axe vers le centre du cercle pour modifier la latitude et la longitude de la rotation.Chapitre 5 Utilisation des comportements 469 L’illustration suivante met en évidence l’utilisation des paramètres Longitude et Latitude. Latitude/Longitude : disponibles uniquement si le paramètre Axe est réglé sur Personnaliser (ou si vous faites glisser la commande Centre de la palette Rotation), ces paramè- tres vous permettent de définir l’axe de rotation. Lancer Ce comportement représente sans aucun doute la méthode la plus simple pour animer un objet. Des commandes vous permettent de régler la vitesse et la direction d’une force exercée sur l’objet au niveau de la première image du comportement. Suite à l’application de cette force initiale, l’objet continue à dériver à la même vitesse selon une ligne droite, pendant toute la durée du comportement Lancer. À titre d’exemple simple, le comportement Lancer peut vous servir à envoyer une série d’objets actuellement hors écran de telle sorte qu’ils viennent traverser l’écran. Si vous le combinez avec d’autres comportements, tels que Grossir/Rétrécir et Fondu entrant/ sortant, vous pouvez obtenir des éléments en mouvement sophistiqués, sans avoir à animer le moindre paramètre avec des images clés. Le comportement Lancer est également utile lorsque vous déplacez un objet dans une simulation. Vous pouvez, par exemple, faire passer l’objet au-delà d’autres objets auxquels sont appliqués les comportements Attracteur ou Repousser. Comme le comportement Lancer applique une force unique à l’objet cible pour le déplacer à partir de la première image du comportement, tout autre comportement en interaction avec cet objet cible peut avoir un impact considérable sur son animation. Important : la force exercée n’est pas continue et il est impossible de changer le sens ou la vitesse, car ce comportement ne peut pas être animé avec des images clés. Pour ce type de modification, servez-vous du comportement Vent. Pour créer une trajectoire d’animation plus complexe, utilisez le comportement Trajectoire d’animation. Latitude Y X Z Longitude470 Chapitre 5 Utilisation des comportements Commandes disponibles dans la palette La palette 2D vous permet de préciser la direction et la vitesse du comportement Lancer en faisant glisser une flèche à l’intérieur d’une zone circulaire. Le sens de la flèche détermine la direction du mouvement selon les axes X et Y, alors que sa longueur définit la vitesse. Un curseur situé à droite vous permet de déterminer l’échelle des commandes de direction/vitesse disponibles dans la palette, ce qui augmente ou diminue leur effet sur l’objet. Si vous cliquez sur le bouton 3D, la palette affiche des commandes supplémentaires. Le flèche centrale définit désormais la direction dans laquelle l’objet est lancé en espace tridimensionnel (selon les axes X, Y et Z). Le curseur Vitesse (à gauche de la palette) vous permet alors d’augmenter ou de réduire la vitesse à laquelle l’objet est lancé. Dans les palettes du comportement Lancer 2D et 3D, maintenez la touche Maj enfoncée alors que vous faites glisser la flèche pour la déplacer selon des angles de 45 degrés. Dans la palette 2D, appuyez sur la touche Commande pour changer le sens de la flèche sans modifier sa longueur. Remarque : la vitesse maximale qu’il vous est possible de fixer dans la palette ne correspond pas à la vitesse maximale autorisée. Vous pouvez en effet saisir des valeurs plus élevées dans le paramètre Incrémentation dans l’onglet Comportements de l’Inspecteur. Contrôle la direction et la vitesse du comportement Lancer. Fixe l’échelle des commandes de direction et de vitesse. Réglage de la vitesse du lancer. Réglage de la direction du lancer selon les axes X, Y et Z.Chapitre 5 Utilisation des comportements 471 Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez le comportement Lancer à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules ou un texte. Si vous cochez cette case, chaque objet au sein du groupe parent se déplace séparément. Dans le cas contraire, l’ensemble de la couche ou du groupe se déplace. Incrémentation : ce menu local permet de décider la progression de l’effet du comportement sur sa durée dans la Timeline. Il existe deux solutions possibles :  Pente continue : cette commande fixe la vitesse de l’objet à un nombre constant de pixels par seconde, indiqué dans le paramètre Vitesse de lancement. Remarque : si le Canevas affiche une image aux pixels non carrés, la vitesse verticale est exprimée en pixels par seconde, la vitesse horizontale étant un équivalent perçu.  Pente constante jusqu’à la valeur finale : cette commande déplace l’objet de sa position d’origine à la distance indiquée (en pixels) dans le paramètre Distance de lancement. Vitesse de lancement/Distance de lancement : si vous sélectionnez l’option Pente continue dans le menu local Incrémentation, le paramètre Vitesse de lancement apparaît et vous permet de fixer une vitesse constante de déplacement de l’objet selon l’axe X, Y ou Z. En revanche, si vous choisissez l’option Pente constante jusqu’à la valeur finale, c’est le paramètre Distance de lancement qui apparaît et détermine la distance totale (en pixels) du déplacement de l’objet selon les axes X, Y et Z sur toute sa durée. Ce curseur est limité à 100 pixels. Utilisez le champ pour saisir des valeurs supérieures à 100. Comportements connexes « Trajectoire d’animation, » « Gravité, » « Animation aléatoire, » « Vent » Comportements Paramètre Ces comportements s’appliquent à tous les paramètres d’un objet qu’il est possible d’animer. Leurs effets se limitent au paramètre affecté. Il est possible d’ajouter le même comportement de paramètre à différents paramètres, ce qui produit des effets totalement distincts. Par exemple, vous pouvez appliquer le comportement Osciller au paramètre Opacité d’un objet pour le doter d’un fondu entrant et sortant ou à son paramètre Rotation pour le faire pivoter dans un sens et dans l’autre. Ces comportements de paramètre peuvent également s’appliquer à des paramètres de filtres, de générateurs, de systèmes de particules, voire d’autres comportements. Il s’agit par exemple de Osciller, Rendre aléatoire et Inverser.472 Chapitre 5 Utilisation des comportements Pour en savoir plus sur l’application des comportements Paramètre, voir « Application de comportements Paramètre » à la page 417. Audio Ce comportement vous permet d’animer la quasi-totalité des paramètres en se basant sur les propriétés d’un fichier audio, telles que la fréquence des basses. Par exemple, vous pouvez appliquer le comportement Audio au paramètre Échelle d’un objet pour l’agrandir ou le réduire en fonction de l’amplitude de la basse ou à son paramètre Opacité pour le doter d’un fondu entrant et sortant sur le rythme. Pour en savoir plus sur l’utilisation du comportement de paramètre Audio, voir « Comportement de Paramètre Audio » à la page 1229. Moyenne Ce comportement adoucit la transition entre deux valeurs causée par les images clés et les comportements appliqués à un paramètre. Servez-vous par conséquent du comportement Moyenne pour adoucir des effets animés. Dans ce cas, l’animation est plus fluide et les modifications apportées à des paramètres tels qu’Opacité ou à des paramètres de filtres semblent se produire de façon plus graduelle. Utilisez le paramètre Taille de fenêtre pour déterminer dans quelle mesure le paramètre modifié doit être adouci. ∏ Conseil : le comportement Moyenne peut vous servir à lisser la séquence de valeurs générée par un comportement Rendre aléatoire. Commandes disponibles dans la palette La palette permet d’ajuster le paramètre Taille de fenêtre et de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Taille de fenêtre : un curseur permet de définir dans quelle mesure le paramètre modifié doit être adouci en indiquant le nombre d’images adjacentes dont il faut faire la moyenne. Des valeurs élevées produisent un adoucissement supérieur en faisant la moyenne d’une plage plus importante de valeurs, ce qui rend l’animation plus fluide. Des valeurs faibles font la moyenne d’une plage de valeurs réduite et donnent un adoucissement moindre avec des valeurs plus proches de l’original. Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Annuler, » « Inverser » Exemples d’utilisation de comportements Paramètre Pour prendre connaissance d’exemples d’utilisation de certains des comportements Paramètre, voir « Exemples de comportements » à la page 528.Chapitre 5 Utilisation des comportements 473 Attacher Ce comportement vous permet de définir la valeur minimale et maximale d’un paramètre animé. Dans l’illustration suivante, un comportement Vortex est appliqué à l’image du milieu. Les images extérieures tournent autour de l’image centrale, comme indiqué par les trajectoires d’animation tracées en rouge. Dans l’illustration suivante, un comportement Attacher est appliqué au paramètre Position X de l’image du haut. Les valeurs Maxi et Mini sont respectivement réglées sur 230 et 0. Vous remarquez que la trajectoire d’animation circulaire est en fait coupée en deux. Si vous saisissez une valeur négative dans le champ Mini, l’image se déplace au-delà du point 0. Commandes disponibles dans la palette La palette vous permet de régler les valeurs Mini, Maxi et Mini et Maxi du comportement, ainsi que de changer l’affectation des paramètres. Les lignes rouges indiquent les trajectoires d’animation des images extérieures. La trajectoire d’animation de l’image du haut montre que cette image parcourt 230 pixels vers la droite, mais ne se déplace pas vers la gauche au-delà du point 0, ce qui provoque une animation semi-circulaire.474 Chapitre 5 Utilisation des comportements Paramètres dans l’Inspecteur Limiter à : menu local vous permettant de choisir à quelle(s) valeur(s) du paramètre associer le comportement Attacher. Vous avez le choix entre Mini, Maxi ou Mini et Maxi. Mini : curseur de valeur vous permettant de fixer un taux minimal de modification pour un paramètre animé. Maxi : curseur de valeur vous permettant de fixer un taux maximal de modification pour un paramètre animé. Cette valeur est exprimée en pourcentage, en pixels ou en degrés selon le paramètre affecté. Ainsi, si vous appliquez le comportement Attacher au paramètre Rotation, les valeurs Mini et Maxi sont exprimées en degrés. En revanche, si vous l’appliquez au paramètre Position X, ces valeurs sont en pixels. Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Quantifier » Personnaliser Ce comportement vous permet de créer des comportements personnalisés à l’aide d’un ensemble de paramètres qui sont ensuite animés avec des images clés pour obtenir le type d’animation que vous souhaitez appliquer à un objet. En enregistrant des comportements personnalisés dans la Bibliothèque, vous pouvez créer une collection de comportements répondant à vos besoins. Avant de créer un comportement personnalisé, vous devez tout d’abord ajouter un comportement Personnaliser à un objet dans le Canevas. Dans Motion, le comportement Personnaliser est ajouté à un objet comme tout autre comportement, à l’exception des comportements Paramètre. Remarque : bien que le comportement Personnaliser soit un comportement Paramètre, il n’apparaît pas dans la liste lorsque vous cliquez sur un paramètre tout en maintenant la touche Contrôle enfoncée. Pour ajouter un comportement Personnaliser à un objet, procédez de l’une des manières suivantes : m Sélectionnez l’objet auquel vous souhaitez ajouter un comportement Personnaliser, cliquez sur l’icône Ajouter comportement dans la barre d’outils, puis choisissez Paramètre > Personnaliser dans le menu local. m Dans la Bibliothèque, sélectionnez la catégorie Comportements, la sous-catégorie Paramètre, puis faites glisser l’icône Personnaliser sur l’objet dans le Canevas, l’onglet Couches ou la Timeline. Le comportement Personnaliser est alors appliqué à l’objet. Il n’a aucun effet tant que vous ne lui avez pas ajouté un paramètre.Chapitre 5 Utilisation des comportements 475 Pour ajouter un paramètre à animer dans un comportement Personnaliser : m Dans le menu local Ajouter un paramètre, choisissez un paramètre à ajouter à la liste de paramètres Personnaliser. Ce menu contient tous les paramètres pouvant être animés. Le paramètre apparaît dans l’onglet Comportements, sous le comportement Personnaliser. Une fois tous les paramètres à animer ajoutés au comportement Personnaliser, vous pouvez les animer avec des images clés dans l’Éditeur d’images clés pour obtenir l’effet animé recherché. Pour en savoir plus sur la manière d’animer des paramètres avec des images clés pour créer des animations, voir « Animation de comportements » à la page 559. Pour supprimer un paramètre de la liste de paramètres Personnaliser : m Choisissez le paramètre à supprimer dans la liste Supprimer le paramètre. Ce paramètre disparaît alors de la liste de paramètres Personnaliser. Toutes les images clés qui étaient appliquées à ce paramètre sont également supprimées. Une fois tous les paramètres ajoutés animés, vous pouvez enregistrer le comportement Personnaliser dans la Bibliothèque en vue d’un usage ultérieur. Pour en savoir plus sur l’enregistrement de comportements Personnaliser dans la Bibliothèque, voir « Enregistrement et partage de comportements personnalisés » à la page 442. Le nouveau paramètre apparaît ici.476 Chapitre 5 Utilisation des comportements Si vous appliquez un comportement Personnaliser précédemment enregistré dans la Bibliothèque à un objet d’un de vos projets, son animation avec des images clés est adaptée à la durée de l’objet auquel il est appliqué. Quelle que soit la durée du comportement Personnaliser d’origine, vous pouvez donc l’appliquer à n’importe quel objet, car son effet animé accélère ou ralentit pour s’adapter à la durée du nouvel objet. Commandes disponibles dans la palette La palette n’affiche aucune commande pour ce comportement. Paramètres dans l’Inspecteur Contrairement aux autres comportements, le comportement Personnaliser ne possède à l’origine aucun paramètre dans l’onglet Comportements. À la place, deux menus locaux permettent d’ajouter et de supprimer les paramètres de votre choix. Ajouter un paramètre : ce menu local permet d’ajouter des paramètres à animer avec des images clés pour créer une animation personnalisée. Choisissez un paramètre dans ce menu pour l’ajouter à la liste de paramètres Personnaliser pour l’animer avec des images clés. Supprimer le paramètre : ce menu local répertorie tous les paramètres ajoutés au comportement Personnaliser en cours. Choisissez-en un pour le supprimer de la liste de paramètres Personnaliser avec les images clés qui lui sont appliquées. Exponentiel Ce comportement vous permet de créer des animations plus naturelles lors de la mise à l’échelle des objets, tout spécialement si vous recourez à des valeurs importantes. Lorsqu’un objet passe, par exemple, d’une échelle toute petite à une très grande échelle, l’animation semble ralentir au moment où l’objet atteint les valeurs d’échelle les plus élevées. Le comportement Exponentiel fonctionne de façon similaire au comportement Pente, mais il applique une fonction mathématique pour créer une courbe exponentielle (au lieu d’une courbe linéaire) entre les deux valeurs. L’animation progresse ainsi lentement lorsque les valeurs d’échelle sont petites, puis accélère au fur et à mesure que ces valeurs augmentent. ∏ Astuce : lorsqu’il est appliqué à d’autres paramètres qu’Échelle, le comportement Exponentiel génère des animations plus naturelles qu’avec les autres modes d’interpolation. Vous pouvez également modifier les modes d’interpolation des images clés et les réglez sur Exponentielle. Pour en savoir plus, voir « Modification des courbes » à la page 595.Chapitre 5 Utilisation des comportements 477 Commandes disponibles dans la palette La palette vous permet de définir les valeurs initiale et finale, ainsi que de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Valeur initiale : valeur ajoutée au paramètre au niveau de la première image du comportement Exponentiel. Valeur finale : valeur atteinte par le comportement Exponentiel au niveau de sa dernière image. Sur toute la durée du comportement, le paramètre auquel il est appliqué crée une transition entre la Valeur initiale et la Valeur finale, plus la valeur d’origine. Début du décalage : curseur permettant de retarder le début de l’effet d’un comportement par rapport à la première image de sa position dans la Timeline. Réglez ce paramè- tre pour que le comportement commence plus tard. Sa valeur est exprimée en images. Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramètre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Si vous utilisez ce curseur pour arrêter l’effet, au lieu d’effectuer un Trim sur la fin du comportement dans la Timeline, vous pouvez bloquer l’effet du comportement sur l’objet pour le temps restant. Le Trim sur la fin du comportement restaure la valeur d’origine du paramètre de l’objet. Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Logarithmique, » « Pente » Logarithmique Le comportement Logarithmique est l’inverse du comportement de paramètre Exponentiel. Tout comme le comportement Exponentiel, il vous permet de créer des animations plus naturelles lors de la mise à l’échelle des objets, tout spécialement si vous recourez à des valeurs importantes. Cependant, il applique une fonction mathématique pour créer une courbe logarithmique (au lieu d’une courbe linéaire) entre les deux valeurs, dont l’effet augmente rapidement, puis ralentit. L’animation progresse ainsi lentement lorsque les valeurs d’échelle sont petites, puis accélère au fur et à mesure que ces valeurs augmentent. Vous pouvez appliquer le comportement Logarithmique à des paramètres déjà animés à l’aide de comportements ou d’images clés, mais il n’aura aucun impact sur ces paramètres tant que leurs valeurs initiales et finales ne seront pas différentes de zéro.478 Chapitre 5 Utilisation des comportements ∏ Astuce : lorsqu’il est appliqué à d’autres paramètres que Échelle, le comportement Logarithmique génère des animations plus naturelles qu’avec les autres modes d’interpolation. Remarque : vous pouvez également modifier les modes d’interpolation des images clés et les réglez sur Logarithmique. Pour en savoir plus, voir « Modification des courbes » à la page 595. Commandes disponibles dans la palette La palette vous permet de définir les valeurs initiale et finale, ainsi que de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Valeur initiale : valeur ajoutée au paramètre au niveau de la première image du comportement Logarithmique. Valeur finale : valeur atteinte par le comportement Logarithmique au niveau de sa dernière image. Sur toute la durée du comportement, le paramètre auquel il est appliqué crée une transition entre la Valeur initiale et la Valeur finale, plus la valeur d’origine. Début du décalage : curseur permettant de retarder le début de l’effet d’un comportement par rapport à la première image de sa position dans la Timeline. Réglez ce paramè- tre pour que le comportement commence plus tard. Sa valeur est exprimée en images. Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramètre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Si vous utilisez ce curseur pour arrêter l’effet, au lieu d’effectuer un Trim sur la fin du comportement dans la Timeline, vous pouvez bloquer l’effet du comportement sur l’objet pour le temps restant. Le Trim sur la fin du comportement restaure la valeur d’origine du paramètre de l’objet. Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Exponentiel, » « Pente » MIDI Ce comportement vous permet de modifier et d’animer des paramètres d’objet à l’aide de périphériques MIDI standard, tels qu’un synthétiseur. Pour le mélangeur graphique d’animation réelle.Chapitre 5 Utilisation des comportements 479 Commandes disponibles dans la palette La palette met à votre disposition les commandes Type de commande, ID, Valeur, Échelle et vous permet de modifier l’affectation des paramètres. Paramètres dans l’Inspecteur Type de commande : spécifie le mode du contrôleur MIDI. Les trois types de commande disponibles sont les suivants :  Remarque : ce mode s’affiche lorsque le contrôle est une touche du clavier sur le périphérique MIDI.  Contrôleur : ce mode s’affiche lorsque la commande est un bouton, un cadran, une touche, un curseur ou une pédale sur le périphérique MIDI.  Apprentissage : ce mode est utilisé pour « apprendre » à Motion la commande (bouton, cadran, touche, etc.) que vous souhaitez utiliser sur le périphérique MIDI pour manipuler le paramètre auquel le comportement MIDI est appliqué. En mode Apprentissage, le premier bouton, le premier cadran ou la première touche que vous ajustez sur le périphérique MIDI est défini comme commande. Remarque : lors de la première application du comportement MIDI, Apprentissage est le type de commande par défaut. ID : affiche le numéro d’identification du contrôle MIDI (tel qu’un bouton, un cadran ou une touche) que vous manipulez. Valeur : lors de la manipulation de la commande, affiche la valeur MIDI standard entre 0 et 1. Échelle : l’augmentation de la valeur Échelle multiplie le paramètre Valeur dans le comportement MIDI. Cela signifie que lorsque la valeur Échelle est augmentée, la commande MIDI présente une plage de valeurs plus importante et un effet supérieur sur le paramè- tre contrôlé. Par exemple, lors de l’utilisation d’un bouton pour ajuster la rotation d’un objet, la plage de valeurs de rotation par défaut (lorsque le paramètre Échelle est réglé sur 1) pour un tour complet du bouton peut être seulement de 30 pour cent. Lorsque la valeur Échelle est portée à 13, la valeur de rotation pour un tour complet du bouton passe alors à 370 degrés. Appliquer à : le menu local Appliquer à (« Aller », commande d’affectation de paramètre) montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Le comportement MIDI est appliqué de la même façon que tous les autres comportements Paramètre. Dans les exemples suivants, le comportement MIDI est utilisé pour ajuster l’opacité et la rotation d’un objet. Remarque : ce comportement peut uniquement être utilisé si un périphérique MIDI est correctement connecté à votre ordinateur.480 Chapitre 5 Utilisation des comportements Pour utiliser le comportement de paramètre MIDI afin d’ajuster l’opacité d’un objet : 1 Sélectionnez un objet, puis choisissez le paramètre Opacité dans l’onglet Propriétés de l’Inspecteur. 2 Appuyez sur la touche Contrôle en cliquant sur le paramètre, puis sélectionnez MIDI dans le menu contextuel. Les paramètres MIDI sont affichés dans l’onglet Comportements. Par défaut, Type de commande est défini sur Apprentissage. Comme pour tous les autres comportements de paramètre, le champ Appliquer à affiche le paramètre auquel le comportement est appliqué. 3 Sur votre périphérique MIDI, ajustez la commande (bouton, cadran, touche, etc.) que vous souhaitez utiliser comme commande pour le paramètre Opacité. Remarque : en mode Apprentissage, la première commande ajustée sur le périphérique MIDI est définie comme commande. Pour réinitialiser le contrôleur sélectionné, choisissez Apprentissage dans le menu local Type de commande, puis ajustez une autre commande sur le périphérique MIDI. Le numéro d’identification de la commande MIDI est affiché dans le champ ID. La plage de valeurs de la commande est comprise entre 0 et 127, la valeur de commande MIDI par défaut. Comme l’opacité d’un objet peut uniquement être comprise entre 0 (totalement transparent) et 100 (totalement opaque), les valeurs MIDI par défaut sont suffisantes pour ajuster ce paramètre. Pour utiliser le comportement de paramètre MIDI afin d’ajuster la rotation d’un objet : 1 Sélectionnez un objet, puis choisissez le paramètre Rotation dans l’onglet Propriétés de l’Inspecteur. 2 Appuyez sur la touche Contrôle en cliquant sur le paramètre, puis sélectionnez MIDI dans le menu contextuel. 3 Sur votre périphérique MIDI, ajustez la commande (bouton, cadran, touche, etc.) que vous souhaitez utiliser comme contrôleur pour le paramètre Rotation. Comme précédemment indiqué, la plage de valeurs par défaut est comprise entre 0 et 1. La valeur Rotation d’un objet pouvant être beaucoup plus élevée, utilisez le paramètre Échelle pour multiplier cette plage de valeurs. 4 Pour augmenter la sensibilité de la commande, augmentez la valeur Échelle.Chapitre 5 Utilisation des comportements 481 Annuler Ce comportement inverse la valeur de chaque effet d’image clé et de comportement en multipliant le paramètre concerné par –1. Concrètement, il prend la valeur opposée de chaque paramètre. Les trajectoires d’animation sont inversées, tout comme la rotation, et tout paramètre d’effet adopte la valeur contraire. Par exemple, si vous appliquez le comportement Annuler au paramètre Position d’un objet doté d’une trajectoire d’animation, cette dernière se déplace dans le quadrant opposé du Canevas. Remarque : pour inverser l’animation dans une trajectoire, au lieu de retourner la forme de cette dernière, utilisez le comportement de paramètre Inverser. Commandes disponibles dans la palette La palette vous permet de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Moyenne, » « Inverser » Osciller Ce comportement anime un paramètre en le faisant basculer indéfiniment entre deux valeurs différentes. Vous pouvez définir l’écart entre ces valeurs, ainsi que le nombre d’oscillations par minute. Le comportement Osciller peut créer toutes sortes d’effets cycliques. Par exemple, si vous l’appliquez à la propriété de rotation d’un objet, ce dernier commence à se balancer d’un côté à l’autre. En effet, la propriété de rotation fait des va-et-vient entre la valeur de rotation d’origine plus et moins la valeur Amplitude définie dans le comportement Osciller. 482 Chapitre 5 Utilisation des comportements D’un autre côté, si vous appliquez ce comportement à la valeur X du paramètre Échelle, la largeur de l’objet entame un mouvement cyclique, s’étirant et se compactant sans cesse sur toute la durée du comportement. Le comportement Osciller fonctionnant par addition, la valeur qu’il génère est ajoutée à celle d’origine du paramètre auquel il est appliqué. Commandes disponibles dans la palette La palette met à votre disposition les paramètres Phase, Amplitude, Vitesse, Demi-plage et vous permet de modifier l’affectation des paramètres. Paramètres dans l’Inspecteur Forme d’onde : menu local vous permettant de choisir la forme de l’onde d’oscillation. Vous avez le choix entre : Sinus (par défaut), Carré, Dent de scie et Triangle.  Sinus : forme d’onde par défaut. Cette forme crée une animation lisse entre les valeurs. Si vous appliquez, par exemple, le comportement Osciller au paramètre Opacité d’un objet et que le paramètre Forme d’onde est réglé sur Sinus, l’objet est soumis à de gracieux fondus entrants et sortants.  Carré : l’onde de forme carrée crée des changements de valeurs abrupts. Si vous appliquez, par exemple, le comportement Osciller au paramètre Opacité d’un objet et que le paramètre Forme d’onde est réglé sur Carré, l’objet clignote (comme si vous allumiez, puis éteigniez la lumière).Chapitre 5 Utilisation des comportements 483  Dent de scie : les ondes en forme de dents de scie atteignent leur point culminant au fil du temps, puis redescendent brutalement. Si vous appliquez, par exemple, le comportement Osciller au paramètre Opacité d’un objet et que le paramètre Forme d’onde est réglé sur Dent de scie, l’objet subit un fondu entrant graduel, puis un fondu sortant extrêmement rapide (comme si vous utilisiez un variateur d’intensité pour allumer graduellement une lumière, puis que vous la coupiez brutalement).  Triangle : similaire à la forme d’onde Sinus, une onde en forme de triangle crée une animation lisse entre les valeurs, mais avec des changements abrupts au moment des transitions. Si vous appliquez, par exemple, le comportement Osciller au paramètre Opacité d’un objet et que le paramètre Forme d’onde est réglé sur Triangle, l’objet est soumis à des fondus entrants et sortants plus rapides qu’avec la forme Sinus. Phase : curseur permettant de déterminer le point d’oscillation auquel commence le comportement. Grâce à ce paramètre, vous pouvez désynchroniser plusieurs objets avec des comportements Osciller identiques pour qu’ils aient un aspect différent. Amplitude : curseur permettant d’ajuster les valeurs maximales entre lesquelles le paramètre oscille. Le paramètre bascule entre la valeur d’amplitude et la valeur opposée. Des valeurs élevées augmentent l’intensité du basculement entre le début et la fin de chaque oscillation.484 Chapitre 5 Utilisation des comportements Vitesse : curseur permettant de déterminer la vitesse à laquelle l’oscillation se produit, exprimée en oscillations par minute. Des valeurs élevées accélèrent les oscillations. Demi-plage : si cette option est activée, l’onde en forme de sinus (ou toute autre forme d’onde) est en fait coupée en deux et ne va pas au-delà de la valeur 0. Par exemple, si vous réglez l’amplitude sur 100, le paramètre oscille entre les valeurs 100 et –100. En revanche, si l’option Demi-plage est activée, il oscille entre 100 et 0. Si l’amplitude est réglée sur –100, il oscille alors entre –100 et 0. ∏ Astuce : lorsque vous appliquez le comportement Osciller à des paramètres Position, réglez le paramètre Forme d’onde sur Sinus et cochez la case Demi-plage pour créer un effet de rebond. Début du décalage : curseur permettant de retarder le début de l’effet d’un comportement par rapport à la première image de sa position dans la Timeline. Réglez ce paramè- tre pour que le comportement commence plus tard. Sa valeur est exprimée en images. La ligne en pointillés représente la valeur 0. Si l’option Demi-plage est désactivée, le paramètre oscille entre la valeur Amplitude et son opposé, comme 100 et –100. La ligne en pointillés représente la valeur 0. Si l’option Demi-plage est activée, le paramètre oscille entre la valeur Amplitude et 0.Chapitre 5 Utilisation des comportements 485 Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramè- tre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Si vous utilisez ce curseur pour arrêter l’effet, au lieu d’effectuer un Trim sur la fin du comportement dans la Timeline, vous pouvez bloquer l’effet du comportement sur l’objet pour le temps restant. Le Trim sur la fin du comportement restaure les valeurs d’origine des paramètres de l’objet. Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Pente, » « Vitesse » Création d’une oscillation décroissante Lorsque vous appliquez un comportement Osciller au paramètre Rotation ou Position d’un objet, vous êtes souvent amené à utiliser un effet de « chute » ou de « mouillage » sur l’animation au fil du temps. Autrement dit, vous faites en sorte que l’animation ralentisse graduellement, puis s’arrête. Pour ce faire, utilisez des images clés pour réduire progressivement l’amplitude de l’oscillation. Pour appliquer une oscillation décroissante à une rotation à l’aide d’images clés : 1 Placez-vous sur l’image sur laquelle vous souhaitez que l’animation commence, puis activez l’enregistrement (ou appuyez sur A). 2 Définissez le paramètre Amplitude sur la valeur la plus élevée à utiliser dans votre projet. Remarque : lorsque l’enregistrement est activé, toute modification apportée à la valeur d’un paramètre dans l’Inspecteur, la palette ou le Canevas crée une image clé. 3 Placez-vous sur l’image sur laquelle vous souhaitez que l’animation cesse et réglez le paramètre Amplitude sur 0. Si vous avez sélectionné l’objet, vous visualisez la décroissance progressive de l’animation (due aux images clés associées au paramètre Amplitude) dans l’Éditeur d’images clés (si vous préalablement choisi Animé dans le menu local Afficher).486 Chapitre 5 Utilisation des comportements Si vous avez sélectionné le comportement Osciller, vous visualisez la valeur des images clés associées au paramètre Amplitude dans l’Éditeur d’images clés (si vous préalablement choisi Animé dans le menu local Afficher). Quantifier Ce comportement vous permet de créer une animation incrémentielle à partir de tout paramètre qu’il est possible d’influencer avec des images clés ou des comportements. Par exemple, si le paramètre Opacité d’un objet est animé de telle sorte que ce dernier subisse un fondu entrant graduel au fil du temps, vous pouvez lui ajouter le comportement Quantifier pour que l’objet devienne opaque pas à pas. Remarque : le comportement Quantifier ne fonctionne qu’avec les paramètres animés. Commandes disponibles dans la palette La palette vous permet d’ajuster les paramètres Taille du pas et Décalage, ainsi que de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Taille du pas : curseur vous permettant de définir la taille des incréments, en vous basant sur les unités du paramètre auquel le comportement est appliqué. Ainsi, si vous appliquez Quantifier à un paramètre Rotation, les pas sont exprimés en degrés (même si la commande disponible n’est pas un cadran). Si vous l’appliquez à un paramètre Position, les pas sont exprimés en pixels. La trajectoire d’animation tracée en rouge indique le parcours prévu d’une couche après l’application d’un comportement Lancer. La même trajectoire d’animation une fois que les comportements Lancer et Quantifier sont appliqués. La valeur du pas est réglée sur 90.Chapitre 5 Utilisation des comportements 487 Décalage : curseur qui définit le décalage des pas. Si vous appliquez, par exemple, le comportement Quantifier au paramètre Position et que vous réglez Taille du pas sur 100, l’objet progresse par incréments limités à 100 pixels, ce qui implique que le décalage des pas est de 100, 200, 300, etc. Au lieu de quoi, si Décalage est réglé sur 50, les pas décalés sont limités à 50, 150, 250, etc. Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Pente Ce comportement permet de créer une transition graduelle dans tout paramètre pouvant être animé, entre la Valeur initiale et la Valeur finale. La vitesse de la transition est fixée par la longueur du comportement Pente dans la Timeline et par la valeur finale du comportement. D’autres paramètres permettent de définir le déroulement de la transition, qu’il s’agisse d’une seule vitesse constante ou d’une accélération au cours du temps. Il s’agit d’un comportement polyvalent. Si vous l’appliquez à la propriété Échelle, il fonctionne comme le comportement Grossir/Rétrécir. En revanche, si vous l’appliquez à la propriété Opacité, il donne à un objet divers types de fondus entrants ou sortants. Il peut non seulement servir à imiter d’autres comportements de Motion, mais aussi être appliqué à n’importe quel paramètre. Remarque : ce comportement fonctionnant par addition, la valeur qu’il génère est ajoutée à celle d’origine du paramètre auquel il est appliqué. Imaginez par exemple l’animation de différents segments d’une image en forme de bande, chaque segment devant grossir jusqu’à atteindre une longueur donnée. (Conseil : vous pouvez alors affecter un masque soustractif à chaque objet de la bande, puis animer la position de chaque masque pour révéler lentement chaque bande au fil du temps.)488 Chapitre 5 Utilisation des comportements Une fois les bandes configurées avec leur masque dans le Canevas, vous pouvez appliquer le comportement Pente aux valeurs X de chaque masque et déplacer ainsi facilement les masques vers le côté pour donner l’impression que les bandes grandissent. Il vous suffit de régler le paramètre Valeur finale de chaque comportement Pente sur la longueur que chaque bande doit atteindre. Commandes disponibles dans la palette La palette vous permet de définir les valeurs initiale et finale de la pente et sa courbure, ainsi que de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Valeur initiale : valeur ajoutée au paramètre à la première image du comportement Pente. Valeur finale : valeur atteinte par le comportement Pente à la dernière image du comportement. Sur la durée du comportement, le paramètre auquel il est appliqué crée une transition entre la Valeur initiale et la Valeur finale plus la valeur d’origine. Courbure : ce paramètre permet de faciliter l’accélération des transitions du comportement Pente entre la Valeur initiale et la Valeur finale. Des valeurs de courbure élevées produisent un effet d’atténuation en entrée/sortie. En effet, la valeur commence lentement la transition pour accélérer de plus en plus au fil du comportement et ralentir à nouveau petit à petit jusqu’à la fin. La courbure ne modifie pas toute la durée de l’effet : celle-ci est définie par la longueur du comportement dans la Timeline. Début du décalage : curseur permettant de retarder le début de l’effet d’un comportement par rapport à la première image de sa position dans la Timeline. Réglez ce paramè- tre pour que le comportement commence plus tard. Sa valeur est exprimée en images. Avant Après utilisation de comportements Pente pour déplacer les masquesChapitre 5 Utilisation des comportements 489 Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramètre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Si vous utilisez ce curseur pour arrêter l’effet, au lieu d’effectuer un Trim sur la fin du comportement dans la Timeline, vous pouvez bloquer l’effet du comportement sur l’objet pour le temps restant. Le Trim sur la fin du comportement restaure la valeur d’origine du paramètre de l’objet. Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Osciller, » « Vitesse » Rendre aléatoire Ce comportement crée une séquence continue de valeurs augmentant et diminuant de façon aléatoire, en fonction des paramètres déterminant la plage et le type de valeurs générées. Même si les valeurs créées avec ce comportement sont aléatoires, elles sont en fait pré- définies par les réglages de paramètre que vous avez choisis. Tant que vous ne modifiez pas les paramètres, les valeurs image par image créées par ce comportement restent inchangées. Si les valeurs générées de façon aléatoire ne vous conviennent pas, cliquez sur le bouton Générer dans l’onglet Comportements de l’Inspecteur afin de choisir un nouveau nombre de valeurs aléatoires. Ce nombre sert alors à générer une nouvelle séquence de valeurs. Le paramètre Mode Appliquer détermine comment les valeurs générées par ce comportement sont combinées avec d’autres comportements et images clés modifiant le même paramètre. Vous disposez ainsi de plusieurs méthodes d’utilisation du comportement Rendre aléatoire afin de modifier les valeurs préétablies d’un paramètre. Le comportement Rendre aléatoire s’avère utile pour créer des effets de scintillement, tels qu’une rotation saccadée, une opacité vacillante et d’autres effets requérant des changements rapides et variés au cours du temps, pour lesquels une animation avec des images clés serait trop longue. Ce comportement est modifiable avec d’autres comportements, tels que Moyenne et Annuler, afin d’exercer un contrôle accru sur les valeurs générées. Commandes disponibles dans la palette La palette met à votre disposition les commandes Quantité, Multiplicateur, Fréquence, Bruit, Lien (pour les paramètres multidimensionnels), Début du décalage, Fin du décalage et vous permet de changer l’affectation des paramètres.490 Chapitre 5 Utilisation des comportements Paramètres dans l’Inspecteur Quantité/Multiplicateur : ce paramètre est réglé sur Quantité lorsque Mode Appliquer est réglé sur Ajouter, Soustraire ou Ajouter et soustraire. En revanche, il est réglé sur Multiplicateur lorsque Mode Appliquer est réglé sur Multiplier. Il fixe la valeur maximum que le comportement Rendre aléatoire générera. Mode Appliquer : menu local déterminant comment les valeurs générées par ce comportement sont combinées avec d’autres comportements et images clés modifiant le même paramètre. Vous disposez ainsi de plusieurs méthodes d’utilisation du comportement Rendre aléatoire afin de modifier les valeurs préétablies d’un paramètre. Les options sont Ajouter, Soustraire, Multiplier ou Ajouter et soustraire. Fréquence : curseur permettant de définir la quantité de variation aléatoire par seconde. Des valeurs élevées entraînent des variations plus rapides, des valeurs basses des variations plus lentes. Bruit : ajoute une autre incrustation de variation aléatoire à la Fréquence choisie. Des valeurs élevées entraînent des variations plus irrégulières dans le paramètre concerné. Lien : ce paramètre apparaît lorsque vous appliquez ce comportement à un paramètre bidimensionnel (comme Échelle) ou à un paramètre tridimensionnel (comme Position) constitué de valeurs X, Y et/ou Z. Cochez cette case pour que l’effet du comportement soit proportionnel sur chaque valeur. Affecter les sous-objets : ce paramètre n’apparaît que si vous appliquez le comportement Rendre aléatoire à un paramètre du comportement Réplicateur de séquence. Lorsque cette option est activée, chaque objet présente un comportement aléatoire différent. Lorsqu’elle est désactivée, chaque objet subit la même animation. Valeur aléatoire : bouton permettant de choisir un nouveau nombre de valeurs aléatoires. Ce nombre sert à générer de façon aléatoire de nouvelles séquences de valeurs en fonction des autres paramètres de ce comportement. Début du décalage : curseur permettant de retarder le début de l’effet d’un comportement par rapport à la première image de sa position dans la Timeline. Réglez ce paramè- tre pour que le comportement commence plus tard. Sa valeur est exprimée en images. Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramètre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Si vous utilisez ce curseur pour arrêter l’effet, au lieu d’effectuer un Trim sur la fin du comportement dans la Timeline, vous pouvez bloquer la dernière valeur aléatoire générée par ce comportement sur toute la durée restante de l’objet. Le Trim sur la fin du comportement restaure la valeur d’origine du paramètre. Comportements connexes « Animation aléatoire, » « Agiter »Chapitre 5 Utilisation des comportements 491 Vitesse Ce comportement augmente la valeur d’un paramètre au cours du temps, avec un taux d’augmentation fixé par le curseur de Vitesse. Contrairement au comportement Pente, il ne possède pas de valeur finale : il continue simplement à réduire ou à augmenter le paramètre auquel il est appliqué jusqu’au terme de celui-ci. Remarque : pour réduire la valeur d’un paramètre au fil du temps, il vous suffit de saisir une valeur négative dans le paramètre Vitesse. Commandes disponibles dans la palette La palette vous permet d’ajuster les paramètres Vitesse et Courbure, ainsi que de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Vitesse : curseur de valeur permettant de fixer un taux d’augmentation du paramètre concerné sur la durée. La valeur est exprimée en pourcentage d’augmentation par seconde. Courbure : ce paramètre permet de faciliter l’accélération des transitions du comportement Vitesse entre la Valeur initiale et la Valeur finale. Des valeurs de courbure élevées produisent un effet d’atténuation en entrée/sortie. En effet, la valeur commence lentement la transition pour accélérer de plus en plus au fil du comportement et ralentir à nouveau petit à petit jusqu’à la fin. La courbure ne modifie pas toute la durée de l’effet : celle-ci est définie par la longueur du comportement dans la Timeline. Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramè- tre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Si vous utilisez ce curseur pour arrêter l’effet, au lieu d’effectuer un Trim sur la fin du comportement dans la Timeline, vous pouvez bloquer la dernière valeur aléatoire générée par ce comportement sur toute la durée restante de l’objet. Le Trim sur la fin du comportement restaure la valeur d’origine du paramètre. Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Osciller, » « Pente »492 Chapitre 5 Utilisation des comportements Inverser Contrairement au comportement Annuler, qui inverse la valeur du paramètre concerné, le paramètre Inverser inverse le sens de toute animation modifiant un paramètre, qu’elle soit générée par des comportements ou par des images clés. Par exemple, si vous appliquez le comportement Inverser à une trajectoire d’animation allant de gauche à droite, cette trajectoire ne bouge pas, mais l’objet commence son trajet à droite pour aller vers la gauche. En fait, ce comportement inverse les points de départ et de fin des objets animés. Commandes disponibles dans la palette La palette vous permet de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Appliquer à : le menu local Appliquer à (« Aller ») montre le paramètre modifié et sert à réattribuer le comportement à un autre paramètre. Comportements connexes « Moyenne, » « Annuler » Arrêter Le comportement Arrêter interrompt l’animation d’un paramètre d’un objet (qu’elle soit due à des images clés ou à des comportements appliqués). Par exemple, si vous appliquez le comportement Arrêter au paramètre Position d’un objet qui se déplace sur l’écran et pivote, l’objet cesse de se déplacer sur l’écran, mais continue à pivoter. L’effet de tous les comportements appliqués à l’objet est bloqué dès la première image du comportement Arrêter dans la Timeline. Les images clés appliquées à ce paramètre sont alors sans incidence pendant la durée du comportement Arrêter dans la Timeline. Si le comportement Arrêter est plus court que l’objet auquel il est appliqué, l’ensemble des images clés et des comportements affectant ce canal sont immédiatement réactivés après la dernière image du comportement. Pour en savoir plus sur l’utilisation du comportement Arrêter, voir « Utilisation du comportement de paramètre Arrêter » à la page 430. Commandes disponibles dans la palette La palette vous permet de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Appliquer à : le menu local Appliquer à (« Aller ») affiche le paramètre dont l’animation est interrompue et sert à réattribuer le comportement Arrêter à un autre paramètre.Chapitre 5 Utilisation des comportements 493 Suivre Ce comportement vous permet d’appliquer des données de suivi à un paramètre particulier d’un effet, comme le point central du filtre Rayons de lumière. Pour en savoir plus sur l’utilisation du comportement Suivre, voir « Suivi de l’animation » dans le manuel PDF Documentation Supplémentaire de Motion. Agiter Ce comportement fonctionne comme le comportement Rendre aléatoire, mais avec un effet plus lent. Commandes disponibles dans la palette La palette met à votre disposition les commandes Quantité, Multiplicateur, Fréquence, Décalage de l’agitation, Bruit, Lien (pour les paramètres multidimensionnels), Début du décalage, Fin du décalage et vous permet de changer l’affectation des paramètres. Paramètres dans l’Inspecteur Quantité/Multiplicateur : ce paramètre est réglé sur Quantité lorsque Mode Appliquer est réglé sur Ajouter, Soustraire ou Ajouter et soustraire. En revanche, il est réglé sur Multiplicateur lorsque Mode Appliquer est réglé sur Multiplier. Il fixe la valeur maximale générée par le comportement Agiter. Mode Appliquer : menu local déterminant comment les valeurs générées par ce comportement sont combinées avec d’autres comportements et images clés modifiant le même paramètre. Vous disposez ainsi de plusieurs méthodes d’utilisation du comportement Agiter afin de modifier les valeurs préétablies d’un paramètre. Les options sont Ajouter, Soustraire, Multiplier ou Ajouter et soustraire. Fréquence : curseur permettant de définir la quantité de variation aléatoire par seconde. Des valeurs élevées entraînent des variations plus rapides, alors que des valeurs faibles sont à l’origine de variations plus lentes. Décalage de l’agitation : curseur vous permettant de décaler la séquence des valeurs aléatoires lorsque vous souhaitez appliquer le même comportement Agiter à plusieurs objets. En décalant la version de chaque objet du comportement Agiter, vous pouvez les empêcher de se déplacer de façon synchronisée. Bruit : curseur ajoutant une autre incrustation de variation aléatoire à la Fréquence choisie. Des valeurs élevées entraînent des variations plus irrégulières dans le paramètre concerné. Lien : ce paramètre apparaît lorsque vous appliquez le comportement Agiter à un paramètre bidimensionnel (comme Échelle) ou à un paramètre tridimensionnel (comme Position) constitué de valeurs X, Y et/ou Z. Cochez cette case pour que l’effet du comportement soit proportionnel sur chaque valeur.494 Chapitre 5 Utilisation des comportements Affecter les sous-objets : ce paramètre n’apparaît que si vous appliquez le comportement Agiter à un paramètre du comportement Réplicateur de séquence. Lorsque cette option est activée, chaque objet présente un comportement d’agitation différent. Lorsqu’elle est désactivée, chaque objet subit la même animation. Valeur aléatoire : bouton permettant de choisir un nouveau nombre de valeurs aléatoires. Ce nombre sert à générer de façon aléatoire de nouvelles séquences de valeurs en fonction des autres paramètres de ce comportement. Début du décalage : curseur permettant de retarder le début de l’effet d’un comportement par rapport à la première image de sa position dans la Timeline. Réglez ce paramètre pour que le comportement commence plus tard. La valeur de ce paramètre est exprimée en images. Fin du décalage : curseur permettant de retarder la fin de l’effet d’un comportement par rapport à la dernière image de sa position dans la Timeline, en images. Réglez ce paramètre pour que le comportement s’arrête avant sa fin réelle dans la Timeline. Si vous utilisez ce curseur pour arrêter l’effet, au lieu d’effectuer un Trim sur la fin du comportement dans la Timeline, vous pouvez bloquer la dernière valeur aléatoire générée par ce comportement sur toute la durée restante de l’objet. Le Trim sur la fin du comportement restaure la valeur d’origine du paramètre. Remarque : si vous appliquez le comportement Agiter à un paramètre Opacité réglé sur 100 %, l’effet obtenu est quasiment nul, car il ne reste que peu d’espace pour « s’agiter ». Pour un meilleur résultat, réglez le paramètre Opacité sur 0 ou choisissez Soustraire dans le menu local Mode Appliquer. Comportements connexes « Animation aléatoire, » « Rendre aléatoire » Comportements Audio, Caméra, Suivi de l’animation, Particules, Réplicateur, Forme et Texte Les comportements Audio, Caméra, Particules, Réplicateur, Forme et Texte sont conçus pour être appliqués en exclusivité aux objets correspondants, à savoir : les fichiers audio, les caméras, les émetteurs de particules ou leurs cellules, les réplicateurs ou leurs cellules source, les formes et le texte.  Pour en savoir plus sur les comportements Audio, voir le chapitre 13, « Utilisation de données audio », à la page 1203.  Pour en savoir plus sur les comportements Caméra, voir « compositing 3D » dans le manuel Motion Supplemental Documentation PDF.  Pour en savoir plus sur les comportements Particules, voir « Utilisation des comportements Particules » à la page 801.  Pour en savoir plus sur les comportements Réplicateur, voir « Utilisation du comportement Réplicateur de séquence » à la page 888.Chapitre 5 Utilisation des comportements 495  Pour en savoir plus sur les comportements Forme, voir « Utilisation des comportements Forme » à la page 1147.  Pour en savoir plus sur les comportements Texte, voir « Utilisation des comportements Animation et Séquence de texte » à la page 702. Pour en savoir plus sur les comportements Suivi de l’animation, y compris le comportement de paramètre Suivre, consultez « Suivi de l’animation » dans le manuel PDF Documentation supplémentaire de Motion. Comportements Resynchronisation Ces comportements sont appliqués à des séquences d’images, des séquences QuickTime et des couches clonées, dans le but de modifier leur contrôle du temps. Parmi les effets qu’ils permettent d’obtenir, vous pouvez notamment créer des images fixes, modifier la vitesse de lecture, inverser un plan, générer des imperfections ou des effets stroboscopiques, etc. Important : vous ne pouvez appliquer les comportements Resynchronisation qu’à des séquences QuickTime, des séquences d’images et des couches clonées. En d’autres termes, vous ne pouvez pas les appliquer à un émetteur de particules, mais vous pouvez en revanche les appliquer à l’un de ses clones. Pour en savoir plus sur le clonage des couches, voir « Clonage de couches » à la page 315. Image Flash Ce comportement vous permet d’insérer de manière aléatoire une plage d’images définie par vos soins (adjacente à l’image actuelle) au cours de la lecture d’un plan. Commandes disponibles dans la palette La palette met à votre disposition les paramètres Images aléatoires, Plage d’images, Durée et Valeur aléatoire. Comparaison entre les comportements Resynchronisation et les commandes Contrôle du temps de l’Inspecteur Si vous sélectionnez un plan, un groupe de paramètres Contrôle du temps apparaît dans l’onglet Propriétés de l’Inspecteur. Ces commandes vous permettent d’obtenir les mêmes effets que les comportements Resynchronisation, tels que ralentir, accélérer, lire en boucle ou inverser un plan, mais elles affectent l’intégralité du plan. Tout l’intérêt des comportements Resynchronisation est que vous pouvez définir quelle partie du plan ils doivent affecter. Toute modification apportée au contrôle du temps d’un plan à l’aide des commandes Contrôle du temps de l’Inspecteur est respectée par les comportements Resynchronisation. Par exemple, si vous modifiez la vitesse d’un plan à 50 % grâce aux paramètres Contrôle du temps, le comportement Resynchronisation appliqué utilise ce plan à vitesse réduite de moitié comme source. Pour en savoir plus sur les commandes Contrôle du temps de l’Inspecteur, voir « Resynchronisation » à la page 345.496 Chapitre 5 Utilisation des comportements Paramètres dans l’Inspecteur Images aléatoires : curseur vous permettant de définir la probabilité qu’une image soit remplacée par une image aléatoire sur toute la durée du comportement. Si vous réglez ce paramètre sur 0, aucune image aléatoire n’est insérée. À l’inverse, si vous le réglez sur 100, toutes les images sont aléatoires. La valeur par défaut est égale à 10 %. Plage d’images : curseur vous permettant de définir la plage à partir de laquelle les images aléatoires sont choisies (autour de l’image actuelle). La valeur par défaut est égale à 10 images. Durée : curseur vous permettant de définir la durée de la séquence d’images aléatoires. Par défaut, cette durée est égale à 1, ce qui signifie qu’1 seule image aléatoire est insérée à chaque fois. Si vous réglez le paramètre Durée sur 30, des séquences de 30 images (choisies en fonction du paramètre Plage d’images) sont insérées de manière aléatoire. La valeur Durée à la priorité sur le décompte Plage d’images (de telle sorte que toute nouvelle image aléatoire n’interrompe pas la séquence en cours). Valeur aléatoire : bouton permettant de choisir un nouveau nombre de valeurs aléatoires. Ce nombre sert à générer de façon aléatoire de nouvelles valeurs en fonction des autres paramètres de ce comportement. Conserver l’image Ce comportement vous permet de conserver l’image située au niveau du point d’entrée du comportement sur toute la durée du comportement. La lecture du plan continue normalement après le point de sortie du comportement. Par exemple, si vous appliquez le comportement Conserver l’image au niveau de l’image 60 et qu’il se termine à l’image 300, le plan est lu normalement jusqu’à l’image 59, l’image 60 est conservée pendant 240 images, puis la lecture reprend normalement, de l’image 61 à l’image 301 du plan. Le comportement Conserver l’image est toujours appliqué au niveau de l’image actuelle (et non au début de l’objet). Commandes disponibles dans la palette La palette propose uniquement la commande Décalage. Paramètres dans l’Inspecteur Décalage : curseur permettant de définir le décalage de l’image conservée. Si vous le réglez sur 0 (la valeur par défaut), l’image située au début du comportement correspond à l’image conservée. En revanche, si vous le réglez sur 60, l’image correspondant au début du comportement (l’image conservée) est la 60e image après l’image de départ. La valeur de ce paramètre est exprimée en images.Chapitre 5 Utilisation des comportements 497 ∏ Astuce : un certain tremblotement risque de survenir si vous appliquez le comportement Conserver l’image à une séquence entrelacée. Pour l’éviter, assurez-vous que le paramètre Ordre de trame est correctement défini dans l’Inspecteur. Pour modifier ce paramètre, sélectionnez la séquence dans l’onglet Média de la sous-fenêtre Projet, affichez l’onglet Média de l’Inspecteur, puis cliquez sur le menu local Ordre de trame pour faire votre choix. En boucle Ce comportement vous permet de lire en boucle une partie d’un plan sur toute sa durée. L’image de début de la boucle est déterminée par l’image de début du comportement. Par exemple, si vous appliquez ce comportement au début d’un plan et que vous réglez le paramètre Durée de la boucle sur 30, les 30 premières images du plan sont lues en boucle jusqu’à la fin du comportement. À la fin du comportement, la lecture reprend normalement à partir de l’image située à la fin de la durée de la boucle. Commandes disponibles dans la palette La palette propose le paramètre Durée de la boucle. Paramètres dans l’Inspecteur Durée de la boucle : curseur vous permettant de définir la durée des images lues en boucle. La valeur par défaut est égale à 30 images. Ping-Pong Ce comportement vous permet de lire par allers-retours une partie d’un plan sur toute la durée définie pour ce comportement. L’image de début de cet effet de ping-pong est déterminée par l’image de début du comportement. Par exemple, si vous appliquez ce comportement au début d’un plan et que vous réglez le paramètre Durée sur 30, les 30 premières images du plan sont lues normalement, puis en sens inverse, puis à nouveau normalement, etc., jusqu’à la fin du comportement. À la fin du comportement, la lecture reprend normalement. Commandes disponibles dans la palette La palette propose le paramètre Durée de la boucle. Paramètres dans l’Inspecteur Durée : curseur vous permettant de définir la durée (en images) de l’effet ping-pong. La valeur par défaut est égale à 30 images. Relire Ce comportement vous permet de repositionner la tête de lecture au début du comportement au niveau d’une image particulière, puis de lire le plan normalement à partir de cette image. La lecture du plan continue normalement après la fin du comportement. Vous pouvez ainsi déclencher la lecture d’un plan à des instants différents, sans pour autant avoir besoin de plusieurs versions de l’objet de la séquence.498 Chapitre 5 Utilisation des comportements Commandes disponibles dans la palette La palette propose uniquement les paramètres « Commencer à » et Heure de début. Paramètres dans l’Inspecteur Commencer à : menu local vous permettant de déterminer si la relecture démarre à partir d’un numéro d’image absolue ou d’une image décalée (par rapport au début de comportement). Image absolue : détermine si la relecture démarre au niveau de l’image indiquée dans le paramètre Heure de début. Par exemple, si le comportement commence à l’image 60 d’un plan et que vous réglez le paramètre Image de début sur 30, le plan est relu à partir de l’image 30 dès que la lecture atteint l’image 60. Image décalée : vous permet de décaler l’image de début de la relecture. Par exemple, si le comportement commence à l’image 60 d’un plan et que vous réglez le paramètre Image de début sur 30, le plan est relu à partir de l’image 90 dès que la lecture atteint l’image 60. Si le paramètre Image de début est réglé sur –30, le plan est relu à partir de l’image 30. Heure de début : curseur vous permettant de définir l’image de début à partir de laquelle le plan est relu. Par défaut, il s’agit de l’image 1. Inverser Ce comportement vous permet de lire un plan ou une séquence d’images à l’envers. Commandes disponibles dans la palette Il n’existe aucun paramètre pour ce comportement. Paramètres dans l’Inspecteur Il n’existe aucun paramètre pour ce comportement. Inverser la boucle Ce comportement vous permet de lire en boucle et à l’envers une partie d’un plan sur toute sa durée. Si vous réglez le paramètre Durée de la boucle sur 30 et que ce comportement commence sur l’image 1, les images 1 à 30 sont lues à l’envers, les images 31 à 60 en sens contraire, les images 61 à 90 à nouveau à l’envers, etc. ∏ Astuce : pour obtenir un effet cadencé agréable, réglez le paramètre Durée de la boucle sur 2. Commandes disponibles dans la palette La palette propose le paramètre Durée de la boucle. Paramètres dans l’Inspecteur Durée de la boucle : curseur vous permettant de définir la durée des images lues en boucle inversée. La valeur par défaut est égale à 30 images.Chapitre 5 Utilisation des comportements 499 Défiler Tout comme le filtre du même nom, le comportement Défiler déplace une tête de lecture virtuelle le long d’un plan et vous permet ainsi de modifier le contrôle du temps de ce plan sans le déplacer dans la Timeline. De plus, il vous permet d’animer le paramètre Décalage en utilisant des images clés ou des comportements Paramètre, souvent avec des résultats intéressants. Tentez d’appliquer le comportement Osciller au décalage de l’image, avec le paramètre « Décalage de » réglé sur Image actuelle. Remarque : vous pouvez également appliquer des comportements Paramètre au paramètre Valeur de resynchronisation disponible dans les commandes Contrôle du temps de l’image proprement dite. Les commandes Contrôle du temps sont situées dans l’onglet Propriétés. Réglez Time Remap sur Vitesse variable pour pouvoir accéder au paramètre Valeur de resynchronisation. Commandes disponibles dans la palette La palette propose les paramètres Décalage d’image à et Décalage de. Paramètres dans l’Inspecteur Décalage d’image : détermine le décalage de la tête de lecture virtuelle. Décalage de : détermine la position à partir de laquelle la tête de lecture virtuelle est décalée. Vous avez le choix entre Première image et Image actuelle. Important : le filtre Défiler n’a aucune incidence sur l’audio des plans. Vitesse définie Ce comportement vous permet de modifier la vitesse de lecture d’un plan. La vitesse définie par ce comportement est appliquée dès le point d’entrée du comportement et sur toute sa durée. La lecture du plan continue à sa vitesse normale après le point de sortie du comportement. Par exemple, si vous appliquez le comportement Vitesse définie au niveau de l’image 60 et qu’il se termine à l’image 300, le plan est lu normalement jusqu’à l’image 59, à la vitesse indiquée dans le comportement des images 60 à 300, puis à nouveau à vitesse normale à partir de l’image 301. Vous pouvez appliquer un effet d’atténuation en entrée ou en sortie à ce changement de vitesse. Commandes disponibles dans la palette La palette met à votre disposition les paramètres Vitesse, Atténuation dans le temps, Atténuation en courbe, Atténuation en fin de temps et Atténuation en sortie de courbe. Paramètres dans l’Inspecteur Vitesse : curseur déterminant la vitesse du plan sous forme de pourcentage. La valeur par défaut est de 100 % (la vitesse normale du plan). Un réglage à 50 % entraîne la lecture du plan à une vitesse réduite de moitié. Remarque : vous avez la possibilité d’animer avec des images clés le paramètre Vitesse afin de varier les changements de la vitesse de lecture.500 Chapitre 5 Utilisation des comportements Atténuation dans le temps : curseur vous permettant de définir le nombre d’images sur lesquelles l’atténuation en entrée du changement de vitesse survient (depuis le début du comportement). La valeur par défaut est égale à 20 images. Atténuation en courbe : curseur vous permettant de définir la courbure de la pente lors de l’atténuation en entrée du changement de vitesse. Une valeur égale à 0 provoque une transition extrêmement accentuée vers la nouvelle vitesse. À 100, vous obtenez la transition la plus lisse possible. La valeur par défaut est égale à 50 %. Atténuation en fin de temps : curseur vous permettant de définir le nombre d’images sur lesquelles l’atténuation en sortie du changement de vitesse survient (depuis la fin du comportement). La valeur par défaut est égale à 20 images. Atténuation en sortie de courbe : curseur vous permettant de définir la courbure de la pente lors de l’atténuation en sortie du changement de vitesse. Une valeur égale à 0 provoque une transition extrêmement accentuée depuis la nouvelle vitesse vers la vitesse d’origine. À 100, vous obtenez la transition la plus lisse possible. La valeur par défaut est égale à 50 %. Stroboscope Ce comportement simule une lumière stroboscopique ou une vidéo à faible fréquence d’images, en conservant un certain nombre d’images (défini par le paramètre Durée du stroboscope) pendant toute la lecture du plan. Si vous réglez, par exemple, le paramètre Durée du stroboscope sur 10, l’image 1 est conservée sur 10 images, puis l’image 11 sur 10 images et l’images 21 sur 10 images, etc. Les images situées dans les intervalles (2 à 10, 12 à 20, 22 à 30, etc.) n’apparaissent pas. Commandes disponibles dans la palette La palette propose le paramètre Durée du stroboscope. Paramètres dans l’Inspecteur Durée du stroboscope : curseur permettant de définir le nombre d’images à conserver. Avec une valeur égale à 1, le plan est lu à vitesse normale. La valeur par défaut est égale à 5 images. Imperfection Ce comportement vous permet d’insérer de manière aléatoire des images conservées de durées aléatoires au cours de la lecture d’un plan. L’effet est similaire à la bande d’une cassette qui se colle au cours de sa lecture dans un magnétoscope. Commandes disponibles dans la palette La palette met à votre disposition les paramètres Niveau d’imperfection, Plage de durée et Valeur aléatoire.Chapitre 5 Utilisation des comportements 501 Paramètres dans l’Inspecteur Niveau d’imperfection : curseur vous permettant de définir la probabilité qu’une image conservée soit générée au niveau d’une image donnée. Si vous réglez ce paramètre sur 0 %, aucune image conservée n’est créée. À 100 %, chaque image est conservée. Les valeurs comprises entre 0 et 100 indiquent la probabilité que des images (sur la durée du comportement) soit remplacées par des images conservées. La valeur par défaut est égale à 10 %. Plage de durée : curseur permettant de définir la durée maximale des images conservées. Une valeur égale à 1 insère une seule image conservée à une fréquence fixée par le paramètre Niveau d’imperfection. Si vous augmentez la valeur du paramètre Plage de durée, vous augmentez la plage d’images conservées. Par exemple, une valeur égale à 30 crée aléatoirement des images conservées constituées d’au moins 1 image et d’au plus 30 images. La valeur par défaut est égale à 3 images. Valeur aléatoire : bouton permettant de choisir un nouveau nombre de valeurs aléatoires. Ce nombre sert à générer de façon aléatoire de nouvelles valeurs en fonction des autres paramètres de ce comportement. Comportements Simulation Ces comportements réalisent deux types de tâches. Certains, tels que Gravité, animent les paramètres d’un objet de façon à simuler un phénomène réel. D’autres, tels qu’Attracteur et Repousser, ont une incidence sur les paramètres d’un ou plusieurs objets situés autour de l’objet auquel ils sont appliqués. Ces comportements vous permettent de créer des interactions très élaborées entre plusieurs objets d’un projet et ce, avec un minimum de réglages. Tout comme les comportements Animation standard, les comportements Simulation affectent des paramètres particuliers des objets. Il s’agit par exemple d’Attracteur, Gravité et Repousser. Important : plusieurs paramètres des comportements Simulation affichent des cadres d’objet dans lesquels vous pouvez faire glisser les objets cible utilisés en tant qu’attracteurs, répulseurs, orbiteurs, etc. Il peut s’avérer difficile de faire glisser un objet dans l’un de ces cadres : veillez à cliquer sur le nom de l’objet dans l’onglet Couches et à faire glisser immédiatement l’objet vers le cadre (sans relâcher le bouton de la souris). Le comportement doit alors rester actif, même si vous cliquez sur un autre objet dans l’onglet Couches. Si vous cliquez sur un objet dans l’onglet Couches et que vous relâchez le bouton de la souris, l’objet est sélectionné, mais les paramètres du comportement ne sont plus affichés. Ce comportement est valable pour tous les cadres, cadres d’image et de source du masque compris. Exemples d’utilisation de comportements Simulation Pour prendre connaissance d’exemples d’utilisation des différents des comportements Simulation, voir « Exemples de comportements » à la page 528.502 Chapitre 5 Utilisation des comportements Aligner sur l’animation Ce comportement vous permet de modifier la rotation d’un objet de telle sorte qu’elle corresponde aux modifications apportées à sa direction le long d’une trajectoire d’animation. Il est conçu pour être combiné à d’autres comportements Simulation qui animent la position d’un objet ou à une trajectoire animée avec des images clés créée par vos soins. Remarque : le comportement Aligner sur l’animation ne fonctionne pas sur les objets animés avec le comportement Trajectoire d’animation. Utilisez plutôt le comportement Magnétiser l’alignement sur l’animation (dans la sous-catégorie Animation standard). Contrairement au comportement Magnétiser l’alignement sur l’animation, qui provoque des changements radicaux dans la rotation pour refléter les changements de direction, le comportement Aligner sur l’animation offre un effet plus naturel. Dans l’exemple ci-dessus, le poisson se déplace le long d’une trajectoire d’animation définie par des images clés, mais il n’est pas aligné sur cette trajectoire (remarquez la poignée de rotation). Utilisez le comportement Aligner sur l’animation pour décaler son angle de rotation et lui permettre ainsi de regarder dans la direction de la trajectoire. En ajustant le paramètre Glissement, vous pouvez l’écarter très largement de son point d’ancrage, sachant qu’il suit les courbes de la trajectoire d’animation. Commandes disponibles dans la palette La palette met à votre disposition les paramètres Axe de rotation, Axe, Inverser l’axe, Tension du ressort et Glissement. Lorsque vous appliquez ce comportement à un groupe ou une couche contenant plusieurs objets (comme des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Avant utilisation du comportement Aligner sur l’animation Après utilisation du comportement Aligner sur l’animationChapitre 5 Utilisation des comportements 503 Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Axe de rotation : menu local qui vous permet de faire pivoter l’objet autour de l’axe X, Y ou Z. Vous pouvez également choisir Tout pour faire pivoter l’objet autour des trois axes. L’axe de rotation par défaut correspond à l’axe Z. Axe : menu local qui vous permet de préciser si l’objet doit s’aligner selon son axe horizontal ou vertical. Inverser l’axe : case à cocher permettant d’inverser l’orientation selon laquelle l’objet s’aligne sur l’animation. Tension du ressort : curseur déterminant avec quelle rapidité la rotation de l’objet change pour répondre à un changement de direction. Des valeurs peu élevées provoquent un décalage entre le changement de position d’un objet et le changement de rotation qui en résulte. Des valeurs élevées produisent des changements de rotation plus réactifs. Glissement : curseur déterminant si le changement de rotation causé par ce comportement dépasse ou non la nouvelle direction de l’objet. Des valeurs de glissement peu élevées entraînent des changements élastiques de la rotation, avec une rotation d’avant en arrière, l’objet dépassant les changements de direction. Des valeurs plus élevées atténuent cet effet et la rotation de l’objet colle davantage aux changements subis. Avec des valeurs élevées, la rotation s’effectue également en retard sur le changement de position de l’objet. Comportements connexes « Magnétiser l’alignement sur l’animation » Attiré vers Ce comportement fait partie d’un groupe de comportements Simulation conçus pour vous permettre de créer des relations animées élaborées entre plusieurs objets. Ces comportements offrent de grandes possibilités et permettent la création d’effets complexes en un minimum d’étapes.504 Chapitre 5 Utilisation des comportements Si vous appliquez le comportement Attiré vers à un objet, il se déplace en direction de l’unique cible indiquée, appelée « objet d’attraction ». Grâce à d’autres paramètres, vous pouvez définir la zone d’influence marquant à quelle distance un objet doit être placé de l’objet d’attraction pour être attiré et l’intensité de l’attraction. Le paramètre Glissement permet de déterminer si les objets attirés dépassent et rebondissent sur l’objet d’attraction, ou si ils finissent par ralentir et s’arrêter à la position de l’objet cible. Vous pouvez appliquer plusieurs comportements Attiré vers à un seul objet, chacun utilisant un objet d’attraction différent, afin de créer des situations où un objet rebondit au milieu de tous ceux qui l’attirent. Commandes disponibles dans la palette La palette affiche un cadre d’objet qui vous permet de définir un objet d’attraction, ainsi que les commandes Force, Type d’atténuation, Vitesse d’atténuation, Influence, Glissement et des boutons de sélection des axes de déplacement. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Objet : cadre permettant de définir l’objet d’attraction. Pour ce faire, faites glisser l’objet cible de l’onglet Couches vers le cadre d’objet présent dans la palette Attiré vers ou l’Inspecteur. Vous pouvez également faire glisser l’objet cible sur le comportement Attiré vers dans l’onglet Couches. Objet forme d’attraction Comportement Attiré vers appliqué à un objet forme Trajectoire d’animationChapitre 5 Utilisation des comportements 505 Force : curseur déterminant la vitesse à laquelle l’objet se déplace en direction de l’objet d’attraction. Dans le cas d’une valeur égale à 0, l’objet reste immobile. Plus la valeur indiquée est élevée, plus l’objet se déplace vite. Type d’atténuation : menu local déterminant si la distance fixée par le paramètre Influence s’atténue de façon linéaire ou exponentielle.  Linéaire : l’attraction s’atténue proportionnellement à la distance de l’objet.  Exponentiel : plus un objet est proche de la zone d’influence, plus il est attiré et plus il se déplace vite en direction de l’objet d’attraction. Vitesse d’atténuation : cette valeur détermine à quelle vitesse la force d’attraction entre des objets affectés par ce comportement s’atténue. Une valeur faible provoque une accélération rapide des objets lors de leur déplacement en direction de l’objet d’attraction. Avec une valeur plus élevée, les objets accélèrent de façon beaucoup plus progressive. Si vous réglez Type d’atténuation sur Exponentiel, l’attraction s’atténue beaucoup plus rapidement que dans le cas d’une atténuation linéaire. Influence : curseur déterminant le rayon du cercle d’influence (en pixels). Les objets se trouvant dans la zone d’influence se déplacent en direction de l’objet d’attraction. Les objets situés en dehors de cette zone restent à leur place. Glissement : curseur pouvant servir à réduire la distance dont les objets attirés dépassent l’objet d’attraction. Avec des valeurs de glissement faibles, l’objet attiré va au-delà de l’objet d’attraction, puis rebondit sans cesse autour. Avec des valeurs élevées, l’objet s’immobilise plus rapidement. Inclure X, Y et Z : boutons vous permettant d’indiquer selon quels axes le ou les objets attirés se déplacent en direction de l’objet d’attraction. Si vous activez l’axe Z, l’objet se déplace en direction de son objet d’attraction dans un espace tridimensionnel. Comportements connexes « Attracteur, », « Dérive attiré vers, », « Attracteur de dérive, », « En orbite, », « Ressort, », « Vortex ».506 Chapitre 5 Utilisation des comportements Attracteur Si vous appliquez un comportement Attracteur à un objet, les autres objets situés dans sa zone d’influence se déplacent dans sa direction. Vous pouvez alors déterminer la force d’attraction et la distance requise pour que l’attraction commence. Par défaut, les objets dépassent l’objet d’attraction, puis rebondissent autour sans jamais s’arrêter. Le paramètre Glissement permet de changer ce comportement en indiquant si les objets attirés doivent dépasser et rebondir sur l’objet d’attraction, ou s’ils doivent plutôt ralentir et s’arrêter à la position de l’objet cible. Vous pouvez utiliser le comportement Attracteur pour affecter tous les objets du Canevas se trouvant dans la zone d’attraction ou limiter son effet à une liste précise d’objets grâce au paramètre Affecter. Ce comportement est aussi applicable à des objets en mouvement. Si vous animez la position de l’objet cible auquel vous avez appliqué le comportement Attracteur, tous les autres objets dans le Canevas sont attirés vers sa nouvelle position. Commandes disponibles dans la palette La palette affiche les commandes Affecter, Force, Type d’atténuation, Vitesse d’atténuation, Influence, Glissement et des boutons de sélection des axes de déplacement. Paramètres dans l’Inspecteur Affecter : menu local vous permettant de limiter les objets de votre projet affectés par le comportement Attracteur. Il existe trois options :  Tous les objets : tous les objets du Canevas sont affectés par le comportement Attracteur.  Objets connexes : réglage par défaut. Seuls les objets situés dans le même groupe que l’objet d’attraction sont affectés.  Objets spécifiques : seuls les objets figurant dans la liste Objets modifiés sont affectés par le comportement Attracteur. Début de l’effet Attracteur Fin de l’effet AttracteurChapitre 5 Utilisation des comportements 507  Objets modifiés : liste apparaissant lorsque l’option Objets spécifiques est sélectionnée dans le menu local Affecter. Faites glisser des objets dans cette liste depuis l’onglet Couches pour qu’ils soient affectés par le comportement Attracteur lorsque l’option Objets spécifiques est sélectionnée dans le menu local Affecter. Pour supprimer un élément de la liste, il vous suffit de le sélectionner, puis de cliquer sur Supprimer. Force : curseur déterminant la vitesse à laquelle les objets attirés se déplacent en direction de l’objet cible. Dans le cas d’une valeur égale à 0, les objets attirés restent immobiles. Plus la valeur indiquée est élevée, plus les objets attirés se déplacent vite. Type d’atténuation : menu local déterminant si la distance fixée par le paramètre Influence s’atténue de façon linéaire ou exponentielle.  Linéaire : l’attraction s’atténue proportionnellement à la distance de l’objet.  Exponentiel : plus un objet est proche de la zone d’influence, plus il est attiré et plus il se déplace vite en direction de l’objet d’attraction. Vitesse d’atténuation : cette valeur détermine à quelle vitesse la force d’attraction entre des objets affectés par ce comportement s’atténue. Une valeur faible provoque une accélération rapide des objets lors de leur déplacement en direction de l’objet d’attraction. Avec une valeur plus élevée, les objets accélèrent de façon beaucoup plus progressive. Si vous réglez Type d’atténuation sur Exponentiel, l’attraction s’atténue beaucoup plus rapidement que dans le cas d’une atténuation linéaire. Influence : curseur déterminant le rayon du cercle d’influence (en pixels). Les objets se trouvant dans la zone d’influence se déplacent en direction de l’objet d’attraction. Les objets situés en dehors de cette zone restent à leur place. Glissement : curseur pouvant servir à réduire la distance dont les objets attirés dépassent l’objet d’attraction. Avec des valeurs de glissement faibles, l’objet attiré va au-delà de l’objet d’attraction, puis rebondit sans cesse autour. Avec des valeurs élevées, l’objet s’immobilise plus rapidement. Inclure X, Y et Z : boutons vous permettant d’indiquer dans quel plan le ou les objets attirés se déplacent en direction de l’objet d’attraction. Par exemple, si vous activez les axes X et Y, l’objet se déplace dans le plan (X,Y). De même, si vous activez les axes Y et Z, l’objet se déplace dans le plan (Y,Z). Comportements connexes « Attiré vers, », « Dérive attiré vers, », « Attracteur de dérive, », « En orbite, », « Ressort, », « Vortex ».508 Chapitre 5 Utilisation des comportements Glissement Ce comportement vous permet de simuler la force de frottement exercée sur un objet en mouvement, en le ralentissant au fil du temps. Grâce à ce comportement, vous pouvez facilement ralentir des objets comportant plusieurs comportements qui forment une animation complexe. Commandes disponibles dans la palette La palette vous permet d’ajuster le paramètre Quantité et affiche des boutons de sélection des axes de déplacement. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Quantité : curseurs servant à ralentir un objet au fil du temps, jusqu’à son arrêt éventuel. Avec des valeurs élevées, l’objet s’immobilise plus rapidement. Cliquez sur le triangle d’affichage en regard du paramètre Quantité afin d’appliquer le glissement séparément aux valeurs X, Y et Z. Vous pouvez ainsi créer une situation où la vitesse verticale de l’objet ralentit, par exemple, plus rapidement que sa vitesse horizontale. Inclure X, Y et Z : boutons vous permettant d’indiquer le plan dans lequel le glissement est appliqué. Par exemple, si vous activez les axes X et Y, l’objet glisse dans le plan (X,Y). De même, si vous activez les axes Y et Z, l’objet glisse dans le plan (Y,Z). Comportements connexes « Mouvement de rotation » Dérive attiré vers Ce comportement est comparable au comportement Attiré vers, sauf que l’objet se déplace par défaut vers l’objet d’attraction et s’immobilise, au lieu de le dépasser et de rebondir autour. Commandes disponibles dans la palette La palette affiche un cadre d’objet qui vous permet de définir un objet d’attraction, ainsi que curseurs pour les paramètres Force et Glissement et des boutons de sélection des axes de déplacement. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette.Chapitre 5 Utilisation des comportements 509 Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Objet : cadre permettant de définir l’objet d’attraction. Pour ce faire, faites glisser l’objet cible de l’onglet Couches vers le cadre d’objet présent dans la palette Dérive attiré vers ou l’Inspecteur. Vous pouvez également faire glisser l’objet cible sur le comportement Dérive attiré vers dans l’onglet Couches. Force : curseur déterminant la vitesse à laquelle l’objet se déplace en direction de l’objet d’attraction. Dans le cas d’une valeur égale à 0, l’objet reste immobile. Plus la valeur indiquée est élevée, plus l’objet se déplace vite. Type d’atténuation : menu local déterminant si la distance fixée par le paramètre Influence s’atténue de façon linéaire ou exponentielle.  Linéaire : l’attraction s’atténue proportionnellement à la distance de l’objet.  Exponentiel : plus un objet est proche de la zone d’influence, plus il est attiré et plus il se déplace vite en direction de l’objet d’attraction. Vitesse d’atténuation : cette valeur détermine à quelle vitesse la force d’attraction entre des objets affectés par ce comportement s’atténue. Une valeur faible provoque une accélération rapide des objets lors de leur déplacement en direction de l’objet d’attraction. Avec une valeur plus élevée, les objets accélèrent de façon beaucoup plus progressive. Si vous réglez Type d’atténuation sur Exponentiel, l’attraction s’atténue beaucoup plus rapidement que dans le cas d’une atténuation linéaire. Influence : curseur déterminant le rayon du cercle d’influence (en pixels). Les objets se trouvant dans la zone d’influence se déplacent en direction de l’objet d’attraction. Les objets situés en dehors de cette zone restent à leur place. Glissement : curseur pouvant servir à réduire la distance dont les objets attirés dépassent l’objet d’attraction. Avec des valeurs de glissement faibles, l’objet attiré va au-delà de l’objet d’attraction, puis rebondit sans cesse autour. Avec des valeurs élevées, l’objet s’immobilise plus rapidement. Inclure X, Y et Z : boutons vous permettant d’indiquer dans quel plan le ou les objets attirés dérivent en direction de l’objet d’attraction. Par exemple, si vous activez les axes X et Y, l’objet dérive dans le plan (X,Y). De même, si vous activez les axes Y et Z, l’objet dérive dans le plan (Y,Z).510 Chapitre 5 Utilisation des comportements Comportements connexes « Attiré vers, », « Attracteur, », « Attracteur de dérive, », « En orbite, », « Ressort, », « Vortex ». Attracteur de dérive Ce comportement est comparable au comportement Attracteur, sauf que les objets situés dans la zone d’influence se déplacent par défaut vers l’objet d’attraction et s’immobilisent, au lieu de le dépasser et de rebondir autour. Commandes disponibles dans la palette La palette met à votre disposition les commandes Affecter, Force, Glissement et des boutons de sélection des axes de déplacement. Paramètres dans l’Inspecteur Affecter : menu local vous permettant de limiter les objets de votre projet affectés par le comportement Attracteur de dérive. Il existe trois options :  Tous les objets : tous les objets du Canevas sont affectés par le comportement Attracteur de dérive.  Objets connexes : réglage par défaut. Seuls les objets situés dans le même groupe que l’objet d’attraction sont affectés.  Objets spécifiques : seuls les objets figurant dans la liste Objets modifiés sont affectés par le comportement Attracteur de dérive.  Objets modifiés : liste apparaissant lorsque l’option Objets spécifiques est sélectionnée dans le menu local Affecter. Faites glisser des objets ou des groupes de l’onglet Couches vers cette liste pour qu’ils soient affectés par le comportement Attracteur de dérive. Pour supprimer un élément de la liste, il vous suffit de le sélectionner, puis de cliquer sur Supprimer. Force : curseur déterminant la vitesse à laquelle les objets attirés se déplacent en direction de l’objet cible. Dans le cas d’une valeur égale à 0, les objets attirés restent immobiles. Plus la valeur indiquée est élevée, plus les objets attirés se déplacent vite. Type d’atténuation : menu local déterminant si la distance fixée par le paramètre Influence s’atténue de façon linéaire ou exponentielle.  Linéaire : l’attraction s’atténue proportionnellement à la distance de l’objet.  Exponentiel : plus un objet est proche de la zone d’influence, plus il est attiré et plus il se déplace vite en direction de l’objet d’attraction.Chapitre 5 Utilisation des comportements 511 Vitesse d’atténuation : cette valeur détermine à quelle vitesse la force d’attraction entre des objets affectés par ce comportement s’atténue. Une valeur faible provoque une accélération rapide des objets lors de leur déplacement en direction de l’objet d’attraction. Avec une valeur plus élevée, les objets accélèrent de façon beaucoup plus progressive. Si vous réglez Type d’atténuation sur Exponentiel, l’attraction s’atténue beaucoup plus rapidement que dans le cas d’une atténuation linéaire. Influence : curseur déterminant le rayon du cercle d’influence (en pixels). Les objets se trouvant dans la zone d’influence se déplacent en direction de l’objet d’attraction. Les objets situés en dehors de cette zone restent à leur place. Glissement : curseur pouvant servir à réduire la distance dont les objets attirés dépassent l’objet d’attraction. Avec des valeurs de glissement faibles, l’objet attiré va au-delà de l’objet d’attraction, puis rebondit sans cesse autour. Avec des valeurs élevées, l’objet s’immobilise plus rapidement. Inclure X, Y et Z : boutons vous permettant d’indiquer dans quel plan le ou les objets attirés dérivent en direction de l’objet d’attraction. Par exemple, si vous activez les axes X et Y, l’objet dérive dans le plan (X,Y). De même, si vous activez les axes Y et Z, l’objet dérive dans le plan (Y,Z). Comportements connexes « Attiré vers, », « Attracteur, », « Dérive attiré vers, », « En orbite, », « Ressort, », « Vortex ». Collision sur les bords Ce comportement s’avère fort utile pour configurer des simulations d’animation élaborées sans déplacer les objets effectivement présents dans le Canevas. Les objets auxquels vous appliquez ce comportement s’immobilisent ou rebondissent après être entrés en collision avec le bord du Canevas. Par exemple, si vous appliquez le comportement Lancer à un objet et optez pour une vitesse telle que cet objet est envoyé vers le bord du Canevas, puis lui appliquez le comportement Collision sur les bords, l’objet bute contre le bord et rebondit en fonction du paramètre Force de rebond. Trajectoire d’animation d’un objet lancé, puis modifié par le comportement Collision sur les bords512 Chapitre 5 Utilisation des comportements L’angle selon lequel l’objet rebondit dépend de son angle de collision avec le bord du cadre, alors que sa vitesse de déplacement après rebond varie en fonction du paramè- tre Force de rebond. Remarque : le comportement Collision sur les bords n’a aucun effet sur les objets qui sont plus grands que le Canevas. Important : par défaut, le comportement Collision sur les bords utilise la taille du projet et le cadre de sélection pour déterminer de quelle façon l’objet rebondit sur le bord du Canevas. Dans le cas d’un projet NTSC Broadcast SD (720 x 486 pixels), un objet rebondit sur les bords droit et gauche du projet, au niveau de son cadre de sélection. Avec les groupes (particules, texte et objets), seul le centre de l’objet est utilisé. Vous pouvez également faire en sorte que l’objet se déplace au-delà des limites du Canevas avant de rebondir grâce aux paramètres Largeur et Hauteur. Si vous appliquez ce comportement à un objet doté d’un canal alpha plus petit que son cadre de sélection, réglez le paramètre Rognage dans l’onglet Propriétés de cet objet, afin d’adapter le plus possible le cadre de sélection au bord de l’image. Commandes disponibles dans la palette La palette met à votre disposition les commandes Force de rebond, Largeur, Hauteur et Profondeur. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Force de rebond : vitesse à laquelle les objets se déplacent après être entrés en collision avec un bord. En cas de valeur égale à 0, l’objet s’immobilise complètement après sa collision avec un bord perpendiculaire à la direction de son déplacement. Des valeurs élevées accélèrent son déplacement après le rebond. Ce paramètre ne ralentit l’objet que si sa direction est perpendiculaire au bord contre lequel il rebondit. Bords actifs : six cases à cocher déterminent les bords détectés par le comportement Collision sur les bords. Vous pouvez activer et désactiver des bords à votre guise. Face gauche : la collision a lieu contre le bord gauche. Face droite : la collision a lieu contre le bord droit. Face haut : la collision a lieu contre le bord supérieur. Face bas : la collision a lieu contre le bord inférieur.Chapitre 5 Utilisation des comportements 513 Face arrière : la collision a lieu contre le bord arrière (selon l’axe Z). Face avant : la collision a lieu contre le bord avant (selon l’axe Z). Largeur : curseur vous permettant de définir une largeur (entre les bords droit et gauche du Canevas) différente de la taille du projet. Par défaut, le paramètre Largeur correspond à la taille du projet. Hauteur : curseur vous permettant de définir une hauteur (entre les bords supérieur et inférieur du Canevas) différente de la taille du projet. Par défaut, le paramètre Hauteur correspond à la taille du projet. Profondeur : curseur vous permettant de définir une profondeur (entre les faces arrière et avant, selon l’axe Z) pour la collision sur les bords. Par défaut, le paramètre Profondeur est réglé sur 100 pixels. Gravité Ce comportement vous permet de faire tomber au fil du temps un objet ou tous les objets d’un groupe (si la case Affecter les sous-objets est cochée). Il est possible de réduire et d’augmenter l’accélération gravitationnelle, ce qui modifie la vitesse de la chute. Si vous appliquez le comportement Gravité à des objets, ils continuent à tomber au-delà du bord inférieur du Canevas (sauf si vous leur avez également appliqué le comportement Collision sur les bords). Le comportement Gravité peut s’utiliser conjointement avec d’autres comportements qui animent la position des objets : vous obtenez ainsi des arcs et des trajectoires réalistes simulant des objets tombant à terre après avoir été lancés. Par exemple, appliquez le comportement Lancer à un objet pour l’envoyer en l’air, puis le comportement Gravité pour qu’il décrive un arc et tombe au-delà du bord inférieur du Canevas. Vous pouvez également attribuer une valeur négative au paramètre Accélération pour générer un phénomène « anti-gravitationnel » faisant s’élever l’objet. Trajectoire d’animation d’un objet attiré vers le bas par le comportement Gravité514 Chapitre 5 Utilisation des comportements Commandes disponibles dans la palette La palette vous permet d’ajuster le paramètre Accélération. Lorsque vous appliquez ce comportement à un objet contenant plusieurs objets (comme un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Accélération : curseur déterminant la force de gravité subie par l’objet cible. Plus cette valeur est élevée, plus l’objet cible tombe rapidement. Comportements connexes « Trajectoire d’animation, », « Animation aléatoire, », « Lancer, », « Vent ». En orbite Ce comportement est comparable au comportement Attiré vers. Ses réglages par défaut dotent l’objet d’une vitesse initiale suffisante pour tourner en orbite autour d’un autre objet en décrivant un cercle parfait. Remarque : des comportements, tels que Attracteur et Repousser, appliqués à des objets situés à proximité peuvent perturber le mouvement d’un objet doté du comportement En orbite. Trajectoire d’animation d’un objet affecté par le comportement En orbiteChapitre 5 Utilisation des comportements 515 Commandes disponibles dans la palette La palette affiche un cadre d’objet qui vous permet de définir un objet d’attraction, ainsi que les commandes Force, Type d’atténuation, Vitesse d’atténuation, Influence, Glissement, Direction et des boutons de sélection des axes de déplacement et de l’axe de perche. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Objet : cadre permettant de définir l’objet autour duquel tourner. Pour ce faire, faites glisser l’objet cible de l’onglet Couches vers le cadre d’objet présent dans la palette En orbite ou l’Inspecteur. Vous pouvez également faire glisser l’objet cible sur le comportement En orbite dans l’onglet Couches. Force : curseur déterminant la vitesse à laquelle l’objet se déplace. Type d’atténuation : menu local déterminant si la distance fixée par le paramètre Influence s’atténue de façon linéaire ou exponentielle. L’option par défaut est Linéaire.  Linéaire : l’attraction s’atténue proportionnellement à la distance de l’objet.  Exponentiel : plus un objet est proche de la zone d’influence, plus il est attiré et plus il se déplace vite en direction de l’objet d’attraction. Cadre d’image servant à définir l’objet d’attraction516 Chapitre 5 Utilisation des comportements Vitesse d’atténuation : cette valeur détermine à quelle vitesse la force d’attraction entre des objets affectés par ce comportement s’atténue. Une valeur faible provoque une accélération rapide des objets lors de leur déplacement en direction de l’objet d’attraction. Avec une valeur plus élevée, les objets accélèrent de façon beaucoup plus progressive. Si vous réglez Type d’atténuation sur Exponentiel, l’attraction s’atténue beaucoup plus rapidement que dans le cas d’une atténuation linéaire. Influence : curseur déterminant le rayon du cercle d’influence (en pixels). Les objets se trouvant dans la zone d’influence se déplacent en direction de l’objet d’attraction. Les objets situés en dehors de cette zone restent à leur place. Glissement : la valeur par défaut du comportement En orbite est 0, ce qui correspond à une orbite stable. Toute autre valeur réduit l’orbite et l’objet affecté décrit alors une spirale autour de l’objet d’attraction. Inclure X, Y et Z : boutons vous permettant d’indiquer dans quel plan le ou les objets tournent en orbite. Si vous activez, par exemple, X et Y, l’objet tourne en orbite dans le plan (X,Y). Dans l’illustration ci-dessous, X et Y sont activés dans le paramètre Inclure. Les trajectoires d’animation tracées en jaune représentent le mouvement des étoiles blanches autour de l’objet cible (l’étoile avec un contour orange). Le cadre gris clair représente la limite du groupe. Dans l’illustration ci-dessous, Y et Z sont activés dans le paramètre Inclure. Les étoiles blanches tournent alors autour de l’objet cible dans le plan (Y,Z).Chapitre 5 Utilisation des comportements 517 Axe de perche : ce paramètre n’est disponible que si vous activez les axes X, Y et Z dans le paramètre Inclure. Comme tous les points sont à une distance fixe de l’objet cible ou attracteur (l’axe de perche), vous pouvez visualiser l’objet sur une sphère représentant toutes les orbites possibles, l’objet cible étant situé au centre de cette sphère. Le paramètre Axe de perche définit les deux points sur la sphère par lesquels l’orbite doit passer.  X : l’image suivante illustre le paramètre Axe de perche réglé sur X. Le cadre gris clair représente la limite du groupe.  Y : l’image suivante illustre le paramètre Axe de perche réglé sur Y.  Z : l’image suivante illustre le paramètre Axe de perche réglé sur Z.518 Chapitre 5 Utilisation des comportements  Aléatoire : lorsque cette option est sélectionnée, les axes sont décalés vers une position aléatoire. Direction : menu local permettant de décider le sens de rotation des objets (sens des aiguilles d’une montre ou inverse). Comportements connexes « Attiré vers, », « Attracteur, », « Dérive attiré vers, », « Attracteur de dérive, », « Ressort, », « Vortex ». Animation aléatoire Lorsque vous appliquez le comportement Animation aléatoire à un objet, il anime la position de cet objet et le déplace dans le Canevas selon une trajectoire aléatoire. Même si l’animation créée via ce comportement semble aléatoire, elle est en fait prédé- terminée par le groupe de paramètres choisis. Tant que vous ne modifiez pas les paramètres, la trajectoire d’animation générée par ce comportement reste inchangée. Si vous n’êtes pas satisfait de la trajectoire aléatoire obtenue, cliquez sur le bouton Générer dans la palette ou l’onglet Comportements de l’Inspecteur afin de choisir un nouveau nombre de valeurs aléatoires. Ce nombre sert à créer une autre trajectoire. Trajectoire d’animation d’une forme affectée par le comportement Animation aléatoire. La forme de la trajectoire est fonction du paramètre Valeur.Chapitre 5 Utilisation des comportements 519 Le comportement Animation aléatoire s’avère très utile pour créer rapidement diverses trajectoires pour de nombreux objets à déplacer simultanément. Vous pouvez, par exemple, disposer dix objets dans le Canevas et leur appliquer à tous le comportement Animation aléatoire. Vous pouvez également utiliser le comportement Animation aléatoire pour faire varier des trajectoires d’animation créées par d’autres comportements affectant la position d’un objet. Par exemple, appliquez le comportement Animation aléatoire à un objet déjà affecté par le comportement En orbite pour obtenir une trajectoire orbitale plus irrégulière. Commandes disponibles dans la palette La palette met à votre disposition les commandes Quantité, Fréquence, Bruit, Glissement, Valeur aléatoire et des boutons de sélection des axes de déplacement. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Quantité : curseur déterminant la vitesse à laquelle l’objet se déplace en modifiant la longueur de sa trajectoire d’animation. Des valeurs élevées entraînent une animation plus rapide et des trajectoires d’animation plus longues. Forme affectée par le comportement En orbite Comportement En orbite modifié par Animation aléatoire520 Chapitre 5 Utilisation des comportements Fréquence : curseur déterminant le nombre de virages dans la trajectoire d’animation, illustrés par toutes les courbures visibles. Des valeurs élevées augmentent le nombre de virages dans la trajectoire d’animation. Des valeurs faibles rendent les trajectoires plus droites. Bruit : curseur déterminant un autre niveau d’irrégularité pour la forme de la trajectoire d’animation définie par le paramètre Quantité. Des valeurs élevées donnent une trajectoire plus irrégulière. Glissement : curseur contrôlant la vitesse à laquelle l’objet se déplace le long de sa trajectoire d’animation. Alors que le paramètre Quantité définit la longueur de la trajectoire, le paramètre Glissement rétrécit ou élargit cette dernière dans son ensemble. Inclure X, Y et Z : boutons vous permettant d’indiquer le plan dans lequel le mouvement aléatoire est appliqué. Par exemple, si vous activez les axes X et Y, le mouvement s’effectue dans le plan (X,Y). De même, si vous activez les axes Y et Z, le mouvement s’effectue dans le plan (Y,Z). Valeur aléatoire : bouton permettant de choisir un nouveau nombre de valeurs aléatoires. Ce nombre sert à générer de façon aléatoire de nouvelles trajectoires d’animation en fonction des valeurs choisies pour les autres paramètres de ce comportement. Comportements connexes « Trajectoire d’animation, », « Gravité, », « Lancer, », « Vent ». Repousser Si vous appliquez le comportement Repousser à un objet, il repousse tous les objets situés dans sa zone d’influence dans le Canevas. Vous avez alors la possibilité de réduire ou d’augmenter la force avec laquelle les objets sont repoussés, ainsi que la distance qu’ils parcourent lorsqu’ils sont repoussés. Avant Après Objet avec le comportement RepousserChapitre 5 Utilisation des comportements 521 Vous pouvez également préciser les objets affectés par ce comportement, créant ainsi un effet grâce auquel seuls certains objets se déplacent, alors que d’autres restent immobiles. Le comportement Repousser est l’opposé du comportement Attracteur. Il fait partie d’un groupe de comportements Simulation conçus pour vous permettre de créer des relations animées élaborées entre plusieurs objets. Commandes disponibles dans la palette La palette affiche les commandes Affecter, Force, Type d’atténuation, Vitesse d’atténuation, Influence, Glissement et des boutons de sélection des axes de déplacement. Paramètres dans l’Inspecteur Affecter : menu local vous permettant de limiter les objets de votre projet affectés par le comportement Repousser. Il existe trois options :  Tous les objets : tous les objets du Canevas sont affectés par le comportement Repousser.  Objets connexes : réglage par défaut. Seuls les objets situés dans le même groupe que l’objet de répulsion sont affectés.  Objets spécifiques : seuls les objets figurant dans la liste Objets modifiés sont affectés par le comportement Repousser.  Objets modifiés : liste apparaissant lorsque l’option Objets spécifiques est sélectionnée dans le menu local Affecter. Faites glisser des objets ou des groupes de l’onglet Couches vers cette liste pour qu’ils soient affectés par le comportement Repousser. Pour supprimer un élément de la liste, il vous suffit de le sélectionner, puis de cliquer sur Supprimer. Force : curseur déterminant la vitesse à laquelle les objets repoussés s’éloignent de l’objet. Dans le cas d’une valeur égale à 0, les objets repoussés restent immobiles. Plus la valeur indiquée est élevée, plus les objets repoussés se déplacent vite. Type d’atténuation : menu local déterminant si la distance fixée par le paramètre Influence s’atténue de façon linéaire ou exponentielle.  Linéaire : la répulsion s’atténue proportionnellement à la distance de l’objet.  Exponentiel : plus un objet est proche de la zone d’influence, plus il est repoussé et plus il s’éloigne vite de l’objet de répulsion. Vitesse d’atténuation : cette valeur détermine à quelle vitesse la force de répulsion entre des objets affectés par ce comportement s’atténue. Une valeur faible provoque une accélération rapide des objets lors de leur éloignement de l’objet de répulsion. Avec une valeur plus élevée, les objets accélèrent de façon beaucoup plus progressive. Si vous réglez Type d’atténuation sur Exponentiel, l’attraction s’atténue beaucoup plus rapidement que dans le cas d’une atténuation linéaire.522 Chapitre 5 Utilisation des comportements Influence : curseur déterminant le rayon du cercle d’influence (en pixels). Les objets se trouvant dans la zone d’influence s’éloignent de l’objet de répulsion. Les objets situés en dehors de cette zone restent à leur place. Glissement : curseur pouvant servir à réduire la distance dont les objets repoussés s’éloignent de l’objet de répulsion. Inclure X, Y et Z : boutons vous permettant d’indiquer dans quel plan les objets repoussés s’éloignent de l’objet doté du comportement Repousser. Par exemple, si vous activez les axes X et Y, l’objet s’éloigne dans le plan (X,Y). De même, si vous activez les axes Y et Z, l’objet s’éloigne dans le plan (Y,Z). Comportements connexes « Repousser à partir de » Repousser à partir de Alors que le comportement Repousser permet de repousser d’autres objets, le comportement Repousser à partir de provoque l’effet inverse. En effet, l’objet auquel il est appliqué s’éloigne d’un objet sélectionné dans le Canevas. Commandes disponibles dans la palette La palette affiche un cadre d’image qui vous permet de définir un objet de répulsion, ainsi que les commandes Force, Type d’atténuation, Vitesse d’atténuation, Influence, Glissement et des boutons de sélection des axes de déplacement. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Objet : cadre permettant de définir l’objet de répulsion. Force : curseur déterminant la vitesse à laquelle l’objet est repoussé. Dans le cas d’une valeur égale à 0, l’objet repoussé reste immobile. Plus la valeur indiquée est élevée, plus l’objet repoussé se déplace vite.Chapitre 5 Utilisation des comportements 523 Type d’atténuation : menu local déterminant si la distance fixée par le paramètre Influence s’atténue de façon linéaire ou exponentielle.  Linéaire : la répulsion s’atténue proportionnellement à la distance de l’objet.  Exponentiel : plus un objet est proche de la zone d’influence, plus il est repoussé et plus il s’éloigne vite de l’objet de répulsion. Vitesse d’atténuation : cette valeur détermine à quelle vitesse la force de répulsion entre des objets affectés par ce comportement s’atténue. Une valeur faible provoque une accélération rapide des objets lors de leur éloignement de l’objet de répulsion. Avec une valeur plus élevée, les objets accélèrent de façon beaucoup plus progressive. Si vous réglez Type d’atténuation sur Exponentiel, l’attraction s’atténue beaucoup plus rapidement que dans le cas d’une atténuation linéaire. Influence : curseur déterminant le rayon du cercle d’influence (en pixels). Les objets se trouvant dans la zone d’influence s’éloignent de l’objet de répulsion. Les objets situés en dehors de cette zone restent à leur place. Glissement : curseur pouvant servir à réduire la distance dont le ou les objets repoussés s’éloignent de l’objet de répulsion. Inclure X, Y et Z : boutons vous permettant d’indiquer dans quel plan les objets s’éloignent de l’objet sélectionné. Par exemple, si vous activez les axes X et Y, l’objet se déplace dans le plan (X,Y). De même, si vous activez les axes Y et Z, l’objet se déplace dans le plan (Y,Z). Comportements connexes « Repousser » Mouvement de rotation Ce comportement est semblable au comportement Glissement, sauf qu’il influence la Rotation au lieu de la position. Il vous permet de simuler la force de frottement exercée sur les objets qui pivotent du fait des modifications apportées à leur paramètre Rotation avec des images clés ou d’autres comportements. Avec des valeurs élevées, vous pouvez ralentir les changements de rotation jusqu’à un arrêt final. Commandes disponibles dans la palette La palette vous permet d’ajuster le paramètre Quantité. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette.524 Chapitre 5 Utilisation des comportements Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Quantité : curseur servant à ralentir la rotation d’un objet au fil du temps, jusqu’à son arrêt éventuel. Des valeurs élevées font s’arrêter plus vite la rotation. Comportements connexes « Glissement » Ressort Ce comportement vous permet d’établir une relation entre deux objets, de telle sorte que l’objet auquel il est appliqué effectue des va-et-vient autour de l’autre. Vous devez utiliser le paramètre Attiré vers pour indiquer l’objet servant de cible et de centre au comportement Ressort. D’autres paramètres vous permettent de fixer la vitesse du comportement (Tension du ressort) et l’accélération de l’objet à chaque changement de direction (Longueur de détente). Si l’objet indiqué dans le paramètre Attiré vers est à l’arrêt, l’animation est assez simple et l’objet en mouvement effectue des va-et-vient selon une ligne droite. En revanche, si l’objet indiqué dans le paramètre Attiré vers est animé, le mouvement de l’autre objet est beaucoup plus complexe, avec des changements de direction en fonction de la vitesse de l’objet défini dans le paramètre Attiré vers. Commandes disponibles dans la palette La palette affiche un cadre d’image qui vous permet de définir l’objet Attiré vers. Vous y avez également accès aux paramètres Tension du ressort, Longueur de détente et à des boutons de sélection des axes de déplacement. Une case permet d’activer le paramètre Repousser. Lorsque ce comportement est appliqué à un objet contenant plusieurs objets (par exemple, un groupe, des particules, un texte ou un réplicateur), la case « Affecter les sous-objets » apparaît également dans la palette. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un.Chapitre 5 Utilisation des comportements 525 Attiré vers : cadre d’image permettant de définir l’objet d’attraction. Pour ce faire, faites glisser l’objet cible de l’onglet Couches vers le cadre Attiré vers présent dans la palette Ressort ou l’Inspecteur. Vous pouvez également faire glisser l’objet cible sur le comportement Ressort dans l’onglet Couches. Tension du ressort : curseur déterminant la vitesse à laquelle l’objet est tiré en direction de l’objet d’attraction. Longueur de détente : distance depuis l’objet cible à partir de laquelle l’attraction diminue jusqu’à atteindre une valeur nulle. Sachant que la distance de l’objet en mouvement augmente au-delà de ce point, la force d’attraction augmente proportionnellement pour le faire revenir vers l’objet cible. Repousser : cochez cette case pour que les objets s’écartent l’un de l’autre lorsque le premier se rapproche de l’objet d’attraction au-delà de la valeur Longueur de détente. Désactivez-la pour qu’aucune force de répulsion ne soit appliquée. Inclure X, Y et Z : boutons vous permettant d’indiquer dans quel plan l’objet affecté effectue des va-et-vient autour de l’objet d’attraction. Par exemple, si vous activez les axes X et Y, les va-et-vient s’effectuent dans le plan (X,Y). De même, si vous activez les axes Y et Z, les va-et-vient s’effectuent dans le plan (Y,Z). Comportements connexes « Attiré vers, », « Attracteur, », « Dérive attiré vers, », « Attracteur de dérive, », « En orbite, », « Vortex ». Vortex Ce comportement est l’opposé de En orbite. Alors que le comportement En orbite fait tourner un objet autour d’un objet cible, le comportement Vortex exerce une force sur tous les objets entourant l’objet auquel il est appliqué. Commandes disponibles dans la palette La palette affiche un menu local vous permettant de limiter les objets affectés par ce comportement, ainsi que les commandes Force, Type d’atténuation, Vitesse d’atténuation, Influence, Glissement, Direction et des boutons de sélection des axes de déplacement. Paramètres dans l’Inspecteur Affecter : menu local vous permettant de limiter les objets de votre projet affectés par le comportement Vortex. Il existe trois options :  Tous les objets : tous les objets du Canevas sont affectés par le comportement Vortex.  Objets connexes : réglage par défaut. Seuls les objets situés dans le même objet que l’objet d’attraction sont affectés.526 Chapitre 5 Utilisation des comportements  Objets spécifiques : seuls les objets figurant dans la liste Objets modifiés sont affectés par le comportement Vortex.  Objets modifiés : liste apparaissant lorsque l’option Objets spécifiques est sélectionnée dans le menu local Affecter. Faites glisser des objets dans cette liste depuis l’onglet Couches pour qu’ils soient affectés par le comportement Vortex lorsque l’option Objets spécifiques est sélectionnée dans le menu local Affecter. Pour supprimer un élément de la liste, il vous suffit de le sélectionner, puis de cliquer sur Supprimer. Force : curseur déterminant la vitesse à laquelle les objets affectés se déplacent autour de l’objet d’attraction. Type d’atténuation : menu local déterminant si la distance fixée par le paramètre Influence s’atténue de façon linéaire ou exponentielle. L’option par défaut est Linéaire.  Linéaire : l’attraction s’atténue proportionnellement à la distance de l’objet.  Exponentiel : plus un objet est proche de la zone d’influence, plus il est attiré et plus il se déplace vite en direction de l’objet d’attraction. Vitesse d’atténuation : cette valeur détermine à quelle vitesse la force d’attraction entre des objets affectés par ce comportement s’atténue. Une valeur faible provoque une accélération rapide des objets lors de leur déplacement en direction de l’objet d’attraction. Avec une valeur plus élevée, les objets accélèrent de façon beaucoup plus progressive. Si vous réglez Type d’atténuation sur Exponentiel, l’attraction s’atténue beaucoup plus rapidement que dans le cas d’une atténuation linéaire. Influence : curseur déterminant le rayon du cercle d’influence (en pixels). Les objets se trouvant dans la zone d’influence se déplacent en direction de l’objet d’attraction. Les objets situés en dehors de cette zone restent à leur place. Glissement : la valeur par défaut du comportement Vortex est 0, ce qui correspond à un vortex stable. Toute autre valeur réduit le vortex et l’objet affecté décrit alors une spirale autour de l’objet d’attraction. Inclure X, Y et Z : boutons vous permettant d’indiquer dans quel plan les objets affectés tournent autour de l’objet d’attraction. Par exemple, si vous activez les axes X et Y, l’objet tourne dans le plan (X,Y). De même, si vous activez les axes Y et Z, l’objet tourne dans le plan (Y,Z). Axe de perche : ce paramètre n’est disponible que si vous activez les axes X, Y et Z dans le paramètre Inclure. Comme tous les points sont à une distance fixe de l’objet cible ou attracteur (l’axe de perche), vous pouvez visualiser l’objet sur une sphère représentant toutes les orbites possibles, l’objet cible étant situé au centre de cette sphère. Le paramètre Axe de perche définit les deux points sur la sphère par lesquels l’orbite doit passer. Pour en savoir plus sur ce paramètre, voir « En orbite » à la page 514.Chapitre 5 Utilisation des comportements 527 Direction : menu local permettant de décider le sens de rotation des objets (sens des aiguilles d’une montre ou inverse). Comportements connexes « Attiré vers, », « Attracteur, », « Dérive attiré vers, », « Attracteur de dérive, », « En orbite, », « Ressort ». Vent Appliquez ce comportement à un objet pour en animer la position et le déplacer dans la direction indiquée. Contrairement au comportement Lancer, la vitesse choisie pour le comportement Vent correspond à une force continue, ses paramètres pouvant être animés avec des images clés pour obtenir des changements graduels de vitesse et de direction. En comparaison du comportement Lancer, l’avantage de ce comportement est évident si vous souhaitez modifier la vitesse de l’objet en cours d’animation. Vous pouvez soit appliquer un autre comportement (Rendre aléatoire ou Pente), soit animer le paramètre Vitesse du comportement Vent avec des images clés pour modifier la vitesse et la direction de l’objet. Il est en revanche impossible d’effectuer des changements graduels de vitesse et de direction avec le comportement Lancer. Commandes disponibles dans la palette Remarque : la palette vous permet de préciser la direction et la vitesse du comportement Vent en faisant glisser une flèche à l’intérieur d’une zone circulaire. Le sens de la flèche détermine la direction du mouvement selon les axes X et Y, alors que sa longueur définit la vitesse. Un curseur situé à droite vous permet de déterminer l’échelle des commandes disponibles dans la palette, ce qui augmente ou diminue leur effet sur l’objet. Appuyez sur la touche Maj lors du glissement de la flèche pour limiter le mouvement à un angle de 45 degrés. Appuyez sur la touche Commande pour changer le sens de la flèche sans modifier sa longueur. Commandes gérant le sens et la vitesse du vent. Réglage de l’échelle des commandes de la palette.528 Chapitre 5 Utilisation des comportements Affiché en haut de la palette, le bouton 3D vous permet d’utiliser la flèche centrale pour définir la direction dans laquelle l’objet est soufflé par le vent en 3D. Le curseur Vitesse (à gauche de la palette) vous permet alors d’augmenter ou de réduire la vitesse à laquelle l’objet est déplacé. Remarque : la vitesse maximale qu’il vous est possible de fixer dans la palette ne correspond pas à la vitesse maximale autorisée. Vous pouvez en effet saisir des valeurs plus élevées pour le paramètre Vitesse dans l’onglet Comportements de l’Inspecteur. Paramètres dans l’Inspecteur Affecter les sous-objets : ce paramètre apparaît lorsque vous appliquez ce comportement à un objet contenant plusieurs objets, comme un groupe, un émetteur de particules, un réplicateur ou une couche de texte. Si vous cochez cette case, tous les objets constituant l’objet parent sont affectés de manière individuelle. Dans le cas contraire, tous les objets contenus dans l’objet parent sont affectés simultanément par le comportement, comme s’ils ne faisaient qu’un. Densité de l’air : curseur et curseur de valeur déterminant la vitesse d’accélération de l’objet (selon l’axe X, Y ou Z) lors d’un changement de vitesse. Des valeurs peu élevées (simulant une faible densité de l’air) ont un impact moins important lorsque l’objet est poussé : son accélération prend donc plus de temps. Quant aux valeurs élevées (air plus dense), elles sont plus efficaces et poussent l’objet pour qu’il accélère plus rapidement. Vélocité : curseur et curseur de valeur déterminant la vitesse (selon l’axe X, Y ou Z) à laquelle l’air simulé souffle sur l’objet. Des valeurs élevées accélèrent l’animation. Comportements connexes « Trajectoire d’animation, », « Gravité, », « Animation aléatoire, », « Lancer ». Exemples de comportements Les exemples suivants illustrent diverses possibilités de combinaisons de groupes de comportements pour obtenir toute une variété d’effets. Réglage de la vitesse du vent. Réglage de la direction du vent selon les axes X, Y et Z.Chapitre 5 Utilisation des comportements 529 Exemple 1 : création d’un générique animé Dans cet exemple, plusieurs comportements Animation standard sont utilisés pour créer les éléments d’une séquence de générique. À l’arrière-plan, le plan s’ouvre en fondu, puis des objets graphiques apparaissent en fondu, pivotent, grossissent, pour finalement traverser l’écran. Pour créer les éléments animés d’un séquence de générique : 1 Disposez les deux premières couches graphiques de façon à déterminer leur position dans votre composition. Si vous souhaitez suivre cet exemple, utilisez le fichier « dolphin full.mov » situé dans le dossier /Bibliothèque/Application Support/Final Cut Studio/Motion/Sample Media/ National Geographic et le fichier « circleText.psd » placé dans le dossier /Bibliothèque/ Application Support/Final Cut Studio/Motion/Sample Media/Graphicsde votre ordinateur. Positionnez alors la couche « circleText » au-dessus du plan du dauphin dans la liste de couches. Remarque : si vous utilisez le plan du dauphin, déplacez la tête de lecture sur l’image 150, puis appuyez sur les touches Commande + Option + O pour marquer la plage de lecture. Le projet est alors lu en boucle depuis la fin du plan. 2 Tout en lisant le projet (appuyez sur les touches Commande + Barre d’espace), sélectionnez ces deux couches dans la liste de couches, cliquez sur l’icône Ajouter comportement dans la barre d’outils, puis choisissez Animation standard dans le menu local et Fondu entrant/sortant dans le sous-menu pour appliquer ce comportement aux deux couches simultanément. Si vous sélectionnez plusieurs objets, la barre de titre de la palette indique « Sélection multiple ».530 Chapitre 5 Utilisation des comportements 3 Tout en maintenant la touche Commande enfoncée, cliquez sur les deux comportements dans la liste de couches, puis faites glisser vers la droite la pente grisée située à gauche de la palette Fondu entrant/sortant, afin d’allonger l’effet de fondu entrant. La barre de titre de la palette indique Sélection multiple pour vous rappeler que vous modifiez deux comportements simultanément. 4 Faites glisser le plus à droite possible la pente grisée de droite jusqu’à ce qu’elle forme un bord vertical sans ombre. L’effet de fondu sortant est ainsi éliminé et les couches demeurent à l’écran pour le reste de leur durée. 5 Sélectionnez la couche « circleText », cliquez sur l’icône Ajouter comportement de la barre d’outils, choisissez Animation standard dans le menu local, puis Rotation dans le sous-menu. 6 Dans la palette Rotation, cliquez en haut du cercle, puis faites glisser le pointeur dans le sens contraire des aiguilles d’une montre afin de régler la vitesse et la direction de la rotation. 7 Alors que la couche « circleText » est sélectionnée, appuyez sur les touches Commande + D pour dupliquer cette couche et ses comportements. Chapitre 5 Utilisation des comportements 531 8 Repositionnez la couche dupliquée dans le Canevas, appuyez sur la touche Maj, puis faites glisser l’une de ses poignées d’angle pour la remettre à l’échelle. 9 Alors que la couche dupliquée est sélectionnée, cliquez sur l’icône Ajouter comportement de la barre d’outils, choisissez Animation standard dans le menu local, puis Trajectoire d’animation dans le sous-menu. La couche se déplace depuis sa position d’origine vers la droite du Canevas, puis au-delà. Utilisez le paramètre Direction du comportement Trajectoire d’animation pour changer la direction dans laquelle la couche se déplace sur sa trajectoire. Ce paramètre n’est disponible que dans l’Inspecteur. 10 Ouvrez l’Inspecteur et cliquez sur l’onglet Comportements. Choisissez Inverser dans le menu local Direction. La couche se déplace désormais de droite à gauche. 11 Dans la mini-Timeline (juste sous le Canevas), faites glisser la fin du comportement Trajectoire d’animation vers la gauche jusqu’à ce que sa durée atteigne 200 images.532 Chapitre 5 Utilisation des comportements La couche se déplace plus vite le long de sa trajectoire. Vous pouvez également raccourcir la trajectoire en rapprochant son point de départ dans le Canevas. Remarque : vous avez également la possibilité de modifier la forme de la trajectoire en lui ajoutant des points ou en sélectionnant une forme prédéfinie, telle qu’une ellipse ou un rectangle. Pour en savoir plus, voir « Trajectoire d’animation » à la page 450. 12 Alors que la couche dupliquée est sélectionnée, cliquez sur l’icône Ajouter comportement de la barre d’outils, choisissez Animation standard dans le menu local, puis Grossir/ Rétrécir dans le sous-menu. 13 Dans l’onglet Comportements, choisissez « Pente constante jusqu’à la valeur finale » dans le menu local Incrémentation du comportement Grossir/Rétrécir, puis réglez le paramètre « Changer la taille de » sur 125 %. Au lieu de grossir indéfiniment, la couche est désormais redimensionnée à 125 % de sa taille d’origine. Exemple 2 : utilisation des comportements de simulation Gravité et Collision sur les bords Le comportement Gravité permet de faire tomber un objet au fil du temps, à une vitesse définie par le paramètre Accélération. À moins de lui avoir appliqué d’autres comportements (comme Collision sur les bords), l’objet continue à tomber au-delà du bord infé- rieur du Canevas (ou de son bord supérieur, si vous avez utilisé une valeur négative pour le paramètre Accélération). Dans cet exemple, un groupe constitué de quatre couches (des cercles) est utilisé pour illustrer l’utilisation des comportements Gravité et Collision sur les bords. Remarque : bien que vous puissiez appliquer des comportements Simulation à des objets distincts, ils révèlent tout leur intérêt lorsque vous les utilisez sur des groupes d’objets. Certains comportements Simulation, tels que Vortex, nécessitent l’existence d’un autre objet dans le projet pour avoir le moindre effet. En effet, si vous appliquez le comportement Vortex à un objet, vous avez besoin d’un autre objet pour que le premier se mette à tourner autour. La situation est identique avec le comportement En orbite. Cet exemple utilise un contenu fourni avec Motion. Vous pouvez donc le suivre pas à pas. Dans ce cas, le comportement Gravité est appliqué au groupe (« cercles 1 ») qui contient quatre couches (des cercles colorés semi-transparents). Chapitre 5 Utilisation des comportements 533 Pour utiliser le comportement Gravité : 1 Faites glisser le fichier « orangeCircles.psd » depuis le dossier /Bibliothèque/Application Support/Final Cut Studio/Motion/Sample Media/Graphics vers le Canevas tout en maintenant le bouton de la souris enfoncé jusqu’à ce qu’un menu déroulant apparaisse. 2 Choisissez Importer toutes les couches dans ce menu déroulant. Le fichier Photoshop importé est constitué d’un seul groupe de quatre couches. Chaque couche est un cercle de couleur semi-transparent. Comme vous avez sélectionné la commande « Importer toutes les couches » lors de l’importation, les couches sont importées sous forme de couches séparées au sein d’un même groupe. 3 Double-cliquez sur la couche « orangeCircles », saisissez « cercles 1 », puis appuyez sur Retour. La couche est renommée. 4 Appliquez le comportement Gravité au groupe « cercles 1 ». La trajectoire d’animation créée par le comportement Gravité apparaît dans le Canevas et le groupe de cercles tombe lorsque vous lisez le projet. Comme ce comportement est appliqué au groupe, toutes les couches du groupe tombent à la même vitesse. Comportement Gravité appliqué à un groupe (et non aux couches qui constituent ce groupe)534 Chapitre 5 Utilisation des comportements 5 Pour augmenter la vitesse de chute des couches, faites glisser vers la droite le curseur Accélération affiché par la palette Gravité ou l’Inspecteur (dans cet exemple, la valeur du paramètre Accélération est réglée sur 100). Remarque : vous pouvez saisir une valeur négative dans le champ de valeur Accélération de l’Inspecteur afin que les couches s’élèvent, au lieu de tomber. Pour utiliser le comportement Collision sur les bords : 1 Appliquez le comportement « Collision sur les bords » au groupe « cercles1 ». 2 Dans la palette « Collision sur les bords » (ou l’Inspecteur), désactivez la case « Affecter les sous-objets ». Si vous appliquez le comportement « Collision sur les bords » à un groupe en désactivant le paramètre « Affecter les sous-objets », l’ensemble du groupe « rebondit » sur le bord inférieur de l’écran, au niveau du point d’ancrage du groupe. 3 Cochez la case « Affecter les sous-objets » dans la palette « Collision sur les bords » (ou l’Inspecteur). Remarque : les paramètres disponibles dans l’Inspecteur pour le comportement « Collision sur les bords » comportent également des commandes Bords actifs permettant d’activer et de désactiver les bords de l’écran (ou de l’espace tridimensionnel) contre lesquels l’objet entre en collision. Par défaut, un objet rebondit sur tous les bords de l’écran. Si vous appliquez le comportement « Collision sur les bords » à un groupe en désactivant le paramètre « Affecter les sous-objets », l’objet (le groupe) rebondit sur le bord de l’écran, au niveau de son point d’ancrage.Chapitre 5 Utilisation des comportements 535 Lorsque le bord inférieur de chaque cercle entre en collision avec le bord inférieur de l’écran, le cercle concerné rebondit vers le haut. Au cours de la lecture du projet, chaque cercle rebondit vers le haut et le bas. D’autres comportements Simulation intègrent le paramètre « Affecter les sous-objets ». Il s’agit notamment des comportements « Aligner sur l’animation », Glissement, Gravité, Animation aléatoire et Mouvement de rotation. Exemple 3 : utilisation des comportements En orbite et Vortex Le comportement En orbite fait tourner un objet en orbite autour d’un autre objet en décrivant un cercle parfait. Vous pouvez d’ailleurs modifier ses paramètres pour créer une animation plus intéressante. Quant au comportement Vortex, il est l’exact opposé. Alors que le comportement En orbite fait tourner un objet autour d’un objet cible, le comportement Vortex exerce une force sur tous les objets entourant l’objet auquel il est appliqué. Les exemples suivants utilisent le même groupe de couches (les cercles de la rubrique précédente, « Exemple 2 : utilisation des comportements de simulation Gravité et Collision sur les bords » à la page 532. Toutefois, les couches sont repositionnées dans le Canevas. Utilisation du comportement En orbite Pour créer une animation à l’aide du comportement En orbite, vous devez indiquer un objet cible autour duquel les autres objets tournent. Pour ce faire, faites glisser l’objet choisi vers le cadre d’objet présent dans l’onglet Comportements du comportement En orbite.536 Chapitre 5 Utilisation des comportements Pour utiliser le comportement En orbite : 1 Dans la liste de couches, cliquez sur le bouton Ajouter (+) pour créer un nouveau groupe. 2 Tout en maintenant la touche Option enfoncée, faites glisser la couche « sm circle » vers le nouveau groupe. Une copie de la couche est ajoutée au nouveau groupe. 3 Renommez la couche « sm circle » en « cercle central », puis positionnez-la au centre du Canevas. 4 Appliquez le comportement En orbite au groupe « circles 1 ». Le comportement En orbite est appliqué au groupe de cercles (« circles 1 ») dans le projet. La couche « cercle central » présente au centre du Canevas est située dans un groupe différent des autres couches. Lors de la première application du comportement En orbite, il ne se passe rien. En effet, vous devez tout d’abord indiquer la couche autour de laquelle le groupe doit tourner.Chapitre 5 Utilisation des comportements 537 5 Faites glisser un objet, ici la couche « cercle central », depuis l’onglet Couches et déposez-la dans le cadre d’objet affiché dans la palette En orbite ou l’Inspecteur. Cet objet devient l’objet cible autour duquel les autres objets tournent en orbite. Vous pouvez également faire glisser l’objet cible sur le comportement En orbite dans l’onglet Couches. Important : il peut s’avérer délicat de faire glisser un objet dans un cadre : veillez à cliquer sur le nom de l’objet dans l’onglet Couches et à faire glisser immédiatement la couche vers le cadre (sans relâcher le bouton de la souris). Le comportement doit alors rester actif, même si vous cliquez sur un autre objet dans l’onglet Couches. Si vous cliquez sur l’objet que vous souhaitez faire glisser vers le cadre d’objet et que vous relâchez le bouton de la souris, l’objet est sélectionné, mais les paramètres du comportement ne sont plus affichés. Ce comportement est valable pour tous les cadres, cadres d’image et de source du masque compris. Pour visualiser à nouveau les paramètres du comportement En orbite, vous devez le sélectionner. 6 Assurez-vous que la case « Affecter les sous-objets » est cochée dans la palette En orbite (ou l’Inspecteur). Lorsque cette case est cochée, tous les objets situés au sein du groupe tournent autour de l’objet cible. D’autres comportements Simulation utilisent également un objet cible. Il s’agit notamment des comportements Attiré vers, Attracteur de dérive, « Repousser à partir de » et Ressort. Faites glisser la couche dans le cadre Objet. Relâchez le bouton de la souris lorsqu’une flèche courbe apparaît au-dessus du cadre.538 Chapitre 5 Utilisation des comportements Utilisation du comportement Vortex Pour créer une animation à l’aide du comportement Vortex, vous devez exercer une force sur tous les objets entourant l’objet auquel le comportement Vortex est appliqué. Vous pouvez d’ailleurs indiquer si Tous les objets, seulement les Objets connexes ou des Objets spécifiques sont affectés par ce comportement. L’exemple suivant utilise le même projet que dans l’exemple précédent. Pour utiliser le comportement Vortex : 1 Sur la base de l’exemple précédent, supprimez le comportement En orbite du projet. 2 Tout en maintenant la touche Option enfoncée, faites glisser la couche « cercle central » dans le groupe « orangeCircles » dans la liste de couches. Remarque : si vous le souhaitez, renommez la couche « cercle central » copiée. Dans cet exemple, les deux couches (l’originale et la copie) portent le même nom : « cercle central ». 3 Appliquez le comportement Vortex à la couche du « cercle central » du groupe situé au-dessus du groupe des cercles. Par défaut, le paramètre Affecter du comportement Vortex est réglé sur Objets connexes. Lorsque cette option est activée, tous les objets situés dans le même groupe que l’objet auquel le comportement est appliqué tournent autour de cet objet. Le cercle étant le seul objet au sein du groupe, il ne se passe rien.Chapitre 5 Utilisation des comportements 539 4 Dans la palette Vortex, choisissez Tous les objets dans le menu local Affecter. Une fois que vous avez choisi cette option, tous les objets du projet (quel que soit le groupe dans lequel ils se trouvent) sont affectés et tournent autour de l’objet auquel le comportement Vortex est appliqué. Lorsque vous utilisez le comportement Vortex, vous disposez de deux méthodes pour créer une animation dans laquelle certains objets seulement (et non tous les objets du projet) tourbillonnent autour de l’objet auquel le comportement Vortex est appliqué :  Réglez le paramètre Affecter sur Objets spécifiques, puis sélectionnez chaque couche que vous souhaitez faire tourner autour de la couche cible.  Déplacez l’objet auquel le comportement Vortex est appliqué dans le même groupe que les couches des cercles, puis réglez le paramètre Affecter sur Objets connexes. Une fois que vous avez choisi le réglage Tous les objets, toutes les couches du projet tourbillonnent autour de la couche à laquelle le comportement est appliqué.540 Chapitre 5 Utilisation des comportements Pour affecter seulement des objets spécifiques : 1 Dans la palette ou l’Inspecteur, réglez le paramètre Affecter du comportement Vortex sur Objets spécifiques (sans déplacer les couches). 2 Si ce paramètre n’apparaît pas, ouvrez l’onglet Comportements de l’Inspecteur. Parmi les paramètres du comportement, une liste Objets modifiés apparaît. 3 Pour appliquer le comportement Vortex à certains objets, faites glisser ces objets de l’onglet Couches vers la liste Objets modifiés. Comme pour les cadres d’objet, vous pouvez déposer un objet dès qu’une flèche courbe apparaît au-dessus de la liste. Au fur et à mesure que vous ajoutez des couches, leur nom et le nom du groupe qui les contient apparaissent dans la liste. Si vous faites glisser un groupe sur la liste Objets modifiés, toutes les couches de ce groupe sont ajoutées à la liste. Remarque : vous pouvez faire glisser des objets de n’importe quel groupe d’un projet vers la liste Objets modifiés. Pour supprimer un objet de la liste, il vous suffit de le sélectionner, puis de cliquer sur Supprimer. Toutes les couches ajoutées à la liste Objets modifiés tourbillonnent autour de la couche à laquelle le comportement Vortex est appliqué.Chapitre 5 Utilisation des comportements 541 Pour affecter seulement les objets connexes : 1 Dans l’onglet Couches, déplacez l’objet auquel le comportement Vortex est appliqué dans le groupe contenant les objets à affecter. Dans ce cas, faites glisser l’objet « cercle central » du Groupe 1 vers le groupe « circles 1 ». 2 Dans l’Inspecteur ou la palette, réglez le paramètre Affecter du comportement Vortex sur Objets connexes. Les objets du groupe tournent autour de l’objet cible. Remarque : d’autres comportements Simulation utilisent également le paramètre Affecter. Il s’agit notamment des comportements Attracteur, Repousser et Attracteur de dérive. Exemple 4 : création d’une animation d’horloge Dans cet exemple, deux comportements Paramètre servent à créer une horloge animée. En agençant correctement les couches et leur point d’ancrage, vous pouvez animer rapidement et très simplement chaque élément à l’aide des comportements Vitesse et Osciller. Remarque : les fichiers source de cet exemple ne sont pas intégrés au dossier Sample Media.542 Chapitre 5 Utilisation des comportements Pour créer une animation d’horloge : 1 Placez les couches graphiques représentant des aiguilles, un cadran et un pendule dans le Canevas de façon à symboliser une horloge. Les aiguilles viennent en haut, le cadran au milieu et le pendule en fond. Par défaut, le point d’ancrage se trouve au centre de chaque objet. Avant d’ajouter des comportements pour animer ces couches, vous devez déplacer les points d’ancrage et animer les couches comme il est nécessaire. Dans cet exemple, les aiguilles doivent pivoter autour du centre du cadran et non de leur propre centre, le pendule devant quant à lui se balancer à partir de son point supérieur. 2 Choisissez l’outil Ajuster le point d’ancrage, puis déplacez les points d’ancrage des deux couches des aiguilles et de la couche du pendule au centre du cadran. Dès lors que votre composition est prête pour l’animation, il ne vous reste plus qu’à appliquer des comportements à chaque couche. 3 Sélectionnez la couche de l’aiguille des minutes, ouvrez l’onglet Propriétés de l’Inspecteur, cliquez sur le paramètre Rotation tout en maintenant la touche Contrôle enfoncée, puis choisissez Vitesse dans le menu contextuel.Chapitre 5 Utilisation des comportements 543 Le comportement Vitesse est appliqué au paramètre Rotation. 4 Dans l’onglet Comportements, réglez le paramètre Vitesse sur –49. De cette façon, l’aiguille des minutes tourne à un rythme régulier dans le sens des aiguilles d’une montre. 5 Sélectionnez la couche de l’aiguille des heures, cliquez sur le paramètre Rotation tout en maintenant la touche Contrôle enfoncée dans l’onglet Propriétés, puis choisissez Vitesse dans le menu contextuel. 6 Dans l’onglet Comportements, réglez le paramètre Vitesse sur –4.544 Chapitre 5 Utilisation des comportements Lorsque vous lisez le projet à ce stade, vous voyez que l’aiguille des heures tourne dans le sens des aiguilles d’une montre de manière continue, tout comme l’aiguille des minutes, mais beaucoup plus lentement, reproduisant le mouvement normal d’une horloge. ∏ Astuce : pour que les aiguilles de l’horloge donnent l’impression d’avancer par « cran », vous pouvez appliquer le comportement Quantifier au paramètre Rotation des aiguilles, puis réglez le paramètre Taille du pas pour l’adapter à l’animation. Il est temps de s’occuper du pendule. dont vous devez déjà avoir ajusté le point d’ancrage tout en haut. De cette façon, la couche inférieure du pendule pourra se balancer correctement. 7 Sélectionnez la couche du pendule, cliquez sur le paramètre Rotation tout en maintenant la touche Contrôle enfoncée dans l’onglet Comportements, puis choisissez Osciller dans le menu contextuel.Chapitre 5 Utilisation des comportements 545 8 Dans l’onglet Comportements, réglez sur 20 le paramètre Amplitude du comportement Osciller. La couche du pendule oscille de manière beaucoup plus raisonnable. 9 Augmentez le paramètre Vitesse à 50. Vous obtenez un mouvement rapide habituel pour une horloge. Et le tour est joué !6 547 6 Images et clés et courbes Que vous souhaitiez envoyer des plans en l’air pour qu’ils traversent l’écran ou animer des réglages de filtres individuels à la volée, les images clés vous permettent de modifier n’importe quel paramètre dans le temps avec une précision extrême. Ce chapitre traite de la création et de la modification d’images clés dans Motion. Si les comportements sont parfaits pour appliquer instantanément des mouvements ou des effets complexes à un objet, les images clés apportent une précision et une flexibilité supplémentaires. Les images clés vous garantissent qu’un événement donné se produit précisément sur l’image que vous avez choisie. La plupart des effets courants ont recours à des images clés. Chaque fois qu’un mouvement ou un effet est synchronisé avec un rythme musical ou un mot en particulier dans la bande son, l’image clé est l’outil idéal pour remplir cette tâche. De plus, tous les effets dans lesquels plusieurs objets sont affectés de manière coordonnée sont en général le résultat d’images clés.548 Chapitre 6 Images et clés et courbes Qu’est-ce que l’animation avec des images clés ? L’animation avec des images clés est le processus visant à affecter une valeur de paramètre spécifique à un objet à un moment bien précis. Par exemple, vous souhaitez peut-être qu’un plan soit mis à l’échelle pour remplir l’écran pendant exactement cinq secondes dans votre projet. Lorsque vous définissez plus d’une image clé, Motion génère des images intermédiaires, ce qui offre un changement régulier du paramètre dans le temps. C’est ce qu’on appelle une interpolation. Par exemple, si vous souhaitez que la couleur d’un titre passe du vert au bleu, vous devez définir deux images clés à deux points différents dans le temps. La première devrait définir la couleur du texte comme verte et la deuxième image clé devrait définir la couleur sur le bleu. Motion fait automatiquement en sorte que ces images entre ces deux points passent progressivement du vert au bleu. Motion vous permet de définir les paramètres des images clés tels que les valeurs des couleurs, la position, la rotation, l’opacité et presque tous les paramètres de l’application. Animations dans Motion À plusieurs reprises, Motion vous permet de créer et de modifier des images clés et les valeurs entre chaque image, qui sont représentées par des courbes d’animation. Par exemple, vous pouvez animer des propriétés de base telles que l’échelle, la rotation et la position de l’écran en manipulant simplement l’objet directement dans le Canevas lorsque le bouton Enregistrer est activé. Bouton EnregistrerChapitre 6 Images et clés et courbes 549 Lorsque l’enregistrement est activé, une image clé est créée pour n’importe quel paramètre ajusté dans le Canevas, l’Inspecteur ou la palette. Dans la zone de dialogue Options d’enregistrement (accessible avec les touches Option + A), vous pouvez activer l’option « Enregistrer les images clés sur les paramètres animés seulement », laquelle ajoute uniquement des images clés aux paramètres déjà animés (avec des images clés), même si l’enregistrement est activé. Pour plus d’informations, consultez la rubrique « Enregistrement d’images clés sur les paramètres animés uniquement » à la page 613. Vous pouvez également recourir à la palette et à l’Inspecteur pour définir et modifier les valeurs de quasiment toutes les options disponibles dans l’application. À chaque fois que vous réglez un curseur ou tout autre contrôle, vous pouvez verrouiller cette modification sur l’image en cours, créant ainsi une image clé. À partir de là, peu importe ce que vous faites, ce paramètre trouve toujours cette valeur précise lors de la lecture de cette image. 550 Chapitre 6 Images et clés et courbes Vous pouvez également visualiser et modifier des images clés dans la Timeline en cliquant sur le bouton Afficher/Masquer les images clés. Les images clés apparaissent alors sous forme de petits losanges bleus (ou blancs si sélectionnés) en dessous de leur objet parent. Dans l’Éditeur d’images clés, vous pouvez afficher et manipuler un graphique pour chaque paramètre de l’application. Encore une fois, les images clés s’affichent sous forme de losanges, et les lignes (ou courbes) qui relient les images clés indiquent les valeurs des images interpolées. Vous pouvez filtrer la liste des paramètres de manière à afficher uniquement les canaux et les images clés qui vous intéressent. Bouton Afficher/Masquer les images clés Image clé sélectionnée Image clé sélectionnéeChapitre 6 Images et clés et courbes 551 Animation dans le Canevas La manière la plus simple d’insérer des images clés consiste à modifier les objets directement dans le Canevas. Les effets les plus courants que vous pouvez créer à l’aide des images clés sont les modifications apportées à l’Échelle, la Rotation et la Position. Parmi les paramètres qui peuvent être animés avec des images clés dans le Canevas figurent Déformer, Pivot, Ombre portée, Rogner et Quatre angles. Même si bon nombre de ces techniques peuvent être également exploitées à l’aide de comportements, le recours à des images clés vous offre une flexibilité supplémentaire pour définir des valeurs spécifiques sur des images précises. En règle générale, lorsque vous appliquez des transformations à un objet dans le Canevas, l’objet reste dans sa nouvelle position ou garde sa nouvelle forme pendant toute la durée où il apparaît. Pour créer un changement dans un objet dans le temps, vous devez créer des images clés. Il existe plusieurs moyens de créer des images clés lors de l’utilisation du Canevas. Utilisation du bouton Enregistrer L’un des moyens les plus simples de créer des images clés consiste à utiliser le bouton Enregistrer. Lorsque l’enregistrement est activé, une image clé est créée pour n’importe quel paramètre ajusté. Remarque : si l’enregistrement est activé, des images clés sont créées que vous ajustiez l’objet à l’écran, dans la palette ou dans l’Inspecteur. Lorsque les images clés (Enregistrement) sont activées, les modifications appliquées à l’objet sont également appliquées à la position actuelle de la tête de lecture (que vous pouvez apercevoir dans la mini-Timeline en bas du Canevas). Une image clé est automatiquement ajoutée (même si aucun indicateur n’apparaît). Si vous déplacez la tête de lecture sur une nouvelle position et que vous modifiez la forme ou la position de l’objet, vous créez une image clé. Motion analyse automatiquement la forme et la position de l’objet sur les images entre deux images clés définies. Important : lorsque l’enregistrement est activé, une image clé rouge apparaît au centre de l’objet sélectionné. Lorsque vous déplacez l’objet dans le Canevas, ne cliquez pas sur l’image clé au centre de l’objet, car vous sélectionneriez et repositionneriez cette image clé au lieu de la position actuelle de l’objet. Bouton Enregistrer désactivé Bouton Enregistrer activé552 Chapitre 6 Images et clés et courbes Pour dimensionner un objet dans le temps avec le bouton Enregistrer : 1 Cliquez sur le bouton Enregistrer (ou appuyez sur A) pour activer l’enregistrement d’images clés. Vous pouvez également sélectionner les options Marquer > Enregistrer l’animation. 2 Sélectionnez un objet dans le Canevas. 3 Déplacez la tête de lecture sur une nouvelle position dans le temps. 4 Redimensionnez l’objet en faisant glisser l’une de ses poignées d’échelle. 5 Cliquez sur le bouton Enregistrer (ou appuyez de nouveau sur A) pour désactiver l’enregistrement d’images clés. L’objet est mis à l’échelle sur l’intervalle que vous avez défini. De la même manière, vous pouvez appliquer des images clés à tous les paramètres de transformation de votre objet. Vous pouvez également cliquer sur l’objet tout en maintenant la touche Contrôle enfoncée pour afficher un menu contextuel proposant des options de modification des paramètres Pivot, Déformer, Ombre portée, Quatre angles et Rogner. Par exemple, choisissez Transformer dans ce menu local pour activer l’affichage des poignées d’échelle et de rotation dans le Canevas. Pour en savoir plus sur les transformations d’un objet dans le Canevas, reportez-vous à la rubrique « Transformation d’objets et de couches dans le Canevas » à la page 291.Chapitre 6 Images et clés et courbes 553 Lorsque le bouton Enregistrer est activé, chaque fois que vous déplacez la tête de lecture vers une autre image, toute modification apportée à un objet génère automatiquement de nouvelles images clés. Lors de l’animation de la position d’un objet, un chemin d’animation est créé. Remarque : pour pouvoir visualiser les trajectoires d’animation des objets animés avec des images clés, assurez-vous que l’option Trajectoire d’animation est bien sélectionnée dans le menu local Présentation (dans le coin supérieur droit de la fenêtre principale, au-dessus du Canevas).554 Chapitre 6 Images et clés et courbes Lorsque le bouton Enregistrer est désactivé, toutes les modifications apportées s’appliquent globalement à l’animation entière. Par exemple, si un objet est animé avec des images clés pour se déplacer du coin inférieur gauche vers le centre de l’écran et si vous déplacez l’objet vers la droite lorsque le bouton Enregistrer est désactivé, toute la trajectoire se déplace vers la droite. Remarque : si vous êtes positionné sur une image clé précédemment définie, toutes les modifications effectuées s’appliquent à cette image clé et non à la courbe complète, que le bouton Enregistrer soit activé ou non. Application d’un mouvement à un plan Déplacer des objets à l’écran est l’essence même de l’animation. Motion fait donc en sorte que ces déplacements soient un véritable jeu d’enfant. Pour déplacer un objet à travers l’écran : 1 Cliquez sur le bouton Enregistrer (ou appuyez sur A) pour activer l’enregistrement d’images clés. 2 Positionnez la tête de lecture sur l’image de départ. 3 Placez l’objet sur une position de départ. 4 Faites avancer la tête de lecture.Chapitre 6 Images et clés et courbes 555 5 Faites glisser l’objet sur la position finale que vous souhaitez. 6 Cliquez sur le bouton Enregistrer (ou appuyez de nouveau sur A) pour désactiver l’enregistrement d’images clés. Si vous exécutez votre projet, vous observerez que votre objet se déplace de la position un à la position deux sur l’intervalle que vous avez défini. Vous pouvez voir la trajectoire suivie par l’objet en activant le réglage Trajectoire d’animation dans le menu local Présentation au-dessus du Canevas. Important : lorsque l’enregistrement est activé, vous pouvez choisir d’ajouter uniquement des images clés aux paramètres déjà animés d’un objet. Cette option est disponible dans la zone de dialogue Options d’enregistrement. Pour plus d’informations, consultez la rubrique « Enregistrement d’images clés sur les paramètres animés uniquement » à la page 613. Manipulation de trajectoires d’animation Lorsque la trajectoire d’animation est affichée, vous pouvez directement manipuler les images clés pour les repositionner et modifier la trajectoire suivie par l’objet. Si vous faites glisser une image clé dans le Canevas, le numéro du point de contrôle, ainsi que les valeurs des positions X, Y et Z sont affichés dans une petite fenêtre d’information au niveau de l’emplacement du pointeur.556 Chapitre 6 Images et clés et courbes Pour ajouter des images clés à une trajectoire d’animation : 1 Appuyez sur la touche Option tout en cliquant sur la trajectoire. Un nouveau point d’image clé est alors ajouté. 2 Faites glisser ce point d’image clé vers une nouvelle position. Vous avez la possibilité de convertir un point linéaire d’image clé en point de Bézier pour créer une trajectoire courbe. Vous pouvez effectuer cette conversion lors de la création de l’image clé ou une fois qu’elle est créée. Pour ajouter une image clé de Bézier à une trajectoire d’animation : m Appuyez sur la touche Option tout en cliquant sur la trajectoire, puis éloignez immédiatement le curseur du point. Un point est alors ajouté et la tangente de Bézier apparaît. Pour convertir une image clé existante en point de Bézier : m Appuyez sur la touche Commande tout en cliquant sur l’image clé et éloignez-vous du point. Des poignées sont ajoutées à l’image clé. Les points de contrôle de trajectoire d’animation sont modifiés de la même façon sous forme de points de Bézier de forme ou de masque. Pour plus d’informations sur la manipulation de splines Bézier, consultez la rubrique « Dessin de masques et de formes à l’aide de courbes splines de Bézier » à la page 1076. Animation à l’aide de la palette Pour animer avec des images clés les paramètres affichés dans la palette, conformez-vous à la même procédure que lors de l’animation avec des images clés directement dans le Canevas. Par exemple, lorsqu’un objet est sélectionné dans le Canevas, la palette vous permet d’accéder rapidement à l’opacité de cet objet. Si vous souhaitez créer un effet personnalisé, tel que plonger temporairement une image dans le noir, vous devez animer avec des images clés son paramètre Opacité. Pour animer l’opacité d’un plan : 1 Cliquez sur le bouton Enregistrer (ou appuyez sur A) pour activer l’enregistrement d’images clés. 2 Positionnez la tête de lecture sur l’image sur laquelle vous souhaitez commencer le fondu.Chapitre 6 Images et clés et courbes 557 3 Cliquez sur le curseur Opacité dans la palette. Même si vous ne modifiez pas la valeur du curseur, le fait de cliquer dessus définit une image clé à ce point dans le temps. Ainsi, l’objet reste à son taux d’opacité précédent à partir du début du plan jusqu’à la nouvelle image clé ; ensuite l’interpolation vers l’image clé suivante commence. 4 Déplacez la tête de lecture vers l’avant jusqu’à un nouveau point dans le temps. 5 Modifiez la valeur d’opacité. 6 Faites avancer à nouveau la tête de lecture. 7 Déplacez à nouveau le curseur d’opacité. 8 Cliquez sur le bouton Enregistrer (ou appuyez de nouveau sur A) pour désactiver l’enregistrement d’images clés. Images clés au début et à la fin de la courbe Lorsque vous commencez à ajouter des images clés, vous ordonnez à Motion de modifier automatiquement les images intermédiaires en vue d’interpoler l’effet obtenu. Mais quelles valeurs sont utilisées pour les images avant la première image clé et après la dernière ? Par défaut, lorsque vous ajoutez votre première image clé, la même valeur est appliquée en avant et en arrière, jusqu’au début et la fin du plan (comme si vous n’aviez pas ajouté d’image clé). Une fois que vous avez ajouté une deuxième image clé, l’effet commencera à changer dans le temps. Mais les images avant cette première image clé restent sur la valeur de cette première image clé. De même, les images après la dernière image clé restent configurées sur la dernière valeur définie. Vous pouvez ignorer ce comportement par défaut pour créer des boucles et d’autres motifs grâce aux sous-menus Avant la première image clé et Après la dernière image clé, comme décrit dans la rubrique « Extrapolation » plus loin dans ce chapitre.558 Chapitre 6 Images et clés et courbes Animation de filtres En plus de modifier les attributs de base d’un plan, les images clés peuvent être utilisées pour modifier presque tous les paramètres de l’application. Si le bouton Enregistrer est activé, il est possible d’animer avec des images clés tous les paramètres affichés dans la palette. Par exemple, lorsque vous appliquez des filtres à des objets, la palette affiche tous les paramètres les plus importants. Grâce aux images clés, vous pouvez animer ces paramètres. Ainsi, vous pouvez créer un plan qui devient de plus en plus flou ou animer la largeur d’un effet biseau. Pour animer un filtre : 1 Sélectionnez un objet à modifier. 2 Appliquez un filtre à cet objet. La palette est actualisée et affiche les paramètres de ce filtre. Pour en savoir plus sur l’application de filtres, voir « Utilisation de filtres » à la page 910. 3 Cliquez sur le bouton Enregistrer (ou appuyez sur A) pour activer l’enregistrement d’images clés. 4 Positionnez la tête de lecture à l’endroit où vous souhaitez que l’effet commence à changer. 5 Dans la palette, réglez le curseur du paramètre que vous souhaitez animer sur une valeur de départ. 6 Positionnez la tête de lecture sur l’image sur laquelle vous souhaitez que l’effet arrête de changer.Chapitre 6 Images et clés et courbes 559 7 Réglez le curseur sur une nouvelle valeur. 8 Cliquez sur le bouton Enregistrer (ou appuyez de nouveau sur A) pour désactiver l’enregistrement d’images clés. Le filtre est modifié dans le temps selon vos réglages. La même technique s’applique à tous les paramètres de n’importe quel filtre affiché dans la palette. Animation de comportements En plus d’animer des paramètres de filtres, vous pouvez également animer des comportements. L’animation de comportements peut sembler un peu complexe au premier abord car la plupart des comportements changent déjà, mais si vous combinez ces fonctions, vous pouvez améliorer de façon significative l’utilité des comportements. Par exemple, vous souhaitez peut-être animer un comportement Animation aléatoire pour commencer un mouvement aléatoire subtil qui deviendra de plus en plus prononcé au fur et à mesure que l’effet s’exécute. Ou, vous désirez appliquer un comportement Gravité, mais vous souhaitez que l’objet commence à tomber cinq secondes après le début du plan. Les images clés vous permettent de manipuler les paramètres spécifiques de chaque comportement. Remarque : dans Motion, vous pouvez élaborer des images clés à partir de tous les comportements appliqués à un objet, à l’aide de la commande Convertir en images clés du menu Objet. Pour plus d’informations, consultez la rubrique « Conversion de comportements en images clés » à la page 441. Pour animer un comportement : 1 Sélectionnez un objet dans le Canevas. 2 Appliquez un comportement. 3 Cliquez sur le bouton Enregistrer (ou appuyez sur A) pour activer l’enregistrement d’images clés. 4 Placez la tête de lecture sur l’image sur laquelle vous souhaitez que l’effet commence à changer. Nouvelle position de la tête de lecture560 Chapitre 6 Images et clés et courbes 5 À l’aide de la palette, définissez les réglages du comportement. 6 Déplacez la tête de lecture sur une nouvelle position dans le temps. 7 Ajustez de nouveau les réglages du comportement. 8 Cliquez sur le bouton Enregistrer (ou appuyez de nouveau sur A) pour désactiver l’enregistrement d’images clés. Combinaison des comportements et des images clés Comme il est possible d’ajouter des images clés à un objet auquel un ou plusieurs comportements ont déjà été appliqués, ces deux méthodes peuvent parfois entrer en conflit. Par exemple, vous pouvez appliquer un comportement Lancer vers le coin supérieur gauche, et en même temps ajouter des images clés qui ordonnent à l’objet de se déplacer vers la droite. Que se passe-t-il alors ? La manière dont Motion gère ce genre de conflits consiste à cumuler les instructions, vous offrant une combinaison des deux séquences d’instructions. Dans l’exemple ci-dessus, l’objet se déplacerait vers le coin supérieur gauche, mais n’irait pas aussi loin puisque les images clés le poussent dans la direction opposée. Plus la vitesse du Lancer est importante, plus elle surpasse les images clés et inversement. Trajectoire d’animation du comportement Trajectoire d’animation de l’image clé Trajectoire d’animation combinéeChapitre 6 Images et clés et courbes 561 Une fois que vous maîtrisez le fonctionnement, vous pouvez utiliser cette méthode pour améliorer et contrôler les effets des comportements. Par exemple, vous pouvez appliquer un comportement Gravité qui entraîne la chute d’un objet vers le bas de l’image, mais recourir à une image clé pour modifier la position de l’objet et le faire se déplacer à travers l’écran de gauche à droite. Ainsi, vous pouvez créer l’effet de l’objet qui tombe et se déplace en même temps. Vous pouvez également appliquer un comportement Fondu entrant/Fondu sortant à un objet, mais utiliser les images clés de son paramètre Opacité, afin de limiter son opacité maximale à 80 %. Le plan permet toujours le fondu entrant et sortant, et vous pouvez continuer à modifier les attributs du comportement, mais l’objet ne dépasse jamais la valeur d’opacité définie par les images clés. Une méthode de gestion des comportements et des images clés consiste à convertir les comportements en images clés. Pour en savoir plus sur la transformation de comportements en images clés, consultez la rubrique « Conversion de comportements en images clés » à la page 441. Animation à l’aide de l’Inspecteur Même si vous pouvez animer un grand nombre d’attributs à l’aide de la palette, plusieurs autres paramètres sont uniquement accessibles via l’Inspecteur. Tous les onglets de l’Inspecteur contiennent des paramètres pouvant être animés avec des images clés. Ainsi, vous pouvez animer la position et la forme d’un masque, la couleur et les styles d’un objet texte, ou les diverses options à l’intérieur des générateurs. Les paramètres qui peuvent être animés avec des images clés dépendent de l’objet sélectionné et des effets qui lui sont appliqués. Vous pouvez animer des paramètres dans l’Inspecteur grâce au bouton Enregistrer et à la tête de lecture de la mini-Timeline, comme s’il s’agissait de paramètres dans le Canevas ou la palette. Pour animer les paramètres dans l’Inspecteur : 1 Sélectionnez l’objet que vous souhaitez animer avec des images clés dans le Canevas. 2 Cliquez sur le bouton Enregistrer (ou appuyez sur A) pour activer l’enregistrement d’images clés. 3 Placez la tête de lecture sur l’image à partir de laquelle vous souhaitez que l’effet commence à changer. 4 Affichez l’Inspecteur en cliquant sur l’onglet ou en rajustant la présentation de l’écran pour qu’il inclue l’Inspecteur. Pour en savoir plus sur les présentations, consultez la rubrique « Présentations prédéfinies » à la page 25.562 Chapitre 6 Images et clés et courbes 5 Cliquez sur l’onglet Inspecteur qui contient le paramètre que vous souhaitez modifier (les filtres dans cet exemple). 6 Définissez le paramètre sur la valeur de départ. 7 Déplacez la tête de lecture sur une nouvelle position. 8 Dans l’Inspecteur, configurez le paramètre sur une nouvelle valeur. 9 Cliquez de nouveau sur le bouton Enregistrer (ou appuyez sur A) pour désactiver l’enregistrement. Le paramètre change désormais avec le temps.Chapitre 6 Images et clés et courbes 563 Menu Animation L’animation dans l’Inspecteur offre des options supplémentaires, comme la possibilité de supprimer ou de réinitialiser les informations relatives aux images clés. Vous pouvez également naviguer entre les images clés dans l’Inspecteur. Chaque paramètre qui peut être animé avec des images clés contient un menu Animation. Si un paramètre ne propose pas ce menu, il ne peut pas être animé. Activer l’animation : cet élément de menu reste inaccessible jusqu’à ce que l’animation soit appliquée au paramètre, soit en utilisant le bouton Enregistrer, soit en ajoutant directement une image clé. Une fois que le canal comporte au moins un ensemble d’images clés, l’élément de menu est automatiquement renommé Désactiver l’animation. Si vous la désactivez à ce stade, vous masquez en fait les images clés que vous avez définies et vous restaurez le paramètre à sa valeur par défaut. Toutefois, les images clés ne sont pas supprimées. Si vous sélectionnez à nouveau Activer l’animation, le paramètre est restauré à son état le plus récent lié aux images clés. Réinitialiser le paramètre : supprime toutes les images clés et les réglages pour ce paramètre. La valeur du paramètre est réinitialisée sur sa valeur par défaut. Ajouter une image clé : ajoute une image clé sur l’image actuelle dans le projet. Si la tête de lecture est positionnée sur une image à laquelle une image clé a déjà été ajoutée, cette commande du menu est inaccessible.564 Chapitre 6 Images et clés et courbes Remarque : pour ajouter une image clé, vous pouvez également positionner le pointeur sur le menu Animation et appuyer sur Option. Lorsque l’icône d’image clé apparaît en regard du point, cliquez afin d’ajouter une image clé. Supprimer l’image clé : supprime l’image clé actuelle. L’option Supprimer l’image clé n’est accessible que si la tête de lecture est positionnée sur une image sur laquelle une image clé existe déjà. Image clé précédente : place la tête de lecture sur l’image clé précédente de ce paramètre. La commande Image clé précédente n’est disponible que si une image clé existe plus tôt dans le projet. Image clé suivante : place la tête de lecture sur l’image clé suivante de ce paramètre. La commande Image clé suivante n’est disponible que si une image clé existe plus loin dans le projet. Afficher dans l’Éditeur d’images clés : cette commande ouvre l’Éditeur d’images clés et affiche les images clés et les courbes du paramètre sélectionné. Pour plus d’informations sur l’utilisation de l’Éditeur d’images clés, consultez la rubrique « Animation dans l’Éditeur d’images clés » plus loin dans ce chapitre. Pour définir des images clés à l’aide du menu Animation : 1 Activez l’enregistrement (appuyez sur A), puis déplacez la tête de lecture vers l’image sur laquelle vous souhaitez définir la première image clé. 2 Modifiez la valeur du paramètre que vous souhaitez animer avec des images clé. 3 Cliquez sur le menu Animation, puis sélectionnez « Ajouter une image clé ». Une image clé est ajoutée sur l’image actuelle. 4 Pour définir une autre image clé pour le même paramètre, déplacez la tête de lecture vers l’emplacement suivant et réglez le paramètre. Une image clé est automatiquement ajoutée lorsque vous modifiez le paramètre. Raccourci d’ajout d’une image clé Pour ajouter rapidement une image clé sans accéder au menu Animation de l’Inspecteur, appuyez sur les touches Contrôle + K. Une image clé est automatiquement ajoutée au dernier paramètre modifié de l’objet (quel que soit l’état du bouton Enregistrer) à l’instant actuel.Chapitre 6 Images et clés et courbes 565 Pour se rendre sur une image clé : 1 Cliquez sur le menu Animation correspondant au paramètre de l’image clé que vous cherchez. 2 Sélectionnez Image clé précédente si l’image clé souhaitée se trouve avant la position actuelle dans le temps, ou sélectionnez Image clé suivante si l’image clé souhaitée se trouve après la position actuelle dans le temps. Remarque : vous pouvez également choisir Marquer > Aller à > Image clé précédente (Option + K) ou Image clé suivante (Maj + K) pour passer d’une image clé à l’autre. Pour supprimer une image clé : 1 Déplacez la tête de lecture vers l’image dont l’image clé est actuellement définie. 2 Cliquez sur le menu Animation pour le paramètre que vous souhaitez modifier, puis sélectionnez Supprimer l’image clé. Remarque : pour supprimer toutes les images clés d’un paramètre, choisissez Réinitialiser le paramètre dans le menu Animation. Pour réinitialiser toutes les images clés d’un paramètre : m Cliquez sur le menu Animation du paramètre que vous souhaitez réinitialiser, puis choisissez Réinitialiser le paramètre. Toutes les images clés de ce paramètre sont alors supprimées. État du menu Animation Selon qu’un paramètre est animé ou non, ou que la tête de lecture est positionnée ou non sur une image clé, le menu Animation affiche une icône différente. Ainsi, vous pouvez déterminer l’état de ce paramètre d’un coup d’œil. Paramètre animé avec des images clés Le paramètre n’est pas animé Comportement appliqué au paramètre Paramètre animé avec des images clés incluant une image clé sur l’image actuelle566 Chapitre 6 Images et clés et courbes Bouton Réinitialiser Chaque paramètre défini dans l’Inspecteur est équipé d’un bouton Réinitialiser. Un paramètre défini peut être un filtre ou une catégorie d’effets ou de transformations, telle que Transformer, Fusion ou d’autres options de l’onglet Propriétés. Le bouton Réinitialiser supprime toutes les images clés appliquées à tous les paramètres dans l’ensemble et restaure ces paramètres à leur état par défaut. Animation dans la Timeline Lors de l’utilisation d’images clés, il est souvent très utile pour afficher les images clés dans le temps. Ainsi, vous pouvez aligner les images clés avec d’autres éléments de chronologie importants de votre projet tels que les points de montage, des signaux sonores, des marqueurs, et même d’autres images clés. Ces fonctions sont accessibles dans la Timeline. Pour afficher vos images clés dans la Timeline, vous devez tout d’abord activer l’option « Afficher/Masquer les images clés ». Bouton Réinitialiser Image cléChapitre 6 Images et clés et courbes 567 Pour afficher les images clés dans la Timeline : m Cliquez sur le bouton « Afficher/Masquer les images clés ». Vous pouvez identifier la valeur d’une image clé dans le menu contextuel. Si plusieurs images clés se trouvent sur la même image, elle sont répertoriées dans le menu. Pour afficher la valeur d’une image clé : m Dans la Timeline, cliquez sur l’image clé tout en maintenant la touche Contrôle enfoncée. Un menu contextuel apparaît. Les premiers éléments de la liste sont les valeurs de l’image clé pour toutes les images clés de cette image. Remarque : il est impossible d’ajouter des images clés dans la Timeline. Modification d’images clés dans la Timeline Lorsque les images clés sont visibles dans la Timeline, vous pouvez modifier leur position dans le temps en les faisant glisser horizontalement sur la piste. La valeur du paramètre correspondant à l’image clé n’est alors pas modifiée, seule la position dans le temps de l’image clé change. Pour déplacer une image clé dans la Timeline : 1 Cliquez sur le bouton Afficher/Masquer les images clés dans la Timeline. Toutes les images clés dans le projet apparaissent alors. Bouton « Afficher/Masquer les images clés »568 Chapitre 6 Images et clés et courbes 2 Identifiez l’objet sur lequel se trouve l’image clé. 3 Faites glisser l’image clé vers la gauche ou vers la droite pour le déplacer en avant ou en arrière dans le temps. Même si le déplacement d’une image clé dans le temps ne modifie pas la valeur du paramètre, il peut avoir un effet significatif sur la nature de l’animation. Par exemple, si deux images clés animent un objet du haut vers le bas de l’écran pendant cinq secondes, si vous déplacez l’une des images clés, vous ralentissez l’animation (si vous les éloignez l’une de l’autre) ou vous l’accélérez (si vous les rapprochez). Lorsque plusieurs valeurs d’images clés sont définies au niveau d’une seule image, vous pouvez choisir de modifier séparément n’importe laquelle de ces valeurs, même si elles sont toutes représentées par un seul marqueur d’image clé dans la Timeline. Pour modifier la valeur d’une image clé présente dans la Timeline : 1 Appuyez simultanément sur la touche Contrôle et cliquez sur l’image clé. Un menu contextuel apparaît. Les premiers éléments de la liste sont les valeurs de l’image clé pour toutes les images clés de cette image. 2 Choisissez la valeur d’image clé que vous souhaitez modifier. 3 Saisissez une nouvelle valeur dans le champ prévu à cet effet, puis appuyez sur Retour. Remarque : pour quitter un champ de valeur actif sans apporter la moindre modification, appuyez sur Échap.Chapitre 6 Images et clés et courbes 569 Alignement d’images clés avec d’autres objets L’un des principaux avantages de la manipulation des images clés dans la Timeline est la capacité d’aligner une image clé avec une autre.mportant time marker. 4 Identifiez l’image clé que vous souhaitez déplacer. Remarque : si vous cliquez sur une image clé tout en maintenant la touche Contrôle enfoncée, un menu contextuel apparaît. Il contient le nom du paramètre et la valeur de chaque image clé. Si plusieurs images clés se trouvent au même endroit dans la chronologie, le menu contextuel les répertorie toutes. 5 Glissez l’image clé jusqu’à ce qu’elle s’aligne avec le bord de l’objet. Si vous appuyez sur la touche Maj tout en faisant glisser l’image clé, celle-ci se magnétise sur les bords d’autres objets. Vous pouvez utiliser cette même technique pour aligner des images clés d’un objet sur les images clés d’un autre objet. Ainsi, vous pouvez configurer deux objets pour leur appliquer un fondu entrant ou un flou sur exactement la même image. Peu importe que ces objets soient situés dans le même groupe ou non. Pour aligner les images clés de plusieurs objets : 1 Cliquez sur le bouton « Afficher/Masquer les images clés » dans la Timeline. Toutes les images clés dans le projet apparaissent alors. 2 Identifiez l’image clé que vous souhaitez déplacer. 3 Trouvez l’objet contenant l’action parallèle. 4 Glissez l’image clé dans le premier objet jusqu’à ce qu’elle s’aligne avec l’image clé du deuxième objet. 570 Chapitre 6 Images et clés et courbes Alignement d’images clés sur des marqueurs D’autres objets de votre Timeline peuvent également servir comme guides pour savoir vers où déplacer les images clés. Par exemple, vous pouvez avoir une morceau ou une ligne de narration sur lesquels vous souhaitez qu’un effet particulier s’arrête ou change. L’une des manières les plus intéressantes pour cela est d’avoir recours aux marqueurs. Identifiez simplement l’image importante à l’aide d’un marqueur et faites glisser l’image clé jusqu’à ce qu’elle s’aligne sur le marqueur. Les marqueurs créent des points de magnétisme, ainsi, si vous appuyez sur la touche Maj tout en faisant glisser l’image clé, celle-ci s’alignera sur les marqueurs. Pour en savoir plus sur le réglage de marqueurs, reportez-vous à la rubrique « Ajout de marqueurs » à la page 398. Pour aligner une image clé sur un marqueur: 1 Cliquez sur le bouton « Afficher/Masquer les images clés » dans la Timeline. Toutes les images clés dans le projet apparaissent alors. 2 Identifiez l’image clé que vous souhaitez déplacer et faites-la glisser vers le marqueur. 3 Appuyez sur la touche Maj tout en faisant glisser l’image afin de permettre la magnétisation. L’image clé s’aligne sur le marqueur. Suppression d’images clés dans la Timeline Si vous devez supprimer une image clé ou supprimer toutes les images clés d’un projet particulier, vous pouvez supprimer des images clés à l’aide du menu contextuel de la Timeline. Pour supprimer une image clé dans la Chronologie : 1 Cliquez sur le bouton « Afficher/Masquer les images clés » dans la Timeline. Toutes les images clés dans le projet apparaissent alors. 2 Appuyez simultanément sur la touche Contrôle et cliquez sur l’image clé que vous souhaitez supprimer, puis sélectionnez Supprimer l’image clé dans le menu contextuel. Pour supprimer toutes les images clés d’un objet : 1 Cliquez sur le bouton « Afficher/Masquer les images clés » dans la Timeline. Toutes les images clés dans le projet apparaissent alors. 2 En maintenant la touche Contrôle enfoncée, cliquez sur une image clé quelconque de l’objet que vous souhaitez supprimer, puis sélectionnez « Supprimer toutes les images clés » dans le menu contextuel. Pour un contrôle plus précis des effets utilisés avec des images clés, vous pouvez utiliser l’Éditeur d’images clés. Toutes les images clés de la Timeline peuvent être affichées dans l’Éditeur d’images clés, à l’aide du menu contextuel.Chapitre 6 Images et clés et courbes 571 Pour afficher une image clé dans l’Éditeur d’images clés : m En maintenant la touche Contrôle enfoncée, cliquez sur l’image clé dans la Timeline, puis choisissez « Afficher dans l’Éditeur d’images clés » dans le menu contextuel. L’Éditeur d’images clés passe au premier plan et l’image clé (et le reste de ce paramètre) est mise en surbrillance dans le graphique. Trim sur les effets animés à l’aide d’images clés Lorsque la durée d’un effet tel qu’un filtre ou un comportement dans la Timeline est modifiée, les images clés appliquées à cet objet sont mises à l’échelle en conséquence. Cela signifie qu’un effet animé à l’aide d’images clés pour changer avec le temps accé- lère ou ralentit si l’objet auquel il s’applique est raccourci ou allongé. Le changement de durée d’un objet ne modifie pas les images clés appliquées aux attributs de l’onglet Propriétés ou Objet dans l’Inspecteur. Les images clés apparaissent dans la zone en dessous de la barre d’objet si vous choisissez l’option « Afficher/Masquer les images clés » dans la Timeline. Vous pouvez également accélérer ou ralentir un effet animé à l’aide d’images clés en redimensionnant la barre de l’effet dans la Timeline. Après Avant572 Chapitre 6 Images et clés et courbes Vous pouvez également empêcher ce redimensionnement automatique en appuyant sur la touche Commande tout en redimensionnant un objet effet. Cela modifie la durée globale de l’effet, mais ne change pas la vitesse à laquelle l’effet change, telle qu’elle est définie par les images clés. En appuyant sur la touche Commande tout en redimensionnant un objet auquel sont appliqués des effets, vous effectuez un Trim sur l’objet sans l’appliquer aux effets. En fait, la méthode est la même que lors de l’application d’un Trim à un groupe sans modifier les durées de ses composants. Animation dans l’Éditeur d’images clés A chaque fois que vous créez deux ou plusieurs images clés, Motion génère des valeurs interpolées pour les images intermédiaires. Celles-ci s’appellent des courbes. L’Éditeur d’images clés est le contrôle qui vous permet d’afficher et d’apporter des modifications à ces courbes. Cette fonction offre l’un des outils les plus sophistiqués et les plus puissants de modification des objets et des effets dans votre projet. Chapitre 6 Images et clés et courbes 573 L’affichage des courbes pour vos paramètres animés vous offre un autre moyen de comprendre la manière dont votre effet change dans le temps. Les courbes sont disposées sur un graphique qui vous permet de comparer les courbes de différents paramètres. Lorsque vous maîtriserez mieux la lecture de ces graphiques, vous saurez comment et pourquoi certains effets semblent plus naturels ou artificiels. Dans l’Éditeur d’images clés, vous pouvez ajouter et supprimer des images clés, ainsi que les déplacer dans un espace bidimensionnel pour modifier leurs valeurs (haut-bas) et leurs positions dans le temps (gauche-droite). Grâce aux outils fournis dans Motion, il vous est également possible de manipuler directement les courbes. De plus, vous pouvez définir diverses méthodes d’interpolation, et créer ainsi des types d’effets complètement différents. L’Éditeur d’images clés vous permet enfin d’appliquer directement des comportements Paramètre à des courbes. Pour ce faire, il vous suffit de cliquer sur le nom d’une courbe tout en maintenant la touche Contrôle enfoncée, puis de choisir un comportement Paramètre dans le menu contextuel. Pour en savoir plus sur les comportements Paramètre, voir « Comportements Paramètre » à la page 471.574 Chapitre 6 Images et clés et courbes Par exemple, lorsque des objets bougent dans le monde réel, ils respectent les règles de la physique, telles que l’inertie ou le moment. L’Éditeur d’images clés de Motion vous permet de simuler ces types d’effets dans vos animations. Pour afficher l’Éditeur d’images clés, procédez comme suit : m Si la fenêtre du contrôle du temps est déjà affichée, cliquez sur l’onglet Éditeur d’images clés dans celui-ci. m Choisissez Fenêtre > Éditeur d’images clés. m Appuyez simultanément sur les touches Commande + 8. Vérification de votre sélection Les paramètres disponibles dans l’Éditeur d’images clés dépendent des objets sélectionnés dans les autres fenêtres. Si vous sélectionnez un élément dans les fenêtres Couches, Canevas ou Timeline, seuls les paramètres de cet objet sont accessibles à partir de l’Éditeur d’images clés. Si vous souhaitez comparer des courbes à partir de paramètres de plusieurs objets (par exemple, démarrer le fondu entrant au même moment pour deux objets), vous devez sélectionner les deux éléments sous l’onglet Couche ou dans une autre fenêtre. Ainsi, les paramètres des deux objets figurent dans l’Éditeur d’images clés. Par ailleurs, vous pouvez modifier les courbes d’un groupe si vous sélectionnez ce groupe au lieu des objets qu’il contient. De cette manière, vous avez la possibilité d’afficher ou de modifier l’activité des images clés susceptibles d’affecter tous les objets d’un groupe.Chapitre 6 Images et clés et courbes 575 Parties de l’Éditeur d’images clés L’Éditeur d’images clés se compose d’une liste de paramètres à gauche et d’un graphique multifonctionnel à droite. Champ d’image actuelle Ce champ vous permet d’accéder instantanément à n’importe quelle image de votre projet. Comme il s’agit également d’un curseur de valeur, vous pouvez le faire glisser pour déplacer la tête de lecture vers une nouvelle image. Pour accéder à une image, procédez comme suit : m Cliquez deux fois sur le champ valeur, saisissez un numéro d’image, puis appuyez sur Retour. La tête de lecture se déplace vers l’image spécifiée. m Faites glisser le curseur de valeur « Sur l’image actuelle » vers la gauche ou vers la droite. Si vous le faites glisser vers la gauche, la tête de lecture se déplace vers un point antérieur dans le temps. Si vous le faites glisser vers la droite, elle avance dans le temps. Outils relatifs aux images clés L’Éditeur d’images clés met à votre disposition trois outils pour vous aider à modifier des images clés et des courbes. Pour en savoir plus sur l’utilisation de ces outils, voir « Modification d’images clés » à la page 586. Édition : sélectionne et modifie des images clés. Esquisse : dessine des courbes avec des images clés. Liste des paramètres Commandes de zoom Menu Animation Zone courbe Menu Afficher Boutons de commande Champ d’image actuelle Outils disponibles dans l’Éditeur d’images clés576 Chapitre 6 Images et clés et courbes Cadre : fait glisser une zone de sélection pour entourer et manipuler les images clés. Liste des paramètres La liste située à gauche de l’onglet Éditeur d’images clés peut afficher tous les paramètres de vos éléments sélectionnés, dès lors qu’il est possible de les animer avec des images clés. Elle inclut les propriétés d’objet, les filtres et les comportements. En sélectionnant plusieurs éléments sous l’onglet Couches ou dans la Timeline, vous pouvez comparer les paramètres de plusieurs objets. Case d’activation : la case sur la gauche détermine quels paramètres sont affichés dans le graphique. Les paramètres cochés sont considérés comme « activés ». Colonne de nom du paramètre : la deuxième colonne répertorie le nom de l’objet et les noms des paramètres pour chaque objet. Colonne de valeur : la troisième colonne affiche la valeur du paramètre pour l’image où la tête de lecture est actuellement positionnée. Si la tête de lecture est figée sur une image clé, le champ affiche la valeur de cette image clé. Si la tête de lecture n’est pas figée sur une image clé, le champ affiche la valeur de ce paramètre de cette image. Pour plus d’informations sur la modification des valeurs des images clés, consultez la rubrique « Modification d’images clés » à la page 586. Vous pouvez cliquer sur la valeur afin d’activer le champ. Lorsque l’enregistrement est activé, une image clé est automatiquement ajoutée si vous cliquez sur le champ de valeur d’une image qui ne comporte pas d’image clé. Pour taper une valeur dans le champ, double-cliquez dessus. Remarque : la sélection d’une image clé n’affiche pas la valeur de cette image clé, mais la valeur d’un paramètre de l’image où se trouve la tête de lecture. Menu Animation : la quatrième colonne contient un menu contextuel qui imite le menu Animation de l’Inspecteur. Toutefois, le menu Animation de l’Éditeur d’images clés contient plusieurs commandes qui n’existent pas dans l’Inspecteur. Outil Édition (par défaut) Outil Esquisse Outil CadreChapitre 6 Images et clés et courbes 577  Activer/Désactiver l’animation : cette commande reste inaccessible jusqu’à ce qu’une image clé soit appliquée au paramètre, soit en utilisant le bouton Enregistrer, soit en ajoutant directement une image clé. Une fois qu’une animation est appliquée au paramètre, la commande est automatiquement renommée Désactiver l’animation. Si vous l’activez à ce stade, vous masquez en fait les images clés que vous avez définies et vous restaurez le paramètre à sa valeur par défaut. Toutefois, les images clés ne sont pas supprimées. Si vous sélectionnez Activer l’animation, le paramètre est restauré à son état le plus récent lié aux images clés.  Réinitialiser le paramètre : supprime toutes les images clés et les réglages pour ce paramètre. La valeur du paramètre est réinitialisée sur sa valeur par défaut.  Ajouter une image clé : ajoute une image clé sur l’image actuelle dans la mini-Timeline. Si la tête de lecture est positionnée sur une image sur laquelle une image clé a déjà été ajoutée, cette commande du menu est inaccessible. Remarque : comme indiqué dans la section relative au menu Animation, vous pouvez utiliser un raccourci clavier pour ajouter rapidement une image clé en appuyant sur Contrôle + K. Une image clé est automatiquement ajoutée au dernier paramètre modifié de l’objet.  Supprimer l’image clé : supprime l’image clé actuelle. La commande Supprimer l’image clé n’est disponible que si la tête de lecture est placée sur une image contenant déjà une image clé.  Image clé précédente : place la tête de lecture sur l’image clé précédente de ce paramètre. La commande Image clé précédente n’est disponible que si une image clé existe plus tôt dans le projet.  Image clé suivante : place la tête de lecture sur l’image clé suivante de ce paramètre. La commande Image clé suivante n’est disponible que si une image clé existe plus loin dans le projet.  Interpolation : définit le type de courbe du paramètre. Pour obtenir des exemples des différentes méthodes d’interpolation, reportez-vous au tableau de la rubrique « Modification des courbes » plus loin dans ce chapitre. Vous avez le choix entre Constante, Linéaire, Bézier, En continu, Atténuation en entrée, Atténuation en sortie, Exponentielle ou Logarithmique.  Avant la première image clé : définit ce qui arrive entre la première image clé et le début du plan. Pour obtenir des exemples des différentes méthodes d’extrapolation, reportez-vous au tableau de la rubrique « Extrapolation » plus loin dans ce chapitre. Sélectionnez Constante, Linéaire, Ping-Pong, Répétition ou Progressif. Vous pouvez également convertir une extrapolation en images clés réelles en sélectionnant Générer des images clés.578 Chapitre 6 Images et clés et courbes  Après la dernière image clé : définit ce qui arrive entre la dernière image clé et la fin du plan. Pour obtenir des exemples des différentes méthodes d’extrapolation, reportez-vous au tableau de la rubrique « Extrapolation » plus loin dans ce chapitre. Sélectionnez Constante, Linéaire, Ping-Pong, Répétition ou Progressif. Vous pouvez également convertir une extrapolation en images clés réelles en sélectionnant Générer des images clés.  Verrouiller/Déverrouiller le paramètre : verrouille ce paramètre contre toute autre modification. Lorsqu’un paramètre est verrouillé, ni les images clés, ni les courbes ne peuvent être ajustées.  Réduire les images clés : applique un algorithme de dilution aux images clés du paramètre sélectionné, ce qui réduit le nombre d’images clés dans un paramètre tout en essayant de conserver une forme similaire pour la courbe. L’algorithme de dilution se règle de deux façons : l’augmentation de la tolérance maximale d’erreurs permet d’obtenir quelques images clés et l’augmentation du facteur de lissage rend les courbes plus lisses entre les valeurs d’images clés.  Définir sur instantané de courbe : si la case « Prendre/Afficher instantané de courbe » est cochée (dans le coin inférieur gauche de l’Éditeur d’images clés), cette option inverse toutes les modifications apportées aux images clés de la courbe actuellement sélectionnée et revient à l’instantané le plus récent. Pour en savoir plus, consultez la rubrique « Instantanés de courbes » à la page 586. Commandes de filtrage L’utilisation efficace de l’Éditeur d’images clés implique le contrôle de la liste des paramètres actuellement affichés dans la présentation graphique. Même si vous souhaitez accéder rapidement à tous les paramètres que vous animez, l’affichage de trop nombreux paramètres à la fois rend la lecture du graphique difficile. Motion vous permet de stocker des ensembles de paramètres pour faciliter cette gestion.Chapitre 6 Images et clés et courbes 579 Menu local Afficher Le menu local Afficher vous permet d’afficher dix ensembles de courbes de paramètres intégrés ou personnalisés. Pour afficher tous les paramètres de tous les éléments sélectionnés : m Choisissez Tout dans le menu local Afficher. Par défaut, seuls les paramètres animés sont actifs dans le graphique. Activez ou désactivez des paramètres individuels en cliquant sur la case pour les afficher ou les masquer dans le graphique. Vous pouvez choisir d’afficher tous les paramètres associés à un groupe ou à un objet particulier en cochant ou en désactivant la case correspondant à ce groupe ou à cet objet. Sinon, vous pouvez choisir de n’afficher que les paramètres qui sont actuellement animés, autrement dit, les paramètres qui contiennent déjà une ou plusieurs images clés. Pour afficher uniquement les paramètres animés (avec des images clés ou des comportements), procédez de l’une des manières suivantes : m Choisissez Animé dans le menu local Afficher. m Alors que l’Éditeur d’images clés est activé, appuyez sur la touche U. Tous les paramètres comportant une ou plusieurs images clés sont alors affichés. Pour afficher les paramètres modifiés et qui ne correspondent plus à leur valeur par défaut, procédez de l’une des manières suivantes : m Sélectionnez Modifié dans le menu local de la liste d’ensemble de courbes. m Alors que l’Éditeur d’images clés est activé, appuyez sur la touche Y.580 Chapitre 6 Images et clés et courbes Cette option affiche uniquement les paramètres dont le réglage ne correspond plus à la valeur par défaut ou qui sont en cours de modification (dans le Canevas, l’Inspecteur ou la palette). Pour afficher uniquement les paramètres actuellement activés : m Choisissez Activé dans le menu local Afficher. Lorsque cette option est sélectionnée et que vous déplacez un objet dans le Canevas, les paramètres Position X et Y sont affichés ainsi que les courbes. Ensembles de courbes connexes Motion est livré avec quelques ensembles de courbes intégrés qui permettent d’accéder rapidement à certains paramètres. Si vous avez besoin de vérifier la position de plusieurs objets connexes dans un projet, vous vous faciliterez la tâche en utilisant l’ensemble de courbes Position. Il est d’ailleurs possible d’afficher plusieurs ensembles de courbes connexes en même temps, afin de vous éviter le désagrément d’avoir à passer constamment de l’un à l’autre. Chacun de ces ensembles de courbes intégrés est associé à un raccourci clavier. Pour afficher uniquement les paramètres Position d’un objet sélectionné, procédez de l’une des manières suivantes : m Choisissez Position dans le menu local Afficher. m Alors que l’Éditeur d’images clés est activé, appuyez sur la touche P. Les paramètres Position de l’objet sélectionné apparaissent. Pour afficher uniquement les paramètres Rotation d’un objet sélectionné, procédez de l’une des manières suivantes : m Choisissez Rotation dans le menu local Afficher. m Alors que l’Éditeur d’images clés est activé, appuyez sur la touche R. Les paramètres Rotation de l’objet sélectionné apparaissent. Pour afficher uniquement les paramètres Échelle d’un objet sélectionné, procédez de l’une des manières suivantes : m Choisissez Échelle dans le menu local Afficher. m Alors que l’Éditeur d’images clés est activé, appuyez sur la touche S. Les paramètres Échelle de l’objet sélectionné apparaissent. Pour afficher uniquement les paramètres Déformation d’un objet sélectionné, procédez de l’une des manières suivantes : m Choisissez Déformation dans le menu local Afficher. m Alors que l’Éditeur d’images clés est activé, appuyez sur la touche H. Les paramètres Déformation de l’objet sélectionné apparaissent.Chapitre 6 Images et clés et courbes 581 Pour afficher uniquement les paramètres Point d’ancrage d’un objet sélectionné, procédez de l’une des manières suivantes : m Choisissez Point d’ancrage dans le menu local Afficher. m Alors que l’Éditeur d’images clés est activé, appuyez sur la touche A. Les paramètres Point d’ancrage de l’objet sélectionné apparaissent. Pour afficher uniquement le paramètre Opacité d’un objet sélectionné, procédez de l’une des manières suivantes : m Choisissez Opacité dans le menu local Afficher. m Alors que l’Éditeur d’images clés est activé, appuyez sur la touche O. Le paramètre Opacité de l’objet sélectionné apparaît. Ensembles de paramètres personnalisés En plus d’utiliser des ensembles de courbes intégrés, vous pouvez créer vos propres ensembles. Au fur et à mesure que vous créez des ensembles de paramètres personnalisés, ceux-ci apparaissent dans le menu local Afficher, ce qui vous permet de passer de l’un à l’autre rapidement. La suppression, la duplication et la modification d’ensembles personnalisés s’effectuent dans la zone de dialogue Gérer les ensembles de courbes. Pour créer un nouvel ensemble de paramètres : 1 Sélectionnez Nouvel ensemble de courbes dans le menu local Afficher. Une zone de dialogue s’ouvre. 2 Saisissez un nom pour l’ensemble, puis cliquez sur OK. Une fois votre ensemble créé, vous pouvez le sélectionner dans le menu local Afficher.582 Chapitre 6 Images et clés et courbes Pour ajouter des paramètres à un ensemble de paramètres personnalisés, effectuez l’une des opérations suivantes : m Faites glisser le paramètre à partir d’un onglet quelconque de l’Inspecteur vers l’Éditeur d’images clés. m Cliquez sur le menu Animation de ce paramètre, puis sélectionnez Afficher dans l’Éditeur d’images clés. Le paramètre est ajouté à l’ensemble de courbes personnalisé. Remarque : si Animé est choisi dans le menu local Afficher lorsque vous utilisez la commande Afficher dans l’éditeur d’images clés dans le menu Animation, un nouvel ensemble de courbes sans titre est automatiquement créé.Chapitre 6 Images et clés et courbes 583 m Alors que l’Éditeur d’images clés est activé, maintenez enfoncée la touche Maj et utilisez le raccourci clavier associé à l’ensemble de courbes intégré correspondant. Remarque : si vous appuyez plusieurs fois de suite sur le même raccourci clavier d’ensemble de courbes, vous créez un nouvel ensemble de courbes personnalisé à chaque fois, avec un nom différent. Pour supprimer des paramètres d’un ensemble personnalisé : m Faites glisser le paramètre hors de la liste. Il disparaît en émettant un son « pouf ». Pour supprimer tous les paramètres d’un ensemble personnalisé : m Cliquez sur le bouton Effacer la liste des courbes. Pour supprimer un ensemble de paramètres personnalisés : 1 Sélectionnez « Gérer les ensembles de courbes » dans le menu local Afficher. La zone de dialogue « Gérer les ensembles de courbes » apparaît. 2 Sélectionnez le nom de l’ensemble que vous souhaitez supprimer. 3 Cliquez sur le bouton Supprimer (–) en haut de la zone de dialogue. L’ensemble est alors supprimé. 4 Cliquez sur Terminé pour fermer la zone de dialogue. Bouton « Effacer la liste des courbes »584 Chapitre 6 Images et clés et courbes Pour dupliquer un ensemble de paramètres personnalisés : 1 Sélectionnez « Gérer les ensembles de courbes » dans le menu local Afficher. La zone de dialogue « Gérer les ensembles de courbes » apparaît. 2 Sélectionnez le nom de l’ensemble que vous souhaitez dupliquer. 3 Cliquez sur le bouton Dupliquer en haut de la zone de dialogue. L’ensemble est alors dupliqué. 4 Cliquez deux fois sur le nom de l’ensemble dans la liste, puis tapez un nouveau nom pour l’ensemble. 5 Cliquez sur Terminé pour fermer la zone de dialogue. Le nouvel ensemble apparaît désormais dans le menu local Afficher. Ces ensembles sont enregistrés avec le projet afin que chaque fois que vous rouvrez le projet, ils soient accessibles. Stockez autant d’ensembles de paramètres que vous le souhaitez. Une fois un ensemble de paramètres sauvegardé, vous pouvez le modifier ou le supprimer, si nécessaire. Graphique des courbes Un graphique apparaît à droite de la liste des paramètres et affiche les courbes associées au paramètre que vous avez sélectionné. Ce graphique comporte une règle de temps en haut et une commande de zoom/défilement en bas qui sont identiques aux commandes correspondantes de la Timeline. Ceux-ci vous permettent d’identifier à quel moment les images clés apparaissent, ainsi que d’afficher des marqueurs de projet, de lire des Points d’entrée et de sortie et la tête de lecture. Grâce aux contrôles de zoom en bas du graphique, vous pouvez effectuer un zoom avant afin d’obtenir un contrôle plus précis du positionnement de l’image clé et de la courbe actuelle. Pour en savoir plus sur l’utilisation des commandes de zoom/défilement, consultez la rubrique « Zoom avant sur la Timeline » à la page 102. Le corps du graphique affiche les images clés et les courbes des paramètres actifs. Chaque paramètre est d’une couleur différente, pourtant certaines couleurs sont dupliquées. Enregistrement des courbes d’animation Vous avez la possibilité d’enregistrer des courbes d’animation dans un dossier existant de la Bibliothèque, comme la catégorie Favoris, ou de créer un nouveau dossier au sein d’une catégorie existante. Dès que vous avez placé une courbe d’animation dans la Bibliothèque, elle peut être ajoutée à un objet de n’importe lequel de vos projets. Les courbes d’animation enregistrées dans la Bibliothèque apparaissent avec une icône personnalisée. Remarque : dans le Finder, les éléments enregistrés dans la Bibliothèque portent l’extension .molo (pour « Motion Library object »). Il est impossible de les ouvrir directement à partir du Finder.Chapitre 6 Images et clés et courbes 585 Vous pouvez enregistrer de multiples courbes dans la Bibliothèque sous la forme d’un seul ou de plusieurs fichiers. Par exemple, si vous créez une animation à partir de plusieurs courbes et que vous souhaitez sauvegarder l’effet cumulé obtenu, vous pouvez enregistrer toutes les courbes sous la forme d’un seul élément dans la Bibliothèque. Même si vous avez la possibilité d’enregistrer vos courbes d’animation dans la catégorie Contenu, il est plutôt recommandé de sauvegarder tous les éléments que vous utilisez fréquemment dans la catégorie Favoris. Certaines catégories de la Bibliothèque de Motion contiennent tellement d’éléments que les catégories Favoris et Menu Favoris peuvent vous faire gagner du temps lors de vos recherches. Vous pouvez d’ailleurs créer d’autres dossiers au sein de la catégorie Favoris afin d’organiser au mieux vos éléments personnalisés. Vous pouvez également créer de nouveaux dossiers dans des catégories existantes, comme Favoris, Menu Favoris ou Contenu. Les dossiers créés dans la catégorie Contenu apparaissent dans la barre latérale de la Bibliothèque. En revanche, les dossiers créés dans des sous-catégories, comme Animation standard, sont affichés dans la pile de la Bibliothèque, mais pas dans sa barre latérale. Pour en savoir plus sur la création de dossiers dans la Bibliothèque, voir « Enregistrement et partage de comportements personnalisés » à la page 442. Les courbes d’animation enregistrées dans la catégorie Menu Favoris s’appliquent très rapidement à des objets grâce au menu Favoris. Pour enregistrer une courbe d’animation dans la Bibliothèque : 1 Ouvrez la Bibliothèque, puis sélectionnez la catégorie Contenu, Favoris ou Menu Favoris. 2 Faites glisser le nom de la courbe d’animation de paramètre que vous souhaitez enregistrer de la liste des paramètres affichée par l’Éditeur d’images clés vers la pile au bas de la Bibliothèque. Lorsque vous enregistrez une courbe d’animation, elle est placée dans le dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/ Motion/Bibliothèque. Remarque : si vous faites glisser une courbe d’animation vers une autre sous-catégorie, comme Éclat (dans la catégorie Filtres), elle est automatiquement placée dans la catégorie Contenu, qui est alors activée. Pour enregistrer plusieurs courbes d’animation dans la Bibliothèque : 1 Ouvrez la Bibliothèque, puis sélectionnez la catégorie Contenu, Favoris ou Menu Favoris. 2 Dans la liste des paramètres affichée par l’Éditeur d’images clés, sélectionnez toutes les courbes d’animation que vous souhaitez enregistrer, puis faites-les glisser vers la pile tout en maintenant le bouton de la souris enfoncé.586 Chapitre 6 Images et clés et courbes 3 Lorsque le menu déroulant apparaît, choisissez « Tous dans un fichier » ou Fichiers multiples. L’option « Tous dans un fichier » enregistre toutes les courbes d’animation ensemble et elles sont ensuite répertoriées comme un seul élément dans la Bibliothèque. À l’inverse, l’option Fichiers multiples enregistre les courbes dans la Bibliothèque comme des élé- ments individuels. 4 Pour attribuer un nom au(x) fichier(s), procédez de l’une des manières suivantes :  Cliquez sur son icône tout en maintenant la touche Contrôle enfoncée, choisissez Renommer dans le menu contextuel, puis saisissez un nom descriptif.  Sélectionnez l’icône, cliquez sur son nom, puis saisissez un nom descriptif. Remarque : lorsque vous cliquez sur l’icône d’une courbe d’animation dans la pile de la Bibliothèque tout en maintenant la touche Contrôle enfoncée, l’option Modifier la description est proposée dans le menu contextuel. Il s’agit d’un outil très pratique qui vous permet de rédiger des notes personnelles sur un élément enregistré dans la Bibliothèque. Après avoir choisi Modifier la description, entrez vos notes dans le champ de texte, puis cliquez sur OK. Modification d’images clés L’Éditeur d’images clés offre un environnement idéal pour la manipulation de vos images clés, car il vous permet d’afficher leurs valeurs, leur position dans le temps et la manière dont les modifications ont une incidence sur les courbes d’interpolation qui entourent vos images clés. Instantanés de courbes Il s’avère souvent utile de disposer d’une image de référence pour vos courbes lorsque vous modifiez des images clés. En effet, cette image de référence sert aussi bien de guide lors de vos modifications, que de filet de sécurité si vous apportez des modifications que vous souhaitez par la suite annuler pour rétablir la courbe d’origine. Pour prendre et afficher des instantanés de courbes : m Cliquez sur le bouton « Prendre/Afficher instantané de courbe » situé en bas de l’Éditeur d’images clés.Chapitre 6 Images et clés et courbes 587 Dès lors, si vous déplacez des images clés dans l’Éditeur d’images clés, la courbe d’origine apparaît dans une couleur plus claire (telle qu’elle était au moment où vous avez pris l’instantané). Cet instantané de courbe reste disponible aussi longtemps que vous modifiez l’ensemble actuel de courbes l’Éditeur d’images clés. Après avoir modifié une courbe, si vous préférez revenir à l’instantané, il vous suffit d’utiliser le menu Animation de l’Éditeur d’images clés. Pour rétablir l’instantané le plus récent d’une courbe : m Dans le menu Animation de l’Éditeur d’images clés, choisissez « Définir sur instantané de courbe ». La courbe est alors rétablie telle qu’elle se présentait dans le dernier instantané. Important : si vous chargez un autre ensemble de courbes dans l’Éditeur d’images clés ou décidez de le fermer, des instantanés de courbes sont repris, remplaçant les précédents. Utilisation de l’outil Édition Pour être en mesure de suivre les instructions suivantes, vous devez tout d’abord sélectionner l’outil Édition parmi les outils disponibles dans l’Éditeur d’images clés. Pour changer la valeur d’une image clé, procédez de l’une des manières suivantes : m Cliquez sur l’image clé que vous souhaitez modifier, puis faites-la glisser le long de l’axe Y (vers le haut ou vers le bas) afin de modifier sa valeur. Pour modifier sa position dans le temps, faites-la glisser le long de l’axe X (vers la gauche ou vers la droite). Appuyez sur la touche Maj tout en faisant glisser la souris afin de contraindre le mouvement sur un axe. Courbe d’origine (en rose) Nouvelle courbe (en blanc)588 Chapitre 6 Images et clés et courbes Lorsque vous faites glisser une image clé dans le graphique, des nombres apparaissent pour indiquer sa nouvelle position et sa valeur. Le premier de ces nombres correspond au numéro d’image et le second, à la valeur du paramètre. Si vous rapprochez deux images clés sur l’axe X, la transformation entre ces deux valeurs est effectuée plus rapidement. Au contraire, si vous éloignez les images clés l’une de l’autre, la modification se produit plus doucement. m Double-cliquez sur l’image clé que vous souhaitez modifier, tapez la nouvelle valeur dans le champ de valeur, puis appuyez sur Retour. La valeur de l’image clé est ainsi changée le long de l’axe Y (verticalement). Remarque : pour sortir d’un champ de valeur actif sans apporter aucune modification, appuyez sur Échap. m Faites glisser le curseur de valeur dans la liste des paramètres. Numéro d’image Valeur Valeur de l’image clé Image actuelleChapitre 6 Images et clés et courbes 589  Faites glisser vers la droite afin d’augmenter la valeur de l’image clé le long de l’axe Y.  Faites glisser vers la gauche afin de réduire la valeur de l’image clé le long de l’axe Y.  Appuyez sur Maj tout en faisant glisser afin de changer la valeur par incréments de 10.  Appuyez sur Option tout en faisant glisser afin de changer la valeur par incréments de 0,01. Outre la modification d’images clés existantes, vous pouvez en ajouter ou en supprimer directement dans le graphique. Pour ajouter une image clé : 1 Appuyez sur la touche Option, puis déplacez le pointeur sur la courbe du paramètre que vous souhaitez modifier. Le pointeur devient un signe plus (+). 2 Cliquez sur la courbe au niveau de l’image sur laquelle vous souhaitez qu’apparaisse l’image clé. 3 Faites glisser l’image clé vers la valeur préférée. Remarque : vous pouvez également ajouter une image clé à la position actuelle de la tête de lecture en choisissant Ajouter une image clé dans le menu Animation pour n’importe quel paramètre, ou en double-cliquant sur la courbe. Les courbes créées lors de l’ajout de nouvelles images clés sont définies sur la méthode d’interpolation de Bézier. Pour en savoir plus sur les méthodes d’interpolation, consultez la rubrique « Modification des courbes » à la page 595. Pour supprimer une image clé, procédez de l’une des manières suivantes : m Sélectionnez l’image clé, puis cliquez sur Supprimer. Remarque : vous pouvez faire glisser afin de sélectionner plusieurs images clés. m Appuyez simultanément sur la touche Contrôle et cliquez sur l’image clé, puis sélectionnez Supprimer dans le menu contextuel. m Accédez à l’image clé, puis sélectionnez Supprimer l’image clé dans le menu Animation pour ce paramètre. Pour supprimer toutes les images clés d’un paramètre : m Cliquez sur le menu Animation dans la liste des paramètres, puis choisissez Réinitialiser le paramètre. Remarque : vous pouvez également utiliser le menu Animation dans l’Inspecteur.590 Chapitre 6 Images et clés et courbes Contrôle des images clés En plus de les supprimer, vous pouvez également verrouiller ou désactiver des images clés. Par ailleurs, le menu local des images clés comporte des réglages spéciaux que vous pouvez appliquer pour contrôler la forme de votre courbe. Pour en savoir plus, consultez la rubrique « Modification des courbes » à la page 595. Pour verrouiller ou désactiver une image clé : m Appuyez simultanément sur la touche Contrôle et cliquez sur l’image clé que vous souhaitez modifier, puis sélectionnez Verrouiller ou Désactiver dans le menu contextuel. Verrouiller : empêche toute autre modification de cette image clé. Désactiver : permet d’ignorer une image clé temporairement sans la supprimer. Copie et collage d’images clés et de courbes d’animation Les commandes Copier et Coller vous permettent de déplacer des images clés et les courbes d’animation qu’elles forment d’un paramètre à l’autre. Cette technique peut être utile pour copier un effet spécifique d’une image clé d’un objet à l’autre, pour avancer ou retarder la trajectoire d’une image clé sur le même paramètre, voire pour créer des images clés sur un paramètre et les appliquer à un autre paramètre. Pour copier des images clés, vous devez les sélectionner soit individuellement, soit par canal ou canaux entiers.Chapitre 6 Images et clés et courbes 591 Pour sélectionner des images clés, procédez de l’une des manières suivantes : m Grâce à l’outil Édition, faites glisser une zone de sélection autour des images clés que vous souhaitez sélectionner. m Maintenez la touche Maj et cliquez sur les images clés que vous souhaitez sélectionner. Une fois les images clés sélectionnées, vous pouvez les couper ou les copier dans le Presse-papiers. Pour copier les images clés sélectionnées : m Choisissez Édition > Copier (ou appuyez simultanément sur les touches Commande + C). Pour couper les images clés sélectionnées : m Choisissez Édition > Couper (ou appuyez simultanément sur les touches Commande + X). Pour coller vos images clés sélectionnées, vous devez sélectionner à la fois le paramètre dans lequel vous souhaitez les coller et le point du temps où vous souhaitez que les images clés collées commencent. Si seule la courbe (et non les images clés) apparaît en blanc, les images clés ne sont pas sélectionnées. Les images clés sélectionnées apparaissent en blanc.592 Chapitre 6 Images et clés et courbes Pour coller des images clés : 1 Sélectionnez le paramètre de destination dans la liste des paramètres (à gauche de l’Éditeur d’images clés). 2 Positionnez la tête de lecture sur le point de la chronologie où vous souhaitez que les images clés commencent. 3 Choisissez Édition > Coller (ou appuyez simultanément sur les touches Commande + V). Remarque : les images clés collées ne génèrent pas forcément la même courbe que l’original si l’échelle des paramètres est différente. Pour sélectionner l’intégralité d’une courbe d’animation, procédez de l’une des manières suivantes : m Sélectionnez la ligne d’un paramètre dans la liste des paramètres affichée par l’Éditeur d’images clés. m Sélectionnez plusieurs paramètres dans la liste des paramètres en cliquant dessus tout en maintenant la touche Contrôle ou Maj enfoncée. Dès que vous avez sélectionné des paramètres animés avec des images clés, vous pouvez les couper ou les copier pour les placer dans le Presse-papiers. Pour copier les courbes d’animation sélectionnées : m Choisissez Édition > Copier (ou appuyez simultanément sur les touches Commande + C). Pour couper les courbes d’animation sélectionnées : m Choisissez Édition > Couper (ou appuyez simultanément sur les touches Commande + X). Lorsque vous collez des courbes d’animation, toutes les images clés des paramètres de destination sont remplacées et le contrôle du temps des images clés d’origine est conservé dans l’ensemble du canal à sa nouvelle destination. Pour coller des courbes d’animation : 1 Dans la liste des paramètres de l’Éditeur d’images clés, sélectionnez le paramètre de destination. 2 Choisissez Édition > Coller (ou appuyez simultanément sur les touches Commande + V). Remarque : les courbes d’animation collées ne génèrent pas forcément la même courbe que l’original si l’échelle des paramètres est différente. Utilisation de l’outil Esquisse Situé à côté de l’outil Édition, l’outil Esquisse vous permet de tracer des courbes d’animation dans l’Éditeur d’images clés, tout en créant des images clés au fur et à mesure. Afin de pouvoir esquisser une courbe, la liste des paramètres doit tout d’abord afficher le paramètre à animer. Pour en savoir plus sur les méthodes à utiliser pour afficher certaines courbes, voir « Ensembles de paramètres personnalisés » à la page 581.Chapitre 6 Images et clés et courbes 593 Pour esquisser une courbe d’animation : 1 Dans la liste des paramètres, sélectionnez le paramètre que vous souhaitez esquisser. 2 Choisissez l’outil Esquisse parmi les outils disponibles dans l’Éditeur d’images clés. 3 Faites glisser le pointeur dans le graphique d’images clés pour esquisser une courbe d’animation. Si vous glissez ou cliquez n’importe où dans l’Éditeur d’images clés, les images clés existantes sont remplacées. Pour ajouter des images clés individuelles à l’aide de l’outil Esquisse : 1 Choisissez l’outil Esquisse parmi les outils disponibles dans l’Éditeur d’images clés. 2 Dans la liste des paramètres, sélectionnez le paramètre que vous souhaitez esquisser. 3 Cliquez dans le graphique pour ajouter une image clé. Chaque nouveau clic crée une image clé supplémentaire. Utilisation de l’outil Cadre Également disponible parmi les outils de l’Éditeur d’images clés, l’outil Cadre vous permet de tracer un cadre de sélection autour d’un certain nombre d’images clés, puis de manipuler leur position en ajustant les poignées du cadre de sélection. Pour dessiner un cadre de sélection à l’aide de l’outil Cadre : 1 Choisissez l’outil Cadre parmi les outils disponibles dans l’Éditeur d’images clés. 2 Dans le graphique d’images clés, faites glisser le pointeur pour dessiner un cadre de sélection autour des images clés que vous souhaitez manipuler. Paramètre et outil Esquisse sélectionnés Faites glisser le pointeur dans le graphique afin de créer des images clés pour le paramètre sélectionné. Courbe liée aux nouvelles images clés créées ajoutée à la courbe d’animation existante.594 Chapitre 6 Images et clés et courbes Un cadre de sélection doté de huit poignées apparaît dans le graphique d’images clés. Une fois le cadre de sélection dessiné, vous disposez de nombreuses possibilités pour manipuler aussi bien le cadre que les images clés qu’il contient. Il vous suffit en fait de faire glisser l’une des poignées du cadre de sélection pour la déplacer. Pour déplacer le cadre de sélection : m Faites glisser le curseur à l’intérieur du cadre de sélection pour déplacer le cadre et les images clés qu’il contient. Si vous glissez vers la droite ou la gauche, vous modifiez la position dans le temps des images clés. En revanche, si vous glissez vers le haut ou le bas, vous augmentez ou diminuez la valeur des paramètres des images clés sélectionnées. Remarque : peu importe où vous faites glisser le cadre, seules les images clés sélectionnées dans le cadre d’origine sont manipulées, même si le cadre repositionné chevauche des images clés qui étaient précédemment en dehors de la zone de sélection. Pour manipuler d’autres images clés, vous devez redessiner le cadre de sélection dans le graphique d’images clés. Paramètres animés avec des images clés avant la sélection Poignée du cadre de sélection Images clés sélectionnées Transformation d’images clés Pour repositionner les poignées du cadre de sélection, procédez comme à l’accoutumée lorsque vous faites glisser les poignées d’un cadre de sélection autour d’un objet. Dans ce cas, la seule différence est que le déplacement d’une des poignées affecte non seulement le cadre, mais aussi les images clés qu’il contient. Si vous déplacez le cadre, vous déplacez donc toutes les images clés sélectionnées dans la même direction. Il vous est ainsi possible de modifier la position de ces images dans le temps ou la valeur des paramètres, voire les deux en même temps. Si vous modifiez l’échelle du cadre, vous modifiez également les « échelles » des images clés qu’il contient, changeant par la même occasion leur contrôle du temps et la valeur des paramètres. Faites vos propres essais avec le cadre de sélection, afin de mieux comprendre comment vos différentes manipulations affectent les images clés que ce cadre entoure.Chapitre 6 Images et clés et courbes 595 Pour modifier l’échelle du cadre de sélection : m Maintenez la touche Option enfoncée et faites glisser l’une des poignées du cadre de sélection. La taille du cadre augmente ou diminue en fonction du déplacement du curseur le long des axes. Pour déformer le cadre de sélection de façon non proportionnelle : m Maintenez la touche Commande enfoncée et faites glisser l’une des poignées d’angle du cadre de sélection. Chacune se déplace alors indépendamment des trois autres poignées d’angle du cadre de sélection. Modification des courbes La fonction le plus puissante et la plus précieuse offerte par l’Éditeur d’images clés est probablement la possibilité d’apporter des modifications aux courbes entre les images clés. Evidement, la manipulation d’images clés entraîne la modification des courbes, mais Motion vous fournit les outils nécessaires au contrôle de l’interpolation et de l’extrapolation des valeurs mêmes de votre paramètre. Grâce à des algorithmes mathématiques prédéfinis ou en ayant recours à un contrôle manuel, vous pouvez modifier de manière significative l’impact de vos effets. Lorsque vous définissez l’interpolation d’une courbe, vous sélectionnez l’image clé à modifier. La méthode que vous choisissez détermine la distribution des valeurs via, dans ou en dehors de l’image clé sélectionnée. Pour définir une méthode d’interpolation pour une image clé : 1 Sélectionnez l’image clé que vous souhaitez affecter. L’image clé devient blanche. 2 Appuyez simultanément sur la touche Contrôle et cliquez sur l’image clé pour afficher le menu contextuel. 3 Choisissez une méthode d’interpolation dans le sous-menu Interpolation.596 Chapitre 6 Images et clés et courbes Pour définir une méthode d’interpolation sur un segment de courbe : m Cliquez sur le segment en maintenant la touche Contrôle enfoncée, puis choisissez une méthode d’interpolation dans le sous-menu Interpolation. Vous pouvez définir différentes méthodes d’interpolation pour différents segments de la même courbe. Lorsque différentes méthodes d’interpolation sont appliquées aux différents segments d’une courbe d’animation, les méthodes utilisées dans la courbe apparaissent avec un trait d’union en regard de leur nom dans le sous-menu Interpolation (dans la liste des paramètres de l’Éditeur d’images clés). Dans l’image suivante, toutes les méthodes d’interpolation sont appliquées à la courbe sélectionnée.Chapitre 6 Images et clés et courbes 597 Les différentes méthodes d’interpolation sont décrites dans le tableau suivant. Méthode d’interpolation Exemple Description Constante Maintient l’image clé à sa valeur actuelle lorsqu’elle est appliquée à un segment ou à une image clé, puis prend subitement la nouvelle valeur lorsque l’image clé suivante est générée. Linéaire Lors de l’application à une image clé, crée une distribution uniforme des valeurs dans l’image clé, à partir de ses deux images clés adjacentes. Lors de l’application à un segment, crée une distribution uniforme des valeurs entre les deux points. Bézier Vous permet de manipuler la courbe d’images clés manuellement en faisant glisser les poignées. Si plusieurs images clés Bézier sont sélectionnées, ou que Bézier est appliqué au segment de courbes, les poignées de toutes les images clés sélectionnées sont modifiées. En continu Cette méthode fonctionne comme l’interpolation Bézier, mais sans accès aux poignées (elles sont calculées automatiquement). Le paramètre commence à changer progressivement, et atteint sa vitesse maximum au milieu, puis sa vitesse diminue lorsqu’il approche de la seconde image clé. Lorsqu’il est appliqué à une image clé, les segments avant et après l’image clé sont modifiés. Lorsqu’il est appliqué à un segment de courbe, le segment entre les deux images clés est modifié. Atténuation en entrée Type d’effet d’inertie inversée, de sorte qu’un changement de valeur entre progressivement dans une image clé. Lorsqu’il est appliqué à un segment courbe, le changement de valeur entre dans le segment. Atténuation en sortie Crée un retard de type inertie, de sorte qu’un changement de valeur commence plus lentement lors de la sortie d’une image clé. Lorsqu’il est appliqué à un segment courbe, le changement de valeur sort du segment.598 Chapitre 6 Images et clés et courbes Vous pouvez également appliquer une méthode d’interpolation sur le paramètre complet. Dans l’exemple suivant, la courbe Position Y (verte) est définie sur Bézier. Pour changer la méthode d’interpolation d’un paramètre entier : m Dans l’Éditeur d’images clés, cliquez sur le menu Animation, puis choisissez une méthode dans le sous-menu Interpolation. Exponentielle Crée une courbe exponentielle entre la valeur actuelle et la suivante, en commençant par modifier la valeur actuelle très lentement, puis en atteignant le taux d’accélération maximale à l’approche de la valeur suivante. Logarithmique Crée une courbe logarithmique entre la valeur actuelle et la suivante, en commençant par modifier la valeur actuelle très rapidement, puis en ralentissant de manière considérable à l’approche de la valeur suivante. Méthode d’interpolation Exemple DescriptionChapitre 6 Images et clés et courbes 599 La méthode d’interpolation sélectionnée (Constante dans cet exemple) est appliquée à la courbe entière. Pour changer la méthode d’interpolation de plusieurs paramètres : 1 Dans la liste des paramètres de l’Éditeur d’images clés, maintenez la touche Maj enfoncée et cliquez sur les paramètres que vous souhaitez modifier. 2 Cliquez sur le menu Animation (dans l’Éditeur d’images clés), puis choisissez une méthode dans le sous-menu Interpolation. La méthode d’interpolation choisie est appliquée à toutes les courbes sélectionnées. Conversion en Bézier La méthode d’interpolation de Bézier est la méthode la plus flexible puisqu’elle permet une modification manuelle de la courbe. Motion vous permet de convertir rapidement et facilement une image clé quelconque en une image clé de Bézier. Pour convertir une image clé en image clé de Bézier : m Tout en maintenant la touche commande enfoncée, faites glisser l’image clé à convertir dans le graphique. 600 Chapitre 6 Images et clés et courbes Les poignées de Bézier apparaissent et le mouvement de votre souris contrôle automatiquement l’une des poignées. Remarque : si vous maintenez la touche Commande enfoncée tout en cliquant sur un point de Bézier, vous rétablissez une interpolation linéaire. Pour modifier simultanément les poignées de plusieurs points de contrôle, cliquez sur ces points tout en maintenant la touche Maj enfoncée, puis ajustez les tangentes. Si un point ne comporte aucune tangente, faites-le glisser tout en maintenant la touche Commande enfoncée. Pour séparer une poignée : m Faites glisser la poignée tout en maintenant la touche Option enfoncée. Pour verrouiller l’angle d’une poignée lors de vos modifications : m Faites glisser la poignée tout en maintenant la touche Option enfoncée. Extrapolation En plus de définir l’interpolation pour les zones entre les images clés, vous pouvez définir la manière dont Motion génère les valeurs avant la première image clé et après la dernière (extrapolation). Lorsque vous définissez une telle méthode sur un paramètre, de nouvelles images clés sont ajoutées au-delà de vos images clés d’origine. Cela peut se révéler utile lorsque vous essayez d’allonger la durée d’un effet tel que le déplacement de l’arrière-plan. Chapitre 6 Images et clés et courbes 601 Pour appliquer le réglage Avant la première image clé à un paramètre : m Dans l’Éditeur d’images clés, cliquez sur le menu Animation du paramètre que vous souhaitez modifier, puis choisissez un élément dans le sous-menu Avant la première image clé. Pour appliquer le réglage Après la dernière image clé à un paramètre : m Dans l’Éditeur d’images clés, cliquez sur le menu Animation du paramètre que vous souhaitez modifier, puis choisissez un élément dans le sous-menu Après la dernière image clé. Le tableau suivant décrit les options d’extrapolation disponibles dans les sous-menus Avant la première image clé et Après la dernière image clé. Méthode d’extrapolation Exemple Description Constante (Par défaut) Le paramètre reste à la valeur exacte de la première et de la dernière image clé dans la zone d’extrapolation. Linéaire Étend la courbe au-delà de la première et de la dernière image clé uniformément, le long de la trajectoire. Ping-Pong Copie la courbe et la répète, d’avant en arrière.602 Chapitre 6 Images et clés et courbes Génération d’images clés En règle générale, l’extrapolation n’implique pas la création de nouvelles images clés. Cela vous permet d’expérimenter différentes méthodes. Toutefois, vous pouvez convertir une méthode d’extrapolation en images clés réelles afin de pouvoir les manipuler. Pour cela, utilisez la commande Générer des images clés. Vous pouvez alors choisir le nombre de cycles d’extrapolation que vous souhaitez convertir en images clés. Les cycles après le nombre choisi demeurent à l’état extrapolé. Répétition Duplique la courbe, et l’applique de manière répétitive. Progressive Étend la courbe en répétant sa forme existante, mais au lieu de recommencer avec les mêmes valeurs, elle recommence avec la valeur de fin existante. Méthode d’extrapolation Exemple Description Générer des images clés appliquées sur un cycle Graphique d’image clé d’origine Répétition de l’extrapolation appliquéeChapitre 6 Images et clés et courbes 603 Pour convertir des données d’extrapolation en images clés : 1 Dans le menu Animation, sélectionnez « Générer des images clés » dans le sous-menu « Avant la première image clé » ou « Après la dernière image clé ». La zone de dialogue « Générer des images clés » apparaît. 2 Choisissez le nombre de cycles que vous souhaitez animer avec des images clés. 3 Cliquez sur OK pour confirmer votre sélection. Boutons de commande Dans la fenêtre de l’Éditeur d’images clés, plusieurs boutons garantissent un plus ample contrôle : Magnétisme, « Afficher la forme d’onde audio » et « Ajuster les courbes visibles à la fenêtre ». Magnétisme : lorsque le magnétisme est activé, les images clés se magnétisent aux marqueurs, aux autres images clés et aux autres éléments auxquels elles peuvent s’accrocher. Magnétisme activé604 Chapitre 6 Images et clés et courbes Afficher la forme du signal audio : active l’affichage des formes d’ondes audio de l’élément sélectionné à l’arrière-plan du graphique. Cela vous permet d’aligner un effet pour qu’il se produise au même moment qu’un événement de la bande audio. Remarque : si votre projet comporte plusieurs pistes audio, un menu local situé en bas de l’Éditeur d’images clés vous permet de visualiser la forme d’onde de toute piste audio de votre projet ou de la piste Master. Ajuster les courbes visibles à la fenêtre : redimensionne automatiquement le graphique à la verticale, afin qu’il inclut toutes les images clés de vos paramètres activés. Il est possible que les valeurs de vos images clés dépassent la résolution verticale du graphique. Par exemple, lorsque vous allongez une image clé, vous pouvez la faire glisser si loin que vous forcez la fenêtre à défiler. « Afficher la forme du signal audio » activéChapitre 6 Images et clés et courbes 605 Lorsque vous cliquez sur ce bouton, Motion redimensionne automatiquement le graphique à la verticale comme à l’horizontale, afin que votre courbe soit entièrement visible. Toutefois, les valeurs de vos images clés ne sont pas modifiées. Ajustement vertical automatique : cliquez sur ce bouton (la loupe dans le coin supé- rieur droit de l’Éditeur d’images clés) pour étirer le graphique de telle sorte que toutes les courbes actuellement à l’écran soient visibles. Pour activer le mode de mise à l’échelle automatique : m Cliquez sur le bouton Ajustement vertical automatique dans le coin supérieur droit de l’Éditeur d’images clés. Lorsque l’option Ajustement vertical automatique est activée, la plage du graphique augmente pour s’adapter à la totalité de votre courbe, au fur et à mesure que vous la modifiez. Par exemple, si vous faites glisser une image clé vers le haut pour augmenter sa valeur, si vous dépassez le haut de la fenêtre, tout le graphique est remis à l’échelle au lieu de défiler. Cela peut s’avérer déconcertant au premier abord, car il semble que votre courbe refuse de s’agrandir même si vous faites glisser votre image clé. Toutefois, si vous observez la barre de zoom/défilement du côté droit de la fenêtre, vous constatez qu’un zoom vertical est effectué sur le graphique, afin de libérer de l’espace pour une plage de valeurs plus importante. Bouton « Ajuster les courbes visibles à la fenêtre » Bouton Ajustement vertical automatique606 Chapitre 6 Images et clés et courbes Éditeur de mini-courbes Un éditeur de mini-courbes est une version limitée de l’Éditeur d’images clés. Affichés par l’Inspecteur, les éditeurs de mini-courbes vous offrent la possibilité de créer des animations de base directement dans l’Inspecteur, sans avoir à ouvrir l’Éditeur d’images clés. Deux comportements Particule, Échelle sur longévité et Rotation sur longévité, disposent d’éditeurs de mini-courbes dans l’Inspecteur (lorsque leur paramètre Type d’incrément est réglé sur Personnaliser). La fenêtre Trait de l’Inspecteur Forme affiche également des éditeurs de mini-courbes pour les objets peints. Par défaut, l’éditeur de mini-courbes est réduit et affiche une représentation limitée de la courbe d’animation actuelle. Pour développer un éditeur de mini-courbes : m Cliquez sur le triangle d’affichage situé en regard de l’éditeur de mini-courbes réduit. L’éditeur de mini-courbes développé apparaît alors. Éditeur de mini-courbes réduit Outil Esquisse Outil Cadre Outil Édition Éditeur de mini-courbesChapitre 6 Images et clés et courbes 607 Une fois développé, l’éditeur de mini-courbes affiche une représentation de la courbe d’animation correspondante. Dans l’exemple ci-dessus, les paramètres Plage et Quantité de rotation correspondent respectivement aux axes X et Y. Pour ajouter des images clés dans un éditeur de mini-courbes, la procédure diffère légèrement de celle utilisée dans l’Éditeur d’images clés intégral. Pour ajouter des images clés dans l’éditeur de mini-courbes, procédez de l’une des manières suivantes : m Cliquez sur la courbe dans l’éditeur de mini-courbes. m Double-cliquez sur la courbe dans l’éditeur de mini-courbes afin d’ajouter une image clé et d’activer son champ de valeur. m Cliquez sur la courbe tout en maintenant la touche Option enfoncée, puis choisissez « Ajouter une image clé » dans le menu contextuel. L’éditeur de mini-courbes vous propose les mêmes outils Édition, Esquisse et Cadre, ainsi que les mêmes fonctions que l’Éditeur d’images clés. Pour en savoir plus sur l’utilisation de l’outil Édition, voir « Utilisation de l’outil Édition » à la page 587. Pour l’outil Esquisse, voir plutôt « Utilisation de l’outil Esquisse » à la page 592. Quant à l’outil Cadre, voir « Utilisation de l’outil Cadre » à la page 593. La case à cocher Ajustement auto permet d’indiquer à Motion s’il doit automatiquement mettre à l’échelle la courbe d’animation pour l’adapter aux limites de l’éditeur de minicourbes. Case Ajustement auto désactivée dans l’éditeur de mini-courbesAnimation à la volée Une autre fonction puissante offerte par Motion est la capacité de créer des animations tandis que votre projet est en cours de lecture. Cette méthode s’apparente à la manière dont les ingénieurs audio règlent les curseurs pour chacun des canaux audio tout en écoutant leur mixage. Lors de la lecture suivante, toutes les modifications sont incorporées. Comme de nombreux effets de Motion sont affichés en temps réel, vous pouvez exécuter une sorte de « mixage visuel » et modifier les différents paramètres de vos effets en cours de lecture de votre projet. Il vous faut alors visualiser l’ensemble des éléments de votre projet en interaction pour savoir si chaque partie se comporte comme prévu. Un objet peut subir un fondu trop lent et entraîner une mauvaise visibilité d’un autre élément ou un élément de texte peut apparaître et disparaître si rapidement qu’il est impossible de le lire. Grâce à l’insertion d’images clés à la volée, vous pouvez effectuer des réglages sur tous les curseurs ou tous les paramètres du programme lors de lecture de votre projet. Vous pouvez également manipuler de manière interactive des objets dans le Canevas. Ensuite, si vous n’aimez pas le résultat, rembobinez et recommencez. À chaque fois que vous modifiez un paramètre, vous remplacez toutes les images clés précédemment définies. Pour animer un paramètre à la volée en utilisant l’Inspecteur ou la palette : 1 Cliquez sur le bouton Enregistrer (ou appuyez sur A) ou choisissez Marquer > Enregistrer l’animation afin d’activer l’enregistrement des images clés. 2 Cliquez sur le bouton de lecture ou appuyez sur la Barre d’espace pour lancer la lecture. 3 Lors de la lecture de votre projet, réglez le curseur d’un paramètre. 4 Désactivez l’enregistrement. Les modifications apportées en cours de lecture sont enregistrées comme des images clés pour ce paramètre. Vous pouvez les afficher dans l’Éditeur d’images clés.Chapitre 6 Images et clés et courbes 609 Si vous n’aimez pas votre animation, vous pouvez supprimer les images clés et réessayer. Choisissez alors Édition > Annuler (ou appuyez sur les touches Commande + Z) pour revenir à l’état précédant le début de l’enregistrement de votre animation ou supprimez manuellement les images clés que vous souhaitez remplacer. Pour supprimer des images clés, exécutez l’une des opérations suivantes : m Sélectionnez l’image clé, puis cliquez sur Supprimer. m Appuyez simultanément sur la touche Contrôle et cliquez sur l’image clé, puis sélectionnez Supprimer dans le menu contextuel. m Sélectionnez l’image clé, puis sélectionnez Supprimer dans le menu Animation de ce paramètre. Remarque : pour supprimer toutes les images clés pour un paramètre, choisissez Réinitialiser le paramètre dans le menu Animation de la liste Éditeur d’images clés ou de l’Inspecteur. Animation manuelle dans le Canevas L’une des utilisations les plus courantes de l’animation à la volée est la création manuelle de trajectoires d’animation. Même si vous pouvez choisir parmi une variété de types de courbes, il est vraiment difficile d’obtenir un mouvement semi-aléatoire, sauf en le dessinant avec votre souris ou votre crayon. Pour créer une trajectoire d’animation manuelle dans le Canevas : 1 Activez l’enregistrement (appuyez sur la touche A). 2 Cliquez sur le bouton de lecture pour commencer la lecture. 3 Sélectionnez l’objet que vous souhaitez manipuler et déplacez-le selon le tracé de votre choix.610 Chapitre 6 Images et clés et courbes La position et la vitesse de votre mouvement sont enregistrés et appliquées aux positions des images clés de cet objet. Vous pouvez manipuler encore plus la trajectoire soit en faisant glisser des images clés individuelles ou en enregistrant de nouveau une nouvelle trajectoire d’animation pour cet objet. Suppression d’images clés Du fait du fonctionnement des images clés, si la tête de lecture se trouve sur une nouvelle image et que vous définissez une nouvelle valeur pour un paramètre, une image clé est alors ajoutée. Pour animer la séquence lors de la lecture du projet, il peut être nécessaire de définir une nouvelle image clé pour chacune des images. Cela ne pose aucun problème jusqu’à ce que vous souhaitiez modifier la courbe. Dans de nombreux cas, la courbe créée par votre animation peut être représentée à l’aide de moins d’images clés. Souvent, vous obtiendrez un changement plus progressif et vous pourrez tirer partie des différentes méthodes d’interpolation, telles que l’Atténuation en entrée et l’Atténuation en sortie. Les images clés très proches les unes des autres indiquent un mouvement plus lent. Les images clés très éloignées les unes des autres indiquent un mouvement rapide.Chapitre 6 Images et clés et courbes 611 Il existe deux méthodes de simplification des images clés : soit lorsque vous les enregistrez, soit ultérieurement en simplifiant une courbe d’animation existante. Pour en savoir plus sur la simplification des images clés après l’enregistrement grâce à la commande Réduire les images clés, voir page 578. Options d’enregistrement La zone de dialogue Options d’enregistrement vous permet de définir le réglage Suppression d’images clés, d’enregistrer uniquement les paramètres déjà animés ou de désactiver l’enregistrement au cours de la lecture. Le paramètre Suppression d’images clés ne s’applique qu’à l’enregistrement d’animation en cours de lecture. Ce paramètre n’a aucun effet sur l’insertion ordinaire d’images clés. Pour accéder aux options d’enregistrement, procédez de l’une des manières suivantes : m Choisissez Marquer > Options d’enregistrement (ou appuyez sur les touches Option + A). m Double-cliquez sur le bouton Animer. La zone de dialogue Options d’enregistrement apparaît. Pour définir le réglage Suppression d’images clés : 1 Sélectionnez Désactivé, Réduite ou Pics uniquement. 2 Cliquez sur OK. Option Réduire les images clés (dans le menu Animation de l’Éditeur d’images clés) appliquée à la Position Y612 Chapitre 6 Images et clés et courbes Désactivé : aucune suppression n’est appliquée. Les images clés sont appliquées sur chaque image dont le paramètre est modifié. Réduite : Motion élimine les images clés qui peuvent être facilement remplacées par une simple courbe. Pics uniquement : seules les images clés dont les modifications sont significatives sont enregistrées. Chapitre 6 Images et clés et courbes 613 Désactivation de l’animation en cours de lecture Si vous laissez le bouton Enregistrer activé, des images clés sont ajoutées à chaque fois que vous effectuez des réglages. Si vous souhaitez limiter les images clés au moment où le projet n’est pas en cours de lecture, vous pouvez désactiver cette fonction individuellement. Pour désactiver l’enregistrement de l’animation en cours de lecture : 1 Sélectionnez Marquer > Options d’enregistrement. La zone de dialogue Options d’enregistrement apparaît. 2 Activez l’option « Ne pas enregistrer d’images clés durant la lecture ». 3 Cliquez sur OK. Enregistrement d’images clés sur les paramètres animés uniquement Lorsque l’option « Enregistrer les images clé sur les paramètres animés seulement » est activée, les images clés sont ajoutées uniquement aux paramètres déjà animés. Par exemple, si la position d’une forme est animée (avec images clés) et que l’option « Enregistrer les images clé sur les paramètres animés seulement » est activée, seules les modifications apportées à la position de cet objet font l’objet d’images clés. Si vous changez la couleur de l’objet dans le temps, les changements de couleur ne font pas l’objet d’images clés, même lorsque le bouton Enregistrer est activé. Important : le bouton Enregistrer doit être activé lors de l’utilisation de l’option « Enregistrer les images clé sur les paramètres animés seulement ». Vous pouvez toujours ajouter manuellement des images clés, que l’option Enregistrer soit activée ou non, via le menu Animation de l’Inspecteur ou de la liste de l’Éditeur d’images clés, ou en appuyant sur les touches Option + K. ∏ Conseil : si vous utilisez Final Cut Pro, il est recommandé d’utiliser cette option pour émuler le flux de travaux avec lequel vous êtes familiarisé. Pour enregistrer des images clés sur les paramètres animés uniquement : 1 Activez l’enregistrement (ou appuyez sur la touche A). 2 Choisissez Marquer > Options d’enregistrement (ou appuyez sur les touches Option + A). 3 Activez l’option « Enregistrer les images clé sur les paramètres animés seulement ». 4 Cliquez sur OK. Les images clés sont à présent ajoutées uniquement lorsque vous apportez des modifications à des paramètres animés. Pour observer le fonctionnement de l’option « Enregistrer les images clé sur les paramètres animés seulement », parcourez le petit exercice suivant.614 Chapitre 6 Images et clés et courbes Pour voir l’option « Enregistrer les images clé sur les paramètres animés seulement » en action : 1 Activez l’enregistrement (appuyez sur la touche A). 2 Choisissez Marquer > Options d’enregistrement et assurez-vous que l’option « Enregistrer les images clé sur les paramètres animés seulement » est désactivée dans la zone de dialogue Options d’enregistrement, puis cliquez sur OK. 3 À l’image 1 (appuyez sur Début), dessinez une forme dans le Canevas et déplacez l’objet à une position de départ. Une image clé de position est créée. 4 Avancez jusqu’à une image différente et déplacez l’objet vers une autre position. Une deuxième image clé de position est créée. 5 Choisissez Marquer > Options d’enregistrement et activez l’option « Enregistrer les images clés sur les paramètres animés seulement » dans la zone de dialogue Options d’enregistrement, puis cliquez sur OK. 6 Accédez à une image entre les deux images clés de position, puis déplacez la forme dans le Canevas. Une troisième image clé de position est ajoutée. 7 Au niveau de l’image 1 (appuyez sur la touche Début), cliquez sur le cadre de couleur Remplissage dans la palette de la forme, puis modifiez la couleur de l’objet. 8 Avancez jusqu’à une autre image, puis changez de nouveau l’objet de couleur. 9 Accédez à l’image 1 et cliquez sur le bouton de lecture (ou appuyez sur la barre espace). La position de l’objet est animée, mais pas sa couleur, car la forme comportait des images clés de position lorsque l’option « Enregistrer les images clés sur les paramètres animés seulement » était activée. Cadre de couleur Remplissage7 615 7 Utilisation de texte Le texte, l’un des éléments les plus importants dans les animations, offre encore plus d’options de personnalisation dans Motion. Dans le domaine de l’animation graphique, les textes transmettent un message bien plus important que de simples informations de base, telles que des titres, des dates ou des repères. L’apparition de caractères typographiés à l’écran peut même engendrer une réponse émotionnelle immédiate et puissante. Aujourd’hui, la simple séquence de générique d’un film laisse deviner son atmosphère, quelques mots et des styles d’animation particuliers permettent de reconnaître immédiatement une chaîne et une publicité interstitielle bien pensée incite le téléspectateur à lâcher sa télécommande. C’est devenu une forme d’art. Jetez juste un œil au générique de Friz Freleng pour La Panthère Rose de Blake Edwards. Les titres animés créés par Freleng, basés sur un design et un style graphique qui ont su traverser le temps et résister à plus de 40 ans d’effets spéciaux, ne définissent pas seulement le ton comique du film, ils sont à l’origine de la carrière (certes virtuelle) d’une véritable icône (avec l’aide, il faut bien l’avouer, du très ingénieux thème musical d’Henry Mancini). Bien que l’usage fait des textes ne cesse d’évoluer, le juste équilibre entre texte et graphisme reste la clé pour atteindre l’effet souhaité en matière de publicités, documentaires, génériques d’émissions de télévision ou de films, logos, présentations d’entreprise ou pour vos propres projets vidéo. Peu importe le style que vous souhaitez développer dans votre projet, Motion vous offre des outils d’animation de texte hors du commun, qui vous permettent d’obtenir des résultats immédiats.616 Chapitre 7 Utilisation de texte Utilisation de texte dans Motion Dans Motion, vous avez la possibilité d’ajouter du texte à votre projet directement dans le Canevas (sélectionnez l’outil Texte, cliquez dans le Canevas, puis commencez à saisir). Une fois le texte créé, vous pouvez le modifier dans le Canevas ou dans l’éditeur de texte de l’Inspecteur. Vous pouvez également animer du texte grâce à des comportements ou à des images clés. Le texte dispose à cet effet de deux catégories de comportements spéciaux : les comportements Animation de texte et Séquence de texte. Ils animent le texte en générant une plage de valeurs dans les paramètres de texte spécifiques aux effets de titrage. Faites par exemple glisser sur un texte le comportement Suivi du texte et ses caractères se disperseront avec élégance sur le Canevas, sans nécessiter la moindre image clé. (Vous pouvez choisir de travailler avec ou sans images clés à l’aide des comportements Séquence de texte et Animation de texte.) En dehors des comportements Texte, vous pouvez appliquer n’importe quel comportement Animation standard, Simulation ou Paramètre à du texte. Pour en savoir plus sur ces types de comportements, voir « Utilisation des comportements » à la page 405. Même si ces comportements sont conçus pour des graphiques, ils constituent une méthode idéale pour tester différents traitements appliqués à du texte, sans avoir à régler d’images clés. Il vous suffit d’ouvrir la palette du comportement appliqué pour ajuster rapidement sa fréquence et observer la mise à jour de l’animation dans le Canevas. Pour une plus grande maîtrise, vous pouvez accéder à tous les paramètres d’un comportement dans l’Inspecteur. Si votre projet nécessite un contrôle du temps et un positionnement particuliers pour votre texte, recourez encore aux comportements pour tester des effets, puis créez des images clés dès que vous savez exactement quel résultat vous souhaitez obtenir. Vous pouvez aussi créer des images clés à partir des comportements de texte appliqués en utilisant la fonction «Convertir en images clés ». Cette approche vous permet de peaufiner l’animation créée par les comportements appliqués au texte. Les comportements ne sont en aucun cas une nécessité pour animer du texte. Vous pouvez créer une animation de texte par le biais de la méthode traditionnelle d’ajout d’images clés ou en combinant ces deux techniques. Remarque : bien que vous puissiez combiner l’application d’images clés et de comportements à du texte, réfléchissez à l’effet que vous tentez de créer. En effet, leur combinaison peut nuire à l’intérêt des comportements et provoquer des résultats inattendus. Pour en savoir plus sur la combinaison de comportements et d’images clés, voir « Utilisation des comportements » à la page 405. Le texte peut être positionné et animé sur une trajectoire, servir de source à un masque d’image ou de source de cellule à un émetteur de particules ou à un réplicateur.Chapitre 7 Utilisation de texte 617 Dès que vous obtenez le traitement de texte recherché (un comportement de texte personnalisé ou un style de texte avec un éclat et des couleurs de dégradé parfaits), vous pouvez enregistrer le comportement ou le style dans la Bibliothèque pour l’appliquer à un autre texte ou dans un projet futur. Vous pouvez appliquer des filtres à du texte, ainsi que modifier et animer ses propriétés, notamment sa position, ses modes de fusion et ses ombres portées. Il est également possible de modifier très simplement l’ordre du texte dans la pile via l’onglet Couches ou la Timeline. Vous pouvez même le déplacer ou le dupliquer/copier dans une autre couche. La Bibliothèque Motion vous propose dix polices LiveFonts que vous pouvez appliquer à du texte. Les LiveFonts sont des polices animées qui peuvent doter votre projet d’un peu de vitalité. Style de texte personnalisé enregistré dans la Bibliothèque618 Chapitre 7 Utilisation de texte Remarque : si Final Cut Pro est installé avec LiveType, toutes les LiveFonts apparaissent dans la Bibliothèque de Motion. Réglage de préférences relatives à la durée des couches Avant de commencer le moindre projet, vous devez régler les préférences Motion en fonction de vos besoins. Si vous manipulez du texte, vous pouvez ainsi indiquer qu’un objet (une couche de texte) doit toujours être créé au niveau de l’image en cours (l’image sur laquelle est positionnée la tête de lecture quand vous ajoutez le texte). À l’inverse, vous pouvez choisir de toujours créer les objets au début du projet. Par défaut, les couches sont créées au niveau de l’image en cours. Vous avez également la possibilité d’indiquer une durée par défaut pour toutes les couches créées. Remarque : vous définissez alors les mêmes préférences pour toutes les couches créées dans Motion, qu’il s’agisse de texte, de formes, de masques, d’émetteurs de particules ou de réplicateurs. Pour définir les préférences de durée des couches : 1 Choisissez Motion > Préférences (ou appuyez sur touches Commande + virgule). 2 Cliquez sur l’icône Projet. La fenêtre des préférences du projet s’affiche. 3 Dans la section Images et couches, définissez la préférence Durée de couche par défaut :  Pour créer du texte de même durée que le projet, sélectionnez « Utiliser la durée du projet » (réglage par défaut). Ainsi, si vous travaillez dans un projet comptant 300 images et que vous créez un texte, ce dernier a également une durée de 300 images. Remarque : en revanche, si vous avez sélectionné « Sur l’image actuelle » pour l’option « Créer couches à » et que vous créez un texte sur l’image 50, ce texte existe des images 50 à 300.  Pour créer un texte d’une durée déterminée, optez pour « Utiliser une durée personnalisée ». Ensuite, introduisez une valeur dans le champ de texte, puis choisissez Images ou Secondes dans le menu local. Par défaut, la durée de toutes les couches créées correspond à la valeur indiquée. Utilisation d’un texte comme objet source d’un émetteur de particules ou d’un réplicateur Les couches de texte peuvent servir de cellules source pour des émetteurs de particules et des réplicateurs. Vous créez alors très rapidement des graphiques saisissants. Si vous modifiez par la suite le texte source, Motion met à jour automatiquement le réplicateur ou le système de particules concerné. Par ailleurs, si des comportements ou des filtres sont appliqués au texte servant de source de cellule, leur effet est transmis au réplicateur ou au système de particules. Chapitre 7 Utilisation de texte 619 4 Définissez la préférence « Créer couches à :»  Pour créer du texte à l’emplacement actuel de la tête de lecture, sélectionnez « Sur l’image actuelle ».  Pour créer du texte au début de votre projet, sélectionnez « Au début du projet ». Dans ce cas, tout texte ajouté est créé par défaut au début du projet, quelle que soit la position de la tête de lecture. Utilisation du texte Dans Motion, vous pouvez créer du texte directement dans le Canevas à l’aide de l’outil Texte. Après avoir ajouté du texte à votre projet, vous pouvez facilement lui appliquer des filtres ou l’animer à l’aide de comportements ou d’images clés. Création de texte dans votre projet Cette rubrique décrit comment ajouter du texte à votre projet dans le Canevas. Si l’option « Créer couches à » est réglée sur « Au début du projet » dans les préférences du projet, le texte ajouté est créé sur la première image du projet. Ainsi, si vous travaillez dans un projet comptant 900 images et que vous créez un texte, ce dernier a également une durée de 900 images. Pour réduire sa durée, raccourcissez la durée de la couche de texte dans la Timeline ou la mini-Timeline. Pour en savoir plus, voir « Utilisation de la Timeline » à la page 353. Pour ajouter du texte dans le Canevas : 1 Dans la liste de couches, sélectionnez le groupe auquel vous souhaitez ajouter la couche de texte. Remarque : si vous ne sélectionnez aucun groupe, le texte est ajouté au dernier groupe sélectionné (le groupe dont le nom est souligné). Options disponibles pour Créer couches à620 Chapitre 7 Utilisation de texte 2 Dans la barre d’outils, cliquez sur l’outil Texte (ou appuyez sur T). 3 Cliquez dans le Canevas. Le curseur clignote dans le Canevas au point d’insertion. Avant de saisir le moindre texte, une couche de texte vide est ajoutée au projet et la palette Texte apparaît. 4 Tapez le texte souhaité. Le texte apparaît alors dans le Canevas, l’onglet Couches et la Timeline. Remarque : par défaut, la méthode de présentation du texte est définie sur Type. Comme l’option de présentation Ligne ne crée pas de marge, si vous tapez une longue chaîne de texte, celle-ci s’étend sur une seule ligne au-delà du Canevas jusqu’à ce que vous introduisiez un saut de ligne (appuyez sur Entrée). Ce mode est pratique lorsque vous utilisez des textes courts et souhaitez effectuer un panoramique sur le texte dans le Canevas. Pour en savoir plus sur le changement de présentation du texte ou sur le réglage des marges, consultez « Commandes Présentation du texte » à la page 683. Remarque : pour visualiser les éléments situés au-delà des limites du Canevas, choisissez Présentation > Afficher zone de présentation totale. 5 Une fois que le texte est créé, appuyez sur Échap ou cliquez sur l’outil Sélectionner/ Transformer. Le texte est sélectionné et entouré d’un cadre de sélection dans le Canevas. Le nom de la couche est mis à jour pour tenir compte du texte saisi. Outil Texte Couche de texte vide Séquence mise à disposition avec l’aimable autorisation de National Geographic Television et Film Library.Chapitre 7 Utilisation de texte 621 Important : quand vous avez fini de taper votre texte, veillez à appuyer sur Échap ou à sélectionner un autre outil dans la barre d’outils (n’utilisez pas de raccourci clavier). En effet, quand l’outil Texte est sélectionné, vous êtes en mode texte, donc si vous appuyez sur S pour sélectionner l’outil Sélectionner/Transformer, un « S » est ajouté à votre texte au lieu de modifier l’outil. Texte sous forme de couche Une fois créé, le texte devient une couche. Comme les couches de texte partagent la majeure partie de leurs caractéristiques avec d’autres couches de Motion, vous pouvez utiliser les outils de transformation (Sélectionner/Transformer, Point d’ancrage, Déformation, Ombre portée, Quatre angles et Rognage) pour transformer une couche de texte sélectionnée, si la case Aplatir est cochée dans la sous-fenêtre Présentation de l’Inspecteur Texte. Ces outils à l’écran sont en fait des raccourcis pour accéder aux commandes relatives aux couches disponibles sous l’onglet Propriétés de l’Inspecteur. Pour attribuer des valeurs spécifiques à une transformation ou la régler précisément, utilisez l’onglet Propriétés de l’Inspecteur. Pour en savoir plus sur l’onglet Propriétés et les outils de transformation à l’écran, voir « Paramètres disponibles dans l’onglet Propriétés » à la page 312. Pour en savoir plus sur la case à cocher Aplatir, voir « Commandes Présentation du texte » à la page 683. Remarque : lorsque vous apportez des modifications à un texte à l’aide des outils de transformation à l’écran ou des paramètres présents dans l’onglet Propriétés de l’Inspecteur, ces modifications s’appliquent au texte en tant que couche (comme dans le cas d’un plan ou d’une image) et non en tant que texte modifiable. Les commandes servant à modifier le texte en soi sont situées sous l’onglet Texte de l’Inspecteur. Bien que certaines propriétés de la couche soient similaires à des commandes de format et de style de texte, comme Déformer (sous l’onglet Propriétés) et Talus (dans la fenêtre Format de l’onglet Texte), les propriétés de la couche sont indépendantes des commandes de format de texte, et inversement. Par exemple, si vous appliquez une valeur de talus de 20 dans la fenêtre Format de l’Inspecteur Texte, une valeur de talus de 20 est appliquée à chacun des caractères du mot, simulant un style italique. De même, si vous appliquez une valeur de déformation de 20 sous l’onglet Propriétés de l’Inspecteur (ou via les commandes à l’écran), une valeur de déformation de 20 est appliquée à la couche dans son ensemble, et non aux caractères constituant le texte. La rubrique suivante décrit brièvement de la transformation de texte à l’aide des outils de transformation à l’écran. Pour des informations détaillées sur les commandes à l’écran, voir « Utilisation des outils de transformation 2D » à la page 294.622 Chapitre 7 Utilisation de texte Outre la possibilité de déplacer du texte avec les outils de transformation, vous pouvez le déplacer vers le haut et vers le bas dans le montage sous l’onglet Couches et dans la Timeline. Comme toute autre couche dans Motion, il est possible de copier, coller, dupliquer et supprimer du texte. Pour en savoir plus, voir « Gestion des couches de votre projet » à la page 243. Utilisation de la palette Texte La palette Texte affiche certains des paramètres de texte les plus fréquemment utilisés, comme Opacité, Nom de police et Couleur. Remarque : si la palette Texte n’apparaît pas alors qu’un texte est sélectionné, appuyez sur F7 ou D. Lorsqu’une couche de texte et l’outil Ajuster transformation 3D (dans la barre d’outils) sont sélectionnés simultanément, la palette affiche également des outils de transformation 3D. Ces commandes supplémentaires vous permettent de transformer l’objet de texte selon les axes X, Y et Z, que le groupe soit en 2D ou en 3D. Pour en savoir plus sur l’utilisation des outils de transformation 3D affichées par la palette, voir « Compositing 3D » dans le manuel PDF Documentation supplémentaire de Motion. La palette Texte met à votre disposition les commandes suivantes : Opacité : par défaut, l’opacité du texte est réglée sur 100 %. Utilisez le curseur pour changer la valeur de l’opacité. Menu local Nom de police Menu local StyleChapitre 7 Utilisation de texte 623 Remarque : l’onglet Propriétés propose également des commandes permettant de modifier l’opacité du texte. Ces commandes d’opacité sont indépendantes des commandes affichées dans l’onglet Texte de l’Inspecteur. Sous l’onglet Texte, vous pouvez contrôler l’opacité de tous les éléments de style de texte, dont la face, le contour, l’éclat et l’ombre portée. Sous l’onglet Propriétés, la commande Opacité définit la transparence de la couche de texte, quel que soit le style appliqué. Mode de fusion : par défaut, le mode de fusion du texte est réglé sur Normal. Utilisez le menu local Mode de fusion pour affecter un autre mode au texte sélectionné. Remarque : l’onglet Propriétés propose également des commandes permettant de modifier le mode de fusion du texte. Lorsque vous modifiez le mode de fusion d’un texte dans la palette Texte, son mode de fusion est également changé sous l’onglet Propriétés et inversement. Nom de police : par défaut, la police utilisée pour le texte est Geneva (si cette police est installée sur votre ordinateur). Pour modifier la police du texte sélectionné, choisissez-en une autre dans le menu local. Une fois que vous avez sélectionné une police, tout nouveau texte est créé avec la dernière police sélectionnée. Style : choisissez le style, tel que Gras ou Italique, dans le menu local Style. Les styles disponibles dépendent de la police sélectionnée. Couleur : par défaut, la couleur du texte est réglée sur blanc. Cliquez dans le cadre de couleur pour afficher la fenêtre Couleurs et affecter une autre couleur au texte sélectionné. Vous pouvez également cliquer sur le cadre de couleur tout en maintenant la touche Contrôle enfoncée pour afficher une palette de couleurs, puis faire glisser le pointeur sur le spectre pour sélectionner une couleur. Taille : par défaut, le texte est créé avec une taille égale à 48 points. Pour la changer, faites glisser le curseur Taille.624 Chapitre 7 Utilisation de texte Remarque : les curseurs Taille du texte (affichés dans la palette et l’Inspecteur) sont limités à 288 points. Pour agrandir la taille en points du texte, tapez une valeur dans le champ Taille, dans la fenêtre Format de l’Inspecteur Texte. Suivi : applique une valeur d’espace uniforme entre chaque caractère. Le suivi est défini sur 0 par défaut. Pour modifier la valeur de suivi du texte, faites glisser le curseur Suivi vers la gauche (pour une valeur négative) ou vers la droite (pour une valeur positive). Remarque : les curseurs Suivi du texte (affichés dans la palette et l’Inspecteur) sont limités à 100 points. Pour définir une valeur de suivi supérieure, tapez un chiffre dans le champ Suivi de la fenêtre Format de l’Inspecteur Texte. Interligne : quand vous manipulez plusieurs lignes de texte, déplacez le curseur pour changer l’espace entre les lignes de texte. Un glissement vers la droite (supérieur à 0) augmente l’espacement entre les lignes, tandis qu’un glissement vers la gauche (inférieur à 0) crée un espacement négatif des lignes. Alignement : l’alignement du texte est défini par défaut sur la gauche. Pour changer l’alignement, choisissez À droite ou Centre dans le menu local Alignement. Paramètres de texte disponibles dans l’Inspecteur La totalité des paramètres de texte (y compris les paramètres de la palette Texte) est affichée sous l’onglet Texte de l’Inspecteur. Champ Taille du texteChapitre 7 Utilisation de texte 625 Pour afficher l’Inspecteur : 1 Sélectionnez le texte. 2 Procédez de l’une des manières suivantes :  Choisissez Fenêtre > Inspecteur.  Cliquez sur le bouton « i » dans la palette.  Appuyez simultanément sur les touches Commande + 3. L’Inspecteur contient tous les paramètres de texte divisés en trois sous-fenêtres : Format, Style et Paragraphe. Pour en savoir plus, voir « Modification de texte dans l’Inspecteur » à la page 635. Application de comportements et de filtres à du texte Pour appliquer des comportements et des filtres à du texte, procédez comme pour toute autre couche dans Motion. Cette rubrique présente rapidement la méthode à employer pour appliquer des comportements et des filtres à du texte. Pour en savoir plus sur l’utilisation des comportements Animation de texte et Séquence de texte, voir « Utilisation des comportements Animation et Séquence de texte » à la page 702. Pour appliquer un comportement à un texte, procédez de l’une des manières suivantes : m Dans la Bibliothèque, sélectionnez un comportement, puis faites-le glisser sur un texte dans le Canevas, l’onglet Couches ou la Timeline. m Sélectionnez le texte auquel vous souhaitez appliquez un comportement, cliquez sur l’icône Ajouter comportement dans la barre d’outils, puis choisissez un comportement dans le menu local. La palette Texte laisse la place à une palette Comportement. Remarque : pour en savoir plus sur l’application de comportements de texte, voir « Comportements Animation de texte » à la page 703 et « Comportements Séquence de texte » à la page 725. Pour en savoir plus sur d’autres comportements, voir « Utilisation des comportements » à la page 405. Icône Ajouter comportement Icône Ajouter filtre626 Chapitre 7 Utilisation de texte Pour appliquer un filtre à un texte, procédez de l’une des manières suivantes : m Dans la Bibliothèque, sélectionnez un filtre, puis faites-le glisser sur un texte dans le Canevas, l’onglet Couches ou la Timeline. m Sélectionnez le texte auquel vous souhaitez appliquez un filtre, cliquez sur l’icône Ajouter filtre dans la barre d’outils, puis choisissez un filtre dans le menu local. Remarque : pour en savoir plus sur l’utilisation des filtres, voir « Utilisation des filtres » à la page 909. À propos des polices Motion utilise toutes les polices installées sur votre système Mac OS X. Ce dernier prend en charge les polices de type OpenType, Type1 (ou PostScript) et TrueType. Toutes les polices prises en charge installées sur votre système apparaissent dans la Bibliothèque, ainsi que dans la sous-fenêtre Format de l’Inspecteur Texte. Ces polices sont situées dans les dossiers suivants :  /Bibliothèque/Fonts/  /Utilisateurs/nom d’utilisateur/Bibliothèque/Fonts/  Dossier Système de Classic/Fonts/ Pour en savoir plus sur l’installation de polices, consultez la documentation de votre système. Si vous avez installé Final Cut Pro avec les polices LiveType, vous pouvez utiliser les polices LiveFonts dans Motion. En revanche, si Final Cut Pro n’est pas installé, sachez que Motion inclut dix LiveFonts. Pour en savoir plus sur les polices LiveFonts, consultez « Utilisation de polices LiveFonts » à la page 738. Vous pouvez prévisualiser et appliquer les polices disponibles dans la Bibliothèque ou dans la sous-fenêtre Format de l’Inspecteur Texte. Utilisation des palettes Vous pouvez afficher une palette pour n’importe quel objet dans Motion. Pour ce faire, sélectionnez un objet (groupe, couche, filtre, comportement, caméra, etc.), puis appuyez sur F7 (ou sur D). La palette affichée est en rapport avec l’objet actuellement sélectionné. Les paramètres qu’elle contient dépendent du type d’objet sélectionné. Par exemple, la palette relative à un texte affiche des paramètres propres aux objets texte, tels que Style et Interligne. Quant à la palette d’un émetteur de particules, elle affiche des commandes propres à ce type d’objet, comme Source d’émission, Longévité et Échelle. À mesure que vous ajoutez des effets (comportements et filtres) à une couche, la palette est mise à jour en fonction de l’effet le plus récemment ajouté. Le nom d’une palette apparaît dans sa barre de titre. Pour passer d’une palette à la suivante, appuyez de manière répétée sur D. Pour revenir à la précédente, appuyez sur Maj + D. Les palettes se suivent selon l’ordre d’application des effets. Pour accéder directement à une palette particulière, cliquez sur le triangle d’affichage en regard de son nom, puis choisissez un élément dans la liste.Chapitre 7 Utilisation de texte 627 Utilisation de la zone de Preview des polices dans la Bibliothèque La Bibliothèque de Motion comporte la catégorie Polices ainsi qu’une zone de Preview qui servent à prévisualiser les polices ou à changer la police d’un texte. Pour en savoir plus sur l’aperçu et le changement de polices dans l’Inspecteur Texte, consultez « Modification du format du texte » à la page 636. Aperçu des polices Si vous sélectionnez une police dans la catégorie Polices de la Bibliothèque, un aperçu de cette police apparaît dans la zone de Preview de la Bibliothèque. Pour prévisualiser une police dans la Bibliothèque : 1 Dans la Bibliothèque, cliquez sur la catégorie Polices. 2 Cliquez sur la sous-catégorie de police à prévisualiser. Remarque : la première sous-catégorie, Toutes les polices, contient toutes les polices des autres sous-catégories. Si vous êtes en affichage Liste, les polices apparaissent sous forme de liste dans la pile. Si vous êtes en affichage Icônes, les polices apparaissent sous forme d’icônes dans la pile. Dans les images des pages qui suivent, l’affichage Icônes est sélectionné. Présentation sous forme d’icônes Présentation sous forme de liste628 Chapitre 7 Utilisation de texte 3 Dans la pile, cliquez sur une vignette ou sur le nom d’une police. La police apparaît dans la zone de Preview, accompagnée de son nom et de son style. Changement de police La Bibliothèque vous offre deux méthodes pour changer la police d’un texte dans le Canevas. La première consiste à faire glisser une police sur un objet texte dans le Canevas. Pour la seconde, sélectionnez un texte, choisissez un style dans la Bibliothèque, puis cliquez sur le bouton Appliquer dans la zone de Preview. Zone de Preview Sous-catégorie de polices PileChapitre 7 Utilisation de texte 629 Pour changer la police par glisser-déposer : 1 Dans la Bibliothèque, cliquez sur la catégorie Polices, puis sur la sous-catégorie de polices. 2 Faites glisser une police de la pile vers le texte dans le Canevas. Au fil du déplacement de la police sur le texte, une vignette transparente de la police apparaît et le pointeur se transforme en pointeur vert d’ajout (+). Dès que vous relâchez le bouton de la souris, le texte est modifié selon la police sélectionnée. Pour changer la police d’un texte avec le bouton Appliquer: 1 Sélectionnez le texte dont vous souhaitez changer la police. 2 Dans la Bibliothèque, cliquez sur la catégorie Polices, puis sur la sous-catégorie de polices. 3 Dans la pile, cliquez sur une police. 4 Dans la zone de Preview, cliquez sur Appliquer. Le texte est modifié selon la police sélectionnée. Bouton Appliquer630 Chapitre 7 Utilisation de texte Navigation dans la liste de polices Pour localiser rapidement une police par son nom dans la pile de polices, vous pouvez saisir les premières lettres de son nom. Pour sélectionner une police en saisissant les premières lettres de son nom : 1 Cliquez sur un nom de police ou une vignette dans la pile de polices. 2 Tapez rapidement les deux premières lettres du nom de la police. Remarque : si vous ne tapez pas rapidement la deuxième lettre du nom de la police, la sélection est réinitialisée et passe à la police dont le nom commence par la deuxième lettre tapée. Pour parcourir les polices du navigateur par ordre alphabétique : m Déplacez vers le haut ou vers le bas la barre de défilement située du côté droit de la pile pour parcourir les polices. Utilisation des outils Texte Comme précédemment indiqué, le texte devient une couche de texte dès sa création. Vous disposez de deux méthodes pour modifier une couche de texte :  Comme toute autre couche dans Motion, le texte peut être modifié à l’aide des paramètres affichés sous l’onglet Propriétés de l’Inspecteur ou des commandes à l’écran.  Pour modifier les caractères du texte, utilisez les paramètres affichés sous l’onglet Texte de l’Inspecteur ou dans la palette. Cette rubrique est consacrée aux outils servant à créer et modifier du texte. Les outils d’interface suivants servent à modifier du texte dans Motion :  Barre d’outils  Palettes Texte  Inspecteur Texte Remarque : si vous avez sélectionné du texte grâce à l’outil de sélection par défaut, vous pouvez utiliser les commandes à l’écran standard pour déplacer et animer ce texte dans le Canevas.Chapitre 7 Utilisation de texte 631 Outil Texte et barre d’outils L’outil Texte est situé dans la barre d’outils au-dessus du Canevas dans le groupe Créer. Remarque : pour personnaliser la présentation de la barre d’outils, appuyez sur la touche Contrôle et cliquez dans la zone de la barre d’outils, puis choisissez Personnaliser la barre d’outils dans le menu contextuel. Pour en savoir plus sur les outils et la barre d’outils, voir « Barre d’outils » à la page 32. Outil Texte : utilisez cet outil pour créer du texte. Cliquez sur l’outil Texte, puis cliquez dans le Canevas et commencez à taper. Pour sélectionner des caractères, cliquez sur l’outil Texte, puis faites-le glisser sur le texte. Outil Sélectionner/Transformer : utilisez cet outil pour sélectionner et transformer du texte. Après la création d’un texte, cliquez sur l’outil Sélectionner/Transformer (ou appuyez sur Échap) pour le sélectionner. Pour sélectionner un texte existant, cliquez sur l’outil Sélectionner/Transformer, puis sur le texte. Remarque : lorsque l’outil Sélectionner/Transformer est sélectionné, double-cliquez sur un texte pour activer automatiquement le mode de modification de texte. Ajout de texte avec l’outil Texte Pour ajouter du texte à un projet, vous devez utiliser l’outil Texte. Pour ajouter du texte à votre projet, procédez de l’une des manières suivantes : m Cliquez sur l’outil Texte (ou appuyez sur la touche T), puis dans le Canevas et commencez à taper. m Cliquez sur l’outil Texte, puis faites glisser le pointeur dans le Canevas pour dessiner une marge personnalisée. Quand la marge est tracée, relâchez le bouton de la souris et commencez à taper. Une fois qu’une marge est créée et que le texte est tapé, vous pouvez régler la taille de la marge sans modifier l’échelle du texte. Outil Sélectionner/Transformer Outil Texte632 Chapitre 7 Utilisation de texte Pour régler la taille de la marge sans mettre le texte à l’échelle, procédez de l’une des manières suivantes : m Sélectionnez l’outil Texte, puis faites glisser l’une des poignées d’échelle du cadre de sélection du texte. m Dans l’Inspecteur Texte, cliquez dans la sous-fenêtre Présentation et réglez les valeurs des marges gauche, droite, supérieure et inférieure. Avec l’outil Texte, faites glisser une poignée d’échelle du cadre de sélection. Commandes de margeChapitre 7 Utilisation de texte 633 Pour sélectionner des caractères, procédez de l’une des manières suivantes : m Sélectionnez l’outil Texte, puis faites glisser le pointeur sur texte que vous souhaitez sélectionner. m Cliquez entre deux caractères, appuyez sur la touche Maj, puis sur la touche Flèche droite pour sélectionner les caractères situés à droite du point d’insertion ou sur Flèche gauche pour sélectionner les caractères situés à gauche. m Sélectionnez l’outil Sélectionner/Transformer, puis double-cliquez sur le texte. Pour déplacer le pointeur entre les mots : m Appuyez simultanément sur les touches Option + Flèche droite pour avancer le pointeur entre les deux mots suivants ou sur Option + Flèche gauche pour reculer le curseur entre les deux mots précédents. Pour supprimer un mot entier : m Placez le pointeur à la fin du mot à supprimer, puis appuyez simultanément sur les touches Option + Suppr. Ajout de texte avec l’éditeur de texte Après avoir ajouté une couche de texte vierge à votre projet (en cliquant sur l’outil Texte dans le Canevas), vous avez la possibilité de saisir et modifier du texte dans l’éditeur de texte, plutôt que dans le Canevas. L’éditeur de texte est utile quand vous manipulez de grandes quantités de texte. Pour saisir du texte dans l’éditeur de texte : 1 Cliquez sur l’outil Texte (ou appuyez sur la touche T), puis dans le Canevas afin de créer une couche de texte vierge. 2 Dans l’Inspecteur Texte, cliquez dans la fenêtre Format.634 Chapitre 7 Utilisation de texte 3 Cliquez dans l’éditeur de texte et commencez à taper. Remarque : comme la méthode de présentation du texte par défaut est Type, aucune marge n’est définie quand vous saisissez du texte dans l’éditeur de texte. Le texte continue donc sur une seule ligne tant que vous n’introduisez pas manuellement un saut de ligne. Pour en savoir plus sur la présentation du texte, consultez « Modification de la présentation du texte » à la page 682. Vous pouvez aussi modifier un texte existant dans l’éditeur de texte, voire utiliser la fonction de vérification de l’orthographe de Mac OS X. Pour modifier du texte avec l’éditeur de texte : 1 Sélectionnez le texte à modifier. Le texte sélectionné apparaît dans l’éditeur de texte. 2 Effectuez vos modifications dans l’éditeur de texte. Les modifications sont immédiatement reflétées dans le Canevas. Éditeur de texteChapitre 7 Utilisation de texte 635 Pour utiliser la fonction de vérification de l’orthographe dans l’éditeur de texte, procédez de l’une des manières suivantes : m Cliquez dans l’éditeur de texte, puis choisissez une option dans le sous-menu Édition > Orthographe. m Cliquez dans l’éditeur de texte tout en maintenant la touche Contrôle enfoncée, puis choisissez un élément dans le menu contextuel. Remarque : la fonction de vérification de l’orthographe n’est pas disponible quand vous manipulez du texte dans le Canevas. Modification de texte dans l’Inspecteur Toutes les commandes de texte sont situées sous l’onglet Texte de l’Inspecteur. L’onglet Texte est divisé en trois fenêtres : Format, Style et Présentation. La fenêtre Format contient des fonctions de texte essentielles, comme la police, la taille et le suivi. Les caractéristiques du texte, comme la face, le contour et le flou, sont contrôlées par la fenêtre Style. Quant à la fenêtre Présentation, elle contient les commandes de disposition du texte, comme les marges, la justification et le positionnement du texte sur une trajectoire. Comme pour tous les paramètres dans Motion, si un paramètre peut être animé, l’icône du menu Animation apparaît en regard de ce paramètre dans l’Inspecteur. Cliquez pour afficher la fenêtre Format. Cliquez pour afficher la fenêtre Style. Cliquez pour afficher la fenêtre Présentation. Icône du menu Animation636 Chapitre 7 Utilisation de texte Pour restaurer les réglages par défaut d’un paramètre (y compris supprimer les images clés), cliquez sur l’icône du menu Animation, puis choisissez Réinitialiser le paramètre dans le menu local. Pour réinitialiser un groupe de paramètres, comme les commandes Face d’un texte ou les commandes Séquence d’un comportement de texte, cliquez sur le bouton Réinitialiser dans l’Inspecteur. Pour réinitialiser un seul paramètre d’un groupe, cliquez sur le menu Animation, puis choisissez Réinitialiser le paramètre. Modification du format du texte La fenêtre Format contient les commandes de texte essentielles, comme la police, le style, la taille, le crénage et la rotation des caractères. De nombreux paramètres de format peuvent être animés (avec des images clés). Bouton RéinitialiserChapitre 7 Utilisation de texte 637 Pour afficher la fenêtre Format: m Dans l’Inspecteur, cliquez sur l’onglet Texte, puis sur le bouton Format. Commandes Format du texte Cette rubrique décrit les paramètres de format du texte. Parmi les paramètres de format suivants, Nom de police, Style, Taille et Suivi apparaissent également dans la palette Texte. Police : ce paramètre offre deux méthodes de filtrage et de sélection des polices.  Faites un choix dans le menu local (défini par défaut sur Polices système) pour filtrer les polices à afficher dans les listes Collections et Nom de police (voir ci-après). Vous pouvez choisir d’afficher les polices système ou LiveFonts (LiveType).  Cliquez sur Parcourir pour afficher le panneau Police Mac OS X.638 Chapitre 7 Utilisation de texte Collections : affiche les collections de polices disponibles, en fonction du paramètre Police sélectionné. Nom de police : détermine la police appliquée au texte (le jeu de caractères, de lettres et de symboles d’une seule police). Pour prévisualiser les différentes polices d’un texte dans le Canevas : 1 Sélectionnez le texte. 2 Dans la fenêtre Format de l’Inspecteur Texte, cliquez sur la flèche de la liste Nom de police. La liste Nom de police s’affiche. 3 Faites glisser le pointeur vers le haut ou le bas de la liste des polices afin de prévisualiser les polices. Pendant que vous parcourez la liste des polices, le texte du Canevas change en fonction de la police sélectionnée à ce moment-là. 4 Une fois la police choisie, relâchez le bouton de la souris. Remarque : vous pouvez aussi faire défiler la liste des polices vers le haut ou le bas via la barre de défilement ou la roulette d’une souris à trois boutons. Style : définit le style, tel que Gras ou Condensé, etc. Les styles disponibles dépendent de la police sélectionnée. Flèche de la liste déroulante Nom de policeChapitre 7 Utilisation de texte 639 Taille : détermine la taille du texte. Vous pouvez saisir une valeur dans le champ de valeur ou utiliser le curseur. Pour changer la taille de la police, déplacez le curseur Taille vers la gauche ou la droite. La valeur Taille affichée dans la palette et l’Inspecteur est limitée à 288 points. Pour obtenir une taille de texte supérieure, tapez une valeur dans le champ Taille. Remarque : vous pouvez aussi dimensionner le texte dans le Canevas à l’aide des commandes à l’écran. Toutefois, ce redimensionnement traite le texte comme une couche et se fait indépendamment du réglage de la taille en points dans les commandes Format. Suivi : détermine l’espacement entre les caractères du texte. Le suivi applique une valeur uniforme entre chaque caractère. Crénage : règle l’espacement entre certains caractères du texte. Pour appliquer un crénage particulier entre certains caractères d’un texte : 1 Cliquez sur l’outil Texte (ou appuyez sur la touche T). 2 Dans le Canevas, positionnez le point d’insertion (appuyez sur le bouton de la souris) entre les caractères que vous souhaitez créner, puis procédez de l’une des manières suivantes :  Utilisez le curseur ou le champ de valeur Crénage pour définir une valeur de crénage spécifique.  Appuyez sur Contrôle + Flèche droite pour augmenter l’espacement entre les caractères par incréments d’un pixel.  Appuyez sur Contrôle + Flèche gauche pour réduire l’espacement entre les caractères par incréments d’un pixel. Champ de valeur Taille640 Chapitre 7 Utilisation de texte Pour déplacer le point d’insertion dans un texte : m Utilisez les touches Flèche droite et Flèche gauche pour déplacer le point d’insertion entre des caractères adjacents. m Pour atteindre le début d’une ligne de texte, appuyez sur Commande + Flèche gauche. m Pour atteindre la fin d’une ligne de texte, appuyez sur Commande + Flèche droite. m Pour passer au début du mot, appuyez sur Option + Flèche gauche. m Pour passer à la fin du mot, appuyez sur Option + Flèche droite. m Pour déplacer le point d’insertion dans un texte de plusieurs lignes (au sein d’une seule couche de texte), utilisez les touches Flèche vers le haut et Flèche vers le bas. Ligne standard : règle la ligne standard des caractères du texte. La ligne standard est une « ligne » horizontale sur laquelle le bas des caractères est aligné. Talus : simule le style italique en ajoutant une valeur d’inclinaison aux caractères du texte. Échelle : dimensionne proportionnellement les caractères du texte, selon l’axe X ou Y. Pour une mise à l’échelle des caractères selon l’axe X ou Y uniquement, cliquez sur le triangle d’affichage pour saisir des valeurs distinctes de mise à l’échelle X ou Y. Sur l’illustration suivante, l’échelle X du texte est réglée sur 50 % et son échelle Y sur 100 %. Décalage : décale le texte de sa position d’origine (point d’ancrage). Saisissez une valeur dans le curseur de gauche pour décaler le texte selon l’axe X et dans le curseur de droite pour décaler le texte selon l’axe Y. Cliquez sur le triangle d’affichage pour accéder aux valeurs des positions X, Y et Z. Rotation : faites tourner le cadran ou saisissez une valeur dans le curseur pour faire pivoter les caractères du texte selon l’axe Z. Cliquez sur le triangle d’affichage pour accéder à des commandes de rotation selon les axes X, Y et Z distinctes, ainsi qu’au menu local Animer.  Animer : ce menu local vous permet de modifier l’interpolation des canaux de rotation 3D animés. Par défaut, ce paramètre est réglé sur Utiliser la rotation. Remarque : pour que les options du paramètre Animer aient le moindre effet, le paramètre Rotation doit être animé avec des images clés. Triangle d’affichage du paramètre ÉchelleChapitre 7 Utilisation de texte 641  Utiliser la rotation : méthode d’interpolation par défaut. Les caractères du texte pivotent de leur rotation de départ vers leur rotation finale. Selon l’animation, ces caractères risquent de subir diverses torsions avant d’atteindre leur orientation finale (la dernière valeur d’image clé). Par exemple, si les paramètres Rotation X, Y et Z sont animés dans un projet de 0 à 180 degrés, les caractères du texte pivotent sur tous les axes avant d’atteindre leur orientation finale.  Utiliser l’orientation : cette méthode d’interpolation est plus lisse, mais elle n’autorise pas de multiples révolutions. Elle applique une interpolation entre l’orientation de départ des caractères du texte (première image clé) et leur orientation finale (deuxième image clé). Pour en savoir plus sur le paramètre Animer, voir « Paramètres disponibles dans l’onglet Propriétés » à la page 312. Espacement constant : si cette case est cochée, un espacement fixe est appliqué entre chaque caractère du texte. Tout en majuscules : cette case permet d’afficher tous les caractères du texte en majuscules. Taille Tout en majuscules : si la case Tout en majuscules est cochée, ce curseur définit la taille des caractères en majuscules (en pourcentage par rapport à la taille de la police). Texte : permet de saisir directement dans l’éditeur de texte (la zone ombrée la plus sombre) pour ajouter et modifier du texte dans l’Inspecteur. Pour en savoir plus, voir « Ajout de texte avec l’éditeur de texte » à la page 633. Éditer vers FCP : lorsque vous utilisez un projet Motion comme modèle dans Final Cut Pro, cochez cette case afin d’autoriser la modification de certains paramètres de texte dans Final Cut Pro. Les paramètres modifiables sont alors les suivants :  Chaîne de texte (il est possible de modifier les caractères du texte)  Taille du texte  Suivi du texte Modification du style de texte Utilisez la fenêtre Style pour spécifier le remplissage du texte ainsi que régler son opacité et son adoucissement. Un texte peut prendre la forme d’une couleur unie, d’une image ou d’un dégradé de couleur. La fenêtre Style vous permet également d’appliquer des contours, des éclats et des ombres portées à du texte. La plupart des paramètres de style peuvent être animés.642 Chapitre 7 Utilisation de texte Un ensemble de styles de texte prédéfinis est disponible dans la Bibliothèque de Motion. Les styles de texte sont en fait des paramètres de style modifiés qui donnent un aspect spécifique au texte, comme un éclat et un dégradé rouge, et qui sont appliqués de la même manière que les comportements et les filtres. Vous pouvez créer des styles de texte personnalisés et les enregistrer dans la Bibliothèque. Pour en savoir plus, voir « Utilisation et création de styles de texte » à la page 674. Pour afficher la fenêtre Style : m Dans l’Inspecteur, cliquez sur l’onglet Texte, puis sur le bouton Style. La fenêtre Style comporte quatre groupes principaux de commandes : Face, Contour, Éclat et Ombre portée. Vous pouvez activer ou désactiver tous les styles d’une couche de texte. Par défaut, les paramètres Contour, Éclat et Ombre portée sont désactivés. Commandes Face Utilisez les commandes de texte Face pour spécifier si le texte est une couleur unie, un dégradé de couleur ou une texture. La rubrique suivante décrit les paramètres Face. Presque tous les paramètres Face peuvent être animés. Face : active ou désactive les paramètres de face du texte (remplissage, couleur, opacité et flou). La face est activée par défaut. Remplir avec : cliquez sur ce menu local pour sélectionner le remplissage du texte. Vous avez le choix entre : Couleur, Dégradé ou Texture. Couleur : détermine la couleur de remplissage du texte. Cliquez sur le triangle d’affichage pour régler individuellement les canaux de couleur Rouge, Vert et Bleu du texte. Opacité : définit l’opacité du texte, quelle que soit l’option de remplissage sélectionnée (Couleur, Dégradé ou Texture). Flou : détermine l’adoucissement du texte, quelle que soit l’option de remplissage sélectionnée.Chapitre 7 Utilisation de texte 643 Changement de la couleur du texte Vous pouvez changer la couleur d’un texte par le biais de la fenêtre Couleurs, du cadre de couleur affiché par la palette Texte ou du cadre de couleur présent dans la fenêtre Style de l’Inspecteur Texte. Remarque : pour régler individuellement les canaux de couleur, vous devez passer par la fenêtre Style l’Inspecteur Texte. Pour définir la couleur du texte dans la palette : 1 Sélectionnez le texte. 2 Si la palette n’apparaît pas, appuyez sur F7 (ou sur D). 3 Cliquez dans le cadre de couleur, puis utilisez la fenêtre Couleurs pour définir la couleur du texte. Remarque : il existe plusieurs méthodes pour choisir une couleur à l’aide du paramètre Couleur. Pour en obtenir la liste, consultez l’étape 5 de la rubrique suivante, qui décrit la sélection d’une couleur dans l’Inspecteur. Le texte est mis à jour de façon dynamique dès que vous sélectionnez votre couleur. Remarque : pour sélectionner une couleur dans le Canevas (ou un élément quelconque du bureau), cliquez sur le sélecteur de couleur dans la fenêtre Couleurs, placez le sélecteur sur la couleur que vous voulez sélectionner, puis cliquez. Pour définir la couleur du texte dans l’Inspecteur : 1 Sélectionnez le texte. 2 Dans l’Inspecteur (accessible en appuyant sur les touches Commande + 3), cliquez sur l’onglet Texte. 3 Cliquez sur Style. Sélecteur de couleur644 Chapitre 7 Utilisation de texte 4 Dans le menu local « Remplir avec », assurez-vous que l’option Couleur est sélectionnée. 5 Procédez de l’une des manières suivantes :  Cliquez dans le cadre de couleur, puis utilisez la fenêtre Couleurs pour définir la couleur du texte.  Cliquez sur la flèche située à droite du cadre de couleur (ou cliquez sur le cadre tout en maintenant la touche Contrôle enfoncée), puis déplacez le pointeur dans la palette de couleurs locale afin de sélectionner une couleur. Glissez vers le bas de la palette pour définir la couleur en niveaux de gris.  Cliquez sur l’outil Pipette situé à droite du cadre de couleur, puis cliquez sur une couleur dans le Canevas.  Dans l’Inspecteur, cliquez sur le triangle d’affichage en regard de Couleur pour afficher les paramètres des canaux, puis utilisez les curseurs ou les champs pour ajuster chaque canal de couleur. Remarque : vous avez la possibilité d’animer les couleurs des textes. Cadre de couleur Cliquez ici pour sélectionner une couleur en niveaux de gris Affiche la couleur originale Affiche la nouvelle couleur Le triangle d’affichage développé affiche les canaux de couleur.Chapitre 7 Utilisation de texte 645 Application d’un dégradé à un texte Vous pouvez appliquer un remplissage dégradé à un texte dans l’Inspecteur. Le dégradé peut être personnalisé et animé à l’aide de l’éditeur de dégradé. Remarque : les commandes de dégradé disponibles pour les textes sont quasiment identiques aux commandes de dégradé pour les formes, les particules et les réplicateurs, à quelques paramètres près. Par exemple, les commandes de dégradé de texte incluent un cadran servant à spécifier la direction d’un dégradé linéaire. Les commandes de dégradé de forme incluent un réglage de début et de fin pour spécifier également la direction d’un dégradé linéaire. Pour en savoir plus sur l’utilisation de dégradés et de formes, voir « Utilisation des formes et des masques » à la page 1071. Outre l’application d’un style de texte prédéfini enregistré dans la Bibliothèque, vous avez la possibilité d’appliquer à des textes des dégradés prédéfinis depuis la Bibliothè- que. Les dégradés prédéfinis sont situés dans la catégorie Dégradés de la Bibliothèque. Vous pouvez enregistrer dans la Bibliothèque tout dégradé appliqué à un texte, afin de le réutiliser dans des projets en cours ou futurs. Pour appliquer un dégradé à un texte : 1 Sélectionnez le texte. 2 Dans l’Inspecteur (accessible en appuyant sur les touches Commande + 3), cliquez sur l’onglet Texte. 3 Cliquez sur Style. 4 Dans le menu local « Remplir avec », choisissez Dégradé. Dans l’Inspecteur, les commandes Couleur sont remplacées par la couleur de dégradé. Le dégradé par défaut est rouge et bleu. Réglez « Remplir avec » sur Dégradé.646 Chapitre 7 Utilisation de texte Dans le Canevas, le dégradé par défaut est appliqué au texte sélectionné. Application d’un dégradé prédéfini à un texte Vous disposez de deux méthodes pour appliquer à un texte un dégradé prédéfini (enregistré) depuis la Bibliothèque. La première méthode consiste à utiliser le menu local Préréglage de dégradé dans l’Inspecteur Texte. Pour la seconde, faites glisser un dégradé de la Bibliothèque sur le texte. Pour appliquer un dégradé prédéfini dans l’Inspecteur Texte : 1 Vérifiez qu’un dégradé est appliqué au texte auquel vous souhaitez attribuer un dégradé prédéfini. 2 Choisissez un préréglage dans le menu local Préréglage de dégradé. Menu local Préréglage de dégradéChapitre 7 Utilisation de texte 647 Le dégradé sélectionné est appliqué au texte. Pour appliquer un dégradé prédéfini à partir de la Bibliothèque : 1 Dans la Bibliothèque, cliquez sur la catégorie Dégradés. 2 Dans la pile, sélectionnez un dégradé. Un aperçu du dégradé sélectionné s’affiche dans la zone d’aperçu.648 Chapitre 7 Utilisation de texte 3 Procédez de l’une des manières suivantes :  Faites glisser le dégradé sur le texte dans le Canevas, l’onglet Couches ou la Timeline.  Assurez-vous que le texte est sélectionné, puis cliquez sur Appliquer dans la zone de Preview. Dès qu’un dégradé prédéfini est appliqué à un texte, il peut être modifié à l’aide de l’éditeur de dégradé. Utilisation de l’éditeur de dégradé L’éditeur de dégradé vous sert à changer la couleur, la position, le nombre de couleurs, l’opacité, la direction et l’interpolation d’un dégradé. La couleur et l’opacité d’un dégradé peuvent être animées. Cette rubrique décrit l’éditeur de dégradé disponible dans la fenêtre Style de l’Inspecteur Texte. Commandes graphiques : trois barres qui vous permettent de régler la couleur, l’opacité et l’étalement d’un dégradé. Chacune de ces commandes graphiques active des commandes supplémentaires dans l’éditeur de dégradé, notamment les curseurs Couleur, Opacité et Emplacement. Couleur : cadre de couleur qui définit la couleur de la balise de couleur sélectionnée. Opacité : curseur qui détermine la transparence de la balise d’opacité sélectionnée (dans les commandes graphiques ci-dessus). Les balises d’opacité permettent de contrôler l’opacité/la transparence du dégradé. Vous pouvez en ajouter plusieurs pour créer un dégradé affichant différents niveaux de transparence. Par défaut, l’opacité d’un dégradé appliqué à du texte est réglée sur 100 %. Remarque : il existe également un paramètre Opacité (en dessous du paramètre Angle) qui contrôle l’opacité de l’ensemble du dégradé. Interpolation : fixe l’interpolation de la balise de couleur sélectionnée sur Constante, Linéaire ou En continu.Chapitre 7 Utilisation de texte 649  Constante : répartit uniformément la couleur de gauche à droite du dégradé, depuis la balise de couleur ou d’opacité. Par exemple, si la balise de couleur de gauche comporte trois couleurs et que l’interpolation du dégradé de gauche à droite est réglée sur Constante, le dégradé est uni entre la balise de gauche et la balise centrale.  Linéaire : répartit uniformément l’opacité ou la couleur entre les balises.  En continu : l’opacité ou la couleur change graduellement entre les balises de couleur ou d’opacité. Emplacement : détermine l’emplacement de la balise de couleur ou d’opacité du dégradé sélectionné ou commande l’étalement. Type : ce menu local vous permet d’opter pour un dégradé linéaire ou radial.  Linéaire : crée un dégradé linéaire.  Radial : crée un dégradé radial. Angle : disponible si vous avez choisi Linéaire dans le menu local Type, ce cadran/ curseur vous permet de modifier l’angle du dégradé. Commandes supplémentaires ayant un impact sur le remplissage des dégradés Bien qu’elles ne soient pas intégrées à l’éditeur de dégradé, deux commandes supplé- mentaires situées dans le groupe de paramètres Face vous permettent d’ajuster plus précisément un dégradé de texte. Opacité : ce curseur permet de déterminer l’opacité du dégradé dans son ensemble. Cette commande est différente des commandes d’opacité de l’éditeur de dégradé, qui sont responsables de l’opacité à l’intérieur du dégradé. Flou : utilisez ce curseur ou le curseur de valeur pour appliquer un flou à l’ensemble du dégradé. Le flou n’est jamais appliqué sur la base des différentes balises. Important : les rubriques suivantes partent du principe que vous avez sélectionné un texte et choisi Dégradé dans le menu local Remplir avec affiché parmi les paramètres Face.650 Chapitre 7 Utilisation de texte Pour changer les couleurs du dégradé : 1 Cliquez sur le triangle d’affichage Dégradé pour afficher l’éditeur de dégradé. 2 Pour modifier la couleur d’une balise de couleur, procédez de l’une des manières suivantes :  Double-cliquez sur une balise de couleur. La fenêtre Couleurs apparaît. Utilisez-la pour définir une nouvelle couleur pour la balise.  Cliquez sur une balise de couleur pour activer les commandes Couleur de la couleur sélectionnée, puis cliquez sur le cadre de couleur. La fenêtre Couleurs apparaît. Triangle d’affichage Dégradé Commandes de l’éditeur de dégradé Balise de couleurChapitre 7 Utilisation de texte 651  Cliquez sur une balise de couleur, puis utilisez les différents curseurs des canaux Rouge, Vert ou Bleu.  Cliquez sur une balise de couleur, puis sur la flèche située à côté du cadre de couleur pour afficher la palette de couleurs locale. Cliquez dans la palette pour sélectionner une nouvelle couleur. Vous pouvez également cliquez dans le bas de la palette pour régler la balise sur une couleur en niveaux de gris.  Cliquez sur une balise de couleur, puis sur le cadre de couleur tout en maintenant la touche Contrôle enfoncée pour afficher la palette de couleurs locale.  Cliquez sur une balise de couleur, sélectionnez sur l’outil Pipette, puis cliquez sur une couleur dans le Canevas. La balise de couleur bleu foncé est sélectionnée. Cliquez ici pour sélectionner une couleur en niveaux de gris Affiche la couleur originale Affiche la nouvelle couleur652 Chapitre 7 Utilisation de texte Pour repositionner une balise de couleur ou d’opacité : 1 Cliquez sur la balise de couleur ou d’opacité que vous souhaitez déplacer. 2 Procédez de l’une des manières suivantes :  Faites glisser la balise vers la gauche ou la droite.  Dans le paramètre Emplacement, utilisez le curseur ou le champ pour saisir une valeur spécifique. Les valeurs de 100 % et 0 % correspondent respectivement aux positions totalement à droite et à gauche du dégradé. Pour modifier l’étalement de la couleur ou de l’opacité d’un dégradé : m Faites glisser le petit triangle (la commande d’étalement) situé entre les balises de couleur ou d’opacité afin de changer l’emplacement de l’étalement. Plus ce triangle est proche d’une balise, plus l’étalement de la couleur ou de l’opacité est accentué. Le paramètre Emplacement est également mis à jour lorsque vous déplacez la commande d’étalement, indiquant sa position sur le dégradé. Pour modifier l’interpolation d’une balise de couleur ou d’opacité, procédez de l’une des manières suivantes : m Cliquez sur une balise tout en maintenant la touche Contrôle enfoncée, puis choisissez Constante, Linéaire ou En continu dans le menu contextuel. m Cliquez sur une balise, puis choisissez Constante, Linéaire ou En continu dans le menu local Interpolation. Curseur Emplacement Faites glisser la balise de couleur pour changer la position de la couleur Contrôle d’étalementChapitre 7 Utilisation de texte 653 Pour ajouter une balise de couleur à un dégradé : m Pour ajouter une nouvelle balise de couleur, placez le pointeur sur la barre de couleurs inférieure à l’endroit où vous souhaitez ajouter la nouvelle couleur, puis cliquez. Une nouvelle balise de couleur est ajoutée au dégradé. Remarque : bien que les couleurs et l’opacité d’un dégradé puissent être animées, il est impossible d’animer l’ensemble des balises de couleur et d’opacité. Pour ajouter une balise d’opacité : m Placez le pointeur sur la barre d’opacité où vous souhaitez ajouter la nouvelle balise, puis cliquez. Une nouvelle balise d’opacité est ajoutée au dégradé. Tant que la valeur n’est pas réglée, l’opacité du dégradé est égale à 100 %. Pour dupliquer une balise de couleur ou d’opacité : m Maintenez la touche Option enfoncée, puis faites glisser la balise vers sa nouvelle position. Pour supprimer une balise de couleur ou d’opacité d’un dégradé : m Faites glisser la balise en l’éloignant de la barre de dégradé. Un petit bruit vous indique que la balise de couleur est supprimée. Cliquez dans la barre de couleurs inférieure pour ajouter une couleur. Nouvelle balise de couleur Nouvelle balise d’opacité Barre d’opacité654 Chapitre 7 Utilisation de texte Pour changer l’opacité d’une couleur de dégradé : 1 Cliquez sur une balise d’opacité. Les commandes d’opacité sont activées. 2 Utilisez le curseur ou le curseur de valeur pour changer la valeur de la balise d’opacité sélectionnée. Plus le pourcentage d’opacité est faible, plus la transparence est grande. Le degré d’opacité est appliqué à la zone d’un dégradé, pas à une balise de couleur spécifique. La transparence du dégradé reflète les nouvelles valeurs d’opacité. Sur la figure suivante, l’opacité est définie sur 0 % du côté droit du dégradé (couleur rose pâle) : cette couleur disparaît donc en fondu. Modification de la direction et de la distribution des couleurs et de l’opacité Vous pouvez rapidement inverser la direction ou distribuer uniformément les balises de couleur et d’opacité du dégradé. Tag d’opacité sélectionné Commandes d’opacitéChapitre 7 Utilisation de texte 655 Pour inverser la couleur du dégradé ou la direction de l’opacité : m Cliquez sur l’icône Inverser les balises située en regard de la barre d’opacité ou de couleur. La balises sont alors inversées. Pour répartir de façon homogène les balises de couleur ou d’opacité du dégradé : m Cliquez sur l’icône Répartir les balises située en regard de la barre d’opacité ou de couleur. Enregistrement de préréglages de dégradé Comme avec les styles de texte, une fois que vous avez créé un dégradé, vous pouvez l’enregistrer dans la Bibliothèque. Pour en savoir plus sur les styles de texte de la Bibliothèque, voir « Utilisation et création de styles de texte » à la page 674. Pour enregistrer un dégradé dans la Bibliothèque : 1 Sélectionnez le texte avec le dégradé à enregistrer. 2 Choisissez Enregistrer le dégradé dans le menu local Préréglage de dégradé. Icône Inverser les balises (opacité) Icône Inverser les balises (couleur) Icône Répartir les balises (opacité) Icône Répartir les balises (couleur) Menu local Préréglage de dégradé656 Chapitre 7 Utilisation de texte 3 Dans la zone de dialogue Enregistrer ce préréglage dans la Bibliothèque, tapez le nom du dégradé. 4 Cliquez sur Enregistrer. Le dégradé personnalisé apparaît dans la catégorie Dégradés de la Bibliothèque. Les préréglages personnalisés sont identifiables dans la Bibliothèque à l’aide de la petite icône d’utilisateur qui apparaît en bas à droite de l’icône de dégradé de plus grande taille. Le nouveau dégradé apparaît également dans le menu local Préréglage de dégradé. Dégradé personnalisé enregistré dans la BibliothèqueChapitre 7 Utilisation de texte 657 Comme les dégradés prédéfinis, un aperçu du dégradé apparaît dans la zone de prévisualisation quand le dégradé est sélectionné dans la pile. Application de comportements Paramètre aux dégradés Pour créer des effets de dégradé uniques, vous pouvez appliquer des comportements Paramètre aux paramètres de dégradé, tels que Opacité, Emplacement, Angle et Couleur. Cette opération est effectuée de la même façon que l’application d’un comportement Paramètre à n’importe quel autre paramètre dans Motion. Dans l’exemple suivant, un comportement Rendre aléatoire est appliqué au paramètre de couleur RVB d’une couleur dans un dégradé à trois couleurs. Pour appliquer un comportement de paramètre Rendre aléatoire à une couleur de dégradé : 1 Dans l’Inspecteur, sélectionnez une balise de couleur dans l’éditeur de dégradé. 2 Si les paramètres Couleur ne sont pas affichés, cliquez sur le triangle d’affichage Couleur. 3 Sélectionnez un canal de couleur tel que Rouge (la commande est ombrée lorsqu’elle est sélectionnée), cliquez sur le paramètre tout en maintenant la touche Contrôle enfoncée, puis choisissez Rendre aléatoire dans le menu contextuel. Le paramètre Rendre aléatoire est appliqué à la balise de couleur. Ensuite, vous devez affecter les canaux de couleur auxquels vous souhaitez appliquer le comportement. 4 Dans la palette Rendre aléatoire ou l’Inspecteur, choisissez une option dans le menu local « Appliquer à » (Aller). Dans cet exemple, choisissez Styles > Style > Face > Dégradé > RVB > RVB2 (pour la deuxième balise de couleur du dégradé) > Couleur > Tout. Remarque : si vous utilisiez une forme, vous choisiriez Objet > Remplissage > Dégradé > RVB > RVB2 (pour la deuxième balise de couleur) > Couleur > Tout. Un élément RVB apparaît pour chaque balise de couleur du dégradé, comme un élément Alpha pour chaque balise d’opacité. Étant donné que le dégradé de cet exemple comporte trois couleurs, trois éléments RVB apparaissent (RVB1, RVB2 et RVB3). Les éléments sont numérotés de gauche à droite ; RVB1 est la couleur de dégradé la plus à gauche, RVB2 est la couleur du milieu et RVB3 celle la plus à droite. 658 Chapitre 7 Utilisation de texte Les paramètres Décalage et Milieu apparaissent également dans le menu local au-dessus de l’élément Couleur. Décalage représente l’emplacement de la couleur dans le dégradé (le paramètre Emplacement) et Milieu représente l’étalement de la couleur entre deux balises (le petit triangle entre les balises de dégradé de couleur). Remarque : le comportement Paramètre peut être appliqué à n’importe quel paramètre apparaissant dans le menu local « Appliquer à » (Aller). 5 Cliquez sur le bouton de lecture (ou appuyez sur la barre d’espace). 6 Dans les paramètres Rendre aléatoire, effectuez les opérations suivantes :  Augmentez le curseur Quantité sur 0,5 environ.  Réduisez le paramètre Fréquence à 5 environ, de sorte que les changements de couleur soient moins fréquents.  Affectez au paramètre Bruit la valeur 0, de sorte que les changements de couleur soient plus légers. Lorsque la balise de couleur avec le comportement Paramètre appliqué est sélectionnée dans l’Inspecteur, l’icône Comportements apparaît en regard des paramètres du canal de couleur. Si le comportement Rendre aléatoire est uniquement appliqué au canal Rouge, l’icône Comportements apparaît seulement en regard du paramètre Rouge. Utilisation d’une texture de remplissage Vous pouvez vous servir d’une image, d’un film, d’une forme, d’une couche ou d’un groupe comme texture de remplissage d’un texte. Pour ce faire, utilisez l’option Texture proposée parmi les commandes Face de l’Inspecteur. Les paramètres de texture respectent les filtres appliqués à l’image source, mais pas les transformations qui lui sont appliquées. Par exemple, si le filtre Éclat a été appliqué à l’image utilisée comme texture source, le même éclat apparaît dans la texture du texte. En revanche, si l’image utilisée comme texture source a été mise à l’échelle ou déplacée ou bien contient des comportements appliqués, le résultat des transformations n’apparaît pas dans la texture appliquée.Chapitre 7 Utilisation de texte 659 Pour appliquer une texture à un texte : 1 Sélectionnez le texte. 2 Dans l’Inspecteur, cliquez sur l’onglet Texte. 3 Cliquez sur Style. 4 Dans le menu local « Remplir avec », choisissez Texture. Les commandes Couleur (ou Dégradé) laissent la place aux commandes Texture. 5 Cliquez sur le triangle d’affichage Texture. Par défaut, aucune texture n’est appliquée au texte. 6 Sous l’onglet Couches ou Média (de la sous-fenêtre Projet), cliquez sur l’image à utiliser comme texture, puis faites-la glisser dans le cadre d’image. L’image apparaît dans le cadre et est appliquée au texte. Lorsque le remplissage du texte se fait à partir d’une image, la texture est appliquée à chaque caractère du texte. Pour en savoir plus sur l’application d’une texture en continu à tous les caractères d’un texte, voir « Différences entre l’application d’une texture aux caractères d’un texte et à l’ensemble d’un texte » à la page 664. Cadre d’image660 Chapitre 7 Utilisation de texte Important : quand vous sélectionnez une image à placer dans le cadre d’image, veillez à cliquer dessus et à la faire glisser en un seul mouvement. Si vous cliquez sur l’image et que vous relâchez le bouton de la souris, l’image est sélectionnée et son Inspecteur apparaît. Cela vaut aussi pour le cadre d’image pour les masques. Pour remplacer une texture : 1 Sélectionnez le texte, puis développez l’affichage des commandes Texture. 2 Sous l’onglet Couches ou Média, cliquez sur l’image à utiliser pour remplacer la texture, puis faites-la glisser dans le cadre d’image. La nouvelle image apparaît dans le cadre et est appliquée au texte. Remarque : si une image (ou un plan d’un film) utilisée comme source de texture est remplacée dans l’onglet Couches ou Média, la texture du texte est remplacée par la nouvelle image. Pour supprimer une texture, procédez de l’une des manières suivantes : m Cliquez sur le bouton Réinitialiser du paramètre Texture. m Faites glisser l’image hors du cadre, puis relâchez le bouton de la souris. Un petit bruit indique la suppression. Bouton RéinitialiserChapitre 7 Utilisation de texte 661 Modification d’une texture Si vous vous servez d’une séquence d’images ou d’une séquence comme source de texture d’un texte, vous pouvez indiquer l’image de début de la texture ou choisir de figer une seule image pour la texture. Vous pouvez également ajuster la position d’une texture appliquée à un texte, de telle sorte qu’elle soit décalée par rapport au texte, sans être repositionnée dans votre projet. Si une image utilisée comme texture est coupée, vous pouvez spécifier le comportement des bords de la texture. Image : faites glisser l’image à utiliser comme texture source dans le cadre d’image. Conserver l’mage : quand vous utilisez un film ou une séquence d’images comme texture source, utilisez le curseur ou les champs de valeur pour spécifier l’image de début de la texture. Conserver l’image : quand vous utilisez un film ou une séquence d’images comme texture source, activez l’option Conserver l’image pour geler l’image spécifiée dans le paramètre Image. L’image sélectionnée est alors utilisée comme texture pour la durée totale de la couche de texte. Décalage : déplacez les curseurs ou saisissez une valeur dans les champs Décalage pour spécifier les valeurs X et Y de la position de la texture source (par rapport à la couche de texte). Pour changer la position d’une texture : m Dans les commandes Texture, procédez de l’une des manières suivantes :  Appuyez sur Commande et faites glisser le curseur dans le cadre d’image. L’image se déplace dans le cadre. Dans le Canevas, elle apparaît décalée dans le texte.  Réglez les valeurs de décalage. Les curseurs de gauche et de droite représentent respectivement les valeurs de position X et Y. Cliquez sur le triangle d’affichage pour afficher les curseurs de valeur X et Y. Mode de transition : utilisez ce menu local pour indiquer le traitement des bords de la texture quand cette dernière est décalée et apparaît coupée dans le texte, ou quand elle est trop petite pour remplir le texte auquel elle est appliquée. Utilisez le curseur ou le champ de valeur pour définir une image de début. Déplacez les curseurs ou saisissez des valeurs dans les champs correspondants pour repositionner la texture source. Cliquez pour verrouiller la source de la texture sur l’image définie dans le paramètre Image. Choisissez un mode de transition dans ce menu local.662 Chapitre 7 Utilisation de texte  Aucune : comme pour le mode de transition par défaut, la texture reste transparente sous le bord de l’image source.  Répétition : comme dans le cas du comportement Mosaïque, la texture source est répétée sous le bord de l’image source.  Miroir : au-delà des limites de l’image source, la source de texture est réfléchie comme dans un miroir : dupliquée, affichée en mosaïque ou bien inversée pour couvrir la largeur et la hauteur totales du texte. Animation d’une texture Vous avez la possibilité de définir des images clés pour les valeurs de décalage de la texture source, afin de créer un élément en mouvement au sein de votre texte. Dans l’exemple suivant, une image d’un léopard étendu dans l’herbe est utilisée comme texture source pour le texte « léopard ». Pour animer le décalage de la texture : 1 Appliquez une texture au texte. Pour en savoir plus sur l’application d’une texture à un texte, voir « Utilisation d’une texture de remplissage » à la page 658. 2 Atteignez l’image où vous souhaitez que l’animation de la texture commence. 3 Activez l’enregistrement (appuyez sur la touche A). Remarque : gardez présent à l’esprit que, quand l’enregistrement est activé, une image clé est créée à chaque modification d’un objet dans votre projet. Couche de texte d’origine avant l’application de la texture Image utilisée comme texture source Bouton EnregistrerChapitre 7 Utilisation de texte 663 4 Pour positionner la texture, procédez de l’une des manières suivantes :  Appuyez sur Commande et faites glisser le curseur dans le cadre d’image.  Utilisez les curseurs ou les champs de valeur de décalage pour saisir une valeur de décalage. L’image dans le texte se déplace, et une image clé est créée dans les paramètres Décalage. 5 Atteignez l’image suivante où vous souhaitez définir une image clé. 6 Déplacez la texture à la nouvelle position. Couche de texte avec une texture appliquée Texture de couche de texte repositionnée664 Chapitre 7 Utilisation de texte 7 Atteignez l’image 1 (ou l’image de début de votre animation) et lisez le plan. Le décalage de la texture est animé. 8 Désactivez l’enregistrement. Remarque : vous pouvez aussi utiliser le menu Animation dans l’Inspecteur pour définir manuellement des images clés sans activer l’enregistrement. Pour en savoir plus, voir « Images et clés et courbes » à la page 547. Différences entre l’application d’une texture aux caractères d’un texte et à l’ensemble d’un texte Lorsque vous choisissez d’appliquer une image (ou une couche) à un texte comme texture, cette texture est appliquée à chacun des caractères du texte. Pour utiliser cette image comme texture continue sur l’ensemble du texte, vous devez utiliser le texte comme un masque. Utilisation d’une couche avec des comportements et des filtres comme texture source Lorsque vous choisissez la texture source d’un texte, vous pouvez opter pour n’importe quelle couche (image, film, séquence d’images, forme, réplicateur, système de particules, groupe ou autre couche de texte) à laquelle sont appliqués des comportements et des filtres. Si la couche comporte des filtres activés, leur résultat est visible dans la texture. En revanche, si la couche choisie a des comportements ou des transformations actifs, ils sont ignorés : seule l’image apparaît comme texture. Conformez-vous aux règles suivantes lorsque vous utilisez des couches comme sources de texture. Si un filtre est appliqué à la couche utilisée comme texture source :  Pour utiliser une couche avec l’effet du filtre, suivez les étapes décrites dans « Utilisation d’une texture de remplissage » à la page 658.  Si la couche est une image ou une séquence d’images, vous pouvez l’utiliser sans l’effet des filtres en la faisant glisser de l’onglet Média (plutôt que de l’onglet Couches) dans le cadre Image de texture.  Pour utiliser une couche sans l’effet du filtre, faites-en une copie dans l’onglet Couches, supprimez les filtres appliqués, puis désactivez la couche. Vous pouvez ensuite la faire glisser de l’onglet Couches vers le cadre d’image. Si un comportement ou une transformation (par exemple, Rotation) est appliqué à la couche utilisée comme texture source :  Suivez les étapes décrites dans « Utilisation d’une texture de remplissage » à la page 658. Les effets du comportement ou des transformations sont ignorés.Chapitre 7 Utilisation de texte 665 Pour utiliser du texte afin de masquer une image : 1 Sous l’onglet Couches ou dans le Canevas, sélectionnez la couche à utiliser comme texture. 2 Choisissez Objet > Ajouter un masque d’image (ou appuyez sur les touches Maj + Commande + M). Une couche de masque d’image vierge est ajoutée à l’image. 3 Faites glisser le texte à utiliser comme masque vers l’un des emplacements suivants :  Le cadre Source de masque dans la palette Masque d’image.  La couche du masque d’image dans l’onglet Couches (déposez le texte sur la couche du masque d’image dans l’onglet Couches).  Le cadre d’image sous l’onglet Masque d’image de l’Inspecteur. Image sélectionnée en vue d’être masquée par une couche de texte Illustration fournie avec l’aimable autorisation d’Adam Cetorelli, ©2005666 Chapitre 7 Utilisation de texte Le texte masque alors l’image. Pour en savoir plus, voir « Utilisation des formes et des masques » à la page 1071. Modification de l’opacité du texte Dans la palette ou dans l’Inspecteur, utilisez le curseur d’opacité ou le champ de valeur pour régler l’opacité d’un texte. Pour définir l’opacité du texte dans la palette : 1 Sélectionnez le texte. 2 Appuyez sur F7 (ou sur D) pour afficher la palette. Les commandes d’opacité sont situées en haut. 3 Déplacez le curseur Opacité. L’opacité du texte est actualisée de façon dynamique alors que vous déplacez le curseur. Pour définir l’opacité dans l’Inspecteur : 1 Sélectionnez le texte. 2 Dans l’Inspecteur, cliquez sur l’onglet Texte.Chapitre 7 Utilisation de texte 667 3 Ouvrez la fenêtre Style. 4 Dans les commandes Face, déplacez le curseur Opacité ou saisissez une valeur d’opacité dans le champ. Remarque : une couche de texte étant similaire à toute autre couche dans Motion, vous pouvez également régler son opacité dans l’onglet Propriétés. Les définitions de la valeur Opacité sous l’onglet Propriétés et dans la fenêtre Style sont des commandes distinctes dont les effets se multiplient. Autrement dit, si la valeur Opacité est définie sur 50 % sous l’onglet Propriétés, puis sur 50 % dans la fenêtre Style de texte, l’opacité du texte est au final de 25 %. Modification de l’adoucissement du texte Vous devez utiliser le paramètre Flou dans la fenêtre Style de l’Inspecteur Texte pour régler l’adoucissement d’un texte. Pour régler l’adoucissement dans l’Inspecteur: 1 Sélectionnez le texte. 2 Dans l’Inspecteur, cliquez sur l’onglet Texte. 3 Ouvrez la fenêtre Style. 4 Dans les commandes Face, déplacez le curseur Flou ou saisissez une valeur dans le champ correspondant. L’adoucissement du texte est actualisé de façon dynamique alors que vous déplacez le curseur. Paramètre Opacité de l’onglet Propriétés Paramètre Flou668 Chapitre 7 Utilisation de texte Réinitialisation des commandes Face Vous avez la possibilité de réinitialiser les paramètres d’origine relatifs au remplissage, à l’opacité et au flou d’un texte grâce à l’Inspecteur. Pour réinitialiser les paramètres Face d’un texte : Cliquez sur le bouton Réinitialiser situé sur la ligne de la case à cocher Face. Commandes Contour d’un texte Utilisez les commandes Contour dans la fenêtre Style pour créer des contours de texte. Vous pouvez changer le remplissage du contour, ainsi que son opacité, son adoucissement, sa largeur et l’ordre des couches. À l’exception du paramètre Ordre de couche, tous les paramètres de contour peuvent être animés. Contour : case à cocher permettant d’activer ou de désactiver le contour du texte. Le paramètre Contour est désactivé par défaut. Remplir avec : choisissez un élément dans ce menu local pour définir le remplissage du contour. Comme pour les commandes Face, vous pouvez définir le remplissage du contour sur Couleur, Dégradé ou Texture. Couleur : cliquez dans le cadre de couleur pour sélectionner la couleur du contour. Cliquez sur le triangle d’affichage Couleur pour régler individuellement les canaux de couleur Rouge, Vert et Bleu. Opacité : définit l’opacité du contour du texte. Flou : définit l’adoucissement du contour du texte. Largeur : détermine l’épaisseur du contour. Ordre de couche : détermine si le contour est dessiné sur ou sous la face du texte. Bouton RéinitialiserChapitre 7 Utilisation de texte 669 Ajout d’un contour de texte Pour créer un contour de texte, activez le paramètre Contour dans la fenêtre Style de l’Inspecteur Texte. Pour ajouter un contour à un texte : 1 Sélectionnez le texte. 2 Dans l’Inspecteur, cliquez sur l’onglet Texte. 3 Ouvrez la fenêtre Style. 4 Dans les commandes Contour, cochez la case Contour. Par défaut, le contour est de couleur rouge et d’une largeur de 1 point. Remarque : le contour d’un texte n’est visible que si ses paramètres Face sont désactivés. Modification des contours de texte Utilisez les commandes Contour pour adoucir l’opacité ou le flou d’un contour de texte, pour modifier la largeur d’un contour ou encore pour définir et modifier le remplissage d’un contour. Pour changer la couleur d’un contour de texte : m Cliquez dans le cadre de couleur, puis sélectionnez une couleur dans la fenêtre Couleurs. Pour régler l’opacité d’un contour de texte : m Utilisez le curseur ou le champ de valeur Opacité pour changer l’opacité du contour. Pour régler le flou d’un contour de texte : m Utilisez le curseur ou le champ de valeur Flou pour changer le flou du contour. Pour changer la largeur d’un contour de texte : m Utilisez le curseur ou le champ de valeur Largeur pour changer la largeur du contour. Pour définir l’ordre des couches d’un contour de texte : m Faites un choix dans le menu local Ordre de couche.  Choisissez Face inférieure pour placer le contour derrière la face du texte.  Choisissez Face supérieure pour placer le contour devant la face du texte.670 Chapitre 7 Utilisation de texte Remarque : les options de remplissage des contours (couleur, dégradé et texture) sont identiques aux commandes des paramètres Face. Pour en savoir plus sur l’utilisation de ces commandes, consultez « Commandes Face » à la page 642. Pour réinitialiser les paramètres Contour d’un texte : m Cliquez sur le bouton Réinitialiser situé sur la ligne de la case à cocher Contour. Commandes Éclat d’un texte Utilisez les commandes Éclat pour créer un éclat à l’avant ou à l’arrière d’un texte. À l’exception du paramètre Ordre de couche, tous les paramètres d’éclat peuvent être animés. Éclat : case à cocher permettant d’activer ou de désactiver l’effet d’éclat sur le texte. Le paramètre Éclat est désactivé par défaut. Remplir avec : choisissez un élément dans ce menu local pour définir le remplissage de l’éclat. Comme pour les commandes Face et Contour, vous pouvez définir le remplissage de l’éclat sur Couleur, Dégradé ou Texture. Couleur : détermine la couleur de l’effet d’éclat. Cliquez dans le cadre de couleur pour sélectionner la couleur de l’éclat. Cliquez sur le triangle d’affichage Couleur pour régler individuellement les canaux de couleur Rouge, Vert et Bleu. Opacité : définit l’opacité de l’éclat du texte. Flou : définit l’adoucissement de l’éclat du texte. Rayon : définit la circonférence de l’éclat. Échelle : détermine la taille de l’éclat. Décalage : décale l’éclat dans la position X ou Y. Ordre de couche : détermine si l’éclat est dessiné sur ou sous la face du texte.Chapitre 7 Utilisation de texte 671 Ajout d’un éclat de texte Pour créer un éclat de texte, activez le paramètre Éclat dans la fenêtre Style de l’Inspecteur Texte. Pour ajouter un éclat à un texte : 1 Sélectionnez le texte. 2 Dans l’Inspecteur (accessible en appuyant sur les touches Commande + 3), cliquez sur l’onglet Texte. 3 Ouvrez la fenêtre Style. 4 Cochez la case Éclat. Par défaut, l’éclat est jaune, ses paramètres Échelle et Opacité sont réglés sur 100 %, alors que sa valeur Rayon est définie sur 1. Remarque : l’éclat d’un texte n’est visible que si ses paramètres Face (et tout autre paramètre actif) sont désactivés. Modification de l’éclat d’un texte Utilisez les commandes Éclat pour adoucir l’opacité ou le flou de l’éclat de texte, pour modifier sa taille ou encore pour définir et modifier son remplissage. Pour changer la couleur de l’éclat : m Cliquez dans le cadre de couleur, puis sélectionnez une couleur dans la fenêtre Couleurs. Pour régler l’opacité de l’éclat : m Utilisez le curseur ou le curseur de valeur Opacité pour changer l’opacité de l’éclat. Pour régler le flou de l’éclat : m Utilisez le curseur ou le champ de valeur Flou pour changer le flou de l’éclat. Pour régler le rayon de l’éclat : m Utilisez le curseur ou le champ de valeur Rayon pour régler le rayon de l’éclat. Pour régler l’échelle de l’éclat : m Utilisez le curseur ou le champ de valeur Échelle pour mettre l’éclat à l’échelle proportionnellement. Pour une mise à l’échelle selon l’axe X ou Y uniquement, cliquez sur le triangle d’affichage Échelle, puis ajustez le curseur X ou Y.672 Chapitre 7 Utilisation de texte Pour régler la position de l’éclat : m Utilisez les champs de valeur Décalage pour changer la position de l’éclat. Les curseurs de gauche et de droite représentent respectivement les axes X et Y. Pour afficher individuellement les champs de décalage X ou Y, cliquez sur le triangle d’affichage Décalage. Pour définir l’ordre des couches de l’éclat : m Choisissez un élément dans le menu local Ordre de couche.  Choisissez Face inférieure pour placer l’éclat derrière la face du texte.  Choisissez Face supérieure pour placer l’éclat devant la face du texte. Remarque : les options de remplissage des éclats (couleur, dégradé et texture) sont identiques aux commandes des paramètres Face. Pour en savoir plus sur l’utilisation de ces commandes, consultez « Commandes Face » à la page 642. Pour réinitialiser les paramètres Éclat d’un texte : m Cliquez sur le bouton Réinitialiser situé sur la ligne de la case à cocher Éclat. Commandes Ombre portée d’un texte Utilisez les commandes Ombre portée pour créer une ombre portée sur un texte, ainsi que pour régler sa couleur, son opacité, son décalage par rapport à la couche de texte, son adoucissement et son angle. Tous les paramètres Ombre portée peuvent être animés. Ombre portée : case à cocher permettant d’activer ou de désactiver l’effet d’ombre portée sur le texte. Le paramètre Ombre portée est désactivé par défaut. Remarque : si la case Aplatir est cochée dans la fenêtre Présentation de l’Inspecteur Texte, l’onglet Propriétés affiche également des commandes permettant d’activer et de désactiver une ombre portée sur une couche de texte. Les commandes Ombre portée sous l’onglet Propriétés de l’Inspecteur sont indépendantes des commandes de l’Inspecteur Texte. L’activation du paramètre Ombre portée à ces deux emplacements ne fait qu’ajouter à l’ombre déjà appliquée. Remplir avec : choisissez un élément dans ce menu local pour définir le remplissage de l’ombre. Comme pour les commandes Face, Contour et Éclat, vous pouvez définir le remplissage de l’ombre sur Couleur, Dégradé ou Texture.Chapitre 7 Utilisation de texte 673 Couleur : cliquez dans le cadre de couleur pour sélectionner la couleur de l’ombre. Cliquez sur le triangle d’affichage Couleur pour régler individuellement les canaux de couleur Rouge, Vert et Bleu. Opacité : définit l’opacité de l’ombre du texte. Flou : définit l’adoucissement de l’ombre du texte. Échelle : définit la taille de l’ombre. Distance : définit le décalage de l’ombre appliquée au texte. Angle : définit l’angle (ou la direction) de l’ombre portée. Ajout d’une ombre portée Pour créer une ombre portée de texte, activez le paramètre Ombre portée dans la fenêtre Style de l’Inspecteur Texte. Pour ajouter une ombre portée : 1 Sélectionnez le texte. 2 Dans l’Inspecteur, cliquez sur l’onglet Texte. 3 Ouvrez la fenêtre Style. 4 Parmi les paramètres Ombre portée, cochez la case Ombre portée. Par défaut, une ombre portée noire est appliquée au texte. Réglage des paramètres Ombre portée Utilisez les commandes Ombre portée pour changer la couleur ou l’opacité de l’ombre et pour régler son adoucissement. Vous pouvez également modifier la distance de décalage de l’ombre par rapport au texte et ajuster son angle. Pour régler la couleur de l’ombre portée : m Cliquez dans le cadre de couleur et utilisez la fenêtre Couleurs pour définir une nouvelle couleur. Pour régler l’opacité de l’ombre portée : m Dans le paramètre Opacité, déplacez le curseur ou utilisez le champ de valeur.674 Chapitre 7 Utilisation de texte Pour régler l’adoucissement de l’ombre portée : m Utilisez le curseur ou le champ de valeur Flou pour changer le flou de l’ombre. Pour changer l’échelle de l’ombre portée : m Utilisez le curseur ou le champ de valeur Échelle pour mettre l’ombre portée à l’échelle tout en respectant le rapport largeur-hauteur. Pour une mise à l’échelle selon l’axe X ou Y uniquement, cliquez sur le triangle d’affichage Échelle, puis ajustez le curseur X ou Y. Pour modifier la distance de l’ombre par rapport au texte : m Dans le paramètre Distance, déplacez le curseur ou utilisez le champ de valeur. La distance de décalage de l’ombre est exprimée en pixels. Pour modifier l’angle de l’ombre par rapport au texte : m Faites tourner le cadran Angle ou utilisez le champ de valeur. Remarque : les options de remplissage des ombres portées (couleur, dégradé et texture) sont identiques aux commandes des paramètres Face. Pour réinitialiser les paramètres Ombre portée d’un texte : m Cliquez sur le bouton Réinitialiser situé sur la ligne de la case à cocher Ombre portée. Utilisation et création de styles de texte La Bibliothèque de Motion contient un jeu de styles de texte prédéfinis que vous pouvez facilement appliquer aux textes présents dans votre projet. Un style de texte est un groupe de paramètres de style qui ont été modifiés et enregistrés dans la Bibliothèque. Par exemple, le style de texte Eaux tropicales inclut un remplissage basé sur les couleurs dégradées d’un lagon tropical et un éclat pur coloré en bleu. Ce style est placé sur la face du texte, mis à l’échelle, puis décalé. Vous pouvez aussi personnaliser et enregistrer votre propre style ou format de texte (voire les deux) dans la Bibliothèque. Style de texte Eaux tropicales appliqué à une couche de texteChapitre 7 Utilisation de texte 675 Application d’un style de texte Vous disposez de deux méthodes pour appliquer un style à un texte. La première méthode consiste à sélectionner un style dans la Bibliothèque. L’avantage d’utiliser la Bibliothèque pour appliquer un style de texte est que vous avez la possibilité de prévisualiser le style avant de l’appliquer à votre texte. La seconde consiste à appliquer le style dans l’Inspecteur Texte, à l’aide du menu local Préréglage Style. Cette rubrique passe en revue ces deux méthodes. Pour appliquer un style de texte à partir de la Bibliothèque : 1 Dans la Bibliothèque (accessible en appuyant sur les touches Commande + 2), sélectionnez la catégorie Styles de texte. 2 Sélectionnez un style dans la pile.676 Chapitre 7 Utilisation de texte Un aperçu du style s’affiche dans la zone de Preview. 3 Procédez de l’une des manières suivantes :  Sélectionnez le texte auquel vous souhaitez appliquer le style, puis cliquez sur le bouton Appliquer dans la zone de Preview.  Faites glisser le style de la pile vers le texte dans le Canevas, l’onglet Couches ou la Timeline. Le style est appliqué au texte sélectionné.Chapitre 7 Utilisation de texte 677 Pour appliquer un style de texte à partir de l’Inspecteur Texte : 1 Sélectionnez le texte auquel vous souhaitez appliquer un style. 2 Dans la fenêtre Style de l’Inspecteur Texte, choisissez un élément dans le menu local Préréglage Style. Le style est appliqué au texte sélectionné. Réinitialisation du style d’un texte Utilisez le bouton Réinitialiser situé dans l’Inspecteur pour restaurer les valeurs par défaut des paramètres des commandes Style de texte. Pour réinitialiser tous les paramètres Style de texte : m Cliquez sur le bouton Réinitialiser situé sur la ligne de la case à cocher Préréglage Style. Enregistrement d’un style de texte personnalisé Après modification des paramètres souhaités dans les fenêtres Style (notamment le dégradé ou l’éclat) ou Format (tel que le suivi ou le talus), vous pouvez enregistrer le style que vous venez de créer dans la catégorie Styles de texte de la Bibliothèque. Ces styles personnalisés peuvent être utilisés et appliqués exactement comme les styles prédéfinis. Menu local Préréglage Style678 Chapitre 7 Utilisation de texte Remarque : tout style personnalisé enregistré dans la Bibliothèque est sauvegardé dans le dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Final Cut Studio/Motion/Bibliothèque/Text Styles/. La Bibliothèque de Motion est stockée à deux endroits sur votre ordinateur : le contenu en lecture seule installé avec Motion est placé dans le dossier /Bibliothèque/Applications Support/Final Cut Studio/ Motion/Bibliothèque (sauf si vous avez sélectionné un emplacement personnalisé lors de l’installation de Motion), alors que le contenu personnalisé créé par vos soins est sauvegardé dans le dossier /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Final Cut Studio/Motion/Bibliothèque. Pour enregistrer dans la Bibliothèque un style de texte modifié : 1 Sélectionnez le texte comportant les paramètres modifiés que vous souhaitez enregistrer comme un style. 2 Dans la fenêtre Style, déroulez le menu local Préréglage Style, puis choisissez l’une des options suivantes :  Pour enregistrer un style avec uniquement les paramètres de la fenêtre Style, choisissez Enregistrer le style.  Pour enregistrer un style avec uniquement les paramètres de la fenêtre Format, choisissez Enregistrer le format.  Pour enregistrer un style avec les paramètres des deux fenêtres Style et Format, choisissez Tout enregistrer. 3 Dans la zone de dialogue Enregistrer ce préréglage dans la Bibliothèque, attribuez un nom à votre préréglage. 4 Cliquez sur Enregistrer.Chapitre 7 Utilisation de texte 679 Le préréglage personnalisé est enregistré dans la catégorie Styles de texte de la Bibliothèque. Les préréglages personnalisés sont identifiables dans la Bibliothèque à l’aide de la petite icône d’utilisateur qui apparaît en bas à droite de l’icône de style de texte de plus grande taille. À propos du tramage et des groupes Certaines opérations, tout comme l’application de divers filtres ou d’un masque, provoquent le tramage du groupe concerné. Ce tramage convertit le groupe en image bitmap. Toutes les couches de texte existant dans des groupes, le tramage affecte par conséquent la façon dont le texte interagit avec d’autres objets au sein de votre projet. Remarque : un texte peut être tramé indépendamment du groupe dans lequel il est contenu. Dans ce cas, le tramage affecte la façon dont le texte interagit avec d’autres objets au sein de son propre groupe. Si vous appliquez, par exemple, un filtre Flou circulaire à un texte en espace 3D (comme un texte sur une trajectoire), il ne croise plus les autres objets du même groupe. Il est à noter que les mêmes opérations provoquent le tramage d’un groupe 3D et d’un texte 3D. Dans certains cas, l’activation de l’option Aplatir dans la fenêtre Présentation de l’Inspecteur Texte peut minimiser cet effet. Style de texte personnalisé enregistré dans la Bibliothèque680 Chapitre 7 Utilisation de texte Le tramage affecte les groupes 2D et 3D différemment. Lorsqu’un groupe 2D est tramé, les modes de fusion appliqués aux objets au sein du groupe n’ont plus aucune interaction avec les objets situés en dehors du groupe. Dans les illustrations suivantes, le groupe 2D non tramé qui contient le texte est réglé sur « Ajouter mode de fusion ». Le texte a alors une interaction avec l’objet situé au niveau inférieur dans la pile des couches. Dans les illustrations suivantes, le groupe contenant le texte et l’image du haut du léopard est tramé. Son tramage a été déclenché par l’activation du paramètre Rognage dans l’onglet Propriétés du groupe. Les modes de fusion Ajouter du texte et Multiplier de l’image du léopard n’ont alors plus aucune interaction avec l’objet situé au niveau inférieur dans la pile des couches (l’image du bas du léopard). Veuillez noter que l’icône du groupe tramé apparaît désormais entourée d’un cadre (à gauche du groupe « Groupe - titres »). Le groupe des titres n’est pas tramé. Les modes de fusion du texte et de l’image du haut du léopard affectent le groupe situé au niveau inférieur dans le projet. Le groupe des titres est tramé, ce qui est indiqué par le cadre qui entoure son icône. Les modes de fusion du texte et de l’image du haut n’affectent plus le groupe situé au niveau inférieur dans le projet.Chapitre 7 Utilisation de texte 681 Par ailleurs, si un groupe 3D est tramé, l’intégralité du groupe ne peut plus avoir aucune interaction avec les objets situés en dehors. Le groupe 3D tramé est alors traité comme un objet unique et il utilise l’ordre des couches, plutôt que l’ordre de profondeur, pour composer le projet. Remarque : même si un groupe est tramé, les caméras et les lumières utilisées dans le projet ont toujours une interaction avec les objets situés au sein de ce groupe. La modification des paramètres suivants déclenche le tramage d’un groupe : Groupes 2D  Modification des paramètres de fusion (Opacité, Mode de fusion, Conserver l’opacité)  Activation de l’option Ombre portée  Activation de l’option Quatre angles  Activation de l’option Rognage  Application de n’importe quel filtre  Ajout d’un masque  Ajout d’une table lumineuse Groupes 3D  Modification des paramètres de fusion  Application de certains filtres  Ajout d’une table lumineuse à un groupe 3D dont le paramètre Aplatir est activé (dans l’onglet Groupe de l’Inspecteur) Une fois le tramage du groupe déclenché par l’une de ces opérations, vous observez les événements suivants :  Un indicateur de tramage (semblable à un voyant) apparaît en regard du paramètre dans l’onglet Propriétés. Indicateur de tramage682 Chapitre 7 Utilisation de texte  Un petit cadre apparaît autour de l’icône représentant le groupe 2D, le groupe 3D, l’émetteur, le réplicateur ou la couche de texte tramé (à gauche du nom du groupe correspondant) dans l’onglet Couches et la liste de couches de la Timeline. Modification de la présentation du texte La fenêtre Présentation contient des commandes de présentation du texte, notamment l’alignement, la justification et l’interligne. Vous pouvez également y créer un effet « machine à écrire » à l’aide du paramètre du même nom ou y régler le texte sur une trajectoire. Pour afficher la fenêtre Présentation du texte : m Dans l’Inspecteur, cliquez sur l’onglet Texte, puis sur le bouton Présentation. Cadre de tramageChapitre 7 Utilisation de texte 683 Commandes Présentation du texte Utilisez les commandes de présentation du texte pour déterminer l’agencement général de votre texte. Ces commandes permettent d’indiquer si le texte doit être présenté sur une seule ligne, sur un paragraphe avec des marges définies ou sur une trajectoire. Méthode de présentation : indique si la présentation du texte est définie sur Type, Paragraphe ou Trajectoire. La méthode de présentation par défaut est Type, laquelle crée une seule ligne de texte. Alignement : définit l’alignement des lignes de texte. Vous pouvez choisir d’aligner le texte à gauche, au centre et à droite. Justification : définit la justification des lignes de texte. Vous avec le choix entre Aucune, Partielle et Totale. Interligne : spécifie la distance entre chaque ligne de texte (interligne) sous forme d’incréments exprimés en points. Un glissement vers la droite (supérieur à 0) augmente l’espacement entre les lignes, tandis qu’un glissement vers la gauche (inférieur à 0) crée un espacement négatif des lignes. Aplatir : dans les groupes 3D, les caractères d’un texte placé sur une trajectoire et soumis à des comportements risquent de subir des interférences au niveau de leur alignement linéaire. Par exemple, les caractères d’un texte peuvent sortir de leur plan du fait d’un comportement Simulation. Une fois la case Aplatir cochée, les caractères du texte demeurent dans l’espace 2D. Même si cette option est activée, le texte peut encore avoir une interaction avec les autres objets dans l’espace 3D, mais seulement en tant qu’image aplatie. Un texte non aplati sur une trajectoire 3D peut traverser d’autres éléments d’un projet.684 Chapitre 7 Utilisation de texte Une fois l’option Aplatir activée, les caractères du texte ne se déplacent plus dans l’espace 3D. Remarque : lorsqu’une couche de texte pivotée selon l’axe Z est aplatie, le texte le plus éloigné de la caméra (plus loin sur l’axe Z) semble plus petit. Pour en savoir plus, voir « Compositing 3D » dans le manuel PDF Documentation supplémentaire de Motion. ∏ Astuce : lorsque vous manipulez du texte sur une trajectoire 3D, il peut devenir difficile à lire en fonction de son orientation et de sa distance par rapport à la caméra. Si vous devez le modifier, sachez que vous pouvez rapidement replacer une couche de texte dans son orientation d’origine (de face vers l’avant) grâce au bouton Isoler dans l’onglet Couches (ou dans la liste de couches de la Timeline) ou la commande Isoler du menu Objet. Pour isoler un groupe ou une couche, procédez de l’une des manières suivantes :  Sous l’onglet Couches (ou dans la liste de couches de la Timeline), cliquez sur le bouton Isoler.  Cliquez sur la couche ou le groupe tout en maintenant la touche Contrôle enfoncée, puis choisissez Isoler dans le menu contextuel.  Choisissez Objet > Isoler.  Cliquez à nouveau sur le bouton Isoler pour revenir à la présentation précédente. Remarque : si vous cliquez sur le bouton Isoler d’une caméra, vous activez l’affichage de cette caméra. Face à la caméra : lorsque cette case est cochée, les caractères du texte font toujours face à la caméra, même si la caméra ou le texte est pivoté. Image de texte aplatie n’existant que selon les axes X et Y. Elle interagit encore avec les autres objets, mais comme un objet aplati. Bouton Isoler désactivéChapitre 7 Utilisation de texte 685 Remarque : les caractères d’un texte étant des objets 2D (plats), ils ne sont pas visibles lorsque vous utilisez les vues orthogonales d’une caméra, telles que Gauche, Droite et Haut (sauf si la couche de texte ou les caractères sont pivotés en 3D). En effet, les vues orthogonales sont réalisées à angle droit par rapport aux objets dans le Canevas (perpendiculairement). Pour en savoir plus sur l’utilisation des caméras, voir « Compositing 3D » dans le manuel PDF Documentation supplémentaire de Motion. Machine à écrire : ce groupe de commandes permet de créer un effet similaire à une machine à écrire. Vous pouvez animer avec des images clés l’effet machine à écrire pour qu’il survienne vers l’avant, vers l’arrière ou dans les deux directions. Remarque : un comportement Animation de texte également appelé Machine à écrire vous permet de créer un effet de ce type vers l’avant, sans avoir à définir la moindre image clé. Création d’un effet machine à écrire Vous disposez de deux méthodes pour créer un effet de texte Machine à écrire : utilisez les paramètres Machine à écrire des commandes Présentation du texte ou appliquez le comportement Machine à écrire (dans la catégorie de comportement Animation de texte). Cette rubrique aborde l’utilisation des paramètres Machine à écrire dans la fenê- tre Présentation. Pour en savoir plus sur le comportement de texte Machine à écrire, voir « Machine à écrire » à la page 723. Commandes Machine à écrire Utilisez les paramètres Machine à écrire pour indiquer la direction, les points de début et de fin, ainsi que le fondu entrant de l’effet machine à écrire. Ces paramètres doivent être animés pour afficher l’effet souhaité. Début : définit le point de départ de l’effet machine à écrire (du côté gauche du texte). Si ce paramètre est réglé sur 0 % (sa valeur par défaut), le texte est entièrement soumis à l’effet machine à écrire. En revanche, s’il est défini sur 100 %, l’effet machine à écrire est inversé sur la totalité du texte. Si la valeur varie de 0 à 100 avec le temps, le texte est dactylographié de gauche à droite. Si la valeur varie de 100 à 0, le texte est dactylographié de droite à gauche.686 Chapitre 7 Utilisation de texte Fin : définit le point final de l’effet machine à écrire (du côté droit du texte). Si ce paramètre est réglé sur 100 % (sa valeur par défaut), le texte est entièrement soumis à l’effet machine à écrire. En revanche, s’il est défini sur 0 %, l’effet machine à écrire est inversé sur la totalité du texte. Si la valeur varie de 100 à 0 avec le temps, le texte est dactylographié de droite à gauche. Si la valeur varie de 0 à 100, le texte est dactylographié de gauche à droite. Fondu entrant : lorsqu’il est activé, ce paramètre applique un fondu entrant sur les caractères du texte. Lorsqu’il est désactivé, les caractères de texte apparaissent normalement. Exemple : création d’un effet machine à écrire Dans cet exemple, un texte est soumis à l’effet machine à écrire, de droite à gauche. Pour créer un effet machine à écrire : 1 Sélectionnez le texte. 2 Placez-vous sur l’image à partir de laquelle vous souhaitez que l’animation commence. 3 Activer l’enregistrement. 4 Dans la fenêtre Présentation, définissez la valeur Fin des paramètres Machine à écrire sur 0. Le texte disparaît (il n’est plus soumis à l’effet machine à écrire). Remarque : vous pouvez également utiliser le menu Animation au lieu d’activer Enregistrer dans les commandes de lecture. Pour cela, cliquez sur l’icône du menu Animation en regard du paramètre Fin, puis choisissez Ajouter une image clé. 5 Placez-vous sur l’image sur laquelle vous souhaitez que l’animation se termine (que l’effet machine à écrire cesse). 6 Définissez la valeur Fin sur 100. Bouton EnregistrerChapitre 7 Utilisation de texte 687 7 Lancez la lecture du projet. Le texte apparaît caractère par caractère, de gauche à droite (comme s’il était tapé sur une machine à écrire). Pour créer un effet machine à écrire dans lequel les caractères surgissent, désactivez la case Fondu entrant. Remarque : vous êtes autorisé à utiliser le paramètre Machine à écrire lorsque la méthode de présentation du texte est définie sur Type, Paragraphe (texte de plusieurs lignes) ou Trajectoire. ∏ Astuce : n’oubliez pas que vous pouvez appliquer des comportements Paramètre à la quasi-totalité des paramètres dans Motion. Par exemple, pour que le texte de l’exemple ci-dessus présente des imperfections et clignote au fur et à mesure qu’il apparaît, appliquez le comportement Rendre aléatoire au paramètre Fin :  Tout en maintenant la touche Contrôle enfoncée, cliquez sur la valeur Fin dans les commandes Machine à écrire, puis choisissez Rendre aléatoire dans le menu contextuel. L’onglet Comportements apparaît et affiche les paramètres Rendre aléatoire. Les caractères du texte apparaissent de manière plus brutale et irrégulière.  Pour accentuer encore l’effet d’hésitation, réglez les paramètres Rendre aléatoire (par exemple, modifiez le mode Appliquer ou augmentez le paramètre Bruit). Pour en savoir plus sur l’utilisation des comportements de Paramètre, voir « Application de comportements Paramètre » à la page 417. Manipulation du texte sur une trajectoire Vous pouvez créer un texte sur la trajectoire d’une ligne, d’un cercle, d’un rectangle, d’une vague ou le long du contour d’une forme ou d’un masque. Il est d’ailleurs possible de manipuler la trajectoire Spline ouvert d’un texte, afin qu’il se déplace dans un espace 3D. Vous pouvez modifier la forme d’une trajectoire de texte, ajouter ou supprimer des points de contrôle ou encore animer le texte le long de la trajectoire. De plus, il est toujours possible de modifier le texte sur une trajectoire, comme modifier les caractères ou la police du texte, le suivi, le crénage, etc. Les paramètres Style d’un texte sur une trajectoire peuvent également être modifiés.688 Chapitre 7 Utilisation de texte Création de texte sur une trajectoire Pour placer un texte sur une trajectoire, vous devez tout d’abord créer le texte, puis lui appliquer la méthode de présentation Trajectoire (via le menu local Méthode de présentation). Recourez ensuite aux paramètres Options de trajectoire pour modifier le texte sur sa trajectoire. Pour créer du texte sur une trajectoire : 1 Sélectionnez le texte que vous souhaitez placer sur une trajectoire. 2 Dans la fenêtre Présentation de l’Inspecteur Texte, choisissez Trajectoire dans le menu local Méthode de présentation. Les paramètres Options de trajectoire sont alors affichés. 3 Sélectionnez l’outil Texte (ou appuyez sur T), puis cliquez sur le texte dans le Canevas. Important : l’étape 3 est importante. En effet, l’outil Texte doit être sélectionné pour visualiser ou éditer la trajectoire du texte. Application de comportements à un texte sur une trajectoire Vous avez la possibilité d’appliquer les comportements Simulation, Paramètre et Animation standard à un texte sur une trajectoire, ce qui vous permet de créer des animations extrêmement intéressantes et complexes en quelques secondes. Pour en savoir plus sur l’utilisation des comportements Simulation et Paramètre, voir « Utilisation d’autres comportements avec du texte » à la page 733.Chapitre 7 Utilisation de texte 689 La trajectoire apparaît en dessous du texte. La forme par défaut de la trajectoire correspond à Spline ouvert et elle contient trois points de contrôle. Modification de la forme de la trajectoire Rappelez-vous que l’outil Texte doit être sélectionné afin de visualiser et d’éditer la trajectoire du texte. Conformez-vous aux règles suivantes pour modifier la forme de la trajectoire. Pour modifier la trajectoire d’un texte :  Faites glisser un point de contrôle pour modifier la forme de la trajectoire.  Cliquez sur la trajectoire tout en maintenant la touche Option enfoncée ou doublecliquez dessus pour ajouter un point de contrôle.  Pour supprimer un point de contrôle, sélectionnez-le, puis appuyez sur la touche Suppr. Vous pouvez également cliquer sur le point tout en maintenant la touche Contrôle enfoncée, puis choisir Supprimer le point dans le menu contextuel.  Pour créer un point linéaire, cliquez sur un point tout en maintenant la touche Contrôle enfoncée, puis choisissez Linéaire dans le menu contextuel.  Pour créer un point lissé (Bézier), cliquez sur un point tout en maintenant la touche Contrôle enfoncée, puis choisissez Lissage dans le menu contextuel. Remarque : si vous avez choisi B-Spline comme type de trajectoire, le menu contextuel affiche en plus l’option Lissage fort.690 Chapitre 7 Utilisation de texte  Pour verrouiller un point, cliquez dessus tout en maintenant la touche Contrôle enfoncée, puis choisissez Verrouiller le point dans le menu contextuel. Un point verrouillé ne peut pas être modifié.  Pour déverrouiller un point, cliquez dessus tout en maintenant la touche Contrôle enfoncée, puis choisissez Déverrouiller le point dans le menu contextuel. Important : les points de contrôle de la trajectoire d’un texte sont modifiés de la même manière que les points de contrôle d’une forme. Pour en savoir plus, voir « Utilisation des formes et des masques » à la page 1071. Remarque : si vous cliquez sur l’un des points de contrôle d’une trajectoire et maintenez le bouton de la souris enfoncé, une fenêtre d’information apparaît : elle vous indique le numéro du point (dans l’ordre selon lequel les points sont placés sur la trajectoire) et ses coordonnées X, Y et Z. Tous les points de contrôle d’une trajectoire sont également répertoriés par numéro dans la fenêtre Présentation de l’Inspecteur Texte. Pour modifier la trajectoire d’un texte en 3D : 1 Si votre projet ne contient aucune caméra, ajoutez une caméra en procédant de l’une des manières suivantes :  Cliquez sur l’icône Nouvelle caméra dans la barre d’outils.  Choisissez Objet > Nouvelle caméra (ou appuyez sur les touches Option + Commande + C). Remarque : si aucun des groupes de votre projet n’est à l’heure actuelle en 3D, une zone de dialogue vous demande si vous souhaitez transformer vos groupes 2D en 3D. Cliquez sur Basculer en 3D pour permettre à la caméra d’avoir un effet sur les groupes. 2 Remplacez la présentation par défaut de la caméra (Activée) par Haut :  Cliquez sur « Caméra activée » dans le coin supérieur gauche du Canevas (dans le menu Caméra), puis choisissez Haut dans le menu contextuel.  Choisissez Présentation > Présentation 3D > Haut. Le texte n’est plus visible, car la caméra pointe maintenant vers le bas à la perpendiculaire du texte sur sa trajectoire (selon l’axe Y). Toutefois, la trajectoire du texte et ses points restent visibles. Dans le Canevas, l’icône de caméra en fil de fer jaune représente la caméra activée ajoutée au cours de l’étape 1. Remarque : les commandes à l’écran de la trajectoire du texte sont disponibles pour toutes les présentations de caméra. Cet exemple utilise la vue d’en haut. 3 Faites glisser un point de contrôle pour ajuster la trajectoire du texte selon l’axe X, Y ou Z.Chapitre 7 Utilisation de texte 691 Remarque : la manipulation d’un texte sur une trajectoire 3D ne fonctionne que si la forme de la trajectoire est réglée sur Spline ouvert. Si la trajectoire n’est plus sélectionnée, sélectionnez la couche de texte dans la liste de couches. Remarque : si vous souhaitez indiquer des valeurs précises pour l’emplacement des points de contrôle, cliquez sur le triangle d’affichage en regard de Points de contrôle dans le groupe Options de trajectoire de la fenêtre Présentation. Les trois champs correspondent aux valeurs X, Y et Z. 4 Pour changer de présentation de caméra, cliquez sur « Haut » dans le coin supérieur gauche du Canevas, puis choisissez une autre présentation dans le menu Caméra. Présentation d’en haut d’un texte sur une trajectoire 3D. Les valeurs Z des points de contrôle de droite et de gauche sont positives. Présentation de caméra par la droite d’un texte sur une trajectoire 3D.692 Chapitre 7 Utilisation de texte 5 Pour réinitialiser la présentation de la caméra, procédez de l’une des manières suivantes :  Choisissez Activée dans le menu Caméra.  Choisissez Présentation > Présentation 3D > Activée. ∏ Astuce : si vous utilisez du texte dans un projet 3D, tout particulièrement du texte qui se déplace à proximité de la caméra, il est conseillé de régler l’option Qualité de rendu sur Optimale dans le menu local ou le menu déroulant Présentation (choisissez Présentation > Qualité de rendu > Optimale). Toutefois, réglez cette méthode sur Normale en cours de travail, car l’option Optimale réduit considérablement l’interactivité de votre projet. Vous pouvez également régler la qualité de rendu au moment de l’exportation dans la zone de dialogue Options d’exportation : choisissez alors Exporter, cliquez sur Options, puis sélectionnez Optimale dans le menu local Qualité de rendu. Pour personnaliser une exportation, désactivez la case « Utiliser les réglages actuels du projet et du Canevas ». Options de trajectoire Ce groupe de commandes permet de spécifier la former initiale de la trajectoire du texte, puis de modifier la trajectoire ainsi que le texte sur cette trajectoire. Forme de la trajectoire : détermine la forme de la trajectoire. Vous avez le choix entre : Spline ouvert, Spline fermé, Cercle, Rectangle, Vagues ou Géométrie.  Spline ouvert : forme par défaut. Il s’agit d’une ligne droite définie par deux points situés au début et à la fin de la trajectoire. Vous pouvez choisir de travailler avec des points de contrôle Bézier ou B-Spline. Cliquez n’importe où sur la trajectoire tout en maintenant la touche Option enfoncée (ou double-cliquez dessus) pour ajouter des points de contrôle.  Spline fermé : trajectoire fermée sur laquelle le dernier point est situé au même endroit que le premier. Vous pouvez choisir de travailler avec des points de contrôle Bézier ou B-Spline. Cliquez n’importe où sur la trajectoire tout en maintenant la touche Option enfoncée (ou double-cliquez dessus) pour ajouter des points de contrôle.  Cercle : version simplifiée de la forme Spline fermé, dans laquelle il est possible de modifier le rayon X ou Y pour créer un cercle ou une ellipse.Chapitre 7 Utilisation de texte 693  Rectangle : trajectoire fermée sur laquelle il est possible d’ajuster la largeur et la hauteur pour créer un carré ou un rectangle.  Vagues : trajectoire en forme d’onde (sinusoïdale) définie par deux points situés au début et à la fin de la trajectoire, et contrôlée par les paramètres Point d’arrivée, Amplitude, Fréquence, Phase et Humidité.  Géométrie : la couche se déplace le long du contour d’une forme ou d’un masque utilisé comme source pour la trajectoire. Il est possible d’utiliser une forme animée comme source de la trajectoire d’un texte. Vous pouvez, par exemple, appliquer un comportement Osciller à la forme d’un cercle et l’utiliser malgré tout comme forme source. Commandes contextuelles Selon l’option que vous avez choisie dans le menu local Forme de la trajectoire, d’autres commandes contextuelles sont mises à votre disposition : Type de trajectoire : si vous avez sélectionné Spline ouvert ou Spline fermé pour la forme de la trajectoire, ce menu local vous permet de choisir l’une des deux méthodes de manipulation de la forme de la trajectoire : Bézier ou B-Spline.  Bézier : vous permet de manipuler la courbe d’images clés manuellement en faisant glisser les poignées. Pour plus d’informations sur la création et l’ajustement des courbes de Bézier, voir « Modification des points de contrôle de Bézier » à la page 1102.  B-Spline : les courbes B-Spline se manipulent uniquement à l’aide des points (elles ne comportent pas de poignées tangentes). Les points ne sont d’ailleurs pas situés à la surface de la forme. En effet, chaque point de contrôle B-Spline est décalé par rapport à la surface de la forme, attirant cette section de la forme vers lui à la manière d’un aimant, pour créer la courbe. Les courbes B-Splines sont extrêmement lisses ; par défaut les formes B-Splines ne comportent aucun angle aigu, même si vous pouvez créer des courbes plus marquées, si besoin. Pour en savoir plus sur la manipulation des courbes B-Splines, voir « Modification de points de contrôle B-Spline » à la page 1105. Rayon : ce curseur est affiché si vous avez choisi Cercle comme forme de trajectoire. Il vous permet de modifier la taille de la trajectoire circulaire. Cliquez sur le triangle d’affichage pour régler séparément les rayons X et Y. Remarque : si l’outil Texte est sélectionné, vous pouvez également utiliser les commandes à l’écran pour redimensionner le cercle. Appuyez sur Maj pour conserver les proportions X et Y des rayons. Taille : ce curseur est affiché si vous avez choisi Rectangle comme forme de trajectoire. Il vous permet de modifier la taille de la trajectoire rectangulaire. Cliquez sur le triangle d’affichage pour régler séparément les échelles X et Y. 694 Chapitre 7 Utilisation de texte Remarque : si l’outil Texte est sélectionné, vous pouvez également utiliser les commandes à l’écran pour redimensionner le rectangle. Appuyez sur Maj pour conserver les proportions X et Y des échelles. Point de départ, Point d’arrivée, Amplitude, Fréquence, Phase et Humidité : ces commandes sont affichées si vous avez choisi Vagues comme forme de trajectoire.  Point de départ : détermine l’emplacement du point de départ par défaut de la trajectoire en forme de vague. Le curseur de valeur de gauche définit la coordonnée X du point de départ. Quant au curseur de droite, il définit sa coordonnée Y. Vous pouvez également ajuster le point de départ à l’aide des commandes à l’écran (activées par défaut si l’outil Texte est sélectionné).  Point d’arrivée : détermine l’emplacement du point d’arrivée par défaut de la trajectoire en forme de vague. Le curseur de valeur de gauche définit la coordonnée X du point d’arrivée. Quant au curseur de droite, il définit sa coordonnée Y. Vous pouvez également ajuster le point d’arrivée à l’aide des commandes à l’écran (activées par défaut si l’outil Texte est sélectionné).  Amplitude : curseur qui définit la moitié de la distance du point le plus élevé au point le plus bas dans la vague. Les valeurs élevées entraînent des vagues plus extrêmes.  Fréquence : curseur permettant de définir le nombre de vagues. Plus la valeur indiquée est importante, plus les vagues sont nombreuses.  Phase : cadran permettant de définir le pourcentage de décalage des vagues entre le point de départ et le point final de leur trajectoire. Si cette option est réglée sur 0 % (la valeur par défaut), les vagues commencent et se terminent à la moitié de la distance séparant les points le plus haut et le plus bas dans les vagues. À 90 %, les vagues commencent et se terminent au niveau du point le plus haut des vagues. À –90 %, les vagues commencent au niveau du point le plus bas des vagues. À 180 %, les vagues sont les mêmes qu’avec un réglage sur 0 %, mais elles sont inversées.  Humidité : curseur permettant de diminuer progressivement l’oscillation des vagues. Des valeurs positives entraînent la diminution des vagues vers l’avant (de gauche à droite). Des valeurs négatives ont l’effet inverse (de droite à gauche). Source de la forme, menu local Vers, Attacher à la forme : ces commandes sont affichées si vous avez choisi Géométrie comme forme de trajectoire.  Source de la forme : cadre d’image définissant la couche (forme ou masque) à utiliser comme source de trajectoire animée.  Vers : menu local répertoriant toutes les couches du projet en cours pouvant servir de forme source pour la trajectoire animée.  Attacher à la forme : si cette case est cochée, la trajectoire d’animation suit la forme source à son emplacement d’origine. Dans le cas contraire, la trajectoire animée peut exister à un autre emplacement que sa forme source.Chapitre 7 Utilisation de texte 695 Remarque : si l’option « Attacher à la forme » est activée, vous ne pouvez pas déplacer la couche à un autre emplacement. Pour en savoir plus sur l’utilisation d’objets spline comme forme source de trajectoire de texte, voir « Utilisation de la forme Géométrie pour la source d’une trajectoire » à la page 696. Autres commandes Options de trajectoire Les commandes relatives aux paramètres suivants sont proposées quelle que soit la forme de la trajectoire : Décalage de la trajectoire : détermine le début du texte sur la trajectoire. Animez cette valeur pour déplacer le texte le long d’une trajectoire. À 0 %, le premier caractère du texte se trouve à l’extrémité gauche de la trajectoire. À 100 %, il se trouve à l’extré- mité droite de la trajectoire. Bouclage : disponible si vous avez choisi Spline ouvert ou Vagues (une forme ouverte) comme forme de trajectoire, cette option enveloppe le texte à partir de la fin de la trajectoire autour du premier point de la trajectoire. À l’intérieur de la trajectoire : lorsque la case À l’intérieur de la trajectoire est activée, la ligne standard du texte sur une trajectoire en boucle est modifiée afin que le texte apparaisse à l’intérieur de la boucle. Aligner sur la trajectoire : aligne le texte sur la forme de la trajectoire. Lorsque la case est désactivée, tous les caractères du texte s’alignent verticalement, quelle que soit la forme de la trajectoire. Points de contrôle : affichent les positions X et Y de tous les points de contrôle de la trajectoire. Utilisez les curseurs pour ajuster la position des points de contrôle à l’aide de l’Inspecteur. Un paramètre supplémentaire relatif à la position Z apparaît si la forme de trajectoire choisie est Spline ouvert.696 Chapitre 7 Utilisation de texte Utilisation de la forme Géométrie pour la source d’une trajectoire La rubrique suivante décrit l’utilisation de la forme Géométrie comme source de trajectoire d’un texte. Pour utiliser la forme Géométrie comme source de trajectoire d’un texte : 1 Importez (ou dessinez) la forme que vous souhaitez utiliser comme source de trajectoire. 2 Sélectionnez le texte sur la trajectoire, puis choisissez Géométrie dans le menu local Forme de la trajectoire. Le cadre Source de la forme apparaît dans l’Inspecteur. 3 Dans l’onglet Couches, faites glisser la forme vers le cadre Source de la forme. 4 Lorsque le pointeur devient une flèche courbe, relâchez le bouton de la souris. Une vignette représentant la forme apparaît dans le cadre et elle est utilisée comme source pour la forme de la trajectoire du texte.Chapitre 7 Utilisation de texte 697 Remarque : vous pouvez avoir envie de désactiver la forme source dans l’onglet Couches, afin qu’elle ne soit pas visible dans votre projet. Pour sélectionner une autre forme Géométrie comme source de trajectoire d’un texte : m Cliquez sur le menu local « Vers » (situé en regard du cadre Source de la forme), puis sélectionnez la couche à utiliser comme forme source de la trajectoire du texte. Modification d’un texte sur une trajectoire Le texte sur une trajectoire peut toujours être modifié, ce qui inclut la modification des paramètres Format, tels que la police, le suivi ou le crénage, ainsi que la modification des paramètres Style, tels que le changement de la couleur et de l’opacité (y compris l’application de styles ou de dégradés). Si vous ajoutez des caractères à un texte positionné sur une trajectoire, celle-ci peut s’avérer trop courte. Dans les images suivantes, la première montre le texte d’origine placé sur une trajectoire. La seconde affiche du texte en plus. Notez que sur la seconde image, où des caractères ont été ajoutés, la trajectoire est plus courte que le texte. Texte d’origine placé sur une trajectoire Caractères supplémentaires ajoutés au texte d’origine Séquence mise à disposition avec l’aimable autorisation de National Geographic Television et Film Library.698 Chapitre 7 Utilisation de texte Pourrallonger une trajectoire de texte : m Alors que l’outil Texte est sélectionné, faites glisser le dernier point de contrôle vers la fin du texte. Lors du glissement, appuyez sur la touche Maj afin de contraindre la trajectoire sur une ligne droite. Une fois la trajectoire rallongée, vous pouvez ajouter des points de contrôle pour augmenter le contrôle sur la forme de la trajectoire. Animation de texte sur une trajectoire Il est possible d’animer le texte pour qu’il se déplace à travers la trajectoire. Pour animer du texte sur une trajectoire : 1 Créez la trajectoire le long de laquelle le texte va se déplacer 2 Placez-vous sur l’image sur laquelle vous souhaitez que l’animation commence, puis activez l’enregistrement. Remarque : n’oubliez pas que l’utilisation de raccourcis clavier en mode d’édition du texte peut entraîner la saisie de caractères supplémentaires dans votre texte. 3 Dans la fenêtre Présentation, réglez le curseur Décalage de la trajectoire ou le curseur de valeur sur la longueur dont vous souhaitez déplacer le texte sur la trajectoire. Chapitre 7 Utilisation de texte 699 Une image clé est ajoutée au paramètre Décalage de la trajectoire. Une valeur positive déplace le texte vers la droite et une valeur négative le déplace vers la gauche. Vous pouvez saisir des valeurs supérieures à 100 % ou inférieures à 0 % grâce au curseur de valeur. Une valeur supérieure à 100 % déplace le texte complètement en dehors de la trajectoire vers la droite, alors qu’une valeur inférieure à 0 % le déplace en dehors de la trajectoire, vers la gauche. Dans l’image suivante, le paramètre Décalage de la trajectoire est réglé sur 105 %, ce qui a pour effet de décaler le texte vers la droite, en dehors de sa trajectoire. 4 Placez-vous sur l’image sur laquelle vous souhaitez arrêter l’animation (ou définir l’image clé suivante). 5 Réglez le curseur Décalage de la trajectoire ou le curseur de valeur afin de repositionner le texte sur la trajectoire. 6 Lisez le projet pour constater le déplacement du texte le long de la trajectoire. 7 Désactivez l’enregistrement. Cette icône indique la présence d’une image clé à la position actuelle de la tête de lecture.700 Chapitre 7 Utilisation de texte Utilisation de marges de texte Par défaut, la méthode de présentation du texte est définie sur Type, ce qui crée une longue chaîne de texte, jusqu’à ce que vous insériez manuellement un saut de ligne. Il existe plusieurs manières de créer et de régler les marges d’un texte, notamment l’utilisation des commandes à l’écran et de la fenêtre Présentation de l’Inspecteur Texte. Vous pouvez modifier une marge avant ou après la création d’un texte. Options de marge Ce groupe de commandes, qui est accessible lorsque la Méthode de présentation est définie sur Paragraphe, définit la taille et l’emplacement des marges de texte. Marges gauche, droite, supérieure et inférieure : utilisez ces commandes pour définir les marges de la présentation du texte dans le Canevas. Pour activer les commandes Marge, la Méthode de présentation doit être définie sur Paragraphe. Création d’une marge de texte Vous pouvez créer une marge personnalisée à l’aide des commandes Marge affichées par la fenêtre Présentation de l’Inspecteur Texte ou en traçant un cadre de sélection de texte dans le Canevas. Pour créer des marges de texte grâce à l’outil Texte : 1 Sélectionnez l’outil Texte (ou appuyez sur T), puis faites glisser le pointeur dans le Canevas. Lorsque vous relâchez le bouton de la souris, un cadre de sélection de texte apparaît. Commandes Marge Pour afficher les commandes Marge, Méthode de présentation doit correspondre à Paragraphe.Chapitre 7 Utilisation de texte 701 Remarque : vous pouvez créer un cadre de sélection de texte (créer des marges) qui dépasse des bords du Canevas. Dès que vous relâchez le bouton de la souris, le point d’insertion clignote dans le cadre de sélection et vous pouvez saisir du texte dans le Canevas ou dans l’éditeur de texte de la fenêtre Format. La méthode de présentation est automatiquement définie sur Paragraphe. 2 Pour redimensionner les marges de texte, assurez-vous que l’outil Texte est sélectionné, puis faites glisser une poignée d’échelle du cadre de sélection. Remarque : vous pouvez également redimensionner les marges du cadre de sélection de texte à l’aide des commandes Marge de la fenêtre Présentation de l’Inspecteur Texte (reportez-vous à l’étape 3 de l’exemple suivant). 3 Appuyez sur la touche Échap ou cliquez sur l’outil Sélectionner/Transformer pour sélectionner le cadre de sélection de texte et quitter le mode de modification de texte. Remarque : n’utilisez pas l’outil Sélectionner/Transformer pour redimensionner les marges du cadre de sélection de texte. Si vous sélectionnez une poignée d’échelle d’un cadre de sélection de texte à l’aide de l’outil Sélectionner/Transformer et que vous effectuez un redimensionnement, ce n’est pas seulement le cadre de sélection qui est redimensionné, mais le texte proprement dit.702 Chapitre 7 Utilisation de texte